British Drawings and Watercolours 2015 Guy Peppiatt Fine Art

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RTS RWNSADWTROOR 05 WATERCOLOURS 2015 AND DRAWINGS BRITISH BRITISH DRAWINGS AND WATERCOLOURS 2015 GUY PEPPIATT FINE ART

GUY PEPPIATT FINE ART LTD

Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU GUY PEPPIATT FINE ART GP Summer 2015 22 4 15_Layout 1 23/04/2015 14:20 Page 1

BRITISH DRAWINGS AND WATERCOLOURS 2015

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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 sales. Topographical views whether they be of Britain or worldwide have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in his gallery on Mason’s Yard, St James’s, shared with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. Guy also vets a number of art fairs and is Chairman of the Vetting Committee for the Works on Paper Fair.

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BRITISH DRAWINGS AND WATERCOLOURS 2015

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 GP Summer 2015 22 4 15_Layout 1 23/04/2015 14:20 Page 4

1 William Burgess (1749-1812) Moulton Church from the South-West, Lincolnshire

Signed on border lower right: WBurgefs Delin. Dec.r 28 1797, William Burgess was a conventional eighteenth century topographical artist working in pen and ink lower left: Sketch’d on the Spot by W. Burgefs and inscribed verso: and wash and also produced portraits in crayon. His father Thomas Burgess (c.1730-1791) was a Moulton Church/SW portrait painter and his sons Thomas, John Cart and Henry William were all artists. He ran a drawing Pen and grey ink and wash academy in Maiden Lane, London. The present drawings were both executed in December 1797 Sheet 21 by 32.5 cm., 8 ¼ by 12 ¾ in. and subsequently engraved for a publication on Lincolnshire and Cambridgeshire churches.

Engraved: Moulton sits in the Fens in Lincolnshire, five miles east of Spalding. All Saints’ Church, Moulton was By W. and H. Burgess for Twelve views of Churches in Lincolnshire built in the late 12th century and rebuilt in the 1860s. Because of its tall steeple it is sometimes known and Cambridgeshire, 1800-1805 as ‘The Queen of the Fens.’

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2 William Burgess (1749-1812) Spalding Church from the South-West, Lincolnshire

Signed on border lower right: Drawn by WBurgefs. Dec.r 21st Engraved: 1797. Finish’d and lower left: Sketch’d on the Spot by Wm & By W. and H. Burgess for Twelve views of Churches in Lincolnshire and H. Burgefs, Oct 4th 1797 and inscribed verso: Spalding Cambridgeshire, 1800-1805 Church/SW Pen and grey ink and wash Spalding stands on the river Welland in the Fens of South Lincolnshire. Sheet 21 by 32.4 cm., 8 ¼ by 12 ¾ in. The foundations of the Church of St Mary and St Nicholas, Spalding, were laid in 1284. The tower was built in 1360.

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3 George Romney (1734-1802) Study of a Woman in profile

Pencil on laid paper Sheet 19 by 12 cm., 7 ½ by 4 ¾ in.

Provenance: Private Collection, London until 2014

See note to no. 5

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4 George Romney (1734-1802) Study for ‘Lady Hamilton as a Bacchante’

Numbered 65 in pencil upper right, with a pencil landscape study verso Pen and brown ink on laid paper Sheet 18.7 by 11.3 cm., 7 ¼ by 4 ¼ in.

Provenance: By descent to Miss Elizabeth Romney; Christie’s sale, 24-25 May 1894, unknown lot as part of an album; Alfred de Pass (1861-1952); By whom given to the Royal Institute of Cornwall, Truro in 1928; Their sale, Christie’s, 22nd February 1966, lot 25, part of a sketchbook, p.51; Private Collection, London until 2014

This drawing originates from one of the so-called Truro sketchbooks which dates from June 1784 and it is a study for an oil ‘Lady Hamilton as a Bacchante’, painted in 1784 and sent to Sir William Hamilton in Naples. Hamilton’s nephew Charles Greville wrote to him in October 1784: ‘Let me know how the Bacchante is to be paid. I will have it packed when an opportunity arises. The dog was ugly and I made him paint it again.’ It was finally paid for in September 1788. The portrait is said to have been lost at sea on its return to England but Greville presumably had a replica painted which was included in his Executor’s sale on 31st March 1810 and later recorded in the collection of Tankerville Chamberlayne.

In the finished painting, Lady Hamilton’s arms are behind her back but the pose is otherwise the same.

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5 George Romney (1734-1802) Study of a Nude Woman

Pencil on laid paper Sheet 18.9 by 12 cm., 7 ½ by 4 ¾ in.

Provenance: Private Collection, London until 2014

Nos. 3, 5 and 6 originate from an album of sketches by Romney dated to May 1777. Portraits he was working on at the time include ‘The Dancing Gower Children’ and ‘Catherine Vernon as Hebe’. Other intact sketchbooks from this period are in the Victoria and Albert Museum and the Fitzwilliam Museum, Cambridge. A sketchbook from late 1777/early 1778 is in the Walker Art Gallery, Liverpool (see Alex Kidson, George Romney, exhibition catalogue, 2002, p.140-1, no.77).

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6 George Romney (1734-1802) Study of a Woman and Children

Pencil on laid paper With a landscape study verso Sheet 19 by 12 cm., 7 ½ by 4 ¾ in.

Provenance: Private Collection, London until 2014

See note to no.5

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7 John ‘Warwick’ Smith (1749-1831) The Temple of Sibyl, Tivoli

Watercolour over pencil scenery attracted Northern European artists from the seventeenth century onwards. 31.7 by 42.5 cm., 12 ½ by 16 ¾ in. All British artists in the eighteenth century from Richards Wilson onwards visited and painted at Tivoli. ‘Warwick’ Smith here depicts the circular Temple of Sibyl which Provenance: stands at the north-east corner of the town. Below thunders the Cascatelle’ or Grand With Colnaghi, London, 1969; Cascade of the river Aniene, spray from which Smith depicts. A close-up view of the Private Collection until 2014 temple by ‘Warwick’ Smith is in the Tate Gallery (ex-Oppé collection) and a view from another angle is in the National Gallery of Canada, Ottawa. A watercolour of the Villa Exhibited: Maecenas, Tivoli showing the Cascatelle is in the Victoria and Albert Museum (see London, Colnaghi, 28 May – 13 June 1969, no. 116 Francis Hawcroft, Travels in Italy 1776-1783, 1988, p.52-53, no. 56, ill.). See note to no. 8 for more information on Smith in Rome. Tivoli stands dramatically on the lower slopes of the Sabine hills about fifteen miles east of Rome. It was a popular summer retreat during Imperial times and its beautiful

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8 John ‘Warwick’ Smith (1749-1831) Near Rome

Inscribed with title on old backing, watercolour over pencil on laid paper fellow artists William Pars, Thomas Jones (who records some of Smith’s activities in his watermarked with a fleur de lys Memoirs) and Francis Towne with whom he returned to England via Switzerland in 24.4 by 34.5 cm., 9 ½ by 13 ¾ in. 1781. In January 1778 he was recorded as living in a house about two miles outside the Porta Pia, but in March of that year he set off for Naples where he spent sixteen John ‘Warwick’ Smith was born in Cumberland and studied under Sawrey months. He was back in Rome in July 1779 and left for home in August 1781. This is Gilpin. In 1776, he was sent to Rome by his patron George, 2nd Earl of likely to be a view of some of the many villas in the countryside outside Rome. Warwick and remained there for five years. His stay coincided with those of his

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9 John Laporte (1761-1839) View of Tivoli, Rome in the distance

Watercolour over traces of pencil Laporte trained as an artist in London under John Melchior Barralet and became an 27.2 by 39.3 cm., 10 ½ by 15 ½ in. accomplished topographical artist working in watercolour and bodycolour. He exhibited at the Royal Academy and elsewhere from 1785. Laporte drew a number of Italian views Provenance: in the 1820s and 1830s but it is not recorded whether he visited Italy or whether they By descent from Baron Charles de X, until sold at Rossini, Paris, 12th June are based on the works of other artists. This may be the picture exhibited at the British 2002, lot 13; Institution in 1831, no. 261 as ‘View of Tivoli.’ Another view of Tivoli by Laporte, signed and Private Collection, UK dated 1790, is illustrated in Iolo Williams, Early English Watercolours, 1952, pl. LII, no.111.

