British Drawings and Watercolours 2018

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BRITISH DRAWINGS AND WATERCOLOURS 2018

GUY PEPPIATT FINE ART BRITISH DRAWINGS AND WATERCOLOURS 2018

1 Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical sales. Topographical views whether they be of Britain or worldwide have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in his gallery on Mason’s Yard, St James’s, shared with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. Guy Peppiatt Fine Art exhibit at a number of London fairs and are also part of Master Drawings New York every January and London Art Week in July. Guy also vets a number of art fairs and is Chairman of the Vetting Committee for the Works on Paper Fair.

2 BRITISH DRAWINGS AND WATERCOLOURS 2018

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

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

Tel: +44 (0) 20 7930 3839 Mobile: +44 (0) 7956 968284 Fax: +44 (0) 20 7839 1504 [email protected] www.peppiattfineart.co.uk 3 1 Thomas Robins the Elder (1715-1770) Portrait of a Sportsman with two Spaniels in a Wooded Landscape

Gouache on vellum, in an 18th century carved pearwood veneer frame 1748. One is in Cheltenham Art Gallery and another was sold at Christie’s on 5th 22.2 by 26.3 cm., 8 ¾ by 10 ¼ in. June 2007, lot 32 for a hammer price of £26,000 (see John Harris, Gardens of Delight – The Rococo English Landscape of Thomas Robins the Elder , 1978, p.20, pls. 35 and This portrait of an unknown gentleman may be a view taken at Leckhampton near 37). Works by Robins are rare – two views by him of Honington Hall were sold at Cheltenham, Gloucestershire. As a portrait, it is unique in Robins’s work and is likely Christie’s on 14th July 1987, lots 135 and 136 for £45,000 and £26,000 respectively. to be of a Gloucestershire landowner. Cathryn Spence has dated it to circa 1740-45. Robins’s importance is as one of the earliest topographical artists working on paper Thomas Robins was born at Charlton Kings near Cheltenham. Little is known of or vellum, recording gardens and country houses from the early 1740s until the his early life but he was in Bath by 1760 where he established his reputation as a late 1760s when few others were doing so. His works are often drawn within a topographical artist producing views of the city and local grand houses. He returned framework of painted intertwining rococo flowers. John Harris describes him as ‘an to his home county drawing at least two panoramic views of the city of Cheltenham in artist who painted English houses and garden when they were most enchanting;

4 whose eye captured the rococo garden at its perfection and when it was most whimsical; whose paintings are almost sensual in the sheer delight they give; such was Thomas Robins the Elder’ ( op. cit. above, p.1).

We are grateful to John Harris and Cathryn Spence who is working on a catalogue raisonné on Robins, for confirming the attribution to the artist.

2 Paul Sandby, R.A. (1730-1809) The Artist’s Granddaughter and his Nurse outside the Deputy Ranger’s House, Windsor Great Park

Watercolour over traces of pencil 20.9 by 17.2 cm., 8 ¼ by 6 ¾ in.

Provenance: Madame R. Levillier; With Spink’s, London (K3 6808), 1980s; Private Collection, Suffolk, until 2017

This shows the artist’s granddaughter Augusta Sandby, and her nurse Sally Loman in Windsor Great Park. Sandby’s brother Thomas occupied the Deputy Ranger’s Lodge in the heart of Windsor Great Park during his tenure as Deputy Ranger from 1746 until 1798. The original building was remodelled in 1811-13 and then pulled down in 1830. It is now the site of Royal Lodge.

A more finished view of the Lodge, also including Sandby family members, was sold at Christie’s on 14th July 1987, lot 139 and a smaller sketch dated 1789 was with Guy Peppiatt Fine Art in 2012 (see One Hundred Drawings and Watercolours , winter catalogue 2012-1013, no. 21a).

5 3 Daniel Gardner (1750-1805) Portrait of a Lady

Three-quarter length, seated in a wood Mixed media in original frame 63.7 by 53.2 cm., 25 by 20 ¾ in.

This may be a portrait of Anne Elizabeth Hall (b.1775), the daughter of General Thomas Hall. An oil of her by Gardner is recorded in the collection of Mr Holms (for an illustration, see G.C. Williamson, Daniel Gardner , 1921, facing p.54).

Born in Kendal, Cumbria, Gardner took lessons from the young George Romney before moving to London in about 1767. He entered the Royal Academy Schools in 1770 and worked briefly for Sir Joshua Reynolds in 1773. He quickly built up a successful practice in portraits so felt no need to exhibit. He invented his own technique which gives his portraits a rough appearance combining gouache and pastel.

6 4 John Russell, R.A. (1745-1806) Portrait of Alexander Mitchell of Stow, Midlothian

Half-length, in painted oval in original frame Signed on painted frame lower left: J Russell R.A. pinx.t/1790 Pastel 60 by 44.5 cm., 23 ½ by 17 ½ in.

Provenance : By descent from the sitter to Fanny Georgina Jane Mitchell (d.1917); Her second husband, Donald James Mackay, 11th Lord Reay (1839-1921); Given to his godson Captain Hubert Charles Poulet Hamilton of Moyne House, near Durrow, Co. Laios, Ireland (1915- 2007); By descent until 2017

Born in Guildford, the son of a bookseller, Russell was the pre-eminent portrait painter in pastel of the late eighteenth century. He studied under Francis Cotes, R.A. in about 1767 and entered the Royal Academy Schools in 1770. He exhibited 329 pictures at the Royal Academy and at the height of his fame he charged 30 guineas for head portraits and £150 for large full-lengths, similar to the President of the Royal Academy, Sir Joshua Reynolds. The present portrait dates from 1790, when he was at the heights of his powers and had just been appointed Painter to the King.

7 5 Louis-Philippe Boitard (fl.1734-1760) Study of a Bilnd Beggar at Shoreditch

Inscribed lower left: Blind beggar/Shoreditch 1743 Pen and grey ink and watercolour on laid paper 18.4 by 10.3 cm., 7 ¼ by 4 in.

Provenance: L.G. Duke; With Bill Drummond

Born in France, Boitard came to London with this father, the artist François Boitard. He worked mainly as a book illustrator and engraver but is best known for his views of London street life. His earliest known work was published in 1733 and he is mentioned by George Vertue in 1742. In the 1740s he worked as an illustrator in the studio of the engraver William Henry Toms. While he was there, John Boydell recorded that ‘Boitard had such a habit of taking snuff that He was perpetually having recourse to His Box and actually lost Hours every day from the indulgence of this practice’ (Joseph Farington, Diary , vol. 4.1415).

These two drawings originate from an album of sixty-five drawings by Boitard at one time belonging to the collector L.G. Duke and split up in the 1960s. A number of these drawings are in the Yale Center for British Art, New Haven including two studies of sleeping men (B1975.4.48 and 53). Another sleeping man is the Huntington Library, San Marino, California (see Robert R. Wark, Early British Drawings in the Huntington Collection 1600-1750 , 1969, p.20). Some may have been used for his The Cries of London, for the year 1766, being a Collection of humorous Characters in 86 prints, done under the direction of Mr Boitard, published by Robert Sayer.

8 6 Louis-Philippe Boitard (fl.1734-1760) Study of a Sleeping Man

Full-length, seated in a chair Pen and grey ink and watercolour on laid paper 19.3 by 12.2 cm., 7 ½ by 4 ¾ in.

Provenance: L.G. Duke; With Bill Drummond

See note to no.5

9 7 Thomas Rowlandson (1756-1827) Returned from the Hunt

Pen and grey ink and watercolour over pencil on laid paper, with cut corners 17.3 by 22.5 cm., 6 ¾ by 8 ¾ in.

Provenance: with Leger Galleries, London, February 1981, where bought by the present owner

10 8 Thomas Rowlandson (1756-1827) The Messenger

Signed lower right: T. Rowlandson 1789 Provenance: With ‘Scipio’ collector’s mark verso Henry Scipio Reitlinger (1882-1950); Pen and grey ink and watercolour over traces of pencil on laid paper With Leger Galleries, London, June 1969 19.6 by 24.6 cm., 7 ¾ by 9 ½ in.

