ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 21St Century

S D R E U S R G O D L D IN N O N U W C A A H R

R E E T D N A O W

ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT 2019-2020

GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century

WINTER Catalogue 2019–2020

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 We are delighted to present the twelfth edition of our annual Winter catalogue of One Hundred Drawings and Watercolours. The catalogue presents a wide range of British and European drawings and watercolours, placed more or less in chronological order, dating from the late 16th century to the present day. Although the areas of Old Master drawings, early British drawings and watercolours and 19th and 20th Century drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will hopefully show that a fine drawing or watercolour – whatever the date and whoever the artist – is always worthy of note.

As the enclosed price list shows, the prices of the drawings in this catalogue range from a few hundred pounds to around £15,000, with most of the works at the lower end of this range. The catalogue aims to show that drawings and watercolours by well-established artists can be affordable, as can interesting works by lesser-known artists. We believe that there is much here for the novice collector, as well as the more experienced connoisseur or curator. Indeed, we are very pleased that a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past twelve years.

Our respective individual catalogues of more significant drawings will be issued in January and May 2020, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this new Winter catalogue of moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at our gallery over the coming months.

Stephen Ongpin Guy Peppiatt

The following catalogue contains drawings and watercolours 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 in red at the top of each page; please therefore direct any enquiries as appropriate.

For reasons of space, only a very brief account of each drawing is given in the catalogue. Further information, artist’s biographies and full references, as well as high-resolution digital images of each of the works, are available on request, as well as on our respective websites.

The drawings are available for viewing from receipt of the catalogue. A price list is included. Please note that most, but not all, of the works are sold framed.

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1 CIRCLE OF DOMENICO CAMPAGNOLA Provenance Venice(?) c.1500-1564 Padua Mathias Komor, New York (Lugt 1882a) P. & D. Colnaghi, London Landscape with a Mill Private collection

Pen and brown ink 413 x 280 mm., 16 ¼ x 11 in.

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2 MARCO MARCHETTI, CALLED MARCO DA Known as Marco da Faenza after his birthplace, Marco FAENZA Marchetti is best known as a designer and painter of Faenza(?) before 1528-1588 Faenza grotesque decorations. The recto of this double-sided sheet is a fine example of Marco da Faenza’s distinctive draughtsmanship, characterized by fluid penwork and areas Recto: Study for a Massacre of the Innocents: A Roman of soft brown wash. Drawings by Marchetti are relatively Soldier with a Mother and Child scarce and, since they can only rarely be connected with Verso: A Group of Draped Women and Children known works, are often difficult to date. The present sheet may have been intended as a preliminary study for the Pen and brown ink and brown wash artist’s fresco of The Massacre of the Innocents painted in The verso in red chalk and red wash the late 1570s for the logge of Gregory XIII in the Vatican, Illegibly inscribed in brown ink at the lower left although the precise arrangement of the figures in this 5 5 drawing does not appear in the finished work. 195 x 133 mm., 7 /8 x 5 /8 in.

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3 AVANZINO NUCCI several commissions for altarpieces and frescoes in the Gualdo Tadino 1551-1629 Rome city, although very little of this work survives today. His distinctive draughtsmanship – notably a preference for The Marriage of the Virgin pen and ink with extensive white heightening on blue or grey-green paper, which gives his drawings a highly finished appearance – led the scholar Philip Pouncey to assemble Pen and brown ink and brown wash, heightened a group of some fifty drawings by the artist under the with white, on blue paper provisional name of the ‘pseudo-Bernardo Castello’. In Inscribed Avanzino at the lower centre and 1967 Pouncey was able to identify the artist on the basis of Pomerancio at the lower right a preparatory study for a figure in an altarpiece by Nucci in 3 5 248 x 170 mm., 9 /4 x 6 /8 in. San Silvestro al Quirinale in Rome. A typical and attractive example of Nucci’s manner of drawing, the present sheet Among the less well-known exponents of the late remains unrelated to any extant painting, though this is not Mannerist tradition in Rome, Avanzino Nucci received unusual given the paucity of surviving works by the artist.

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4 FILIPPO LIAGNO, CALLED FILIPPO Marco Chiarini, Teodoro Filippo di Liano detto Filippo NAPOLETANO Napoletano 1589-1629: Vite e opere, Florence, 2007, Naples or Rome 1589-1629 Rome pp.460-461, no.388 Filippo Teodoro de Liagno, better known as Filippo Ships on a Stormy Sea Napoletano, studied in Naples and Rome, but by 1618 was working at the court of the Grand Duke Cosimo II Pen and two shades of brown ink and brown wash de’ Medici in Florence. He returned to Rome in 1621, Made up at the top left corner, and the sheet backed where he worked on the decoration of a number of villas 1 1 165 x 257 mm., 6 /2 x 10 /8 in. and palaces. For the remainder of his career Napoletano was active in both Rome and Naples, producing cabinet Provenance pictures of battle scenes, landscapes and marine subjects. Mathias Komor, New York Both thematically and stylistically, the present sheet may be Anonymous sale, London, Sotheby’s, 2 July 1990, lot 155 compared with a large and impressive drawing of a Naval Galerie Paul Prouté, Paris, in 1993 Battle in the Louvre and a Shipwreck in the Albertina in Anonymous sale, Paris, Hôtel Drouot, 20 October 2000, Vienna, while another drawing of ships on a stormy sea, lot 160 more freely executed, is in the Art Institute of Chicago. P. & D. Colnaghi, London, in 2003 Perhaps the best compositional comparison, however, Private collection may be made with a drawing of Boats in a Storm in the Biblioteca Academiei Romî in Bucharest. Literature Marco Chiarini, ed., I disegni italiani della Biblioteca A painting of similar subject and composition appeared dell’Accademia di Romania a Bucarest: Catalogo generale, on the art market in Rome in the 1900s with a plausible Florence, 2004, p.74, under no.XXXVII attribution to Agostino Tassi.

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5 JEAN-BAPTISTE TAVERNIER Pieces, published in Bruges between 1651 and 1672. Flemish(?); Active in the second half of the 17th Intended as a guide to penmanship, a manuscript copy of century this work is in the collection of the Newberry Library in Chicago, in the form of a vellum-bound volume of around fourteen sheets of calligraphy models – mostly signed A Calligraphic Design for a Frontispiece ‘Tavernier’ – written in different languages and with various types of script, that are stylistically closely comparable to Pen and brown ink the present sheet. The Newberry album, however, has a Inscribed, signed and dated EXEMPLAREN / VAN / different title page, which reads (in calligraphy) ‘Exemplaer- Verscheyden geschriften / Seer nut in de bequaem voor Boeck, inhoudende diuersche soorten ban gheschriften ... / Alle beminders en Liefhebbers der Pennen / DOOR / gheschrieven ende gemaeckt door J. B. Tauernier’. It may Joannes Baptista Tavernier / Anno 1652 in the centre be, therefore, that the present sheet was intended as a 1 7 205 x 302 mm., 8 /8 x 11 /8 in. [sheet] frontispiece for another album of calligraphic studies by Tavernier that was never printed or published. Provenance Anonymous sale, Brussels, Les Nouvelles Galeries de It remains unclear whether the artist responsible for this Paris, 23-24 October 1995, lot 656 drawing may be identified with the famous French gem Jacques Hollander, Ohain, Belgium merchant and traveller Jean-Baptiste Tavernier (1605- 1689), who made six long voyages to Persia and India The inscription may be approximately translated as between 1630 and 1688. Tavernier was the son and ‘Examples of penmanship, very useful for all those who nephew of cartographers, and it is thought likely that he admire writing, by Jean Baptiste Tavernier, in the year 1652’. had some practice of both cartography and engraving. In This drawing may have served as an unused design for the the year 1652, however, he is known to have been in the frontispiece of J. B. Tavernier’s Collection of Calligraphic midst of the fourth of his famous voyages, to India.

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6 NORTHERN SCHOOL 17th Century

Landscape with a Castle on a Hill

Pen and brown ink and violet wash, with framing lines in black ink Inscribed Scoffer and gall(?) in the lower margin 3 3 106 x 147 mm., 4 /8 x 5 /4 in.

Provenance Private collection, France

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7 ASTOLFO PETRAZZI The Sienese artist Astolfo Petrazzi was a student of Ventura Siena 1580-1663 Siena Salimbeni, and may also have studied with Francesco Vanni and Pietro Sorri. After a period of about ten years in The Miracle of the Loaves and Fishes Rome, where he painted an altarpiece for San Giovanni dei Fiorentini, Petrazzi returned to Siena in 1631. Among his important works are altarpieces for the Sienese churches Pen and brown ink and brown wash of Sant’Agostino and Santo Spirito, as well as paintings of Inscribed Nasini on the verso historical subjects in the Palazzo Pubblico in Siena. Petrazzi 3 3 170 x 376 mm., 6 /4 x 14 /4 in. was also a gifted painter of still life subjects, executed in a combination of a Caravaggesque and Northern manner. Provenance Anonymous sale, Amsterdam, Mak van Waay, 15 The essential characteristics of Petrazzi’s draughtsmanship December 1969, lot 339 (as Federico Zuccaro) were established in a pioneering article published by Philip Dr. C. Richartz, Rotterdam Pouncey in 1971, when he grouped a number of previously P. & D. Colnaghi, London, in 1992 anonymous drawings under the name of the artist on Private collection, Middlesex the basis of a signed drawing in the Albertina in Vienna. Pouncey noted that the present sheet, which is a design for Literature an overdoor painting or fresco, may be contemporary with Philip Pouncey, ‘Trois nouveaux dessins de Rutilio Manetti two similar drawings by Petrazzi, depicting A Franciscan et une hypothèse sur Astolfo Petrazzi’, Revue de l’Art, Monk Preaching and Figures Praying before a Tomb, both 1971, p.71, note 20, fig.18 in the Louvre. Also stylistically comparable is a drawing of Christ in Limbo in a private collection in Portugal.

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8 WALLERANT VAILLANT Born in Lille, Wallerant Vaillant settled in Amsterdam in Lille 1623-1677 Amsterdam 1642, and there established a reputation as a portrait draughtsman and, later, a mezzotint printmaker, becoming Portrait of a Dutch Soldier, Wearing an Embroidered one of the first professional advocates of the medium. Vaillant produced around a hundred large-scale portrait Collar over Armour drawings in chalk, of which the present sheet, dated 1649, is a fine example. His highly-finished drawings, executed Black chalk and stumping, with highlights in white with stumped black and white chalks on blue paper, are chalk, on blue paper characterized by a controlled treatment of light and shade. Signed and dated Vaillant f. / 1649 at the upper left Around three quarters of Vaillant’s drawings are dated to The sheet made up with strips at the top, left and the early part of his career, between 1642 and 1653, and right edges, and with some made up areas at the among his sitters were the burgomasters, magistrates, bottom edge merchants and soldiers of Amsterdam, as well as foreign 3 1 dignitaries and noblemen. A closely comparable drawing 417 x 360 mm., 16 /8 x 14 /8 in. of the Dutch soldier Jacob Bicker, signed and dated 1643, in which the sitter is also depicted in armour, is in the National Gallery of Ireland in Dublin.

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9 LUCAS VAN UDEN a relatively small scale, and made a particular speciality Antwerp 1595-1672 Antwerp of woodland scenes. His biographer Arnold Houbraken noted that he often ‘awoke at the crack of dawn and went A Wooded Landscape with Houses Seen Across a River out to the fields and the woods’ to draw. Only a very few watercolours by the artist can be identified as preparatory studies for landscape paintings, and most seem to have Pen and brown ink and brown wash, with blue, been produced as finished works of art in their own right. green and red washes A faint sketch of a church in black chalk on the verso, This is a fine example of the landscape studies for which backed van Uden was best known, and the combination of 7 7 98 x 149 mm., 3 /8 x 5 /8 in. delicate pen and ink lines with touches of watercolour is a characteristic feature of his draughtsmanship. As one Provenance scholar has noted, ‘In his many water-colour drawings Van P. de Ramaix (Lugt 4099), his stamp on the verso Uden often achieved a refinement and a certain tenderness that are not always present in his paintings; it is as though he A landscape painter, draughtsman and engraver, Lucas could express himself better in smaller works. The drawings van Uden is supposed to have worked in the studio of give a good picture of the flat Flemish country and the wooded Rubens, although this is by no means certain. By 1628 he fringes of Wallonia. Water often plays an important part in his was registered at the guild in Antwerp, and it was there compositions. It is questionable whether the drawings were that he spent almost the whole of his career, apart from made direct from nature; they seem rather to have been a tour along the Rhine between 1644 and 1646. As a conceived as ‘finished’ studio pieces based on sketches made landscape painter, van Uden was at his best working on out of doors in chalk or with the pen.’

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10a NORTHERN SCHOOL Literature First quarter of the 17th century Joachim Jacoby, Die Zeichnungen von Adam Elsheimer: Kritischer Katalog, Frankfurt am Main, 2008, p.343, note The Martyrdom of Saint Paul 262 Despite their evident high quality, the authorship of this Gouache on vellum, laid down on wood. finely executed pair of gouache drawings on vellum has t Inscribed Callot / 1592 + 1635 / martyre de S . Pa- / thus far proved difficult to establish. Their traditional -t Paul on the backing board attribution to the 17th century French draughtsman and 3 75 x 96 mm., 3 x 3 /4 in. printmaker Jacques Callot (1592-1635) is untenable, nor are they copies of any etchings by the artist. A more recent Provenance attribution to the Strasburg artist Johann Wilhelm Baur André Novak(?), according to a label on the old backing (1607-1642), who developed a particular specialty of small board gouache drawings on vellum depicting landscapes, battle scenes and allegorical subjects, is more plausible, yet the present pair would appear to be somewhat earlier in date.

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10b NORTHERN SCHOOL The artist responsible for this pair of Biblical scenes must First quarter of the 17th century have been inspired by the paintings of the German artist Adam Elsheimer (1578-1610), and in particular the small- The Martyrdom of Saint Peter scale religious scenes on copper painted by the artist in the first decade of the 17th century in Rome. Elsheimer’s small paintings, often crowded with figures and full of detail, Gouache on vellum, laid down on wood were highly influential on the succeeding generation of 3 76 x 96 mm., 3 x 3 /4 in. Dutch, Flemish and German artists working in Rome. It is likely, therefore, that the author of this pair of gouaches – Provenance characterized by a dynamic composition and highly refined André Novak(?), according to a label on the old backing technique – may be found among the Northern artists board active in Rome in the first quarter of the 17th century.