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10 Francis Towne (1740-1816) Figures in a Classical Landscape

Signed lower left: F. Towne/delt and inscribed verso by the artist: N.o 54/Decr 20/1810/Francis Towne/to/the Revd. Wm H. Carr Watercolour over pencil on Whatman paper Sheet 27.7 by 21.4 cm., 10 ¾ by 8 ¼ in.

Provenance: Given by the artist to the Reverend William Carr, 20th December 1810

The inscription on the verso of this drawing records that Towne gave it to his close friend, the art collector the Rev. William Holwell Carr (1758-1830) in 1810. Carr became vicar of Menheniot, Cornwall in 1791 which provided him with a healthy income which was augmented when he married Lady Charlotte Hay in 1797. He became a well-known figure in the London art world and his collection of pictures was bequeathed to the National Gallery. From circa 1801 he became one of Towne’s closest friends. He wrote to Ozias Humphry that ‘I see Towne at tea & supper three or four times a week’ and his house on Devonshire Place was close to Towne’s.

Given the inscription, it is fair to assume that this drawing dates to circa 1810, a period when few of his drawings are known. After about 1804, there is no record of Towne’s work until a sketchbook dating from the summer of 1809. It was a difficult period for Towne. He was rejected by the Royal Academy for the 11th and final time in 1803 and gave up exhibiting. His brother died in 1804 and his much younger wife died within a few months of their marriage in 1807. In 1810 he wrote his will and moved into a smaller house. Interestingly the lack of pen and ink in this drawing suggests that stylistically Towne is moving into the nineteenth century.

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

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11 Thomas Gainsborough, R.A. (1727-1788) Coastal Scene with Boats

Grey and grey-black washes over traces of pencil heightened with scratching out 27.5 by 35.9 cm., 10 ¾ by 14 in.

Provenance: With Albany Gallery, London; With Spinks, from whom purchased, 1960s; Burnett Family, London until 2014

Literature: Octagon, Summer 1968, p. 17; John Hayes, The Drawings of Thomas Gainsborough, New Haven and London, 1970, vol. I, p.220, no.485

This evocative late work by Gainsborough is a rare coastal view by the artist and has been in a private collection since the 1960s. Perhaps inspired by a sketching trip to the coast of Devon in 1779, Gainsborough exhibited two coastal views at the Royal Academy in 1781, ‘Coastal Scene’ is in the Westminster collection (see Gainsborough, exhibition catalogue edited by Michael Rosenthal and Martin Myrone, 2002, no. 56, pp.134-5, ill.) and an accompanying coastal view now at Anglesey Abbey. Both, like the present drawing, were invented views but were enthusiastically received by the critics. A writer in the Morning Chronicle described the two seascapes as ‘full of the cheerfulness of the best Flemish painters, the elegance and grace of the first Italian artists, and have as much truth and correctness as has fallen to the share of any subjects of this sort.’ Horace Walpole describes them in a letter to William Mason as ‘so free and natural that one steps back for fear of being splashed’ (The Letters of Horace Walpole, Oxford 1904, vol. II, p.439). Gainsborough was certainly inviting comparison with the seventeenth century Dutch artists such as Jacob van Ruisdael and Van Goyen who were so popular at the time in England and the strong diagonals and dramatic light and weather are reminiscent of de Loutherbourg.

This drawing differs from the oil in the Westminster collection only in that the rock in the centre of this work has been transformed into a figure group in the oil and clearly dates from the same period. Another oil of a coastal view, ‘Seashore with Fishermen’, also dating from the early 1780s is in the National Gallery of Art, Washington (op. cit., 2002, p. 254-5, no. 151). The only other recorded drawing of a coastal subject is in the Detroit Institute of Arts (see Hayes, op. cit., no. 486, p. 221, ill. pl. 152) and it is a near replica of the Westminster oil.

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12 James Ward, R.A. (1769-1859) Figures and Cattle on a Road through a Village

Signed with initials lower right: JW.RA Ward first studied mezzotint engraving under John Raphael Smith Brown washes and pencil and his older brother William Ward before beginning to exhibit 211 x 341 mm., 8 ¼ x 13 ¼ in. rustic scenes in the manner of his brother-in-law George Morland in the 1790s. From 1800 he became a successful painter of cattle, Provenance: sheep and other sporting pictures as well as large landscapes Robert Hyde, his sale, Christie’s, 17th June 1969, lot 69, bt. Sieff; influenced by Rubens. Private Collection until 2014

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13 James Ward, R.A. (1769-1859) Near Beddgelert, North Wales

Watercolour over traces of pencil Ward first visited Wales in 1802 and then again in 1807. Up to 8.3 by 13.8 cm., 3 ¼ by 5 ¼ in. this date, he had generally avoided painting or drawing pure landscapes. An early biography of Ward records that ‘In 1802 Provenance: he traversed the length and breadth of Wales and the bordering Iolo Williams; counties, painting not only the livestock, which was the nominal Given by his widow to L.G. Duke, 12th February 1964; object of his journey, but recording in his sketch book every Given to G.B. Mountford, 5th February 1971; picturesque or uncommon object that he encountered. As the Given to Anthony Pilcher, 3rd December 1975; fruits of his three months’ Welsh tour he brought back with him Anonymous sale, Christie’s, 12th April 1994, lot 77; five hundred and eighty one sketches from Nature’ (C. Reginald Private Collection, London Grundy, James Ward, R.A., 1909, p.32).

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14 Moses Griffith (1747-1819) Kenilworth Castle, Warwickshire

Signed on border lower left: Moses Griffith delin 1776 and inscribed with title: Griffith was employed solely by the Pennant family of Downing, Flintshire, throughout KENIWORTH (sic) CASTLE his working life. He was born at Trygarn on the Llyn peninsula, Carnarvonshire and the Pen and grey ink and wash over pencil on laid paper entered the service of Thomas Pennant in 1769 living all his life on the Pennant estate Image 22.6 by 35.8 cm., 8 ¾ by 13 ¾ in. at Gwibnant. He accompanied Pennant on all his tours of Britain bar one producing watercolours and continued working for his son David after Thomas’s death in 1798. Provenance: Thomas Pennant (1726-1798); Founded in 1120 in the town of the same name, Kenilworth Castle was extended by By descent to his granddaughter who married the 17th Earl of Denbigh; John of Gaunt in the late fourteenth century and then again by the Earl of Leicester. It With Michael Appleby, October 1962; was destroyed by Parliamentarian forces in 1649 during the Civil War to prevent it Private Collection until 2014 being used as a Royalist stronghold and has been a ruin since then.

