N UDE RWNS&WTROOR TPE NPN U EPAT 2014-2015 ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

ONE HUNDRED DRAWINGS AND WATERCOLOURS

Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd.

Riverwide House 6 Mason’s Yard Duke Street, St James’s SW1Y 6BU GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th century to the present day

WINTER CATALOGUE 2014–2015

to be exhibited at

Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU

Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk

1 We are delighted to present our seventh annual Winter catalogue of One Hundred Drawings and Watercolours, which will be accompanied by an exhibition in our London gallery. This catalogue includes a wide range of British and European drawings, watercolours and oil sketches, placed more or less in chronological order, ranging in date from the 16th century to the present day. Guy’s selection includes rare early drawings by James Seymour, Louis Philippe Boitard and John Collet, as well as a portrait by the Irish artist Thomas Hickey. Also included is an interesting group of views by four of the best-known artists, namely Samuel Jackson, William James Müller, and the rarely-seen James Johnson, who died aged only 31. Stephen’s drawings include works by a range of artists active over four centuries, notably Stefano Della Bella, Samuel van Hoogstraten, Hubert Robert, Jacques-Louis David, Edward John Poynter, John William Waterhouse, Edwin Lord Weeks, Camille Pissarro, Henri Lebasque, Paul Signac, Gustave Loiseau, Edouard Vuillard, Claudio Bravo and Kyffin Williams.

The works included in this catalogue will, we , show that a fine drawing or watercolour is always worthy of attention, whoever the artist and whatever the date. As a glance at the enclosed price list will show, the prices of the drawings are equally broad in scope – from well under £1,000 to around £15,000 – with most of the works at the lower end of this range. This catalogue aims to show that drawings and watercolours by well-established artists can be affordable, and interesting works by lesser-known artists especially so. There is, we believe, much in this catalogue for the novice collector, as well as for the more experienced connoisseur or curator. Indeed, we are particularly pleased that a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past six years.

Our respective individual catalogues of more significant drawings will be issued in January and May 2015, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at the gallery over the coming months.

Guy Peppiatt Stephen Ongpin Julie Frouge

The following catalogue contains a combination of 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.

Only a brief account of each drawing is given in the catalogue. Further information, artist’s biographies and references, as well as high-resolution digital images of each of the works, are available on request.

The drawings are available for viewing from receipt of the catalogue. Most of the works are sold framed. A price list is included.

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1 His sister, Mrs. A.C. Rayner-Wood, Old Colwall Her nephew, Edward Holland Martin, Old Colwall 16th Century His sale, London, Christie’s, 20-21 November 1958, part of lot 127a (as Carlo Maratti) Study of a Sleeping Male Nude and Ralph Holland, Newcastle a Study of a Right Hand Thence by descent until 2013

Black chalk The present sheet was once part of the collection of Italian 3 178 x 315 mm., 7 x 12 /8 in. drawings assembled by the English artist John Skippe (1742-1812) in the last quarter of the 18th century. When Provenance in the Skippe collection, this drawing was thought to be by Probably purchased in between 1773 and 1781 , an attribution maintained by A. E. Popham by John Skippe, The Upper Hall, Ledbury in his catalogue of the Skippe sale in 1958. The drawing His sister, Penelope Skippe, Mrs. James Martin, appears, however, to be more Bolognese in character, and Overbury Court, Worcestershire closer to the of the Carracci and their followers. A By descent in the Martin family to Edward Holland, tentative attribution to Pietro Faccini (c.1562-1602) has Old Colwall, nr. Malvern, Hertfordshire been suggested.

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2a NORTHERN SCHOOL Literature First quarter of the 17th century Joachim Jacoby, Die Zeichnungen von Adam Elsheimer: Kritischer Katalog, Frankfurt am Main, 2008, p.343, The Martyrdom of Saint Paul note 262

Gouache on vellum, with framing lines in brown ink, Despite their evident high quality, the authorship of this superb and finely executed pair of gouache drawings laid down on wood t on vellum has thus far proved difficult to establish. Inscribed Callot / 1592 + 1635 / martyre de S . Pa- / Their traditional attribution to the 17th century French -t Paul on the backing board draughtsman and printmaker Jacques Callot is untenable, 3 75 x 96 mm., 3 x 3 /4 in. nor are they copies of any etchings by that artist. A more recent attribution to the Strasburg painter Johann Wilhelm ILLUSTRATED SLIGHTLY LARGER THAN ACTUAL SIZE. Baur (1607-1642), who developed a particular specialty of small gouache drawings on vellum depicting landscapes, Provenance battle scenes and allegorical subjects, is more plausible. André Novak(?), according to a label on the old backing However, the figures in this pair of gouaches are arguably boards. not as refined as those in most of Baur’s work, and the present pair would appear to be somewhat earlier in date.

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2b 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 Adam Elsheimer (1578-1610), and in particular the small-scale religious The Martyrdom of Saint Peter scenes on copper painted by the artist in the first decade of the 17th century in . Elsheimer’s small paintings, often Gouache on vellum, with framing lines in brown ink, crowded with figures and full of detail, were highly influential on the succeeding generation of Dutch, Flemish and laid down on wood German artists working in Rome. It is likely, therefore, 3 76 x 96 mm., 3 x 3 /4 in. that the author of the present pair of gouaches, each characterized by a dynamic composition and highly refined ILLUSTRATED SLIGHTLY LARGER THAN ACTUAL SIZE. technique, may be found among the Northern artists active in Rome in the first quarter of the 17th century. Provenance André Novak(?), according to a label on the old backing A tentative attribution to the German painter Pieter boards Schoubroeck (c.1570-1607) has been suggested. Of Flemish origins, Schoubroeck worked in Nuremberg and Literature Frankenthal, and is best known for small and crowded Joachim Jacoby, Die Zeichnungen von Adam Elsheimer: scenes of Old and New Testament subjects, landscapes and Kritischer Katalog, Frankfurt am Main, 2008, p.343, battle scenes, often painted on copper. note 262

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3a STEFANO DELLA BELLA this period. After his return to Florence in 1650, Della Bella Florence 1610-1664 Florence continued to enjoy Medici patronage. Della Bella’s oeuvre numbers over a thousand etchings, and Landscape with a Farmhouse many times more drawings. Della Bella’s lively drawings display a keen observation of country life and pursuits, and Pen and brown ink he seems to have often worked outdoors, filling several o Inscribed Stef : della Bella at the lower right sketchbooks with scenes of people, buildings and festivities; Further inscribed viene del cantagallina on the verso all drawn on the spot and used as a stock of images and 7 1 151 x 210 mm., 5 /8 x 8 /4 in. motifs for both his etchings and more finished drawings. Significant groups of drawings by the artist are today in A hugely talented and prolific printmaker and draughtsman, several public collections, with around six hundred sheets in Stefano della Bella produced works of considerable energy both the Uffizi and the Louvre, and approximately 150 and inventiveness. Succeeding Jacques Callot as Medici drawings apiece in the Istituto Nazionale per la Grafica in court designer and printmaker, he published etchings of Rome and the Royal Collection at Windsor Castle. public festivals, tournaments and banquets in Florence. In 1639 he accompanied the Medici ambassador to the A somewhat similar landscape composition, with a Parisian court of Louis XIII, and remained in France for ten farmhouse flanked by trees, is found in an album of drawings years. Della Bella established a flourishing career in Paris, by Stefano della Bella in the collection of the Fitzwilliam publishing numerous prints and obtaining significant Museum in Cambridge. commissions; indeed, the majority of his prints date from

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3b STEFANO DELLA BELLA As a designer of ornament, Stefano della Bella was a Florence 1610-1664 Florence creative and highly original artist whose work anticipates the Rococo manner of the 18th century. Indeed, many of Design for a Table Ornament: A Saltcellar(?) in the his ornamental prints directly influenced the work of such later artists and designers as Juste-Aurèle Meissonier, Gilles- Form of a Child Resting on a Bundle of Wheatstalks, Paul Cauvet, Mauro Tesi, Johan Paul Schor and Gilles Marie Holding a Platter Oppenord. This drawing may be compared stylistically to such ornamental drawings by Della Bella as a design for A Pen and brown ink, over an underdrawing in black Saltcellar in the Form of a Holding a Shell in a private chalk collection in Chicago, or a design for a monstrance in the 1 177 x 80 mm., 7 x 3 /8 in. Louvre. Similar drawings for table ornaments by the artist are in the Louvre, the Uffizi, the Royal Collection at Windsor Castle, and elsewhere.

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4 CONRAD MEYER THE ELDER prolific and successful portrait painter and engraver. As a Zurich 1619-1689 Zurich painter Meyer produced mainly portraits – including many of the leading citizens of Zurich – as well as landscapes, but Study of a Horse he came to specialize in engravings on copper. Meyer’s oeuvre as an engraver numbers over a thousand prints, notably portraits and allegorical subjects, as well as a handful Pen and grey ink, with touches of white heightening, of important maps and charts. In 1655 Meyer is known to on paper washed a pale brown have travelled for several weeks in the Alps in the company o Signed and dated Conrad Meyer fecit. / A . 1653. at of the Dutch artist Jan Hackaert. the lower right 3 349 x 408 mm., 13 /4 x 16 in. A stylistically comparable pen and ink drawing of Two Skulls on a Ledge by Conrad Meyer was sold at auction in The son and pupil of the artist Dietrich Meyer, Conrad Amsterdam in 1989. Also similar in handling, although more Meyer completed his training in the Frankfurt studio of the complex in medium and probably intended as a finished printmaker Matthäus Merian the Younger. He continued to work in its own right, is A Standing Wild Man, dated 1649, work in Germany, mainly in Frankfurt and Augsburg, in the which was recently acquired by The Metropolitan Museum early years of his career, before returning to settle in his of Art, New York. native Zurich in 1643. There he was soon established as a

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5 JEAN-BAPTISTE TAVERNIER The inscription on this drawing may be approximately Active in the second half of the 17th century translated as ‘Examples of penmanship, very useful for all those who admire writing, by Jean Baptiste Tavernier, in the year A Calligraphic Design for a Frontispiece 1652’. The present sheet may have served as a design for the frontispiece of J. B. Tavernier’s Collection of Pen and brown ink Calligraphic Pieces, published in Bruges between 1651 and Inscribed, signed and dated EXEMPLAREN / VAN / 1672. Intended as a guide to penmanship, a manuscript Verscheyden geschriften / Seer nut in de bequaem voor / Alle copy of this work is in the collection of the Newberry beminders en Liefhebbers der Pennen / DOOR / Joannes Library in Chicago. Baptista Tavernier / Anno 1652 in the centre 1 7 It remains unclear whether the artist responsible for this 205 x 302 mm., 8 /8 x 11 /8 in. [sheet] drawing may be identified with the well-known French gem merchant and inveterate traveller Jean-Baptiste Tavernier Provenance (1605-1689), who made six long voyages to Persia and Anonymous sale, Brussels, Les Nouvelles Galeries de between 1630 and 1688. Tavernier was the son and Paris, 23-24 October 1995, lot 656 nephew of cartographers, and it is thought likely that he had Jacques Hollander, Ohain, Belgium some practice of both cartography and engraving. In the Thence by descent until 2013 year 1652, however, Tavernier is known to have been in the midst of the fourth of his six famous voyages, to India.