Literature A tentative attribution to the German painter Pieter Joachim Jacoby, Die Zeichnungen von Adam Elsheimer: Schoubroeck (c.1570-1607) has also been suggested. Kritischer Katalog, Frankfurt am Main, 2008, p.343, note Of Flemish origins, Schoubroeck worked in Nuremberg 262 and Frankenthal, and is best known for small and crowded scenes of Old and New Testament subjects, landscapes and battle scenes, often painted on copper.

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11 NICOLAS LANCRET Mary Tavener Holmes, who has kindly confirmed the Paris 1690-1743 Paris attribution of this drawing to Lancret, has suggested that it is an early work, datable to c.1721-1722. She likens the A Standing Woman with her Left Arm Outstretched present sheet in particular to such red chalk drawings by Lancret of the early 1720s as a study of a seated woman in the Musée des Beaux-Arts in Lille and three drawings Red chalk of standing or seated women in the Rothschild Collection 1 3 160 x 85 mm., 6 /4 x 3 /8 in. at Waddesdon Manor in Buckinghamshire. Another red chalk drawing in Lille, of a seated woman, is also stylistically Provenance comparable. Anonymous sale, Paris, Galerie Georges Charpentier, 26 June 1924, lot 18 (as Watteau?)

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12 DONATO CRETI AND STUDIO His sale, London, T. Philipe, 26 January – 4 February 1804, Cremona 1671-1749 Bologna lot 190 Probably acquired at the sale by Sir William Forbes, 7th Five Drawings on an Album Page Bt. of Pitsligo, Colinton House and Fettercairn House, Kincardineshire Thence by descent in the Forbes family Each pen and brown ink, of circular or oval format, laid down within a wash mount with gold lines on an The top and two bottom drawings on this album page may album page be fully attributed to Donato Creti, but the two drawings The album page inscribed Donato Creti., and of putti are the work of an artist in his studio or circle. Cremonese at the bottom The attribution of the three drawings by Creti on this 3 Various dimensions, ranging from 59 x 77 mm. (2 /8 album page has been confirmed by Marco Riccòmini, who 5 1 suggests that the circular drawing at the top may have been x 3 in.) to 119 x 90 mm. (4 /8 x 3 /2 in.) Album page: 508 x 383 mm., 20 x 15 in. part of a larger composition. Two similar album pages, each containing seven small drawings by or attributed to Creti, were once in the collection of Sir Joshua Reynolds; one of Provenance these is today in the Courtauld Gallery in London. John McGouan, Edinburgh (Lugt 1496)

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13 PIERRE PARROCEL Parrocel, Parrocel made his career in Avignon, where Avignon 1670-1739 Avignon among his earliest independent commissions was a series of paintings for the church of Saint Pierre. Over the next thirty or so years of his career, Parrocel painted numerous works The Head of a Bearded Man for churches in Avignon, as well as in Arles, Carpentras, Marseille, Moulins, Nîmes and Tarascon. Black and white chalk on light brown paper 5 3 193 x 135 mm., 7 /8 x 5 /8 in. A comparable drawing by Pierre Parrocel of a bearded man is in the Musée Atger in Montpellier, while another A member of a prominent local family of artists active over similar study of the heads of two women was at one time several generations, the Baroque painter Pierre Parrocel in the collection of Jean Masson and was sold at auction in was known for religious works. A pupil of his uncle Joseph Paris in 1923.

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14 BIBIENA FAMILY treatises, notably Varie opera di prospettiva (Various Works of 18th Century Perspective). Ferdinando’s three sons Alessandro, Antonio and Giuseppe and his nephew Giovanni Carlo were also Design for a Stage Set: The Interior and Courtyard of active as architects and scenographers. Giuseppe Galli Bibiena was arguably the most successful and distinguished a Palace member of the family, becoming chief architect and designer of court festivities for the Emperor Charles VI in Pen and brown ink and grey wash Vienna, and also working at the Prussian court of Frederick Inscribed and dated Galli(?) / 1760 at the lower right the Great in Berlin. 1 204 x 241 mm., 8 x 9 /2 in. Drawings by the Bibiena family are notoriously difficult Provenance to attribute to a specific artist, since nearly every work Benjamin Wolff, Engelholm, Denmark (Lugt 420) produced by the members of the dynasty share a similar and distinctive style and handling. The present sheet is a Three generations of theatre architects and stage designers, design for a stage set, a field in which the Bibiena were the Galli Bibiena family served the courts of Europe for over perhaps most highly regarded. While very few of their a century. The brothers Ferdinando and Francesco Galli works as theatrical designers or decorators survive, the Bibiena established the reputation of the family as architects variety and magnificence of the Bibiena dynasty’s stage and stage designers; both worked at the Hapsburg court designs can readily be admired from such elaborate in Vienna, while Ferdinando also published a number of drawings as this.

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15 JOSEPH-FRANÇOIS PARROCEL in 1717 and again between 1736 and 1740, studying at Avignon 1704-1781 Paris the Académie de France. Agrée at the Académie Royale as a history painter in 1753, Parrocel regularly exhibited Virtue Defeating Vice both paintings and drawings at the Salon between 1755 and 1781. He also received ecclesiastical commissions, often for such Benedictine churches as the abbey of Mont Pen and brown ink and grey wash Saint-Quentin in Picardy, and painted a number of military Signed j f Parrocel at the lower left scenes, some of which are at Versailles. The sheet with a shaped top, and laid down on another sheet Relatively few drawings by J.-F. Parrocel are known outside 7 3 201 x 146 mm., 7 /8 x 5 /4 in. of a large group of some fifty sheets in the Louvre. His drawings, most of which are signed, are characterized by a A member of a prominent local family of artists active spontaneity and vivacity that allows for a particular freedom over several generations, Joseph-Ignace-François Parrocel of expression. was a pupil of his father Pierre Parrocel. He was in Rome

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16 LAURENT HUBERT Luc, where he was appointed a professor in 1775, Hubert Paris, active between c.1749 and c.1780 exhibited clay and wax models and small bronzes at the Salons of 1752, 1753 and 1756. Design for a Sculpture: Venus and Cupid A closely comparable female nude appears in a rare signed drawing by Hubert of a design for a sconce, formerly Black chalk on buff laid paper in the Wunder collection. The handful of other extant 5 1 322 x 210 mm., 12 /8 x 8 /4 in. drawings by or attributed to Hubert, including a study for a chimneypiece in the Metropolitan Museum of Art, The present sheet may be grouped with a small number of are stylistically comparable with the present sheet. As has drawings by the French ornamental sculptor and designer been noted, ‘it is evident that Hubert was never a sculptor Laurent Hubert. Little is known of Hubert, by whom only in the strict sense but that he practiced rather as a designer two or three signed or inscribed drawings are known. of objects of household adornment that were intended to be He is first recorded in 1747 as a modeller at the Sévres carried out by specialized craftsmen.’ porcelain factory. A member of the Académie de Saint-

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17 FRIEDRICH HEINRICH FÜGER Appointed director of the Akademie in 1795, he rose Heilbronn 1751-1818 Vienna to become the foremost neoclassical artist in Austria. A respected and fashionable portrait painter, Füger received Portrait of Angelica Kaufmann numerous commissions from the Imperial Habsburg court and the Viennese aristocracy, and also produced portraits of friends and contemporaries. The onset of an eye Pen and grey ink and wash, over an underdrawing disease in 1798, however, forced him to abandon painting in pencil miniatures. Inscribed Bildnis der Angelica Kaufman at the bottom 7 3 199 x 138 mm., 7 /8 x 5 /8 in. The present sheet is a portrait of Füger’s fellow artist, the painter Angelica Kauffman (1741-1807), and is typical of his The German painter Friedrich Heinrich Füger showed a refined draughtsmanship. It may be compared stylistically talent as a portrait miniaturist at an early age, and established with a drawing of Two Young Women (The Gräfinen Tries) in a successful career in Vienna, where he settled in 1774. the Albertina in Vienna. In 1776 he travelled to Italy, returning to Austria in 1783.

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18 GILLES-PAUL CAUVET The sculptor, architect, engraver and ornamental designer Aix-en-Provence 1731-1788 Paris Gilles-Paul Cauvet was particularly known and regarded for his interior decorations, as well as his designs for boiseries, An Acanthus Leaf furniture, clocks and gilt bronze ornaments. His distinctive style, with its use of motifs such as acanthus leaves and scrolls, was characterized by a particular lightness and Red chalk, with framing lines in red chalk elegance. Appointed sculpteur des bâtiments du roi, Cauvet Signed and dated Cauvet - 1771 at the lower left worked at the Palais-Royal, the Luxembourg Palace and 7 227 x 199 mm., 9 x 7 /8 in. the Opéra at Versailles, and also decorated the interiors of many private hôtels particuliers in Paris. In 1777 he published Provenance the Recueil d’ornemens à l’usage des jeunes artistes qui se Martine-Marie-Pol de Béhague, Comtesse de Béarn, Paris destinent à la decoration des bâtiments, intended to serve Béhague sale, Paris, Hôtel Drouot, 29 November 1995, as a compendium of models for young artists studying part of lot 114 interior decoration. The present sheet is close to one of Trinity Fine Art, London, in 1996 the engraved plates in the Recueil d’ornemens, and similar acanthus leaves are found throughout Cauvet’s oeuvre.

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19 ATTRIBUTED TO PIERRE-ADRIEN PÂRIS began working as an architect and decorator, and in 1778 Besançon 1745-1819 Besançon was appointed dessinateur du cabinet du Roi to Louis XVI. Two years later Pâris was admitted into the Académie View of the ‘Temple of Jupiter Serapis’ at Pozzuoli, after Royale d’Architecture, and in 1784 was named architect of the Menus Plaisirs du Roi. The Revolution found Pâris in Hubert Robert semi-retirement, but by 1806 he was back in Italy, serving as acting director of the French Academy in Rome and also Red chalk helping to direct excavations at the Colosseum. 1 1 235 x 311 mm., 9 /4 x 12 /4 in. Pâris made several first-rate drawn copies after the Italian Pierre-Adrien Pâris enrolled in the Ecole Royale landscape drawings of Fragonard and Hubert Robert. The d’Architecture in Paris in 1860. Although he failed three composition of the present sheet is derived from a slightly times to win the Prix de Rome, he was able to study larger red chalk drawing of the so-called ‘Temple of Jupiter informally at the Académie de France in Rome, where he Serapis’ at Pozzuoli by Robert, datable to 1760 and today arrived in 1769. It was there that he met Jean-Honoré in a private collection. Although it follows Robert’s drawing Fragonard, whose drawings were to be a particular fairly closely, there are a handful of significant differences inspiration. Pâris travelled extensively in Italy, making a between the two compositions, notably the figures of a particular study of the Roman ruins at Paestum, Pompeii man and a woman at the left of centre, which replace the and Herculaneum. On his return to France in 1774, he two women found in Robert’s drawing.

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20 ANTHONY DEVIS Provenance Preston 1729-1817 Albury, Surrey With Leger Galleries, London, June 1985 With Spink-Leger, London (K3 11397) View in the Fields above the Parsonage, Albury, Surrey Private Collection Devis lived at Albury House near Guildford from 1780 Signed with initials lower right until his death in 1817 and he drew extensively in the Pen and grey ink and watercolour with pen and grey grounds of the house. ink border Image 137 x 200 mm., 5 ¼ x 7 ¾ in.

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actual size

21 LOUIS-GABRIEL MOREAU THE ELDER and was given lodgings in the Louvre. He exhibited at the ‘open’ Salons held between 1797 and 1804, where Paris 1740-1806 Paris he showed landscapes of Paris and its environs. Unlike many of his contemporaries, Moreau never seems to have A River Landscape with a Seated Woman visited Italy, and his landscapes are rather less Italianate than they are typical scenes of the French countryside. Nature, Gouache on paper in all its variety, was the artist’s main concern, and in his 5 67 mm., 2 /8 in. diameter compositions figures are always quite small and subordinate to their surroundings. As a draughtsman, Moreau worked Provenance primarily in watercolour and gouache, both techniques in David David-Weill, Paris, until 1936 which he was able to achieve a remarkable spontaneity Wildenstein, Paris and freedom of handling, allowing him to capture effects of Sir Charles Clore, London light and atmosphere. His posthumous sale, London, Sotheby’s, 10 November 1986, lot 40 Moreau painted only a handful of miniatures of landscapes Erika Pohl-Ströher, Ferpicloz, Switzerland in this circular format. As Francis Watson has noted, with particular reference to the present work, ‘Genre miniatures Known as ‘Moreau l’Aîné’ to distinguish him from his younger were almost as much in favour in France as portraits in little brother Jean-Michel Moreau, Louis-Gabriel Moreau was throughout the XVIII century, but landscape miniatures like a landscape painter and draughtsman of considerable those of Louis Moreau l’Ainé…are very rare. Working in talent. His first exhibited works were watercolour views of gouache and water-colour on paper both in great and in little, ruins, and this type of subject matter remained a common Moreau specialised in delicately sensitive views of the scenery feature of his work throughout his career. Moreau served around Paris painted in a style which anticipates XIX century as painter to the Comte d’Artois, the future Charles X, developments in landscape painting.’

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22 MOSES GRIFFITH Griffith was employed by the celebrated naturalist, writer Bryncroes, Caernarvonshire 1749-1819 Whitford, and antiquarian, Thomas Pennant (1726 – 1798), who Flintshire lived at Downing Hall, from 1769. He remained with the family, working for Thomas Pennant’s sons until at least 1813. Griffith accompanied Pennant on his tours, and Crab, a favourite Terrier at Downing Hall, Flintshire, made detailed records of the sites they visited, many of Wales which served as the basis for the illustrations for Pennant’s numerous publications. Inscribed on reverse of original washline mount: Crab, a favourite Terrier at Downing Downing Hall, Whitford, Flintshire was the seat of the Watercolour over traces of pencil Pennant family from 1627 until 1920, when it was sold. It Oval 180 x 242 mm., 6 ¼ x 9 ½ in. caught fire in 1922, was badly damaged and consequently left uninhabited until it was demolished in 1953.

