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.

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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.

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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.

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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.

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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.

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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. The most important sketchbook in the Uffizi.

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6 NORTH ITALIAN SCHOOL 16th Century

The Virgin and Child Flanked by the Archangel Michael Defeating the Devil and a Soldier with a Falcon (Saint Julian the Hospitaller?)

Pen and brown ink, with brown and grey washes and touches of red chalk and white heightening, on blue-green paper 5 1 169 x 216 mm., 6 /8 x 8 /2 in.

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7 FRANCIS PLACE Provenance: Dinsdale, Durham 1647–1728 York Sir Bruce Ingram, his sale, Sotheby’s, 21st October 1964, lot 105 (part) With Alister Mathews, Bournemouth, 1972 By Richmond Castle, Yorkshire Private collection until 2006

Inscribed lower centre: By Richmond Castle and Literature: dated 1719 Richard Tyler, Francis Place 1647–1728 , exhibition Pen and brown ink and washes over pencil on laid catalogue, 1971, p.69, under no.86 paper 124 x 178 mm., 4 ¾ x 7 in. This is one of a series of views of Richmond Castle drawn by Place in 1719. Others from this group are in Leeds City Art Gallery, the British Museum and the Victoria and Albert Museum. Another drawing by Place dated 1719, of York, is in the York City Art Gallery.

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8 JOSEPH FARINGTON, R.A. Leigh 1747–1821 Disbury home from Ostend and was back in London on 14th September. Two views of Bruges by Farington, dated 11th On the River Scheldt at Antwerp September 1793, are in the British Museum ( see Joseph Farington - Watercolours and Drawings , exhibition catalogue, 1977, p.71, nos. 79 and 80). The tower in the foreground Signed lower left: View at Antwerp.- Jos: Farington. of the present work is part of the old fortifications of the city Sept.r 1793. of which the castle Het Steen is the only part remaining, and Pen and brown and grey ink and pencil the tower of the cathedral is visible in the distance. 230 x 378 mm., 9 x 14 ¾ in. This drawing may originate from a sketchbook sold in the Farington’s diary records that he left London on a trip to Tyrwhitt sale at Puttick & Simpson on 9th December 1921, Valenciennes on 11th August 1793. He had been which was inscribed: `The sketches contained in this volume commissioned to produce views of the town by the publisher were made during an excursion to Flanders in the months of John Boydell and arrived there on 21st August. He then August and September 1793.... These drawings were made visited Brussels and spent the 3rd to the 7th September in for Messrs. Boydells, who at the time proposed to have Antwerp. He continued to Ghent, Bruges, then took the boat engravings executed from them.’

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9 MAURO GANDOLFI Unlike his father Gaetano and uncle Ubaldo, Mauro Gandolfi Bologna 1764–1834 Bologna had a relatively brief career as a painter, and it is as a draughtsman that he is best known. He spent several years in Paris, and his work can be seen to be a blend of the Head of a Man in Profile to the Left Bolognese tradition inherited from his father and uncle with the Neoclassical manner prevalent in late 18th century Pen and brown ink, with touches of brown wash France. By 1794 he had been elected to the Accademia Inscribed louiggi Garzi at the lower left Clementina in Bologna, where he was later appointed to the 5 1 post of professor of figure drawing. Mauro seems to have 144 x 108 mm., 5 /8 x 4 /4 in. abandoned painting around the turn of the century in favour of working as a reproductive engraver, in which he initially Provenance: achieved considerable success. Émile Pierre Victor Calando, Paris and Grasse Probably by descent to Marguerite Calando Among stylistically comparable drawings by Mauro Gandolfi is a sheet of studies of heads in the collection of the Fondazione Giorgio Cini in Venice.

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10 THOMAS ROWLANDSON London 1756–1827 London

The Boating Parties

Pen and brown and grey ink over pencil on laid paper 119 x 297mm., 4 ½ x 11 ½ in. This is similar to a number of drawings by Rowlandson of spectators at the annual race for Doggett’s Coat and Badge. Provenance: This race is for apprentice boatmen and goes from London With Spink, London Bridge to Cadogan Pier, Chelsea. It was first run in 1715 and Bought by Sir David Scott (1887–1986), 24th September continues to this day. A similar drawing in grey and brown 1974 wash and of the same size was sold at Christie’s on 14th July By family descent until 2008 1987, lot 160.

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11 GIUSEPPE BERNARDINO BISON One of the last exponents of the 18th century Venetian Palmanova 1762–1844 Milan vedute tradition, Giuseppe Bernardino Bison spent the early part of his career working as a decorative fresco painter at villas and palaces around the Veneto. Around 1800 he settled Venetian Shipping Scene in Trieste, where among his more important works were the fresco decoration of the Palazzo Carciotti and the Palazzo Pen and brown ink and brown wash, over a black della Vecchia Borsa. In 1831 he moved to Milan, where he chalk underdrawing worked for the remainder of his career, and where he was Signed Bison at the lower right particularly active as a scenographer, producing stage designs 1 3 for the Teatro alla Scala and elsewhere. Although his career 141 x 217 mm., 5 /2 x 8 /8 in. lasted well into the 19th century, his style invariably retains Provenance: something of the flavour of the previous century. Sir Bruce Ingram, Chesham (Lugt 1405a) Carl Winter, Cambridge Bison was an accomplished and prolific draughtsman, whose earliest works show the influence of Giambattista Tiepolo and Francesco Guardi, while his later drawings tend towards Neoclassicism. Few of Bison’s drawings, however, were done as preparatory studies for paintings, and he seems to have produced a large number of his drawings as independent works of art for sale.

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Above: Facing page: 12 13 GIUSEPPE BERNARDINO BISON FLEMISH SCHOOL Palmanova 1762–1844 Milan 1800

Recto: Architectural Capriccio Portrait of Daniel Gerrit des Tombe Verso: Two Mourning Figures at a Tomb Black chalk Pen and brown ink and brown wash, with touches Inscribed and dated Ao 1800. / Daniel Gerrit des of green and yellow wash, over an underdrawing in Tombe Geboren den 5 October 1787 / Zoon van black chalk Arnoldus des Tombe en vrouwe Henrietta / [crossed The verso in pen and brown ink and brown wash, out] Anna de Bont. / Geportretteerd door den with touches of blue and yellow wash Heere Jacob. / Primus van het schilder Collegie / te 3 154 x 271 mm., 6 x 10 /4 in. Brussel. on a label pasted onto the backing board 5 204 x 168 mm., 8 x 6 /8 in. [sheet] Like many of Bison’s drawings, the present sheet is unrelated to any known painting or fresco, although it may have been intended for The Dutch inscription on the backing board identifies the sitter one of the artist’s decorative mural cycles, most of which are now as Daniel Gerrit des Tombe, son of Arnoldus des Tombe and lost. Classical architecture, pyramids, monuments and equestrian Henrietta de Bont, and aged twelve or thirteen when the statues appear frequently in Bison’s work, and drawings such as drawing was made. The draughtsman ‘Heere Jacob’ noted in this underscore the artist’s acceptance, late in his career, into the the inscription may be tentatively identified as the Flemish artist Accademia in Venice as a ‘ pittore di bella immaginativa e speritosa Pierre François Jacobs (1780–1808), very little of whose work esecuzione ’. A comparable drawing of an architectural capriccio is survives today. Born in Brussels, Jacobs studied there and won in the Hermitage in St. Petersburg, while another is in an album of several prizes for drawing and painting. He settled in Italy, Bison drawings in the Fondazione Scaramangà di Altomonte in where he developed a reputation as a painter of historical and Trieste. Also similar is a drawing of An Architectural Fantasy with a religious subjects, mostly in a Neoclassical vein, as well as Sarcophagus , formerly in the Wunder collection, which appeared portraits. Jacobs's promising career was cut short by his death at auction in London in 1976. in Rome at the age of twenty-eight.

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14 THOMAS ROWLANDSON This is rare in Rowlandson’s oeuvre in being a pure landscape London 1756–1827 London with no figures. Rowlandson was a regular visitor to Cornwall to see his friend and patron the banker Matthew Michell from Black Tor near Camelford, Cornwall the 1790s until Michell’s death in 1819. Rowlandson frequently visited him at his estate at Hengar and also at his London address, Grove House near Enfield. Michell owned Signed lower right: Rowlandson 1801 and inscribed over 550 watercolours by Rowlandson at the time of his with title lower left death. Michell’s country house, Hengar House, was six miles Watercolour over pencil with original washline north of Bodmin and Rowlandson enjoyed sketching in the mount surrounding countryside - the River Camel passed through 150 x 238 mm., 6 x 9 ½ in. his grounds.

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15 ELLIS CORNELIA KNIGHT William and Lady Hamilton and later Nelson. As the London 1757–1837 Paris French moved south, they moved to Palermo where Lady Knight died. Cornelia returned to England by boat with the Hamiltons and Nelson in 1800 after over twenty years The Convent of San Cosimato and the Claudian living abroad. In 1805 she was appointed Companion to Aqueduct at Vicovaro near Rome Queen Charlotte and later took up the same position for Princess Charlotte. From 1816 until her death in Paris, she Inscribed on part of old mount: No 103/Convento travelled round the courts of Europe using the connections e ponte di/San Cosimato she had made in London. She was a keen draughtsman, Pen and brown ink and watercolour over pencil on her mother records that her daughter had made 550 laid paper drawings and paintings by 1781, few of which seem to 318 x 447 mm., 11 ½ x 17 ½ in. have survived. She was also a talented author, publishing several books, and a good linguist. Her autobiography was Cornelia Knight was the daughter of Rear-Admiral Sir Joseph published in 1861 and a biography, `The Prim Romantic’, Knight and Reynolds, Samuel Johnson and Angelica Kaufmann by Barbara Luttrell, in 1965. (a portrait of Cornelia by her is in Manchester City Art Gallery) were family friends. Her father died in 1775 and This drawing dates from her stay in Rome between 1775 soon afterwards she moved with her mother to Rome for and 1798. The Convent stands at the narrowest point of the financial reasons (`the cheapest city in the world and the most valley of the Aniene near Vicovaro about thirty miles east of beautiful’). They remained in Rome until the French invaded Rome. It was a popular site for artists - Richard Wilson painted in 1798 and they fled to Naples where she befriended Sir almost exactly this view.

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Above: Facing page: 16 17 FRENCH SCHOOL PETER LA CAVE 19th Century fl.1769–1816

A Knight on Horseback a. Rustics on a Country Road near a ruined Castle

Pencil, brush and grey wash Pen and grey ink and watercolour over pencil Two sketches of the head of a man in historical 285 x 368 mm., 11 ¼ x 14 ½ in. costume, in pencil with touches of red chalk, on the verso b. Rustics on a Country Road, a Church beyond 1 190 x 230 mm., 7 /2 x 9 in. Pen and grey ink and watercolour over pencil 284 x 365 mm., 11 x 14 ¼ in.

La Cave specialised in rustic landscapes such as the present works, in oil and watercolour. He appears to belong to a French family of artists who worked in Holland, hence the Dutch influence to his works. Little is known about his life but he was in England between 1789 and 1816 and was a friend of the artist Julius Caesar Ibbetson (1759–1817)

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a.

b.