11 9 Thomas Rowlandson (1756-1827) A Game of Dice

Signed lower centre: Rowlandson Pen and brown and grey ink and watercolour Oval 32.4 by 32 cm., 12 ¾ by 12 ½ in,

Provenance: With Henry Sotheran, London, 1928; Ray Livingston Murphy (1923-1953), his Estate sale, Christie’s, 19th November 1985, lot 104; Anonymous sale, Christie’s, 9th April 1991, lot 76a; By descent to the present owner

Gambling subjects were close to Rowlandson’s heart and he is known to have frittered away most of his wealth on gambling and especially the dice game Hazard. He would frequently gamble all night losing huge sums (see Matthew and James Payne, Regarding Thomas Rowlandson , 2010, pp. 170-171).

Rowlandson seems to have used circular compositions mainly for sporting and gambling subjects and they may have been intended for the decoration of screens (for examples, see John Hayes, Rowlandson Watercolours and Drawings , 1972, nos. 41 and 126 and Lowell Libson, op. cit. , no.25). Four were included in his studio sale in 1828 as lot 92, of Cock Fighting, Bull Baiting, Billiards and Instructions to a Jockey and were described as `Capital’ in the catalogue.

12 10 Thomas Rowlandson (1756-1827) A Game of Cribbage

Signed lower right: Rowlandson 1818 Pen and brown and grey ink and watercolour Circular 34.9 by 36.7 cm., 13 ¾ by 14 ½ in.

Provenance: With Henry Sotheran, London, 1928; Ray Livingston Murphy (1923-1953), his Estate sale, Christie’s, 19th November 1985, lot 103; Anonymous sale, Christie’s, 9th April 1991, lot 76; By descent to the present owner

Literature: Lowell Libson Ltd, Beauty and the Beast – A Loan Exhibition of Rowlandson’s Works from British Private Collections , exhibition catalogue, 2007, p.64

It has been suggested that the current drawings were painted for the Prince Regent to go on a screen at Brighton Pavillion which was being refurbished by the architect John Nash at the time. Rowlandson is said to have produced a set of screen decorations for the Prince Regent (see A.P. Oppé, Thomas Rowlandson: His Drawings and Water- Colours, 1923, p.21). Byron is also said to have commissioned four similar drawings from Rowlandson depicting the sports of England (see Martin Hardie, Water-Colour Painting in Britain , vol. I, 1966, p.213).

13 11 Thomas Rowlandson (1756-1827) Chamber Council

Inscribed lower centre: CHAMBER COUNCIL , inscribed with collector’s mark lower Provenance: right and signed and inscribed by William Esdaile verso: 1828 WE Rowlandson’s sale ‘A Catalogue of the valuable collection of prints, drawings & pictures of the late N.44 Rowlandson distinguished artist Thomas Rowlandson’, Sotheby’s 23rd June 1828; Pen and grey and brown ink and watercolour over pencil on laid paper William Esdaile (1758-1837) (Lugt. no. 15877), his Executor’s sale, Christie’s, 25th 15.2 by 19.4 cm., 6 by 7 ½ in. June 1840, probably part of lot 1340 or 1341; Anonymous sale, Christie’s, 10th July 1984, lot 185

14 12 Thomas Rowlandson (1756-1827) The Afternoon Visit

Pen and brown ink and watercolour over pencil, with collector’s mark on border Exhibited: under mount On Loan to the Ashmolean Museum, Oxford, 1997 to 2018 14.8 by 24.2 cm., 5 ¾ by 9 ½ in.

Provenance: Gilbert Davis (1899-1983) (Lugt. No. 797a); With John Baskett Ltd, 172 New Bond Street, London, where bought by Bill and Joan Beale; By descent until 2018

15 13 Thomas Rowlandson (1756-1827) The Market Cross, Malmesbury, Wiltshire

Inscribed lower left: MALMESBURY CROSS, WILTSHIRE With R. & J. Jones, Kensington Church St, London, where bought June 1978; Pen and brown and grey ink and watercolour By descent to the present owner 14.8 by 23.4 cm., 5 ¾ by 9 ¼ in. The Market Cross which dates from circa 1490, stands in the centre of Malmesbury Provenance: at the corner of Market Cross and Gloucester Street adjacent to the Abbey. With Messrs T and R Annan & Son, Glasgow, 1924; Anonymous sale, Morrison McChleary & Co,, Glasgow, 8th December 1977, lot 177;

16 14 Thomas Rowlandson (1756-1827) Okehampton, Devon

Signed lower right: Rowlandson 1816 and inscribed lower left: Oakhampton Cornwall Okehampton stands at the junction of the East and West Okement rivers in Pen and grey ink and watercolour over traces of pencil mid Devon just north of Dartmoor. Rowlandson would have passed through 16 by 24 cm., 6 ¼ by 9 ½ in. Okehampton on his way to see his friend and patron the banker Matthew Michell who lived at Hengar House near Bodmin in Cornwall. A view of Okehampton by Provenance: Rowlandson dated 1791 was with Guy Peppiatt Fine Art in 2013 (see British With Thos. Agnew’s, London, where bought by Major Leonard Dent, his sale of Drawings and Watercolours , summer catalogue, 2013, no. 5). Rowlandson Drawings, Christie’s, 10th July 1984, lot 31

17 15 Thomas Rowlandson (1756-1827) Outside the Oyster Rooms

Inscribed on shop front: OYSTER ROOMS/LOBSTERS PICKLED SALMON Pen and grey ink and watercolour over traces of pencil 13.3 by 9.6 cm., 5 ¼ by 3 ¾ in.

Provenance: With Thos. Agnew & Sons, London (no.28716); Anonymous sale, Sotheby’s, 10th July 1986, lot 72

18 16 Thomas Rowlandson (1756-1827) The Statute Fair, St James’s Square, Newport, Isle of Wight

Inscribed lower left: Newport Statute Fair This dates from Rowlandson’s tour of the Isle of Wight with the businessman and Pen and grey ink and watercolour and pencil amateur artist Henry Wigstead and Samuel Howitt in 1791. They travelled via 12.9 by 25.3 cm., 5 by 10 in. Winchester to Lymington where they took the ferry to Yarmouth. They spent several months on the island exploring it thoroughly. For more on the tour, see Matthew and Provenance: James Payne, Regarding Thomas Rowlandson – His Life, Art and Acquaintance , 2010, Desmond Coke (1879-1931); pp. 135-139. Anonymous sale, Christie’s South Kensington, 3rd October 2001, lot 390; With Agnew’s, 2002 Statute Fairs, or Hiring Fairs, were an annual fixture in most important country towns until the early twentieth century. They were originally held on Martinmas Day, 11th Exhibited: November and men and women lined up in the hope of being employed. A view of London, Agnew’s, 129th Annual Exhibition of Watercolours and Drawings , the same subject, incorrectly described as an auction, is in the Museum of Island 13th February to 8th March 2002, no.12 History, Newport, Isle of Wight.

19 John Nixon (1755-1818) Nos. 17-20

Nixon was a wealthy Irish merchant based in London and a talented amateur artist and actor as well as being the Secretary of the Beefsteak Club. Henry Angelo, his friend and owner of a famous London Fencing Academy recalled that as a young man, Nixon ‘resided for many years in Basinghall Street, where over his dark warehouses, he, and his brother Richard, kept ‘Batchelor’s court’ ‘ ( The Reminiscences of Henry Angelo , edited by H. Lavers Smith, 1904, p.208). Later his successful business enabled him to buy an estate at Uphall on the river Roding at Ilford, Essex.

As an artist, he became well known for his caricatures of Georgian life and exhibited thirty-nine pictures at the Royal Academy between 1781 and 1815. He travelled extensively in Ireland, Scotland, Paris and the Netherlands as well as England sometimes in the company of his friend the caricaturist Thomas Rowlandson (see nos. 7 to 16) whose style he assimilated. On occasions, Rowlandson produced engraving after Nixon’s work.

17 John Nixon (1755-1818) Study of Mrs Bell seated at a Card Table

Signed with initials lower right and dated 1792, inscribed Mrs A with a drawn bell lower centre and numbered 113 upper centre Pen and brown ink and watercolour over pencil on laid paper 15.3 by 12.1 cm., 6 by 4 ¾ in.

20 18 John Nixon (1755-1818) At the Sun Inn, Foster Inn, Cheapside

Signed with initials lower left and dated 1795 and inscribed lower right: At the Sun Foster Lane/Cheapside Pen and brown ink and watercolour over pencil on laid paper 15.3 by 12.1 cm., 6 by 4 ¾ in.

Foster Lane runs southwards from Gresham Street to Cheapside north-east of St. Paul’s Cathedral.

