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18TH AND 19TH CENTURY BRITISH DRAWINGS AND WATERCOLOURS
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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 and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in 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.
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18TH AND 19TH CENTURY BRITISH DRAWINGS AND WATERCOLOURS 2010
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] (20) 7930 3839 Mobile: [+44] (0) 7956 968284 Fax: [+44] (20) 7839 1504 [email protected] www.peppiattfineart.co.uk 3 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:19 Page 4
1 John Downman, A.R.A. (1750-1824) Portrait of Emily Adolphus aged eleven
Watercolour and coloured chalks heightened with white, circular Wales, the son of an attorney and came to London to study under Benjamin West and 22.8cm., 9 inches diameter at the Royal Academy. From 1771 to 1775, he was in Italy with Joseph Wright of Derby. On his return, he specialised in portrait drawings executed in watercolour Emily Adolphus was the daughter of John Adolphus (1768-1845), the barrister and combined with black chalk and stump to create a soft velvety effect. He exhibited 333 writer. Her book ‘Recollections of the Public Career and Private Life of the late John pictures at the Royal Academy from 1769 until 1819. Adolphus, the eminent Barrister and Historian, with extracts from his diaries, by his daughter, Emily Henderson’ was published in 1871. Provenance: With Morton Morris and Co., London; Iolo Williams describes Downman as ‘the most notable portraitist of the late eighteenth The Estate of Mrs T. Conway century’ (Iolo Williams, Early English Watercolours, 1952, p.207). He was born in
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2 George Henry Harlow (1787-1819) Studies for Arthur from Shakespeare’s King John
Black and red chalk and stump on wove paper stamped .ARLEY STREET upper left 24.3 by 19.9cm., 9 ½ by 7 ¾ in.
These two studies are preparatory drawings for the figure of Edmund in Harlow’s oil painting ‘King John, Act IV, Scene 1 – Hubert and Arthur’ which was exhibited at the British Institution in 1815. Hubert is the servant of King John who has been ordered to kill the King’s nephew Arthur, who is his rival to the throne. In this scene, Hubert is told to ‘put out his eyes’ but Arthur begs for his life and Hubert relents. During his escape however, Arthur falls and dies.
Harlow was the best known and most talented of Sir Thomas Lawrence’s pupils but a falling out with Lawrence and an early death means he is little known today. Harlow entered Lawrence’s studio in 1802 and Joseph Farington noted in his diary that ‘Lawrence has got a young pupil of 15 years of age, who draws, Lane says, better than he does. His name is Harlow.’ Harlow’s ambition and impetuosity meant however that he lasted less than eighteen months with Lawrence and they parted on bad terms. Harlow found some success as a painter of portraits and theatrical subjects however and first exhibited at the Royal Academy in 1805 aged eighteen. His portrait drawings are of great quality with a distinctive use of red chalk on the lips and cheek showing the influence of Lawrence. He went on his own Grand Tour in June 1818 and died of a throat infection shortly after his return aged 32.
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3 Joseph Mallord William Turner, R.A. (1775-1851) The Bridge of Narni, Italy
Watercolour over pencil collection and consequently became one of the most important patrons of his day. His 15 by 22.1cm., 6 by 8 ½ in. collection included many works by John Robert Cozens, who Monro treated during his mental illness in the 1790s, Wilson, Gainsborough and Canaletto. It is likely to be Provenance: based on a work by Cozens when he was in Italy. Captain J. Pilkington, 1873; M.R.C. Lomax, his sale, Sotheby’s, 18th March 1982, lot 150; Narni is an ancient Umbrian hilltown in the province of Terni in a strategic position Private Collection, U.K. until 2009 overlooking the River Nera. It is famous for its large Roman bridge of which only half survives. In the distance the new bridge across the Nera is visible. This is a particularly good example of Turner’s early work, dating from circa 1794-95 when he was working for Dr Thomas Monro (1759-1833) at his drawing academy at This watercolour is sold with a letter of authentication from John Ruskin. 8 Adelphi Terrace, London. Monro commissioned young artists to copy works from his
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4 Francis Nicholson (1753-1844) View of the Head of Windermere, Cumberland
Watercolour over pencil and was a farmhouse before being sold in 1788 to George Law who enlarged the 39 by 56.5cm., 15 ¼ by 22 ¼ in. farmhouse and it became known as Brathay Hall. In 1799 it was sold on to Charles Lloyd and from May 1804 the house was rented by the amateur artist John Harden. Provenance: The Langdale Pikes disappear into the clouds behind the Hall. With Frost and Reed, 1945
This is a view of the north end of Lake Windermere taken from the road north of Low Wood with Brathay Hall visible on the far shore. Brathay belonged to the Braithwaite
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5 Thomas Rowlandson (1756-1827) The Passing Fancy
Pen and grey ink and watercolour over pencil on laid paper 12 by 13.8cm., 4 ¾ by 5 ¼ in.
Provenance: With J. & W. Vokins, King St., London
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6 Thomas Rowlandson (1756-1827) The Horse-traders
Pen and grey and brown ink and watercolour over pencil 28 by 43cm., 11 by 16 ¾ in.
Provenance: The Arts Club, Dover St,. London
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7 Amelia Long, Lady Farnborough (1762-1837) An Album of Drawings and Watercolours
Including study of dockleaves, trees, cottages, river scenes, people, on the Seine at Paris, cattle, an Army Encampment, boats on the beach at Hastings, studies at Bromley Hill, beach scene near Dover, Dover Castle, Calshot Castle, Luzarches, Richmond Bridge, still-life of a basket, Parisian fashions, boats, ferries, king over the rooftops to Eton College Chapel, Rotterdam and a windmill.
Eighty-two, two signed with initials, six inscribed: Mrs Long, three dated, two 1817, one 1810 and inscribed on the frontispiece: Sophia F. Tower/1867/Sketches by Lady Farnborough, fifty-nine watercolour or wash, twenty-three pencil.