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18 SAMUEL HOWITT Nottinghamshire 1756–1822 London Howitt was born into a wealthy Quaker family in Chigwell, The End of the Hunt Essex and originally took up drawing as a hobby. He befriended the artists Rowlandson (see nos. 10, 14 and 19) and George Morland and his style is much influenced Pen and grey ink and watercolour on laid paper by the former, whose sister he married in 1779. He watermarked with a coat of arms rapidly dissipated his fortune however and took up 156 x 356 mm., 6 x 14 in. drawing professionally, specialising in scenes of hunting and other countryside pursuits. He is probably best known for Provenance: his illustrations for Williamson’s Oriental Field Sports With Frank T. Sabin, London published in 1808.

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19 THOMAS ROWLANDSON London 1756–1827 London

Perry’s Dock, Blackwall Reach, East London

Pen and brown and grey ink over pencil 290 x 432 mm., 11 ¼ x 17 in.

Provenance: Sir Bruce Ingram, his sale, Sotheby’s, 21st October 1964, Blackwall is a district of Poplar near the Isle of Dogs and the lot 133, bt. Fine Art Society for £320 mouth of the Lea river. The Blackwall shipyard, opened in With Martyn Gregory Gallery the late sixteenth century continued to repair and build ships, Anonymous sale, Sotheby’s, 22nd March 2000, lot 144 particularly for the East India Company, into the eighteenth century but did not close for good until 1980. A version of this Literature: watercolour inscribed `Perrys Dock Black Wall’ was illustrated Apollo , April 1965, ill. in The Connoisseur , December 1946.

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20 WILLIAM HENRY HUNT Hunt was born in Covent Garden, London and, showing London 1790–1864 London promise as a draughtsman, his father apprenticed him to John Varley in 1806. He entered the Royal Academy school in 1808 and soon afterwards he earned commissions from the Cottages near St Albans, Hertfordshire Duke of Devonshire and the Earl of Essex to draw interiors at Chatsworth and Cassiobury Park respectively. From birth, Inscribed on old label: Cottages/near St he had deformed legs and walking was difficult so interiors, Albans/by/Wm Hy Hunt still-lives and portraits were obvious subject matters. From Watercolour heightened with bodycolour, gum the late 1820s he started exhibiting still-lives and soon arabic and scratching out achieved great success with collectors. 179 x 259 mm., 7 x 10 in. This is an early work dating from between 1808 and 1820 when Hunt’s early patron Dr Thomas Monro took a cottage Provenance: at Bushey, Hertfordshire where Hunt was a frequent visitor. With Spink-Leger, London, 2000 He produced a number of similar drawings of cottages and farm buildings during this period. A view of St Albans Exhibited: Cathedral by Hunt is in the Victoria and Albert Museum and London, Spink-Leger, Feeling through the Eye - the New a view of a street in St Albans is in the Yale Center for British Landscape in Britain 1800–1830 , 2000, no. 38 Art, New Haven (see John Witt, William Henry Hunt , 1982, nos. 168 and 247).

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21 Attributed to JOHANN JAKOB FREY A native of Basel, Johann Jakob Frey completed his artistic Basel 1813–1865 Frascati training in the 1830’s in Paris, Munich, Rome and Naples. He eventually settled in Rome, where he lived and worked for the remainder of his career. Frey achieved a Study of a Tree Trunk considerable measure of success, selling his works to collectors from all over Europe, and his patrons included Watercolour, over a pencil underdrawing the Kings of Prussia and Bavaria, from whom he received Signed(?) with initials, dated and inscribed J. J. f (?) / numerous commissions for Italian landscape views. At Frey’s 1843 Albano at the lower right death in 1865 one obituary noted that he was ‘by far the 7 1 277 x 208 mm., 10 /8 x 8 /8 in. most important among the Swiss painters living in Rome; his studio was frequented by art lovers and connoisseurs from every country.’ Like many of his contemporaries, Frey would spend the summers sketching in the countryside around Rome; at Tivoli, Olevano and around Albano.

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22 HUGH O’NEILL Bloomsbury 1784–1824 Bristol

Bristol from the Floating Harbour This is a view of Bristol city centre from the north bank of the harbour. The tower of the cathedral is visible with, in front of Inscribed lower left: Bristol from the New Docks it, one of the glass kilns which dotted the city in the eighteenth Pencil and early nineteenth centuries. This drawing dates from the 192 x 308 mm., 7 ½ x 12 in. early 1820s when O’Neill moved to Bristol.

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23 PANCRACE BESSA One of the leading painters of flowers and fruit in the first half Paris 1772–1846 Ecouen of the 19th century in France, Pancrace Bessa was a pupil of the engraver Gerard van Spaendonck. He was also influenced by the work of his older contemporary, Pierre- Mauve Crysanthemum and a Red Lychnis Joseph Redouté, with whom he also studied. As highly Chalcedonica regarded in his day as van Spaendonck or Redouté, Bessa was, however, less prolific than either. He enjoyed the Oil and gouache on blue(?) paper, irregularly patronage and protection of the Duchesse de Berri, to whom trimmed at the left edge and laid down he was appointed flower painter and drawing master, and the Empress Joséphine. In 1823 he was commissioned by the Slight sketches of heads in red chalk on the verso Muséum d’Histoire Naturelle to produce studies of flowers. 313 x 337 mm., 12 ¼ x 13 ¼ in. Bessa’s most important commission was a series of nearly six hundred watercolours for the Herbier général de l’amateur, Provenance: commissioned by Charles X for the Duchesse de Berri; the Among the contents of the artist’s studio, and by descent in project was begun in 1816 and not completed until 1827. the family of the artist at the Château de Castelnau in the Bessa exhibited at the anual Salons between 1806 and 1831, Roussillon, until the 1990’s when he retired to Ecouen. The present sheet is among a group of drawings and oil sketches by Bessa only recently rediscovered in the possession of the artist’s heirs.

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24 WILLIAM WYLD he had developed a market for elaborate watercolour views London 1806–1889 Paris of European cities, based on his extensive travels. While he worked mainly in France and exhibited in the French section at the Paris Salons, Wyld always retained his British nationality. He Wooded Landscape exhibited regularly in London at the Royal Academy, the British Institution and the New Water-Colour Society, where he Pencil and watercolour, heightened with gum arabic showed some two hundred works between 1849 and 1882. 7 1 149 x 358 mm., 5 /8 x 14 /8 in. In one of the few contemporary references to Wyld, the critic Provenance: P. G. Hamerton, writing in 1877, noted that, ‘Few painters in The artist’s studio, Paris the present century have enjoyed more of what constitutes The vente Wyld (Lugt 1587b), Paris, Hôtel Drouot, 30–31 success, much labour in a beloved occupation sustained by May 1890 excellent health, public recognition in several different nations, and also that pecuniary success which an artist values as Born in England but raised largely in France, William Wyld much for the appreciation which it implies as for its came late to his vocation as an artist, making his Salon debut convenience…His art belongs, as may be expected, more in 1831. Although he occasionally worked in oil, Wyld’s to the first than the second half of the nineteenth century, reputation was established by his work as a watercolourist, in both in its temper and its tendencies. It is not so intime or which he was strongly influenced by the work of François affectionate as recent landscape-painting, but excels it both in Louis Francia and Richard Parkes Bonington. By the 1850’s the evidence of learning and in the exercise of taste.’

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25 EDMUND MORISON WIMPERIS Chester 1835–1900 Southbourne

Sandhills near Southbourne, Hampshire

Signed with initials lower left and inscribed verso: Sandhills Southbourne Watercolour over pencil At the end of his life, Wimperis lived at Southbourne which 93 x 173 mm., 3 ½ x 6 ¾ in. is now part of Bournemouth.

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26 WILLIAM PAYNE Payne was the son of a London coal merchant and first London 1760–1830 London exhibited at the Society of Artists in 1776. He was taught by George Haines, Chief Draughtsman at the Tower of London A Mill by Moonlight and maybe also Paul Sandby (1730–1809). From 1782 until 1788 he worked on surveys at Plymouth Dock and he is best known for his Devon views. He exhibited at the Royal Signed lower left: W Payne Academy from 1786 and in 1789 he returned to London as Watercolour over traces of pencil a professional artist and became one of the most successful 124 x 165mm., 4 ¾ x 6 ½ in. and fashionable drawing masters of the period.

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27 PETER DE WINT Stone 1784–1849 London

A Watermill in a Wooded River Landscape

Watercolour 180 x 210mm., 7 x 8 ¼ in.

Provenance: The Artist’s wife, Harriet de Wint Exhibited: By descent to Miss Tatlock, the artist’s grand-daughter London, Gerald Norman Gallery, Peter De Wint’s Miss Muriel Grace Bostock Sketches from Nature’ - A Loan Exhibition of Watercolours Sir Geoffrey Harmsworth, Bt. and Drawings, 15 May – 7 June 1974, no.95 Matthew Pryor, his sale, Sotheby’s, 4th July 2002, lot 388 Private Collection See note to no. 38 for more information on the artist.

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Facing page: Above: 28 29 JOSEPH MURRAY INCE SAMUEL PROUT Presteigne 1806–1859 London Diss 1783–1852 London

The Ante-Chapel of King’s College Chapel, Cambridge Study of figures at a Market

Signed lower left: JM Ince 1840 Watercolour over pencil Watercolour over pencil heightened with 58 x 130 mm., 2 ¼ x 5 in. bodycolour and gum arabic 268 x 210 mm., 10 ½ x 8 ¼ in. This dates from one of Prout’s continental tours to France, Belgium and Germany from 1819 onwards. The ante-chapel is part of the main chapel of King’s College but is divided off from the chancel by the choir screen. The construction of the chapel began in 1446 and was finally completed in 1515 with the ante-chapel being one of the last areas to be completed. Two views by Ince in oil of King’s College Chapel dated 1845, are at Anglesey Abbey.

Ince was born in the Welsh borders and was a pupil of David Cox in Hereford from 1823 until 1826 when he went to London and began to exhibit at the Royal Academy. By 1832 he was living in Cambridge working as an architectural draughtsman but returned to Presteigne in the mid 1830s where he remained for the rest of his life.

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30 FRANÇOIS ÉDOUARD BERTIN A pupil of Ingres, Edouard Bertin he made the first of several Paris 1797–1871 Paris visits to Italy in 1821. He was to spend a total of some eighteen years in Italy, whose landscapes were to be a source of inspiration throughout his career. He made An Italian Hillside Town with Figures on a Path in the numerous sketching and painting excursions into the Roman Foreground. countryside in the company of Corot and Caruelle d’Aligny, and also ventured south to Ischia, Capri and Sorrento. Pen and black ink, pencil and white chalk on brown Bertin showed numerous Italian views at the Paris Salons paper between 1827 and 1853. 1 305 x 410 mm., 12 x 16 /8 in. The strong contours of the trees and rocks in this drawing are characteristic features of Bertin’s draughtsmanship. Most Provenance: of the artist’s finished landscape drawings are distinguished The studio of the artist, Paris (Lugt 238a) by an arched top, while the use of a coloured paper is also Frederick A. den Broeder, New York typical. The present sheet further incorporates a Colnaghi, New York, in 1985 compositional motif characteristic of much of the artist’s work; a road or pathway in the centre foreground of the composition, leading into the distance.

