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

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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 N D I 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. 2 SOFA 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. 3 SOFA 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. 4 SOFA 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. 5 SOFA 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. 6 SOFA 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.
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