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

ETR RTS RWNSADWATERCOLOURS 2011 AND GUY DRAWINGS PEPPIATT BRITISH FINE CENTURY ART BRITISH DRAWINGS AND WATERCOLOURS 2011

GUY PEPPIATT FINE ART LTD

Riverwide House, 6 Mason’s Yard Duke Street, St James’s, 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 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 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 (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. His summit only appears in this drawing & finishes the distant Sunderland was born at Whittington Hall near Kirkby Lonsdale, Cumberland and ran out.../of it on the right, or west side. the family business of iron mining until 1784 when he retired to Little Croft, his large Pen and grey and brown ink and watercolour over pencil house in Ulverston. He devoted the rest of his life to local affairs and to drawing the 27 by 37.8 cm., 10 ½ by 14 ¾ in. scenery of the Lake District. A view of the Bowder Stone in Borrowdale by Sunderland, on the same sized sheet is in the collection of the Wordsworth Trust, This is a view looking south down Borrowdale from near the Bowder Stone towards Grasmere (see Stephen Hebron, In the Line of Beauty – Early views of the Lake District Rosthwaite. In the foreground is the river Derwent with the summit of Glaramara by Amateur Artists, 2008, p.82, no.54, ill.). in the distance. Constable drew a similar view on his tour of the Lake District in

11 9 , R.A. (1727-1788) Wooded Landscape with a Country Cart and Faggot Gatherers

Pen and brown ink and grey, green and pink washes, heightened with black chalk, on prepared paper, varnished 22.1 by 31.0 cm., 8 ½ by 12 ¼ in.

Provenance: Probably John Warde (1721-1775), Squerryes Court, Westerham, Kent; Major John Roberts O’Brien Warde (b.1898), Squerryes Court, Westerham, Kent; Thence by descent until 2010

Literature: M.T. Ritchie, English Drawings: An Anthology, London 1935, pl.25; Mary Woodall, Gainsborough’s Landscape Drawings, London, 1939, p.131, no.344; John Hayes, The Drawings of Thomas Gainsborough, New Haven and London, 1970, vol. I, p.182, no.317; Timothy Clifford, Anthony Griffiths and Martin Royalton-Kisch, Gainsborough and Reynolds in the British Museum, exhibition catalogue, London 1978, p.15, under no.35; John Hayes and Lindsay Stainton, Gainsborough Drawings, exhibition catalogue, 1983, pp.118-119, no.49

Exhibited: Washington, D.C., National Gallery of Art and elsewhere, Gainsborough Drawings, 1983, no.49

Landscape drawings account for over three-quarters of Gainsborough’s output as a draughtsman, and make up some of his finest works. These drawings were done for his own pleasure, in varying degrees of finish, and using a range of different techniques. William Jackson, a friend of the artist and early biographer, noted that ‘If I were to rest his reputation upon one point; it should be on his Drawings.... No man ever possessed methods so various in producing effects, and all excellent’. Overburdened with portrait commissions, Gainsborough seems to have turned to the freedom of landscape drawing as a means of relaxation. He was a prolific draughtsman, and while he apparently never sold any of his drawings, he is thought to have given away many of them as presents.

The present drawing is dated by Hayes to the late 1760s and is typical of Gainsborough’s use of experimental techniques. He combines pen and ink and various coloured washes, heightens the drawings with white chalk and then varnishes the sheet to strengthen the image. Gainsborough’s experiments in technique became more and more complex and in a letter to Jackson in 1773 he explains his methods but demands of the recipient ‘Swear now never to impart my secret to any one living’ (see The Letters of Thomas Gainsborough, edited by John Hayes, 2001, p.111).

This drawing includes many typical Gainsborough motifs – the copse of trees with the effect of light achieved with white chalk, the woman and children gathering wood in the foreground which anticipate the subject matter of his ‘fancy pictures’ of the 1780s, and the horse and cart. The present work relates most closely to ‘Wooded Landscape with a Boy reclining in a Cart’ in the British Museum (see Gainsborough, exhibition catalogue edited by Michael Rosenthal and Martin Myrone, 2002, no.119, p.221) with its confident use of pen and ink and the motif of the horse and cart disappearing down a country track.

12 13 10 Peter La Cave (fl.1769-1816) Embarking on the Cherwell Ferry, Oxford

Signed lower centre: P La Cave/1789 This is a view of Oxford from the south with the tower of Magdalen College and Pen and grey ink and watercolour Magdalen Bridge beyond. Magdalen Bridge is shown here newly completed replacing 19.4 by 42.4 cm., 7 ½ by 16 ½ in. the old stone bridge dating from the sixteenth century which collapsed in a flood in February 1772. The new bridge was started in 1772 but not fully completed until Provenance: 1790, the year after the present watercolour was drawn. Anonymous sale, Christie’s, 15th November 1988, lot 83, bought by the present owner; Private Collection, U.K.

14 11 Samuel Hieronymous Grimm (1733-1794) Barlborough Hall, Derbyshire

Signed lower right: S.H. Grimm fecit 178. ‘famed for his breed of greyhounds’. The house was built in 1583 by Francis Rodes and Pen and brown ink and watercolour heightened with bodycolour on laid paper is now a prep school. watermarked with a fleur de lys 35.7 by 52 cm., 14 by 20 ½ in. Grimm was born in Bergdorf, Switzerland and moved to in 1765 before relocating to London in 1768 where he lived for the rest of his life. He specialised in Barlborough Hall near Chesterfield was the home of Grimm’s friend and patron topographical landscapes and exhibited at the Royal Academy and elsewhere. Cornelius Heathcote Rodes (1755-1825) (see Rotha Mary Clay, Samuel Hieronymous Grimm, 1941, p.80-83). They knew each other from at least 1773 and the present Provenance: watercolour may date from the summer of 1785 when Grimm spent several months Locker Lampson, by descent to Mrs Godfrey Fawcett; at Barlborough. The figure in this watercolour is likely to be Cornelius Rodes as he was With Appleby Bros, London, 1964

15 12 Thomas Hearne (1744-1817) The Cake House, Hyde Park

Signed lower right: Hearne. 98 Watercolour over pencil 31.3 by 23.7 cm., 12 ¼ by 9 ¼ in.