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31 ALEXANDRE BIDA Near Eastern subjects, and at his Salon debut in 1847 he Toulouse 1813–1895 Bühl showed two highly finished drawings of scenes in Constantinople, with both works purchased by the State. Bida visited Egypt in 1850, and Greece, Turkey and the Crimea in An Arab Man and a Young Boy Winding Wool 1855. He exhibited regularly at the Salons, showing almost nothing but finished drawings. In a letter of 1870, the painter Pencil, heightened with white Eugène Fromentin praised Bida’s draughtsmanship, noting Signed Bida at the lower left that ‘his drawings are paintings without colour or engravings 5 3 that did not pass under the burin, but have the same value 170 x 213 mm., 6 /8 x 8 /8 in. and weight .’ An English critic, writing in 1859, noted that ‘Amongst the most noteworthy things of the kind of our day Provenance: are M. Alexandre Bida’s masterly crayon drawings. They Hazlitt, Gooden and Fox, London, in 1980 combine in a remarkable degree boldness and freedom of outline with a soft and brilliant finish…But what is still more Alexandre Bida studied with Eugène Delacroix in Paris, and it essential is the ripe study and appreciation of character, and was the influence of Delacroix, as well as the work of the keen eye for the picturesque, displayed by the artist on all Alexandre Decamps and Auguste Raffet, that led him to be occasions. His sphere of action has hitherto been chiefly interested in Orientalist themes and subjects. An early visit to confined to Oriental climes, from which he has brought home Syria and Constantinople instilled in Bida a fascination with some beautiful works...’

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Above: 32 WILLIAM ROXBY BEVERLY Richmond 1811–1889 Hampstead b. The Terrace of the Villa Muti, Frascati Horses and a Cart in a Mountainous Welsh Landscape Inscribed verso: From Thos H. Cromek/to Capt Watercolour over traces of pencil Cheney/Villa Muti Frascati/3 June 1832 and on part 152 x 463 mm., 6 x 18 ¼ in. of former mount: Terrace of the Villa Muti at Frascati given to me by T.H. Cromek/1832 This may be a view of Cader Idris, North Wales. Watercolour over pencil 142 x 226 mm., 5 ½ x 8 ¾ in.

Facing page: Provenance: 33 Given by the artist to Captain Cheney of Badger Hall, THOMAS HARTLEY CROMEK Shropshire, 1832 London 1809–1873 Wakefield The Villa Muti is located to the south-west of Frascati, which is 15 miles south-east of Rome. It was originally built by a. The Boschetto at the Villa Muti at Frascati near Rome Ludovico Cerasoli in 1579 and was then acquired by Cardinal Pompeo Arrigoni in 1595. By 1830, the villa was being rented Dated on flowerpot: 1832 , inscribed verso: Villa by the keen amateur artist Robert Henry Cheney (1801– Muti/June 20 th 1832 and inscribed on part of 1866) who was a friend and pupil of Cromek. Views of the former mount: Boschetto at the Villa Muti Frascati Villa Muti by Cheney were sold from the Cheney family collection at Christie’s on 12th October 2005, lots 37 and 38. given to me by/ T.H. Cromek 1832 According to inscriptions on the present watercolours, they Watercolour over pencil heightened with touches of were a gift from Cromek to Robert Henry Cheney’s brother. bodycolour The grounds of the villa has formal English gardens dotted with Mannerist sculpture while the villa itself contains frescoes by 191 x 245 mm., 7 ½ x 9 ½ in. Lanfranco, Pietro da Cortona, Cigoli and Passignano and now belongs to the local `Comune di Grottoferrata.’ Provenance: Given by the artist to Captain Cheney of Badger Hall, Cromek was born in London, the son of engraver, and was Shropshire, 1832 apprenticed to a portrait painter in Wakefield, Yorkshire. He soon became a landscape painter and lived and worked on the continent, and mainly in Rome, from 1831 to 1849. He built up a successful teaching practice there until 1849 when he was forced home by Garibaldi’s threatened attack on Rome.

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a.

b.

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34 THOMAS MILES RICHARDSON SENIOR This is a view of the centre of Newcastle looking east from Newcastle 1784–1848 Newcastle the north bank of the Tyne. The bridge shown is the old Tyne Bridge which was built in stone in 1781 and destroyed in1866 View of Newcastle from the banks of the Tyne to make way for the Swing Bridge which opened in 1876. The High Level Bridge, which still stands today, was built by Stephenson this side of the old Tyne Bridge between 1847 Inscribed lower left: near Newcastle - Tyne and 1849. To the left the spire of All Saint’s Church on Coloured chalks and pencil heightened with white Akenside Hill is visible. on brown paper 241 x 364 mm., 9 ½ x 14 ¼ in. Richardson was born in Newcastle and spent all his life in the city. He was apprenticed to an engraver and in 1806 he Provenance: succeeded his father as master of St Andrew’s Grammar Humphrey Whitbread (1912–2000) School. He gave this up in 1813 to concentrate on drawing and exhibited in London and elsewhere from 1818. His son Thomas Miles Richardson Junior (1813–1890) was also a successful artist.

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35 THOMAS MILES RICHARDSON SENIOR bodycolour on buff paper Newcastle 1784–1848 Newcastle 349 x 262 mm., 13 ¾ x 10 ¼ in.

The Abbey of St Agatha, Easby, North Yorkshire Provenance: Humphrey Whitbread (1912–2000)

Inscribed lower right: The Belfry/St. Agatha’s The Abbey of St. Agatha is part of Easby Abbey which Abbey/1836 stands on the eastern bank of the River Swale just outside Brown washes over pencil heightened with Richmond, North Yorkshire.

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36 JOHN VARLEY Hackney 1778–1842 London

A Country Church at Sunset

Signed lower right: J. Varley and dated lower left 1837 Watercolour over pencil heightened with stopping out and scratching out 147 x 216 mm., 5 ¾ x 8 ½ in.

Provenance: Exhibited: With the Fine Art Society, London, June 1965 Dudley Art Gallery, David Cox and his Contemporaries, With Richard Ivor, London 1–29 May 1976, no.86 Bought by Basil Heath-Brown, 23rd October 1979 for £650 A smaller version of this watercolour, titled `Hythe Church, Private Collection, UK Kent’ was sold at Bonham’s on 11th March 2008, lot 36

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37 ROBERT HILLS Islington 1769–1844 London Hills entered the R.A. schools in 1788 and exhibited at the Feeding Ducks in a Farmyard Royal Academy in 1791. He came to prominence in 1804 as one of the six artists who founded the Old Watercolour Society and he exhibited almost six hundred drawings Signed lower right: RHills 1814 there during his lifetime. He was the Society’s first Watercolour heightened with touches of Secretary and later served as Treasurer. He specialised in bodycolour studies of animals and farmyards and his work is distinctive 295 x 415 mm., 11 ½ x 16 ¼ in. for its `fuzzy’ technique.

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38 PETER DE WINT De Wint was the son of a Dutch physician father who settled Stone, Staffordshire 1784–1849 London in Staffordshire with his English wife having been disinherited by his father. In 1802, he was apprenticed to the pastellist Shipping off Neath, South Wales John Raphael Smith along with William Hilton, R.A. who became a lifelong friend and whose sister Harriet de Wint married. Hilton introduced him to the landscape of Watercolour over traces of pencil Lincolnshire which de Wint drew throughout his life. He 160 x 482 mm., 6 ¼ x 19 in. loved sketching in the fields and his loose wash style is very distinctive.

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39 ANDREAS SCHELFHOUT The Hague 1787–1870 The Hague Romantic period, alongside Barend Cornelis Koekkoek and Frederick Marianus Kruseman. Schelfhout exhibited regularly in Amsterdam and The Hague, where his paintings were A Moonlit Port Scene avidly acquired by collectors and connoisseurs, while his superb brushwork and masterful depiction of poetic, Pen and brown ink and grey wash. atmospheric subjects led to his sobriquet as the ‘Dutch Signed A. Schelfhout. FC on the verso. Claude Lorrain’. Schelfhout’s influence on the succeeding 7 generation of Dutch landscape painters was considerable, and 89 x 123 mm., 3 ½ x 4 /8 in. among his pupils were Charles Leickert, Willem Troost and, perhaps most significantly, the Pre-Impressionist painter Johan Andreas (or Andries) Schelfhout was among the most Barthold Jongkind. significant landscape painters of the 19th century in Holland, and was known in particular for his depiction of winter scenes. Nocturnal scenes are rare in Schelfhout’s painted or drawn A technically gifted painter and draughtsman, he was largely oeuvre . The present sheet may compared in mood and self-taught as an artist, yet enjoyed a long and successful effect to a painting of Shipping in an Estuary by Moonlight , career as one of the leading Dutch landscape artists of the sold at auction in London in 1977.

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40 WILLIAM CALLOW, R.W.S. Greenwich 1812–1908 Great Missenden

A Boat on a River near a Bridge

Signed with initials lower right Watercolour over pencil 147 x 206 mm., 5 ¾ x 8 ¼ in.

Provenance: Anonymous sale, Christie’s, 14th July 1987, lot 219 Private Collection, Norfolk

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41 GEORGE PIETER WESTENBERG Nijmegen 1791–1873 Brummen

Landscape with a Path A pupil of Jan Hulswit, Pieter Westenberg was particularly Pen and grey ink and grey wash inspired by the Dutch landscape painters of the 17th century. A study of a fallen tree trunk in pen and grey ink and He exhibited landscapes and urban views in Amsterdam from 1814 onwards, and also worked as a drawing master to grey wash on the verso several wealthy families. He undertook two study trips; in Signed with initials P.G .W . at the lower right 1816 to Gelderland and to Bentheim in Germany and the Signed and inscribed P. G. Westenberg / am following year to the region of the Ruhr and along the Rhine, [Bentheim?] on the verso. and the studies and sketches he made on both trips were to 259 x 199 mm., 10 ¼ x 7 7/8 in. have a profound effect on his later paintings and drawings.

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42 THOMAS ALLOM London 1804–1871 Barnes

John Knox’s House, High St, Edinburgh

Pen and brown ink and washes over pencil 110 x 178 mm., 4 ¼ x 7 in.

Provenance: With the Fine Art Society, London, December 1968 This house was reputed to have been lived in by the Scottish Engraved: reformer John Knox in the sixteenth century. It dates from By E. Radclyffe for Scotland Illustrated , 1837 1490 and is now a museum.

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43 THOMAS ALLOM London 1804–1871 Barnes

Fort Victoria, Kowloon, Hong Kong brown washes over pencil heightened with Hong Kong was occupied by British forces in 1841 during the scratching out first Opium War and it was formally ceded to Britain under 240 x 187 mm., 4 ¾ x 7 ¼ in. the Treaty of Nanking in 1842. Victoria City was the first British settlement and was on the peninsular of Kowloon. Engraved: This engraving is based on a drawing executed by Lieutenant By M.J. Starling for the Rev. G.N. Wright’s `China, its Frederick John White (d.1856) who served in the Royal Scenery, Architecture and Social Habits’, published by Marines during the Opium War and took part in the capture Fisher Son & Co., 1843, vol. II, opp. p.40 of Chinkiang-fu.