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15 Samuel Hieronymous Grimm (1733-1794) On the Thames at Barnes, London

Signed lower left: S.H. Grimm fecit 1774 and inscribed on original border: the In the first years of his life in London, he produced a number of views on the Thames extremity of Barnes before the new Key was built and its environs. Pen and grey ink and watercolour heightened with bodycolour on laid paper with pen and ink border This is a view looking north from near Barnes Terrace towards Chiswick with the 15.0 by 20.6 cm., 5 ¾ by 8 in. church of St Nicholas visible in the distance. A drawing of the same size ‘Between Chiswick and Brentford, by the Thames’, also dated 1774, was in the collection of Provenance: L.G. Duke (see Mary Rotha Clay, Samuel Hieronymous Grimm, 1941, pl. 61 between Private Collection until 2014 pp.56 and 57) as was a slightly larger drawing ‘Boys Bathing at Barnes’ (op. cit.). A sketchbook in the British Museum (1919.7.12.25) includes views of Brentford, Literature: Barnes, Fulham and Kew and Grimm also drew a number of views at Mortlake Grimm was born in Bergdorf, Switzerland and moved to Paris in 1765 before (‘Mortlake Fair’ was sold at Christie’s on 10th July 2012, lot 54). relocating to London in the spring of 1768 where he remained for the rest of his life.

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16 Thomas Girtin (1775-1802) The Beach at Teignmouth, Devon

Inscribed on old border: Teignmouth This dates from Girtin’s tour of Dorset and Devon in the summer Pencil on wove Whatman paper of 1797. His exact itinerary is unknown but two views of Weymouth 16.4 by 27 cm., 6 ½ by 10 ½ in. and Berry Pomeroy Castle, Devon, were sold at Christie’s from the Eliot collection on 20th November 2013, lots 272 and 273. Girtin Provenance: and Loshak (op.cit.) also record views of Abbotsbury and Lyme Dr Percy; Regis in Dorset and Exeter and Totnes in Devon. J.P. Heseltine; Tom Girtin (b. 1913); Teignmouth stands on the north bank of the river Teign, Devon, Private Collection, UK where it enters the sea, about fourteen miles south of Exeter. Girtin is looking north along the Den Promenade with the church of St Literature: Michael, which was rebuilt in the nineteenth century, visible among T. Girtin and D. Loshak, The Art of Thomas Girtin, 1954, no. 203, p. 162 a group of houses.

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17 Thomas Girtin (1775-1802) Primrose Hill, London

Inscribed verso: Primrose Hill coloured on the spot by/Girtin Exhibited: watercolour over pencil on oatmeal paper New Haven, Yale University Art Gallery, Prospects, 1950, no. 18, pl. 9b 19.7 by 48.7 cm., 7 ¾ by 19 in. This is dateable to circa 1800, the year in which Girtin married Mary Ann Borrett and Provenance: was living in his father-in-law’s house at 11 Scott’s Place, Islington. Primrose Hill was a With Colnaghi, London, 1947; rather neglected, undeveloped area owned by Eton College until it became Crown Ray Livingston Murphy, New York, by 1950, his sale, Christie’s, 19th November Property in 1842 and became an area for leisure and recreation. 1985, lot 35; Private Collection, London, until 2014

Literature: T. Girtin and D. Loshak, The Art of Thomas Girtin, 1954, no. 416, p. 191

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18 Francois Louis Francia (1772-1839) The Cave at Freshwater, Isle of Wight

Signed lower centre: L FRANCIA Born in Calais, Francia first came to England in 1795, the year he first exhibited at Watercolour over pencil the Royal Academy. He was a fellow student of Girtin at Dr Monro’s and his influence 8 by 16.3 cm., 3 by 6 ½ in. is evident on his work. In 1805 he set up as a drawing master in Kensington and returned to Calais in 1817 where he taught the young Bonington. Anthony Reed has Provenance: dated this drawing to 1806-7 when Francia visited the Isle of Wight. Freshwater is a R.N. Ponsonby, 1963; small town at the western end of the Isle of Wight. This is one of the caves at the With Spinks, London, where bought by Dewhurst, 16th September 1964; west end of Freshwater Bay. With Abbott and Holder, circa 1980; Private Collection, UK

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19 Paul Sandby Munn (1773-1845) View of the Pantheon, Stourhead Gardens, Wiltshire

Signed lower right: P.S. Munn 1817 and inscribed on old label attached to the Engraved: backboard: View of the Pantheon etc., Stourhead Gardens, Wilts/the seat of Sir Richard By Robert Havell & Sons, London and published 1st September 1817 Colt Hoare. Bart./by Paul Sandby Munn. 1817./From a sketch by Philip Crocker/Engraved by R. Havell & Son. Published 1st September 1817 by/R. Havell, 3 Chapel Street. The inscription on the old label suggests that this is based on a sketch by Philip Tottenham Court Road. Crocker who is recorded as the ‘Head Steward’ at Stourhead in the early nineteenth Watercolour over traces of pencil century. Stourhead House and Gardens belonged to the Hoare family from 1717 until 20.4 by 29.4 cm, 8 by 11 ½ in. they were given to the National Trust in 1947. In 1817, the date of the present work, it belonged to Sir Richard Colt Hoare (1758-1838) the antiquarian and amateur artist. Provenance: The house was built by Colen Campbell between 1721 and 1725 with the temples A.N. Gilbey, his sale, Christie’s, 3rd December 1920, bt. Palser for £6-8-0; mainly added to the grounds by Henry Hoare between the 1740s and the 1760s. With J. Palser and Sons, King St, London; The Pantheon was designed by Henry Flitcroft and work began on it in 1753. Private collection, UK

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20 John White Abbott (1763-1851) Study of Trees at Canonteign, Devon

Inscribed verso: Canonteign July 24. 1809 Sir Edward Pellew, later Viscount Exmouth (1757-1833) bought the estate of Pen and grey and brown ink and grey washes Canonteign in the Teign valley, eight miles south-west of Exeter, from the Helyar family 26.8 by 37.9 cm., 10 ½ by 14 ¾ in. in the 1790s. White Abbott and his fellow artist Francis Towne were frequent visitors to its secluded woodland. Provenance: With Thos. Agnew & Sons, London; With Heather Newman, where bought by the present owner, 8th November 1996

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21 John Webber (1751-1793) A View on the Road to Cerdon between Lyons and Geneva

Signed lower left: J. Webber. del 1788 and inscribed with title on original washline border Webber was the son of the Swiss sculptor Abraham Weber and studied in Paris before Watercolour over pencil entering the Royal Academy Schools in 1775. In 1776, he accompanied Captain Cook 34.6 by 50.7 cm., 13 ½ by 20 in. on his third voyage to the South Seas returning in 1780. Works from this trip are rare and much sought after. This watercolour originates from Webber’s only continental tour, in the summer of 1787. He spent the month of June 1787 in Paris before setting off for Lyon at the An oil of this title was exhibited at the Royal Academy in 1789, no.127. end of June. From Lyons, he headed towards Geneva, then probably across the Simplon pass into Italy. He reached as far south as Milan before heading north again Provenance: to Bern to visit some friends from his student days in Paris before returning to With Spink & Son, London, 1980s; London in early 1788. Private collection, London, until 2011

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22 John Sell Cotman (1782-1842) The Interior of the Church at Léry, Normandy

Signed lower left: J.S. Cotman 1817 Cotman arrived in Dieppe on 20th June 1817 and spent the next seven weeks Pencil on buff paper travelling round Normandy. His aim was to produce drawings to be engraved for an 18.4 by 27.1 cm., 7 ¼ by 10 ½ in. historical tour of the area and this was the first of three visits to France.

Provenance: The present on-the-spot sketch was a preliminary study for plate 46 of Cotman’s With Palser, 1919; ‘Architectural Antiquities of Normandy’ published in 1822 as The Interior of the Church John Drinkwater, his sale Christie’s, of Léry near Pont-del-L’arche, Normandy. He reached Lery, which is about twelve miles 16th May 1934, lot 7, bt. Wagner for 7 gns.; south of Rouen on 6th July. A view of the church from the south-east, dated that day Private Collection, London is in the Yale Center for British Art. A view of the front of the church was published as an engraving on 1st April 1820.