21 19 John Nixon (1755-1818) At King’s Auction Room, King St, Covent Garden

Signed centre right: At Kings Auction Room/King S.t Covent Garden/J.N. ’97- and every book in the English language. He mainly sold books, prints and manuscript as numbered 38 lower centre right did his successors at 38 King St, King, Collins and Chapman. In 1796, the year before Pen and grey ink and wash the present drawing was executed, it became King & Son. John Crace Stevens bought 14.9 by 23.2 cm., 5 ¾ by 9 in. into the business in the 1820s and in 1834 it became J.C. Stevens Auction Rooms. It remained on the site until closing in the 1940s. King’s auction house was at 38 King St, Covent Garden, London. An auction house was started on the site in 1760 by Samuel Paterson who is reputed to have read

22 20 John Nixon (1755-1818) At Ascot Racecourse

Signed lower left: JN: 1791./..cot Races 29 June and numbered 109 upper centre Pen and grey ink and watercolour on laid paper 21 by 14.1 cm., 8 ¼ by 5 ½ in.

This is a rare early view of horseracing at Ascot. Racing first took place at Ascot (then called `East Cote’) on 11th August 1711 after Queen Anne came across an area of open heath that looked ideal for `horses to gallop at full stretch’ while she was out riding near Windsor Castle. The first race was called Her Majesty’s Plate over four miles and worth 100 guineas to the winner. The first four day meeting took place in 1768 but the first permanent stand was not erected until 1794, three years after the present watercolour was drawn. It was called the Royal Stand and held 1,650 people.

Another view of Ascot racecourse, dated 28th June 1791 was with Guy Peppiatt Fine Art in 2006 (see Guy Peppiatt Fine Art, 18th and 19th Century Drawings and Watercolours , exhibition catalogue, 2006, no. 9).

23 21 John Hoppner (1758-1810) A Figure and Dog on a Track near a Lake

Inscribed in a later hand verso: John Hoppner of the original mount: ‘This drawing was made in the presence of & presented to Black and white chalk on grey paper Hoppner the painter.’ Eleven Gainsborough drawings appeared in Hoppner’s sale in 22 by 29.9 cm., 8 ½ by 11 ¾ in. 1810. Even after achieving success as a portraitist, Hoppner continued to produce landscape drawings and Farington noted in 1803: ‘Hoppner shewed me several Provenance: sketches of Landscape made with Black Chalk on White Paper in the manner of Anonymous sale, Sotheby’s, 30th June 2005, lot 249 Gainsborough, with whose drawings He is passionately enamoured’ ( The Farington Diaries , 21st October 1803, p.2404). Although significantly younger, Hoppner became a friend of Thomas Gainsborough and his influence on the former’s landscape drawings is evident. There is evidence There are a large group of landscape studies by Hoppner in the British Museum that the two men went on at least one sketching expedition together. A black chalk (1875-7-10-863/70). They are mainly woodland scenes with similar rapid execution drawing in the Philadelphia Museum of Art dating from the mid 1780s (see John in black and white chalk in the manner of Gainsborough. Hayes, The Drawings of Thomas Gainsborough , no. 610) is inscribed on the reverse

24 22 Attributed to John Robert Cozens (1752-1797) Study of a Man, said to be Henry Fuseli

Inscribed lower right: Fuseli Esqr R.A./Sketch by Cozens 1776 when he is recorded as meeting Fuseli and a number of other artists in the Black chalk English Coffee House. Cozens remained until 1779 so presumably they would have With a sketch of fingers verso become well acquainted. Peter Bower has dated the paper to the 1790s. Cozens 16.4 by 21.6 cm., 6 ¼ by 8 ½ in. was ill and in the care of Dr Monro by 1794 which suggests the drawing dates from the early 1790s. Fuseli was a great admirer of Cozens’s work writing ‘ …they are Provenance: creations of an enchanted eye drawn with an enchanted hand…’. Frederick Richard Lee, R.A. (1798-1879) Fuseli was described as ‘rather short in stature, about five feet two inches in height, This previously unrecorded sketch originated in an album of drawings and his limbs were well proportioned, his shoulders broad, and his chest capacious…. He watercolours by the Victorian artist Frederick Richard Lee, R.A. (1798-1879). No was clean and neat in his person and dress, and very particular with his hair…’ (see other similar drawing by Cozens is recorded but there is no reason to doubt the John Knowles, The Life and Writing of Henry Fuseli , 1831, pp. 350-351). A pen and convincing inscription and the draughtsmanship is of high quality. It is possible that ink sketch of Fuseli by Sir George Hayter in the British Museum, dated 1812, shows the inscription ‘Fuseli Esqr R.A.’ is in the hand of the artist with ‘Sketch by Cozens’ him wearing a similar hat. added at later date. Fuseli was appointed `R.A.’ in 1790. We are grateful to Peter Bower for his dating of the paper . Cozens first met Henry Fuseli (1741-1825) in Rome in late 1776. Fuseli had arrived in May 1770 and stayed for eight years. Cozens had arrived in Rome by 9th November

25 23 John Robert Cozens (1752-1797) Near Sallanches, Savoy, France

Signed on original mount lower left: John Cozens 1778 and inscribed lower right: nr This impressive watercolour dates from Cozens’s first stay in Rome from November Salanche in Savoy , further inscribed on reverse of mount: Near Salanche in Savoy . and: 1776 to 1779. He left England in the summer of 1776 in the company of Richard This drawing lent to G.H. by Dr Richardson of the Times [Paper] Payne Knight (1751-1824), the antiquarian who is best known for his writings on Watercolour over pencil on laid paper picturesque beauty. They were in Geneva by August then continued south to 36.8 by 53.7 cm., 14 ½ by 21 in. Chamonix through Sallanches. They then went on north-east to Martigny and Bex before continuing to Interlaken and then Lake Lucerne. They went south through the Provenance: Splugen Pass then on into Italy getting to Rome by early November. He remained in Possibly Richard Payne Knight (1751-1824); Rome until 1779 and returned again with William Beckford in 1782. Alexander J. Finberg (1866-1929), his sale, Christie’s, 8th July 1921, lot 19, bought Pawsey and Payne for £152.5s; This watercolour is based on an on-the-spot pen and brown ink and wash sketch Anonymous sale, Christie’s, 20th July 1928, lot 152, 131.5s to Palser; made for Payne Knight and now part of a large group in the Whitworth Art Gallery, With J. Palser and Sons, 27 King St, St James’s, London; University of Manchester (D.1892.4). The topography is the same although Cozens M.G.M. Bevan, 1951 has added the shepherd and sheep to the finished watercolour and denuded the trees to the right of leaves. The mountain behind is likely to be the twin peak of the Tête Literature: du Colonney above Sallanches. C. Bell and T. Girtin, ‘Drawings and Sketches of John Robert Cozens’, Walpole Society , Vol. XXIII, 1934-1935, p.28, no. 6ii This is part of a group of large scale watercolours executed in Rome, presumably for Payne Knight, in 1778. Examples from this group are now in the British Museum, the Exhibited: Victoria and Albert Museum and the Yale Center for British Art. A later version of this London, Leggatt Brothers, Exhibition of English Painters 1700-1850 , 1951, no.37 watercolour, dated 1779, was sold as part of the Newall collection at Christie’s on 13th December 1979, lot 22.

The present work is typical of the simple grandeur of Cozen’s work. He used a limited palette of blues, greys and greens which is particularly effective in his mountain views emphasising their bleakness and enormity in contrast to the smallness of man, here represented by the shepherd and his flock. Constable described his work as ‘all poetry, the greatest genius that ever touched landscape’ and he is probably the most original and affecting artist of his generation.

26 27 24 Thomas Malton the Elder (1726-1801) ‘A Phaeton going from the picture’

Pen and grey ink and washes on laid paper perspective drawings at the Royal Academy from 1772 to 1785. In March 1776 a 11.4 by 14.2 cm., 4 ½ by 5 ½ in. fire destroyed over 500 copies of his books on geometry and perspective. He was sued by his printers and probably to avoid financial ruin he moved to Dublin where Provenance: he remained for the rest of his life. He was also an upholsterer with a shop on the Private Collection; Strand. His son Thomas Malton the Younger is known for his London and Dublin Thence by descent street scenes.