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44 GEORGE CHINNERY Chinnery was a landscape and portrait painter who studied at London 1774–1852 Macao the Royal Academy Schools and spent some time in Dublin before abandoning his family and moving to Madras in 1802. View on the Waterfront, Macao He remained in India living in Madras, Calcutta, Dacca and Serampore before moving to Macao in 1825 to escape debts and his wife. He spent the rest of his life in Macao, Canton Inscribed upper left in his shorthand: +Ju. 16. 1833 and Hong Kong. He painted portraits of European merchants Pencil and produced landscape drawings in pencil and watercolour 110 x 201 mm., 4 ¼ x 7 ¾in. often inscribed with his own shorthand.

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45 MORTIMER MENPES Born in Australia, Mortimer Menpes settled in 1879 in Adelaide 1855–1938 Pangbourne(?) London, where he met James McNeill Whistler and soon afterwards abandoned his studies to work, alongside Walter Sickert, as Whistler’s studio assistant. He began exhibiting at Street Scene in Japan the Royal Academy in 1881 and, largely as a result of his association with Whistler, was invited to show at the New Watercolour, laid down on board English Art Club in 1886. The following year Menpes Signed Mortimer Menpes at the lower right travelled to Japan, one of the first modern Western artists to 7 do so. When he came to exhibit his Japanese paintings in 160 x 176 mm. (6 ¼ x 6 /8 in.) London his refusal to sign himself as a pupil of Whistler caused the two artists to fall out, a situation only exacerbated by Provenance: Menpes’s elopement with Whistler’s mistress. While he was The Cotman Gallery, Birmingham not invited to exhibit with the New English Art Club, he continued to show at the Grafton Gallery in the 1890’s and thereafter at the Fine Art Society. Menpes returned to Japan in 1896, and also visited Egypt, Morocco, India, Burma, Mexico and South Africa.

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46 FRANÇOIS-AUGUSTE BONHEUR Bordeaux 1824–1884 Bellevue-Meudon souvenir de Auvergne won a first class medal. By this time he had firmly established his reputation as a landscape painter. As the critic Théophile Gautier noted in a review of the Salon Mountain Landscape in the Auvergne of 1861, ‘ Auguste Bonheur has dared, and it is great audacity, to unvarnish nature, to take away the smoke and the dirt, to Oil on canvas wash off the bitumen sauce with which art ordinarily covers Signed A Bonheur at the lower left it, and he has painted it as he sees it... ’ Aided by the dealer Inscribed Auvergne on a small label pasted at the Ernest Gambart, several of Bonheur’s paintings were sold to English collectors, and he also exhibited at the Royal Academy lower right in 1857, 1873 and 1874. 1 139 x 308 mm., 5 ½ x 12 /8 in. This mountain landscape is one of a group of fresh and Provenance: spirited oil sketches by Bonheur - produced during the artist’s The studio of the artist, Magny-les-Hameaux, near extensive travels throughout France, notably in Brittany, the Versailles Auvergne and the Pyrénées - that have come to light in recent years. Bonheur was particularly fond of the rugged, The younger brother of Rosa Bonheur, Auguste Bonheur mountainous landscapes of the Cantal in the Auvergne, to made his debut at the Salon of 1845. He continued to exhibit which he returned repeatedly throughout his career, and there regularly, first as a portrait and genre painter and, by which provided the setting for many of his oil sketches and the early 1850’s, showing mainly landscapes. At the Salon of finished paintings. The small label inscribed with the location 1853 a landscape of the Auvergne was bought by the Duc de depicted and attached to the corner of the sketch is typical of Morny, while at the Salon of 1863 his painting of Le Ruisseau, the artist’s working practice.

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47 JOHN SAMUEL HAYWARD 1778–1822

Mountains in North Wales

Signed with initials lower right and inscribed: north wales Watercolour over traces of pencil 150 x 256 mm., 6 x 10 in.

Provenance: Michael Ingram

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48 GASPARD GOBAUT Best known for his watercolours of landscapes, military Paris 1814–1882 Paris subjects and battle scenes, Gaspard Gobaut was a pupil of Siméon Fort and Theodor Jung. He began his career in 1836 Landscape with a Mill as a military draughtsman, attached to the Ministry of Defence, and worked in this capacity throughout most of his Watercolour, with touches of gouache career. Gobaut exhibited at the annual Salons between 1840 Signed, dated and dedicated à mon bon ami and 1878, showing mainly watercolour landscapes. Among the subjects of his watercolours were scenes from the North Sabourin - Gobaut 1870 at the lower right African campaigns of the French army, views of Paris, Swiss 5 5 270 x 371 mm., 10 /8 x 14 /8 in. mountain scenes and landscapes in Algeria and Morocco. Works by Gobaut are today in the collection of the Duc Provenance: d’Aumale at Chantilly, at Versailles and in the museums of Presented by the artist to a M. Sabourin Pontoise and Honfleur.

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49 PETER BECKER Frankfurt 1828–1904 Soest

View of a German Town and Castle

Signed lower left: Peter Becker/1879 Becker studied at the Institut Stadel in Frankfurt. He produced Watercolour over pencil few oils but specialised in watercolours, often of the Rhine 229 x 311 mm., 9 x 11 ¼ in. valley. This is likely to be a view of that area.

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50 ALFRED HERBERT Southend c.1820–1861 Southend

St Malo from the East, Brittany

Signed on label originally attached to the backboard: In the Middle Ages, St Malo was a fortified island in the mouth St Malo/from the East/by/Alfred of the River Rance and it still retains much of the old city walls Herbert/23Westmorland St/49 Old although now connected to the mainland. In the fifteenth century it briefly declared independence from the rest of Bailey/London/Price £8.0.0 France and became notorious as a home for pirates. Watercolour over pencil heightened with bodycolour Herbert was born in Southend, the son of a Thames 400 x 743 mm., 15 ¾ x 29 ¼ in. waterman and started life working in his father’s boat. He was apprenticed to a bookbinder however and soon turned to Exhibited: painting in oil and watercolour. He specialised in marine Dublin, Royal Irish Art-Union, 1846 scenes and exhibited at the Royal Academy from 1847.

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51 WILLIAM COLLINS, R.A. London 1788–1847 London Collins was born in London, the son of an Irish picture A Fisherman on a Beach dealer and restorer, who was a friend of the artist George Morland. Morland encouraged him to draw and he studied Watercolour over pencil heightened with at the Royal Academy from 1807 and was exhibiting bodycolour landscapes and genre scenes from 1812. He was the father 174 x 243 mm., 6 ¾ x 9 ½ in. of the novelist Wilkie Collins.

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52 JAMES BAKER PYNE Bristol 1800–1870 London

Arundel Castle from across the Park, Sussex

Signed lower right: J.B. Pyne Watercolour over pencil heightened with bodycolour Pyne was born in Bristol and self-taught as an artist. He came 332 x 490 mm., 13 x 19 in. to London in 1835 and exhibited at the Royal Academy and later the Society of British Artists. He travelled extensively on Provenance: the continent. Stylistically the present work appears to date The Artist’s Studio sale, Christie’s, 25th Feb. 1871, from the 1850s although it may be the picture exhibited at the probably lot 14 Society of British Artists in 1862, no.846, as `Arundel Castle Anonymous sale, Sotheby’s, 14th Feb. 1951, lot 34 from the High Park’.

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53 DAVID COX JUNIOR Dulwich 1809–1885 Streatham

On the River Lledr at Dolwyddelan, North Wales This is a similar viewpoint to a watercolour by David Cox Senior in Birmingham Museums and Art Gallery (see Scott Watercolour over pencil Wilcox, Sun Wind and Rain - The Art of David Cox, 2008, 300 x 217 mm., 11 ¾ x 8 ½ in. no.99, pp.218–9) which was drawn in August 1846.

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54 HENRI-LÉOPOLD LÉVY Provenance: Nancy 1840–1904 Paris The posthumous sales of the contents of the studio of Henri Lévy (Lugt 1675): Paris, Hôtel Drouot, 2–3 March 1905 or 29 November 1905 A Nun in Prayer Henri Lévy made his Salon debut in 1865 and continued to Black chalk, heightened with touches of white chalk, exhibit there regularly, showing history subjects, allegories and on blue-green paper, squared for transfer in black portraits. He had a particular talent for large-scale decoration, chalk and produced mural paintings for the church of Saint-Merri, the Two studies of the veil of the nun’s habit in black and Panthéon, the Hôtel de Ville and elsewhere. Despite his success, brown chalk on the verso Lévy experienced considerable hardship in the latter stages of his 5 1 career, as a result of the wave of anti-Semitism aroused in France 421 x 211 mm., 16 /8 x 8 /4 in. by the Dreyfus affair in 1895. His adamant refusal to use a pseudonym to sign his pictures went against the demands of his dealers, and he lost an important outlet for his works.

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55 SIR EDWARD JOHN POYNTER, BT., P.R.A. Paris 1836–1919 London

Study of a Nude Young Woman Provenance: Spencer Samuels, New York, in 1989.

Pencil and white chalk on brown paper A versatile and gifted draughtsman and a firm advocate of life Stamped with the artist’s monogram EJP at the drawing, Poynter made numerous figure studies for each of lower left his paintings. The present sheet does not, however, appear 254 x 203 mm., 10 x 8 in. to be related to any surviving work by the artist.

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56 ANDREW NICHOLL, R.H.A. Born in Belfast, the son of a bootmaker, Nicholl was Belfast 1804–1886 London apprenticed to a printer and in his twenties acquired a wealthy patron, the politician and writer Sir James Emerson Tennent (1804–1869) who financed a two year stay in London from A Native Canoe off the Coast of Ceylon 1830 to 1832. Tennent was M.P. for Belfast until July 1845 when he was knighted and appointed civil secretary to the Watercolour heightened with bodycolour and colonial government of Ceylon (now Sri Lanka). In 1846 scratching out Nicholl travelled to Ceylon where Tennent had found him a 215 x 312 mm., 8 ½ x 12 ¼ in. position as teacher of landscape drawing, painting and design at the Colombo Academy. Nicholl provided the illustrations for Tennent’s book `Ceylon: an Account of the Island, Physical, Historical and Topographical’ published in two volumes in October 1859.

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57 EDWARD ANGELO GOODALL, R.W.S. London 1819–1908 London

Fishing Boats off Venice The campanile to the left is part of the church of San Pietro di Castello which stands at the east end of Venice. The With artist’s stamp lower right: Edward A Goodall island visible to the right is probably Murano. Goodall Watercolour over pencil heightened with touches of was born in London, the eldest son of the engraver bodycolour on grey-blue paper Edward Goodall (1795–1870). He exhibited from 1841 313 x 522 mm., 12 ¼ x 20 ½ in. and travelled extensively in Europe and North Africa.