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23 James Stark (1794-1859) The Harbour at Folkestone, Kent

Watercolour and pencil of Artists and British Institution. Ill health forced him to return to Norwich 14.6 by 31.3 cm., 5 ¾ by 12 ¼ in. where he painted a series of views of Norfolk rivers but he returned to London in 1830 living in Chelsea and then Windsor. Provenance: Mandell’s Gallery, Norwich A pencil drawing by Stark of Folkestone in the Castle Museum, Norwich, is dated 11th October 1834. It shows how undeveloped Folkestone was Born in Norwich, Stark became friendly with John Berney Crome at school and was until the advent of the railway in 1843. Undated views by Stark of Deal apprenticed to his father the landscape artist John Crome for three years from 1811. Castle, Dover, Broadstairs, Maidstone and Hastings are also in the Castle In 1814 he moved to London and exhibited at the Royal Academy, Norwich Society Museum, Norwich.

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24 David Cox (1783-1859) The Vale of Conway, North Wales

Inscribed on part of original backing board: In the Conway Valley Exhibited: Watercolour New York, Davis & Langdale, David Cox, 29 April to 28 May 1983, no.18; 12 by 20.7 cm., 4 ¾ by 8 in. London, Anthony Reed, David Cox, 18 July to 12 August 1983, no.18

Provenance: This on-the-spot sketch is likely to date from one of Cox’s trips to North Wales Geoffrey Lefever; in the 1830s. The valley of the river Conwy runs south from the town of the same Palser Gallery, London; name. With Anthony Reed, Cork St, where bought 12th August 1983; With Andrew Wyld, where bought by the present owner, June 2006

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25 Joshua Cristall (1768-1847) Glen Falloch, Scotland

Inscribed lower right: Glen Falloch Literature: Brown washes over pencil on two sheets of laid paper joined Sarah Hobrough and Lowell Libson, Feeling through the Eye – The ‘New’ Landscape 19.4 by 31.6 cm., 7 ½ by 12 ¼ in. in Britain 1800-1830, exhibition catalogue 2000, no. 10, p.58, ill.

Provenance: Despite the inscription, this was misidentified as a Welsh view in the 2000 exhibition. With Spink Leger, London, 2000; This sketchbook page dates from Cristall’s only trip to Scotland in July and August Private Collection, London 1818. Glen Falloch runs between Crianlarich and the north end of Loch Lomond mostly following the course of the river Falloch. A similar, although smaller, brown Exhibited: wash sketch drawn at Killin in Scotland and dated 1818 is in the Oppé collection in London, Spink Leger, Feeling through the Eye – The ‘New’ Landscape in Britain the Tate Gallery. Two finished watercolours of Scottish views are in the V & A, ‘A 1800-1830, 14th March to 19th April 2000, no. 10 Scottish peasant girl embroidering muslin at Luss, Loch Lomond’ dated 1846, and ‘Highlander Drovers at Inverary.’

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26 John Varley (1778-1842) A Boathouse at Pimlico, Vauxhall Bridge beyond, London

Watercolour over pencil heightened with touches of bodycolour This watercolour belongs to a group of views by Varley taken on the banks of the 23.3 by 35.2 cm., 9 by 13 ¾ in. Thames dating from the early 1830s. Another version of this watercolour, dated 1830, was with Bonhams on 6th December 1972, lot 63 (see Huon Mallalieu, The Provenance: Dictionary of British Watercolour Artists up to 1920, vol. II, 2002, p. 233, ill.) and a With Michael Bryan, London; similar view of Vauxhall Bridge is in the Yale Center for British Art, New Haven. This Private Collection until 2014 may show Sullivan’s Boathouse which stood on the Thames at Millbank and was drawn by Varley from a different angle in 1830 and sold at Sotheby’s on 29th This is a view looking from Pimlico east towards the Thames. Vauxhall Bridge or Regent November 1973, lot 62. Bridge as it was originally known was built between 1809 and 1816 to help the development of the south bank of the Thames. The current bridge replaced it in 1906.

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27 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 With Guy Peppiatt Fine Art, 2010; and is still used as the main entrance into the Palace. To its left is the tower of the Private Collection, Chicago, until 2014 Great Hall which has been built and rebuilt many times over the years thanks to damage in the Civil War and then in the Blitz. In the late 1820s it was converted This watercolour dates from the early 1820s. Cox exhibited a number of Thames into a library by Edward Blore. views in the 1820s and 1830s when he was living in Hereford but returned to live in London from 1827 until 1841. This may be the work exhibited at the Society of Painters in Water-colours in 1824, no.294, ‘Lambeth Palace from Mill Bank – A sketch’.

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28 William Turner of Oxford (1789-1862) Study of Nature on Shotover Hill near Oxford

Signed lower right: W. Turner/Oxford and signed with initials and inscribed verso: Study the Ashmolean Museum, Oxford (see Timothy Wilcox and Christopher Titterton, of Nature on Shotover Hill William Turner of Oxford, exhibition catalogue, 1984, nos. 35 and 36, both ill.). Turner Watercolour over traces of pencil heightened with touches of bodycolour and gum of Oxford exhibited ‘Shot-over-Hill, Oxfordshire’ at the Society of Painters in Water- arabic on blue paper colours in 1827, no. 337. 24.3 by 47.6 cm., 9 ½ by 18 ¾ in. Turner of Oxford lived most of his life in Oxfordshire. He was mainly brought up by Shotover Hill is three miles east of Oxford and the London to Oxford road used his uncle in the manor house of Shipton-on-Cherwell and was apprenticed to John to pass over it. It would have been an easily accessible sketching area for Turner of Varley as a fifteen year old in 1804. He was elected member of the Society of Painters Oxford and has impressive views over South Oxfordshire. However Turner of Oxford in Water-colours in 1808 and exhibited 464 pictures there between then and his concentrates on the more everyday rather than the view in the present watercolour. death. Until 1815 he mainly worked in the southern counties but from the late 1830s He may also have visited Shotover as it was a rare source of the pigment ochre. he travelled widely in Britain although he never went abroad. From about 1833, he was living in Oxford and built up a successful practice as a drawing master. His views A watercolour of quarries on Shotover Hill, dated 1816 and of a similar size, is in the of Oxford and the surrounding area are particularly sought after. Spooner Bequest in the Courtauld Institute and an oil ‘Gravel Pit on Shotover Hill’ is in

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29 William Turner of Oxford (1789-1862) View looking west down Glen Coe, Scotland

Signed lower right: W. Turner/Oxford been. By 5th July he was beyond Inverness at Loch Croisk and continued north to Watercolour over traces of pencil heightened with touches of white Loch Inver before turning south to Skye. His return took him along the shores of 26 by 36.5 cm., 10 ¼ by 14 ¼ in. Loch Cluanie and he was at Glencoe by 4th August. Turner of Oxford exhibited ‘Vale of Glen Coe, near Loch Leven, Argyllshire’ at the Society of Painters in Water-colours Turner of Oxford appears only to have toured the Highlands once, in the summer of in 1839, no. 95. 1838, and it provided Scottish subject matter for the rest of his life. His extensive tour took him to many of the wilder parts of Scotland where few other artists had We are grateful to Robin Campbell for identifying the view.

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30 William Turner of Oxford (1789-1862) Woodeaton Church, Oxfordshire

Inscribed lower centre: Woode Eaton and signed or inscribed verso: W Turner/Delin Woodeaton is about four miles north-east of Oxford. The parish church of Pencil on buff paper Woodeaton was originally built between 1070 and 1120 to replace a Saxon one. 16 by 20.7 cm., 6 ¼ by 8 in. It was later added to and the current nave dates from the mid 13th century with the tower added in the 14th or 15th centuries.