Engraved: Perspective drawings by Malton rarely appear on the market – a study of a Desk and For Thomas Malton’s ‘A Compleat Treatise on Perspective on the Principles of Dr Chair was sold at Christie’s New York on 26th January 2011, lot 32, a study of a Four Taylor’, 1778, plate 36, fig. 143, opp. p.5 Poster Bed was at Christie’s London on 22nd May 2008, lot 152 and a Street on a Hill was at Christie’s London on 10th July 1990, lot 66. Malton was an architectural draughtsman and a lecturer on perspective. These two drawings were engraved for one of his books on perspective. He exhibited his

28 25 Thomas Malton the Elder (1726-1801) ‘How to represent a Coach in Perspective’

Pen and grey ink and washes on laid paper 11.1 by 24.2 cm., 4 ¼ by 9 ½ in.

Provenance: Private Collection; Thence by descent

Engraved: For Thomas Malton’s ‘A Compleat Treatise on Perspective on the Principles of Dr Taylor’, 1778, plate 36, fig. 142, opp. p.5

29 26 William Payne (1760-1830) Loading a Boat on a River

Signed lower left: W Payne 1791 , with a collector’s mark lower left Payne was the son of a London coal merchant and first exhibited at the Society Watercolour on original washline mount of Artists in 1776. He was taught by George Haines, Chief Draughtsman at 16 by 21.7 cm., 6 ¼ by 8 ½ in. the Tower of London and maybe also Paul Sandby (1730-1809). From 1782 until 1788 he worked on surveys at Plymouth Dock and is best known for Provenance: his Devon views. He exhibited at the Royal Academyfrom 1786 and in 1789 he Dr John Percy (1817-1889), his Executor’s sale, Christie’s, 22nd April 1890, lot 934, returned to London as a professional artist and became one of the most successful bought Kent for £2.8; and fashionable drawing masters of the period. With Fry Gallery, 58 Jermyn St, London; D.A. Hall, Camberley, Surrey This dates from 1791, the year of Payne’s tour of South Wales and the Wye . There are dated views of Aberavon, Swansea and Cardigan from this year as well as a number of views on the Wye.

30 27 Thomas Hearne (1744-1817) Durham Castle and Framwell Gate Bridge from the Banks of the river Wear

Watercolour over pencil Views of Durham by Hearne are in the British Museum, Ashmolean Museum, V. & A. 20.4 by 25.9 cm., 8 by 10 in. Museum, Norwich Castle Museum and Leeds City Art Gallery (for three of them, see David Morris, Thomas Hearne and his Landscape , 1989, pls. 61-63, pp. 80-81). A grey Durham Castle was built by William of Conqueror with building work starting in 1072. wash version of this view by Hearne was with Guy Peppiatt Fine Art in 2014 (see One It was later the home of the Prince-Bishops of Durham. Framwell Gate Bridge is a two Hundred Drawings and Watercolours , winter catalogue 2014-15, no. 25a). arch pedestrian bridge over the Wear built in the fifteenth century.

31 28 John White Abbott (1763-1851) Roslin Castle, Scotland

Inscribed on part of original mount: No.12 Roslin Castle/JWA/June 20 1791 This drawing dates from White Abbott’s six week tour of north of England and Pen and grey ink and watercolour Scotland in the summer of 1791. Most of his drawings from the tour are numbered, 18.9 by 23.8 cm., 7 ¼ by 9 ¼ in. with no.1, dated 13th June, of York Minster with no. 80, dated 28th July of Glastonbury. He was in Edinburgh by 19th June then continued north to Stirling and Provenance: Dunkeld then west to loch Tay, Loch Awe, Loch Fyne and Loch Long. He then With John Spink, 2005, where bought by the present owner continued south to Loch Lomond then on to Glasgow and the south.

Literature: Roslin Castle stands on a hill above the North Esk River, six miles south of Edinburgh Timothy Wilcox, Francis Towne and his Friends , exhibition catalogue, 2005, no.30, ill. and was a popular tourist destination. Two other drawings are dated 20th June – ‘Near Roslin Castle’, numbered 14, no. 31 in Wilcox’s 2005 catalogue ( op.cit. )and Exhibited: ‘Hawthornden’, numbered 24, recorded in the collection of Gilbert Davis. A view of London, Colnaghi, Francis Towne and his Friends , 10th to 25th November 2005, Loch Long, dated 2nd July 1791, was with Guy Peppiatt Fine Art in 2017 (see no.30 summer catalogue, no.6).

32 29 Alexander Nasmyth (1758-1840) Heriot’s Hospital, Edinburgh, with Edinburgh Castle behind

Pen and grey ink and watercolour over traces of pencil moved to London to join his studio. On his return to Edinburgh in 1778 Raeburn Oval 22.9 by 27.8 cm., 9 by 10 ¾ in. had established himself as a portrait artist so Nasmyth turned to landscape painting in oil and watercolour. He was known as the founder of landscape painting in Scotland. Provenance: He worked mainly in oil but his watercolours of Edinburgh were often in this oval Probably Sir William Forbes, 7th Bt. of Pitsligo; format. For examples see J.C.B. Cooksey, Alexander Nasmyth – A Man of the Scottish By descent in the Forbes Family of Pitsligo, Fettercairn House, Kincardineshire, Reniassance , 1991, no. O5 (ill.) and two examples belonging to the Marquis of Scotland Lothian were sold at Sotheby’s on 28th March 2017, lots 486 and 487. An oval view ‘Edinburgh from the East’ was with Bourne Fine Art in 2006. This is a view of Heriot’s Hospital, Edinburgh, now George Heriot School, from the south with Edinburgh Castle behind. On his death in 1624, George Heriot left around £25,000 for the founding of a charitable school then known as a ‘Hospital’ to care for poor, fatherless children. Construction was begun in 1628 but the Hospital only opened in 1659. The building is notable for its renaissance architecture.

Nasmyth was born in the Grassmarket area of Edinburgh and began his career as a portrait painter studying at the Trustee’s Academy. He was spotted by Allan Ramsay and

33 30 Samuel Prout (1783-1852) Cottages at Crabtree near Plymouth, Devon

Signed lower left: Prout and inscribed on part of old backing: Cottages at and aged 18 he met the publisher John Britton in a bookshop who took him on a Crabtree/...../Jan 7. 1808 sketching tour of the West Country. By 1802 he was working for Britton in London Watercolour over pencil but by 1805 ill health forced him to return to Devon. The present watercolours date 26.3 by 37.8 cm., 10 ¼ by 14 ¾ in. from January 1808 shortly before his return to London. They are excellent examples of his early style when the influence of his fellow Devonian Francis Towne is evident. Prout was born in Plymouth, Devon, the son of a worker from the naval dockyard. He joined sketching expeditions led by a master while at Plymouth Grammar School

34 31 Samuel Prout (1783-1852) A Mill at Coldrenick, Cornwall

Signed lower right: Prout and inscribed on part of old backing: Mill at Coldrenick/...Jan Coldrenick House is at Menheniot near Liskeard in Cornwall. See 7. 1808 note to no.30 Watercolour over pencil 26.2 by 37.8 cm., 10 ¼ by 14 ¾ in.

35 32 John White Abbott (1763-1851) Near Canonteign, Devon

Inscribed on original mount: Near Canon Teign 1803 . Pen and grey ink and grey washes on two sheets of joined paper 26.8 by 37.2 cm., 10 ½ by 14 ¼ in.

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

36 33 Cornelius Varley (1781-1873) A Norfolk Cottage

Signed lower right: Norfolk CV 1801 This dates from Varley’s first sketching tour, to Gillingham Hall in Norfolk, with his Watercolour over pencil brother John, in 1801. John had been asked to teach drawing to Harriet Schutz, the 21.9 by 30.9 cm., 8 ½ by 12 in. young daughter of John Bacon Schutz. Cornelius was invited ‘to sketch from Nature the ladies coming to sketch with me whenever they liked. This happy change was like Provenance: a glorious holiday. The pure air The sence [sic] of liberty to ramble anywhere & to With Spink-Leger, 2000; have the boundless works of creation open before me’ (quoted in P. & D. Colnaghi, Private Collection, London Exhibition of Drawings and Watercolours by Cornelius Varley , 1973, introduction p.2). The present drawing is an early example of his abiding interest in rustic architecture. Exhibited: London, Spink-Leger, Feeling through the eye. The ‘new’ Landscape in Britain 1800-1830 , 14th March to 19th April 2000, no. 78

37 34 Paul Sandby Munn (1773-1845) Buildwas Abbey, Shropshire

Signed lower left: P.S. Munn/1803 and signed on reverse of original mount: Buildwas Abbey/Shropshire - PSMunn. 1803 Brown washes over pencil heightened with scratching out 25.8 by 18.5 cm., 10 by 7 ¼ in.