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6 SAMUEL VAN HOOGSTRATEN Arriving in Rome, he joined the Schildersbent, the Dordrecht 1627-1678 Dordrecht association of Dutch artists in the city, earning the nickname ‘Batavian.’ Between 1662 and 1667 Van Hoogstraten was employed at the court of King Charles II in London, and A Man Giving Money to a Beggar following this worked in The Hague, where he is recorded as a member of the local artist’s guild, the Confrerie Pictura, Pen and brown ink and brown wash, within framing between 1668 and 1671. He painted biblical subjects, lines in brown ink portraits and genre scenes, and also produced etchings and Inscribed Rembrandt / Anfs(?) on the verso numerous drawings. The final years of Van Hoogstraten’s 3 3 87 x 111 mm., 3 /8 x 4 /8 in. career were spent in his native Dordrecht, where he wrote a treatise on painting, published shortly before his death in Initially a pupil of his father Dirck in Dordrecht, Samuel 1678. Among his pupils were Arent de Gelder, Arnold van Hoogstraten entered the studio of Rembrandt in Houbraken and, possibly, Willem Drost. Amsterdam in 1641. Working alongside artists such as Carel Fabritius and Abraham Furnerius, Van Hoogstraten As a draughtsman, Samuel van Hoogstraten worked mainly remained in Rembrandt’s workshop until 1648, when he in pen and ink, often working up his drawings with brush returned to Dordrecht. His first dated independent paintings and brown wash, and occasionally with red chalk. Around were executed in 1644, while his earliest known drawing 150 drawings by the artist survive, mostly of Biblical subjects, dates from two years later. After leaving Rembrandt’s studio, as well as sheets of studies, nudes and single figures. The Van Hoogstraten began a series of travels throughout majority of his drawings may be dated to the period of his Europe, spending time in Germany and Vienna, where training with Rembrandt, between 1641 and 1648, or to between 1651 and 1656 he worked at the Imperial court. the early years of his independent career in the 1650’s.

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7 Depicting allegorical female figures of Charity, Faith, Chastity and Humility, the pendentives were detached from the 1648-1729 Bologna cupola during the renovation of the cathedral between 1894 and 1902, and were thereafter displayed in the Charity, Surrounded by Angels Convento degli Agostiniani. Largely destroyed during the Allied bombardment of in 1943, the frescoes Pen and brown ink and brown wash survive today only as fragments. The now-lost fresco of Squared for transfer in black chalk Charity, in its final form, differed only slightly from the 1 1 388 x 291 mm., 15 /4 x 11 /2 in. composition of this drawing, mainly in the completely different pose of the winged angel at the bottom. Two other Provenance preparatory studies by Franceschini for the Piacenza Charity Paul Wallraf, Paris and London are in the Museo Davia Bargellini in Bologna and The Private collection, London Metropolitan Museum of Art in New York. A related drawing for Charity, by a pupil of Franceschini, is in the Royal A preparatory study for the figure of Charity, one of four Collection at Windsor Castle, while a close copy of the pendentive frescoes below the cupola of the cathedral at present sheet, probably by Franceschini’s chief assistant Piacenza painted by Franceschini between 1688 and 1689. , is in the Uffizi in Florence.

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8 Born in London, the son of a banker, he reportedly lived so JAMES SEYMOUR extravagantly at Newmarket that his wealthy father died London 1702-1752 London bankrupt in 1739. He worked in Newmarket and produced confident pencil drawings on the spot which he used for Study of a galloping Horse and Jockey large scale paintings. He painted most of the best known horses of the period with examples of his work being in the Pencil on laid paper Royal Collection, , Yale Center for British 1 144 x 178 mm., 5 /2 x 7 in. Art, the Tate Gallery and elsewhere. For a drawing of a horse in a similar pose, see the exhibition catalogue by Seymour was one of the best known horse painters, William Drummond, ‘The Ingenious Mr Seymour’, 1978, no. alongside John Wootton, of the mid eighteenth century. 38, ill. pl.6.

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9 DONATO CRETI Prof. Sir Albert Richardson, P.R.A., Avenue House, Cremona 1671-1749 Bologna Ampthill, Bedfordshire Thence by descent until 2013 A Young Woman Exhibited Twickenham, Orleans House Gallery, Horace Walpole and Pen and brown ink, oval, with framing lines in Strawberry Hill, 1980, no.200 brown ink Inscribed (by Horace Walpole) Donato Creti on In his biography of the artist, Giampietro Zanotti writes that the backing sheet Donato Creti’s drawings were highly regarded by his 1 7 104 x 74 mm., 4 /4 x 2 /8 in. contemporaries. (The painter Marcantonio Franceschini, for one, praised the artist as a ‘grandissimo disegnatore’.) In Provenance general he preferred to use pen and ink wash for his studies, Horace Walpole, 4th Earl of Orford, Strawberry Hill, drawn with a rapid, calligraphic stroke, although he also Twickenham, Middlesex produced head studies in chalk. Landscapes, figure studies By descent to his cousin’s daughter, Anne Seymour and portraits make up the bulk of Creti’s drawings, many of Damer, and thence to his great niece, Laura, Countess which, according to Zanotti, were given away as presents of Waldegrave, by 1811 by the artist. Thence by descent to George Waldegrave, 7th Earl of Waldegrave The attribution of this drawing, which may be dated to the His sale of the contents of Strawberry Hill, London, first or second decade of the 18th century, has been George Robins, 13 June 1842 onwards, possibly part confirmed by Marco Riccòmini. of lots 1262 or 1263

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10 LOUIS PHILIPPE BOITARD Provenance: France fl. 1733-1767 London With Bill Drummond a. Study of a Woman and Child drawn from Life These figures were used in a crowd scene in Boitard’s 1747 etching ‘The Covent Garden Morning Frolick’, a copy of Inscribed lower left: from the life. which is in the British Museum (BM Sat 2877). Pen and brown ink and watercolour on laid paper 3 1 174 x 113 mm., 6 /4 x 4 /4 in.

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b. Study of a Man carrying a Tankard Born in France, Boitard was brought to London by his father where he became an artist and engraver. These two Pen and brown ink and watercolour drawings typically show his interest in the street life of 1 1 London. In 1766, he was commissioned by Robert Sayer to 185 x 112 mm., 7 /4 x 4 /4 in. produce 86 drawings of London street characters for ‘The Cries of London.’ There are three similar drawings of figures Provenance: in the British Museum and the Yale Center for British Art. With Bill Drummond

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11 THOMAS HICKEY Literature: 1741-1824 Madras Edward A. McGuire, ‘Pastel Portrait Painting in Ireland in the XVIII century’, Connoisseur, vol. CIII, 1939, p.11, fig. v; Portrait of Dr Kennedy Neil Jeffares, Dictionary of Pastellists before 1800, 2006, p. 236, ill. Half-length Hickey was a portrait painter working mainly in oil as well Signed centre right: T. Hickey/1774 as pastel. Born in Ireland, he studied in Italy from 1761 to Coloured chalks over pencil on laid paper, oval 1767 and was in London by 1770. He worked in Bath from 1 1 210 x 164 mm., 8 /4 x 6 /4 in. 1776 to 1780 when he set off to India via where he spent several years, reaching India in March 1784. In Provenance: India, he set up a successful practice as a portrait painter Anonymous sale, Christie’s, 17th May 1934, lot 47; working for amongst others and remained With J. Maher, 1939 there, except for an interlude in Ireland from 1796 to 1798, until his death in Madras in 1824.

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12 portrait painter in London from 1814 and exhibited 147 MARGARET SARAH CARPENTER pictures at the Royal Academy from 1818. In 1817 she Salisbury 1793-1872 London married William Hookham Carpenter, who in 1845 was appointed Keeper of Prints and Drawings at the British Portrait of Minnie and Janie Smith Museum. She produced everything from miniatures to full- length portraits in oil and was well known and successful in Gouache on paper laid on canvas her day. Her sister married the artist William Collins, R.A. 3 Oval 181 x 225 mm., 7 x 8 /4 in. Examples of her work are in the British Museum and the Victoria and Albert Museum. This may be the picture Margaret Carpenter was the daughter of Captain Alexander exhibited at the Royal Academy in 1849, no. 376 as ‘The Geddes and took lessons as a young woman from a Children of George Smith Esq.’ Salisbury drawing master. She established herself as a

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13 14 JOHN COLLET FRENCH SCHOOL London c.1725-1780 Chelsea 18th Century

An East Indian Buffalo The Église du Dôme at the Hôtel des Invalides, Paris

Inscribed with title on reverse of original mount Pen and black and grey ink and grey wash, with Pen and grey ink and watercolour touches of watercolour, over traces of an 1 1 140 x 211 mm., 5 /2 x 8 /4 in. underdrawing in pencil Framing lines in black ink Collet studied at the St Martin’s Lane Academy and was a Faintly inscribed A3 (or AB?) at the lower left pupil of the landscape artist George Lambert. He was much 5 3 345 x 263 mm. (13 /8 x 10 /8 in.) influenced by Hogarth. He exhibited at the Free Society of Artists from 1761 until his death and a number of The royal chapel of the Église du Dôme is part of the Hôtel his drawings were engraved. His work is characterised national des Invalides, a large complex of buildings in Paris by a thick pen and ink outline. Another version of this built in the late 17th century and intended to serve as a watercolour was sold as part of the Cornish Torbock military museum, monument, and a home and hospital for collection at Sotheby’s on 14th April 1994, lot 165. retired soldiers. Initiated by Louis XIV, construction on the main buildings was begun in 1670. The royal chapel itself, dominated by an immense cupola, was begun in 1679 and completed in 1706. Designed by the architect Jules Hardouin-Mansart, it is one of the masterpieces of French Baroque architecture.

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15 16 SAMUEL HOWITT HUBERT ROBERT Nottinghamshire 1756-1822 London Paris 1733-1808 Paris

Deer in a Wooded Landscape Wooded Landscape with a Washerwoman at a Fountain Watercolour over pencil on laid paper 1 168 x 229 mm., 6 /2 x 9 in. Red chalk counterproof, laid down on an old mount Dated 7. Avril 1771 and inscribed H. Robert pour Howitt was born into a wealthy Quaker family in , L’abbée de St. Non. in the margin of the mount and originally took up drawing as a hobby. He 3 3 365 x 290 mm., 14 /8 x 11 /8 in. [sheet] befriended the artists Rowlandson and George Morland and his style is much influenced by the former, whose sister he Provenance married in 1779. He rapidly dissipated his fortune however Jean-Baptiste-Claude Richard, Abbé de Saint-Non, Paris and took up drawing professionally, specialising in scenes of hunting and other countryside pursuits. He is probably best According to the inscription on the mount, this drawing was known for his illustrations for Williamson’s Oriental Field once in the collection of Hubert Robert’s friend and patron, Sports published in 1808. Jean-Claude Richard, Abbé de Saint-Non (1727-1791). The date of 1771 inscribed on the mount may be accurate, as the drawing would certainly seem to date from after Robert’s return to France from Italy in 1765. By the early 1770’s he had developed his mature style as a draughtsman, creating attractive landscapes and pastoral scenes with a refined and subtle use of red chalk.

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17a 17b ROBERT DIGHTON ROBERT DIGHTON London 1751-1814 London London 1751-1814 London

The Pretended Elopement A Connoisseur

Pen and grey ink and watercolour over pencil on Signed on border l.r.: Dighton del. and inscribed: laid paper 402/A Connoisseur 1 3 Oval 192 x 145 mm., 7 /2 x 5 /4 in. Pen and grey ink and watercolour over pencil in a painted oval Provenance: Image 134 x 109 mm., 5 ¼ x 4 ¼ in. Colin Hunter (1926-2013)

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Provenance: The son of a London printseller, Dighton was a man of Carrington Bowles family, by descent until sold at many talents – caricaturist, actor, writer and singer. He is Sotheby’s, 30th April 1953 as part of an album, bt Sabin; best known for his satirical portraits which he exhibited at Bought by Jeffrey Rose, 1953, his sale Sotheby’s, 23rd the Free Society and the Royal Academy. His sons Richard February 1978, lot 7; and Joshua also became caricaturists. Colin Hunter (1926-2013) These drawings/ b. comes from a group of over one Engraved: hundred watercolours by Dighton assembled into an album By Bowles and Carter for ‘A Book of Heads’, 1795 in the 1830s by the family of Carrington Bowles who was one of the main publishers of Dighton’s mezzotints.