Provenance: By descent to the artist’s niece, Lady Sophia Frances Brownlow (1811-1882), Weald Hall, Essex, who married Lt.-Col. Christopher Tower; By descent to Brownlow Richard Christopher Tower (d.1932), Ellesmere House, Shropshire, 1882; By descent to his niece Gwendolen Dorrien Smith (b.1883), Tresco, Isle of Scilly; Dorrien Smith family until the 1970s; Private Collection, UK
Amelia Long was the daughter of Sir Abraham Hume (1749-1838), the amateur artist and collector and friend of Reynolds. She married Charles Long (1761-1838), a great friend of William Pitt, who held a number of government positions and was created 1st Baron Farnborough in 1826. She was a pupil of Thomas Girtin and Henry Edridge in the 1790s.
She and her husband bought Bromley Hill, Kent in 1801 and proceeded to enlarge the house to their own designs and improved the much-admired garden which by 1809 had two picturesque walks, each a mile long. As an artist, the Somerset House Gazette described her as having ‘a talent for painting and drawing that might fairly rank with the professors of the living art.’ She showed pictures at the Royal Academy as an Honorary Exhibitor between 1807 and 1822.
This rare album by her appears to include drawings and watercolours from all stages of her life and may have been put together by her niece Sophia Tower, who has inscribed the frontispiece, in the 1860s. It includes drawings from the 1790s very much in the manner of Thomas Girtin, whom she met through Dr Thomas Monro after his marriage and pencil drawings in the manner of Henry Edridge. There are also still-lives in the manner of Peter de Wint which appear to date from the 1820s or 1830s and figure studies and city views executed on a trip to Paris in 1817. A smaller sketchbook by the artist is in the Victoria and Albert Museum and another version of the view of Luzarches is in the Tate Gallery (T09068). For more information on the artist, see Amelia Long, Lady Farnborough (1772-1837) – An exhibition of Watercolours, Drawings and Etchings, Dundee City Art Gallery, 1980.
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8 William Payne (1760-1830) Figures in a Quarry
Signed on rock: W. Payne Stylistically this dates from the late 1780s. Two works of similar size from this period, Watercolour over traces of pencil also signed on a rock, are in the Hoare collection at Stourhead (see David Japes, 24.4 by 38.2cm., 9 ½ by 15 in. William Payne – A Plymouth Experience, 1992, nos. 73 and 74). This is likely to be a view near Plymouth where Payne drew a number of quarries. Provenance: Kellett Collection, Yorkshire
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9 William Payne (1760-1830) View of Devonport and Mount Wise from across the Hamoaze, Plymouth
Signed lower centre: W. Payne in the centre and the redoubt at Mount Pleasant in the distance. The naval dockyard at Watercolour over traces of pencil heightened with touches of bodycolour on artist’s Devonport dates originally from the late seventeenth century and still exists today. The original mount fort at Mount Wise was originally built on the site of Mount Wise House in 1778-79 30.8 by 41.2cm., 12 by 16 in. and from circa 1810 it was used as a semaphore signalling station until 1852 when it was replaced by the electric telegraph. Mount Pleasant redoubt was built in 1779. This is a view taken from the Cornish side of the River Hamoaze looking east towards the fortifications of the naval base at Devonport to the left, the redoubt at Mount Wise Stylistically this watercolour dates from circa 1790.
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10 11 Samuel Prout (1783-1852) Samuel Jackson (1794-1869) A Barge on a River Clevedon Court, Bristol
Signed on prow of barge: S. Prout. Signed lower right: Samuel Jackson/1822 Watercolour and pencil heightened with touches of bodycolour Watercolour heightened with bodycolour, stopping out and gum arabic 18 by 34cm., 7 by 13 ¼ in. 24.5 by 38.5cm., 9 ½ by 15 in.
Provenance: Jackson was the son of a Bristol accountant and lived and worked there all his life. He is A Deceased Estate, Leeds, 1925 often called the father of the Bristol School. This dates from the early 1820s when he was producing his best work. Clevedon Court is a 14th century manor house outside This dates from circa 1815-19 before Prout’s first trip to the Continent and the the village of Clevedon, fifteen miles south-west of Bristol on the Bristol Channel. In development of his later style. It may relate to a drawing for ‘Studies of Boats and the early nineteenth century, it was home to the Rev. Sir Abraham Elton (1755-1842), Coastal Scenery’ which was published by Ackermann in 1816. 5th Bart and heir to a Bristol mercantile fortune so the present watercolour is likely to have been a commission. His wife Elizabeth was the daughter of Sir John Durbin, Alderman of Bristol. Clevedon Court is now a National Trust property.
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12 James Johnson (1803-1834) Guard House Passage, Wine Street, Bristol
Signed lower right: J.J. 1821 and signed verso: Entrance to the Guard House Wine St Bristol/James Johnson del. 1821 Watercolour and pencil 23.1 by 17.1cm., 9 by 6 ¾ in.
Guard House Passage was a centuries old passageway running off Wine Street, Bristol. It was used as a billet for the ‘Main Guard’ during the Civil War (1642-43) and was owned by a Robert Yate in 1681. In the eighteenth and early nineteenth centuries it was used as a lock-up for criminals and between 1836 and 1844 it was the first Bristol police station. The gateway was removed during rebuilding in 1881 and re-erected in a garden in Bishopston before becoming part of Bristol Museum and Art Gallery where it is on permanent display. Another watercolour by Johnson of this subject dated 1820 is in Bristol Art Gallery (see Sheena Stoddard, Bristol before the Camera: The City in 1820-30, 2001, p.25, no.19, ill.).