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58 Provenance: CARL HAAG, R.W.S. With Thos. Agnew & Sons Erlangen 1820–1915 Oberwesel Robert, 2nd Lord Cawley (1877–1954), Berrington Hall, Herefordshire a. A Tyrolese Shepherd Haag was born in Bavaria and in 1847 decided to study English watercolour painting and came to London. He studied Signed in red lower right: Carl Haag 1857 at the Royal Academy schools and first visited Italy in the Watercolour heightened with bodycolour and gum winter of 1847. He travelled widely in Europe and the Near arabic East and from 1860 he had studios in both London and 356 x 256 mm., 14 x 10 in. Oberwesel, Germany. He visited the Tyrol in 1852 and 1853.

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b. A Woman of Procida Provenance: With Thos. Agnew & Sons Signed lower right: Carl Haag and signed verso and Robert, 2nd Lord Cawley (1877–1954), Berrington Hall, inscribed: Roma 22 Jan. 1853 Herefordshire Watercolour heightened with bodycolour and gum arabic Procida sits in the Bay of Naples between Ischia and the 352 x 248 mm., 13 ¾ x 9 ¾ in. mainland, 15 miles south-west of Naples.

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59 LOUIS-GABRIEL-EUGÈNE ISABEY The son of the miniaturist Jean-Baptiste Isabey, Eugène Isabey Paris 1803–1886 Montévrain embarked on a career as a landscape painter. He made his debut at the Salon of 1824, exhibiting a number of seascapes and winning a first-class medal in the category of genre and A Ship in a Storm marine painting. It was at about this time that he met Eugène Delacroix and Richard Parkes Bonington, and the three artists Black and red chalk, with pen and brown ink and traveled together to England in 1825, where Isabey was able scratching-out to study the work of Turner and the English watercolourists. Signed and dated Isabey 1829 (?) at the lower right On his return to France he settled in Normandy, where he made countless sketches and paintings of the coastal scenery. 196 x 268 mm., 7 3/4 x 10 ½ in. As a painter, Isabey specialized in marine views, though in later years he received several official commissions and Provenance: produced several grandiose history pictures. Throughout his An unidentified collector’s mark stamped in red at the career, Isabey produced numerous sketches in both oil and lower left watercolour of seascapes and coastal views. While some of these sketches may have been later used as the basis for finished paintings, the artist seems to have regarded them as autonomous works.

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60 WILHELM GEORGY A pupil of Friedrich Christian Preller, Wilhelm Georgy remains Leipzig 1819–1887 Weimar little known today. He was active as a landscape and genre painter, natural history draughtsman and wood engraver, and exhibited regularly in Berlin. After completing his training in A Branch of Horse Chestnut Leipzig he worked as a designer for a publishing house in the city. In the 1850’s Georgy lived and worked in the Engadine Pencil and watercolour valley in the Swiss Alps. Often working in cramped conditions Stamped with the artist’s studio stamp at the lower in a small hut (which now bears his name) above Pontresina left on the slopes of the Piz Languard, he closely studied the 3 1 plants, flowers and animals of this alpine region and made 145 x 205 mm., 5 /4 x 8 /8 in. numerous sketches of the surrounding mountains in different weather conditions. These studies resulted in a series of paintings of alpine views that proved very popular; indeed, Georgy is often regarded as a pioneer in the field of alpine landscape painting. He is also known to have contributed illustrations for a children’s book of songs, the Album deutscher Lyrik: Lieder, Romanzen und Balladen ausgewälhlt für Töchter gebildeter Stände , published in Leipzig in 1863.

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61 ROBERT WINCHESTER FRASER A member of an extensive family of landscape watercolourists Scotland 1848–1906 Gibraltar from Bedfordshire, Robert Winchester Fraser lived for some time in London and Staines before settling in Mildenhall in Hanworth, Middlesex Suffolk. Fraser exhibited at the Royal Academy between 1876 and 1892, as well as at the Royal Institute of Painters in Watercolours and the Royal Scottish Academy, showing mainly Watercolour and gouache watercolour views of sites in the South of England. He was the Signed, dated and titled R. W. Fraser ’89 / brother of several landscape artists, and is sometimes confused Hanworth at the lower left with his son, Robert James Winchester Fraser (1872–1930), 1 461 x 738 mm., 18 /8 x 29 in. who, however, signed his work ‘ Robert Winter ’. This large sheet is a fine and typical example of Fraser’s watercolours of river landscapes, many of which were views of the area around Huntingdon and the Fens, north of Cambridge.

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62 ALFRED WILLIAM HUNT Liverpool 1830–1896 London

View of Capel Curig with Snowdon and the Glyders beyond, North Wales

Signed lower centre: AWHunt/1856 Watercolour over pencil heightened with bodycolour and gum arabic Sheet 248 x 344 mm., 9 ¾ by 13 ½ in. The present drawing, an early work, originates from such a trip and dates from the year of his first picture exhibited at the Born in Liverpool, the son of a drawing master, Hunt read Royal Academy, in 1856, `The Stream from Lyn Idwal’. John Classics at Corpus Christi, Oxford, on a scholarship. While a Ruskin who had published his Modern Painters IV in April student, he was encouraged to draw by the Oxford picture 1856, described this as `the best landscape I have seen in dealer James Wyatt who had a shop on the High Street. the [Academy] exhibition for many a day - uniting most subtle Wyatt commissioned Hunt to go on a series of sketching trips finish and watchfulness of Nature, with real and rare power to North Wales which he funded in exchange for the option of composition’ ( The Works of John Ruskin , ed. Cook & to sell the finished works in his shop. Wedderburn, 1903–12, vol. XIV, pp.50–51).

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63 MYLES BIRKET FOSTER, R.W.S. North Shields 1825–1899 Weybridge Myles Birket Foster is one of the best known watercolour artists of the Victorian period. His family moved to London in Henley-on-Thames, Oxfordshire 1830 and he was apprenticed to a wood engraver. Until the 1850s he worked as an engraver and black and white illustrator especially for the Illustrated London News and Signed with initials lower left and inscribed with title turned to working seriously in watercolour by 1860. He under mount exhibited over four hundred works at the Society of Painters Watercolour heightened with bodycolour in Water-colours and his house at Witley, Surrey became a Whole sheet 155 x 191 mm., 6 x 7 ½ in. meeting place for artists of all sorts. His works are always highly coloured and very detailed, and are usually drawn with Provenance: a stippled effect. He often, as with the present watercolours, J. Noble, 1882 worked on a small scale.

Exhibited: This is a view looking north-west up the Thames. It shows London, J. & W. Vokins, 14 and 16 Great Portland St., Henley Bridge built in 1786 with the tower of the church of Birket Foster Loan Exhibition, 1882, no.25 (part) St Mary’s to the left.

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64 MYLES BIRKET FOSTER, R.W.S. Exhibited: North Shields 1825–1899 Weybridge London, J. & W. Vokins, 14 and16 Great Portland St., Birket Foster Loan Exhibition , 1882, no.25 (part) Caversham, Berkshire This is a view from Caversham Bridge looking west down the Thames towards Mapledurham. Signed with monogram lower right and inscribed with title under mount Watercolour heightened with bodycolour Whole sheet 148 x 191 mm., 5 ½ x 7 ½ in.

Provenance: J. Noble, 1882

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65 HENRI-JOSEPH HARPIGNIES Valenciennes 1819–1916 Saint-Privé This charming drawing is unusual among Harpignies’ drawings A Circular Landscape, Surrounded by Oriental in its use of Oriental motifs. A related drawing by the artist, of Lanterns and Motifs similar dimensions and also dated 1894, was on the art market in Paris in 1995; it depicted two separate vignettes of a coastal landscape and boats at sea, placed on the page and Watercolour, pen and grey ink and grey wash bordered by flowers and oriental lanterns. Such drawings as Signed and dated h. harpignies 9 [4] at the lower this reflect the fashion for Japonisme , which first emerged in right of the landscape France in the early 1860’s and continued throughout the late 5 5 194 x 116 mm., 7 /8 x 4 /8 in. 19th century.

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66 HENRI-JOSEPH HARPIGNIES Valenciennes 1819–1916 Saint-Privé reputation, particularly outside France. (A contemporary English critic noted that ‘ one ventures to prophesy that the day will come, if it has not already arrived, when the water- Landscape in Burgundy at Sunset colours of M. Harpignies will be prized even more dearly than his paintings in oils. As an aquarellist M. Harpignies is Watercolour practically without a living rival in his own country... ’). Despite Signed and dated h harpignies. 1883 . at the lower his increasing fame and success, however, Harpignies seems left to have remained at heart a man of simple tastes, committed Inscribed effet de soir / souvenir de Bourgogne on to his art. Harpignies maintained an emphasis on a distinctive the verso manner of tonal landscape, inspired by Corot, in the paintings and drawings that he produced well into the early years of the 393 x 572 mm., 15 ½ x 22 ½ in. 20th century. As one modern scholar has written, ‘ Clearly, his happiness was in recording, whether in drawings, This unusually large sheet by Harpignies is a fine example of watercolor, or paint, the landscapes he saw around him…his the landscape drawings in watercolour for which he was best ninety-seven years were productive of a large number of known. The freshness and luminosity of his watercolours, landscapes in a variety of media that have delighted and which he first exhibited at the Salon of 1864, gained continue to delight those who enjoy their sensitive and him a wide audience, and were to be the basis of his particular artistic qualities. ’

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67 HERCULES BRABAZON BRABAZON Paris 1821–1906 Oaklands, Sussex Brabazon was educated at Harrow and Trinity College, Cambridge and, on leaving Cambridge in 1844, he spent Salamanca Cathedral, Spain three years in Rome where he learnt to draw. Following the death of his older brother in 1847, he inherited the Brabazon estates in Connaught, Ireland and on the death of his father Signed with initials lower right in 1858, he inherited the family estate at Oaklands near Watercolour and bodycolour over pencil on grey Sedlescombe in Sussex. He spent his summers in England paper and travelled in Europe, North Africa and India in the winter, 124 x 183 mm., 4 ¾ x 7 ¼ in. sketching as much as he could. It was not until 1891 however, aged seventy, when he became a member of New England Exhibited: Art Club and first exhibited there that his work became widely With the Beaux Art Gallery, London, circa 1928 known and he achieved great commercial and critical success.

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68 HERCULES BRABAZON BRABAZON Paris 1821–1906 Oaklands, Sussex

On the Grand Canal, Venice

Signed with initials lower right and inscribed verso: Gra...... ce Watercolour and bodycolour over pencil on buff paper 160 x 222 mm., 6 ¼ x 8 ¾in.

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69 HERCULES BRABAZON BRABAZON Paris 1821–1906 Oaklands, Sussex

A Castle on the Calabrian Coast, Italy

Signed with initials lower left and inscribed verso: Castle on Calabrian Coast Watercolour and bodycolour over pencil on grey paper 101 x 127 mm., 4 x 5 in.

Exhibited: With the Beaux Arts Gallery, London, circa 1928

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70 HERCULES BRABAZON BRABAZON Paris 1821–1906 Oaklands, Sussex

The Gulf of Taranto, Puglia, Italy

Signed with initials lower right and inscribed verso: Gulf of Tarento Watercolour and bodycolour over pencil on grey paper 127 x 173 mm., 5 x 6 ¾ in.