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18a London 1756-1827 London

Horses and Coaches outside an Inn

Pen and grey ink and watercolour heightened with touches of bodycolour 1 1 216 x 322 mm., 8 /2 x 12 /2 in.

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18b THOMAS ROWLANDSON Engraved: London 1756-1827 London Published by Laurie & Whittle, 53, Fleet St, London, 3rd December 1804 b. Neck or Nothing – Tally Ho Exhibited: Richard Green and Frank T. Sabin, Thomas Rowlandson, Signed or inscribed lower right 1980, no. 22 Pen and grey ink and watercolour over traces of pencil The engraving was subtitled ‘No dangers we fear that can 3 119 x 177 mm., 4 /4 x 7 in. Hunting betide,/For Courage was ne’er to a Sportsman deny’d.’

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19 MICHEL VINCENT CHARLES BRANDOIN Born in Switzerland, Brandoin was sent to Amsterdam in Vevey, Switzerland 1733-1790 Vevey, Switzerland 1748 to work as an apprentice in his uncle’s textile firm. In 1762, his uncle died and he moved to London, living in View of Cluses, Savoy, France Church Street, Chelsea, until he returned to Switzerland in 1772. In London, he took lessons from Paul Sandby and Inscribed on reverse of original washline mount: devoted himself to painting in watercolour. He took on pupils and worked on commissions for both English and View of Cluse, a small Town in Savoy on the road/to Swiss patrons, as well as exhibiting at the Royal Academy Italy. and elsewhere. Pen and grey ink and watercolour heightened with touches of bodycolour on laid paper On his return to Vevey, he was busy with commissions both 1 3 169 x 223 mm., 6 /2 x 8 /4 in. public – designs for fountains, church organs, pulpits and mausoleums – and private. The present watercolour was Provenance: one of a group belonging to Sir William Forbes and sold at Sir William Forbes, 6th Bart of Pitsligo (1739-1806); Sotheby’s in 1999. Forbes had undertaken his Grand Tour Anonymous sale, Sotheby’s, 15th July 1999, lot 72 in 1792 and 1793 and presumably bought the group from the artist when passing through Switzerland.

Cluses is in the Arve Valley, about 25 miles south of Geneva on the road to Chamonix.

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20 JACOB VAN STRIJ A fine example of a type of highly finished watercolour that Dordrecht 1756-1815 Dordrecht Jacob van Strij produced throughout his career, this is among the relatively few signed and dated works by the artist, and A Rhine Landscape with Peasants at Work, after was almost certainly executed as an independent work of Herman Saftleven art. It is a faithful copy of a small oil painting on panel, dated 1664, by the 17th century Dutch artist Herman Saftleven. As the inscription on the verso notes, van Strij made the Watercolour, pen and brown and grey ink, with drawing in 1784 from Saftleven’s painting, which was at that framing lines in brown ink time in the collection of M. Barthout van Slingeland, lord of Signed, dated and inscribed Roelofseck: / Herman Slingeland and Goidschalxoord, near Dordrecht. Saftleven’s Saftleven. f. A: Utrecht / Anno 1664. / na het small painting, one of a pair of Rhineland compositions, is orgeneele het welk berust by den / wel edele Heer Mr now in a private collection. The painting is signed, dated and Barthout van Slingelandt, vryheer van Slingeland / en inscribed ‘Roelofseck’ on the reverse, which may refer to Goidschalxoord te dordrecht. door Jacob van Stry the town of Rolandseck, on the Rhine south of Bonn. 1784 on the verso 3 1 Like many Dutch artists of the 18th century, Jacob van Strij 187 x 235 mm., 7 /8 x 9 /4 in. made a number of elaborate watercolour drawings after the paintings of earlier Dutch masters. Often, as in the Provenance case of the present sheet, van Strij would base his The ‘Pictura’ society, Groningen (Lugt 2028) watercolour copies on paintings to be found in local Dordrecht collections.

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21 FRENCH SCHOOL of the Louvre, on the site of the recently demolished 17th Late 18th Century century Hôtel de Rambouillet. Its name Panthéon was derived from the circular cupola of the structure. The high A Cross Section of the Interior of a Theatre: The cost of the land on which it was built led the architect to Panthéon in the Place du Carrousel, Paris, in c.1786 situate the ballroom – known as the Saloon du Vauxhall, or du Panthéon, and measuring sixty by thirty-five feet – on Pen and black and red ink and brown wash, over a the first floor, to allow for shops on the ground floor. Two engravings published in the Journal polytype des sciences et pencil underdrawing, on two joined sheets of paper des arts of 27 October 1786 record the interior of the Signed(?) with a monogram Dr at the lower right ballroom and a cross-section of the entire building Inscribed 1 pouce pour toise / 2 lignes pour pied / métrique at the lower right The architect of the Panthéon is unknown, but it may have 3 5 452 x 600 mm., 17 /4 x 23 /8 in. been either Nicolas Lenoir, known as Lenoir le Romain (1733-1810), or Nicolas Le Camus de Mézières (1721- Provenance 1789). Both architects profited from the Parisian vogue for Private collection, France dancing halls known as ‘Vauxhalls’, after Vauxhall Gardens Seiferheld and Co., New York in London, and each designed several theatres in Paris at Anthony Hail and Charles Posey, San Francisco around the same time. Numerous ‘Vauxhalls’ were built in Paris in the second half of the 18th century, of which the Inaugurated in 1786, the theatre and ballroom known as Panthéon was one of the finest. The building was destroyed the Panthéon was built on the Place du Carrousel in front by fire in 1836.

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22 JOHN AUGUSTUS ATKINSON Atkinson went to St Petersburg with his uncle aged nine London 1775-c.1833 where he studied the paintings in the Hermitage and gained the patronage of the Empress Catherine. Aged 21, he Roundheads by a Church returned to London and specialised in Russian views and battle scenes. He exhibited at the Royal Academy and Pen and grey ink and watercolour elsewhere and a number of his Peninsular War battle scenes 3 3 were bought by the Duke of Wellington. 248 x 197 mm., 9 /4 x 7 /4 in.

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23 WILLIAM PEARSON Durham 1772-1849 London

View of Snowdon from Moel Hebog, North Wales

Watercolour over pencil 1 3 372 x 552 mm., 14 /2 x 21 /4 in.

Provenance: With John Manning, New Bond St, 1960s; Private Collection, UK

The son of a Durham solicitor, Pearson’s artistic training is unrecorded. Although the influence of Thomas Girtin is clear in his watercolours, there is no evidence of a direct link between the two. He first exhibited at the Royal Academy in 1799 and his exhibits suggest that he visited Wales in 1801. In 1802, he moved to Shrewsbury and many of his known works and engravings are of Shropshire views.

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24 MOSES GRIFFITH Caernarvonshire 1749-1819

Llanidan Church, Anglesey

Signed with initials lower centre, dated 1806 and inscribed with title Watercolour over pencil 3 154 x 273 mm., 6 x 10 /4 in.

Moses Griffith was born at Trygain House in Lleyn, Caernarvonshire of poor parents. In 1769 he was employed by the naturalist, writer and antiquarian Thomas Pennant (1726-1798) of Downing Hall near Whitford, Flintshire, and encouraged to study drawing and engraving. Griffith became Pennant’s constant companion on his tours of the country recording what he saw. After Pennant’s death, he continued to work for his son until 1813 and settled at Wibnant near Holyhead, Anglesey and worked as an engraver.

Llanidan is a parish sitting on the banks of the Menai Straits in south-east Anglesey which includes the village of Brynsiencyn. This shows old Llanidan church dedicated to St Aidan, a seventh century bishop.

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25a THOMAS HEARNE Brinkworth 1744-1817 London

Durham Castle and Framwell Gate Bridge

Grey washes over pencil on laid paper 3 182 x 248 mm., 7 x 9 /4 in.

Provenance: With Michael Spratt, Guildford; With the English Gallery, Cambridge; Private Collection until 2014

Views of Durham by Hearne are in the British Museum, Ashmolean Museum, V & A Museum, Norwich Castle Museum and Leeds City Art Gallery (for three of them, see David Morris, Thomas Hearne and his Landscape, 1989, pls. 61-63, pp. 80-81).

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25b THOMAS HEARNE Brinkworth 1744-1817 London

The Gateway at Erwarton Hall, Suffolk

Inscribed verso: Arewarden Suffolk/July 1799 Grey washes over pencil 1 154 x 239 mm., 6 x 9 /4 in.

Provenance: With Spinks, London; Private Collection until 2014

Erwarton Hall is on the Shotley peninsula, nine miles south of Ipswich. The Hall was rebuilt in 1575 and the tunnel vaulted gateway, which still exists today, from 1549. Before the rebuilding, the house belonged to Anne Boleyn’s uncle and she is supposed to have been a regular visitor. The estuary of the river Stour is beyond with the old town and church of Harwich in the distance.

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26 27 VENETIAN SCHOOL DR WILLIAM CROTCH 18th Century Norwich 1775-1847 Taunton

A Standing Man Wearing a Bicorne Hat, Seen from Sir Joseph Lock’s organ room, Oxford Behind Inscribed verso: No 1 Sir Joseph Lock’s Organ Room Pen and brown ink and brown wash Oxford/Over the organ, A Cast of Roubiliac’s Mon.t 3 1 137 x 104 mm., 5 /8 x 4 /4 in. of Handel Westminster Abbey/& 2 Sphinxes – The/Original Egyptian/Sphinx is supposed by some/to be the figure of some animal wch has by Time assumed a/resemblance to the female face & bust – others say it is a combination of/the 2 summer signs of the Lion & the Virgin/Copied Aug 31 1842. The original is in oblique perspective/The Organ was built for his/own/daughter by Watercolour and pencil 178 x 228 mm., 7 x 9 in.

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Provenance: and usually inscribed the reverse of each drawing with a Iolo Williams (1890-1962); place, date and often the precise time. For more on Crotch, By descent until sold at Sotheby’s, 25th November 2004, see Jonathan Rennert, William Crotch (1775-1847) lot 133 Composer, Artist, Teacher, 1975.

Crotch was born in Norwich and achieved early fame as a Sir Joseph Lock was Mayor of Oxford. The cast of Handel musician. At the age of four, he was giving daily organ recitals mentioned in the inscription was executed by the in London and composed his first oratorio aged 11 when composer’s friend Roubilliac in 1762 and is in Westminster studying music in Cambridge. In the late 1780s he settled in Abbey. A terracotta version of it is in the Ashmolean Oxford where he met John Baptist Malchair (1731-1812), Museum and many casts of it were produced in the the German-born leader of the band in the Music Room at eighteenth and nineteenth centuries. The ‘England’ Oxford. Malchair became a firm friend and influenced both referred to by Crotch is the organ-builder George England Crotch’s music and his art. In 1790 at the age of 15 Crotch (fl. 1740-1788) or maybe his son George Pike England was the organist of Christ Church College and became a (c.1765-1814). Professor of Music in 1797. He returned to London and was the first Principal of the Royal Academy of Music from 1822 until 1832 – many of his known drawings date from 1832 onwards. He was a talented artist and draughtsman

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28a 28b JOHN WHITE ABBOTT JOHN WHITE ABBOTT Exeter 1763-1851 Exeter Exeter 1763-1851 Exeter

Study of Plants Study of a Dog

Watercolour over pencil on laid paper Black chalk and stump 1 1 102 x 178 mm., 4 x 7 in. 118 x 82 mm., 4 /2 x 3 /4 in.

White Abbott was born, and spent all his working life, in and around Exeter. His uncle James White, an eminent Exeter barrister was a friend of Francis Towne (1739-1816) and White Abbott received tuition and advice from the older man. White Abbott worked in very similar style to Towne, combining pen and ink with broad washes of simple colour. White Abbott was never a professional artist and made his living as a surgeon. He did exhibit at the Royal Academy between 1795 and 1822 however. He painted almost exclusively in the Devon area with his only major sketching tour being to the Lake District and Scotland in June and July 1786. In 1825 he inherited his uncle’s Devon estate at Fordland and retired to concentrate on his painting. He was said not to have sold a picture in his lifetime and his work remained with his descendants until well into the twentieth century.