Johnson was the son of a publican at Downend, just outside Bristol. His earliest known work is dated 1819 and fifty views drawn in and around Bristol by him are in the Braikenridge collection, now in Bristol Art Gallery. He was part of the Bristol School of artists who met to sketch and socialise and exhibited at the Royal Academy and the British Institution in London where he moved in 1825. His contemporaries described him as ‘melancholy’ and he appears to have suffered from a mental illness which led to his confinement in Bath where he was teaching drawing and, in the summer of 1834, he threw himself out of a window and died. Johnson worked in both oil and watercolour but because of his early death, works by him rarely come up for sale. 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:19 Page 17
13 Cornelius Varley (1781-1873) Phidias working on a sculpture of Poseidon
Signed lower right: C Varley Cornelius Varley was there at the first meeting on 6th January 1808 and attended on Brown washes over pencil 148 occasions as a member between 1808 and 1813 so this drawing is likely to date 33 by 40.4cm., 13 by 15 ¾ in. from that period. The subject matter was appropriate for the period as the Elgin Marbles arrived in London in 1808 and stimulated a great deal of interest in classical This drawing was produced at a meeting of the Chalon Sketching Society which was subjects. Sketching Society drawings by Varley are in the V. & A., Laing Art Gallery, founded by the Chalon brothers, Alfred and John in 1808. Meetings were either Newcastle, and six in an album in the British Museum, all dating from 1809 and 1810. weekly or fortnightly during the winter, alternating at the houses of members. The host chose the subject for the evening which he announced at six o’clock and the artists Phidias is acknowledged as the greatest ancient Greek sculptor living from circa 490 BC would spend the next three hours producing a drawing, in monochrome, of that until 430 BC. When his friend Pericles rose to power in Athens in 449 BC, Phidias was subject. At nine, bread, cheese and beer was provided and the drawings were made superintendant of public works and commissioned to build major statues for the discussed. The host was allowed to keep the drawings produced. The society met city. He supervised the construction of the Parthenon and the design of the sculptures between 1808 and its disbandment in 1851. The subject was usually based on classical is his. or historical literature.
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14 Peter de Wint (1784-1849) Cookham on the Thames
Watercolour over traces of pencil on two sheets of paper joined The distinctive building in the distance may be Formosa Place, a gothic house built in 15.5 by 47.4cm., 6 by 18 ½ in. 1785 by Sir George Young, Bart on the edge of the river on Formosa Island which is next to Cookham Lock. The house was demolished shortly after the Second World Provenance: War. Harriet de Wint: By descent to Helen Tatlock; De Wint made thirteen drawings of the Thames for W.B. Cooke’s Thames Scenery With Agnew’s, London, by 1924; between 1814 and 1829 and although this image was not used, it may relate to this William Craig Henderson (1873-1959); series. Another view of Cookham by the artist is in the collection of the University of By descent to the present owner Liverpool (see David Scrace, Drawings and Watercolours by Peter de Wint, 1979, p.19, no.46). Literature: A.P. Oppé, The Watercolours of Turner, Cox and De Wint, 1925, no.134, pl. XXXIV
Exhibited: London, Agnew’s, Exhibition of Water-Colour Drawings by Turner, Cox and De Wint, 1924, no.134; Lincoln, Usher Art Gallery, Peter de Wint, 1937, no.31
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15 John Glover (1767-1849) Cattle watering in a river, a Castle beyond
Watercolour over pencil 26.3 by 38.8cm., 10 ¼ by 15 ¼ in.
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16 Anthony Vandyke Copley Fielding (1787-1855) Near Cuckfield, Sussex
Signed lower left: Copley Fielding 1845 Watercolour heightened with bodycolour, stopping out, scratching out and gum arabic 25.8 by 36.3cm., 10 by 14 ¼ in.
Copley Fielding moved from London to Brighton in 1829 and exhibited a large number of views on the South Downs from then until his death. He exhibited a number of views taken at or near Cuckfield at the Royal Watercolour Society in 1845 and 1846. Cuckfield is two miles west of Haywards Heath and fourteen miles north of Brighton.
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17 Anthony Vandyke Copley Fielding (1787-1855) View on the Downs near Worthing, Cissbury Hill seen through a Shower
Signed lower right: Copley Fielding Exhibited: Watercolour heightened with bodycolour, stopping out, scratching out and gum arabic London, Society of Painters in Water-colours, 1839, no.294 26.7 by 40.1cm., 10 ½ by 15 ¾ in. This is a view looking north from Worthing towards Cissbury Ring which is an Iron Age Provenance: hillfort three miles north of the town. High Salvington windmill is on the top of the hill With Thos. Agnews & Son Ltd., 1970s; to the left – it was a postmill built in 1740 which ceased working in 1897 but has Private collection until 2009 recently been restored.