Provenance: With the Fry Gallery, 58 Jermyn St, London, 1970s

This is based on sketches executed on Munn’s tour of North Wales with Cotman in the summer of 1802 (see note to no.35). Buildwas Abbey stands on the river Severn two miles west of Ironbridge. It was founded by the Cistercians in 1135 and dissolved by Henry VIII in 1536 after which it fell into disrepair.

35 John Sell Cotman (1782-1842) The Great Wheel at Broseley, Shropshire

Watercolour over pencil 27.8 by 24.2cm., 10 ¾ by 9 ½ in.

Provenance: With Walker’s Galleries, London, August 1961; Duke Collection (D3830); L.G. Duke, his sale, Sotheby’s, 5th March 1970, lot 36, bt. Grunfeld; Private Collection

Broseley is across the river Severn from Coalbrookdale and was linked to it by the first iron bridge built in 1779. Coalbrookdale was one of the most important centres of industrial activity in the early nineteenth century. Iron was produced on an enormous scale in a three mile area of the Severn valley between Coalbrookdale and Coalport, and the area attracted large numbers of visitors including engineers, tourists and artists. One such visitor was the Frenchman Philippe Jacques de Loutherbourg (1740-1812) who painted his famous ‘Coalbrookdale by Night’ (Science Museum) in 1801.

38 This dates from Cotman’s tour of North Wales in the summer of 1802 with Paul Museum. A view on Lincoln Hill near Coalbrookdale by Munn dated July 1802 was Sandby Munn (1773-1845) who was the landlord of his Bond Street property at with Guy Peppiatt Fine Art in 2007, now in a private collection (see 18th and 19th the time. They left London in early July, reached Bridgnorth on the 8th continuing to Century Drawing and Watercolours , summer catalogue, 2007, no.36) and Cotman’s Wenlock where both artists drew the priory. They went on to Broseley and then version is in Leeds City Art Gallery (see David Boswell and Corinne Miller, Cotmania Ironbridge and Coalbrookdale. Munn’s version of this view is in the Ironbridge Gorge and Mr Kitson , 1992, no.4, p.41, ill.).

39 36 John Sell Cotman (1782-1842) A Doorway inside Wells-next-the-Sea Church, Norfolk

Signed lower left: J.S. Cotman 1817 and inscribed lower right: A Doorway inside Wells Ch. Norfolk Brown washes and pencil Sheet 28.3 by 23.2 cm., 11 by 9 in.

Provenance: With W. Boswell & Son, St Ethelbert House, Tombland, Norwich

Exhibited: Norwich, Boswell Centenary Exhibition , June 1939

Wells-next-the-Sea is on the north Norfolk coast near Holkham Hall. The church of St. Nicholas stands to the south of the village. It was destroyed by a lightning strike in 1879 and rebuilt.

40 37 John Sell Cotman (1782-1842) The South Doorway, Buckenham Ferry Church, Norfolk

Signed lower right: 1984/J.S. Cotman 1817 and inscribed lower left: South Doorway Bokenham Ferry Norfolk Brown washes and pencil Sheet 23.6 by 18.8 cm., 9 ¼ by 7 ¼ in.

Provenance: With W. Boswell & Son, St Ethelbert House, Tombland, Norwich

Exhibited: Norwich, Boswell Centenary Exhibition , June 1939, no. 12

A drawing of Buckenham Church by Cotman of a similar size, dated 1813, is in the Castle Museum, Norwich and an etching of the tower of Buckenham Church after Cotman was published in 1817. The church was built in the 13th century and has an unusual octagonal tower. Buckenham Ferry is on the river Yare to the south of Norwich.

41 Cotman in Normandy Nos. 38-40 38 John Sell Cotman (1782-1842) Cotman visited Normandy three times to find subject matter for a planned series of The Church of St Pierre at Hermanville-sur-Mer, Normandy etchings entitled Architectural Antiquities of Normandy with the help of his patron Dawson Turner (see no.41). His first trip lasted from 20th June to 10th August 1817 Signed lower left: J.S. Cotman 1818 and inscribed on border under mount: North east with a second from 20th June to 7th September 1818 with the final one from 26th View of the Church of Hermonville near Caen July to 10th October 1820. The first of the four instalments was published in early Brown washes and pencil 1820 with the final one issued in the middle of 1822. The view of the Machard image 24.8 by 34.2 cm., 9 ¾ by 13 ½ in. Tower, Caen (no.39) is an on-the-spot sketch whereas nos. 38 and 40 are the finished drawings which were the basis for the etchings, although no.38 was not used. Provenance: For more on Cotman’s Normandy tours, see Timothy Wilcox, Cotman in Normandy , The Rev. F.N. Vavassour; exhibition catalogue, 2012 and Miklos Rajnai, John Sell Cotman – Drawings of With P. & D. Colnaghi, London Normandy in Norwich Castle Museum , 1975. Hermanville-sur-Mer is several miles north of Caen on the Normandy coast. Cotman must have visited the town during his stay in Caen between 24th July and 14th August 1818. This drawing was not engraved for Cotman’s Antiquities series.

42 39 John Sell Cotman (1782-1842) The Machard Tower or Tour au Massacre, Caen

Signed lower right: J.S. Cotman Sk.d July 19/’17 Brown washes and pencil 23.4 by 19.7 cm., 9 ¼ by 7 ¾ in.

This dates from Cotman’s first tour of Normandy from June to August 1817. He was in Caen from 17th to 28th July and this sketch dates from 19th July. His diary for the day records `it rains.’

43 40 John Sell Cotman (1782-1842) The Interior of the Church of Léry near Pont-del-L’arche, Normandy

Signed lower left: J.S. Cotman 1817 This is a preliminary study for plate 46 of Cotman’s ‘Architectural Antiquities of Pencil on buff paper Normandy’ published in 1822. A view of the church from the south-east from his first 18.4 by 27.1 cm., 7 ¼ by 10 ½ in. tour, dated 6th July 1817, is in the Yale Center for British Art. His diary for the day record he was with ‘Mr R, his wife & Brother…. To an ancient Ch[urch] at Lery.’

44 41 Mary Turner (1774-1850) after John Philip Davis (1784-1862) Portrait of John Sell Cotman 1819

Engraving Plate 30.7 by 22.8 cm., 12 by 9 in.

This engraving was published as no.1 of 42 in A Collection of Original Portraits by Dawson Turner in 1819. Dawson Turner (1775-1858) was a Yarmouth banker and Cotman’s most important patron and this was engraved by his wife Mary. Dawson Turner helped organise Cotman’s Normandy trips using his connections in the area and he and his wife and daughters accompanied Cotman for part of his 1818 tour. The original drawing by Davis for this engraving is in an album in the Victoria and Albert Museum (E.1101-1927).

45 42 John Sell Cotman (1782-1842) A Cottage by a Stream

Signed lower right: J.S. Cotman and indistinctly inscribed Pencil 19.4 by 28.4 cm., 7 ½ by 11 in.

46 43 Joseph Mallord William Turner, R.A. (1775-1851) View of a Castle in the Ahr Valley, possibly Burg Are, Switzerland

Inscribed lower left: Valley of Aara This on-the-spot sketch is one of a group of drawings of views in the Ahr valley which Pencil with watercolour at the right edge must date from one of the Turner’s last major European tours in the early 1840s. The 17.7 by 22.3 cm., 7 by 8 ¾ in. river Ahr is a minor tributary of the Rhine which joins the Rhine at Sinzig, about twelve miles north of Andernach. Andrew Wilton had dated them to 1844 but Peter Bower Provenance: has recently discovered that they originate from the same sketchbook as Turner’s Sophia Booth (1798-1875), Margate; group of Burg Eltz drawings (including nos.1333-35 in Andrew Wilton, Turner , 1979) By descent to her son John Pound until 1865; which are traditionally dated to circa 1841-42. A number of the Ahr sketches are in Laurence W. Hodson, Compton Hall, near Wolverhampton by 1884; the Turner Bequest (TB CCCXL1V 39r and v, 43r and v, 44v, 45r, 46r, 97r and v, 98r Thence by descent until 1978; and v and 99-106). Another drawing from the group was with Guy Peppiatt Fine Art Anonymous sale, Sotheby’s, 30th November 1978, lot 97, part of an album, bt. in 2016 (see Guy Peppiatt Fine Art, British Drawings and Watercolours , summer Feigen; exhibition catalogue, 2016, no.42, p.47). With Thos. Agnew & Sons, London, 2009; Private Collection until 2017 We are grateful to Cecilia Powell for her help in cataloguing this drawing.