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29 30 SAMUEL ATKINS SAMUEL OWEN fl.1787-1808 1774-1854 Sunbury, Surrey

Shipping off the Needles, Isle of Wight Sailors refitting a Man-o’-War near Shakespeare’s Cliff, Dover Signed on piece of wood lower centre Pen and grey ink and watercolour heightened with Signed lower left: S OWEN touches of bodycolour on laid paper Watercolour over traces of pencil heightened with 1 3 208 x 299 mm., 8 /4 x 11 /4 in. bodycolour on wove paper watermarked: J. WHATMAN/TURKEY MILL/1821 3 1 Atkins specialised in marine pictures but little is known about 303 x 241 mm., 11 /4 x 9 /2 in. his life. He exhibited at the Royal Academy between 1787 and 1808 and was at sea visiting the East Indies and the Provenance: coast of China from 1796 to 1804. Examples of his work Anonymous sale, Sotheby’s, 15th March 1984, lot 175; are in the British Museum, Victoria and Albert Museum, Private Collection until 2014 Ashmolean Museum, Oxford and elsewhere.

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31a THOMAS TUDOR The Church of St Mary Redcliffe was built between the 12th Monmouth 1785-1855 Wyesham and 15th centuries by wealthy Bristol merchants. situated at the port, sailors would pray there for safe passage before The Church of St Mary Redcliffe from across the a journey and give thanks on their return. This drawing harbour, Bristol shows the church without a spire. It was struck by lightning in 1446 and not reconstructed until 1872. Inscribed lower right: Redcliff Church from the Back Bristol Pen and brown ink, brown wash heightened with scratching out on laid paper 1 1 119 x 236 mm., 4 /2 x 9 /4 in.

Provenance: By descent from the artist until with Walker Galleries, 1961

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31b THOMAS TUDOR Tudor was born in Monmouth, the son of Owen Tudor, Monmouth 1785-1855 Wyesham a bookseller. He started drawing at a young age provided plans and drawings of local houses and first exhibited at The Gorge at Clifton, Bristol the Royal Academy in 1809. He continued exhibiting until 1819 but became a land agent, building Tudor House Inscribed lower left: Clifton and numbered 22 lower at Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings and owned right works by Reynolds, Van Dyck and Turner whose studio his With a study of ships at sea verso diary records he visited in June 1847. Pen and brown ink and brown wash heightened with scratching out 1 150 x 243 mm., 6 x 9 /2 in.

Provenance: By descent from the artist until with Walker Galleries, 1961

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32 WILLIAM PAYNE London 1760-1830 London

At Ryde, Isle of Wight

Inscribed upper right: Ryde/Isle of Wight With a sketch of Cowes from the road to Wooton Bridge verso Grey washes over pencil 1 3 89 x 148 mm., 3 /2 x 5 /4 in.

This originated from an album of sketches by Payne, dated between 1810 and 1823, which included a number of Isle of Wight views.

Provenance: Michael Ingram

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33 JOHN VARLEY Embleton. It belonged to the Dukes of Lancaster and Hackney 1778-1842 London exchanged hands several times during the Wars of the Roses. It never recovered from the associated sieges however and has been a ruin since the 16th century. It is South View of Dunstanburgh Castle, Northumberland now run by English Heritage.

Signed lower centre: J. Varley. and signed lower left: This dates from Varley’s trip to Northumberland in J Varley 1808 September 1808. The Northumberland Sketchbook in the Coloured washes over pencil V. & A. has a number of Dunstanburgh views drawn on 20th 1 309 x 521 mm., 12 x 20 /2 in. September 1808 (see C.M. Kaufmann, John Varley, 1984, no. 25, pp. 118-121). This shows the main entrance to the Dunstanburgh (or Dunstanborough) Castle is a dramatically castle as one now approaches it from the south. Varley positioned 14th century ruined castle perched on the edge visited a number of his patrons on this tour including William of the North Sea between the villages of Craster and Ord at Whitfield and Sir John Swinburne at Capheaton.

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34 SAMUEL JACKSON Bristol 1794-1869 Clifton

View of a Bridge in a Mountainous Landscape

Brown washes heightened with stopping out 1 190 x 280 mm., 7 /2 x 11 in.

Provenance: With the Gallery Downstairs, London, 1991; Private Collection, UK until 2013

This may be a Welsh view. There was a strong tradition of producing romantic drawings in sepia wash amongst the Bristol School artists. It arose from a series of Sketching Clubs in the city in the 1820s and 1830s where artists would meet up in the evening at each other’s houses to produce drawings on a given subject. For more on Jackson, see no. 39.

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35 JACQUES-LOUIS DAVID The present sheet may be dated to the time of David’s Paris 1748-1825 Brussels exile in Brussels, and compares well stylistically with other drawings of this late period. The physiognomy and pose A Young Woman with a Veil of the woman is particularly close to that of the right hand figure in a drawing of three women of 1817, today in Black chalk and graphite on thin paper, laid down the Museum voor Schone Kunsten in Ghent. A similar figure also appears, in reverse, in another black chalk onto a backing sheet drawing of 1817. Comparisons may also be made with Signed L. David. at the lower right some of a group of single female heads, drawn in black A number of small repaired tears around the edges chalk, in the collection of the Musée des Beaux-Arts in of the sheet and a larger repaired tear which runs Rouen, which have been dated between 1819 and 1823. vertically through the centre of the sheet 1 1 232 x 209 mm., 9 /8 x 8 /4 in. [sheet]

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36 JOHN GANTZ 1772-1853 Madras

A Brahminy Village Hut near Madras, India

Inscribed in another hand on reverse of original mount: No.12 Brahamany Village Hut/A Drawing - Gantz/Madras 1828 Watercolour over pencil heightened with touches of bodycolour 1 1 168 x 234 mm., 6 /2 x 9 /4 in.

Gantz was employed as a draughtsman and surveyor by the East India Company from 1800 until 1803. He is first recorded in Madras in 1807 and he remained there until his death working as an architect and he also ran a lithographic press. His son Justinian Gantz (1802-1862) was also an artist and specialized in depicting European houses in India. Works by both father and son, including many Madras views, are in the India Office Library collection.

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37 EDWARD LEAR Engraved: Highgate 1812-1888 San Remo By Edward Lear for Journal of a Landscape Painter in Corsica, 1870 Bastia, Corsica Lear visited Corsica in the spring of 1868 and his Journal of Signed with monogram lower left and inscribed with a Landscape Painter in Corsica records his trip. At the end of May, Lear spent several days in and around Bastia. This notes on the border drawing dates from his return journey to the city on 26th Pen and grey ink and wash over pencil heightened May. His Journal records: ‘Very beautiful are some of the with white mouths of the little valleys of Cap Corse on such a day as 1 1 119 x191 mm., 4 /2 x 7 /2 in. this, the pure emerald green water close inshore rippling over the milk-white sand; the mountains south of Bastia Provenance: pearl clear on the horizon... shortly afterwards, sending on With Spink, London; the trap, I pass an hour, spite of the great heat, in making a Anonymous sale, Sotheby’s, 10th March 1988, lot 80; drawing of the white city on its promontory, seen between John Dayton (1922-2003); graceful olives bending over the sea. By six-thirty I have Private Collection, London walked on to Bastia’ (op. cit., p.208).

Literature: Edward Lear, Journal of a Landscape Painter in Corsica, 1870, p. 208, ill.

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38 WILLIAM JAMES MÜLLER Bristol 1802-1845 Bristol a. St Leonard’s Lane, Bristol b. Bull Paunch Lane, Bristol

Signed lower right: WMuller 1837. and inscribed Signed lower left: WMuller 1836. and inscribed with with title verso title verso Black chalk on buff paper Black chalk heightened with white on buff paper 1 1 347 x 245 mm., 13 /2 x 9 /2 in. 369 x 261 mm., 14 ½ x 10 ¼ in.

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b.

Smaller undated versions of both drawings are in the Bristol Lane and running between Small St and Corn St, is all that City Art Gallery (for the view of Bull Paunch Lane, see remains of the medieval gate and church of St Leonard Francis Greenacre and Sheena Stoddard, W.J. Müller, which was destroyed in 1770. exhibition catalogue, 1991, no. 16, p. 64, ill.). The finished nature of these drawings suggest that Müller was By 1836, Müller was well established as an artist in Bristol considering publishing them as prints. He is known to have and was exhibiting at the Royal Academy and elsewhere. In been considering a publication of views of old Bristol with 1834 he toured Germany and Italy ending up in Venice and his fellow artist John Skinner Prout. was in Bristol until a tour of Greece and Egypt in the winter of 1838. Bull Paunch Lane is now called Lawford Street and runs off Old Market. St Leonard’s Lane, now known as Leonard

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39 SAMUEL JACKSON Exhibited: Bristol 1794-1869 Clifton Bristol City Art Gallery, The Watercolours of Samuel Jackson, April-May 1986, no. 38 a. Study in Leigh Woods, Bristol Jackson was one of the best known artists of the Bristol Inscribed verso in G.W. Braikenridge’s hand: Study School. Born in Bristol, he was the son of a merchant and worked for his father until 1820 when he became a in Leigh Woods/Jackson professional artist. He became a well known drawing Watercolour heightened with bodycolour teacher in Bristol and lived there throughout his life. This 1 3 297 x 451 mm., 11 /2 x 17 /4 in. watercolour belonged to George Weare Braikenridge, a Bristol antiquary and collector who commissioned hundreds Provenance: of views of Bristol and the surrounding area in the 1820s. George Weare Braikenridge (1775-1856); For more on his collection, much of which is now in Bristol Alderman James Fuller Eberle circa 1900; City Art Gallery, see Sheena Stoddard, Bristol before the Thence by descent to Mrs J.F. Shore; Camera: The City in 1820-30 – Watercolours and Drawings With Suzi Quadrat, Clifton, Bristol; from the Braikenridge Collection, 2001. Private Collection until 2014 Leigh Woods was a popular sketching area for Bristol artists in the early nineteenth century.

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b. b. St Vincent’s Rocks from Nightingale Valley, Clifton, Woods most favoured by the Bristol School artists (see no. Bristol 39a). Jackson’s friend, the amateur artist the Rev. John Eagles recalled ‘those beautiful woods opposite Clifton, Black and white chalk on grey paper separated from it by the muddy Avon... dividing... the cares 3 3 and toils of a busy world from the regions of Elysium. 274 x 249 mm., 10 /4 x 9 /4 in. Beautiful as these woods are when seen from the opposite hill, those who only see them thus have little conception of Provenance: their beauty. It is the very best artist’s ground and of a With Suzi Quadrat, Clifton, Bristol; character unique.’ Private Collection until 2014 A watercolour of this view by Jackson is in the Victoria and This is a view looking down Nightingale Valley to St Albert Museum (see Francis Greenacre and Sheena Vincent’s Rocks which stand over the Clifton Gorge. Above Stoddard, The Bristol Landscape – The Watercolours of Samuel St. Vincent’s Rocks stands Clifton Observatory which from Jackson, 1986, no. 26, ill. p.46). 1828 was used as a studio by Jackson’s friend the artist William West. Nightingale Valley was the part of Leigh

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40 FRANCIS DANBY are the rocks known as Sea Walls with the beyond the Wexford, Ireland 1793-1861 Exmouth tower known as Cook’s Folly.