Exhibited: With the Beaux Arts Gallery, London, circa 1928

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71 EDWARD LOEVY Born in Poland, Edward Loevy (sometimes Loewy or Warsaw 1857–1911 Paris Lövy) studied in Warsaw, St. Petersburg and Munich before settling in Paris in 1880. He worked mainly as an A Man Walking illustrator for newspapers, books and periodicals in France, Poland and Germany. He provided some five thousand drawings, mostly portraits, to illustrate the Encyclopédie Pen and black ink, drawn on a printed sheet of Larousse, and also contributed illustrations for books by stamped legal blue paper (an ‘ assignation a témoin’ , Jules Lemaitre, Edgar Monteil, Jean Dybowski and others. or witness summons), dated Paris 1891 Among his contemporaries, Loevy was best known for his Signed ELoevy at the lower right many illustrations for various newspapers and periodicals, 7 including the Revue Universelle, L’Illustration and the 227 x 174 mm., 9 x 6 /8 in. Revue Encyclopédique in France, Über Land und Meer in Germany, and Tygodnik Ilustrowany, Biesiada Literacka and Tygodnik Powszechny in Poland. The present sheet is drawn on an official stamped document, dated 1891; a summons or subpoena, with instructions to the recipient to appear before a Paris bailiff as a witness.

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72 GIOVANNI BOLDINI Ferrara 1842–1931 Paris

A Parisian Antique Shop

Pencil Signed Boldini at the lower right 101 x 133 mm., 4 x 5 ¼ in. Giovanni Boldini settled in Paris in 1871, taking a studio on the Provenance: Place Pigalle, and made his public debut at the Salon de Mars Henry Scipio Reitlinger, London (Lugt 2274a) in 1874. His bold, fluid style of painting was to prove An unidentified collector’s mark m.j.r. / paris stamped in immensely popular, and within a few years he had risen to a black ink on the verso position of prominence in Parisian art circles. Boldini was to Julius S. Held, Old Bennington, Vermont live and work in Paris for the rest of his career, and by the turn of the century had become the most sought-after Exhibited: portrait painter in the city, his reputation rivalling that of his Binghamton, State University of New York, University Art friend John Singer Sargent in London. He was also an Gallery, and elsewhere, Selections from the Drawing indefatigable draughtsman, often sketching on whatever Collection of Mr. and Mrs. Julius S. Held, 1970 , no.110 paper came to hand.

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73 LOUISE HERVIEU Alençon 1878–1954 Versailles drawings and pastels. Fond of intense chiaroscuro techniques, Hervieu achieved remarkable effects of mood and mystery in her drawings, which were often of still lives and interior Still Life with Apples scenes. In 1917 the critic Félix Fénéon organized the first of several exhibitions of her drawings at the Galerie Bernheim- Charcoal and stumped black chalk, the paper slightly Jeune. Friendly with such artists as Vallotton, Bonnard and abraded and scored by the artist to create highlights Vuillard, Hervieu also provided illustrations for several books, Signed L. Hervieu at the lower right including Baudelaire’s Les fleurs du mal in 1920 and Le spleen Inscribed by the artist ce dessin ne doit être / collé de Paris in 1922. Her eyesight gradually deteriorated, the que d’un seul coté / priere laisser autour une / result of a case of inherited chronic meningitis, and in the early marge blanche / L. Hervieu on the verso 1920’s she abandoned working in colour. By 1927 Hervieu had grown almost completely blind and had stopped drawing 203 x 273 mm., 8 x 10 ¾ in. altogether; the catalogue of her exhibition at Bernheim-Jeune that year was prefaced by a statement intended by the artist An extraordinary figure in the artistic and literary circles of Paris as a sort of artistic farewell. She had by then turned to writing, in the first half of this century, Louise Hervieu took up painting and in 1925 her book L’âme du cirque was published, around 1905. She participated in the Salon des Indépendants accompanied by illustrations by Bonnard, Denis, Picasso, in Paris, and in 1910 had a one-woman exhibition at the Rouault and Lhote. In 1936 her novel Sangs won the Prix Galerie Eugène Blot. After this, however, she abandoned Fémina; this was followed by Le crime , published in 1937, painting, although she continued to produce charcoal Le malade vous parle in 1943 and La rose de sang in 1953.

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74 CHARLES BRANWHITE Bristol 1817–1880 Clifton

A Farmstead in a snowy Landscape Branwhite was the son of a portrait painter and was a pupil of his father and William James Müller in Bristol. He exhibited Signed lower left: C Branwhite 1875 at the Royal Watercolour Society from 1849 and remained in Watercolour heightened with bodycolour Bristol where he was a close friend of the artists Francis 458 x 677 mm., 18 x 26 ½ in. Danby and Samuel Jackson.

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Above: 75 LOUIS APPIAN Lyon 1862–1896 Lyon

Paris in the Rain

Pen and violet ink Stamped with the atelier stamp at the lower right 3 162 x 184 mm., 6 /8 x 7 ¼ in.

Son and pupil of the landscape painter Adolphe Appian, Louis Facing page: Appian was active as a genre, still life and landscape painter, as 76 well as a portraitist and etcher. He entered the Ecole des ORIENTALIST SCHOOL Beaux-Arts in Lyon in 1879, before winning a scholarship in Circa 1900 1885 to study in Paris. Although he failed to win the Prix de Rome in 1887, Appian enjoyed a measure of success as a Study of a North African Youth painter, although not on a par with the reputation enjoyed by his father. His health was poor, and was aggravated by a brief trip to Algeria at the end of 1895. Appian died of tuberculosis Pastel in December 1896, at the age of only thirty-four. 553 x 462 mm., 21 ¾ x 18 ¼ in.

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77 HELEN PATERSON ALLINGHAM, R.W.S. Graphic. In 1874 she married the poet and writer William Swadlincote 1848–1926 Haslemere Allingham, and was able to give up illustration work and concentrate on her watercolours. As Helen Allingham, she first exhibited at the Royal Academy in 1874, and the Study of Breaking Waves on a Beach following year was the first woman to be elected as an Associate of the Royal Society of Painters in Water-Colours. Watercolour Signed H. Paterson at the lower right In the summer of 1872 the young Helen Paterson was invited Dedicated Mary Walen / with / H. A.’s love / April by the artist Briton Riviere to join him and his family at St. ’97 on the verso Andrew’s in Scotland, where she produced her first watercolour landscapes. As a contemporary biographer 7 132 x 175 mm., 5 ¼ x 6 /8 in. noted of this summer, ‘ It was not, however, in the grey houses and uninteresting streets of this old northern university Provenance: town, to which she first turned, that the true relations Given by the artist to Mary Walen in April 1897 between tone and colour discovered themselves to her longing eye, but amongst the sandbanks, seaweed, and blue As a young artist, Helen Paterson undertook commercial water which fringe its noted golf-links. For the first time the projects as an illustrator while painting watercolours in her artist felt herself happy in attempting to work in any other spare time, and it was under her maiden name that she first medium than black and white. ’ In its freedom of handling and established a reputation. Her illustrations were to be found in vibrant colour, the present sheet may be compared with several magazines and books, eventually leading to a position another watercolour of breaking waves, closely comparable as an artist and journalist for the newly founded magazine The in style and technique, which was with Agnew’s in 1986.

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78 SIR MUIRHEAD BONE Glasgow 1876–1953 Oxford New English Art Club. In 1916, on the advice of William Rothenstein he was appointed Britain’s first official war artist The Burlings, Portugal and visited the battlefield of the Somme, producing over 150 drawings of the war. After the war, he increasingly travelled and exhibited in London and New York with great success. Signed and inscribed with title lower right He was knighted in 1937 and was again an official war artist Watercolour over traces of pencil in the Second World War. 260 x 285 mm., 10 x 11 ¼ in. The Burlings are a group of islands seven miles off the Peniche Muirhead Bone was born in Glasgow, the son of a printer, on the Portuguese coast. The principal island in the group, and studied at Glasgow School of Art. He began printmaking Berlenga, is 1500 metres long by 800 metres wide and is in 1898 specialising in landscapes and scenes of urban formed from pink granite. This drawing may date from a trip architecture. In 1901 he moved to London and joined the to Portugal which Bone made in 1926.

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79 PIERRE PRINS possible. It was not until 1890 that he had his first one-man Paris 1838–1913 Paris exhibition, showing forty pastel landscapes at the Galerie Georges Petit, and thereafter he continued to exhibit regularly at the Salons and with Parisian dealers. However, on his deathbed, Sunset over the Sea at Puys, Normandy he asked his heirs not to exhibit his work, nor to release any work from his studio, for a period of thirty years after his death. Pastel on paper, laid down on board As a result, Prins’s work remained almost completely unknown Signed Pierre Prins at the lower left at a time when that of his friends and contemporaries among 7 the Impressionists rose to new heights. It was not until a 190 x 277 mm., 7 ½ x 10 /8 in. retrospective exhibition in Paris in 1963 that his paintings, pastels and drawings came to be better known and appreciated. Provenance: Maurice and Vivienne Wohl, London and Geneva In the 1880’s and 1890’s Prins spent much time on the coast of Normandy and Brittany, and there produced a large number Literature: of pastel studies of the sea and sky. These works display a Michel Melot, Lili Jampoller, et al., Catalogue général de particular interest in the atmospheric effects visible at sunrise, in l’oeuvre de Pierre Prins , Paris, 1993, p.141, no.1237.p, full sunlight, and at twilight and sunset. As Daniel Wildenstein where dated 1906. has noted, ‘ Prins was above all a painter of the sky and of light in their most subtle expressions…he was capable of catching Shy and unassuming by nature, Pierre Prins worked in relative their most fleeting effects. In this he was particularly successful solitude for most of his career. In 1878, inspired by the example with pastel, which he used with great mastery and which, in his of his friend Manet, he began to work in pastel, eventually hand, turns into a luminous haze in boundless space, resting working almost exclusively in the medium. While some of his on a very low, very distant horizon only slightly more substantial pastel landscapes are very large, reaching almost two metres in than the clouds. He makes the slightness of pastel serve the size, most are smaller in scale and more intimate. Prins often insubstantiality of the sky, thus bringing the means and the end used a coarse-grained coloured paper, and almost never applied into harmony. ’ A number of comparable pastel landscapes by any fixative, so as to keep his pastels as bright and fresh as Prins are in the collection of the Musée d’Orsay.

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80 ALPHONSE LEGROS Alphonse Legros began his career in his native France but Dijon 1837–1911 Watford settled in London in 1863. It is as a portraitist that he is best known today, producing a large number of painted and drawn portraits throughout his career; works praised by the Portrait of a Young Boy art critic Arsène Alexandre as ‘ firmly cut as with the burin, severe in style, modeled as by a sculptor, showing the Pencil on paper innermost character of his sitter, with sober movement of the Signed and dated A. Legros / 1902 at the upper head, finely drawn in profile, and eyes ever fixed on some right far-off ideal. ’ Drawn in 1902, the present sheet is a portrait of 7 a young boy by the name of W(illiam?) Whittington. Writing 326 x 247 mm., 12 /8 x 9 ¾ in. shortly after the artist’s death, one friend recalled that ‘Legros’s habit during the years I knew him was to work, if Provenance: possible, once a week from the living model, a discipline By descent in the family of the sitter which he declared necessary to maintain efficiency; and not the least arduous of Madame Legros’s duties was to be on the pounce for some child or old labourer who would sit on Sundays as a model for a gold-point or lithograph .’