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23 JOSEPH FARINGTON, R.A. publisher John Boydell and arrived there on 21st August. Leigh, Lancashire 1747-1821 Didsbury, Lancashire He visited Brussels and spent the 3rd to the 7th August in Antwerp. He continued to Ghent and Bruges, then took The Castle at St Antoine near Fontenoy, Belgium the boat home from Ostend and was back in London on 14th September. Two views of Bruges by Farington, dated 11th September 1793, are in the British Museum (see Signed lower right: Jos: Farington and inscribed lower Joseph Farington – Watercolours and Drawings, exhibition left: catalogue, 1977, p.71, nos. 79 and 80) and a view of Castle at S.t Antoine/near Fontenoy/August 10 - 1793 Antwerp was with Guy Peppiatt Fine Art in 2009 (see One Pen and brown ink and grey washes over pencil Hundred Drawings and Watercolours, exhibition catalogue, 259 x 157 mm., 10 x 6 in. 2009, no.8).

Fontenoy is a village near Tournai near the Belgian-French This drawing may originate from a sketchbook sold in border. It is famous as the site of the Battle of Fontenoy the Tyrwhitt sale at Puttick & Simpson on 9th December which took place between the French and English armies 1921, which was inscribed: `The sketches contained in as part of the War of the Austrian Succession in 1745. this volume were made during an excursion to Flanders in the months of August and September 1793.... These Farington’s diary records that he left London on a trip drawings were made for Messrs. Boydells, who at the time to Valenciennes in early August 1793. He had been proposed to have engravings executed from them.’ commissioned to produce views of the town by the

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24 JEAN-BAPTISTE PILLEMENT Rome, Vienna and Warsaw. During the 1750s the young Lyon 1728-1808 Lyon artist began to turn his attention to landscape painting, and his pastoral scenes, seascapes and picturesque views soon Fishermen by a Mill and an Arched Bridge found an appreciative audience. It was in England between 1750 and 1760 that some of his ornamental designs were first engraved and published, and where he established Black chalk, with stumping himself as a fashionable decorative painter. Throughout his 3 1 188 x 286 mm., 7 /8 x 11 /4 in. career, Pillement received several prestigious commissions, from such patrons as the Prince of Liechtenstein, King Provenance Stanislas August of Poland and Marie Antoinette. For much Anonymous sale, Paris, Hôtel Drouot, 4 May 1927, part of the 1780s he was in Lisbon, and it was during this period of lot 12 that some of his finest landscape drawings were produced. Anonymous sale, New York, Sotheby’s, 28 January 1998, His last years were spent in his native Lyon, where he was part of lot 235 employed at the Manufacture de Soie et des Indiennes and P. & D. Colnaghi, London, in 2000 gave lessons in decoration and design. He died in poverty in 1808, a victim of the decline of the French taste for the Jean Pillement was among the most influential decorative rococo in the aftermath of the Revolution. draughtsmen in Europe in the second half of the 18th century, working in Madrid, Lisbon, London, Turin, Milan,

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25a PHILIPPE-LOUIS PARIZEAU Provenance Paris 1740-1801 Paris P. & D. Colnaghi, London, in 1990 Private collection A Sheet of Studies of Five Legs, One of a Child Little is known of the life and work of the painter, draughtsman and engraver Philippe-Louis Parizeau, who Red chalk, with framing lines in red chalk was active in Paris from the early 1760s. A pupil of Johann Signed and dated Ph. L. Parizeau 1785 at the bottom Georg Wille, he worked as an engraver and painter, but Numbered 329 at the lower right only a few examples of his paintings are known today. 5 396 x 255 mm., 15 /8 x 10 in. His prints included reproductive images after the work of François Boucher and Salvator Rosa, as well as genre scenes and religious subjects.

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25b PHILIPPE-LOUIS PARIZEAU Provenance Paris 1740-1801 Paris P. & D. Colnaghi, London, in 1990 Private collection A Sheet of Studies of Four Arms These two drawings would appear to have been drawn by Parizeau as technical exercises, perhaps intended for Red chalk, with framing lines in red chalk the instruction of students. Two closely related drawings Signed and dated Ph. L. Parizeau 1785 at the lower are today in a private collection, while a similar, horizontal left study of hands and feet by Parizeau, signed and dated Numbered 324 in black chalk at the lower right 1761, appeared on the London art market in 1979. 1 1 387 x 258 mm., 15 /4 x 10 /8 in.

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26 THOMAS SUNDERLAND Exhibited Whittington Hall nr. Kirkby Lonsdale 1744-1823 Lowell Libson Ltd, Watercolours and Drawings, 18th and Littlecroft, Ulverston 19th Centuries, 18th November to 12th December 2003, no.8 a. From Birker Moor looking into Eskdale Eskdale is a valley in the west, wilder part of the Lake Inscribed with title on border under mount District. To its south-west, Birker Moor or Fell is an area of Pen and brown ink and watercolour over traces of upland wilderness dotted with hill farms. pencil Image 320 x 458 mm., 12 ½ x 18 in. Sunderland was born at Whittington Hall near Kirkby Lonsdale. He successfully ran the family business of iron Provenance mining and smelting until retiring to a house at Ulverston, With Lowell Libson Ltd, 2003 just south of the Lake District, in the early 1780s.

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b. b. A Waterfall in the Alps which were popular with artists and tourists alike. Turner, Cozens and ‘Warwick’ Smith (see no.27) amongst others, Pen and brown ink and watercolour over pencil all visited the falls and produced numerous drawings and 458 x 343 mm., 18 x 13 ½ in. watercolours. There is no evidence that Sunderland ever visited the Continent and he is known to have copied other artists’ work. It is possible that the subject depicted here shows part of the Reichenbach Falls, near Meiringen, Switzerland,

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27 JOHN `WARWICK’ SMITH Provenance Irthington, Cumberland 1749-1831 London Anonymous sale, Sotheby’s, 25th January 1988, lot 78, one of two a. View in the Apennines between Bologna and Florence ‘Warwick’ Smith travelled to Italy in 1776, under the patronage of the 2nd Early of Warwick, who funded his Inscribed with title by a later hand on reverse of travels. He became well known within the British artistic original mount community in Rome, sketching with William Pars and Watercolour over pencil heightened with touches of Thomas Jones as well as Francis Towne, with whom he bodycolour on laid paper travelled back to England in 1781. 243 x 312 mm., 9 ½ x 12 ¼ in.

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b. Remains of the Temple of Diana on the Coast of Baia and warm climate. It was widely regarded as superior even near Naples to Capri, Pompeii and Herculaneum and the wealthiest, most powerful citizens built luxurious villas there. Due to Inscribed on reverse of original mount in a later hand: volcanic activity over the centuries, part of Baia now lies under the sea, whilst the upper part is still on land. J. Smith/Remains of the Temple of Venus on the Coast of Baia near Naples The Temple of Diana is next to the entrance to the small Watercolour over pencil heightened with touches of port of modern Baia. It was built during the reign of bodycolour on laid paper Hadrian (117-137 AD). Archaeological excavations have 3 3 249 by 324 mm., 9 /4 x 12 /4 in. revealed that this structure was in fact a thermal bath and not a Temple. Provenance Anonymous sale, Sotheby’s, 25th January 1988, lot 78, Another version of this watercolour, dated 1808, is in the one of two Ashmolean Museum, Oxford (see Francis Hawcroft, Travels in Italy 1776-1783, exhibition catalogue, 1988, no.138, Baia was an ancient Roman town on the north-west shore pp.113-4, ill.). On both watercolours, an inscription on of the Gulf of Naples. During the ancient Roman period the reverse incorrectly identifies the subject as the Temple it became a fashionable resort, famed for its spa waters of Venus .

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28 PAUL SANDBY, R.A. Provenance Nottingham 1730-1809 London With the Ruskin Gallery, Stratford-on-Avon

Study of Horses The present drawing is characteristic of the lively, on- the-spot drawings that Sandby produced, which were often subsequently then used as the basis for staffage and Watercolour over pencil on laid paper incidental features in his more highly finished watercolours. 65 x 159 mm., 2 ½ x 6 ¼ in.

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29 CAPTAIN FRANCIS GROSE his own admission) ‘too fat to ride a horse and too poor to Greenford, Middlesex 1731-1791 Dublin keep a carriage’, he travelled extensively throughout Britain and Ireland in search for material for his publications. In the Winchester Cathedral from the South East late 1780s he compiled his Antiquities of Scotland, whilst his Antiquities of Ireland was published posthumously in 1796. Together they contain over 1000 plates and were the most Pen and grey ink and watercolour on laid paper with extensive series of illustrations of ancient monuments. original washline mount Image 253 x 388 mm., 10 x 15 ¼ in. The present drawing ‘which shews the south-east aspect of the cathedral was drawn from Dr Lowth’s garden, in Engraved: the year 1781. The building seen on the south side is his For Francis Grose’s Supplement to the Antiquities of England prebendal house’. (Grose, op. cit., 1783 p.88). Between & Wales, 1783 1885 and 1921, the house was the home of Mary Sumner (1828-1921), the founder of the Mother’s Union. Captain Grose was an antiquary, lexicographer, draughtsman and officer in the militia. Renowned for his William Lowth (1661-1732) was prebendary of Winchester easy company and self-effacing wit, he was regarded by Cathedral. His son Dr Robert Lowth (1710-1781) was a his friends, amongst whom numbered Robert Burns and gifted poet, who was elected professor of Poetry at Oxford Horace Walpole, as the ‘greatest porter drinker of his age’ in 1741, the same year he was ordained in the Church of (Martyn Gregory, The Vulgar Tongue, exhibition catalogue, England. He served as archdeacon of Winchester in 1750, 2019). In 1772, he began work on his ambitious ten before becoming Bishop of London in 1777. He turned volume Antiquities of England and Wales. Despite being (by down an offer to become Archbishop of Canterbury.

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30 THOMAS ROWLANDSON Cornish Wrestling or Wrastling is a form of wrestling London 1756-1827 London particular to Cornwall. During Rowlandson’s lifetime it was at a peak of popularity. A contest at Bodmin in 1811 Cornish Wrestlers in a Town Square attracted a crowd of 4,000 spectators. Rowlandson was a frequent visitor to Cornwall from the mid 1790s to see his friend the banker Matthew Michell who lived at Hengar Pen and grey ink and grey wash over pencil on laid House near Bodmin. These visits lasted until Michell’s paper death in 1817. 93 x 152 mm., 3 ¾ x 6 in.

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31 THOMAS ROWLANDSON Provenance London 1756-1827 London With Walker’s Galleries, London, 1955 With Peppiatt Fine Art, 2014 The Harvesters Private Collection, UK Literature Bears signature lower right: T. Rowlandson. Guy Peppiatt Fine Art, British Drawings and Watercolours, Pen and grey ink and watercolour over traces of exhibition catalogue, 2014, no.18 pencil 240 x 188 mm., 9 ½ x 7 ¼ in.

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32 WILLIAM PEARSON Born in Durham, Pearson moved to London and exhibited Durham 1772-1849 Durham at the RA for the first time in 1799. He was a founder member of the Watercolour Society in 1804, despite Figures by a Country Cottage being based in Shrewsbury between 1802 and 1808. He later returned to his native Durham and is listed in an 1834 Directory as a ‘landscape artist and drawing master’. Watercolour over traces of pencil Throughout his career, his style was deeply influenced by 168 x 184 mm., 6 ¼ x 7 ¼ in. Thomas Girtin (see no.33), as evidenced by the present watercolour. Indeed he seems to have tried to benefit Provenance from this similarity. Girtin and Loshak note that apparently Private Collection, UK ‘Pearson was certainly guilty of one fraudulent transaction, and it is not unlikely that he helped put spurious Girtins on the market, probably assisted by Girtin’s brother John’ (Girtin and Loshak, The Art of Thomas Girtin, 1954, p. 123).

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33 THOMAS GIRTIN One of Girtin’s earliest recorded work was a view of Southwark 1775-1802 London Windsor Castle, which was engraved in 1792 for John Walker’s Copper Plate Magazine, two years before he Horses and Pigs in a Landscape, Windsor first exhibited at the Royal Academy. This drawing dates to 1793-94. We are grateful to Greg Smith for his help in cataloguing this drawing. Indistinctly inscribed and signed lower right: Windsor/ Gi.. Watercolour over pencil 192 x 139 mm., 7 ½ x 5 ½ in.

Provenance Major-General Arthur K. Hay DSO, OBE By descent to his son, Joseph B. Hay until 2017

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34 MAURO GANDOLFI exhibition catalogue, Bologna and Paris, 2016, p.14, Bologna 1764-1834 Bologna illustrated p.18, fig.10

Seven Studies of Heads Mauro Gandolfi enjoyed a relatively brief career as a painter, and it is for his drawings that he is best known today. This is a fine example of the artist’s exquisite draughtsmanship, Pen and brown ink, laid down on an old mount and is among a group of elaborate pen and ink drawings Inscribed G. Gandolfi on the reverse of the mount of studies of heads that were made as independent works 230 x 177 mm., 9 x 7 in. of art for sale to collectors. Mauro carried on a tradition begun by his father Gaetano Gandolfi, who produced a Literature large number of similar drawings of this type. The present Marco Riccòmini, ‘L’arte del disegno’, in Marco Riccòmini, sheet was, in fact, long attributed to the elder Gandolfi. Fogli barocchi: Disegni bolognesi tra Seicento e Settecento,

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35 ROMAN OR FRENCH SCHOOL 18th Century

A Seated Male Nude

Red chalk, with framing lines in brown ink, laid down on an old mount Inscribed and dated Stefano Pozzi 1768 on the old mount 1 5 261 x 371 mm., 10 /4 x 14 /8 in.

Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent

Exhibited Nivå, Nivaagaards Malerisamling, Ældre europaæiske tegninger fra Benjamin Wolffs samling, 1983, no.50.