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31 William Turner of Oxford (1789-1862) Wootton Mill, Oxfordshire

Signed lower left and inscribed: W. Turner.Wootton Mill/Oxfordsh.. Wootton stands on the river Glyme about two miles north of Woodstock, only a few Pencil miles from Shipton-on-Cherwell where Turner of Oxford was brought up and also 13.2 by 21.1 cm., 5 by 8 ¼ in. buried. Two views of the village of Wootton by Turner of Oxford were sold at Sotheby’s on 30th November 1978, lot 137.

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32 William Turner of Oxford (1789-1862) Christ Church Meadow, Oxford

Pencil on grey paper Christchurch Meadow is an area of parkland south of the college of Christ Church and 24.8 by 35.3 cm., 9 ¾ by 13 ¾ in. bordering the rivers Isis and Cherwell.

Provenance: Ruskin Gallery, Stratford-upon-Avon; Private Collection until 2014

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33 Samuel Prout (1783-1852) Cottages at Ashbourne, Derbyshire

Inscribed lower right: Ashbourn and on part of former mount: Bought of Mr Ruskin almost certainly visited Derbyshire on his tour to the north of England in 1818 and 1879/George Allen a number of Yorkshire views from this tour also once belonged to Ruskin and were Pencil and stump given by him to the Ashmolean Museum. The inscription dated 1879 suggests that 16.5 by 24.6 cm., 6 ½ by 9 ½ in. Ruskin considered including this work in his exhibition of drawings by Prout and . Hunt at the Fine Art Society in 1879-80. Provenance: John Ruskin (1819-1900); Another Prout drawing, of Ayton in Scotland, is recorded in the Witt Library as George Allen (1832-1907) having been in the possession of George Allen. Allen was originally a pupil of Ruskin at his Working Men’s College in 1854 before becoming his assistant drawing master. Ashbourne is a small town at the southern edge of the Peak District and is often He worked for Ruskin in different guises for over fifty years. When Ruskin decided to known as the ‘Gateway to Dovedale.’ A drawing ‘Near Ashbourne’ by Prout was set up a publishing company in 1871, Allen took on the enterprise without any published as part of ‘A Series of Views of ancient Buildings, and rural Cottages in the previous experience in the business and he published Ruskin’s work until his death. North of England’ in 1822 as was a drawing of the Peak Cavern, Derbyshire. Prout

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34 John Varley (1778-1842) Conwy Castle, North Wales

Watercolour over pencil Varley first visited North Wales in 1798 and returned throughout his life. He first 13.7 by 21.9 cm., 5 ¼ by 8 ½ in. exhibited a view of Conwy in 1800 at the Royal Academy and the last at the Society of Painters in Water-colours in 1833. The pure washes and lack of bodycolour of the Provenance: present watercolour suggest that it dates from circa 1810-15. With Michael Spratt, Guildford; Private Collection until 2014 This is a view of the castle from the north-east across the river Conwy with the mountains of North Wales behind. Telford’s suspension bridge which opened in 1826 now traverses the river next to the castle.

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35 John Varley (1778-1842) Cader Idris from the Mawddach River, North Wales

Signed with initials lower left: June 4th 1813 10 ¼ J.V. Watercolour over pencil heightened with stopping out 15.2 by 48.1 cm., 6 by 18 ¾ in.

Provenance: Bought from Michael Spratt, Guildford, 1980s; Private Collection, London

This depicts one of Varley’s favourite Welsh views – a view of Cader Idris taken from the Mawddach river looking south with the bridge at Llanelltyd in the middle distance. He first visited the area on his first Welsh tour in 1798 or 1799 and returned on a number of occasions.

The present watercolour is unusual is being an on-the-spot sketch with Varley noting it was drawn at 10.15am on 4th June 1813. Most of his watercolours are studio productions. It may be the picture exhibited at the Society of Painters in Water-colours in 1813, no. 126 as ‘View of Cader Idris, North Wales.’ Other versions of this view were with John Spink in 2008 (see Timothy Wilcox, John Varley 1778-1842, 2008, no.8) and in the collection at Eton College dated 1808.

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36 John Varley (1778-1842) View on the Mediterranean Coast

Signed lower right: J. VARLEY Varley never left Britain but this is one of a number of watercolours of European Watercolour heightened with bodycolour, stopping out and gum arabic views, based on the work of other, often amateur, artists. Many of them were views 26.3 by 36.3 cm., 10 ¼ by 14 ¼ in. of Spain and Portugal. The block capital signature is typical of his early work and dates this watercolour to circa 1805-10. Provenance: With J. & W. Vokins, London

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37 David Cox (1783-1859) Landscape with Bull and Cows

Watercolour heightened with bodycolour, scratching out and stopping out This watercolour, which dates from the early 1830s, is described in the 1890 15.8 by 21.5 cm., 6 ¼ by 8 ½ in. exhibition catalogue as follows: ‘Patches of Heather upon sand, bull standing in centre, with two cows, one lying down; windmill in distance on right; other cattle on left; blue Provenance: sky with clouds on horizon.’ Holbrook Gaskell (1812-1909); With Thos. Agnew & Sons Holbrook Gaskell who owned this watercolour was a Liverpool industrialist and a major collector of British Pictures including works by Constable and Turner. The Exhibited: 1890 exhibition at Birmingham of Cox’s work included 31 works from the Gaskell City of Birmingham Museum and Art Gallery, Works by David Cox, 1890, no. 312 collection. Much of it was sold at Christie’s in 1909.

Literature: Whitworth Wallis and Arthur Bensley Chamberlain, Catalogue of a Special Collection of Works by David Cox, 1890, no. 312, p. 51

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38 David Cox (1783-1859) View of Llangorse Lake with the Black Mountains beyond

Bears signature lower left Llangorse is the largest natural lake in South Wales, situated in the Brecon Beacons Watercolour over pencil heightened with bodycolour and stopping out about four miles east of the town of Brecon. This watercolour dates from the mid 21.7 by 32.5 cm., 8 ½ by 12 ¾ in. 1830s.

Provenance: With J.W. Vokins, London; With G.M. Lotinga, New Bond St., where bought November 1947; By descent until 2014

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39 Anthony Vandyke Copley Fielding (1787-1855) Ben Vorlich looking up Loch Lomond, Scotland

Signed lower right: Copley Fielding 1853 and inscribed with title verso Provenance: Watercolour over pencil heightened with bodycolour, gum arabic, scratching out and E. Clowes, 18 Endsleigh St, Tavistock Square, London, 1854 stopping out 18.2 by 26.6 cm., 7 by 10 ½ in. Exhibited: London, Society of Painters in Water-colours, 1854, no. 346, bought Clowes for 7 guineas

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40 Samuel Jackson (1794-1869) Clevedon Court, Bristol

Signed lower right: Samuel Jackson/1822 century, it was home to the Rev. Sir Abraham Elton (1755-1842), 5th Bart and heir to Watercolour heightened with bodycolour, stopping out and gum arabic a Bristol mercantile fortune so the present watercolour is likely to have been a 24.5 by 38.5cm., 9 ½ by 15 in. commission. His wife Elizabeth was the daughter of Sir John Durbin, Alderman of Bristol. Clevedon Court is now a National Trust property. Jackson was the son of a Bristol accountant and lived and worked there all his life. He is often called the father of the Bristol School. This dates from the early 1820s when Provenance: he was producing his best work. With Peppiatt Fine Art, 2006; Private Collection, Chicago until 2014 Clevedon Court is a 14th century manor house outside the village of Clevedon, fifteen miles south-west of Bristol on the Bristol Channel. In the early nineteenth

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41 Peter de Wint (1784-1849) Llandaff Cathedral, South Wales