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81 JOHN DUNCAN FERGUSSON Fergusson was born in Leith near Edinburgh and having briefly Leith 1874–1961 Edinburgh trained as a naval surgeon, set up his own painting studio in Edinburgh despite little formal training. He first visited Paris in the mid 1890s and the city and its art had a dramatic effect on At the Boat Lake, Luxembourg Gardens, Paris him. He studied Impressionist paintings as well as attending life classes at the Académie Colarossi. He returned to Paris Black chalk almost every summer for the next ten years before making 105 x 188 mm., 4 ½ x 7 ¼ in. the city his permanent home from 1907. There he met his fellow artist Samuel Peploe and his lifelong partner the dancer Provenance: Margaret Morris. On the outbreak of the first World War, he The artist’s partner, Margaret Morris (1891–1980) returned to London where he had his first solo exhibition in Private Collection 1923. He was in Paris again from 1928 until 1939 when he returned to Scotland where he spent the rest of his life. Fergusson is one of the best known of the Scottish Colourists along with Peploe, Cadell and Hunter. They were active in Fergusson compulsively sketched on the streets of Paris. The the first half of the twentieth century and were particularly Luxembourg Gardens in the 6th arrondissement contained influenced by French art of that period. Their work has had a the Palais de Luxembourg and were one of his favourite lasting influence on Scottish contemporary art. haunts. The lake was, and still is, popular as a place to sail model boats.

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82 JOHN DUNCAN FERGUSSON This is likely to date from Fergusson’s first stay in France Leith 1874–1961 Edinburgh from 1907 until 1914 when he spent a lot of time in the south of France. In 1913, he persuaded his fellow Colourist Samuel John Peploe (1871–1935) to accompany him to Boats in the Harbour, Cassis Cassis. He recalled: `I had grown tired of the north of France; I wanted more sun, more colour; I wanted to go Black chalk south to Cassis...... we had his [Peploe’s] birthday party 151 x 202 mm., 6 x 7 ¾ in. there and, after a lot of consideration, chose a bottle of Château Lafitte instead of champagne. Château Lafitte to Provenance: me now means that happy lunch on the veranda The Artist’s partner, Margaret Morris (1891–1980) overlooking Cassis bay sparkling in the sunshine’ (see Roger Private Collection Billcliffe, The Scottish Colourists, 1990, p.37).

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83 HENRI DELUERMOZ Paris 1876–1943 Paris A painter, illustrator and engraver, Henri Deluermoz was a pupil of Alfred Roll and Gustave Moreau. He became one of a. Studies of an Eagle the finest animal painters of his day, with a particular penchant for depictions of wild animals. He also painted Provençal landscapes, equestrian and bullfight scenes, and produced Brush and black ink and brown wash, with touches designs for tapestries, mural decorations, and book of white heightening, on reddish-brown prepared illustrations, including editions of Rudyard Kipling’s Jungle paper Book and Henri de Montherlant’s Les Bestiaires . Deluermoz Signed with a monogram and dated hD.1906 at the did not send any paintings to the Salon until 1909, when he lower right was already in his thirties, although thereafter he exhibited there regularly, and also showed at commercial galleries in Inscribed with colour notes brun rougeâtre, autour Paris. An exhibition of his animal drawings was held at the du bec et / des yeux (jaune), and duveter Galerie Le Goupy in Paris in 1926, while a larger and more soigneussement la tête / trop mou comprehensive exhibition of paintings and drawings was 5 273 x 398 mm., 10 ¾ x 15 /8 in. mounted at the Galerie Charpentier in Paris in 1939 .

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b. Studies of the Wings of an Eagle

Brush and black ink, with touches of white chalk, on reddish-brown prepared paper Both of these drawings are early works by the artist. Signed with a monogram and dated Marseille / hD. Deluermoz had spent the early years of his career sketching in the Jardin des Plantes and the Jardin d’Acclimation in Paris. Janv.1906 at the lower right In 1905 he settled in the Provençal town of Orange, where Extensively inscribed with colour notes: brun très he was engaged on a large-scale decorative mural project, foncé et très chaud / plumes légères nour et brun and began a series of travels around the Midi. These jaunâtre., tête duvetée (blanc), collier plumes très drawings, one of which is dated January 1906, were done in fines et / très blanches., entre les plumes / le fond Marseilles, probably at the Jardin Zoologique in the gardens du duvet / est gris très fin et chaud, plumes très of the Palais Longchamp. fortes / et brunes, fond foncé dans les / bruns chauds / dessins noirs, culottes blanches. serres très Four similar drawings of animals by Deluermoz - studies of an puissante, plumes plus marquées que celles / du elephant, a bear, a wolf and a tiger, each of identical technique to the present pair of drawings - are in the collection of the collier., plumes plus longues et en perspective., [?] National Gallery of Canada in Ottawa. A similar drawing of an en avant eagle is illustrated in an article on Deluermoz published in the 5 268 x 397 mm., 10 ½ x 15 /8 in. magazine L’Artiste Contemporain in November 1920.

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84 SAMUEL JOHN LAMORNA BIRCH, R.A., R.W.S. Egremont 1869–1955 Lamorna to London to visit exhibitions and artist’s studios. The close A Flower of November friendship between Greta and Birch, despite the significant age difference between them, seems to have led to Pen and brown ink and watercolour occasional gossip about the nature of their relationship. At the Inscribed A flower of November. , and signed, dated time he made this small drawing for her, Birch seems to have and dedicated To Greta from John. / S.J Lamorna been somewhat infatuated with the young woman, writing Birch 1939 at the bottom poems to her and taking great pleasure in her constant 3 company. Yet, as the artist’s biographer has noted, ‘ The 111 x 89 mm., 4 /8 x 3½ in. attractions of Greta Sequiera for Birch went beyond her good looks. He was stimulated by her enthusiasm for painting and Provenance: travel. Her energy, he told her, was like oxygen, giving him Given by the artist to Greta Sequeira Valentine in 1939 the drive to pursue his painting with unflagging vigour…Birch’s friendship with Greta continued to be a rather odd mixture This small, charming sketch is dedicated to the artist’s of serious endeavour and high-spirited excitement, cemented longtime friend Greta Sequeira, an amateur painter Birch met by a shared enjoyment of the earthiness of life. ’ Although in in 1937, when she was aged twenty-eight. They soon 1941 Greta married Birch’s patron, the publisher Ranald became friends and spent much time together, often travelling Valentine, she remained close to the artist throughout his life.

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85 EDMUND BLAMPIED St. Martin, Jersey 1886–1966 St. Aubin, Jersey other prints, tended towards Jersey scenes of farm labourers and horses. His etchings, drypoints and lithographs earned him a substantial reputation, though he continued to The Dunes at Wimereux, Normandy supplement his income with commissions for magazine and book illustrations. In the late 1920’s Blampied began to paint Oil on board in oils and watercolours; works which attracted the interest Signed and dated Blampied 1934 and inscribed of a new group of collectors, many from America. With the Wimereux at the lower centre decline in the etching market in the 1930’s, Blampied began to concentrate more on paintings, drawings and 204 x 291 mm., 8 x 11 ½ in. watercolours, several of which were exhibited in London, Glasgow and New York in the 1930’s. Provenance: Sir Bruce Ingram, Chesham This appealing picture may be included among a series of a The Ruskin Gallery, Stratford-on-Avon landscapes painted on small wooden panels by Blampied. The artist visited the small port of Wimereux (or Vimereaux), Although Edmund Blampied began his career as an illustrator, near Boulogne in the Pas-de-Calais, several times in the he soon took up the art of etching, becoming proficient and 1930’s, often staying with his friend, the writer and journalist quite prolific in the medium, and it is as a printmaker that he Cecil Hunt. The present work later belonged to Sir Bruce is best known today. After the First World War, Blampied also Ingram, one-time editor of the Illustrated London News and began producing lithographs, the subjects of which, like his one of the most enthusiastic collectors of Blampied’s work.

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86 ERICH WOLFSFELD Erich Wolfsfeld’s early career was largely devoted to Krojanke 1884–1956 London printmaking, but by the early 1910’s he began painting in oils, although he preferred working on paper, rather than on canvas. He travelled widely, and was in particular drawn to Study of a Smiling Arab Girl North Africa and the Middle East. He settled in Britain in 1938, bringing much of his work with him. A large and Oil, black chalk and coloured chalks, squared for comprehensive exhibition of Wolfsfeld’s work was held at the transfer in black chalk, on thick white paper Derby Art Gallery in 1953, three years before the artist’s Signed Erich Wolfsfeld at the lower right death. Writing a few years later, one critic noted that ‘He was an artist who loved drawing for its own sake - who could 381 x 286 mm., 15 x 11 ¼ in. combine power and sensitivity - who enjoyed describing the human form either with brush or chalk or the etcher’s Provenance: needle. And he solved the problem of the portrayal of the Among the contents of the artist’s studio at his death human race with an intensity of perception that is deeply Thence by descent to his stepson, Dr. Max Block, Mossley moving particularly in his studies of old men and young Hill, Liverpool children.’ More recently, another critic has written, ‘In [oil paint] and other media, such as chalk or pen and wash, Exhibited: Wolfsfeld demonstrated a wonderful certainty yet fluency in Derby Museum and Art Gallery, Erich Wolfsfeld , 1953 his drawing...He was an artist of rare ability.’

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87 A. MORAEL 20th Century à Madame DEHOUCK, Postière à DUNKERQUE, elle me fut donnée par son mari quelque temps A Young Moroccan Girl après le décès de Madame Dehouck en Janvier 1930 en reconnaissance de services rendus en cette circonstance. M. Maertens.’ pasted onto the old Watercolour backing board Signed and dated A. Morael / Rabat 1921 at the 7 1 300 x 232 mm., 11 /8 x 9 /8 in. lower right A typed label reading ‘ Cette aquarelle, oeuvre Provenance: originale de Mademoiselle MORAEL, elève de Mr. Given by the artist to a Mme. Dehouck, Dunkirk DEBAENE, présente une jeune marocaine faite au By descent to her husband in January 1930 and later given course de son sejour au Maroc. Offerte par l’artiste by him to a M. Maertens

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Above: Facing page: 88 89 HENRI LEBASQUE HENRI LEBASQUE Champigné 1865–1937 Le Cannet Champigné 1865–1937 Le Cannet

A Woman Seated at a Table A Woman in a Doorway

Watercolour and black chalk Watercolour and black chalk Signed Lebasque at the lower right Signed Lebasque at the lower right 5 7 5 271 x 200 mm., 10 /8 x 7 /8 in 274 x 195 mm., 10 ¾ x 7 /8 in.