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36 JACQUES-FRANÇOIS-JOSÉPH SWEBACH, peintre at the Manufacture de Sèvres, a post he held from CALLED SWEBACH-DESFONTAINES 1802 to 1813. His fame as a designer led Czar Alexander Metz 1769-1823 Paris I to summon him to Russia, and between 1815 and 1820 the artist worked in Saint Petersburg as the chief painter of the Imperial porcelain works. However, he continued to Elegant Figures Preparing to go Riding send small cabinet pictures back to Paris to be exhibited at the Salons. These made up a large part of his painted Pencil on laid paper output, and Swebach’s paintings of horse fairs, markets, 1 5 139 x 143 mm., 5 /2 x 5 /8 in. battle and hunting scenes were acquired by a large and enthusiastic group of private collectors. He also produced The young Jacques-Francois Swebach left his native Metz a large number of engravings, and in 1806 published his and settled in Paris, where he began exhibiting at the Encyclopédie pittoresque, a series of lithographs of horses. Salons in 1791, using the name Desfontaines. He soon Swebach continued to exhibit regularly at the Salons until gained a reputation for his paintings and drawings of horses his death in 1823. and military scenes, and was described by one critic as the ‘Wouwerman of our times’. Swebach was appointed premier

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37 LUIGI SABATELLI From the very beginning of his career, Luigi Sabatelli was Florence 1772-1850 Milan highly regarded as a draughtsman. His highly finished pen drawings, and the engravings derived from them, The Head of Andromache Mourning over the Foot of were greatly admired by his contemporaries, and many Hector of the independent drawings were sold to collectors. The present sheet depicts Andromache, the wife of the Trojan prince Hector, mourning over the foot of her husband as Pen and brown ink he lies on his deathbed after his defeat by Achilles. The Inscribed Questa dona a Durelli il professore Sabatelli artist’s inscription at the bottom of the sheet notes that per Sua memoria at the lower centre and right the drawing was presented by him to a certain ‘Durelli’, Further inscribed Fece(?) Luigi in the lower margin probably one of his students during his time as a professor 5 1 295 x 215 mm., 11 /8 x 8 /2 in. at the Accademia di Brera in Milan. This may refer to either the printmaker Gaetano Durelli or his younger brother, the Provenance decorative draughtsman Francesco Durelli, both of whom Possibly given by the artist to Gaetano or Francesco studied at the Brera. Durelli, Milan

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38 JOSEPH CLARENDON SMITH Dovedale is a valley in Derbyshire through which the river London 1778-1810 At Sea Dove flows. It is now owned by the National Trust but has always been a popular tourist attraction. It runs for about Dovedale, Derbyshire three miles from Milldale in the north to near Thorpe Cloud in the south. The interplay of the limestone geology of Dovedale, with its rock formations and the forms of the Indistinctly signed lower right: J.C. Smith f wooded areas, clearly captivated the artist. Watercolour over pencil 235 x 346 mm., 9 ¼ x 13 ½ in. Initially trained as an engraver, Smith established a career as a topographical artist. However, he developed tuberculosis Provenance and in 1810, in the hope that he would benefit from the With the Ruskin Gallery, Stratford-upon-Avon mild climate, he went to Madeira, but died on the return voyage.

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39 PAUL SANDBY MUNN Hugh Lloyd’s Pulpit is a tall, isolated columnar rock, which Greenwich 1773-1845 Margate rests on a broad base, rising from the riverbed in a deep glen, near Ffestiniog. Hugh Lloyd was a reputed sorcerer Hugh Lloyd’s Pulpit near Ffestiniog, North Wales during the reign of James I and apparently delivered his incantations from the summit of the rocky pillar. Signed lower centre: P.S. Munn/1834 and signed and inscribed on reverse of original mount: Hugh Lloyd’s Pulpit/ner Festiniog – N. Wales./P.S. Munn. 1834 Watercolour over pencil heightened with touches of bodycolour 203 x 172 mm., 8 x 6 ¾ in.

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40 WILLIAM BURGESS William Burgess was a conventional eighteenth century London 1749-1812 London topographical artist working in pen and ink and wash who also produced portraits in crayon. His father Thomas a. Moulton Church from the South-West, Lincolnshire Burgess (c.1730-1791) was a portrait painter and his sons Thomas, John Cart and Henry William were all artists. He ran a drawing academy in Maiden Lane, London. Signed on border lower right: WBurgefs Delin. Dec.r The present drawings were both executed in December 28 1797, lower left: Sketch’d on the Spot by W. 1797 and subsequently engraved for a publication on Burgefs and inscribed verso: Moulton Church/SW Lincolnshire and Cambridgeshire churches. Pen and grey ink and wash Sheet 210 x 325 mm., 8 ¼ x 12 ¾ in. Moulton sits in the Fens in Lincolnshire, five miles east of Spalding. All Saints’ Church, Moulton was built in the late Engraved 12th century and in the 1860s. Because of its tall steeple it By W. and H. Burgess for Twelve views of Churches in is sometimes known as `The Queen of the Fens.’ Lincolnshire and Cambridgeshire, 1800-1805

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b. Spalding Church from the South-West, Lincolnshire Spalding stands on the river Welland in the Fens of South Lincolnshire. The foundations of the Church of St Mary Signed on border lower right: Drawn by WBurgefs. and St Nicholas, Spalding, were laid in 1284. The tower Dec.r 21st 1797. Finish’d and lower left: Sketch’d was built in 1360. on the Spot by Wm & H. Burgefs, Oct 4th 1797 and inscribed verso: Spalding Church/SW Pen and grey ink and wash Sheet 210 x 324 mm., 8 ¼ x 12 ¾ in.

Engraved By W. and H. Burgess for Twelve views of Churches in Lincolnshire and Cambridgeshire, 1800-1805

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41 ROBERT HILLS Innovations in livestock breeding during the late 18th Islington 1769-1844 London and early 19th centuries led to artistic commissions from breeders keen to record their successes. Thomas Sidney a. Study of the Head of a Buffalo Cooper, James Ward and Robert Hills were amongst the artists who were most sought after in this field.

Watercolour over pencil heightened with scratching Hills’ watercolours of animals are particularly notable out for being careful, detailed and highly realistic studies, 266 x 216 mm., 10 ¼ x 8 ½ in. characterised by a delicate use of colour and line. Between 1795 and 1815, Hills published nearly 800 animal studies for his extensive series Etchings of Quadrupeds.

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b. Study of the Head of a Deer

Watercolour over pencil 285 x 240 mm., 11 ¼ x 9 ½ in.

Hills was particularly fascinated by deer, which he would often stalk in order to fully understand how they move and their behaviour. This would help him depict them realistically.

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42 EDUARD FECHNER painter Joseph Karl Stieler. Fechner was particularly Gross Särchen 1799-1861 Paris admired for his portraits of women and children, and counted among his patrons the Duke of Leuchtenberg. The Head of a Young Boy Wearing a Fur Hat In 1825 he settled in Paris, where he worked for the remainder of his career. He made his debut at the Salon in 1835, and continued to exhibit there regularly, showing Pencil mainly portraits in oil and watercolour. He also produced a 1 5 210 x 167 mm., 8 /4 x 6 /8 in. handful of etchings, including a portrait of the noted pianist and composer Clara Schumann, to whom he was related Born in Saxony, the painter and draughtsman Eduard by marriage. Clemens Fechner studied at the Akademie in Dresden before completing his training in Munich with the portrait

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43 AUGUSTA INNES WITHERS Withers was the daughter of a Gloucestershire vicar who Gloucestershire 1792-1877 was a chaplain to the Prince Regent. During the 1820s she established a reputation as gifted botanical and fruit Still-life of Flowers in a Vase and vegetable artist, whose careful detailed works with an ability to capture textural nuances were highly regarded. From about 1825 she undertook commissions for the Watercolour and bodycolour heightened with gum Horticultural Society and was involved with numerous arabic prestigious botanical publications. In 1830, she was 354 x 272 mm., 14 x 10 ¾ in. appointed Flower Painter in Ordinary to Queen Adelaide and later to Queen Victoria.

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44 WILLIAM ROXBY BEVERLEY a result, by comparison with many of his fellow artists, he Richmond 1811-1889 Hampstead produced relatively few works. Nevertheless, as one early writer noted, ‘Beverley painted water-colour pictures of rare Fishing Boats on a Beach and delicate beauty, works which alone should suffice to win for him a place in the front rank among our masters of watercolour art.’ A particular interest in skies and atmospheric Watercolour over a pencil underdrawing effects is a legacy of his training as a scenographer. Signed and dated WBeverley [?] Augt. / 28 1835 at the lower right An early work of 1835, this is a fine example of Beverley’s 1 1 258 x 358 mm., 10 /8 x 14 /8 in. lively watercolour sketches. The scene depicted is likely to be one of the fishing communities in the North East Provenance of England, where the artist made several sketching Michael Ingram, Driffield Manor, Driffield, Gloucestershire tours. One of the first critical reappraisals of Beverley’s His posthumous sale, London, Sotheby’s, 6 June 2007, work, published in 1921, noted that ‘there are numbers part of lot 248 of charming little compositions and studies of boats and shipping, of which he had the completest practical knowledge, William Roxby Beverley began his career as a painter of down to the smallest detail...His drawing of the subtly curving scenery for the theatre, and continued to work in this field lines of hulls, his delineation of spars and rigging, is absolutely throughout his life. Although he began exhibiting his marine faultless, and put in with a line unrivalled for certainty and watercolours from 1831 onwards, he continued to make purity.’ his living as a scene painter and, occasionally, as an actor. As

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45 GEORGE BARRET JUNIOR Barret was one of the founding members of the Old London 1767-1842 London Watercolour Society in 1804 and always lived in the Paddington area of London. From the early 1820s he A Classical City produced fewer topographical views and concentrated on romantic Claudean compositions like the present work. Watercolour over pencil heightened with bodycolour and stopping out 366 x 545 mm., 14 ½ x 21 ½ in.

Provenance Anonymous sale, Sotheby’s, 16th December 1976, lot 110 Bought by the present owner from Michael Bryan, 1980 Private Collection, UK

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46 JOHN SELL COTMAN This relates to a watercolour in Norwich Castle Museum Norwich 1782-1842 London of this title dated 1809. It was Cotman’s exhibit at the Norwich Society in 1809 (see Miklos Rajnai and Marjorie Fish Swills, Rudder, etc. Allthorpe-Guyton, John Sell Cotman – Early Drawings (1798-1812) in Norwich Castle Museum, 1979, no.82, ill. pl.52). Another version of this drawing, with colour notes, Pencil is also in Norwich Castle Museum (op. cit., no.81, ill. 139 x 263 mm., 5 ½ x 10 ¼ in. pl.51). Cotman drew a number of studies of fishing tackle and beached boats at this period which were probably executed at Cromer.

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47 JOHN SELL COTMAN Melton Constable is the seat of the Earls of Hastings and Norwich 1782-1842 London the church of St Peter’s built in 1092, was originally the estate church. The simplicity of the Norman exterior belies St Peter’s, Melton Constable, Norfolk the ornateness of the interior; the result of the Hastings Mausoleum, which fills the south transept and houses the family pew and a series of ornate memorials to the Astley Signed lower right and inscribed: Melton Church family. Nork. JS Cotman. Pencil There is a reference to a work of similar size to the present 155 x 237 mm., 6 x 9 ¼ in. drawing, depicting Melton Constable Church, Norfolk, from the South East, which is also signed and was formerly in Provenance the Bulwer Collection (C.F. Bell, ‘John Sell Cotman, (The The Fry Gallery Bulwer Collection)’, Walker’s Quarterly, 1925, no.69). Christie’s, Anonymous sale, 8th December 2011, lot 402 Although whether this is the present drawing, or another Private Collection, London version is uncertain. The Bulwer Collection also included a view of Melton Constable House which was engraved for Cotman depicts the church from the south-east, looking Excursions through Norfolk, published in 1819 (Bell, op.cit., toward both the south transept and the East End. The no.106). window in the south transept has been altered subsequently, as has the pitch of the roof on the central tower.

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48 THOMAS ALLOM Allom served as an apprentice to the architect Francis London 1804 – 1872 Barnes Goodwin for seven years from 1819. He later worked for Sir Charles Barry on Highclere House and the Houses a. Ferry over the Derwent, Matlock Bath of Parliament and was a co-founder of the R.I.B.A. He travelled extensively throughout Europe, the Near and Far East. However, he also established himself as a Inscribed verso: Matlock, Bath, Ferry, Derby..../ topographical artist and produced numerous drawings for August/T..... engravings. Brown washes heightened with stopping out and scratching out The present drawing is taken from downstream just below 98 x 154 mm., 3 ¾ x 6 in. the ferry that crossed the river Derwent and shows the Ferry House on the left-hand side, which was demolished Engraved in 1910. Matlock Bath was a popular tourist destination By J.W. Lowry as a steel engraving for The Counties of from the 17th Century when the spa waters were first Chester, Derby, Nottingham, Leicester, Rutland, & Lincoln discovered. Illustrated, 1836-37

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b. Stybarrow Crag, Ullswater, Westmorland Patterdale Hall, who during the Civil War, led a group of dalesmen to Stybarrow Crag to repulse a band of Scots, Inscribed in pencil, verso, Stybarrow Crag, Westmorland who were en route to fight for Charles I at Preston. Pencil, brown ink and wash heighted with touches of white and scratching out 147 x 101 mm., 5 ¾ x 4 in.

Engraved By S Bradshaw, for Westmorland, Cumberland, Durham and Northumberland Illustrated, with descriptions by Thomas Rose, Vol.3, no.31, London, 1832

The dramatic composition, with the narrow pass and rocky cliff bordering the expanse of Ullswater, and the towering fells beyond, dramatizes the story of John Mounsey of

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49 GEORGE CHAMBERS Chambers went to sea at the age of 10 and this early Whitby 1803-1840 Brighton career served him well when he embarked on a career as a marine painter, despite his dislike of the experience. His A Dockyard on the Thames, London ability to capture the finer points of nautical details meant that he found a ready market with naval officers and even with the nautically-minded William IV, who along with his Signed with initials lower centre wife, Queen Adelaide, purchased a number of paintings Watercolour over pencil from the artist. During the 1830s Chambers began to 178 x 239 mm., 7 x 9 ¼ in. work increasingly in watercolour, which suited his careful technique. Provenance Ursus Books, New York This watercolour formerly belonged to Charles Ryskamp, Charles Ryskamp (1928-2010) an art scholar and avid collector who was at different times Director of the Frick Collection and the Morgan Library, both in New York.