Numbered verso: 258 Llandaff Cathedral stands on the banks of the river Taff, two miles Watercolour over pencil heightened with scratching out and stopping out on wove paper north-west of the centre of Cardiff. De Wint first visited South Wales watermarked: WHATMAN 1829 and was struck by the beauty of the landscape. He faithfully records the 32.4 by 49.6 cm., 12 ¾ by 19 ½ in. cathedral as it stood at the time but he has drawn a tree to disguise the rather incongruous classical temple built by John Wood of Bath in the Provenance: ruined nave in the 1740s. He has also added mountains behind for John Vaughan, 1848; dramatic effect. With Thos. Agnew, London, 1918, where bought by Walter A. Barret; With Thos. Agnew, London, 1990; By the time de Wint exhibited the present work in 1848, a rebuilding With Andrew Wyld, London, 2005 programme of the cathedral had started under T.H. Wyatt. By 1845, John Prichard had taken over the project and it lasted on and off until 1861 Exhibited: (see John Newman, The Buildings of Wales: Glamorgan, 1995, p.241). As London, Society of Painters in Water-colours, 1848, no. 258; part of the work, the temple was demolished and the cathedral rebuilt in a London, Agnew’s, Annual English Watercolour Exhibition, 1990, no. 60; gothic style. This lasted until 1941 when it was badly damaged in the War London, Andrew Wyld, Peter de Wint 1784-1849, Colourist and Countryman, 2005, no. 28 and was rebuilt by George Pace between 1949 and 1957.

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42 Sir David Wilkie, R.A. (1785-1841) Study of a Jewish Family, Jerusalem

Inscribed lower left: no.57 and on part of old mount: A Jewish Family - Jerusalem/1841 Black chalk on blue paper, with cut corners 15.6 by 27.9 cm., 6 by 11 in.

A Jewish Synagogue, Jerusalem

Inscribed lower left: no.55 and on part of old mount: A Jewish Synagogue, Jerusalem/1841 With a study of a church verso Black chalk on blue paper 41.8 by 29.4 cm., 16 ¼ by 11 ½ in.

Wilkie arrived in Jerusalem on 27th February in what he calls in his journal entry for that day ‘the most interesting city in the world.’ He had been travelling through Europe for six months and Jerusalem was one of his final stops. He remained there until 6th April when he headed south to Beirut and on to Alexandria. There he was taken ill and set off home via Malta dying on a ship off Gibraltar on 1st June.

Wilkie was keen to see Jewish life in Jerusalem. His journals and letters recall several visits to Synagogues in Jerusalem. His Journal for 3rd March 1841 relates: ‘…went to Mount Zion; visited the Synagogue; much struck’ and for 17th March: ‘Went out early with Mr Woodburn and Reuben to the Synagogue; made drawing’ (see Allan Cunningham, The Life of Sir David Wilkie, 1843, vol. III, p.411). He made several oil sketches of Jewish life especially of religious observances. One of these drawings is especially rare and unusual for being taken inside a synagogue. An oil sketch ‘Jews Praying at the Wailing Wall’ is in the museum of the University of Dundee (see Nicholas Tromans, David Wilkie – Painter of Everyday Life, exhibition catalogue, 2002, no. 31, pp. 112-3, ill.).

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43 George Pyne (1800-1884) Eton from the North Terrace at Windsor Castle

Signed lower left: G. Pyne. 1849 This is a view looking north from the North Terrace of Windsor Castle. Eton College Watercolour over pencil heightened with touches of bodycolour, stopping out and Chapel and school are visible on the other side of the river Thames. Paul Sandby gum arabic painted a number of views looking east and west along the North Terrace (see Jane 21.7 by 29.3 cm., 8 ½ by 11 ½ in Roberts, Views of Windsor – Watercolours by Thomas and Paul Sandby, 1995, nos. 16- 18 and p. 66, figs. 17.2 and 17.3, Yale Center for British Art). Provenance: With the Fine Art Society, London, October 1954 Another version of this subject by Pyne was sold at Christie’s, 12th December 1972, lot 45, bought Agnew’s for 480 guineas.

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44 Samuel Palmer (1805-1881) The Campagna and Aqueducts of Rome

Watercolour over pencil heightened with bodycolour and gum arabic Exhibited: 14.6 by 40.2 cm., 7 by 15 ¾ in. London, Society of Painters in Water-colours, 1843, no.312

Provenance: This watercolour which dates from 1843 is based on sketches executed on Palmer’s With Graves Art Gallery, Birmingham; honeymoon trip to Italy from 1837 to 1839. On 30th September 1837, he married Anonymous sale, Christie’s, 14th November 1967, lot 132; Hannah Linnell, the eldest of the artist John Linnell’s nine children and on 4th October H.T. Worton, his sale, Sotheby’s, 10th July 1980, lot 178; they set off for Italy reaching Rome in mid November. They stayed in Rome until May Anonymous sale, Christie’s, 20th November 1984, lot 116 1838 and again from January to May 1839 before returning home. This is drawn in what Palmer called his ‘little long’ format which he adopted on his return from Italy. Literature: Raymond Lister, Samuel Palmer: His Life and Art, 1987, p. 131; Raymond Lister, Catalogue Raisonné of the Works of Samuel Palmer, 1988, no. 381, p. 142, ill.

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45 William Callow, R.W.S. (1812-1908) Angouleme Cathedral from the south-east, France

Signed with initials lower right: WC/Angouleme Juin 28. ‘36 This dates from Callow’s first sketching tour to Southern France in the summer of Watercolour over pencil heightened with touches of bodycolour on blue-grey paper 1836. Callow set off from Paris on 6th June with a German friend called Soherr and 22.7 by 26.5 cm., 8 ¾ by 10 ½ in. travelled along the Loire and then to the South. They arrived in Angouleme on the evening of 26th June exhausted after a long walk in the hot sun. They slept most of Provenance: the day of the 27th but Callow records in his diary: ‘In the evening we went on the Anonymous sale, Christie’s, 1st March 1977, lot 163 ramparts, which surround the town; saw a lovely sunset and the full moon rise. In the

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interesting old town are some towers remaining of an old castle, and the ancient cathedral has some curious sculptures on the exterior’ (see William Callow – an Autobiography, 1908, pp.42). This sketch dates from the morning of the 28th June before they set off for Barbezieux. Callow writes: ‘The weather piping hot…. Made some sketches in the broiling sun’ (op.cit., p. 43).

A smaller fully finished studio work of the same view by Callow, dated 1836, was sold at Christie’s on 5th June 2007, lot 130 for £10,200.

46 William Callow, R.W.S. (1812-1908) High Oaks at Didlington Hall, Norfolk

Inscribed upper right: Didlington High Oaks 1882/Aug 16 Watercolour over pencil 25.4 by 17.8 cm., 10 by 7 in.

Provenance: With Thos. Agnew & Sons, London, circa 1940s

Didlington Hall was in the possession of the Wilson family until 1846. Charles Loftus in his memoirs ‘My Life from 1815-1849’ records visiting Colonel Wilson at Didlington Hall where there was a heronry in the ‘high oaks at the back of the Hall’ ((see William Callow – an Autobiography, 1908, p.140). By the time of Callow’s visit in 1882, the house was in the possession of William Amherst Tyssen-Amherst (1835-1909), the well known collector and bibliophile. He was created Baron Amherst in 1892 and is best known for his Egyptian collections and patronage of a young Howard Carter. Didlington Hall was requisitioned for the use of the Army during World War II which left it beyond repair and it was pulled down in the early 1950s.

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47 Thomas Hartley Cromek (1809-1873) The Vestibule of St. Mark’s Basilica, Venice

Watercolour over traces of pencil heightened with bodycolour and gum arabic 43.0 by 31.1 cm., 16 ¾ by 12 ¼ in.

