GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th century to the present day WINTER CATALOGUE 2009–2010 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 After the success of our first joint catalogue and exhibition last year, we are delighted to present our second winter catalogue of One Hundred Drawings and Watercolours . In the past year we have been relieved to discover that, despite global financial difficulties, there is still a strong market for original drawings and watercolours of high quality. Traditionally the fields of British Watercolours on the one hand, and Old Master, 19th century and modern drawings on the other, have each had their own collectors, auctions and exhibitions. The aim of this catalogue, and indeed the aim of our shared gallery as a whole, is to blur the distinction between these collecting areas, and hopefully show that a good drawing is always a good drawing, whoever the artist and whatever the date. The present catalogue includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century until the present day. As a glance at the enclosed price list will show, the prices of the drawings and watercolours are equally broad in scope - from under £1,000 to around £10,000 – with a large number of interesting works at the lower end of this range. Drawings and watercolours by well established artists can be very affordable, and interesting works by minor or little known artists especially so. There is much in this catalogue for the novice collector, as well as for the more experienced connoisseur. Our respective individual catalogues of more significant drawings will be issued in 2010 and will, as ever, each be accompanied by exhibitions at our gallery. In the meantime, we are delighted to present this winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at the gallery over the coming months. Guy Peppiatt Stephen Ongpin The following catalogue contains a combination of drawings from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA at the top of each page; please therefore direct any enquiries as appropriate. Only a brief account of each drawing is given in the catalogue. Further information on most of the drawings, as well as complete biographical information on the artists, is available on request. The drawings are available for viewing from receipt of the catalogue. A price list is included. A selection of the drawings will also be exhibited by us at the Watercolours and Works on Paper Fair at the Science Museum, London, on 3–7 February 2010. 2 SOFA 1 IPPOLITO ANDREASI Although Ippolito Andreasi was among the leading artists in Mantua 1548–1608 Mantua Mantua in the last quarter of the 16th century, much of his painted work is now lost. He may have worked as an architect, and also produced cartoons for tapestries, designs Two Putti Flanking the Gonzaga Coat of Arms for theatre sets and scenery, and drawings for engravings and book illustrations. Pen and brown ink and brown wash, heightened with white, and squared for transfer in black chalk The coat of arms depicted here is that of the Gonzaga duchy Inscribed FIDES at the upper centre, below the of Mantua. At the top of the shield is a mountain, crown representative of Mount Olympus, with a spiral road leading 1 5 133 x 168 mm., 5 /4 x 6 /8 in. up to the summit, on which an altar or temple may be seen. This particular impresa was first used by Francesco II, 4th Provenance: Marchese of Mantua, and adopted by his successor Federico Lorna Lowe, London, in 1974 II Gonzaga, 5th Marquis and 1st Duke of Mantua. The word Timothy Clifford, Manchester and Edinburgh FIDES (‘faith’) had been added to the impresa by the early 1520’s, and the Mount Olympus impresa as a whole was Literature: incorporated into the Gonzaga coat of arms in 1530, when Richard Harprath, ‘Ippolito Andreasi as a Draughtsman’, the Marquisate of Mantua was raised to a Duchy by the Master Drawings, Spring 1984, p.21, no.95. Emperor Charles V. The device was used extensively by Federico, and appears on several Mantuan coins and medals, as well as throughout the decoration of the Palazzo Te. 3 SOFA 2 RAFFAELLINO MOTTA, called RAFFAELLINO Raffaellino Motta worked in Rome for most of his brief career, DA REGGIO painting frescoes for several Roman churches and in the Vatican. The attribution of this drawing is based on its close Codemondo 1550–1578 Rome stylistic and thematic relationship with a very similar design for a grotesque wall decoration in the collection