47 44 Paul Falconer Poole (1807-1897) Figure by a Pool in a Wooded Landscape

Inscribed verso: Poole 2/6 This drawing and no. 45 are typical products of the Bristol Sketching Society, an Brown washes heightened with scratching out and stopping out informal meeting of artists probably based on the London Sketching Society founded 21.9 by 19.8 cm., 8 ½ by 7 ¾ in. in 1799. They would meet in each other houses and produce sepia drawings of a poetic nature. Poole was born in Bristol but left the city in 1829. Provenance: The Miles Family, Leigh Court near Bristol; R.E. Summerfield, his sale, Christie’s, 20th March 1990, lot 68; Private Collection until 2017

48 45 Thomas Leeson Rowbotham (1782-1853) American Scene

Inscribed verso: American Scene/1.0.0 Rowbotham Provenance: Grey washes heightened with scratching out and stopping out The Miles Family, Leigh Court near Bristol; 20 by 17.8 cm., 7 ¾ by 7 in. R.E. Summerfield, his sale, Christie’s, 20th March 1990, lot 62; Private Collection until 2017

See note to no.44.

49 46 Robert Hills (1769-1844) Looking towards Otley from Leathley Wood, Yorkshire

Inscribed lower right: Looking towards Otley from Leathley Wood Watercolour over pencil 27.2 by 22.3 cm., 10 ¾ by 8 ¾ in.

Provenance: The Artist’s Executor, John Garle, F.S.A.; By descent to Mrs Lavinia Garle; With John Baskett Ltd, 172 New Bond Street, London, where bought by Bill and Joan Beale; By descent until 2018

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

47 David Cox (1783-1859) Study of Trees on Box Hill, Surrey

Watercolour and black chalk 20.8 by 28.2 cm., 8 by 11 in.

Provenance: By descent from the artist to his Grand-daughter Hannah Cox; With Walker Galleries, London; With Michael Spratt, circa 1980

This atmospheric late work is likely to date from the 1850s.

50 51 48 David Cox (1783-1859) A Cottage on a Road near Moseley, Birmingham

Signed and inscribed verso: No 204/near Moseley Worcestershire/DCox Cox was born in Birmingham and lived there until he moved to London in 1804. Watercolour over pencil The present watercolour dates stylistically from circa 1815-1820 shortly after his 13.9 by 27.2 cm., 5 ½ by 10 ½ in. move to Herefordshire. John Marius Wilson’s Imperial Gazetteer of England and Wales describes Moseley as ‘a village and chapelry in Kings Norton parish, Worcester, The Provenance: village stands on the N. verge of the county… 3 miles S. of the centre of Birmingham; Sir George Hill (1867-1948); is a pleasant and picturesque place…’. The building in the distance may be Moseley G. Hilton; Hall. Sir George Hill was the Director of the British Museum from 1931 to 1936. With Fores Ltd, 123 New Bond St, London

52 49 David Cox (1783-1859) A Commercial Traveller in an Inn, Lancaster

Watercolour over traces of pencil 26.3 by 17.8 cm., 10 ½ by 7 ¼ in.

Provenance: Philip H. Rathbone, 1890; Anonymous sale, Christie’s, 21st November 1978, lot 117

Exhibited: Liverpool, Walker Art Gallery, Grand Loan Exhibition of Pictures , 1886, no.1105; City of Birmingham Museum and Art Gallery, Works by David Cox , 1890, no. 260

Literature: Whitworth Wallis and Arthur Bensley Chamberlain, Catalogue of a Special Collection of Works by David Cox , 1890, no. 260, p. 44

The Birmingham exhibition catalogue of 1890 describes this watercolour as ‘Painted in the Coffee Room of an Inn at Lancaster in 1840’. ‘Commercial traveller’ was the nineteenth century term for a travelling salesman.

53 54 50 David Cox (1783-1859) Figures in a Market, Normandy

Watercolour and pencil 15 by 22.3 cm., 5 ¾ by 8 ¾ in.

Provenance: With the Manning Gallery, London, 1960s

Cox only visited the Continent three times, between 1826 and 1832. His first trip in 1826 was to Belgium and Flanders. This sketch is likely to date from his 1829 trip which was a six week tour of Northern France. He spent the first week in Calais before visting Amiens, Beauvais and Rouen on route to Paris. The figures in this drawing are wearing dress typical of Normandy.

51 David Cox (1783-1859) Study of a Fisherman

Watercolour over pencil 15.8 by 6.6 cm., 6 ¼ by 2 ½ in.

Provenance: By descent in an album from the artist to his grand-daughter Hannah Cox until April 1904; With Squire Gallery, Portman Square, London, 1946, when bought by Samuel Carr, 46 Paulton Square, London SW3

A sketch of the same figure by Cox is in the Fitzwilliam Museum, Cambridge.

55 52 David Cox (1783-1859) Darley Dale Church Yard, Derbyshire

Signed lower left: David Cox. 1856 and indistinctly inscribed upper left This atmospheric watercolour, dated 1856, is an exceptional example of Cox’s late Watercolour heightened with stopping out on oatmeal paper style, reminiscent of his famous Welsh Funeral watercolours drawn at Bettws-y-Coed 26.4 by 36.7 cm., 10 ¼ by 14 ½ in. in North Wales. Cox drew the churchyard at Darley Dale a number of times. A wash and chalk drawing is in the Ashmolean Museum, Oxford and a watercolour exhibited Provenance: in the last year of his life is in Worcester City Art Gallery. An oil of the churchyard is With Agnew’s, 2001; in the Graves Art Gallery, Sheffield. Private Collection, London The village of Darley Dale lies north of Matlock, Derbyshire, on the banks of the river Exhibited: Derwent. London, Agnew’s, 128th Annual Exhibition , 1st to 30th March 2001, no.78

56 53 George Barret Junior (1767-1842) The Harvest Moon

Watercolour heightened with bodycolour, scratching out and stopping out This is likely to be one of the three watercolours of this title exhibited by Barret 46.5 by 64 cm., 18 ¼ by 25 in. at the Society of Painters in Water-colours in 1823, 1833 and 1838. In 1823 it was accompanied by a quote from ‘The Seasons’ by James Thomson (1700-1748): Barret Jnr was the son of a Dublin artist of the same name. He was a founder ‘Meanwhile the Moon Full-orb’d, and breaking thro’ the scatter’d clouds, Shews member of the Society of Painters in Water-colours in 1805 and exhibited there her broad visage in the crimson’d east’. throughout his life. Redgrave describes his work as follows: ‘He excelled in his poetic treatments of sunrise and sunset, the effects of moonlight and in his truly classic and poetic compositions’ (Samuel Redgrave, A Dictionary of Artists of the British School , 1878, p.26).

57 54 Peter de Wint (1784-1849) Still-life with a Basket, Pewter Bowl and a Cloth

Watercolour over pencil De Wint enjoyed drawing still-lives and asking his pupils to do likewise. John Moyer 20.5 by 31.1 cm., 8 by 12 ¼ in. Heathcote, one of his best pupils, recalls: ‘He would take any convenient objects he could find in the room and set them in a group on the table, with a towel or other Provenance: white cloth carelessly thrown against them. These he required to be carefully imitated’ Anonymous sale, Sotheby’s, 10th July 1980, lot 153; (from Sir Walter Armstrong’s Memoir of Peter de Wint , 1888, quoted in David Scrase, By descent to the present owner Drawings and Watercolours by Peter de Wint , 1979, p.15, under no.35).

58 55 Peter de Wint (1784-1849) Study of Ivy on a Wall

Watercolour over traces of pencil heightened with scratching out 23.6 by 16.1 cm., 9 ¼ by 6 ¼ in.

