18565 GP Covers Summer Catalogue FINAL_18565 GP Covers Summer Catalogue FINAL 22/04/2011 12:09 Page 1 18 TH AND 19 18TH AND 19TH CENTURY TH CENTURY BRITISH DRAWINGS AND WATERCOLOURS 2011 GUY PEPPIATT FINE ART CENTURYFINE BRITISH PEPPIATT DRAWINGS GUY AND2011 WATERCOLOURS BRITISH DRAWINGS AND WATERCOLOURS 2011 GUY PEPPIATT FINE ART LTD Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU GUY PEPPIATT FINE ART 18TH AND 19TH CENTURY BRITISH DRAWINGS AND WATERCOLOURS 2011 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. 2 18TH AND 19TH CENTURY BRITISH DRAWINGS AND WATERCOLOURS 2011 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 Samuel Buck (1696-1779) North View of Tynemouth Castle and Abbey, Northumberland Signed on border upper right: S. Buck delin May 1728 and further inscribed upper Samuel Buck, and his brother Nathaniel, produced engravings of 428 views of the ruins centre: THE NORTH VIEW OF TINEMOUTH CASTLE, NEAR SHIELDS; IN of all noted abbeys and castles in the country, together with four views of seats and NORTHUMBERLAND eighty-three large general views of the chief cities and towns of England and Wales. Pen and grey ink and wash on laid paper They would travel round the country in the summer and produce engravings during 15.3 by 34.8 cm., 6 by 13 ½ in. the winter which were some of the earliest topographical views of Britain. The engravings were printed and sold individually and collected into volumes for book Tynemouth Castle sits at the mouth of the river Tyne eight miles north-east of purchasers between 1724 and 1738. This drawing was engraved with some changes Newcastle. An Abbey and Castle have stood on the site since at least the 11th century. for Buck’s Antiquities as ‘The North View of Tinemouth Monastery & Castle in The Abbey was dissolved in 1538 but the castle played an important role in the Civil Northumberland’ and was dedicated to Henry Villiers who owned it at the time. The War until it fell into disrepair in the late 17th century. original drawings for these works are rare with examples in the British Library, the British Museum and the Fitzwilliam Museum, Cambridge. 4 2 Francis Place (1647-1728) Sheriff Hutton Castle, Yorkshire Pen and brown ink and wash over pencil on laid paper 25.1 by 18.6 cm., 9 ¾ by 7 ¼ in. Provenance: By descent to the artist’s daughter Ann; Her third son Francis Parrott (c.1725-1795); By descent to his grand-daughter, Elizabeth Fraser (d.1873); Her second son, the artist, Patrick Allan Fraser (1817-1889) of Hospitalfield, Arbroath; The sale of his collection, Sotheby’s, 10th June 1931, lot 148 (part); With the Squire Gallery, London, 1936 A view of the castle by Place dated to 1718 is in York City Art Gallery (see Richard Tyler, Francis Place 1647-1728, Exhibition Catalogue, no.83) and a similar upright drawing of the castle, dated 1715, is in Leeds City Art Gallery. A further drawing of the castle looking south towards the city of York is on the verso of a sketchbook page by Place in the British Museum. This was one of two views of Sheriff Hutton Castle in the Squire Gallery exhibition of 1936. Place was born in Yorkshire and went to London to study law but the Plague of 1665 forced him to abandon his studies and he returned to York. He devoted him to drawing and became one of a group of artists and antiquaries known as the ‘York Virtuosi’. He recorded many local buildings in a style influenced by his friend Wenceslaus Hollar (1607-1677), one of the earliest topographical artists working in watercolour in this country. 5 3 William Hoare of Bath (1707-1792) Study of a Seated Woman Red chalk on laid paper with a circular watermark 19.7 by 15.4 cm., 7 ¾ by 6 in. Provenance: Sir Henry Duff Gordon (1866-1953) Hoare was a portrait painter in oil and pastel who was in Bath by 1739 and was the first fashionable and successful portrait painter to settle and work there. He produced a number of these chalk portrait drawings which mainly depicted family and friends, as well as the large scale portraits for which he is best known. 