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50 PETER DE WINT Lausanne, Foundation de l’Hermitage, L’Âge d’Or de Stone, Staffordshire 1784 – 1849 London l’Aquarelle Anglaise 1770 – 1900, 1999, no. 72 London, Andrew Wyld, Peter de Wint, Colourist and Barges on the River Thames at Lambeth, London Countryman, 16 November – 9 December 2005, no. 20 Literature Watercolour over pencil Gerald Bauer, Le Siècle d’Or de L’Aquarelle Anglaise, 1998, 219 x 190 mm., 8 ½ x 7 ½ in. p. 108, pl. 141 W. Hauptmann, L’Âge d’Or de l’Aquarelle Anglaise 1770 – Provenance 1900, 1999, p. 123, ill. Harriet de Wint, the artist’s wife Andrew Wyld, Peter de Wint, Colourist and Countryman, By descent to Miss H.H Tatlock, the artist’s granddaughter London, 2005, no. 20, ill. Ms Muriel Grace Bostock Sir Geoffrey Harmsworth, Bt. (1904-1980) De Wint’s watercolour shows the tower of St Mary’s With Agnew’s, London, 1990 Church, Lambeth, which is the only part of the original M and Mme Gerald Bauer, their sale, Christie’s 22 January 12th Century building to survive. The main body of the 2003, lot 39 church was largely rebuilt shortly after de Wint’s death. It With Andrew Wyld Ltd, 2005 suffered neglect and in 1972 was deconsecrated with a view to demolish it. However, it was rescued by Rosemary Exhibited and John Nicholson who formed the Tradescant Trust, Lincoln, Usher Art Gallery, An Exhibition of the Work of restored the building and established the Garden Museum, Peter de Wint, 1937, no. 173 the world’s first museum of garden history. London, Agnew’s, English Watercolours and Drawings, 1990, no. 63

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51 HENRY BRIGHT Bright, the son of a clockmaker, was apprenticed to Saxmundham 1810-1873 Ipswich a chemist in Norwich before turning to drawing. He learnt under Alfred Stannard and took lessons from John a. The Serpentine, London Sell Cotman (see nos.46 and 47). In 1836 he moved to Paddington and built up a successful drawing practice in London until 1858 when he returned to Saxmundham. Signed with initials, dated and inscribed lower left: He lived the last years of his life in Ipswich. He specialised From a sketch by the Honb Mrs Ca....ll/HB 1832 in chalk drawings often on coloured paper. Coloured chalks on buff paper 265 x 435 mm., 10 ½ x 17 ¼ in.

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b. A Windmill by Moonlight

Signed with initials lower left Coloured chalks on grey paper 208 x 271 mm., 8 x 10 ½ in.

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52 DAVID COX Cox only visited the Continent on three occasions, Belgium Birmingham 1783-1859 Birmingham and Holland in 1826, and France in 1829 and 1832. Calais Pier was a favourite subject with views of it in Birmingham Calais Pier Museums and Art Gallery, Whitworth Art Gallery and the National Museums, Liverpool. Watercolour over pencil 120 x 157 mm., 4 ¾ x 6 in.

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53 ROBERT LEMAN This is a copy of a John Sell Cotman watercolour in the Tate Norwich? 1799-1863 Norwich Gallery (T08836) which dates from his tour of Yorkshire in 1805. Leman was a second generation Norwich School A View on the Greta or the Tees – after John Sell Cotman artist who was much influenced by Cotman (see nos. 46 and 47) and owned a large collection of his work. The existence of this copy suggests that Cotman’s `View on Inscribed Leman on part of old backboard the Greta or the Tees’ is likely to have been in Leman’s Watercolour over pencil heightened with touches of collection which was sold at the Exhibition Rooms, bodycolour Norwich on 23rd April 1863. 322 x 477mm., 12 ½ x 18 ¾ in.

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54 THOMAS MILES RICHARDSON JUNIOR, R.W.S. Lumley Castle is a 14th century castle at Chester-le- Newcastle 1813-1890 Newcastle Street near Durham. It is named after its original creator, Sir Ralph Lumley who converted his family manor house A distant View of Lumley Castle, Durham into a castle. In the 19th century it was the residence of the Bishop of Durham before being given to the newly founded University of Durham. It was part of University Signed and dated lower left: TMR Junr/1841 College, Durham until it was sold in the 1960s and is now Watercolour over pencil heightened with bodycolour, a hotel. scratching out and gum arabic 205 x 350 mm., 8 ¼ x 14 in.

Provenance W.H. Bell, his sale, Christie’s, 27th March 1931, lot 112, bt. Pedley for 6 guineas Anonymous sale, Christie’s, 22nd November 1946, lot 63, bt. de Cassels for 9 guineas Private Collection, UK

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55 GEORGE PETRIE hills, whose apparent height is increased by a shrouding veil Dublin 1790-1866 Dublin of mist while the sky is overcast with dark clouds. There is a partial break in this gloomy canopy overhead through the Gougane Barra with the Hermitage of St. Finbarr, Co. gloomy canopy overhead through which a single sunray falls perpendicularly on the still waters of the lonely lake, on Cork, Ireland the ruins, and the wild wood which hangs above them, as if to show that even in its desolation and ruin, and in storm Indistinctly signed and dated lower right: G. and darkness, some light from heaven still falls on this old Petrie/1831 scene of Christian worship’ (see William Stokes, The Life Watercolour heightened with touches of bodycolour and Labours in Art and Archaeology of George Petrie, 1868). and scratching out, with added strip to bottom of sheet There are at least two other versions of this watercolour, 273 x 370 mm., 10 ¾ x 14 ½ in. one in the National Gallery of Ireland, Dublin (see Peter Murray, George Petrie (1790-1866) – The Rediscovery of William Stokes describes the scene as follows: Ireland’s Past, 2004, p.147, no.GP76 and GP77, ill. in `The subject is the hermitage of St. Finbar, situated on a colour p.25). One of them was exhibited at the Royal lake between Cork and Bantry. The lake is surrounded by Hibernian Academy in 1831, no.226.

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56 PAUL HUET painter, Eugène Delacroix, who had admired Huet’s Paris 1803-1869 Paris watercolours in a shop window, and the two remained lifelong friends. Following his Salon debut in 1827, Huet A Lake in the Mountains accompanied Bonington on a sketching tour of the Normandy coast. This was to be the first of his extensive travels throughout France, and the artist was to return often Watercolour, over an underdrawing in pencil to the regions of Normandy, the Auvergne and Provence, 1 3 140 x 188 mm., 5 /2 x 7 /8 in. as well as forests of Compiègne and Fontainebleau. Wherever he went, he made numerous drawings and Provenance sketches sur le motif in pencil, pastel and watercolour, all In Huet’s studio at the time of his death, with the atelier imbued with a feeling for light and colour. stamp (Lugt 1268) By descent in the family of the artist This atmospheric watercolour is likely to be a view of a lake in the valley of the Auvergne – possibly the Lac de In 1820, while training in the studio of Baron Gros at Guéry in Puy-de-Dôme – and may be dated to c.1833. the Ecole des Beaux-Arts, Paul Huet befriended a fellow An analogous landscape watercolour of what may be the student, the young Englishman Richard Parkes Bonington. same view is in the Bruyas collection of the Musée Fabre He learned the English manner of watercolour technique in Montpellier, while another related watercolour was from Bonington, and his rapid command of the medium formerly in the Pierre Miquel collection. has meant that works by the two artists have often been confused. He also came into contact with another young

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57 JAMES HOLLAND The town of Ariccia lies in the Alban Hills about 16 miles Burslem, Staffordshire 1799-1870 London South-East of Rome and the Chigi family were the ducal family of the town. The road to the right of the gateway The Gateway to the Chigi Park, Ariccia, Italy leads up the hill to the town and the church of Santa Maria dell’Assunta. The gateway had previously been drawn by Turner on his visit to Ariccia several decades earlier, in 1819. Inscribed verso: at La Riccia Watercolour over pencil heightened with watercolour on grey paper 175 x 258 mm., 6 ¾ x 10 in.

Provenance Andrew Wyld, his sale, Christie’s, 10th July 2012, lot 188

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58 JAMES HOLLAND Provenance Burslem 1800-1870 London Bought at Guy Peppiatt Fine Art, 2008 By descent to the present owner a. The Dome and Campanile of the Church of Santa Literature Maria Formosa from near the Palazzo Malipiero, Venice Guy Peppiatt and Stephen Ongpin, One Hundred Drawings and Watercolours, 2008, no.42, p.45 Signed with monogram c.l. and inscribed: Church/ Venice Watercolour over pencil heightened with white on buff paper 261 x 165 mm., 10 ¼ x 6 ½ in.

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b. Calle Regina, Venice works he produced as a result of these trips, were largely responsible for cementing his reputation. Signed centre right: J.H. ‘44 and inscribed on backing in a later hand: Corte della Regina/Venice Calle della Regina is in the Santa Croce district of Venice. It is named after Caterina Cornaro, who became Queen of Watercolour over pencil heightened with bodycolour Cyprus in 1472 but following the Turkish invasion of 1489, 227 x 150 mm., 8 ¾ x 6 in. returned to Venice and resided in the Castello di Asolo.

Between 1835 and 1865 Holland undertook numerous visits to Venice. The architecture and landscape of the city provided the artist with endless inspiration and the

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59 DENIS-AUGUSTE-MARIE RAFFET Auguste Raffet enjoyed a successful career as a lithographer Paris 1804-1860 Genoa and illustrator. Among his patrons was Prince Anatole Demidov (or Demidoff), with whom travelled on an Portrait of the Smuggler Juan Arria, Seated expedition to southern Russia and the Crimea in 1837, and in later years the two travelled together to Spain, Austria, Scotland and elsewhere. Pen and black ink and black and brown wash, over a pencil underdrawing The present sheet was probably drawn during Raffet Inscribed juan arria at the lower centre and Seville 3 and Demidov’s journey through Spain between July and oct at the lower right November 1847. In a posthumously published account of 1 3 317 x 221 mm., 12 /2 x 8 /4 in. the journey, the artist noted that, on the 5th and 6th of October in Seville, he drew three studies of a ‘Costume Provenance de contrebandier’, of which this is likely to be one. Another Prince Anatole Demidov, Paris and Florence (Lugt 2127) drawing of the same sitter, shown standing and inscribed His sale, Paris, Charles Pillet, 8-10 March 1870, part of ‘Juan Arria, contrebandier’, was recently on the art market lot 529 in Paris. Lallemand collection

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60a CARL LUDVIG MESSMANN Ferdinand Messmann. He studied at the Royal Danish Copenhagen 1826-1893 Gothenburg Academy of Fine Arts (the Kunstakadamiet) in Copenhagen between 1840 and 1844, and exhibited landscape paintings A Tree in the Forest of Ermelunden and pencil drawings, several of which were purchased by King Frederik VII, between 1850 and 1859. In 1860 he moved to Gothenburg in Sweden, where he became as Pencil well known for his views of the city as he had been for Signed and dated L Messmann d 1 Mai 1846 Ermelund his earlier depictions of Copenhagen. Messmann illustrated at the lower centre a series of views of Gothenburg and its surroundings for Signed L Messmann /1 / at the lower right Viktor Rydberg’s Göteborg med dess omgifningar, which Inscribed L. Messmann. del 1846. on the old mount was published in twelve volumes between 1859 and 1862. 1 3 307 x 365 mm., 12 /8 x 14 /8 in. The small forest of Ermelunden, an area of about seventy Provenance hectares, lies in the northern suburbs of Copenhagen. Benjamin Wolff, Engelholm, Denmark (Lugt 420) This and the following two drawings bear the drystamp of Relatively little is known of the Danish landscape the 19th century Danish collector Benjamin Wolff (1790- draughtsman, lithographer and painter Carl Ludvig 1866).

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60b CARL LUDVIG MESSMANN Copenhagen 1826-1893 Gothenburg

A Tree in the Charlottenlund Forest, North of Copenhagen

Pen and brown ink and brown and grey wash 60c Signed, dated and inscribed L Messmann / 26 / CARL LUDVIG MESSMANN September 1846. / i Charlottenlund. at the lower right Copenhagen 1826-1893 Gothenburg Inscribed L. Messmann. del 1846. on the old mount 5 1 320 x 260 mm., 12 /8 x 10 /4 in. Study of Trees Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420) Pencil, with framing lines in brown ink Signed or inscribed Messmann. on the verso A former Royal deer park, the forest of Charlottenlund is Inscribed Messmann. del on the old mount 3 5 situated several kilometres north of Copenhagen, on the 138 x 193 mm., 5 /8 x 7 /8 in. shores of the Øresund. At the heart of the forest is the 18th century Charlottenlund Palace and its gardens, which Provenance was used as a Royal summer residence until the 1930s. Benjamin Wolff, Engelholm, Denmark (Lugt 420)

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61 EDWARD LEAR June, he toured Southern Italy from July until October. He Highgate, London 1812-1888 San Remo, Italy described the castle as `sufficiently imposing at this silent hour of night. There is a drawbridge, and sullen gates, and The Entrance to Melfi Castle, Basilicata, Italy dismal court-yards, and massive towers, and seneschals with keys and fierce dogs – all the requisites of the feudal fortress of romance’ (see Edward Lear in Southern Italy, Signed and dated lower right: Edward Lear. del./21. 1964, pp. 182-184). Melfi is in the central southern area of Sept/1847 and inscribed lower left: Castello di Melfi/ Basilicata to the east of Naples. in Basilicata. Pen and grey ink and watercolour over pencil Two drawings of Melfi by Lear, also dated 21st September heightened with bodycolour 1847, have been with Guy Peppiatt Fine Art, one in 2013 177 x 277 mm., 7 x 10 ¾ in. (see One Hundred Drawings and Watercolours, 2013-14, no.51) and the other in 2019 (see British Drawings and Lear visited Melfi from 17th to 22nd September 1847 Watercolours, 2019, no.62). while he was living in Rome. Having visited Sicily in May and

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62 THÉODORE VALÉRIO Austria, Hungary and Romania, as well as the Balkans and Herserange 1819-1879 Vichy Turkey. He made numerous studies of the exotic costumes of the people he saw on his travels, and many of these A Bashi-Bazouk from Upper Egypt were published in the form of albums of lithographs or etchings.