Provenance: With J. Leger and Son, London, 1906; With Thos. Agnew and Sons, London; Anonymous sale, Sotheby’s, 13th November 1980, lot 197; Anonymous sale, Christie’s, 20th March 1990, lot 105, bought by the present owner; Private Collection, U.K.

Literature: Patrick Conner, , 1984, p.104, ill. fig. 56.

Hyde Park was a popular sketching ground for artists in the eighteenth century and it offered picturesque rural subjects within walking distance of the centre of London. The Cake House (or Cheesecake House as it was sometimes called) sat just north of the Serpentine half way between its eastern extremity and the bridge. It is said to have dated from circa 1637.

The house was also drawn by Sandby (Royal Collection) and Michael Angelo Rooker (Private Collection), see Conner, op. cit., p.104-5, figs. 55 and 57. In the seventeenth century it was known as ‘Price’s Refreshment Lodge’ and served pastries to spectators watching races at the nearby Ring. It was pulled down in 1835 and replaced by the building of the Humane Society.

16 13 Francis Nicholson (1753-1844) Kirkstall Abbey from across the river Aire, Yorkshire

Watercolour over pencil members of the Old Watercolour Society and this may be the view of Kirkstall Abbey 30.0 by 42.0 cm., 11 ¾ by 16 ½ in. he exhibited there in 1805, no.108, or his Royal Academy exhibit of the subject in 1803, no.434. 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, Kirkstall Abbey stands on the river Aire about three miles north-west of the centre of later in life, London. He built up such a successful career as a drawing master in Leeds. Another view of Kirkstall Abbey by Nicholson was engraved by J. Walker and London that he stopped exhibiting from 1833. Nicholson was one of the founding published in 1799.

17 14 15 William Alexander (1767-1816) , R.A. (1731-1809) Part of the St Augustine’s Abbey, Canterbury Conway Castle from the south-east

Inscribed verso: Alexander/Part of S.t Augustines Abbey/Canterbury Bodycolour over pencil on laid paper Watercolour and pencil 53.2 by 65 cm., 21 by 25 ½ in. 19.6 by 26.9 cm., 7 ¾ by 10 ½ in. Provenance: By the time Alexander painted this view of St Augustine’s Abbey, it had fallen into James Thursby-Pelham, Upton Cressett Hall, Shropshire (1869-1947); complete disrepair. The abbey was originally converted into a palace for Anne of By descent until 2010 Cleves in 1539. The house pictured was pulled down in 1845 to make way for St Augustine’s Missionary College. It is now the site of the library for King’s School This is a view of Conway Castle from the south-east looking up the estuary of the who took over the college in 1975. Conway river with the peninsula leading to Great Ormes Head to the right. Thomas Telford’s suspension bridge of 1826 now spans the estuary from near the castle. Conway Castle was one of the major castles built by the English on the Welsh coast in the 12th and 13th centuries.

Sandby appears only to have visited Wales three times even though he exhibited Welsh views, and especially North Welsh views throughout his life. His first visit was in 1770 when he stayed at Wynnstay, the Denbighshire family seat of Sir Watkin Williams Wynn and he returned the following summer to accompany Sir Watkin on a six week tour of North Wales. His final visit was in 1773 when he toured South Wales with a group of naturalists.

18 19 16 Edward Edwards, A.R.A. (1738-1806) View of Roehampton showing trees damaged by a storm of 15th October 1780

Signed lower left: EE. 1780 and numbered N1 on original washline mount The accompanying text describes how this ‘walnut tree, was torn up by the roots Pen and black ink and watercolour on laid Whatman paper entire, and removed almost in a contrary direction to the general course of the storm, 20.8 by 27.0 cm., 8 ¼ by 10 ½ in. for it was carried 22 feet Eastward from the hole where it grew. This tree, which was 12 feet in circumference, was perfectly sound, and the root with the soil, measured Engraved: near 16 feet in diameter.’ For ‘A Short Account of the Hurricane, that happened at Roehampton-Lane, and Places adjacent, in the County of Surrey on the Fifteenth of October, 1780, Illustrated by four outlines, washed and teinted by E. Edwards, Associate of the Royal Academy’, 1780, as pl.1

20 17 Edward Edwards, A.R.A. (1738-1806) View of the windmill on Barnes Common, blown over in the storm of 15th October, 1780

Numbered N4 on original washline mount hand-coloured etchings for which these are the original drawings. The hurricane was Pen and black ink and watercolour on laid Whatman paper described as follows: 20.9 by 27.1 cm., 8 ¼ by 10 ½ in. ‘On the 15th of October 1780 there happened a most violent hurricane, the effects of Engraved: which were principally felt in and near Roehampton, where is devastations were For ‘A Short Account of the Hurricane, that happened at Roehampton-Lane, and numerous and attended with very uncommon circumstances....The workhouse upon Places adjacent, in the County of Surrey on the Fifteenth of October, 1780, Illustrated Barnes Common received some injury, and the windmill was overturned and beat in by four outlines, washed and teinted by E. Edwards, Associate of the Royal Academy’, pieces. The progress of this hurricane is supposed to be about three miles in length, pl.4 beginning at Lord Besborough's at Roehampton, and ending at Hammersmith, where the church received considerable damage; the greatest breadth was only 200 yards. In 1780, Edwards witnessed the aftermath of a ‘most violent hurricane’ which hit Vast crouds of people came for several days to see the devastations which it had Roehampton and the surrounding area on the 15th October and produced four occasioned’ (see 'Putney', The Environs of London: volume 1: County of Surrey, 1792, pp.404-435).

21 18 19 William Marlow (1740-1813) John ‘Warwick’ Smith (1749-1831) Trees in Windsor Park Foot of Mount Splügen near Chiavenna – Light from Right, Morning

Pen and grey ink and watercolour over pencil on laid paper Inscribed with title in the artist’s hand verso 33 by 53 cm., 13 by 20 ¾ in. Pen and grey ink and watercolour over pencil heightened with touches of bodycolour on laid paper Marlow was taught by Samuel Scott (1701-1772) and studied at St Martin’s Lane 36.3 by 26.1 cm., 14 ¼ by 10 ¼ in. Academy. He travelled widely in France and Italy and exhibited at the Society of Artists and the Royal Academy from 1762. He lived in Twickenham from 1778 and exhibited Provenance: a number of local views. His work is very much in the eighteenth century watercolour Possibly the Merivale Family; tradition. A signed version of this view, of the same size, was sold at Sotheby’s on 7th With the Squire Gallery, Baker St., London; July 1983, lot 117. Bought from them by the Fine Art Society, 1946-47; Bryan G. Hamilton, Tunbridge Wells, Kent; With Appleby Bros., London, April 1959; With Boydell Galleries, Liverpool; Bertram Williams, Formby, Liverpool, 1961; Bertram Nowell Smith, his sale, Christie’s, 6th November 1973, lot 211, bought Wright for £1,200

22 Exhibited: Bootle Museum and Art Gallery, Exhibition of Early English Watercolours from the collection of Mr B.N. Williams, 1963, no.57

Literature: Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, 1979, vol. II, p.527, ill.