Provenance: Hubert George de Burgh-Canning, 2nd Marquess of Clanricarde (1832-1916); By whom bequeathed to his great-nephew, Henry Lascelles, 6th Earl of Harewood (1882-1947); By descent until 2012

Exhibited: Bath, Holburne Museum, Thomas Hartley Cromek: A Vision of Italy, March-May 1999; Yorkshire, Harewood House, Thomas Hartley Cromek: A Vision of Italy, September-October 1999

Literature: Tancred Borenius, Catalogue of the Pictures and Drawings at Harewood House and elsewhere in the Collection of the Earl of Harewood, Oxford 1936, p. 115, no. 244; Yorkshire, Harewood House and Bath, Holburne Museum, Thomas Hartley Cromek: A Classical Vision, 1999-2000, p.20, pl. 4

Born in Yorkshire, the son of the engraver R.H. Cromek, Cromek travelled to Rome in the early 1830s where he remained until 1849. He became successful as an artist of topographical views, many of them interiors, and as a drawing master. He visited Venice in 1834 and 1835. Another view of the interior of St Mark’s is in the Royal Collection and was bought directly from Cromek by Queen Victoria in July 1843. Cromek was summoned to Buckingham Palace to show the Queen a number of drawings and afterwards received the following letter: ‘The Dowr. Lady Lyttleton is desired by the Queen to express to Mr Cromek Her Majesty’s and HRH Prince Albert’s great admiration of his beautiful sketches. Her Majesty is also very anxious to possess two of them, if they are on sale. The view of Naples, and the interior of St. Mark’s’

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48 William Callow, R.W.S. (1812-1908) A Canal, Venice

Signed lower right: W Callow/1877 Watercolour over pencil heightened with bodycolour and gum arabic on oatmeal paper 45.5 by 35.3 cm., 17 ¾ by 13 ¾ in.

Provenance: Anonymous sale, Phillips, 17th July 1989, lot 11

Callow first visited Venice in 1840 when his stay coincided with Turner and he returned regularly. His last visit was as an eighty year old in 1882 and he always stayed in the Hotel Europa on the Grand Canal. The present watercolour dates from or just after his visit in 1877. He records in his autobiography: ‘Our tour in the following year, 1877, was once more to lovely Venice, where I never grew tired of sketching its glorious buildings, and where we were welcomed by our old gondolier, Jacomo’ (see William Callow – an Autobiography, 1908, p.141).

This may be the work exhibited at the Society of Painters in Water-colours in 1877 as ‘A Venetian Canal’.

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EDWARD LEAR IN EGYPT, 1849, 1853-4 AND 1867, NOS. 49-52 Lear visited Egypt three times and this group of four watercolours includes works from there. He had planned to travel on the Nile with William Holman Hunt who was each tour. Before his first visit in January 1849, he wrote to his friend Chichester expected shortly but Lear was offered a berth on a boat just after Christmas and left Fortescue: ‘I strongly long to go to Egypt for the next winter as ever is, if so be as immediately without either artist. He spent ten weeks on the river visiting Assiout, I can find a sufficiency of tin to allow of my passing 4 or 5 months there. I am quite Thebes, Karnak and Philae, sketching furiously, before returning to England in April. crazy about Memphis & On & Isis & crocodiles and opthalmia & Nubians, and simooms & sorcerers, & sphingidoe. Seriously the contemplation of Egypt must fill It was thirteen years before he returned in December 1866 (see no. 50). He wanted the mind, the artistic mind I mean, with great food for the rumination of long years’ to see the Upper Nile and get to Nubia which he had never reached previously as (letter 12th February 1848, The Letters of Edward Lear, 1907, pp.8-9). well as to revisit Denderah. He wrote to Lady Waldegrave in March 1867: ‘Nubia delighted me; it isn’t a bit like Egypt, except that there’s a river in both. Sad, stern, His first visit was briefly however (see no.49). He spent a week in Cairo and visited uncompromising landscape – dark ashy purple lines of hills – piles of granite rocks – the Pyramids before continuing to Suez and Sinai. He found the colours extraordinary: fringes of palm - & ever and anon astonishing ruins of oldest Temples: - above all ‘so very very bright – all the sky blue - & all the earth light yellow or white’ (letter to wonderful – Aboo Simbel which took my breath away. The 2nd Cataract is also very his sister Ann, 11th January 1849). interesting - & at Philae & Denderah I got new subjects – besides scores & scores of little atomy illustrations all the way up & down the river.’ (Edward Lear, Selected He returned at the end of 1853 (see nos. 51 and 52). He arrived in Cairo in Letters, 1988, pp. 208-9). December and met his fellow artist Thomas Seddon (1821-1856) who was already

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49 50 Edward Lear (1812-1888) Edward Lear (1812-1888) Panoramic View of Cairo Memphis on the Nile

Inscribed lower left in pencil and pen and ink: CAIRO/10. January. 1849, extensively Inscribed lower left in pencil and pen and ink: Memphis. 9.45. AM. March 15. 1867 inscribed with notes and numbered 15 lower right and numbered 612 lower right Pen and grey and brown ink and watercolour over pencil Pen and grey and brown ink and watercolour over pencil 17.3 by 50.8 cm., 6 ¾ by 20 in. 17.5 by 50.4 cm., 6 ¾ by 19 ¾ in.

Provenance: Provenance: Private Collection, UK, by 1962 Private Collection, UK, by 1962

Another view of Cairo dated 1st January was sold at Christie’s on 16th June 2010, Returning down the Nile in late February and early March 1867, Lear travelled lot 155 for £13,750 and a view of the Pyramids drawn on 9th January, the day before to Memphis in the Delta and on to Suez and then El Areesh on the Mediterranean. the present drawing, was with Sotheby’s on 15th November 1990, lot 147. A view of A drawing of Memphis drawn at 7.30am also on 15th March was sold at Sotheby’s on Cairo drawn on the same day as the present work and numbered 10 is the collection 20th April 1972, lot 129. It was numbered 608 which suggests he drew five sketches of the Houghton Library, Harvard University. between 7.30am and 9.45am when he finished this drawing. He wrote in his Diary on 25th February: ‘In no place – it seems to me, can the variety & simplicity of colors can See illustration on previous page. be so well studied as in Egypt; in no place are the various beauties of shadow more observable, or more interminably numerous.’

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51 Edward Lear (1812-1888) Sunrise at Thebes, Egypt

Inscribed lower right in pencil and pen and ink: Thebes Sunrise/22. Feby 1854., extensively inscribed with notes and numbered 239 lower right Pen and brown ink and watercolour over pencil heightened with white 13.8 by 43.4 cm., 5 ¼ by 17 in.

Provenance: Private Collection, UK, by 1962

Thebes is on the east bank of the Nile within the modern city of Luxor. Thebes is the Greek name for the ancient Egyptian city of Waset.

Two views of the Ramesseum at Thebes have recently appeared at auction, one dated 20 and 21 February at Sotheby’s on 1st July 2004, lot 236, the second dated 20 February at Christie’s on 16th November 2006, lot 127.

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52 Edward Lear (1812-1888) Karnak on the Nile, Egypt

Inscribed lower right: El Karnak/16 Feb.y 1854 (3) and extensively inscribed with notes Pen and brown ink and watercolour over pencil heightened with touches of white 13.3 by 43.3 cm., 5 ¼ by 17 in.

On the 8th February 1854, Lear sent off back down the Nile from Philae and the boat reached Luxor a week later. He spent ten days exploring Karnak, the ruined temples at Thebes (see no.51) and the tombs in the valley of the Kings.

This view of Karnak shows the Precinct of Montu, one of the four main temples that make up the Karnak complex. In the distance is the famous Gateway of Ptolemy III, also known as Bab el’Adb. This monumental entranceway still dominates the Karnak site today.