Watercolour, pen and brown ink and brown wash This drawing of a bashi-bazouk was drawn in 1854 at an Signed and dated VALERIO 1854 SILISTRIA at the Ottoman military camp in Silistria, a town on the banks of lower right the Danube in what is today Bulgaria. A bashi-bazouk was 7 7 453 x 277 mm., 17 /8 x 10 /8 in. [sheet] an irregular soldier of the Ottoman army. Although usually of Albanian, Kurdish or Circassian origins, they could be A painter, engraver and draughtsman, Théodore Valério of any ethnicity. This watercolour is closely related to an produced landscapes, genre scenes and military subjects. etching, of smaller dimensions, reproduced in Valério’s He was an inveterate traveller, and during the 1840s and album Les Populations des provinces danubiennes en 1854, 1850s made extensive tours of Italy, Switzerland, Germany, published around 1855.

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63 THOMAS HARTLEY CROMEK Cromek’s depictions of Tuscania or Toscanella as it was London 1809-1873 Wakefield known until the late 19th century, are considered amongst his finest works. It is in the province of Viterbo to north of a. The façade of the Church of St. Peter, Tuscania, Italy Rome. The artist first visited the village in May 1844 and it became a favourite place. He was particularly impressed by the two Romanesque churches, San Pietro and Santa Maria Watercolour over traces of pencil Maggiore. He recalled in his Journal: `Toscanella is the 383 x 474 mm., 15 x 18 ½ in. ancient Tuscania in Etruria….. It contains two remarkably interesting old churches of the 10th and 11th century very rich in ornaments; the porches are very beautiful.’

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b. b. The Pulpit of the Church of Santa Maria Maggiore, Provenance Tuscania, Italy Warrington Collection

Inscribed on reverse of the mount: No 27 Pulpit Sta Another view of the Church of Santa Maria Maggiore is in the Whitworth Art Gallery, University of Manchester. Maria Toscanella/June 1846 Watercolour over traces of pencil heightened with touches of bodycolour and gum arabic 494 x 339 mm., 19 ¼ x 13 ¼ in.

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64 DAVID COX Exhibited Birmingham 1783-1859 Birmingham Leeds City Art Gallery, Exhibition of Early English Watercolours, 1958, no.18 A Rocky Stream surrounded by Woodland This loose late work dates from the late 1840s or early 1850s and is likely to be a view in North Wales where Cox Watercolour over pencil was a regular visitor during this period of his life. 364 x 455 mm., 14 ½ x 18 in.

Provenance Anonymous sale, Sotheby’s, 20th November 1986, lot 51

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65 JOHN VARLEY During the latter part of his career, Varley produced a Hackney 1778-1842 London number of bold, loosely executed sketches of this type. The contrast in the present watercolour between the brown Evening washes and the white highlights clearly demonstrates the artist’s interest in capturing the play of moonlight on the landscape. Signed and inscribed on reverse of original mount: Evening/J. Varley 1826 Watercolour and bodycolour on laid paper, varnished 129 x 200 mm., 5 x 8 in.

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66 GEORGE PYNE Pyne was primarily an architectural draughtsman, who was London 1800-1884 Oxford influenced by his father, William Henry, a Founder Member of the O.W.S, as well as by the work of John Varley (see a. Eton College and Windsor Castle by the Thames, no. 65), whose daughter he married. Berkshire The elongated format of the present watercolour has enabled Pyne to depict both Windsor Castle and town in Signed lower right: G. Pyne. 1871 the distance, as well as part of Eton College and Chapel Watercolour over pencil heightened with touches of from College Field, on the opposite bank of the Thames, bodycolour which meanders between the two. 197 x 508 mm., 7 ¾ x 20 in.

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b. Eton from the Terrace at Windsor Castle This is a view looking north from the North Terrace of Windsor Castle. Eton College Chapel and school are visible Signed lower left: G. Pyne. 1849 on the other side of the river Thames. Paul Sandby painted Watercolour over pencil heightened with touches of a number of views looking east and west along the North Terrace (see Jane Roberts, Views of Windsor – Watercolours bodycolour, stopping out and gum arabic by Thomas and Paul Sandby, 1995, nos. 16-18 and p. 66, 217 x 293 cm., 8 ½ x 11 ½ in figs. 17.2 and 17.3, Yale Center for British Art).

Provenance Another version of this subject by Pyne was sold at With the Fine Art Society, London, October 1954 Christie’s, 12th December 1972, lot 45, bought Agnew’s for 480 guineas.

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67 GEORGE PYNE London 1800-1884 Oxford 68 The Garden of St John’s College, Oxford JOSEPH MURRAY INCE Presteigne 1806-1859 London Signed lower right: G. Pyne 18... 217 x 343 mm., 8 ½ x 13 ½ in. The Radcliffe Camera, St. Mary’s Church and Brasenose College, Oxford Provenance With Sanders of Oxford Signed lower left: J.M. Ince 1833 The present watercolour depicts St John’s College from its Watercolour over traces of pencil heightened with extensive gardens. The College of St John the Baptist was bodycolour founded in 1555 by Sir Thomas White, a wealthy London 270 x 200 mm., 10 ½ x 7 ¾ in. merchant tailor, who also founded the Merchant Taylors schools. The gardens were laid out in the 16th Century into Provenance three distinct gardens; the President’s Garden, the Masters’ With Thos Agnew & Sons (no.31950) garden or outer grove and the inner grove. During the 1770s the boundaries between the outer and inner grove Ince was born in the Welsh borders and was a pupil of were blurred, the gardens simplified and rendered more David Cox in Hereford from 1823 until 1826 when naturalistic. Despite this there is still a distinctly different he went to London and began to exhibit at the Royal character between the two gardens, with the outer grove Academy. By 1832 he was living in Cambridge working as being laid to lawn flanked by trees, as depicted here, whilst an architectural draughtsman but returned to Presteigne in the inner grove is more elaborately and densely planted. the mid 1830s where he remained for the rest of his life.

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69 THOMAS LINDSAY replace the ruined medieval church, part of whose tower London 1793-1861 Hay-on-Wye still stands in the graveyard. It would not however, have been possible to have seen the tower as fully from the Quarry, Blackheath, London position Lindsay has adopted, suggesting that this work was produced in the studio, based on on-the-spot studies, or perhaps Lindsay merged a couple of different viewpoints in Signed lower left: Blackheath/T. Lindsay 1847 order to create a more pleasing image. Watercolour over pencil heightened with touches of bodycolour Blackheath was long exploited for its rich seams of gravel 193 x 266 mm., 7 ½ x 10 ½ in. and chalk and numerous gravel and chalk pits and even underground mines were dotted over the heath. The Provenance present watercolour illustrates the scale of some of these Private Collection. UK quarries, the horse and cart at the bottom is dominated by its surroundings. Many of the old quarries were only The present watercolour shows a view across Blackheath filled in following World War II, when sites were needed looking south towards Eliot Vale, with Eliot House at to dispose of the bomb rubble. the far right and the tower of St Margaret’s, Lee visible. The carriage in the distance above the quarry is on Hare We are grateful to Dr Pieter van der Merwe for his help and Billet Road, which runs across part of the Heath. St with cataloguing this watercolour. Margaret’s Church was built between 1839-41 in the gothic revivalist style by John Brown of Norwich, to

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70 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) Cliveden from Maidenhead Bridge, Berkshire This is a view looking north from Maidenhead Bridge with the island of Bridge Eyot in the foreground and Cliveden Signed with initials lower right and inscribed with title House on the hill in the distance. Cliveden is an Italianate under mount: Cliefden from Maidenhead Bridge mansion 200 feet above the Thames on a hillside. The Watercolour heightened with bodycolour present house, the third on the site, was built in 1851 by Whole sheet 178 x 220 mm., 7 x 8 ½ in. Charles Barry for the 2nd Duke of Sutherland and is now a prestigious hotel. Provenance J. Noble, 1882

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71 JOHN LINNELL Lieutenant-Colonel James Bellhouse Gaskell was one of Bloomsbury 1792-1882 Redhill three sons of Holbrook Gaskell (1813-1909), a wealthy industrialist and his wife Frances Anne Bellhouse. Holbrook Changing Pastures Gaskell formed a notable collection of art including works by Turner and Constable. His son J.B. served as a militia officer in the South Lancashire Regiment and was on the Signed lower left: J. Linnell board of several companies, including that founded by his Watercolour over traces of pencil heightened with father. Like his father he was an avid collector, particularly bodycolour and scratching out on laid paper of medals, books, Japanese works of art and paintings. In 127 x193 mm., 5 x 7 ½ in. 1889, he purchased the substantial property, Roseleigh in Woolton in South Liverpool, from Albert Tate, the son of Provenance Sir Henry Tate, where he lived until his death in 1925. Lt.-Col. J.B. Gaskell (1848-1925) of Roseleigh, Woolton near Liverpool, his sale, Christie’s, 30th April 1926, lot 71, bt. Parker for £31.10

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72 HENRY BARLOW CARTER Henry Carter was a marine and landscape artist and Bermondsey 1804-1868 Torquay drawing master, who settled in Scarborough during the 1830s. He established close links with a local bookseller Scarborough Castle, Yorkshire and printer, Solomon Wilkinson Theakston, and produced numerous illustrations for Theakston’s publications, including 22 works for Guide to Scarborough, as well as Signed lower right: H.B. CARTER. 1834. single subjects that were engraved as souvenirs for the Watercolour heightened with bodycolour and expanding tourist market. Carter was influenced by the scratching out work of J.M.W. Turner and de Wint, forming a collection 318 x 422 mm., 12 ½ x 16 ½ in. of the latter’s work.

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73 JEAN-FRANÇOIS MILLET upon his return to his studio in Barbizon. Soon after his Gruchy 1814-1875 Barbizon arrival in Vichy on his first visit in June 1866, Millet wrote to his patron Emile Gavet, ‘I have become acquainted with Landscape in the Environs of Vichy some of the environs of Vichy and have found several very pretty subjects. I make as many sketches as I can, and hope they will supply me with drawings of a different kind from Pen and brown ink, with touches of watercolour those you already have…I want to provide myself with as Inscribed by the artist Vichy at the lower right large a store of documents [ie. sketches] as possible, and I 3 3 111 x 163 mm., 4 /8 x 6 /8 in. have to look about me, since I do not know the country well.’ Characterized by a freedom of handling, the landscapes Provenance Millet drew in Vichy were critical in the development of The studio of the artist, Barbizon (Lugt 1816; Herbert his watercolour technique, and this period was his most 1894G) productive as a landscape draughtsman since the 1850s. Using pocket sketchbooks of various sizes, he would begin The present sheet belongs to a distinctive group of landscape a landscape composition with a quick sketch in pencil drawings and sketches resulting from Millet’s stay in the spa overlaid with pen and ink, to which he would sometimes town of Vichy, in central France, in the summers of 1866, add colour notes lightly written in pencil. The artist never 1867 and 1868. The artist made numerous drawings and parted with, or exhibited, any of his Vichy drawings and sketches of the hills and farmland around Vichy, some of watercolours, which only came to light after his death. which were worked up into finished paintings and pastels

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74 EDME ALEXIS ALFRED DEHODENCQ Provenance Paris 1822-1882 Paris Georges Antoine Rochegrosse, Paris

Portrait of the Artist’s Son, Edmond Dehodencq The present sheet is a portrait of the artist’s young son Edmond Dehodencq (1860-1887). Edmond was also a painter, and trained with his father, but died young, at Pen and brown ink and watercolour the age of twenty-seven. Alfred Dehodencq produced a Inscribed portrait d’Edmond Dehodencq / le plus number of charming paintings and drawings of his young jeune fils du Maitre / Edmond Dehodencq, mort très children, culminating in the finished paintingInterior (The jeune, presque / enfant encore, montrant les plus Children of the Artist) of 1872. This watercolour once extraordinaires / dispositions pour la Peinture. Il aurait / belonged to the painter Georges Antoine Rochegrosse ete surement un Artiste de valeur on the verso (1859-1938), who was a young pupil of Alfred Dehodencq 3 3 at the very beginning of his career. 163 x 120 mm., 6 /8 x 4 /4 in.

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75 ATTRIBUTED TO LIONEL BICKNELL This watercolour is traditionally attributed to Lionel CONSTABLE Constable, John Constable’s youngest son. His father died Hampstead 1828-1887 London when he was nine, but he was encouraged to draw in the early 1840s by his brother Alfred. A sketchbook dated 1845 is in the Louvre, Paris and he first exhibited at the Study of Clouds Royal Academy in 1849. Over the years, many pictures by him were mistakenly attributed to his father. An exhibition Inscribed lower right: Oct 1863 of his work was held at the Tate Gallery from 24th February Watercolour on wove paper watermarked: J to 4th April1982 (see Leslie Parris and Ian Fleming- WHATMAN/1853 Williams, Lionel Constable, exhibition catalogue, 1982). His 194 x 397 mm., 7 ½ x 15 ¼ in. landscapes studies, like the present watercolour, echo the work of his father with low horizon and extensive skies.

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76 SIR EDWARD COLEY BURNE-JONES, BT., ARA, It has been suggested that the present sheet may be a RWS preparatory study for a figure in a stained-glass window Birmingham 1833-1898 London design by Burne-Jones. A similar leg and torso, for example, is found in the figure of the Archangel Michael in the artist’s stained-glass window of The Last Judgement in the church Study of the Torso and Right Leg of a Man of St. Michael and St. Mary Magdalene in Easthampstead in Berkshire. The artist received the commission in 1874 and Pencil produced a cartoon the following year, and the window 1 3 282 x 137 mm., 11 /8 x 5 /8 in. was completed and installed in 1876.

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77 EDWARD DUNCAN Provenance: London 1803-1882 London Probably the Artist’s studio sale, 11th March 1885 With the Hampshire Gallery, 1994 a.Study of two Punts Private Collection until 2013 With Guy Peppiatt Fine Art, 2014, where bought by the present owner With artist’s studio stamp l.r., watercolour over pencil on grey paper Exhibited 97 x 186 mm., 3 ¾ x 7 ¼ in. Guy Peppiatt Fine Art, Exhibition of Drawings and Watercolours by Edward Duncan, 5th to 9th February 2014, b.Study of a covered Boat nos. 9 and 11-13

Signed with initials lower left and dated 22 September Duncan’s early career was as an engraver, primarily of 1877, with artist’s studio stamp lower right, pencil sporting and marine subjects and from 1843 to 1851, he was on the staff of the Illustrated London News. The 86 x 112 mm., 3 ½ x 4 ¼ in. present group of carefully observed drawings of boats demonstrates Duncan’s delicacy and precision of line, c.Study of a covered Boat for which he was celebrated. They are part of a group of sketches of boats drawn on Mumbles Beach, South Wales. With artist’s studio stamp lower right pencil 85 x 142 mm., 3 ¼ x 5 ½ in. d. Study of a covered Boat and Anchor

With artist’ studio stamp lower right, pencil 86 x 133 mm., 3 ¼ x 5 ¼ in.