Previously attributed to , this is a watercolour drawn by ‘Warwick’ Smith on his journey through the Alps with Towne in the summer of 1781. Smith left England for Italy in 1776 thanks to the patronage of the Earl of Warwick and remained there until his return with Towne in 1781. He lived mainly in where he joined the community of British artists which included Towne, Cozens, Pars and Thomas Jones. Towne and ‘Warwick’ Smith chose the eastern route over the Alps, passing the Italian Lakes then going via Chiavenna and through the Splügen Pass into Switzerland in late August 1781. Towne’s drawings ‘Near Mount Splügen’ (dated 29th August) and ‘The Top of the Splügen Pass’ are in the Tate Gallery (see Timothy Wilcox, Francis Towne, 1997, nos. 37 and 38, pp.93-95) and ‘Mount Splügen’ by Smith is in the Cecil Higgins Art Gallery, Bedford (see Wilcox, op. cit., p.94, ill. fig. 32).

The present drawing shows the influence of Towne on ‘Warwick’ Smith’s work at this period. The use of pen and ink in Smith’s drawing, which is typical of Towne, is evident in a number of his work executed in Italy and particularly the group executed in the Naples area in 1778-79, many of which are now in the Tate Gallery. Baskett and Snelgrove note of Smith that ‘the drawings made on the spot in Italy show him at his best, responding with a new amplitude of style to the strong sunlight.... Undoubtedly too, he benefited from the companionship in Italy of and later of Francis Towne, with whom he travelled back through Switzerland in the autumn of 1781’ (see John Baskett and Dudley Snelgrove, English Drawings and Watercolors 1550-1850 in the Mellon Collection, 1972, p.43). Although the use of pen and ink shows Towne’s influence, the heavy depiction of the foliage and the figure grouping in the foreground are typical of Smith.

We are grateful to Richard Stephens for his help in cataloguing this drawing.

23 20 The present work is based on a drawing of this subject by Cozens in the Beckford Joseph Mallord William Turner, R.A. (1775-1851) Sketchbooks now in the Whitworth Art Gallery, University of Manchester Lago di Agnano seen from Astroni, Italy (D.1975.7.29). Cozens visited Italy for the second time in 1782 with the collector William Beckford and his sketch is inscribed with the subject and dated 11th Watercolour over pencil November 1782. Interestingly Cozens’s drawing is executed in grey wash and pencil 17.7 by 23.2 cm., 7 by 9 in. whereas Turner’s version is more finished, in full watercolour, with more detail particularly with the addition of the boat and figure in the foreground. Both drawings Provenance: are on almost identically sized sheets. Anonymous sale, Sotheby’s, 18th July 1974, lot 132 Agnano is a volcanic crater to the north-west of Naples. In 1782 the crater was filled This and no.21 are examples of Turner’s early work, dating from circa 1794-95 when with water to make the Lago di Agnano but it was drained in 1870. Turner visited the he was working for Dr Thomas Monro (1759-1833) at his drawing academy at area himself in 1819 and drew various views of Agnano – his sketchbook is preserved 8 Adelphi Terrace, London. Monro commissioned young artists to copy works from in the Turner Bequest in the Tate (Italian Guide Book Sketchbook, Finberg CLXXII). his collection and consequently became one of the most important patrons of his day. His collection included many works by , who Monro treated during his mental illness in the 1790s, and he also had access to his sketchbooks.

24 21 Joseph Mallord William Turner, R.A. (1775-1851) This is a view taken from Castel San Pietro which stands on a hill above Verona looking The Church of San Giorgio on the river Adige, Verona down on the church of San Giorgio in Braida. The church is situated on a bend in the river Adige which continues westwards in the distance. Turner has exaggerated the size Inscribed on part of former backboard: Verona/J.M.W. Turner of the hill behind and its proximity to the church. Watercolour over pencil 16.5 by 22.6 cm., 6 ½ by 8 ¾ in. Like no.21, this is likely to be based on a sketch by John Robert Cozens (see note to no.21). Cozens visited Verona on his way to Venice in June 1782 during his trip to Italy Provenance: in the company of William Beckford. A drawing ‘From the top of the Arena at Verona’ Leicester Galleries, London; dated 10th June is in the Beckford sketchbooks now in the Whitworth Art Gallery, Private collection, UK; University of Manchester. Anonymous sale, Christie’s, 9th July 1996, lot 39; Private collection, Suffolk

25 22 (1775-1802) View of Windermere and Belle Isle

With a collector’s mark lower left and inscribed in another hand verso: Windermere This rare early work by Girtin dates from circa 1792, when he was under the tuition of Lake/Girtin (1763-1804). It is likely to be a copy of a watercolour by Dayes or John Pen and grey ink and watercolour over pencil ‘Warwick’ Smith as Girtin never visited the Lake District. Girtin was apprenticed to 35.3 by 48.7 cm., 13 ¾ by 19 in. Dayes from 1789 and as a young artist he would have been expected to copy his master’s work as part of the learning process. Dayes is known to have visited the Lakes Provenance: in 1789 and he exhibited a number of Lakeland subjects in the following few years. With Walker’s Galleries, London; Views of Windermere by Dayes from different angles are in the Victoria and Albert With Thos. Agnew and Sons, London (no.32063); Museum, London and Aberdeen Art Gallery. Two comparable views by Girtin from L.G. Duke (D3816); this period, of almost identical size, are in the Yale Center for British Art, New Haven Anonymous sale, Sotheby’s, 5th March 1970, lot 83; (see Greg Smith, Thomas Girtin: The Art of Watercolour, 2002, nos. 21 and 22, ill.). Theodore Besterman, his sale, Christie’s, 14th December 1971, lot 52; Anonymous sale, Christie’s, 8th June 2000, lot 141; We are grateful to Susan Morris for her help in cataloguing this watercolour. By descent to the present owner