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18 Robert Hills (1769-1844) Scene at Bowbeech, Chiddingstone, Kent
Signed lower right: RHills 1818 and inscribed with title on reverse of the original mount Watercolour Society and he exhibited almost six hundred drawings there during his Watercolour over pencil heightened with touches of bodycolour lifetime. He was he Society’s first Secretary and later served as Treasurer. He 29.5 by 41.8cm., 11 ½ by 16 ½ in. specialised in studies of animals and farmyards and his work is distinctive for its `fuzzy’ technique. Exhibited: London, Society of Painters in Water-colours, 1818, no.45 This shows an Inn at Bowbeech, now called Bough Beech, which is 1½ miles north- west of Chiddingstone. Hills entered the R.A. Schools in 1788 and exhibited at the Royal Academy in 1791. He came to prominence in 1804 as one of the six artists who founded the Old
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19 Anthony Vandyke Copley Fielding (1787-1855) Naworth Castle, Cumberland
Signed lower right: Copley Fielding 1855 Naworth Castle is two miles north-east of Brampton in Cumbria. The castle was Watercolour heightened with bodycolour, stopping out, scratching out and gum arabic originally built by the Dacre family in the thirteenth century and passed into the hands 30.4 by 40.8cm., 12 by 16in. of the Howard family of Castle Howard, through marriage, in the 1560s. Charles Howard was ennobled by Charles II on the restoration of the monarchy in 1660 as Provenance: the Earl of Carlisle. He amassed an enormous fortune as governor of Jamaica which John Hick, 1860s; enabled his grandson, the third Earl, to build Castle Howard. Castle Howard became Private Collection, Sussex the main residence of the Earls of Carlisle and in 1844 a fire destroyed most of Naworth Castle. Reconstruction began in the 1850s and this watercolour shows it in Exhibited: its restored state in 1855. George James Howard, the 9th Earl (1843-1911), an Manchester, Exhibition of Art Treasures, May 1857, no.10; amateur artist and patron of the Arts, lived at Naworth and entertained many London, International Exhibition, 1862, no.63; important artistic figures of the period. Leeds, National Exhibition of Works of Art, 1868, no.16
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20 David Cox (1783-1859) Figures by Kenilworth Castle, Warwickshire
Watercolour over pencil heightened with touches of bodycolour Birmingham Museums and Art Gallery, an 1830 watercolour is in the Lady Lever Art 18.4 by 26.5cm., 7 ¼ by 10 ¼ in. Gallery, Port Sunlight and a late view in Worcester City Museum and Art Gallery (see Scott Wilcox, Sun, Wind, and Rain – The Art of David Cox, 2008, p.146, no.5 and figs. Provenance: 94 and 95). The present watercolour dates from the 1830s. Estate of Edith Hall, U.S.A.
Kenilworth Castle, which stands four miles north of Warwick, was a popular subject for Cox, particularly early in his career. An early view, dated to circa 1807, is in
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21 David Cox (1783-1859) The Garden Gateway, Haddon Hall
Signed lower left: D.C. 1845 pleased with anything this country can afford after my favourite old Haddon. Indeed, this Watercolour over black chalk alone is quite enough for one summer.’ Haddon was the Tudor seat of the Dukes of 20.6 by 28.4cm., 8 by 11 in. Rutland but had been supplanted by Belvoir Castle since the 1740s so it was empty at the time (and remained so until 1912) which must have added to its sense of Provenance: romanticism. Cox returned frequently to Haddon in the late 1830s and the present Estate of Edith Hall, U.S.A. watercolour dates from his visit in May 1845 in the company of his friend and patron William Ellis who eventually owned over three hundred works by Cox. The weather Haddon Hall was one of Cox’s sketching grounds. He seems to have first visited was bad but they stayed in the area for two weeks. Drawings from this trip were the ‘delightful old Haddon’ in August 1831 as part of one of his summer tours of Derbyshire first of Haddon in Cox’s late, loose style and are often signed with initials and dated, as in the company of his son David Cox Junior and William Roberts, when he would also with the present work. For two more watercolours from this trip, see Air and distance, visit Hardwick Hall and Bolsover Castle. His letter to Roberts of 28th August 1831 storm and sunshine – Paintings, watercolours and drawings by David Cox, exhibition reads: ‘We have visited the Hall every day since you left. Today we had Mr Severn’s car catalogue, Spink-Leger, 1999, nos. 31 and 34. and went to Chatsworth and round by Bakewell.... but I do not expect to be much
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22 David Cox (1783-1859) Boats, on the Thames, off Greenwich
Signed lower left: D. Cox. 1828 Watercolour over pencil heightened with touches of bodycolour and scratching out 12.4 by 17.6cm., 4 ¾ by 6 ¾ in.
This may be the watercolour of this title exhibited at the Society of Painters in Water- colours in 1829, no.321. Cox exhibited a number of views on the Thames in the late 1820s. He returned to live in London, from Hereford, in 1827 and remained there until 1841 when he returned to Birmingham.
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23 David Cox (1783-1859) Lambeth Palace from Millbank, London
Watercolour over pencil heightened with touches of bodycolour Lambeth Palace has been the home of the Archbishop of Canterbury since the 13th 15.1 by 24.9cm., 6 by 9 ¾ in. century. The church of St Mary-at-Lambeth, to the right of the Palace, originally dates from the 1370s but was rebuilt in the late 15th and early 16th centuries. It was badly Provenance: damaged in the Second World War and is now the Garden Museum. The Tudor F. Newcombe, Bristol Gatehouse to the left of the church was built by Archbishop Morton in 1486-1501 and is still used as the main entrance into the Palace. To its left is the tower of the Great This watercolour dates from the early 1820s. Cox exhibited a number of Thames Hall which has been built and rebuilt many times over the years thanks to damage in views when he was living in Hereford but returned to live in London from 1827 until the Civil War and then in the Blitz. In the late 1820s it was converted into a library by 1841. This may be the work exhibited at the Society of Painters in Water-colours in Edward Blore. 1824, no.294, ‘Lambeth Palace from Mill Bank – A sketch’.
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A GROUP OF EARLY DRAWINGS BY EDWARD LEAR (1812-1888)
This group of previously unrecorded drawings by Lear* originate from each of his first two major sketching tours, to the Lake District from August to October 1836 and to Rome from July to December 1837. At this period, he was working almost exclusively in pencil heightened with white often on a tinted paper. It was not until the 1840s that he started working fully in watercolour. Drawings from this period are rare and only occasionally come up for sale.
Lear set off from Knowsley Hall (see no.35), the home of his patron the 13th Earl of Derby, in mid August 1836 and spent the next two months travelling, mostly on foot, round North Lancashire and the Lake District. On his return to Knowsley Hall, he wrote to John Gould, ‘Really it is impossible to tell you how, & how enormously I have enjoyed the whole Autumn. The counties of Cumberland & Westmorland are superb indeed, & tho’ the weather has been miserable, yet I have contrived to walk pretty well over the whole ground, & to sketch a good deal besides. I hope too, I have improved somewhat – (hard if I haven’t after slaving as I have done) but you will judge when I get back’ (Letter to John Gould, October 31, 1836, quoted in Charles Nugent, Edward Lear the Landscape Artist – Tours of Ireland and the English Lakes, 1835 &1836, Appendix B, p.228).