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53 Edward Lear (1812-1888) View of Capri from Massa Lubrense – Sketch

Inscribed lower left: near Mafsa/22. August/1838, extensively inscribed with colour not please me as a city, altho’ no other word but Paradise can be used to express the notes and inscribed verso: 69/upright/Lowest beauty of its environs, which are unlike any earthly scene beside’ (letter, 17th October Pencil 1839, Selected Letters, 1988, p.47). They continued south reaching Amalfi in mid July 25.4 by 35.6 cm., 10 by 14 in. then returning to Sorrento where they spent ten days in early August. The present on-the-spot drawing, dated 22nd August, shows the famous view of Capri from the Lear arrived in Rome on his first major overseas tour in December 1837. In May Church of Santa Maria delle Grazie at Massa Lubrense, with above the ruined castle 1838 he set off from Rome with his fellow artist Thomas Uwins to visit the Bay of built in 1389. Lear was back in Rome by the end of August. A group of similar on-the- Naples. He lasted only a few days in Naples itself writing to John Gould ‘Naples does spot sketches drawn in pencil are in the Houghton Library, Harvard University.

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Edward Lear (1812-1888) View of Capri from Massa

Signed lower centre: Edward Lear del. 1840 and inscribed lower right: Capri from Mafsa Black and white chalk on grey paper 25.5 by 42.2 cm., 10 by 16 ½ in.

Provenance: With Hazlitt, Gooden and Fox, London; The Estate of William W. Appleton, USA

This studio work dated 1840 is based on the sketch drawn on 22nd August 1838.

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54 William James Müller (1812-1845) Dhows on the Nile, Egypt

Watercolour over pencil 13 by 36 cm., 5 by 14 in.

Provenance: Bill Thomson, his sale, Sotheby’s, 25th November 1999, lot 56; Private collection, UK, until 2011

This dates from Müller’s tour of Greece and Egypt in 1838-39. He left Bristol in September 1838 and spent six weeks in Athens before continuing to Alexandria in early November. Müller was excited by the novelty of Egypt since …’a halo of mystery still lingered around this land of the ancient East. Müller was only twenty-six and, with his exceptionally fine eye for colour, light and shade, his imagination must have been fired by everything he saw (see Cyril Bunt, The Life and Work of William James Müller of Bristol, 1948, p.37).

The crowded streets, exotic costumes and bazaars enthralled Müller, especially in Cairo, and he subsequently sailed up the Nile as far as Luxor, Karnak and the Valley of the Kings. He returned to Bristol in the Spring of 1839. Two other Nile views by Müller are in the British Museum (see Greenacre and Stoddard, W.J. Müller 1812- 1845, exhibition catalogue, 1991, nos. 100 and 101, ill.).

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55 William Wyld (1806-1889) View of Dresden at Sunset

Signed lower right: WWyld (destroyed in World War II), the tower and nave of the Catholic Palace Church and Watercolour over pencil heightened with bodycolour and stopping out the tower of the Dresden Schloss. Dresden was little visited by British artists in the 18.2 by 29.2 cm., 7 by 11 ½ in. nineteenth century. Thomas Shotter Boys was there in the early 1840s and Wyld’s visit seems to date from the late 1840s. Provenance: With Thos Agnew & Sons, Manchester; Another version of this view by Wyld is in the Victoria and Albert Museum (see Marcia Anonymous sale, Christie’s, 21st March 1989, lot 168; Pointon, Bonington, Francia and Wyld, 1985, no. 29, ill. A smaller version was sold as Private Collection, UK part of the collection of Gerald Bauer at Christie’s on 22nd January 2003, lot 57 for a hammer price of £6,500. Exhibited: University of Manchester, Whitworth Art Gallery, Watercolour Exhibition, 1912, no.72 A diplomat and later wine-merchant who spent most of his life in France, Wyld began his career in 1826 as Secretary to the British Consul in Calais, where he was a pupil of This is a view of the left bank of the Elbe looking upstream with the Augustus Bridge to Francia. Strongly influenced by Bonington whose work he knew, Wyld visited Algeria the left. The three visible monuments are, from left to right, the Frauenkirche in 1833 in the company of the French artist Horace Vernet.

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56 Albert Goodwin, R.W.S. (1845-1932) The Lighthouse, Port Said, Egypt by Night

Signed lower right: Albert Goodwin, dated 1900 and inscribed lower left: The extensively. He visited Egypt in 1876, India in 1895, North America in 1902 and Lighthouse/Port Said. 1912, and New Zealand in 1917. Watercolour heightened with bodycolour and gum arabic with original pen and ink border The Lighthouse at Port Said was designed by François Coignet at the request of the 17.9 by 28.0 cm., 7 by 11 in. Khedive of Egypt, Ismail the Magnificent and was finished a week before the opening of the Suez Canal in 1869. Unusually for the time, it was constructed in concrete and Provenance: is 56 metres high. By descent from the artist until 2013 Until 2013, the present drawing was in a Goodwin family album. Late in his life, The son of a builder, Goodwin was a pupil of Arthur Hughes and Ford Maddox Goodwin would rework his earlier works, add ink borders and assembly them in Brown. In 1872 he was taken to Italy by John Ruskin and subsequently travelled albums.

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57 Noel Rooke (1881-1953) Study of the west Façade of Bourges Cathedral, France

Signed with initials lower right: N.R./1899 and inscribed on border under mount: 7 Noel was educated at the Lyceé de Chartres before entering the Central School of Queen Anne’s Gardens/Bedford Park/W./With another drawing/Submitted at National Arts and Crafts in 1899. There he was taught by the calligrapher Edward Johnston and Gallery 26.th Oct 1899 his fellow pupils included Eric Gill. In 1905 he became the teacher of Book Illustration Watercolour over traces of pencil at the Central School and became increasingly interested in wood engraving. In 1914 31.3 by 63.6 cm., 12 ¼ by 25 in. he became head of the School of Book Production, a post he held until 1946. In 1920 he helped to found the Society of Wood Engravers. His teachings were a major factor Noel was the son of the artist Thomas Matthew Rooke (1842-1942) who was a in the revival of wood engraving in the twentieth century. designer for Burne-Jones and also worked for Ruskin. T.M. Rooke visited Bourges in 1899, one of the annual trips arranged by Sydney Cockerell, the idea being to A watercolour by Noel Rooke, of the same size, of the main portal of Senlis produce a major watercolour to be presented to Birmingham City Art Gallery. The Cathedral, France, dated 1900, is in the Harvard Art Museum, Cambridge, 1899 watercolour of the west front of Bourges Cathedral is still in the museum’s Massachusetts. collection. He was evidently accompanied by his 18 year old son Noel who produced the present watercolour.

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INDEX

Burgess, W. 1-2 Muller, W.J. 54

Callow, W. 45-46, 48 Munn, P.S. 19

Cotman, J.S. 22 Palmer, S. 44

Cox, D. 7, 24, 27, 38 Prout, S. 33

Cristall, J. 25 Pyne, G. 43

Cromek, T.H. 47 Romney, G. 3-6

De Wint, P. 41 Rooke, N. 57

Fielding, A.V.C. 39 Smith, J. 7-8

Francia, F.L.T. 18 Stark, J. 23

Gainsborough, T. 11 Towne, F. 10

Girtin, T. 16-17 Turner of Oxford, W. 28-32

Goodwin, A. 56 Varley, J. 26, 34-36

Griffith, M. 14 Ward, J. 12-13

Grimm, S.H. 15 Webber, J. 21

Jackson, S. 40 White Abbott, J. 20

Laporte, J. 9 Wilkie, Sir D. 42

Lear, E. 49-53 Wyld, W. 55

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