26 23 Paul Sandby Munn (1773-1845) A Cottage in the Lake District

Signed lower right: P.S. Munn delt. 1798 Westmorland’ (no.420), and ‘a Cottage at Kirkeydale, between Keswick and Watercolour over pencil Buttermere’ (no.977) 26.7 by 39.3 cm., 10 ¼ by 15 ½ in. Paul Sandby Munn was the son of a carriage decorator and landscape artist, James Provenance: Munn, who was a friend of Paul Sandby, R.A. (1730-1809). Sandby was the younger Anonymous sale, Sotheby’s 10th October 1974, lot 47 artist’s godfather and gave him early lessons in watercolour painting. In 1799 he became a member of the Sketching Club founded by Thomas Girtin (1775-1802) This is an early work by Munn and is likely to be one of his first exhibits at the Royal where he befriended (1782-1842). Munn’s brothers ran a stationers’ Academy in 1799. It has been suggested that this is ‘A Cottage, the Grange, Barrodale, and printsellers’ business at 107 New Bond St at this date and Munn and later Cotman Cumberland’ which he exhibited that year as no.984, in which case the hill to the left produced drawings which were sold in the shop. is Causey Pike. His two other Royal Academy exhibits of 1799 were ‘A Cottage in

27 24 Thomas Tudor (1785-1855) Trees by a Stream

Grey washes and black chalk heightened with scratching out on two sheets of paper at the Royal Academy in 1809. He continued exhibiting until 1819 but became a land joined agent, building Tudor House at Wyesham near Monmouth where he lived for the rest 28.1 by 31.7 cm., 11 by 12 ½ in. of his life. He was also a collector of paintings and owned works by Reynolds, Van Dyck and Turner whose studio his diary records he visited in June 1847. Provenance: By descent from the artist until with Walker Galleries, London, 1961 A number of Tudor’s drawings were bought by the Walker Galleries in the early 1960s and they held an exhibition of his work in June 1961. The present drawings were with Tudor was born in Monmouth, the son of Owen Tudor, a bookseller. He started Walker Galleries but not in the exhibition. The first Welsh exhibition of his work was at drawing at a young age providing plans and drawings of local houses and first exhibited Monmouth Museum in 1979.

28 25 Thomas Tudor (1785-1855) View on a wooded Stream

Grey washes and black chalk heightened with scratching out on two sheets of paper joined 30.4 by 31.3 cm., 12 by 12 ¼ in.

Provenance: By descent from the artist until with Walker Galleries, London, 1961

29 30 31 26 John Rubens Smith (1775-1849) Panoramic View of Ramsgate, Kent

Signed lower left: J.R. Smith Junr 1802, signed and dated again on a bench and inscribed on the original washline mount: Painted by J.R. Smith 1802/View of Ramsgate Pier. Watercolour over pencil 66.3 by 28.8 cm., 26 by 11¼ in.

This view of Ramsgate Harbour from 1802 gives a unique and fascinating glimpse of Ramsgate at the turn of the 19th century. Painted from what was an open, unenclosed east cliff top prior to its enclosure as Albion Place Gardens, the view takes in the Royal Harbour, completed in 1774. The view looks down on the elegant Pier House on the harbour front, designed by Samuel Wyatt in 1794. This building was demolished in the early 1900s as part of a scheme to widen the Harbour Parade. The area of cottages behind was known as Clift Court, while the large red roof maybe part of the either the Oak or the Castle Hotel, two of Ramsgate’s oldest hostelries.

Also just visible at end of the furthest West Pier is the original timber staircase called ‘Jacob’s Ladder’, built by the carpenter Jacob Steed in 1754 to give access to the harbour works from the cliff top. After falling into disrepair it was replaced by today’s stone staircase in 1826. Above the west cliff, both the Paragon and Nelson’s Crescent, newly completed in 1801, can clearly be seen. Peeping over the hill behind are two of Ramsgate’s three windmills. The two smaller mills were demolished in the mid 1800s with the third surviving until the late 1920s. Only a small area of shops called Windmill Parade is evidence of their location. Finally, the rough path and steps on the far right of the watercolour show the only access to the East Cliff until the Royal Albion Hotel was demolished and Madeira Walk was cut out of the chalk.

Smith was born in London, the son of the portraitist and engraver (1752-1812). He studied under his father and exhibited at the Royal Academy between 1796 and 1811, mainly portraits but also some watercolours, including views of Reculver, Margate Pier and Brighton in 1802 and 1803. In 1802 he visited the United States and was impressed enough to move there permanently in 1806. He had letters of introduction from Benjamin West, the President of the Royal Academy to the three principal artists in Boston at the time, Gilbert Stuart, Thomas Sully and Washington Alston. He opened a drawing academy there in May 1807 and he became known for his stipple engraving and mezzotints. After ten years in Boston, he moved his drawing academy to New York where he was based from 1816 until 1827 and produced a number of watercolours and paintings of views in and around New York and the Hudson river. After a brief spell back in Boston, he moved to Philadelphia where his drawing school again proved a great success and he produced a number of topographical watercolours of the city. Works by him are in the Library of Congress, Washington D.C., the Boston Athenaeum, the Metropolitan Museum New York and the National Gallery of Art Washington. For more information on the artist see, Edward S. Smith, “John Rubens Smith: An Anglo-American Artist,” The Connoisseur, May 1930, pp.300-307.

32 27 John Rubens Smith (1775-1849) Study of Ramsgate Harbour, Kent

Signed or inscribed lower right: JRSMITH Watercolour over pencil on two sheets of sketchbook paper joined 21.9 by 58.6 cm., 8 ½ by 23 in.

This is the artist’s on-the-spot sketch from which he made the larger, finished watercolour, no.26.

33 28 , R.A. (1776-1837) Study of Trees

Pencil on wove paper Whole sheet 22.4 by 34.8 cm., 8 ¾ by 13 ½ in.