Having spent the early summer of 1837 in Devon, he returned to London in early July and from there set off for the Continent on the Antwerp packet boat on 10th July in the company of his sister Ann with whom he travelled as far as Brussels. He then passed through Luxembourg, Germany and Switzerland before spending September and October in the Italian Lakes, reaching Florence in November and Rome in early December. Drawings from this trip are rare and this group enables us to work out more clearly the route he took. From Luxembourg he travelled up the Mosel (see nos. 27 and 29) to Koblenz (no.28) then down the Rhine (no.30) to Frankfurt where we know he was taken ill and had to rest a while. We find him next in Geneva on 7th September (no.32) from where he travelled west to Sion (no.33) and crossed into Italy via the Simplon Pass (no.31). By the 28th September he had reached Lake Maggiore (no. 34). For most of the next ten years, Lear spent the winter in Rome and visited the rest of Italy in the summer. The view of Naples (no.36), which is executed in watercolour, was presumably drawn in the 1840s.
Lear’s trip to the Continent was funded by the 13th Lord Derby (1775-1851), his most important early patron, and Lord Derby’s nephew and Lear’s great friend Robert Hornby (1805-1857). Several of these drawings appear to be initialed ‘R.H.’ so it may be that they were intended for Hornby or that he had commissioned works based on these sketches. It is typical of works from this period to have cut corners which suggests they were may originally have been in an album.
* with the exception of the views of Geneva and Vico, nos.32 and 36, which have a different provenance.
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24 Edward Lear (1812-1888) View at Roby, Lancashire
Inscribed lower right: Roby. Aug 9 Pencil heightened with touches of white on buff paper, with cut corners 21.5 by 15 cm., 8 ½ by 5 ¾ in.
The drawing dates from 9th August 1836 just before his departure from Knowsley Hall on his walking tour of the Lake District. Between 1831 and 1837, Lear frequently lived and worked at Knowsley Hall, Lancashire, the home of the 13th Earl of Derby (1775-1851), who commissioned him to make drawings of the birds and animals in the menagerie there. Lear records that he set off from Knowsley to the Lake District on the 10th or 12th August.
Roby is now part of the borough of Knowsley but was a small village in the nineteenth century, five miles east of the centre of Liverpool. 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:20 Page 30
25 Edward Lear (1812-1888) The Bridge House, Ambleside, Cumberland
inscribed lower left: ..leside and inscribed with H lower right Pencil heightened with white on buff paper, with corners cut 21.4 by 15.2cm., 8 ½ by 6 in.
The Bridge House spans Stock Beck in Ambleside and was originally an apple store for Ambleside Hall. It was bought by a group of local residents in 1926 and given to the National Trust.
This is likely to date from the 5th to 7th October 1836 when Lear was near Ambleside and probably staying in the town. He left Knowsley on the 10th or 12th August and returned there on 30th October and it was this tour which convinced Lear that he should become a landscape painter. 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:20 Page 31
26 Edward Lear (1812-1888) Windermere from Troutbeck
With cut off inscription lower right and inscribed H lower centre similar sheet of paper is in a private collection (see Charles Nugent, Edward Lear the Pencil heightened with touches of white on grey paper, with cut corners Landscape Artist – Tours of Ireland and the English Lakes, 1835 &1836, no.85, p.165, 16.8 by 25.5cm., 6 ½ by 10 in. ill.). This drawing is taken from near Troutbeck which is several miles north of Bowness so was presumably drawn earlier. Lear carried on down the east coast of Windermere This is a view looking north up Windermere from Troutbeck with Belle Isle in the on his way back to Knowsley which he had reached by 30th October. A view of distance. It probably dates from the 19th or 20th October 1836. Lear was at Helvellyn Windermere from Lowwood by Lear, dated 9th September 1836, was sold at on 15th October and had reached Bowness on the east coast of Windermere by the Christie’s on 20th November 2003, lot 53 for £8,500 20th. A drawing of Windermere from near Windermere, dated 20th October, on a
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27 Edward Lear (1812-1888) A Town on the Mosel River
Inscribed lower left: 26. July/1837./.n the/..sel and inscribed with H centre left Pencil heightened with touches of white on grey paper, with cut corners 17.1 by 12.2cm., 6 ¾ by 4 ¾ in.
After leaving Luxembourg, Lear travelled up the Mosel to Koblenz.
28 Edward Lear (1812-1888) A market, Koblenz
inscribed upper left: ..blenz. 1837./August 12. and inscribed with H lower right Pencil heightened with white on grey paper, with corners cut 16.9 by 25.8cm., 6 ½ by 10 in.
Koblenz is a large town sitting at the confluence of the Mosel and the Rhine. Lear travelled north-east up the Mosel from Luxembourg to Koblenz then south down the Rhine.
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29 Edward Lear (1812-1888) Schloss Eltz, Germany
Inscribed lower left: Schlofs Els and lower right: Mosel August. 7. 1837. and inscribed in another hand: a.c Pencil heightened with white on grey paper, with cut corners 27.9 by 21.7cm., 11 by 8 ½ in.
Schloss Eltz or Burg Eltz is a medieval castle between Koblenz and Trier. It stands on a rock spur seventy metres above the Elzbach river, a tributary of the Mosel, which surrounds it on three sides. It has been owned by the same family since the twelfth century. Another view of the same castle on a similar sized sheets, also with cut corners, dated 8th August 1837 is in the Houghton Library, Harvard University (see Vivien Noakes, Edward Lear 1812-1888, exhibition catalogue, 1985, no.14b, p.96, ill.).