View of the Avon Gorge looking towards the Severn Stylistically this dates from circa 1815, two years after his arrival in Bristol. Danby had trained in Dublin and in 1813 Estuary visited London with his fellow artists James O’Connor (1792-1841) and George Petrie (1789-1866). They were Signed lower left: F Danby there only a few weeks before they ran out of money and Watercolour over pencil heightened with touches of Danby and O’Connor walked to Bristol with the intention bodycolour of finding a boat to take them back to Ireland. However he 3 3 274 x 428 mm., 10 /4 x 16 /4 in. found in Bristol a market for his landscapes and portraits and resolved to stay a while. In 1824, he moved to London and Provenance: first exhibited at the Royal Academy in 1817. By the 1820s Anonymous sale, Sotheby’s, 3rd October 1974, lot 210; he became famous for his grand landscape paintings. Private collection, UK until 2011 According to Redgrave ‘Danby will always take high rank with the lovers of art and genius. His imagination was of the This is a favourite viewpoint of several Bristol School artists highest class, his landscapes of the truest poetry’ (see and especially Danby and Jackson. It looks west down the Samuel Redgrave, A Dictionary of Artists of the English School, Avon from Durdham Down, with the Severn estuary in the 1878, p.113). distance and the hills of Wales on the horizon. To the right

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41 JAMES JOHNSON police station. Another watercolour by Johnson of this Bristol 1803-1834 Bath subject dated 1820 is in Bristol Art Gallery (see Sheena Stoddard, Bristol before the Camera: The City in 1820-30, Guard House Passage, Wine Street, Bristol 2001, p.25, no.19, ill.). Johnson was the son of a publican at Downend, just outside Signed lower right: J.J. 1821 and signed verso: Bristol. His earliest known work is dated 1819 and fifty Entrance to the Guard House Wine S.t Bristol/James views drawn in and around Bristol are in the Braikenridge Johnson del. 1821 collection, now in Bristol Art Gallery (see no.39a). He was Watercolour and pencil part of the Bristol School of artists who met to sketch and 3 231 x 171 mm., 9 x 6 /4 in. socialise, and exhibited at the Royal Academy and the British Institution in London where he moved in 1825. His Guard House Passage was a centuries old passageway contemporaries described him as ‘melancholy’ and he running off Wine Street, Bristol. It was used as a billet for the appears to have suffered from a mental illness which led to ‘Main Guard’ during the Civil War (1642-43) and was his confinement in Bath where he was teaching drawing owned by a Robert Yate in 1681. In the eighteenth and and, in the summer of 1834, he threw himself out of a early nineteenth centuries it was used as a lock-up for window and died. criminals and between 1836 and 1844 it was the first Bristol

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42 WILLIAM ROXBY BEVERLEY where the artist made several sketching tours.Beverley was Richmond 1811-1889 Hampstead particularly fond of coastal scenes and depictions of such port towns and fishing communities as Scarborough, Eastbourne, Hastings and Sunderland. In many of his Fishing Boats on a Beach watercolours, there is a particular interest in skies and atmospheric effects; a legacy of his training as a scene Watercolour over a pencil underdrawing painter. Signed and dated WBeverley [?] Augt. / 28 1835 at the lower right Beverley regularly exhibited his landscape watercolours, 1 1 258 x 358 mm., 10 /8 x 14 /8 in. almost always of English coastal scenes, at the Royal Academy between 1865 and 1880. He also showed his Provenance work at commercial galleries such as the Dudley Gallery, Michael Ingram, Driffield Manor, Driffield, Gloucestershire and is known to have charged up to £400 for some of his His posthumous sale, London, Sotheby’s, 6 June 2007, finished watercolours. By comparison with many of his part of lot 248 fellow artists, however, Beverley produced relatively few Private collection, England watercolours, given his busy career as a theatrical painter and scenographer. Nevertheless, as one early critic had An early work by the artist, the present sheet is a fine noted, ‘Beverley painted water-colour pictures of rare and example of William Roxby Beverley’s lively watercolour delicate beauty, works which alone should suffice to win for sketches. The scene depicted here is likely to be found in him a place in the front rank among our masters of water- one of the fishing communities in the North East of England, colour art.’

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43 CLARKSON STANFIELD, R.A. Sunderland 1793-1867 London

View of St Malo, France

Inscribed lower left: S.t Malo Watercolour over pencil heightened with touches of bodycolour on buff paper 3 172 x 254 mm., 6 /4 x 10 in.

Exhibited: London, Agnew’s, 131st Annual Exhibition of Watercolours and Drawings, 2004, no. 68

Stanfield travelled from Calais to St Malo in August 1832 together with his wife and son. A number of watercolours from this tour were engraved for Heath’s Picuresque Annual for 1834 (see Pieter van der Merwe, The Spectacular Career of Clarkson Stanfield 1793-1867, exhibition catalogue, Tyne and Wear County Council Museums, 1979, no. 194, p.122).

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44 DAVID COX Cox visited Lancaster Sands on Bay in north- Birmingham 1783-1859 Birmingham west England in the summers of 1834, 1835 and 1840, fascinated by the vast skies and ever changing weather. The Distant View of Lancaster sands were, and still are, famously dangerous and travellers were frequently cut off by the fast moving tides. Stylistically Indistinctly inscribed upper left: Lancaster….. this watercolour dates from the mid to late 1830s. With a drawing of the site of Dudley Castle verso Watercolour heightened with bodycolour and 45 stopping out JOHN VARLEY 1 160 x 253 mm., 6 /4 x 10 in. Hackney 1778-1842 London

Provenance: View of Snowdon from near Capel Curig Anonymous sale, Christie’s, 11th November 1997, lot 74; With Spink, London, 1999; Signed lower left: J. Varley/1832., with collector’s Private Collection, UK mark verso This is a view of Lancaster Castle on its hill above the town, Watercolour heightened with stopping out, in a commanding position overlooking the . The scratching out and gum arabic 1 tower to the left is Lancaster Priory, founded in 1094. In the 364 x 307 mm., 14 /4 x 12 in. distance beyond the town is the , also known as the Bowland Fells. Amongst this high moorland, Provenance: the scarp slope of is visible on the far left, with Bought at the Fine Art Society, London, 1961; Grit Fell, a lone hill in the centre. By descent until 2014

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46 EDWARD DUNCAN, R.W.S. Duncan was born in St Pancras, London, and apprenticed as London 1803-1882 London a young man to Robert Havell, who specialised in aquatint engravings, and his brother the watercolourist William a. The Breaking up of the old ‘Warrior’ Havell. After his apprenticeship he set up his own studio working principally for Fores of Piccadilly. In 1826 he With artist’s studio stamp l.l., brown washes over embarked on a project to engrave maritime scenes after paintings by the artist William Huggins and this appears to pencil have sparked his interest in marine subject matter. 1 1 135 x 220 mm., 5 /4 x 8 /2 in. He married Huggins’s daughter and embarked on a b. An Oyster Dredge and a Fisherman’s boots, successful career as a marine and coastal painter exhibiting Whitstable, Kent over 500 watercolours at the New and Old Watercolour Societies from 1833, as well as at the Royal Academy and Signed l.r., with artist’ studio stamp l.r. and inscribed the Society of British Artists. He also produced country at Whitstable/oyster dredge, watercolour over pencil scenes, mainly of the South of England. heightened with touches of white on buff paper 259 x 203 mm., 10 x 8 in.

Whitstable has been famous for oysters since at least Roman times and has a celebrated Oyster festival each year.

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47 JOHN MIDDLETON Exhibited: Norwich 1827-1856 Norwich Norwich Castle Museum, Exhibition of Norwich School of Pictures, 1927, no. 224, lent by J.E. Moxey Esq. The Timber Yard This probably dates from Middleton’s visit to Kent in the Signed lower left: JMiddleton./Sept. 1847 summer of 1847 in the company of his teacher Henry Bright (1810-1847). Andrew Moore calls 1847 Middleton’s Watercolour over pencil ‘Annus Mirabilis’ as it was the year he went to London and 3 1 326 x 472 mm., 12 /4 x 18 /2 in. first exhibited at the Royal Academy (Andrew Moore, The Norwich School of Artists, 1985, p. 144). Middleton visited Provenance: Tunbridge Wells and Tonbridge and several drawings from Mrs Lavinia Moxey, Framlingham Hall, Norwich, her sale, the trip are in the Norwich Castle Museum. ‘A Shady Lane, Christie’s, 19th July 1937, lot 68; Tonbridge Wells’ was sold at Christie’s on 10th July 2012, Anonymous sale, Christie’s, 11th July 1989, lot 166; lot 162. With Spink-Leger, London; Anonymous sale, Christie’s, 3rd June 2004, lot 117; Private Collection until 2014

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48 HENRY NINHAM This is a rare work by Henry Ninham, a second generation Norwich 1793-1874 Norwich Norwich School artist. He was the son of an engraver whose business he inherited. He exhibited at the Norwich View at Cromer, Norfolk Society from 1818 and specialised in Norwich street scenes. The composition of the present work, a view down a street Watercolour over pencil heightened with with a church spire behind, is typical of his work. This may be the picture exhibited at the Norwich Society of Artists in bodycolour on wove paper watermarked: ..../1828 1830, no.58 as ‘View at Cromer.’ An oil of this view by 1 1 287 x 221 mm., 11 /4 x 8 /2 in. Ninham with different figures is in the Castle Museum, Norwich (1969.301.2 : F). Provenance: With the Clarges Gallery, Walton St, London, 1970s; Anonymous sale, Sotheby’s London, 26th March 1975, lot 245

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49 FRANÇOIS-AUGUSTE BONHEUR 1850’s, exhibiting mainly landscapes. In a review of the Bordeaux 1824-1884 Bellevue-Meudon Salon of 1859, the critic Louis Auvray praised the artist’s work over that of his more famous elder sister, noting that Mountain Landscape in the Auvergne ‘M. Auguste Bonheur, the brother of Rosa Bonheur, is a painter whose talent makes a success of [paintings of] animals and landscape. His colour is solid and bright at the same time; his Oil on canvas brush is firmer, more daring than that of his sister.’ Signed A Bonheur at the lower left Inscribed Auvergne on a small label pasted at the This is one of a group of fresh and spirited landscape oil lower right sketches by Auguste Bonheur that have come to light in 1 1 139 x 308 mm., 5 /2 x 12 /8 in. recent years, having been found in his studio after his death and retained by his descendants. Produced during the artist’s Provenance extensive travels throughout France, notably in Brittany, the The studio of the artist, Magny-les-Hameaux, near Auvergne and the Pyrénées, these works can be seen as Versailles Bonheur’s contribution to the 19th century French tradition of plein-air painting. The younger brother of Rosa Bonheur, Auguste Bonheur was, in his day, as celebrated a painter of landscapes and Bonheur was particularly fond of the rugged, mountainous animalier subjects as his sister. Like her, he was a pupil of his landscapes of the Cantal in the Auvergne, to which he father Raymond, a landscape painter, before entering the returned repeatedly throughout his career, and which Ecole des Beaux-Arts in 1848, where he studied with Paul provided the setting for many of his oil sketches and finished Delaroche. Auguste Bonheur made his debut at the Salon paintings. The small label inscribed with the location of 1845, and continued to exhibit there regularly, first depicted and attached to the corner of the oil sketch is showing portraits and genre scenes, and, by the early typical of the artist’s working practice.