The present drawing appears to originate from the largest sketchbook Constable ever used which is on 1822 Whatman paper. He mainly used it at Salisbury in 1829 and Reynolds lists twenty-two sheets which had come to light by 1984 (see Graham Reynolds, The Later Paintings and Drawings of John Constable, 1984, p.301).Other studies of trees from this sketchbook are in the , Port Sunlight (Reynolds no.29.13), a private collection (no.29.28) and the Horne Foundation, Florence (no.29.31).

34 29 Henry Edridge, A.R.A. (1769-1821) Customs Boat on the Seine below the Pont d’Iena, Paris

Inscribed lower right: Bureau de Declarations/d’entree et sortie des marchands/arrivant early nineteenth centuries – his portraits are executed in pencil with subtle tints of par l’eau – below the bridge/of Iena, July 1818 colour. He also drew landscapes in a similar style to Hearne and Girtin, his friends and Brown wash and pencil fellow artists. 27.4 by 37.5 cm., 10 ¾ by 14 ¾ in. This drawing dates from the first of his three trips to Paris and Northern France in the Provenance: summers of 1818, 1819 and 1820. He exhibited nine French views at the Royal Anonymous sale, Sotheby’s, 17th November 1988, lot 6 (one of a group). Academy in 1820 and 1821, the year of his death. A sketchbook of his French tour of 1819 is in the British Museum and other French views by him are in the Royal Edridge was born in Paddington, London, and studied at the Royal Academy where he Collection, Courtauld Institute, the Yale Center for British Art and Birmingham City Art began to exhibit portrait miniatures from 1786 (he exhibited 260 pictures there during Gallery. his lifetime). He achieved considerable success as a portraitist in the late eighteenth and

35 30 Thomas Leeson Rowbotham (1782-1853) A Salmon Leap on the river Dyfi at Mallwyd

Inscribed lower left: Salmon leap/at Mallwyd and many of his topographical views of the city are in the museum there. In 1835 he Watercolour over pencil heightened with bodycolour moved to London where he was appointed drawing master at the Royal Naval School 22.5 by 30.8 cm., 8 ¾ by 12 in. in New Cross.

Rowbotham was born in Bath and was working there as a drawing master in 1811 Mallwyd is a small village which stands on the river Dyfi in Merionethshire, two miles before moving to Dublin. By 1825 he was in Bristol where he remained for a decade south of Dinas Mawddwy.

36 31 Thomas Leeson Rowbotham (1782-1853) A Mill near Dolgelly, North Wales

Inscribed lower right: near Dolgelly Watercolour over pencil heightened with bodycolour 18 by 25 cm., 7 by 9 ¾ in.

Dolgelly is a market town which sits at the confluence of the Aran and Wnion rivers, nine miles east of Barmouth.

37 32 Francis Danby (1793-1861) View of the Avon Gorge looking towards the Severn Estuary

Signed lower left: F Danby Stylistically this dates from circa 1815, two years after his arrival in Bristol. Danby had Watercolour over pencil heightened with touches of bodycolour trained in Dublin and in 1813 visited London with his fellow artists James O’Connor 27.4 by 42.8 cm., 10 ¾ by 16 ¾ in. (1792-1841) and George Petrie (1789-1866). They were there only a few weeks before they ran out of money and Danby and O’Connor walked to Bristol with the Provenance: intention of finding a boat to take them back to Ireland. However he found in Bristol a Anonymous sale, Sotheby’s, 3rd October 1974, lot 210; market for his landscapes and portraits and resolved to stay a while. In 1814 while he Private collection, UK until 2011 was painting portraits for some farmers in Somerset he took a fancy to one of their servants whom he quickly married leading to a ‘precarious and unhappy life’ (see This is a favourite viewpoint of several Bristol School artists and especially Danby. It Danby’s letter of reminiscences of 12th April 1860 published in Eric Adams, Francis looks west down the Avon from Durdham Down, with the Severn estuary in the Danby: Varieties of Poetic Landscape, 1973, pp.141-142). In 1817, he was living in distance and the hills of Wales on the horizon. To the right are the rocks known as Sea Kingsdown, Bristol and remained there until 1824 when he left deep in debt and Walls with beyond the tower known as Cook’s Folly which was built at the end of the moved to London. He first exhibited at the Royal Academy in 1817 and by the 1820s seventeenth century by John Cook. He was a chamberlain of the city of Bristol and he became famous for his grand landscape paintings. According to Redgrave ‘Danby lived nearby at Sneyd Park. For a later version of this view in the Bristol City Museum will always take high rank with the lovers of art and genius. His imagination was of the and Art Gallery, see Francis Greenacre, Francis Danby, exhibition catalogue, 1988, highest class, his landscapes of the truest poetry’ (see Samuel Redgrave, A Dictionary of no.84, p.135, ill. Artists of the English School, 1878, p.113).

38 33 William Collingwood (1819-1903) Cowgate,

With artist’s stamp lower centre and signed with initials: Cowgate Edinburgh/ WC July 29/40 Pencil and watercolour heightened with white on grey paper 23.8 by 18 cm., 9 ¼ by 7 in.

Cowgate in Edinburgh derives its name from that fact cows were herded down it on Edinburgh’s market days. At the time of this drawing, in 1840, Cowgate was a poor overcrowded slum area, accommodating a large proportion of the city’s Irish community.

Collingwood was born in Greenwich, the son of an architect. He studied under and made his name as an painter of Alpine subjects. His cousin William Collingwood Smith was an artist and his son William Gersham Collingwood was a disciple of Ruskin.

39 34 Thomas Miles Richardson, Jnr., R.W.S. (1813-1890) On the Thames at Twickenham

Inscribed lower left: Twickenham -/1842 This is a view of Twickenham taken from Twickenham Eyot, or Eel Pie Island as it is Pen and brown ink and watercolour over pencil heightened with bodycolour on buff now called. The Church of St Mary the Virgin can be seen on the left, with its 15th paper century ragstone tower joined to the more recent red brick Queen Anne nave and 24.4 by 37.1 cm., 9 ½ by 14 ½ in. chancel completed in 1714, after the original church collapsed in 1713. On the right of St Mary’s Church stands York House. Its central portion dates from 1635 and it is Provenance: probably the oldest surviving building in the area. Owners have included the first Earl of With Thos. Agnew & Sons, Manchester, 1891 Clarendon, Prince Starhemberg and, in 1864 the Comte de Paris. The last private owner was Sir Ratan Tata, a Parsee merchant prince from Bombay. After the death of his widow the house was purchased by the Twickenham Borough Council and the first Council meeting was held there in 1926.