30 Edward Lear (1812-1888) View of Kaub on the Rhine
Inscribed lower right: Caub./22. August./1837/H Pencil heightened with white on grey paper 19.4 by 28cm., 7 ½ by 11 in.
Kaub is a medieval town on the east bank of the Rhine south of Koblenz and about thirty miles west of Wiesbaden. It is famous for the Burg Pfalzgrafenstein, a castle on an island in the middle of the Rhine which served as a tollgate for merchandise travelling down the river. The castle on the hill above the town is called Gutenfels and in the distance is the town of Oberwesel with the Schonburg Castle above it. 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:20 Page 35
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31 Edward Lear (1812-1888) Simplon, Switzerland
inscribed lower left: ..mplon/Sept. 1837 and inscribed with H lower right Pencil heightened with white on grey paper, with corners cut 32.4 by 22.6cm., 12 ¾ by 8 ¾ in.
The Simplon Pass is historically one of the major routes across the Alps from Switzerland to Italy. In the early nineteenth century a road through the pass was built to link Brig in Switzerland with Domodossola in Italy and it was one of the obvious places for Lear to cross into Italy.
32 Edward Lear (1812-1888) Geneva from Petit Saconnex, Switzerland
Inscribed lower right: Geneva from Petit Saconnex and dated lower centre: Sept. 8. 1837 Pencil heightened with white on grey paper, with cut corners 16.5 by 25cm., 6 ½ by 9 ¾ in.
Petit Saconnex is a suburb to the north-west of Geneva. To the left is visible Lake Geneva with the spires of the Cathedral of St Peter in the distance. Another view of Geneva by Lear also dated 8th September 1837 is in the Houghton Library, Harvard College Library.
Provenance: Anonymous sale, Sotheby’s 13th March 1986, lot 145; Giorgio Marsan and Umberta Nasi Collection until 2007 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:20 Page 37
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33 Edward Lear (1812-1888) View of Sion, Switzerland
Inscribed lower right: Sion. 17. Sept. 1837/H Basilique de Valère, a fortified church dating from the twelfth and thirteenth centuries Pencil heightened with touches of white on grey paper, with cut corners and on the hill beyond is the ruined Château de Tourbillon. In the foreground the 25 by 34.6cm., 9 ¾ by 13 ½ in. church with the spire is the Cathedral Nôtre-Dame du Glarier with, to its right the small church of St Théodule. The town of Sion is the capital of the Swiss canton of Valais and is approximately fifty miles east of Geneva. Above the sixteenth century buildings of the town stands the
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34 Edward Lear (1812-1888) View of Lake Maggiore, Italy
Inscribed lower right: Lac Maggiore 28. Sept 1837./H town of Stresa in the distance. A later version of this drawing, dated 1839 and Pencil heightened with touches of white on grey paper, with cut corners presumably based on this on-the-spot sketch, was sold at Sotheby’s on 30th June 25.5 by 36cm., 10 by 14 in. 2005, lot 284.
This is a view looking south on the western arm of Lago Maggiore. It shows two of the Borromean Islands, Isola dei Pescatori to the right and Isola Bella to the left, with the
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35 36 Edward Lear (1812-1888) Edward Lear (1812-1888) The Boathouse, Knowsley Hall Vico and the Bay of Naples with Mount Vesuvius beyond
Inscribed lower left: Knowsley. Oct.r 29. 1846 and also dated in pencil Signed lower left: Edward Lear del. 1839 and inscribed: Vico Pen and brown ink over pencil on buff paper, with cut corners Black chalk heightened with white on buff paper 7.5 by 17cm., 3 by 6 ¾ in. 26.6 by 42.1cm., 10 ½ by 16 ½ in.
Knowsley Hall is the ancestral home of the Earls of Derby. The tenth Earl inherited the Unlike the previous drawings, this is a fully finished work by Lear drawn in his studio in house in 1702 and enlarged the old hunting lodge into a large house. The boathouse Rome for his patron Robert Hornby. It is based on sketches executed by Lear in May and various bridges were built in the park between 1836 and 1839, by the Scottish to August 1838 when he was in the Bay of Naples. It shows the town of Vico or Vico architect William Burn (1789-1870) in the Scottish baronial style for which he was Equense, as it is now known, which is south of Naples on the road to Sorrento. It sits known. on a rocky promontory under Mount Faito looking across the Bay of Naples to Vesuvius and the city of Naples. Through the trees to the right, perched on a clifftop, is Vico Cathedral. Four smaller fully finished drawings by Lear, similarly signed and dated, of Tivoli and Lake d’Orta, were sold at Sotheby’s on 10th November 1994, lots 57-60.
Provenance Drawn by the artist for Robert Hornby; With the Fine Art Society, London 1969; Private Collection, U.K.
Exhibited: London, Fine Art Society, Edward Lear – a Centenary Exhibition, August 1988, no.37
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37 Edward Lear (1812-1888) View of Chiaia, Naples
Inscribed with an H lower right Watercolour over pencil, with cut corners 7.1 by 12.7cm., 2 ¾ by 5 in.
Chiaia sits on the seafront to the west of the centre of Naples. To the far right of the present watercolour is the Castel dell’Ovo jutting out into the sea. In front is the Casino Francavilla with the dome of the Chiesa delle Crocelle al Chiatamonte beyond. Lear first visited Naples in the summer of 1838.
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38 Thomas Shotter Boys (1803-1874) View in Venice
Signed lower right: T. Boys Watercolour heightened with bodycolour and stopping out 25.8 by 19.3cm., 10 by 7 ½ in.