6 4 William Hoare of Bath (1707-1792) Study of a Man reading Black chalk on laid paper 11 by 15.6 cm., 4 ¼ by 6 in. Provenance: Sir Henry Duff Gordon (1866-1953) 7 5 Thomas Rowlandson (1756-1827) The Wurttemberg Artillery Inscribed lower left: Wurtemberg Artillery, with collector’s mark verso Gilbert Davis had a large collection of over three thousand British watercolours which Pen and grey ink and watercolour over traces of pencil included over 350 drawings by Rowlandson. The Arts Council arranged two 20.2 by 27.3 cm., 8 by 10 ¾ in. exhibitions of his collection, in 1949 and 1955. Provenance: Gilbert Davis (b.1899) (Lugt. No. 757a); L.G. Duke; Ruskin Gallery, Stratford-on-Avon 8 6 Thomas Rowlandson (1756-1827) The Pursuit of a Highwayman Pen and grey ink and watercolour over traces of pencil on laid paper a version of the subject dating from circa 1790 shows the highwayman in the same 43.9 by 71.8 cm., 17 ¼ by 28 ¼ in. poise, turning and firing at his pursuers as he jumps a gate. On the hill beyond is a shadowy gibbet, a reminder of the likely fate of a captured highwayman. This important and unusually large, recently rediscovered drawing by Rowlandson dates to circa 1776-78 when he was in his early twenties. His early work shows the A drawing ‘A Highwayman accosting a Nobleman in his Carriage’ sold at Sotheby’s on influence of John Hamilton Mortimer (1741-1779) in his use of pen and ink hatching 14th July 1994, lot 19 is dated to the late 1770s by the late John Hayes and relates but by the later 1770s Rowlandson is developing his own style and, as in the present closely to the present work. Another comparable drawing ‘The Hanging of Dr Dodd’ work, increasingly uses watercolour as well as pen and ink. in the Houghton Library, Harvard University dates from the same period (see John Hayes, The Art of Thomas Rowlandson, exhibition catalogue, 1990, no.4). Highwaymen exerted a macabre fascination on the British public in the eighteenth century. They were viewed with a combination of excitement and dread and some We are grateful to Hugh Belsey for his help in dating the present drawing. became heroes. Rowlandson returned to the subject on a number of occasions with 9 7 John Sanders Jnr. (1750-1825) View on the river Avon at Bath Watercolour on laid paper with original washline mount view taken from this spot by Thomas Robins the Elder (1716-1770) is in the Victoria 25.9 by 39.2 cm., 10 ¼ by 15 ¼ in. and Albert Museum. This is a view looking east down the river Avon with South Parade to the left, built by John Sanders Junior was the son of a pastellist and studied at the Royal Academy John Wood (1704-1754) in the 1740s. The steps down from South Parade lead to the Schools in 1769 exhibiting from 1771. In 1778 he moved to Norwich and in 1790 to ferry station which was the main way to cross the Avon before Pulteney Bridge was Bath. This is one of a group of six Bath views which he intended to produce in aquatint built in 1769. On the hill in the distance stands Camden Crescent which formed part of but they were never commissioned. However three aquatints of Bath after his work a large building scheme begun in circa 1788 of which only this was completed. There is were published in 1793, ‘The Abbey Church, Bath’, ‘High St., Bath’ and ‘Dr Parry’s no sign of Lansdown Crescent which was built higher up the hill in the early 1790s. A Summer Hill’. An oil by him of the Pump Room, Bath is in the Roman Baths Museum. 10 8 Thomas Sunderland (1744-1823) View in Borrowdale, Cumberland Inscribed with title verso and inscribed on part of old mount: View in 1806 – ‘View of the Borrowdale towards Glaramara’, Victoria and Albert Museum Borrowdale./Cumb.d/This view is taken from the Common adjoining the ground on which (see Hebron, Shields and Wilcox, The Solitude of Mountains – Constable and the Lake rests the extra:/ordinary self-rock called the Bowdar-stone. The distant mountains in this District, 2006, p.136, no.64, ill.). scene are/Bull-crag, Serjeant-crag & Glaramara. The latter is a naked rock, of stupendous height/& much broken.