40 35 Thomas Miles Richardson, Jnr., R.W.S. (1813-1890) On the Thames at Staines

Inscribed lower left: Staines -/1842 The white stone pinnacles of St. Mary’s Church are also visible to the right of the Watercolour over pencil heightened with bodycolour on buff paper bridge. A stone tablet on the church tower’s south face ascribes the design of the 26.2 by 36.9 cm., 10 ¼ by 14 ½ in. tower to Inigo Jones in 1631. However, after the Second World War, these stone pinnacles were removed as unsafe, possibly due to a bomb falling in the Wraysbury Provenance: Road during the war. With Thos. Agnew & Sons, Manchester, 1891 The present view of this stretch of river would now take in the Staines railway bridge This is a view along the towpath at Staines from the Middlesex side of the river. Staines which was built in 1856 almost directly where Richardson would have been sitting. Bridge can be seen in the distance. The bridge with three arches in white granite was designed by George Rennie. Construction started in 1827, and it was opened in 1832.

41 36 Samuel Jackson (1794-1869) ‘A Composition of the Natural Scenery of the West Indies, in which the Silk-Cotton, and Mountain Cabbage Trees are introduced’

Watercolour over pencil heightened with bodycolour and stopping out 55.5 by 85 cm., 21¾ by 33 ½ in.

Provenance: Charles Theobold Maud, his sale, Christie’s, 17th June 1853, lot 89, bt. Shirley; Anonymous sale, Christie’s, 10th July 1990, lot 143; Private Collection, Channel Islands

Exhibited: London, Society of Painters in Water-colour, 1828, no.50

This watercolour is based on sketches made by Jackson in the West Indies during his trip there in 1827 and was his first exhibited West Indies view in 1828. Jackson was one of the best known artists of the Bristol School. He was born in Bristol, the son of a merchant and worked for his father until 1820 when he became a professional artist. He became a well known drawing teacher in Bristol and travelled extensively in Britain.

Boats to the West Indies from Bristol would have been frequent as the city was a trading centre at the time. Little is known of which islands Jackson visited but his exhibited works suggest he certainly visited Trinidad, Tobago and St Vincent and a Jamaican view is in Bristol City Art Gallery. The present watercolour is reminiscent of parts of Dominica but is clearly a ‘composition’ of the scenery he saw there. His West Indian views are rare as are watercolours by him on this scale – the only comparable works, which are the same size, are in Bristol City Art Gallery (see The Great Age of British Watercolours 1750-1850, exhibition catalogue, 1993, nos.189 and 190, pls.294 and 302).

42 43 37 David Cox (1783-1859) Near Pandy Mill, North Wales

Inscribed verso in another hand: N.r Pandy Mill by D. Cox Sept.r 52 surrounding area is especially dramatic. Solly in his biography of Cox described it as Watercolour over black chalk heightened with stopping out on oatmeal paper follows: ‘It is surrounded by rocky glens and deep wooded valleys.... Through these 27.8 by 37.3 cm., 10 ¾ by 14 ½ in. the mountain streams, the Machno, the Lledr, and the Llugwy, flow on towards their junction with the Conway.... All these streams are spanned by old and picturesque Pandy Mill is situated on the river Machno near its junction with the river Conway, two bridges, well known to lovers of art and Welsh scenery, and their banks also adorned miles south-east of Bettws-y-Coed. Cox visited Bettws in 1844 and returned there by several ancient water-mills; of these, Pandy Mill, on the Machno, is the chief, on almost every summer afterwards. The present drawing dates from his visit there in account of its romantic situation and the fine old oaks which surround it’ (see N. Neal September 1852 according to an inscription on the reverse. The scenery in the Solly, Memoir of the Life of David Cox, reprinted 1973, p.158-9).

44 38 David Cox (1783-1859) The Old Bridge, with Boys Fishing

Signed lower right: David Cox/1848 Exhibited: Watercolour and black chalk heightened with bodycolour and scratching out City of Birmingham Museum and Art Gallery, Works by David Cox, 1890, no.321 20 by 36.8 cm., 7 ¾ by 14 ½ in. Literature: Provenance: Whitworth Wallis and Arthur Bensley Chamberlain, Catalogue of a Special Collection of James Orrock (1829-1919); Works by David Cox, 1890, p.52, no.321 H.J. Cornish collection, 1928

45 39 Provenance: David Cox (1783-1859) By descent to the artist’s granddaughter until 1904; A Washerwoman on a Bridge by a Cottage With Walker Galleries, London, 1960

Watercolour over pencil Exhibited: 14.4 by 26.2cm., 5 ½ by 10 ¼ inches London, Walker Galleries, Drawings by David Cox, 21 April to 11 May 1960, probably no.36, ‘Harbour and Hillside’, sold for 12 guineas This early work dates from circa 1815. At around this time, Cox moved from Dulwich, south of London, to Hereford. This wonderfully loose but controlled drawing is typical of Cox’s work of the early 1850s when he is at his most confident and impressionistic. He concentrates on his Provenance: depiction of the sky and especially the passing storm. It may be drawn on the same Martyn Gregory Gallery sketchbook sheet as a group of drawings of Rhyll Sands which date from 1854. Cox often used a rough Scotch paper at this period but these are ordinary wove paper which measures the same size as this sheet. One in the University of Liverpool Art 40 Gallery is signed and dated 1854 (see Andrew Wilton and Annie Lyles, The Great Age David Cox (1783-1859) of British Watercolours 1750-1850, 1993, no.77, pl.233), another is in the Victoria and The Passing Storm Albert Museum and a third was sold at Christie’s on 21st November 2001, lot 47. Cox was a regular visitor to North Wales from the mid 1840s and the drawing of Watercolour and pencil Conway Castle on the reverse suggests this could be a view on the North Welsh coast With a pencil drawing of Conway Castle and bridge verso or possibly on the estuary of the river Conway. 27.6 by 37.6 cm., 10 ¾ by 14 ¾ in.

46 47 41 Anthony Vandyke Copley Fielding (1787-1855) Ben Lomond seen from near the Head of Loch Lomond, Scotland

Signed lower right: Copley Fielding 1833 Exhibited: Watercolour heightened with bodycolour, stopping out, scratching out and gum arabic London, Society of Painters in Water-colours, 1834, no.158 40.7 by 57.2 cm., 16 by 22 ½ in. This is a view looking south down Loch Lomond taken from near the village of Ardlui. Provenance: With Michael Bryan, London; Private Collection, U.K.