After the First World War, Henri Lebasque spent much of his As a recent scholar has noted, ‘ Lebasque’s watercolors have time painting in the south of France, and settled for good at a purity of color and line, and yet a lyrical feeling to them as Le Cannet, near Cannes, in 1924. He was an accomplished well...many derive their charm from their elusive, unfinished watercolourist, and worked frequently in the medium. nature, with figures melting or floating under the Riviera sun.’ .’ 92 SOFA

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Above: Facing page: 90 91 HERBERT VAN DER POLL SIR JACOB EPSTEIN Amsterdam 1877–1963 New York 1880–1959 London

The Place de la Bourse, Brussels Sunita

Signed lower right: BRUXELLES/PLACE DE LA Watercolour over an underdrawing in pencil BOURSE/H.V.D POLL/1913 Signed Epstein at the lower right Watercolour and black chalk heightened with 5 583 x 448 mm., 23 x 17 /8 in. touches of bodycolour 244 x 187 mm., 9 ½ x 7 ¼ in. The subject of this drawing is an Indian woman named Amina Peerbhoy, who was to become one of Epstein’s favourite models. Epstein met her at the British Empire Exhibition at Wembley in 1924, and gave her the nickname Sunita. Together with her son Enver and her sister Miriam Patel, Sunita lived with the Epsteins between 1925 and 1931, and posed for numerous drawings and sculptures during this period.

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Facing page: Above: 92 93 PETER PROUD RAOUL MILLAIS Glasgow 1913–1989 Ealing Horsham 1901–1999 Westcote a. The Tenement Room - set design for `For them that Study of Greyhounds Trespass’ Signed with initials lower right and inscribed lower Signed and dated 1948 lower right left: Greyhounds Black chalk and grey wash Coloured chalks, watercolour and bodycolour on 195 x 280 mm., 7 ¾ x 11 in. brown paper 141 x 93 mm., 5 ½ x 3 ½ in. b. The murdered Girl’s Bedroom - set design for `For them that Trespass’ Provenance: Tryon Gallery, London Signed and dated 1948 lower right Raoul Milais was the grandson of Sir John Everett Millais and Black chalk and grey wash is best known for his portraits and equestrian paintings. He 200 x 275 mm., 7 ¾ x 10 ¾ in. was also a passionate huntsman.

Peter Proud was a film production designer, who worked as Art Director on thirty-nine films between 1934 and 1967. The present drawings are set designs for scenes in `For them that Trespass’, directed by Alberto Calvacanti and starring Richard Todd, which was released in 1949.

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94 EDWARD ARDIZZONE, R.A. Haiphong, Vietnam 1900–1979 Rodmersham Green Literature: The Watcher Gabriel White, Edward Ardizzone, London, 1979, colour plate III, between pp.80 and 81 Watercolour over pencil 117 x 220 mm., 4 ½ by 8 ½ in. This is one of a series of sketches of the subject, originally on one sheet, recorded by Gabriel White as being in the artist’s Provenance: collection, and dated by him to circa 1970. It is likely to be an Mrs E. Ardizzone idea for a book illustration.

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95 PATRICK PROCKTOR, R.A. An aspiring musician and part-time fashion model, Gervase Dublin 1936–2003 London Griffiths was a young Oxford graduate who befriended Patrick Procktor in 1968 and who became his lover and model for ‘A Lovely Pear’: Portrait of Gervase Griffiths much of the next two years. As the artist later wrote, ‘ That summer, travelling with Gervase, was the happiest time together...I enjoyed painting him very much and he was a Watercolour patient sitter. It developed into a collaboration, which it always Signed Patrick Procktor at the lower right is to some extent when you paint someone, because they Inscribed and dated “A lovely pear” / SS Bremen have to give such a lot to you and to trust you… ’ This 22.11.68 at the left centre watercolour was drawn on the passenger ship the SS. 1 509 x 357 mm., 20 x 14 /8 in. Bremen, probably on the voyage that took Griffiths and Procktor to New York for an exhibition of the artist’s work. Provenance: Griffiths later settled in South Africa, and died in 1980. As The Redfern Gallery, London, in 1969 Procktor wrote in his autobiography, ‘ he remains in my mind Lord Beaumont quite the most beautiful man I ever saw. ’

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96 MARK ADLINGTON Based in London, Mark Adlington is best known as a painter Born 1965 and draughtsman of wild animals. This large sheet is part of a recent series of drawings and paintings by Adlington of the Arabian Leopard Cub animals of the Arabian peninsula. The artist has spent part of the last few years in the Middle East, studying animals in Oman, which has some of the last wild habitats of several Watercolour on thick white paper endangered species native to the region, and at the Breeding Signed with initials and dated MA/08 at the lower Centre for Endangered Arabian Wildlife in Sharjah, United right Arab Emirates. The Arabian leopard, once found throughout 286 x 414 mm., 11 ¼ x 16 ¼ in. the peninsula, now survives in the wild only in small numbers, and remains in danger of extinction.

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97 MARK ADLINGTON Born 1965 ‘Of all our lost beasts the wolf has been the most interesting to study, and the most challenging to draw, morphing Alpha Male seasonally from a magnificent, heavily furred ice creature, to the rangy, spindle-tailed gangle of the summer. This Watercolour, charcoal and coloured chalks on white ambivalence runs through both the myth and reality of wolves…Watching the Polish wolf pack in the Parc Animalier paper de St. Lucie in France over the last two years was absorbing: Signed with initials and dated MA/07 at the lower right it is the close parallels between these highly individual social Inscribed Alpha Male at the lower right animals and ourselves that fuel the fascination and fear.’ (Mark 3 297 x 415 mm., 11 ¾ x 16 /8 in. Adlington, 2001).

101 SOFA

98 MARK ADLINGTON Born 1965

A Raven

Watercolour, black ink and blue chalk on white paper Signed with initials and dated MA/07 at the lower right 3 290 x 400 mm., 11 /8 x 15 ¾ in.

102 SOFA

99 VICTOR KOULBAK Born 1946

Model

Silverpoint and watercolour. 318 x 259 mm., 12 ½ x 10 in.

Drawn in 2005.

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100 ANNE CONNELL Born 1959

Still Life with Loggia

Gouache on handmade carta marmorizzata Anne Connell lives and works in Portland, Oregon, and has fiorentina . exhibited widely in America over the past two decades. In 330 x 330 mm. (13 x 13 in.) November 2009 Stephen Ongpin Fine Art mounted the first exhibition of Connell’s paintings to be held in Europe, which Drawn in 2003. included fourteen recent works by the artist.

104 INDEX OF ARTISTS

ADLINGTON, Mark nos.96-98 DELUERMOZ, Henri no.83 ALLINGHAM, Helen no.77 DE WINT, Peter nos.27 & 38 ALLOM, Thomas nos.42-43 ANDREASI, Ippolito no.1 EPSTEIN, Jacob no.91 APPIAN, Louis no.75 ARDIZZONE, Edward no.94 FARINGTON, Joseph no.8 FERGUSSON, John Duncan nos.81-82 BECKER, Peter no.49 FLEMISH SCHOOL no.13 BERTIN, François Edouard no.30 FRASER, Robert Winchester no.61 BESSA, Pancrace no.23 FRENCH SCHOOL no.16 BEVERLY, William Roxby no.32 FREY, Johann Jakob no.21 BIDA, Alexandre no.31 BIRKET FOSTER, Myles nos.63-64 GANDOLFI, Mauro no.9 BISON, Giuseppe Bernardino nos.11-12 GEORGY, Wilhelm no.60 BLAMPIED, Edmund no.85 GOBAUT, Gaspard no.48 BOLDINI, Giovanni no.72 GOODALL, Edward Angelo no.57 BONE, Sir Muirhead no.78 BONHEUR, François-Auguste no.46 HAAG, Carl no.58 BRABAZON, Hercules Brabazon nos.67-70 HARPIGNIES, Henri-Joseph nos.65-66 BRANWHITE, Charles no.74 HAYWARD, John Samuel no.47 HERBERT, Alfred no. 50 CALLOW, William no.40 HERVIEU, Louise no.73 CHINNERY, George no.44 HILLS, Robert no.37 COLLINS, William no.51 HOWITT, Samuel no.18 CONNELL, Anne no.100 HUNT, Alfred William no. 62 COX JUNIOR, David no.53 HUNT, William Henry no.20 CROMEK, Thomas Hartley no.33

105 INCE, Joseph Murray no.28 PROUT, Samuel no.29 ISABEY, Eugène no.59 PYNE, James Baker no.52

KNIGHT, Ellis Cornelia no.15 RAFFAELLINO Motta da Reggio no.2 KOULBAK, Victor no.99 RICHARDSON JUNIOR, Thomas Miles nos. 34-35 LA CAVE, Peter no.17 ROWLANDSON, LAMORNA BIRCH, Samuel John no.84 Thomas nos.10, 14 & 19 LEBASQUE, Henri nos.88-89 LEGROS, Alphonse no.80 SCHELFHOUT, Andreas no.39 LEVY, Henri Léopold no.54 LOEVY, Edward no.71 VAN DER POLL, Herbert no.90 VANNI, Giovanni Battista no.5 MALOSSO, Giovanni Battista Trotti no.4 VARLEY, John no.36 MENPES, Mortimer no.45 MILLAIS, Raoul no.93 WESTENBERG, George Pieter no.41 MORAEL, A. no.87 WIMPERIS, Edmund Morison no.25 MUZIANO, Girolamo no.3 WOLFSELD, Erich no.86 WYLD, William no.24 NICHOLL, Andrew no.56 NORTH ITALIAN SCHOOL no.6

O’NEILL, Hugh no.22 ORIENTALIST SCHOOL no.76

PAYNE, William no.26 PLACE, Francis no.7 POYNTER, Edward John no.55 PRINS, Pierre no.79 PROCKTOR, Patrick no.95 PROUD, Peter no.92

106 Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby's British Pictures department in 1993. He quickly 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 a gallery on St James's, which he shares with Stephen Ongpin. Guy's main yearly exhibition of early drawings and watercolours is in May and June and he also exhibits at the Watercolours and Drawings Fair in late January and the Winter Olympia Art and Antiques Fair in November. He also advises clients on their collections, buys and sells on their behalf and can provide insurance valuations.

Stephen Ongpin has more than twenty years of experience as a dealer in Old Master and 19th century drawings. He began his career in 1986 at the long-established gallery of P. & D. Colnaghi, working at the firm's New York branch for ten years before moving to London in 1996. Working closely with Jean-Luc Baroni, Stephen was responsible for organizing the drawings exhibitions mounted by the gallery, and for researching, writing, and editing their annual catalogues of Master Drawings. In 2001 he joined Baroni in forming Jean-Luc Baroni Ltd. in London, with Stephen continuing to assume responsibility for the new firm's drawing department, organizing their successful drawings exhibitions and writing the accompanying catalogues. He has to date researched and written nearly thirty scholarly catalogues of drawings. Since 2006 Stephen has worked as an independent dealer and consultant in the field of Old Master, 19th century and Modern drawings. working from a gallery in St. James's in London shared with Guy Peppiatt. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.

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

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