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50 JAMES HOLLAND This is a view looking east over the Thames Valley from the Burslem 1800-1870 London Chiltern Hills at Fawley. Fawley Court, as it stands today, was built for a plantation owner William Freeman in 1684 Fawley Court and the valley of the Thames near and remained in his family until 1853. On the Thames Henley-on-Thames, Oxfordshire stands Temple Island whose folly was built by James Wyatt in the early 1770s. In the distance the Thames continues towards Marlow with the Chiltern Hills at Hambleden to Inscribed verso by Lord Northbrook: Fawley Court the left and Rememham Hill ahead. A watercolour ‘Near & Valley of the/Thames Henley, from one of/my Marlow’ by Holland, dated 1846, was with the Fine Art sketches – circa 1840 Society in 1972. The inscription on the reverse suggests this Watercolour over pencil heightened with white on drawing is based on a sketch by ‘Lord Northbrook.’ This is buff paper probably Francis Baring, 1st Baron Northbrook (1796- 1 1 159 x 266 mm., 6 /4 x 10 /2 in. 1866). His son Thomas Baring, 1st Earl of Northbrook was a great friend and patron of Edward Lear. Provenance: Private Collection until 2014

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51 THOMAS MILES RICHARDSON, SENIOR Thomas Miles Richardson Senior was referred to during his Newcastle 1784-1848 Newcastle lifetime as ‘The Father of Fine Arts in Newcastle’. After an apprenticeship to a cabinet-maker (1799-1806), Richardson a. A Pier on a rocky Shoreline with a Ship beyond succeeded his father as master of St. Andrew’s Charity School, Newcastle, in 1806. During this period, he also Watercolour, white chalk and pencil on grey paper operated as a drawing master and in 1813 decided to give 1 3 up his job at the school and devote himself to art alone. 168 x 275 mm., 6 /2 by 10 /4 in. The catalyst for this was probably the establishment of the Society of Antiquaries of Newcastle in that year. b. Sunset over Moorland The remainder of Richardson’s well-documented career saw him attempting to increase appreciation of the arts in Watercolour Newcastle (as well as selling his own paintings) by organising 1 85 x 153 mm., 3 /4 by 6 in. exhibitions, as well as being involved with the antiquarian and topographical print market. Richardson was the c. Bridge at the Junction of the Tees and Greta, organising force behind the foundation of the in Rokeby Park, Yorkshire Northumberland Institution for the Promotion of the Fine Arts, which held its first exhibition in 1822. The success of Inscribed with title these exhibitions led Richardson to set up the Northern Watercolour and pencil on wove paper Academy of Arts, Newcastle’s first purpose-built exhibition watermarked: EGLIN ROBERTS & CO. / 1828 premises, which opened in 1828. The story of Richardson’s involvement with Newcastle’s art exhibitions has been well 288 x 214 mm., 11 ¼ x 8 ¼ in. told in the exhibition Art for Newcastle Thomas Miles Richardson and the Newcastle Exhibitions 1822-1843, which was held at the Laing Art Gallery, Newcastle, in 1984.

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53 CHARLES MARSHALL London 1806-1890 London 52 Rochester Castle, Kent THOMAS MILES RICHARDSON, JUNIOR Newcastle-upon-Tyne 1813-1890 Newcastle-upon- Signed with initials lower left Tyne Watercolour heightened with bodycolour and stopping out Bywell Castle on the Tyne, Northumberland; The Ferry 1 1 312 x 464 mm., 12 /4 x 18 /4 in. Landing, Bywell Engraved: A pair, each inscribed with title and dated 1836 By William Henshall as a steel line engraving for ‘Select watercolour over pencil heightened with Illustrated Topography of Thirty Miles round London’, bodycolour on buff paper 1837-38 1 each approx. 240 x 343 mm., 14 /4 x 21 in. Exhibited: Bywell Castle is situated on the banks of the river Tyne, four London, Royal Academy, 1837, no. 907 miles east of Corbridge, Northumberland. It was built in the 1430 by the Neville family but never completed. The three Marshall was a scene painter who worked at Drury Lane and storey gatehouse still stands incorporated into the current Covent Garden as well as drawing landscapes which he eighteenth century house, the home of the Beaumont exhibited widely. For more information on the artist see Philip family since the early nineteenth century. Marshall, Charles Marshall – His origins, Life and Career, 2000.

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54 RODOLPHE BRESDIN Bresdin’s work include scenes of figures in fantastical Montrelais 1822-1885 Sèvres landscapes, peasant interiors, small villages and Biblical subjects, all depicted with an abundance of detail. Landscape with Fishermen Many of Bresdin’s drawings were finished works in pen and ink, created as autonomous works of art for exhibition or Pen and black ink on papier calque, laid down sale. However, from a career spanning some fifty years, only Signed and dated 1858 Rodolphe Bresdin at the slightly more than four hundred drawings by Bresdin survive lower right today, alongside a graphic oeuvre of around 160 prints. Only 1 3 107 x 172 mm., 4 /4 x 6 /4 in. rarely do his drawings appear on the market, and they remain particularly scarce outside important groups One of the most remarkable and visionary graphic artists of in several public collections, notably the Bibliothèque the 19th century in France, Rodolphe Bresdin produced Nationale in Paris, the Gemeentemuseum in The Hague drawings, etchings and lithographs. While his graphic work and the Art Institute of Chicago. is well known today, his activity as a draughtsman has been less studied. Like his prints, Bresdin’s drawings were never Depictions of fishermen occur several times in Bresdin’s on a very large scale, yet were almost always intricately oeuvre. The present sheet, in common with most of the drawn and minutely detailed. The close technical and artist’s drawings, is drawn with a very fine pen in black ink stylistic relationship between the artist’s prints and his or encre de Chine on tracing paper (in French, papier drawings has occasionally led to some confusion in calque), with the translucency of the paper helping to distinguishing between them. The dominant themes in transfer or reverse designs and motifs to a print medium.

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55 JOHN DAWSON WATSON membership five years later. His oeuvre is made up largely Sedbergh 1832-1892 Conway of small oil paintings and highly detailed watercolours of historical and genre scenes, as well as the occasional pastoral Haystack, Inver, Perthshire subject, executed in a manner strongly influenced by the Pre-Raphaelites. Watson’s landscapes were in particular Watercolour on buff paper much praised by . He also produced numerous Signed with initials, dated and inscribed J. D. W. / book illustrations, notably for an edition of John Bunyan’s Pilgrim’s Progress, published in 1861, as well as designs for 1859. / Inver Strath Braan. Perth. at the lower left furniture, medals and theatre costumes. 3 3 213 x 214 mm., 8 /8 x 8 /8 in. [sheet] This watercolour was painted during a trip to Scotland in Born in Yorkshire, John Dawson Watson studied at the 1859. A stylistically comparable work – a study of the trunk Manchester School of Art and at the Royal Academy. Settling of a birch tree – was formerly in the Oppé collection and in London in 1860, he was elected an Associate Member of now in . the Society of Painters in Watercolours in 1864, rising to full

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56 57 SIR EDWARD JOHN POYNTER, P.R.A. SIR EDWARD JOHN POYNTER, P.R.A. Paris 1836-1919 London Paris 1836-1919 London

Study of a Nude Young Woman Flowers in an Eastern Vase

Pencil, heightened with white chalk, on brown Watercolour, gouache and pencil paper, oval Signed with the artist’s monogram EJP and dated Faintly stamped with the artist’s monogram EJP at 1864 at the lower right 7 1 the lower left 257 x 487 mm., 9 /8 x 19 /8 in. [image] 1 7 254 x 203 mm., 10 x 8 in. 287 x 504 mm., 11 /4 x 19 /8 in. [sheet]

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58 JOSEPH GELDART Norwich 1808-1882 Altrincham

View of Freiburg im Breisgau, Germany

Inscribed lower right: Fribourg in the/Brisgau Black chalk heightened with touches of bodycolour on buff paper 1 177 x 261 mm., 7 x 10 /4 in.

Geldart was the fourth son of a wine merchant who was articled to the Norwich solicitor Thomas Brightwell. Brightwell was a friend of the best known Norwich School artist and Geldart received drawing lessons from Cotman, whose influence is evident in the present work. He also befriended his son John Joseph Cotman (1814-1878) and the two sketched together. Geldart became editor of the Norfolk News and later retired to Cheshire.

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59 JOHN WILLIAM WATERHOUSE, R.A. In much of J. W. Waterhouse’s early work, such as the Rome 1849-1917 London present example, the influence of the classicizing paintings of Lawrence Alma-Tadema is evident. This pen and wash The Head of a Woman sketch of the head of a woman was formerly mounted onto the reverse of a finished watercolour by the artist, exhibited Pen and brown ink and brown wash, over an at the Dudley Gallery in London in 1879. underdrawing in pencil, on paper laid down on board The head of the woman in the present sheet is very similar A sketch of a column in pencil at the right edge, in style, coiffure and physiognomy to the main figure in a folded over finished sepia drawing by Waterhouse entitled At a Greek Fragments of a red wax seal at the extreme left and Play, showing a woman holding a fan of peacock feathers. right edges of the original sheet, folded over That drawing, which was exhibited at the Dudley Gallery’s 1 7 332 x 530 mm., 13 /8 x 20 /8 in. [full sheet] Black and White Exhibition in 1880 but is now lost, is known 1 1 261 by 293 mm., 10 /4 by 11 /2 in. [sight] today from a large reproductive engraving published in The Illustrated London News in 1881. Provenance Arthur Tooth and Sons, Ltd., London

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60 61 EDWARD LEAR EDWIN LORD WEEKS Highgate 1812-1888 San Remo Boston 1849-1903 Paris

Lavello from Minervino Murge, Sunrise Study of a Mounted Arab Warrior

Inscribed lower left: from Minervino/Sept. 24. Oil, charcoal and pencil, laid down on board 1847/Sunrise and extensively inscribed with notes The sheet previously torn and repaired, probably by Watercolour over pencil heightened with touches of the artist, in several places 7 7 white on buff paper 453 x 354 mm., 17 /8 x 13 /8 in. 1 104 x 298 mm., 4 x 11 /2 in. Provenance Having visited Sicily in May and June 1847, Lear toured By descent in the family of the artist to his niece, Elizabeth Southern Italy from July until October. His diary for the 24th Goodwin September reads: ‘Having risen before sunrise, the By descent to Burton W. F. Trafton, Jr., South Berwick, energetic and practical Don Vincenzino gave us coffee by Maine the aid of a spirit lamp, and we passed some hours in Mervyn E. Bronson, Portland, Maine drawing the town of Minervino, the sparkling lights and Bernard Broder, Gorham, Maine delicate grey tints of whose buildings blended charmingly with the vast pale rosy plains of Apulia in the far distance. At Exhibited nine we returned to a substantial déjeûner….’ Durham, University of New Hampshire, The Art of Edwin Lord Weeks, 1976, no.35

The American Orientalist painter Edwin Lord Weeks made several trips to Morocco, becoming one of the few Westerners to visit Rabat, Salé and Marrakech. He exhibited Moroccan subjects at the Salons in Paris and at the Pennsylvania Academy of Fine Arts and, indeed, painted almost exclusively Moroccan themes between 1879 and 1882. This large oil sketch – part of a collection of paintings and drawings which remained with the artist’s descendants until recently – is a preparatory study for Weeks’s canvas The Departure from the Stronghold, painted in Morocco.

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62 THOMAS SEWELL ROBINS Relatively little is known of the painter William James Devonport 1810-1880 London Blacklock, and even his entry in the Dictionary of National Biography appears to be replete with errors. Trained at the Pulling up the Nets Carlisle Academy of Arts, between 1836 and 1855 Blacklock exhibited almost yearly at the Royal Academy, Signed lower right: T S ROBINS/1866 showing mainly landscapes of the Lake District and the north of England. His work was much admired by John Ruskin, Watercolour over pencil heightened with who wrote of him in his book Modern Painters that ‘some of bodycolour, scratching out and stopping out the best and most substantial renderings of the green and turfy 3 450 x 685 mm., 17 /4 x 27 in. masses of our lower hills are to be found in the drawings of Blacklock.’ His work was also praised by fellow artists Robins entered the Royal Academy in 1829 and exhibited such as J. M. W. Turner and David Roberts. In the 1850’s, widely from then until 1879, specialising in coastal marine however, Blacklock began exhibiting signs of mental illness, scenes. He also travelled extensively on the continent. and in 1855 he was admitted to the Royal Mental Institution in Dumfries. He ceased to paint, and died in 1858 at the 63 young age of forty-two. Within a few years Blacklock had WILLIAM JAMES BLACKLOCK lapsed into obscurity and his work, which remained quite London 1816-1858 Dumfries rare, was largely forgotten by later generations of scholars.