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78 ALEXANDRE THOMAS FRANCIA The son and pupil of the emigré French watercolourist Calais 1815-1884 Brussels François Louis Francia, who worked for many years in England, Alexandre Francia was raised in his father’s native A Still Life of Letters, Cards, an Envelope, a Pencil, a city of Calais. Unlike his father, who after returning from London in 1817 worked in relative obscurity in Calais Match and a Cigar Stub until his death, Alexandre travelled extensively throughout Europe, particularly in Scotland and the Low Countries, Watercolour and eventually settled in Brussels. He specialized in marine Signed with a depiction of the artist’s visiting card, subjects, notably views of ports, fishing scenes and storms. inscribed Mr A. FRANCIA. / 6 rue de Berceau and He made his Salon debut in Paris in 1835, and was to exhibit P.P.C. there and in London, Antwerp and Brussels throughout his Dated 1880 twice, on a letter and a banknote career, receiving numerous honours and prizes. 3 3 171 x 214 mm., 6 /4 x 8 /8 in. Dated 1880, this charming watercolour still life is unusual Provenance: in Francia’s oeuvre, which is dominated by landscapes and Nicholas Meinertzhagen, London marine subjects. When the present sheet was exhibited in King Street Galleries, London, in 1987 London in 1985, it was noted that ‘Painted not long before Mr. and Mrs. Jerrold Ziff, Urbana, Illinois the artist died, it carries, with its cigar stub and the black- edged visiting card ironically marked P.P.C. (parti pour congé), Exhibited: a suitably valedictory message.’ London, Anthony Reed Gallery, Louis Francia and his son Alexandre, 1985, p.87, no.56, illustrated p.32.

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79 HENRI-LÉOPOLD LÉVY and portraits. At the Salon of 1872 he achieved critical Nancy 1840-1904 Paris success with his painting of Herodias, and was acclaimed again the following year with a painting of Christ in the The Head of a Youth Tomb. Lévy also had a particular talent for large-scale mural decoration. He experienced considerable hardship in the latter stages of his career, however, as a result of the wave Charcoal and black chalk, heightened with touches of of anti-Semitism roused in France by the Dreyfus affair in white chalk, on thin papier calque 1895. His adamant refusal to use a pseudonym to sign 7 278 x 276 mm., 11 x 10 /8 in. his pictures went against the demands of his dealers, and he lost an important outlet for his works, although he still Provenance received commissions for decorative mural schemes. Lévy The first or second sales of the contents of the studio of remains relatively little known and studied today, although Henri Lévy (Paris, Hôtel Drouot, 2-3 March 1905 or 29 a small exhibition of his work was held in Nancy in 1996. November 1905), with the vente stamp (Lugt 1675) at the lower left The present sheet is a study for the head of the angel of death in Lévy’s painting of Death and the Maiden, painted Henri Lévy made his Salon debut in 1865 and continued in 1876 and today in the Musée des Beaux-Arts in Nancy. to exhibit regularly, showing history subjects, allegories

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80 WILLIAM LEIGHTON LEITCH to London, where he continued as a scenery painter, Glasgow 1804-1883 London while taking lessons from Copley Fielding. He travelled extensively throughout Europe between 1833 and 1837, The Trossachs at Loch Katrine, Ben Venue, Perthshire particularly in Italy, where he was based. On his return he established himself as a landscape painter and drawing master, numbering Queen Victoria amongst his pupils. Signed lower right: W.L. Leitch 1858 Watercolour over pencil heightened with traces of Ben Venue lies approximately one mile south-west of Loch bodycolour Katrine in the Trossachs. The area was immortalised in Sir 318 x 485 mm., 12 ½ x 19 in. Walter Scott’s poem, The Lady of the Lake, 1810. It was a popular subject with artists including Copley Fielding, who William Leighton Leitch began his career as a scene painter exhibited a similar subject at the OWS in 1848. and painter of snuff boxes in Scotland before moving

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81 THOMAS MILES RICHARDSON JUNIOR Newcastle-upon-Tyne 1813-1896 Newcastle-upon- Tyne

Traveller on horseback in the Scottish Highlands

Indistinctly signed lower right Watercolour heightened with bodycolour and scratching out 253 x 358 mm., 10 x 14 in.

Provenance Bought at the Heather Newman Gallery, April 2002 By descent to the present owner

97 SOFA

82 ITALIAN SCHOOL 19th Century

Vesuvius from Anacapri

Pen and brown ink and brown wash, over an underdrawing in pencil Numbered 1 to 4 Inscribed with a legend N5 Il Vesuvio, 1 Veduti d’Anna Capri. / portici, 2 / torre del greco, 3 / torre del annunziata 4 at the upper left 7 5 176 x 244 mm., 6 /8 x 9 /8 in.

Provenance Private collection, London

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83 ETIENNE DINET and in 1904 bought a home in the town of Bou-Saada in Paris 1861-1929 Paris southern Algeria. By the turn of the century Dinet was regarded as one of the leading Orientalist painters of his The Head of an Algerian Youth generation. As one contemporary writer noted, ‘No other painter has evidenced such an intimate knowledge of the East; no one has caught and recorded with such fidelity the spirit Pastel, charcoal and gouache on brown paper of the Orient – people, topography, atmosphere, everything in Signed E DINET at the lower right his canvases is true to fact; no one has so vitalized his pictures 1 331 x 235 mm., 13 x 9 /4 in. with the breath that is not of the Occident…in Dinet’s case we have the work of a man who by study and residence has In 1884 Alphonse-Étienne Dinet won a travel scholarship literally made himself an Oriental, and who sees and feels the to Algeria. He was to return often to the country, which he East as an Oriental must naturally feel and see it.’ By 1913 soon regarded as a second home, and immersed himself in he converted to Islam, changing his name to Nasreddine the local culture. He spent up to nine months a year there, Dinet.

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84 SIR WILLIAM ORPEN, RHA, RA Orpen, Augustus John and Charles Conder joined the Stillorgan, Co. Dublin 1878-1931 London newly married Rothensteins on holiday in Normandy. Both Orpen and John fell in love with Grace, and she maintained Portrait of Grace Knewstub Orpen a correspondence with the former throughout the winter of 1899-1900. She first posed for Orpen in 1900, and the two were married the following year, with Grace Coloured chalks on dark grey paper becoming one of his most faithful models. 1 1 165 x 130 mm., 6 /2 x 5 /8 in. [image] The present sheet is a preparatory study for Orpen’s now- Provenance lost double portrait of himself and Grace painted in 1901 John Postle Hestletine, London (Lugt 1508) and shown at the Society of Portrait Painters exhibition in Possibly Wyndham T. Vint, Bradford, Yorkshire London that year. The pendant to the present sheet, a Private collection, and thence by descent self-portrait of the artist – of identical medium, technique, dimensions and provenance, also a study for the now-lost This is a portrait of Grace Knewstub, the younger sister of double portrait – was recently sold at auction. It is possible Alice Knewstub, the wife of the painter William Rothenstein. that both drawings once made up a single sheet. Grace first met Orpen in the summer of 1899, when she,

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85 HERCULES BRABAZON BRABAZON Brabazon travelled almost ceaselessly during his life, Paris 1821-1906 Oaklands, Sussex throughout Europe and to North Africa and India. The present view looks across the city and the old harbour of Genoa Harbour, Italy Genoa, towards the sea.

Inscribed verso: Genoa Watercolour and bodycolour on buff paper 235 x 323 mm., 9 ¼ x 12 ¾ in.

101 GPFA

86 MARY WOODWARD fl. 1890-1914

The Water Butt

Signed lower right: MARY WOODWARD 1894. Watercolour heightened with stopping out 142 x 243 mm., 5 ½ x 9 ½ in.

102 GPFA

87 WALTER LANGLEY setting up his studio in 1882, following his visit to the village Birmingham 1852-1922 London two years earlier. He remained in West Cornwall until his death in Penzance in 1922. Langley began his training at A Cottage at Tredavoe near Newlyn, Cornwall the Birmingham School of Design and in the studio of the lithographer, August Heinrich Biermann, before studying at the South Kensington Schools in London. He initially Signed lower right: W LANGLEY and inscribed on established himself as a lithographer, working with his part of old mount: 2213/At Tredarvoe former master, however, in 1879, he abandoned this early Watercolour career preferring to concentrate on painting. 200 x 125 mm., 7 ¾ x 4 ¾ in. This early view, which dates from circa 1880, is drawn at Langley is often regarded as the pioneer of the Newlyn Tredavoe, a village to the south-west of Newlyn. School, as he was the first of the group to settle in the village,

103 SOFA

88 WILLIAM STRANG, RA by those of Hans Holbein at Windsor Castle, which he Dumbarton 1859-1921 Bournemouth had studied closely. Between 1898 and 1909 Strang produced some five hundred drawings of this ‘Holbein’ Portrait of the Artist’s Daughter, Nancy Strang type, characterized by the use of red and black chalks on paper washed pink or beige.

Red, black and white chalks on ochre prepared paper The present sheet is a portrait of Strang’s only daughter, Signed and dated W. STRANG / 1904. at the lower Nancy. The artist produced a number of intimate drawings right of Nancy Strang in 1904, and comparable drawings include 3 1 374 x 286 mm., 14 /4 x 11 /4 in. one in the Glasgow Art Gallery and Museum and another that was sold from the collection of the Albertina in Vienna A superb draughtsman, the Scottish artist William Strang on the art market in Switzerland in 1927. was admired in particular for his portrait drawings, inspired

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89 HERBERT DALZIEL Academy, the New Gallery, the Grosvenor Gallery and London 1853-1941 Kent elsewhere. He suffered from ill health and poor eyesight throughout much of his career, and as a result his output The Kiln remains very small. Nevertheless, he produced a number of small, beautiful landscape paintings, of which the present work is an especially fine example. Oil and pastel on paper laid down on board Inscribed and dated “The Kiln” / Oil Pastel / Painted Dated 1910, this delicate landscape, painted in oil pastel by Herbert Dalziel / 1910 on a label pasted onto the on paper, is among a small group of plein-air studies that backing board remained in the artist’s studio at the time of his death; 5 5 167 x 117 mm., 6 /8 x 4 /8 in. [sight] works which show the influence of James McNeill Whistler, who Dalziel knew. Part of a group of paintings, pastels and Provenance oil sketches in which he adopted a Neo-Impressionist The studio of the artist, and by descent to his daughter technique, the present sheet evinces his interest in Ailsa capturing atmospheric effects in his landscapes. As Kenneth The Dalziel studio sale, London, Sotheby’s Belgravia, 16 McConkey has noted, ‘In an extraordinary departure, May 1978, part of lot 130 around 1910, Herbert Dalziel abandoned his conservative style and produced a number of jewel-like landscapes which A descendant of the Victorian family firm of reproductive adopt a sophisticated divisionism.’ engravers known as Dalziel Brothers, Herbert Dalziel exhibited pastoral subjects and landscapes at the Royal

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90 RAPHAËL KIRCHNER Raphaël Kirchner began his career in his native Vienna, Vienna 1875-1917 New York where he became known in particular for the risqué ‘Kirchner Girl’; a highly eroticised and exotic woman, An Elegant Woman with a Fur Muff who appeared in hundreds of picture postcards. After his move to Paris in 1900, Kirchner continued to depict these seductive women, though the influence of Parisian fashion Gouache over an underdrawing in black chalk and led his muses to be transformed from languid and sensuous touches of white chalk, on brown paper to more elegant and sophisticated. After the outbreak of Signed, indistinctly dedicated and dated RAPHAËL / the First World War, Kirchner settled in New York, where KIRCHNER / à mon [?] / [?] sympathetique / Oct.(?) he worked as a decorative painter, portraitist and illustrator. 1914 at the lower left 5 3 424 x 161 mm., 16 /8 x 6 /8 in.

106 SOFA

91 CHARLES ROBINSON SYKES (‘RILETTE’) sculpture of the Madonna and Child, also for the Abbey. A Redcar 1875-1950 Berkshire statuette of a bacchante exhibited at the Royal Academy a few years later led to the commission to design a mascot for Rolls-Royce cars. Each cast of the Spirit of Ecstasy A Woman Stepping into a Bath was made to order, and in later years Sykes enlisted the help of his daughter Jo Sykes, who was also to become Pencil, with touches of brown ink, on thin buff paper a sculptor, in the casting and finishing of each individual 1 1 369 x 510 mm., 14 /2 x 20 /8 in. mascot. Sykes designed the gold and silver cups for Ascot, and also received other commissions for ceremonial gold Provenance and silverware, as well as numerous trophies and medals. Christopher Cone and Stanley J. Seeger, Whitby After the First World War he began to focus more on the commercial projects, with his work in this field signed with The English sculptor, painter and graphic designer Charles the pseudonym ‘Rilette’. (The name ‘Rilette’ stems from Robinson Sykes is perhaps best known for the design the artist’s surname Sykes, or sike; a Scottish word meaning of the Spirit of Ecstasy figure used on Rolls-Royce cars, a little brook whose flow creates a shallow channel, or which he executed in 1911. Born in Yorkshire, Sykes rill.) Over the next few years he produced, as ‘Rilette’, won a scholarship to the Royal College of Art in London numerous fashion drawings which filled the pages of the in 1898 and established a successful career as both a fine Sunday Dispatch and the monthly covers of the magazine and commercial artist. His first significant commission was Woman. Sykes also designed a series of travel posters from Lord Montagu, for a triptych in the Cistercian abbey for the LNER railway. In 1951 a memorial exhibition of of Beaulieu, completed in 1903. This was soon followed bronzes, drawings, watercolours, pastels and oil paintings by a second commission for a nearly life-size bronze by Sykes was held at the Walker Galleries in London.