This is a view looking from near the traghetto stop of Santa Maria del Giglio at the entrance to the Grand Canal looking east towards the Arsenale. Boys never visited Venice and this is based on a watercolour by his close friend Richard Parkes Bonington (1801-1828) of this view (see Patrick Noon, Richard Parkes Bonington – the Complete Paintings, Yale 2008, no.252, p.317, ill.). Bonington and Boys were close friends until the tragic early death of the former in 1828. In May 1826 Bonington took a studio at 11 Rue des Martyrs in Paris, where he remained in February 1828, and Boys lived three streets away on Rue de la Rochefoucauld. In 1826, Bonington visited Venice with Baron Rivet and on his return we know that he invited Boys to his studio for dinner: ‘Dear Boys,/Try and come this evening Rivet and a few friends will be here.... votre ami/Bonington’ (letter in La Bibliothèque d’Art et d’Archéologie, Paris). A drawing by Boys in the British Museum dated 1827 (see Noon, op. cit., p.44, ill.) shows the interior of Bonington’s studio at this period with two views of Venice prominently visible.
A cruder version of this view by Boys, dated 1829, was with Sotheby’s in March 2004 and the higher quality of the present watercolour suggests it dates from the early 1830s. It is tempting to think that it may be the watercolour entitled ‘Vue de Venise’ exhibited at the Paris Salon in 1833 as no.273.
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39 William Wyld (1806-1889) Shipping off the Coast
Signed lower left: W Wyld company until 1833 when his younger brother took on his job and Wyld was able to Watercolour over pencil heightened with scratching out devote himself full-time to painting. He lived in Paris for most of the rest of his life but 12.7 by 21.9cm., 5 by 8 ½ in. exhibited in England from 1848 and became a favourite of Queen Victoria. He specialised in European city and town views which became very popular from the Wyld was the son of a London businessman who worked for the British Consul in 1850s. Calais from 1823. There he got to know Bonington’s father and seems to have taken drawing lessons from François Francia (1772-1839) who was a native of Calais. In 1827 he moved to Epernay where he worked for a London-based wine importing
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40 John Gendall (1790-1865) St Martin’s Church and Mol’s Coffee House, Cathedral Close, Exeter
Watercolour and bodycolour over pencil Gendall was born in Exeter and started life as a servant to a barrister James White, the 39.7 by 59.5cm., 15 ½ by 23 ¼ in. uncle of John White Abbott (1763-1851). Perhaps encouraged by White, Gendall was in London by 1811 working for Ackermann’s in London where he produced drawings St Martin’s Church sits on the north corner of the Cathedral Close in Exeter. A church to be engraved. He returned to Exeter in the late 1820s and moved into Mol’s in on this site was originally consecrated in 1065 and the church has since been 1833. He lived there with his wife Maria and worked as a drawing teacher, carriage remodelled in the fifteenth and eighteenth centuries. Catherine Street is the road to painter, carver and gilder. the left with the Cathedral Close to the right. The elaborate building to the right was known as Mol’s Coffee House and was the home of the artist John Gendall from circa 1834 until his death in March 1865.
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41 Thomas Charles Leeson Rowbotham (1823-1875) Dover from the East Cliff
Signed lower right: T.L. Rowbotham/1854 This and no. 42 are exceptional early examples of Rowbotham’s work. His father Watercolour over pencil heightened with bodycolour Thomas Leeson Rowbotham (1782-1853) was a well-known Bristol artist who taught 26.3 by 52.9cm., 10 ¼ by 21 in. his son to draw at an early age. He made his first sketching tour, to Wales, in 1847 and he exhibited at the New Watercolour Society from 1848. He succeeded his father as Provenance: drawing master at the Royal Naval School, Greenwich. His later works are mainly Bought by the present owner’s grandfather at the New Watercolour Society, 1854 Italian Lake views.
Exhibited: London, New Watercolour Society, 1854
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42 Thomas Charles Leeson Rowbotham (1823-1875) A Windmill by moonlight
Signed lower left: TLR Junr/1845 Watercolour heightened with bodycolour and gum arabic 26.5 by 20cm., 10 ½ by 7 ¾ in.
The present watercolour is signed ‘Junior’. Rowbotham often called himself ‘Junior’ before the death of his father to avoid confusion between the two artists. 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:21 Page 48
43 Edward Lear (1812-1888) Erbalunga, Corsica, at dawn
Signed with monogram lower left in ruin at its point, and with Elba beyond, this is one of the very prettiest of scenes, and Pen and grey ink and watercolour and pencil heightened with bodycolour detains me drawing it till 7a.m. The still sea, palest of the pale, and more like liquid 11.5 by 18.7cm., 4 ½ by 7 ¼ in. opal, and the equally pale sky of early morning, are beautifully contrasted with the dark gray of the rocks and houses, and at this time in deepest shadow, and with the Lear visited Corsica in 1868 and published an account of his visit in ‘Journal of a luxuriant foreground of fig trees and other foliage.’ Landscape Painter’ in 1870. His diary entry for the 25th May 1868 reads as follows: A view of Erbalunga from this viewpoint is illustrated on page 198 of his Journal. ‘...Erbalunga, a good-sized and most picturesque place, some nine or ten kilometres A full watercolour of this view by Lear was sold at Sotheby’s on 21st March 2002, from Bastia, cannot be left so hastily. Standing on a little promontory, with a dark castle lot 243.