59 56 Peter de Wint (1784-1849) Penrhyn Castle, North Wales

Watercolour over pencil Exhibited: 36.3 by 55.8 cm., 14 ¼ by 22 in. London, Agnew’s, Exhibition of Water-colour Drawings by Turner, Cox and de Wint , 1924, no.62 Provenance: An Estate sale, Sotheby’s 13th November 1997, lot 69; This is a view of Penrhyn Castle from the south with Beaumaris Castle on Anglesey Private Collection until 2017 visible beyond. This is likely to be the work exhibited at the Society of Painters in Water-colours in 1832, no.103 as ‘Penrhyn Castle, with Puffin Island in the Distance’ Literature: which sold for 20 guineas. Puffin Island sits off the north-east coast of Anglesey. A.P. Oppe, The Water-colours of Turner, Cox and de Wint , Exhibition Catalogue, 1925, p.26, no.62

60 57 William Turner of Oxford (1789-1862) Barmouth Pier - Cader Idris in the distance, Wales

Signed lower right: W. Turner/Oxf and inscribed on part of old backboard: No. 52 W. This is a view looking north- east up the estuary of the river Mawddach towards Turner/Barmouth Pier Snowdonia. Barmouth Pier is on the left with a few houses of the town visible. The Watercolour over pencil heightened with bodycolour and scratching out jagged mountain top of Cader Idris in the distance. A railway bridge was built across 31. 8 by 55.7 cm., 12 ½ by 21 ¾ in. the estuary in 1867 and is the longest timber viaduct in Wales. The poet William Wordsworth visited Barmouth in 1824 and wrote: ‘With a fine sea view in front, the Provenance: mountains behind, the glorious estuary running eight miles inland, and Cadair Idris Frederick Parker Morrell (c.1838-1908); within compass of a day’s walk, Barmouth can always hold its own again any rival.’ His wife Harriette Morrell (1843-1924), Black Hall, St Giles’s, Oxford; Probably the Morrell sale, Knight, Frank & Rutley, Black Hall, Oxford, 28th April 1925 Frederick Morrell, an early owner of this watercolour, formed the largest known collection of works by Turner of Oxford. He was an Oxford solicitor who succeeded Exhibited: his father as Solicitor to Oxford University and became Mayor of Oxford in 1899. London, Society of Painters in Water-colours , 1828, no.33, sold for 7 guineas After his death, his collection passed to his widow Harriette and the collection was sold on her death in 1924. Their son Philip was the husband of Ottoline Morrell.

61 58 John Middleton (1827-1856) A Limestone Quarry, Combe Martin, Devon

Inscribed lower right: Comb Martin N. Devon river Lyn at the British Institution in 1851 and 1853 and a view of Clovelly at the Royal Watercolour over pencil heightened with touches of white Academy in 1851. 30.7 by 43.7 cm., 12 by 17 ¼ in. Another watercolour of this view by Middleton, signed and dated 1850, was sold at This and no. 59 date from Middleton’s visit to Devon in 1850. Combe Martin is five Sotheby’s on 30th November 2000, lot 312, for £7,800. miles east of Ilfracombe on the North Devon coast. He exhibited two views of the

62 59 John Middleton (1827-1856) A Stream near Clovelly, North Devon

Signed lower right: Clovelly ND/JM 1850. Watercolour over pencil heightened with touches of bodycolour and scratching out 48.4 by 33.7 cm., 19 by 13 ¼ in.

Provenance: With Mandell’s Gallery, Norwich

This watercolour, like no.58, dates from Middleton’s tour of North Devon in the summer of 1850. Clovelly is a picturesque fishing village on Barnstaple Bay not far from the border with Cornwall. Middleton exhibited a Clovelly view at the Royal Academy in 1851. Two other upright watercolours of rivers of the same size as this date from this tour, ‘Near Ivy Bridge’ which appeared at Christie’s on 5th June 2006, lot 36 and ‘Lynmouth’ which is in the Castle Museum, Norwich.

63 60 Edmund Walker (fl. 1836 until d. 1872) The Crystal Palace, Hyde Park

Signed lower left: E. Walker/1850 Watercolour over pencil heightened with bodycolour, with arched top 31.8 by 95.4 cm., 12 ½ by 37 ½ in.

This important watercolour, dated 1850, was drawn the year before the Great Exhibition opened on 1st May 1851. Joseph Paxton (1803-1865) won the commission to design the Crystal Palace on 15th July 1850 and the engineering firm Fox, Henderson & Co. were asked to build it, a feat they achieved in only nine months using over 5,000 workers. The building was eventually 1,848 feet (563 m.) long, 456 feet (139 m.) wide and 135 (41 m.) high. It included 900,000 square feet of glass which weighed nearly 400 tons. At the close of the fair, the whole building was taken down and re-erected at Sydenham in South London with the area becoming known as Crystal Palace. It burnt down in 1936.

Another version of this watercolour by Walker also dated 1850 is in the Victoria and Albert Museum. It was given to the museum by a descendant of Sir Charles Fox (1810-1874) of Fox Henderson & Co and the present watercolour is likely to have similar provenance. Given that this watercolour dates to 1850 before the completion of the Crystal Palace, Walker must have been working for either its engineers Fox Henderson or its designers Joseph Paxton.

A view of the interior of the Great Exhibition by Walker is also in the V & A.

64 65 61 George Frederick Prosser (1805-1882) Water Lane, St. Cross, Winchester, with St. Catherine’s Hill beyond

Inscribed lower left: WATER LANE/St Cross/Winchester Prosser was born in London and worked in Surrey before moving to Winchester in Watercolour over pencil on wove paper watermarked: J WHATMAN/1855 the early 1850s. He lived and worked at 80 High Street, Winchester where he also 26.3 by 38.1 cm., 10 ¼ by 15 in. taught drawing, and specialised in local views. St. Cross is just to the south of Winchester and this is a view looking east towards St Catherine’s Hill.

66 62 George Frederick Prosser (1805-1882) View of the Solent and the Isle of Wight from near Lymington, Hampshire

Watercolour over traces of pencil heightened with bodycolour and scratching out This is a view looking south from near Lymington towards the Isle of Wight. To the left 30.8 by 51 cm., 12 by 20 in. of the clump of trees is the town of Yarmouth on the Isle of Wight and to the right is the round tower of Hurst Castle built by Henry VII on a spit of land to defend the Provenance: Solent. The present watercolour may relate to a series of watercolours by Prosser With J. Sabin, London, September 1968 which were engraved in 1833 for ‘Select Illustrations of Hampshire.’

67 63 Charles Bentley (1806-1854) A Storm off the French Coast

Signed lower right: C. Bentley work. He specialised in marine and coastal watercolour and sometimes travelled Watercolour over pencil heightened with bodycolour and scratching out with his friend William Callow. This is likely to date from one of his three visits to 26.5 by 39.2 cm., 10 ¼ by 15 ¼ in. Normandy between 1836 and 1841.

Bentley was apprenticed to the engraver Thales Fielding (1781-1851) where he helped produce engravings of Bonington’s work which had a clear influence on his

68 64 Henry George Hine (1811-1895) The Village of Tighnabruaich, Kyles of Bute, Scotland

Signed lower left: H.G. HINE 1875 Watercolour over traces of pencil heightened with bodycolour and scratching out 28.9 by 65.3 cm., 11 ¼ by 25 ½ in.

Provenance: Anonymous sale, Sotheby’s, 18th December 1980, lot 176; With Abbey Antiques, Hemel Hempstead, 1982

Tighnabruaich is a small village facing the island of Bute. It is in the Cowal Peninsula, 25 miles from Dunoon. Hine was the son of a Brighton coachman and was self- taught, learning by copying the Copley Fielding watercolours belonging to the local vicar. He was apprenticed to Henry Meyer the London engraver but exhibited landscapes from 1830 until his death in 1895 mainly at the New Watercolour Society.

69 65 George Richmond, R.A. (1809-1896) Portrait Study of John Ruskin

Red and black chalk on grey-blue laid watermarked paper 19.8 by 15.3 cm., 7 ¾ by 6 in.

Provenance: Henry Yates Thompson (1838-1928); By descent to Sir Christopher Chancellor C.M.G. (1904-1989), his sale, Christie’s, 19th March 1985, lot 40, one of two; By descent to the present owner

Literature: James S. Dearden, John Ruskin – A Life in Pictures , 1999, pp. 49-51, no.42, ill.