107 SOFA

92 JAMES McBEY by the 1920s McBey had become one the best known Newburgh 1883-1959 Tangier and most successful etchers in Britain, with his landscape etchings and drypoints fetching high prices. He began Fishing Boats at Sizewell, Suffolk working in watercolours in Morocco in 1912, mainly as aids towards his etchings. He was, however, soon persuaded by his London dealers, Colnaghi and Obach, Pen and brown ink and brown wash and watercolour that his watercolours would find a ready market, and an Signed and dated McBey / Sizewell 1920 july(?) at the exhibition of them – mainly views in Holland, Scotland and lower right Suffolk – was held at the gallery in 1914, and all were sold. Inscribed Light on the verso By the end of the 1920s, the Depression and the decline 1 5 285 x 447 mm., 11 /4 x 17 /8 in. [sheet] of the once-booming market for prints led McBey to focus more on watercolour and oil painting. His technique as Provenance a landscape watercolourist developed considerably in the The Fine Art Society, London, in 1960 1930s, resulting in works of remarkable virtuosity.

Born in a small village a few miles north of Aberdeen, The small fishing village of Sizewell in East Suffolk sits on James McBey had little or no formal training, and from the the southeast coast of England, between Aldeburgh and age of fifteen worked as a bank clerk. He began painting Southwold on the North Sea. McBey is known to have and drawing as a hobby, and was in particular interested in worked at Sizewell several times. A charming watercolour etching. By 1910 he had abandoned his career in banking by the artist Martin Hardie of McBey sketching on the to devote himself full time to art. His first exhibition of beach at Sizewell, drawn in 1914, is in the Aberdeen Art etchings in London in 1911 proved highly successful, and Gallery and Museums.

108 SOFA

93 SIMON BUSSY From early in his career, Simon Bussy produced splendid Dole 1870-1954 London pastel landscapes and portraits of friends and family. From about 1912 onwards, however, he began to focus Five Studies of Orchids and other Flowers on pastel drawings of birds and animals. His pastels were widely admired by his contemporaries, and avidly collected. The poet Guillaume Apollinaire wrote that, ‘The Each pastel, over an underdrawing in pencil, on pastels of Simon Bussy are delicate images, as precious as paper laid down on board Persian miniatures.’ Although studies of plants and flowers Three of the drawings inscribed Coelogyne Himalaya, are somewhat uncommon in Bussy’s oeuvre, this group of Lycaste Guatemala and Aristalochia / Brasil studies are typical examples of his refined, delicate pastel 7 Overall with backing board: 505 x 593 mm. (19 /8 technique. 3 x 23 /8 in.) These five drawings were at one time part of the extensive Provenance collection of over three hundred paintings and pastels by By descent to the artist’s nephew John Strachey, London Bussy, inherited by the politician John Strachey, which were Robin McDouall, until 1985 dispersed at auction in 1964 and 1965. Bequeathed by him to a private collection, London

109 SOFA

94 GUSTAVE LOISEAU financial freedom. For the remainder of his career, he was Paris 1865-1935 Paris to travel tirelessly in Brittany, Normandy and the Ile-de- France, painting landscapes along the Seine and elsewhere. Still Life with a Dish of Fried Eggs Loiseau produced several paintings of still-life compositions. Often painted on board, many of these works were done at Oil on board Pont-Aven between 1922 and 1928. As Didier Imbert has Signed G. Loiseau at the lower right noted of the painter’s method and technique, ‘essentially 1 3 440 x 554 mm., 17 /4 x 21 /4 in. impressionist in his depiction of landscapes or street scenes, it acquires for the still-lifes a certain classical resonance…in Abandoning a career as a house painter, Gustave Loiseau which one perceives his preoccupation with immobility, lack of took up painting around 1884 and had devoted himself to movement, the static quality of the object represented.’ This it entirely by 1887. Apart from a year at the Ecole des Arts large painting may be dated to around 1923. The ceramic Décoratifs, he was for the most part self-taught as a painter. dish in which the eggs are placed is found in a number of He joined the Société des Artists Indépendants in 1893, other paintings by Loiseau, such as a Still Life with Fried Eggs exhibiting six paintings at the group’s annual exhibition, and and a Napkin of 1922, or a Still Life with a Lobster, Eggs and he continued to show at the Indépendants nearly every Lemon of 1931. The same dish also appears in a Still Life year thereafter. In 1897 he entered into a contract with with Eggs and Oysters sold at auction in 1994. the Galerie Durand-Ruel which allowed him a measure of

110 SOFA

95 HENRI PICCOT Jura region of Switzerland. He studied at the school of London 1899-1972 Paris(?) art in La Chaux-de-Fonds between 1915 and 1919, and with the financial assistance of a local patron was able to Souvenir de la Mobilisation: Still Life with Army Boots spend a year in Munich, between 1921 and 1922, as an apprentice to an engraver. By 1924 Piccot had settled in and a Canteen Paris, where he was active mainly as a landscape and still life painter, watercolourist and pastellist, exhibiting at the Pen and black ink Salon des Indépendants in 1925 and 1928, as well as at a Signed Henri Piccot at the lower right centre number of Parisian galleries. He also showed his work in Inscribed and dated Fus. Piccot Henri cp.II 223 / the early 1920s in exhibitions in his native canton of Bern Souvenir de la mobilisation 1939. at the lower left in Switzerland; at Delémont, Saint-Imier and La Chaux- Further indistinctly inscribed [?] Proget(?) [erased?] at de-Fonds. Between 1927 and 1930 Piccot worked as a the lower left jewellery designer for the famous house of Janesich in 7 3 Paris, counting among his clients members of Parisian high 352 x 478 mm., 13 /8 x 18 /4 in. [image] 1 1 society as well as English and European royalty. Late in his 361 x 511 mm., 14 /4 x 20 /8 in. [sheet] career, Piccot also provided book illustrations for the Swiss author Nancy-Nelly Jacquier’s Sanitra, l’enfant de la colline, Born into a Swiss family in London, at the age of six Henri published in 1971. Piccot returned with his family to Tavannes in the Bernese

111 SOFA

96 KEITH VAUGHAN During the Second World War, Keith Vaughan declared Selsey 1912-1977 London himself a conscientious objector, and was conscripted into the Non-Combatant Corps (NCC). While serving in the Stacking Hay NCC, since there was a limited range of media that could be carried in a regulation army knapsack, Vaughan became adept at expressing himself through the graphic mediums Pale brown ink and brown wash, on a page from a of ink, crayon and gouache. The early 1940s found the sketchbook artist executing numerous drawings of his surroundings, Signed K V. at the lower right the barracks and fellow soldiers and labourers, some in Dated 1942 at the lower left sketchbooks and some – known as the ‘Army Drawings’ 3 126 x 173 mm., 5 x 6 /4 in. [sheet] – on much larger paper and typically filled out with gouache. Dated 1942, the present sheet is a page from Provenance one of the many small sketchbooks that Vaughan filled with Austin/Desmond Fine Art, Ascot, in 1987 figure, landscape and compositional studies in pen and ink J. Brooks Buxton, London during this period. In the summer of that year the artist Anthony Hepworth Fine Art, Bath was stationed at a barracks in Codford in Wiltshire, near Ashton Gifford House, where he and his fellow soldiers were tasked with clearing the overgrown grounds.

112 GPFA

97 JOHN NASH London 1893-1977 Colchester

Landscape with Sun inscribed with colour notes and squared for transfer With artist’s studio stamp on backboard Watercolour and pencil on laid paper 230 x 297 mm., 9 x 11 ½ in.

Provenance: The Artist’s studio

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98 DOROTHY HAWKSLEY Literature London 1884-1970 London Maas Gallery, Dorothy Hawksley, exhibition catalogue, 2005, no. 11, p.31, ill. Study of a Doorway Exhibited London, Maas Gallery, Dorothy Hawksley, 2005, no.11 With a sketch of a mother and child verso Watercolour over pencil heightened with touches of Hawksley was the daughter of an instrument maker and bodycolour on grey paper granddaughter of a marine artist. She studied at the Royal 349 x 235 mm., 13 ¾ x 9 ¼ in. Academy Schools and then taught at King’s College, London for two years. She exhibited at the Royal Academy from 1904 to 1964 and also at the Paris Salon.

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99 RAY HOWARD-JONES Ray Howard-Jones was born in Lambourn, Berkshire of Lambourn 1903-1996 Ravenscourt Park, London Welsh parents. From 1920 to 1924, she studied at the Slade, but her career as an artist did not take off until she A Ramshackle Farm became one of the few accredited female war artists. Many of these works are now in the Imperial War Museum. She is best known for her views of the Island of Skomer off the Signed lower right: RAY/’55 Pembrokeshire coast where she spent long periods of time Watercolour and bodycolour over pencil between 1949 and 1958. 277 x 455 mm., 10 ¾ x 17 ¾ in.

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100 ANNE CONNELL flea markets, handwork appropriations of architectural Born 1959 details from Quattrocento and Cinquecento paintings, and other idiosyncratic motifs. The tree is an adaptation, In the Realm of Conjecture in silverpoint, of one in Pinturicchio’s fresco Enea Silvio Piccolomini Presents Frederick III to Eleonora of Portugal in the Piccolomini Library in the Duomo of Siena. The tower Silverpoint, gouache and collage on paper mounted (with altered perspective) comes from Benozzo Gozzoli’s on panel fresco Arrival of St. Augustine in Milan in the apsidal chapel 255 × 255 mm., 10 × 10 in. of Sant’Agostino in San Gimignano.

The artist Anne Connell’s work reflects her abiding For further information about Anne Connell, or to view love of the art of the early Renaissance. This is one of images of her recent paintings and drawings, please visit an ongoing series of mixed-media collages by Connell the page dedicated to her work on the gallery’s website. which incorporate antique paper ephemera from Italian

116 Stephen Ongpin has over thirty years of experience as a dealer in Old Master, 19th and 20th 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, assisted by Megan Corcoran and Alesa Boyle, and sharing a gallery in St. James’s in London with Guy Peppiatt. The gallery exhibits at several art fairs, including the Salon du Dessin in Paris and TEFAF in Maastricht in March, and Frieze Masters in London in October. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.

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 in St James’s, which he shares with Stephen Ongpin. Guy’s main yearly exhibition of early drawings and watercolours is in May and in January he exhibits in a gallery in New York as part of Master Drawings New York. He advises clients on their collections, buys and sells on their behalf and can provide insurance valuations. Recently Sarah Hobrough has joined Guy Peppiatt Fine Art as a consultant. Sarah has spent nearly 25 years in the field of British drawings and watercolours starting his career at Spink and Son in 1995. In 2002, she helped set up Lowell Libson Ltd and more recently has worked as a consultant for Christie’s watercolour department before joining Guy Peppiatt Fine Art in 2018.

117 INDEX OF ARTISTS

ALLOM, Thomas no.48 FARINGTON, Joseph no.23 FECHNER, Eduard no.42 BARRET Junior, George no.45 FOSTER, Myles Birket no.70 BEVERLEY, William Roxby no.44 FRANCIA, Alexandre Thomas no.78 BIBBIENA FAMILY no.14 FÜGER, Friedrich Heinrich no.17 BRABAZON, Hercules Brabazon no. 85 BRIGHT, Henry no.51 GANDOLFI, Mauro no.34 BURGESS, William no.40 GIRTIN, Thomas no.33 BURNE-JONES, Edward Coley no.76 GRIFFITH, Moses no.22 BUSSY, Simon no.93 GROSE, Captain Francis no.29

CAMPAGNOLA, Domenico [circle] no.1 HAWKSLEY, Dorothy no.98 CARTER, Henry Barlow no. 72 HILLS, Robert no.41 CAUVET, Gilles-Paul no.18 HOLLAND, James nos.57-58 CONSTABLE, Lionel no. 75 HOWARD-JONES, Ray no.99 CHAMBERS, George no.49 HUBERT, Laurent no.16 CONNELL, Anne no.100 HUET, Paul no.56 COTMAN, John Sell nos. 46-47 COX, David nos. 52, 64 INCE, Joseph Murray no.68 CRETI, Donato no.12 ITALIAN SCHOOL, 19th Century no.82 CROMEK, Thomas Hartley no. 63 KIRCHNER, Raphaël no.90 DE WINT, Peter no.50 DALZIEL, Herbert no.89 LANCRET, Nicolas no.11 DEHODENCQ, Alfred no.74 LANGLEY, Walter no.87 DEVIS, Anthony no.20 LEAR, Edward no.61 DINET, Alphonse-Etienne no.83 LEITCH, William Leighton no.80 DUNCAN, Edward no.77 LEMAN, Robert no.53 LÉVY, Henri-Léopold no.79

118 LINDSAY, Thomas no.69 RAFFET, Denis-Auguste-Marie no.59 LINNELL, John no.71 RICHARDSON Junior, Thomas Miles LOISEAU, Gustave no.94 nos.54, 81 ROMAN OR FRENCH SCHOOL, MARCO DA FAENZA, Marco Marchetti no.2 18th Century no.35 MCBEY, James no.92 ROWLANDSON, Thomas nos.30-31 MESSMANN, Carl Ludvig no.60 MILLET, Jean-François no.73 SABATELLI, Luigi no.37 MOREAU, Louis-Gabriel no.21 SANDBY, Paul no.28 MUNN, Paul Sandby no.39 SMITH, Joseph Clarendon no.38 SMITH, John ‘Warwick’ no.27 NAPOLETANO, Filippo Liagno no.4 STRANG, William no.88 NASH, John no.97 SUNDERLAND, Thomas no.26 NORTHERN SCHOOL, 17th Century SWEBACH-DESFONTAINES, Jacques no.36 no.6, 10 SYKES, Charles Robinson no.91 NUCCI, Avanzino no.3 TAVERNIER, Jean-Baptiste no.5 ORPEN, William no.84 VAILLANT, Wallerant no.8 PÂRIS, Pierre-Adrien [attr.] no.19 VALÉRIO, Théodore no.62 PARIZEAU, Philippe-Louis no.25 VAN UDEN, Lucas no.9 PARROCEL, Joseph-François no.15 VARLEY, John no.65 PARROCEL, Pierre no.13 VAUGHAN, Keith no.96 PEARSON, William no.32 PETRAZZI, Astolfo no.7 WITHERS, Augusta Innes no.43 PETRIE, George no.55 WOODWARD, Mary no.86 PICCOT, Henri no.95 PILLEMENT, Jean-Baptiste no.24 PYNE, George nos.66-67

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