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44 John Frederick Lewis, R.A. (1805-1876) Bedouins Tents in the Desert, Egypt
Watercolour over pencil heightened with bodycolour on buff paper this period gave him material for the rest of his life. Lewis often travelled into the desert 37.3 by 53.9cm., 14 ½ by 21 in. to sketch the Bedouin people and their way of life. He liked the peace of the desert, the place where ‘there were no crowds to jostle’ (see Major-General Michael Lewis, Provenance: John Frederick Lewis, R.A., 1978, p.23). With Agnew’s, London; Private Collection, U.K. A similarly sized drawing by Lewis of the same encampment is in Leeds City Art Gallery and a fully worked-up watercolour of a Bedouin encampment with similar tents is in In 1840, Lewis travelled from London, via Italy, Greece and Turkey, to Cairo where he the Yale Center for British Art (see Baskett and Snelgrove, English Drawings and remained for the next ten years living as a local in an Ottoman house and dressing in Watercolors 1550-1850 in the Collection of Mr and Mrs Paul Mellon, 1972, no.145, ill.). Turkish costume. The sketches, such as the present drawing, which he made during
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45 John Wilson Carmichael (1799-1868) Figures in a Tropical landscape
Signed lower left: JWCarmichael/1836 Carmichael was born in Newcastle and went to sea for three years ‘at an early age’ Watercolour heightened with bodycolour, scratching out and stopping out before being apprenticed to a shipwright, Richard Farington & Bros, from about 1815. 37.2 by 52.9cm., 14 ½ by 20 ¾ in. He took up art as a career in 1824-25 and was apprenticed to Thomas Miles Richardson, Senior. He exhibited his first picture at the Royal Academy in 1838 and This early work by Carmichael is presumably based on sketches executed in the exhibited there and elsewhere until 1862. In the 1820s and 1830s his exhibited works eastern Mediterranean during his time working on a merchant ship. Little is known of tend to be landscapes whereas later he concentrated on marine scenes. precisely where he visited but his exhibited works include views of Sidon, Greece, the Dardanelles and the Nile.
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46 William Callow, R.W.S. (1812-1908) The Castle of La Batiaz, Martigny, Switzerland
Signed lower centre: W. Callow continuing to Geneva and up to Chamonix and Mont Blanc. He then proceeded to Watercolour over pencil heightened with bodycolour and gum arabic Aosta and the hospital of St Bernard at St Rémy from where he descended to Martigny 30.8 by 42cm., 12 by 16 ½ in. (see William Callow – an Autobiography, edited by H.M. Cundall, 1908, pp.67-71). He then continued east across Switzerland then north to Bonn from where he returned to Provenance: Paris via Cologne and Brussels. With the Fine Art Society, London, 1950s This watercolour is almost certainly a studio work based on on-the-spot sketches. Two This is likely to date from shortly after Callow’s first tour of Switzerland and Germany, such views of Martigny, both dated 22nd August, are recorded – one in the Victoria when he visited Martigny, in August 1838. Callow was living in Paris at the time and and Albert Museum (see Jan Reynolds, William Callow R.W.S., 1980, ill. no.20) and the took a diligence from there, in the company of a Mr Forman, to Dijon before other was with Spinks in the 1980s.
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47 William Henry Hunt (1790-1864) ‘The Book of Omens’
Indistinctly signed lower right Watercolour heightened with bodycolour, gum arabic, stopping out and scratching out 26.2 by 28.2cm., 10 ¼ by 11 in.
Hunt often used members of his family as sitters and the present watercolour may show his daughter Emma, which would date it to circa 1845.
The artist depicts an impressionable young woman who hasbeen reading a book of Omens and is consequently started by a real or imaginary noise she has heard in a dark corner of the room.
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48 William Henry Hunt (1790-1864) Portrait of a Girl
Full length, seated Watercolour over pencil 32.3 by 20.4cm., 12 ¾ by 8 in.
Hunt was born in Covent Garden, London and, showing promise as a draughtsman, his father apprenticed him to John Varley in about 1804. He entered the Royal Academy school in 1808 and soon afterwards he earned commissioned from the Duke of Devonshire and the Earl of Essex to drawing interiors at Chatsworth and Cassiobury Park respectively. From birth, he had deformed legs and walking was difficult so interiors, still-lives and portraits were obvious subject matters. From the late 1820s he started exhibiting still-lives and soon achieved great success with collectors.
Provenance: Julius Held (1905-2002) 14007 Guy Peppiatt Spring Cat_v5 21/04/2010 17:21 Page 54
49 Myles Birket Foster, R.W.S. (1825-1899) The Cittadella on the Arno, Pisa
Signed with initials lower right Watercolour over pencil heightened with touches of bodycolour 13.3 by 17.7cm., 5 ¼ by 7in.
Provenance: Bought from the Fine Art Society, London, 1968; Private Collection, London
The Cittadella is part of the old defensive walls of the city of Pisa. This is the Guelph tower which was destroyed during the second World War and rebuilt in 1956.
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50 Myles Birket Foster, R.W.S. (1825-1899) Isola Bella on Lake Maggiore, Italy
Signed with initials lower right Lake Maggiore is the westernmost of the three main Italian Lakes and Isola Bella is the Watercolour over pencil heightened with touches of bodycolour best known island on the lake. It is named after Isabella, Countess Borromeo whose 12.8 by 16.5cm., 5 by 6 ½ in. husband Vitaliano Borromeo built a summer palace on the island, which still exists today, between 1650 and 1671, with its famous terraced gardens. Provenance: Bought from the Fine Art Society, London, 1968; Private Collection, London
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INDEX
Boys, T.S. 38 Lear, E. 24-37, 43 Lewis, J.F. 44 Callow, W. 46 Long, A. 7 Carmichael, J.W. 45 Cox, D. 20-24 Nicholson, F. 4
De Wint, P. 14 Payne, W. 8, 9 Downman, J. 1 Prout, S. 10
Fielding, A.V.C. 16, 17, 19 Rowbotham, T.C.L. 41, 42 Foster, M.B. 49, 50 Rowlandson, T. 5, 6
Gendall, J. 40 Turner, J.M.W. 3 Glover, J. 15 Varley, C. 13 Harlow, G.H. 2 Hills, R. 18 Wyld, W. 39 Hunt, W.H. 47, 48
Jackson, S. 11 Johnson, J. 12
56