A Figure Resting in a Woodland Clearing A stylistically similar watercolour of The Weir at Henley, dated 1842, is in the British Museum. Also comparable is an Watercolour undated watercolour of Furness Abbey in the Abbot Hall Inscribed By Blacklock on the verso Art Gallery in Kendal in Cumbria. 3 3 213 x 198 mm., 8 /8 x 7 /4 in.

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64 painting of Hero and Leander of c.1893, although the pose ADOLF HIRÉMY-HIRSCHL of the figure in the painting differs somewhat from that Temesvár 1860-1933 Rome studied in this drawing.

Two Studies of a Kneeling Youth As a recent scholar has noted of Hirémy-Hirschl, ‘His preferred media were the broad ones of chalk, charcoal and Red and white chalk on reddish-orange paper pastel and he had, even among the general level of impressive 1 336 x 478 mm., 13 /4 x 18 in. expertise among thoroughly trained academic artists, an extremely fine sense of the coloristic interplay of these media Provenance on toned and tinted sheets of paper. One expects to find a The artist’s studio, Rome, and by descent to his daughter certain competence in working with charcoal and chalk on Maud brown, blue and gray papers, but Hirémy-Hirschl’s exploration Thence by descent to a private collection of the chromatic possibilities in such combinations is extended Galleria Carlo Virgilio, Rome to a most remarkable beauty and intensity when he moves as Roger Ramsay Gallery, Chicago well to sheets of orange, rose, and green papers.’ Private collection, Hawaii This drawing, together with the rest of the contents of A remarkably accomplished draughtsman, Adolf Hirémy- Hirémy-Hirschl’s studio in Rome, remained in the Hirschl produced a large number of figure and drapery possession of the artist’s descendants for many years after studies in charcoal or chalk, intended as preparatory studies his death. This large cache of drawings, watercolours, for his paintings. The present sheet may be a first idea study pastels and oil sketches was only dispersed in the early for the kneeling figure of Leander in Hirémy-Hirschl’s 1980’s.

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65 HENRY MONNIER personification of irony’.) In the later years of his career Paris 1799-1877 Paris Monnier produced finished, independent watercolours; masterful scenes of social observation and elegant Before the Reading of the Will conversation pieces, such as the present sheet.

Pen and brown ink and watercolour, over an Referring to the artist’s drawings and lithographs, a modern underdrawing in pencil, on buff paper, laid down biographer has noted that ‘Monnier’s style has certain easily recognizable traits which distinguish his work from that of his Signed and dated Henry Monnier / 1874 at the contemporaries... There is a conspicuous lack of grace in his lower left personages... they are solidly planted on their feet, their bodies Inscribed Héritiers / avant l’ouverture du testament at are short and stocky. They are clothed with almost the bottom photographic veracity, with minute attention to the details 3 1 239 x 285 mm., 9 /8 x 11 /4 in. which are appropriate to their social status. But the most remarkable thing about them is the way in which Monnier A writer, satirist and versatile actor as well as a celebrated made them live: the vivacity and variety of their facial painter, draughtsman and printmaker, Henry Bonaventure expressions, and the precision, appropriateness, and restraint Monnier is best known for his depictions of bourgeois life in of their gestures... Monnier made of his drawings genre 19th century Paris. As a lithographer, he contributed to pictures in which the figures are subordinated to the setting various books and magazines illustrating Parisian society as they are in certain seventeenth-century Dutch paintings… types and manners. (He may also be said to have influenced The result is an admirable evocation of that middle-class world the work of his friend Honoré de Balzac, whose Comédie Monnier was interpreting, with its petty preoccupations and humaine he illustrated and who described the artist as ‘the stunted aspirations.’

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66 CHARLES WIRGMAN London 1822-1891 Yokohama, Japan

Girls Warming themselves, Japan

Signed lower right: CWirgman and inscribed lower centre: Girls warming themselves watercolour over pencil heightened with touches of white on buff paper 1 1 143 x 214 mm., 5 /2 x 8 /4 in.

Wirgman worked for the Illustrated London News in London before leaving for China in 1856 to cover the Second Opium War. In 1861 he moved to Yokohama, Japan where he lived until his death. He published the first magazine in Japan, the Japan Punch, between 1862 and 1887, illustrated with his own watercolours. From 1864 to 1867 he worked in partnership with the photographer Felice Beato as ‘Beato & Wirgman, Artists and Photographers’. In the 1860s he accompanied the British envoy Sir Ernest Satow on a series of journeys around Japan which was published as Satow’s Diplomat in Japan.

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67 JAMES THOMAS LINNELL The second son of the landscape painter John Linnell, James Hampstead 1823-1905 Redhill Thomas Linnell exhibited almost annually at the Royal Academy between 1850 and 1888, showing at first religious A Copse of Trees subjects in which the landscape predominated. By the middle of the decade, however, he was exhibiting mainly Watercolour, over a pencil underdrawing, on buff landscapes with peasants, farm labourers or children, and it paper is for these pastoral scenes that he is best known today. Many of Linnell’s landscapes were painted in and around A sketch of trees in pastel and watercolour on the the Redstone estate at Redhill, near Reigate in Surrey, which verso his father had acquired in 1851 and where all the members Inscribed by the artist very warm light blue at the of the family lived. Writing in 1872, one critic noted that upper centre ‘James Thomas Linnell... is entitled to share with his brother 1 3 363 x 502 mm., 14 /2 x 19 /4 in. [sheet] William the estimation in which their pictures are held by the amateur and collector, sometimes rivalling even those of his Provenance father...It is so rare an occurrence to find a picture by any one E. Kinsley of the Linnell family bearing the distinctive title of the place From whom purchased in December 1953 by P. & D. represented, that one would naturally be led to suppose the Colnaghi, London (as John Linnell) compositions are merely imaginary; but this, as a rule, is far Sold by them to Col. K. R. Palmer in February 1954 from the case. Surrey, and the wealds of Sussex, supply the (as John Linnell) artists with the ground-work of most of their beautiful Anonymous sale, London, Christie’s, 16 December compositions, and the localities may generally be recognized 1980, lot 92 by those who are well acquainted with them.’

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68 JOHN CHRISTIAN SCHETKY exhibited at the Royal Academy and was Marine Painter to Edinburgh 1778-1874 London three successive monarchs, George IV, William IV and Queen Victoria. A Merchant Ship off the Coast 69 Watercolour over pencil 1 EDWARD HENRY FAHEY 257 x 362 mm., 10 x14 /4 in. Brompton 1844-1907 Notting Hill Provenance: Lt. Col. Charles Howard Bury; Looking out to Sea Rex Beaumont; With Leger Galleries, December 1980, where bought by Signed lower left: E.H. FAHEY. 74 Mr and Mrs Peter Lewis; Watercolour heightened with bodycolour 1 1 Private Collection until 2014 367 x 263 mm., 14 /2 x 10 /4 in.

The artist was the son of a celebrated cellist and composer Provenance: of Hungarian descent, Johann Schetky, who moved to With Martyn Gregory, July 2003; Edinburgh in 1774. At school in Edinburgh, John Schetky Private Collection until 2014 met Sir Walter Scott who became a lifelong friend. After studying under Alexander Nasmyth, Schetky travelled on Edward Fahey was the son of the portrait and landscape the continent before settling in Oxford where he became a artist James Fahey (1804-1885). He studied architecture drawing master. In 1811 he was appointed Professor of before visiting Italy from 1866 to 1869. On his return, he Drawing at the Royal Naval College in Portsmouth where entered the Royal Academy Schools to study painting. He he began to specialise in marine subject matter working in exhibited at the Royal Academy and was a member of the both oils and watercolour. From 1805 until 1872, he Royal Institute of British Watercolourists from 1872.

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70a CARL HAAG, R.W.S. Provenance: Erlangen 1820-1915 Oberwesel With Thos. Agnew & Sons; Robert, 2nd Lord Cawley (1877-1954), Berrington Hall, a. A Tyrolese Shepherd Herefordshire

Signed in red lower right: Carl Haag 1857 Haag was born in Bavaria and in 1847 decided to study English watercolour painting and came to London. He Watercolour heightened with bodycolour and gum studied at the Royal Academy schools and first visited Italy arabic in the winter of 1847. He travelled widely in Europe and the 356 x 256 mm., 14 x 10 in. Near East and from 1860 he had studios in both London and Oberwesel, Germany.

Procida sits in the Bay of Naples between Ischia and the mainland, 15 miles south-west of Naples.

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70b CARL HAAG, R.W.S. Provenance: Erlangen 1820-1915 Oberwesel With Thos. Agnew & Sons; Robert, 2nd Lord Cawley (1877-1954), Berrington Hall, b. A Woman of Procida, Italy Herefordshire

Signed lower right: Carl Haag and signed verso and inscribed: Roma 22 Jan. 1853 Watercolour heightened with bodycolour and gum arabic 3 3 352 x 248 mm., 13 /4 x 9 /4 in.

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71 MAX SELIGER Max Seliger was active as a painter, decorator and mosaicist, Bublitz/Pommern 1865-1920 Leipzig although he remains little known outside of Berlin and Leipzig, where he worked for most of his life. Also active as Study of Trees an illustrator and graphic artist, his most significant role, however, seems to have been as a teacher; between 1901 Watercolour, pen and grey ink and grey wash, and his death Seliger served as the director of the Royal heightened with touches of bodycolour, on paper Academy of Graphic Arts and Printing in Leipzig. Drawn in laid down on a thin board 1886, this oil sketch is a fine example of the young Seliger’s interest in painting en plein air. The inscription ‘Ernsthöhe’, Signed, dated and inscribed M. Seliger VIII 1886 written twice on the sheet, probably refers to the area near Ernsthöhe. at the top of the sheet Coburg in Bavaria where the Schloss Hohenfels was built in Inscribed, signed and dated Ernsthöhe VII.86 / M. 1840. A similar, slightly larger oil sketch of a single tree, also Seliger at the lower left drawn at Ernsthöhe and dated 1886, is in a private 1 5 316 x 219 mm., 12 /2 x 8 /8 in. American collection.

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72 RAFFAELLE MAINELLA At the start of his career Raffaelle Mainella worked mainly as Benevento 1856-1941 Lido di Venezia a painter in oil, but after a few years he decided to devote himself to watercolour, a medium in which he was highly A View in Cannaregio, Venice regarded by his contemporaries. Although best known for his watercolour views of the Venetian lagoon, Mainella also Watercolour, over traces of a pencil underdrawing produced a number of watercolours of Orientalist subjects. This fine watercolour depicts the Rio della Madonna Signed R. Mainella at the lower left dell’Orto, with the church of the Madonna dell’Orto shown 3 1 314 x 159 mm., 12 /8 x 6 /4 in. at the right, past the bridge.

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73 CAMILLE PISSARRO from a dismembered sketchbook, datable between 1874 and 1879, in the Ashmolean Museum in Oxford. The Charlotte Amalie (St. Thomas) 1830-1903 Paris present sheet, which is of similar dimensions to the Ashmolean drawings, may have come from the same Three Studies of Peasant Women rectangular sketchbook, which appears to have been used mainly in Montfoucault and Pontoise. As Christopher Lloyd Pencil. and Richard Brettell have noted of the sketchbook pages in Signed with initials C.P. near the upper right corner the Ashmolean, ‘Although none of the drawings can be 3 1 137 x 217 mm., 5 /8 x 8 /2 in. directly related to a finished composition, they contain a multiplicity of ideas that Pissarro began to use during the Provenance second half of the 1870s and was to reuse during the 1880s The artist’s son, Paul-Émile Pissarro, Lyons-la-Fôret – interiors and rural subjects most probably drawn at Foucault, JPL Fine Arts, London landscapes made at Pontoise, nude studies, and a visual Goodman Gallery, Johannesburg record of daily peasant toil...The style spans the years 1874- Private collection 9 and reveals a greater awareness of J.-F. Millet than Pissarro Sale, London, Sotheby’s, 25 October 1995, lot 8 had shown so far in his work.’ Private collection, London The seated figure at the lower left may be closely related to This sheet of studies of peasant women asleep or at rest is a similar figure in Pissarro’s painting of a Seated Peasant a fine example of Pissarro’s assured draughtmanship. A Woman of c.1883 (see Joachim Pissarro and Claire Durand- closely related drawing of four peasant women, in black Ruel Snollaerts, Pissarro: Catalogue critique des peintures, chalk with touches of watercolour, is one of eight drawings Milan, 2005, Vol.II, no.709).