Exhibited: Sheffield, Ruskin Gallery, The Portraits of John Ruskin , 9th September to 29th October 2000; Oxford, Ashmolean Museum, The Portraits of John Ruskin , 21st November 2000 to 24th January 2001

These two studies relate to a portrait by Richmond of Ruskin dating from 1857 when Ruskin was 38. The artist and sitter had originally met in Rome in 1840 and were close friends afterwards. Ruskin liked Richmond who ‘confirms my first impression of him. He is a most gentlemanly man, and of fine mind’ (quoted in Dearden, op. cit. , p.28).

In February 1857, Ruskin’s father John James suggested that Richmond paint his son in watercolour and Richmond accepted the commission on 5th February. There were seven sittings for the portrait between 24th February and mid March of which these sketches were the result. The portrait was finished on 28th March at a cost of £42 and John James Ruskin also sent Richmond a case of wine as thanks. He was evidently pleased with the portrait as he had it engraved by Francis Holl the following year. The portrait hung at Brantwood, Ruskin’s home at Coniston, until the dispersal sale there in 1931 where it was bought by the American bookseller Charles Goodspeed, but was later destroyed in a fire. Holl’s

70 engraving is a record of the portrait which has the same pose as the current drawings.

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

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

Red and black chalk on grey-blue laid watermarked paper 31.2 by 18 cm., 12 ¼ by 7 in.

Provenance: Henry Yates Thompson (1838-1928); By descent to Sir Christopher Chancellor C.M.G. (1904-1989), his sale, Christie’s, 19th March 1985, lot 40, one of two; By descent to the present owner

Literature: James S. Dearden, John Ruskin – A Life in Pictures , 1999, pp. 49-51, no.41, ill.

71 67 George Richmond, R.A. (1809-1896) Portrait of Mrs Anne Walbanke-Childers of Cantley Hall, Yorkshire

Watercolour over pencil heightened with bodycolour and gum arabic, with an arched top 52.8 by 38 cm., 20 ¾ by 15 in.

Literature: Raymond Lister, George Richmond -a Critical Biography , 1981, p.154

The sitter is the Hon. Anne Wood (d.1863), the daughter of Sir Francis Lindley Wood, 2nd Bt. and Anne Wood. She married John Walbanke-Childers (1789-1886), MP for Cambridgshire and Malton. According to Richmond’s accounts, this portrait, listed as of `Mrs W. Childers’, was begun in 1843 and completed after the sitter’s death in 1864. It was sold for the large sum of £52.

Richmond painted mainly landscapes and miniatures in the 1820s when he befriend Samuel Palmer and the Ancients as well as William Blake, but concentrated on portraits in watercolour or coloured chalks on brown paper from the early 1830s. Huon Mallalieu describes the former as ‘..portraits in watercolour of a particular delicacy and brilliance…’ and ‘quite the best portraits of the time in watercolour, showing rapidity and sureness of handling and a strong sense of the character of the sitter as well as his likeness (Huon Mallalieu, The Dictionary of British Watercolours Artists up to 1920 , 2002, vol. II, p.129).

72 68 Walter Greaves (1846-1930) Portrait of James McNeill Whistler (1834-1903) at his Easel

Signed upper right: W. Greaves Pen and black ink and pencil heightened with white chalk on buff paper 22.8 by 15.5 cm., 9 by 6 in.

Provenance: Bought at J.S. Maas & Co, London, 1968; By descent to the present owner

Exhibited: London, J.S. Maas & Co., Christmas Exhibition , 1968, no.71

Walter Greaves was the son of a Chelsea boat-builder who used to ferry Turner across the river. He and his brother Henry did the same for Whistler from 1863 when the latter moved into Lindsey Row, Chelsea (now Cheyne Walk). Walter and Henry soon became Whistler’s studio assistants, assisting with the preparation of his colours and learning to paint. Walter, the most talented artist of the two, adopted Whistler’s style and dress and specialised in painting views of Chelsea. Apart from an exhibition at the Goupil Gallery in 1911, he achieved little success and died penniless in a poorhouse.

73 69 Alfred William Hunt (1830-1896) The Ramparts, Mont St Michel, France

Watercolour over traces of pencil heightened with bodycolour, gum arabic and Exhibited: scratching out New Haven, Yale Center for British Art and Oxford, Ashmolean Museum, The Poetry 28.2 by 38.9 cm., 11 by 15 ¼ in. of Truth – Alfred William Hunt and the Art of Landscape , 15th September to 5th December 2004 and 26th January to 3rd April 2005, no.49 Provenance: With Chris Beetles Ltd; This shows the barbican built at the base of the monastery of Mont St. Michel to David Fuller, his sale, Christie’s, 7th April 2000, lot 42 protect the entrance in the thirteenth century. A sketchbook in the Ashmolean Museum (WA.1918.7.41) includes a number of drawings of Mont St Michel dated Literature: June 1876. Two sketches of the ramparts of Mont St Michel are in the Ashmolean Christopher Newall, The Poetry of Truth - Alfred William Hunt and the Art of Landscape , Museum (see Newall, op.cit., nos. 50 and 51) as well as a distant view of the 2004, no.49, pp.148-9 monastery (no.47) and a finished watercolour of its crypt (no.48).

74 70 George Price Boyce (1826-1897) Newcastle at Night from the Rabbit Banks, Gateshead

Signed lower right: G. P. BOYCE 64 , signed verso: Newcastle at night – from the Rabbit This watercolour dates to a trip made by Boyce to the north east of England in the Banks, Gateshead/GPBoyce 1864 and inscribed on the old backing board: Mrs. late summer and autumn of 1864. The scene depicted is a distant view of Newcastle, Hueffer/The Lodge/Campden Hill Road seen from across the river Tyne at Gateshead, with the prominent tower of the Watercolour heightened with touches of bodycolour cathedral of St. Nicholas barely visible at the left of centre. The steeply sloping Rabbit 10.1 by 20.9 cm., 4 by 8 ¼ in. Banks from which Boyce made this watercolour (as well as the larger version of the same composition), has long since been built over, and may today be identified with Provenance: Pipewellgate in the area of Bensham in Gateshead. Probably Ford Madox Brown, London (1821-1893); His daughter Catherine Hueffer, The Lodge, Campden Hill Road, London and by Boyce exhibited two Newcastle subjects – Newcastle from the Windmill Hills, descent; Gateshead and Newcastle from the Rabbit Banks, Gateshead – at the Old Water- The Maas Gallery, London, 1998; Colour Society in 1865. Although it has been suggested that it was the larger, daylight Christopher Cone version of Newcastle from the Rabbit Banks that was shown at the OWCS, a description of the exhibited work in a review in the Athenaeum would however seem Literature: to favour the present, more dramatic, nighttime scene as the work exhibited. As the Christopher Newall and Judy Egerton, George Price Boyce , exhibition catalogue, 1987, anonymous reviewer noted, ‘ Among the recently elected members of this Society, by far pp.56-57, under no.42 the most original artist in landscape is Mr. Boyce, who treats with such perfect solemnity, beauty, richness and truth of colouring, some of the most commonplace themes...a Exhibited: distant view of a manufacturing town interests us in its million lives and fortunes; its subtle Probably London, Society of Painters in Water-colours , 1865, no.128 as ‘Newcastle colouring seems pathetic, and a glowing sky looks full of prophecy...Given these successes from the Rabbit Banks, Gateshead-on-Tyne with unchallengeable fidelity, and we have a great artist. Such is Mr. Boyce ’ (see `Society of Painters in Water-colours’, The Athenaeum , 20th April 1865, p.594).

75 INDEX

Barret, G. 53 Nasmyth, A. 29 Bentley, C. 63 Nixon, J. 17-20 Boitard, L.-P. 5-6 Boyce, G.P. 70 Payne, W. 26 Poole, P.F. 44 Cotman, J.S. 35-40, 42 Prosser, G.F. 61-62 Cox, D. 47-52 Prout, S. 30-31 Cozens, J.R. 22-23 Richmond, G. 65-67 De Wint, P. 54-56 Robins the Elder, T. 1 Rowbotham, T.L. 45 Gardner, D. 3 Rowlandson, T. 7-16 Greaves, W. 68 Russell, J. 4

Hearne, T. 27 Sandby, P. 2 Hills, R. 46 Hine, H.G. 64 Turner, M. 41 Hoppner, J. 21 Turner, J.M.W. 43 Hunt, A.W. 69 Turner of Oxford, W. 57

Malton the Elder, T. 24-25 Varley, C. 33 Middleton, J. 58-59 Munn, P.S. 34 Walker, E. 60 White Abbott, J. 28, 32

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