48 42 Andrew Nicholl, R.H.A. (1804-1886) Wild Flowers by a River with Cattle grazing and Mallard in Flight – Sunset

Signed in red lower left: A. Nicholl R.H.A. Nicholl was born in Belfast and apprenticed to a printer before moving to London Watercolour heightened with bodycolour, stopping out and scratching out where he taught himself to paint. He left for Dublin and exhibited at the Royal 48 by 78 cm., 18 ¾ by 30 ¾ in. Hibernian Academy from 1832. The present watercolour is likely to date from that period when he specialised in views of Ireland seen through a fringe of wild flowers. Provenance: He returned to London in the late 1830s and exhibited at the Royal Academy from Anonymous sale, Christie’s, 26th April 1988, lot 120 1832 until 1854.

49 43 John Varley (1778-1842) View of Sintra, Portugal

Signed on reverse of former mount: Rock of Lisbon/from a sketch/by Colonel Landman/J. This may be the view of Sintra exhibited at the Society of Painters in Water-colours in Varley 1841 as no.322. Varley never left the British Isles but exhibited a number of European Watercolour over pencil heightened with bodycolour and stopping out views based on the drawings of amateur artists or soldiers in this case a ‘Colonel 26 by 36.4cm., 10 ¼ by 14 ¼ in. Landman’. This is probably Colonel George Landmann (1779-1854) who served in Spain and Portugal during the Peninsula War. In 1818 he published ‘Historical, Military, This is a distant view of Sintra which stands on the coast west of Lisbon. The two and Picturesque Observations in Portugal.’ conical towers are of the Palacio Nacional de Sintra, the ancestral seat of the House of Avis. They were added to the original palace in the eighteenth century. Provenance: Anonymous sale, Christie’s, 19th March 1968, lot 38

50 44 John Sell Cotman (1782-1842) Sultan Mahomed Shah’s Tomb, Bejapore

Watercolour over pencil heightened with bodycolour and stopping out engravings in ‘Views in India, China, and on the Shores of the Red Sea’ in 1834. This 32 by 47.9 cm., 12 ½ by 18 ¾ in. watercolour was not in fact engraved but Prout’s version was chosen and is opposite page 48. Prout included several more figures in his view and most noticeably a clump Provenance: of trees at the right edge of the watercolour. A view by Cotman of ‘Perawa, Malawa’ Mrs E.P. Wint, 1946; was engraved for the book however and the original watercolour which is slightly The Executor’s of Alderman Thomas Ramsden, late of 4 Makinson Arcade, Wigan, smaller than the present work is in the Victoria and Albert Museum (8-1875). Another their sale, Christie’s, 16th November 1951, lot 1 as ‘An Indian Temple’; unused Indian view by Cotman, ‘The Tomb of Hyder Ali Khan, Rajah of Mysore’ is in Raymond Richards (d.1978) of Gawsworth Hall, Macclesfield, Cheshire; the Harris Museum and Art Gallery, Preston. George Naisby, Stockport Bejapore or Bijapur, as it is now known, is about 330 miles north-west of Bangalore. This watercolour dates from 1833-34 and is based on an on-the-spot sketch by The tomb of Mohammed Adil Shah or Gol Gumbaz has the second largest dome in Commander Robert Elliot, R.N. (1790-1849). Elliot was a naval officer and his the world with a diameter of over 124 feet and was built in the mid seventeenth sketches in India and the Far East from 1822-24 were copied by professional artists century. such as Cotman, Cox, Purser, Prout, Allom, Stanfield and Boys and published as

51 45 Samuel Palmer (1805-1881) In Vintage Time

Signed lower left: S. PALMER 1861 These recently rediscovered watercolours were two of Palmer’s three exhibits at the Watercolour over pencil heightened with bodycolour and gum arabic Old Watercolour Society in 1861 and were probably intended as a pair. The romantic 19.6 by 42.9 cm., 7 ¾ by 16 ¾ in. Italianate landscape and strong colours are typical of Palmer’s mature work. They are both in what he called his ‘little long’ format which are all of this size and enabled him Provenance: to focus on the landscape. The extensive use of pencil underneath the watercolour and With Walker’s Galleries, 11 New Bond St, London, 1952; the highly finished stippled effect are also typical. The present work shows a family Acquired by a private collector; returning home as the sun sets after a day harvesting with oxen pulling their cart laden By descent until 2010 with grapes. The landscape and hilltop town show the influence of Palmer’s trip to Italy in 1837. Both these watercolours relate closely to Palmer’s Old Watercolour Society Literature: exhibit of 1862 entitled ‘A Poet’ which was sold at Sotheby’s on 7th June 2006, lot 414 Raymond Lister, Catalogue Raisonné of the Works of Samuel Palmer, 1988, p.188, for £45,600. no.582 as untraced We are grateful to Colin Harrison for his help in cataloguing this and no.46. Exhibited: London, Society of Painters in Water-colours, 1861, no.216; London, Walker’s Galleries, 48th Annual Exhibition of Early English Water-Colours, 30th June 1952, no.86, as ‘The End of Day’

52 46 Samuel Palmer (1805-1881) In the Chequered Shade

Signed lower right: S. PALMER/1861 The title of this watercolour is taken from Milton’s ‘L’Allegro’, line 96. John Milton Watercolour over pencil heightened with bodycolour and gum arabic (1608-1674) was a constant influence on Palmer throughout his life and his work is 20.2 by 43.2 cm., 8 by 17 in. filled with references to images found in Milton’s poetry. He first encountered Milton’s work when his nurse Mary Ward gave him a copy of his poetry in 1829. It was not Provenance: until 1863 however that Palmer produced a series of illustrations to Milton’s poetry at With Walker’s Galleries, 11 New Bond St, London, 1952; the instigation of the solicitor Leonard Valpy who commissioned them. These Acquired by a private collector; illustrations occupied him for the rest of his life and he wrote to Valpy about them a By descent until 2010 few months before his death in February 1881. They were published posthumously by his son Literature: A.H. Palmer. Palmer depicts a woman carrying an urn of water on her head to the right Raymond Lister, Catalogue Raisonné of the Works of Samuel Palmer, 1988, p.189, with a hunting party chasing a stag with attendant dogs `in the chequered shade’ to the no.586 as untraced left. The high viewpoint looking down on an Italianate landscape and the combination of light and shade is typical of Palmer’s work of the period. Exhibited: London, Society of Painters in Water-colours, 1861, no.133; London, Walker’s Galleries, 48th Annual Exhibition of Early English Water-Colours, 30th June 1952, no.85, as ‘Noon – Resting Time’

53 47 Henry Ninham (1793-1874) Washing Day, Cromer, Norfolk

Watercolour over pencil heightened with bodycolour on wove paper Watermarked: ..../1828 28.7 by 22.1 cm., 11¼ by 8 ½ in.