of the Victoria Design for Part of an Elaborate Grotesque Wall and Albert Museum in London. The V&A drawing, which Decoration, with Figures of Charity and a Putto bears an contemporary ascription to Raffaellino and is surrounded by an identical drawn wash border, likewise Pen and brown ink and brown wash, laid down on depicts a draped female figure holding a cornucopia and standing within an openwork temple-like structure, with a a 19th century mount putto at her feet. Another variant of the design, with the same Inscribed M. D. Gigati(?) dandino at the bottom Charvet provenance, was recently on the art market in Paris, 7 5 277 x 194 mm., 10 /8 x 7 /8 in. while a third comparable drawing, with the same compositional elements but slightly less robust in handing, is Provenance: in the Rothschild collection at Waddesdon Manor, where it L[éon?] Charvet, Lyon(?) has recently been attributed to Raffaellino da Reggio. 4 SOFA 3 Attributed to GIROLAMO MUZIANO Two indistinct collector’s marks stamped at the lower right Acquafredda 1532–1592 Rome corner of the sheet (one possibly Charles Gasc, Paris [Lugt 543]) Alfred Finot, Troyes Study of a Seated Saint or Prophet: Design for a Spandrel or Lunette Girolamo Muziano received his early training in Padua and Venice before moving to Rome, where his exposure to the work of Michelangelo and Sebastiano del Piombo had a Black chalk, heightened with touches of white chalk, profound effect on his figural style. He received numerous on blue paper commissions for chapel decorations and altarpieces in Rome, Squared for transfer in black chalk and worked extensively in the Vatican. As a draughtsman, 3 1 Muziano is perhaps best known for his pen landscapes. Roman 272 x 205 mm., 10 /4 x 8 /8 in. influences are more readily apparent, however, in the artist’s figure studies, drawn in red or black chalk. The technique of Provenance: the present sheet, with its use of black chalk on blue paper, also Jonathan Richardson, Junior, London (Lugt 2170) reflects Muziano’s Venetian training. 5 SOFA 4 GIOVANNI BATTISTA TROTTI, called IL MALOSSO Active as both a painter and an architect, Giovanni Battista Cremona 1556–1619 Parma Trotti, known as Il Malosso, was the foremost pupil of Bernardino Campi, whose studio he later inherited. He was Study of a Female Saint in Glory especially active from 1585 onwards, painting numerous altarpieces for churches in Cremona. The turn of the century Pen and brown ink and brown wash, squared for found Malosso working extensively throughout Lombardy and elsewhere in Northern Italy, notably in Genoa and transfer in black chalk Venice. In 1604 he settled at the court of the Duke Ranuccio Laid down on an 18th century Italian mount Farnese in Parma, receiving commissions for frescoes and 5 1 167 x 130 mm., 6 /8 x 5 /8 in. portraits, as well as the decoration of the Palazzo del Giardino. Although firmly established as a court painter in Provenance: Parma, Malosso continued to supervise a busy workshop in Sir John Clermont Witt and Lady Witt, London Cremona, providing designs for altarpieces and frescoes. 6 SOFA 5 Attributed to GIOVANNI BATTISTA VANNI surviving painting of Vanni’s Roman period is the Saint Florence 1600–1660 Pistoia Sebastian Nursed by Saint Irene , commissioned in 1627 to decorate a chapel in San Giovanni dei Fiorentini, but only completed in 1632. Vanni returned to Florence in the early Landscape with a Grove of Trees, a Town in the 1630’s, following brief visits to Parma and Venice. His later Distance career was mostly spent working as a fresco painter, as well as painting altarpieces for Florentine churches. Black chalk, with touches of red chalk, laid down on a 17th century Italian mount Vanni’s drawings, described by his biographer Filippo Inscribed Titiano and numbered G.40 on the mount Baldinucci as ‘ non solo con franchezza, ma con pulitezza e 3 leggiadria ’, are relatively few in number. The attribution of the 178 x 189 mm., 7 x 7 /8 in. present sheet is based on a close stylistic comparison with a study of a tree in the Louvre, formerly given to Cristofano A student of Jacopo da Empoli and Cristofano Allori, Giovanni Allori and is now attributed to his pupil Vanni. A number of Battista Vanni painted his first independent work in 1623. A other comparable landscape drawings by Vanni showing the year later he was in Rome, where he lived in the same house particular influence of Allori are part of a now-dismembered as Nicolas Poussin and Simon Vouet.