Provenance: With the Clarges Gallery, Walton St, London, 1970s; Anonymous sale, Sotheby’s London, 26th March 1975, lot 245

This is a rare work by Henry Ninham, a second generation Norwich School artist. He was the son of an engraver whose business he inherited. He exhibited at the Norwich Society from 1818 and specialised in Norwich street scenes. The composition of the present work, a view down a street with a church spire behind, is typical of his work. This may be the picture exhibited at the Norwich Society of Artists in 1830, no.58 as ‘View at Cromer.’ An oil of this view by Ninham with different figures is in the Castle Museum, Norwich (1969.301.2 : F).

48 William Callow, R.W.S. (1812-1908) Ehrenbreitstein from the Moselle Bridge

Signed lower left: Wm/Callow/1874 Watercolour over pencil heightened with bodycolour and stopping out 33.8 by 48.6 cm., 13 ¼ by 19 in.

Provenance: London Society of Painters in Water-colours, Summer 1874

Drawn from the southern banks of the River Moselle, this view looks towards the Ehrenbreitstein fortress situated over 350 feet above the Rhine River. The Fortress, one of the largest in Europe at the time, was built by the Prussian Army between 1817 and 1832, after the defeat of Napoleon in 1815, as part of the defence of Koblenz.

The twin towers of the Church of St Castor in Klobenz can be seen on the north bank, situated at the confluence of the two rivers. 54 55 49 Edward Lear (1812-1888) The Aqueduct of Nero in the Roman Campagna

Inscribed in ink lower left: Campagna di Roma and lower right: Sept. 20 1844 and extensively inscribed in pencil Watercolour over pencil on buff paper 15.7 by 52.3cm., 6 by 20 ½ in.

Provenance: J.P.W. Cochrane

Lear left England on his first continental sketching trip in July 1837 arriving in Rome at the end of the year. He was based there until 1848. An oil by Lear of this view was sold at Sotheby’s on 10th July 1985, lot 105

56 50 Edward Lear (1812-1888) Sartene, Corsica

Signed with monogram lower right and inscribed on the old backboard: Julian Goldsmid ‘After three days stay (and I could willingly remain here for as many weeks....) I leave Esq.r/SARTÉNÉ. CORSICA/ SARTÉNÉ/ditto Sartène.... Just above the town, where the high road to Bonifacio passes the Pen and brown ink and watercolour over pencil heightened with white and gum arabic Capuchin convent, there is the first view of Sartène and the mountains; the whole 12 by 19.2 cm., 4 ¾ by 7 ½ in. town stands out in a grand mass from the valley and heights, and there is something rough and feudal in its dark houses that places it architecture far above that of Ajaccio in Provenance: a picturesque sense.’ Sir Julian Goldsmid, Bart (1838-1896) Sir Julian Goldsmid owned an important collection of paintings, including works by Engraved: Turner, Constable and Gainsborough, which were sold after his death at Christie’s, on For Journal of a Landscape Painter in Corsica, 1870, pl. VII, opp. p.54 13th June 1896. A full watercolour of this view by Lear was with Colnaghi’s, London in 1976 Lear’s Journal of a Landscape Painter in Corsica records his trip to Corsica in the spring of 1868. His Journal entry for April 21 6 a.m. reads:

57 51 William Roxby Beverly (1811-1889) View of Scarborough Harbour and Castle, Yorkshire

Watercolour over pencil heightened with bodycolour, stopping out and scratching out Literature: 27.4 by 41.8 cm., 10 ¾ by 16 ½ in. Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, vol. II, 1979, p.311 as ‘Dover Castle’ Provenance: with Martyn Gregory, London; Exhibited: Anonymous sale, Sotheby’s, 20th November 1986, lot 158; Possibly London, Royal Academy, 1869, no.553, ‘Scarborough Castle’ Private Collector, East Anglia; Anonymous sale, Bonham’s, Leeds, 8th November 2006, lot 151; Private collection, U.K.

58 52 John Callow (1812-1908) Fishing Boats off Hastings

Signed lower centre: John Callow Watercolour over traces of pencil 19.4 by 32.5 cm., 7 ½ by 12 ¾ in.

John Callow was the younger brother and pupil of William Callow. William took him to Paris in 1835 where he took over his elder brother’s drawing practice returning to England in 1844. He was a successful drawing master in London and was Professor at Queen’s College, London. He is best known for his coastal scenes.

59 INDEX

Alexander, W. 14 La Cave, P. 10 Lear, E 49, 50 Beverley, W.R. 51 Buck, S. 1 Marlow, W. 18 Munn, P.S. 23 Callow, J. 52 Callow, W. 48 Nicholl, A. 42 Collingwood, W. 33 Nicholson, F. 13 Constable, J. 28 Ninham, H. 47 Cotman, J.S. 44 Cox, D. 37-40 Palmer, S. 45, 46 Place, F. 2 Danby, F. 32 Richardson Jnr, T.M. 34, 35 Edridge, H. 29 Rowbotham Snr, T.L. 30, 31 Edwards, E. 16, 17 Rowlandson, T. 5, 6

Fielding, A.V.C. 41 Sandby, P. 15 Sanders Jnr, J. 7 Gainsborough, T. 9 Smith, J.R. 26, 27 Girtin, T. 22 Smith, J.W. 19 Grimm, S.H. 11 Sunderland, T. 8

Hearne, T. 12 Tudor, T. 24, 25 Hoare of Bath, W. 3, 4 Turner, J.M.W. 20, 21

Jackson, S. 36 Varley, J. 43

60