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74 FRENCH SCHOOL Late 19th Century

Studies of a Figure Holding an Object

Coloured chalks and charcoal on blue paper The study of a hand on a separate piece of blue paper stuck down at the upper left of the main sheet Numbered 17 at the upper right of the main sheet and 18 at the lower right of the smaller sheet Inscribed Page d’album H. E. Degas on the margin of the backing board 1 3 209 x 289 mm., 8 /4 x 11 /8 in.

Provenance Possibly Edgar Degas, Paris Jacques Thuillier, Paris

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75 76 SIR HUBERT VON HERKOMER, R.A., R.W.S. JOHN GEORGE SOWERBY Waal 1849-1914 Budleigh Salterton Gateshead 1850-1914 London(?)

The Head of a Bavarian Man The Kingfisher’s Haunt

Watercolour on board Watercolour and bodycolour on paper laid down Signed with initials and dated H.H. / 1905 at the on board right centre Signed JOHN SOWERBY at the lower right 1 7 5 5 320 x 252 mm., 12 /2 x 9 /8 in. 245 x 195 mm., 9 /8 x 7 /8 in. [sheet]

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77 PIERRE PRINS much of the period when the reputation of his friends and Paris 1838-1913 Paris contemporaries among the Impressionists rose to new heights. It was not until a retrospective exhibition in Paris in A View of the English Channel at Puys, near Dieppe 1963 that his work came to be better known and appreciated. Pastel on paper, laid down on board In the 1880’s and 1890’s Prins spent much time on the Signed Pierre Prins at the lower right coast of Normandy and Brittany, where he produced a large Inscribed La mer à Puys / Pierre Prins on the backing number of pastel studies of the sea and sky. He often used board a coarse-grained coloured paper, and almost never applied 1 283 x 382 mm., 11 /8 x 15 in. any fixative, so as to keep his pastels as bright and fresh as possible. An interest in atmospheric effects is evident in Inspired by friend Edouard Manet, Pierre Prins began to much of his work, with a particular interest in the sky at work in the pastel medium in 1878, becoming highly sunrise, in full sunlight, at twilight and at sunset. As Daniel proficient and eventually working almost exclusively in Wildenstein has noted, ‘Prins was above all a painter of the pastel. In 1890 he had his first one-man exhibition, showing sky and of light in their most subtle expressions... he was some forty pastel landscapes at the Galerie Georges Petit in particularly successful with pastel, which he used with great Paris. On his deathbed in 1913, however, Prins asked his mastery and which, in his hand, turns into a luminous haze in heirs not to exhibit his work, nor to release any work from boundless space, resting on a very low, very distant horizon his studio, for a period of thirty years after his death. As a only slightly more substantial than the clouds.’ result, his oeuvre remained almost completely unknown for

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78 ARTHUR JOHN GASKIN, A.R.E., R.B.S.A. Exhibited: Birmingham 1862-1928 Chipping Campden Birmingham, City Museum and Art Gallery, and London, The Fine Art Society, Arthur & Georgie Gaskin, February- The Back of 13 Calthorpe Road, Moonlight April 1982, no. C48

Signed with initials lower right and dated May 1924 Gaskin studied at the Birmingham School of Art and was taught to paint in tempera by J.E. Southall. He exhibited lower left and signed and similarly inscribed verso widely and was a jeweller and silversmith as well as an Pastel heightened with scratching out artist. He worked for in the 1890s and 1 128 x 112 mm., 5 x 4 /4 in. became Director of the Jewellers and Silversmiths School, Birmingham. Provenance: Mrs Margaret Dennery, daughter of the artist; With Martyn Gregory, London; Private collection, UK, until 2014

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79 80 PAUL SIGNAC EDOUARD VUILLARD Paris 1863-1935 Paris Cuiseaux 1868-1940 La Baule

Boats in the Harbour of Saint-Tropez Mme. Hessel on the Telephone

Pencil and watercolour Pencil 5 5 Variously inscribed with colour notes in pencil 192 x 143 mm., 7 /8 x 5 /8 in. 1 1 258 x 207 mm., 10 /8 x 8 /8 in. Provenance Provenance The studio of the artist (Lugt 909c) The studio of the artist (Lugt 2285b) Datable to around 1917, this page from a sketchbook From 1892 onwards Signac lived part of each year at Saint- depicts Lucy Hessel, the wife of Vuillard’s principal dealer Tropez, painting numerous views of the Provençal port. As and the artist’s muse, model and lover, in her home in Paris. he wrote to his mother in 1892, ‘I am settled here since This pencil sketch may be related to a painting of Mme. yesterday and overjoyed...the golden coast of the gulf, the blue Hessel Telephoning, in a private collection. In both the seas breaking on a beach, my beach...there is enough material drawing and the painting, Lucy Hessel is depicted with the to work on for the rest of my days. Happiness – that is what I telephone receiver to her ear, while the same side table, have just discovered.’ hat stand and vase of flowers appears in both works.

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81a 81b RUDOLF SAUTER RUDOLF SAUTER London 1895-1977 Stroud London 1895-1977 Stroud

Nightfall near Dartmoor Sun Through a Thin Mist

Pastel Pastel 153 x 254 mm., 6 x 10 in. 128 x 153 mm., 5 x 6 in.

Rudolf Sauter studied art in London and Munich, and exhibited his work frequently in London and Paris, as well as in New York and South Africa. He travelled extensively, and 81c over his career exhibited landscapes of England, Italy, RUDOLF SAUTER Morocco, South Africa and the westerns states of America. However, much of his output was destroyed in a fire in the London 1895-1977 Stroud 1980’s, shortly after his death, and relatively few works by him survive today. Storm over a Tor, Dartmoor

Sauter was a particularly skilled pastellist. These three pastel Pastel landscapes may be dated to the spring of 1916, when the 153 x 128 mm., 6 x 5 in. young Sauter visited his uncle, the writer John Galsworthy, who had a home near Dartmoor. They were part of a small group of pastel landscapes loosely placed in a folio – inscribed with a label which read ‘Designs, studies and ideas for pictures’ – which was found among the artist’s effects long after his death.

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82a ALBERT GOODWIN, R.W.S. Maidstone 1845-1932 London a. The Hermitage of Santa Caterina del Sasso, Lago Maggiore, Italy

Signed lower right: Albert Goodwin, dated 1907 and inscribed lower left: St Katarina Lago Maggiore Watercolour over coloured chalks heightened with bodycolour with original pen and ink border 3 148 x 229 mm., 5 /4 x 9 in.

Provenance: By descent from the artist until 2013

The Hermitage of Santa Caterina is perched on a cliff overlooking Lake Maggiore nearer the town of Leggiuno. It was founded in 1295 by a merchant who, having been shipwrecked, built a church in recognition of his deliverance. The present buildings date from the late 13th/early 14th centuries and were occupied originally by Augustinian monks, followed by Ambrosian hermits in 1379 and Carmelites from 1649. Today it is run by a community of Oblate Benedictines.

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82b ALBERT GOODWIN, R.W.S. Maidstone 1845-1932 London b. Sunshine and Rain, the Rigi, Switzerland

Signed lower right: Albert Goodwin and inscribed lower left: Sunshine and rain./the Righi. Watercolour over pencil heightened with bodycolour with original pen and ink border 1 3 Sheet 140 x 200 mm., 5 /2 x 7 /4 in.

Provenance: By descent from the artist until 2013

The Rigi is a mountain of 1,798 metres in central Switzerland almost entirely surrounded by water with Lakes Lucerne, Zug and Lauerz almost surrounding it. In the nineteenth century, for tourists and artists, the view of the sunrise from its summit was one of the highlights of a visit to Switzerland. J.M.W. Turner visited the area in 1841 and produced his famous series of views of the mountain which for many represents the peak of his achievement in watercolour.

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83 LÉON BENIGNI A leading fashion illustrator, Léon Benigni worked with such 1892-1948 designers and couturiers as Jeanne Lanvin, Marcel Rochas, Elsa Schiaparelli, Lucien Lelong, Jacques Fath, Jean Patou, Design for the Cover of Femina magazine Nina Ricci and Cristôbal Balenciaga. He also produced a large number of covers and full-page plates for Femina Gouache, over a pencil underdrawing, on paper laid magazine in the second half of the 1920’s and the early 1930’s. Another cover design by Benigni for Femina, for the down on board October 1930 issue of the magazine, is included in a recent Signed lbénigni at the lower left survey of fashion illustration (see Cally Blackman, 100 Years 7 330 x 250 mm., 13 x 9 /8 in. [image] of Fashion Illustration, London, 2007, p.86). 5 1 370 x 269 mm., 14 /8 x 10 /2 in. [sheet]

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84 HENRI LEBASQUE late paintings, apart from their names; one was named Kiki and another was known as Marinette. As has been noted of Champigné 1865-1937 Le Cannet these works, ‘Lebasque painted his young models in poses of penetrating intimacy and subtle clarity... [his] nudes are subtle, A Seated Female Nude in an Interior relaxed and pensive, and rendered with a sure sense of contour in the figures.’ The present sheet, which depicts the Watercolour and black chalk model Kiki, is particularly close to two paintings of 1926; a Signed Lebasque at the lower right Nu a la chemise rose in the Fondation Pierre Giannada in 1 5 205 x 194 mm., 8 /8 x 7 /8 in. Martigny and a Nu au canapé rose in a private collection in Chicago. In these paintings, as in this watercolour, Lebasque This vibrant watercolour may be related to a series of placed his nude models against colourful and elaborately paintings by Henri Lebasque of female nudes in an interior, patterned rugs and cushions in the sunny interior of his painted in the mid 1920’s at Le Cannet in the South of home at Le Cannet. France. Little is known of the models who appear in these

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85 ERNEST STEPHEN LUMSDEN, R.S.A, P.R.E. number of etched views of the cities of Benares, Jaipur and London 1883-1948 Edinburgh Udaipur. In 1914 Lumsden was elected a Fellow of the Royal Society of Painter-Etchers, and in 1924 he published Northern Twilight The Art of Etching, which remains a standard work on the subject. With the decline in the market for etchings in the Oil on canvas, laid down on board later 1920’s, however, Lumsden began working more as a 1 7 painter and was elected an associate member of the Royal 236 x 327 mm., 9 /4 x 12 /8 in. Scottish Academy in 1923 and a full member in 1933. Having moved to Sir Henry Raeburn’s old studio in Provenance Edinburgh’s Queen Street in 1927, he worked mainly as a The Fine Art Society, London, in May 1984 portrait painter. In November 1935 he showed a number Mr. and Mrs. Giorgio Marsan, London of paintings, including seascapes and other Berwickshire views, at the New Gallery in Edinburgh. Crippled by arthritis A gifted Scottish printmaker and painter, Ernest Lumsden in his later years, he produced relatively little work in the was largely self-taught as an etcher. He soon became adept 1940’s before his death at the age of sixty-four. Works by in the medium and established a considerable reputation as Lumsden are today in the collections of the Tate, the British a printmaker. He travelled widely, visiting Spain, Canada, Museum, the Victoria and Albert Museum, the Scottish Japan, Korea, and Burma. It was in India, however, of Modern Art, the Fitzwilliam Museum where he made several trips, that he found scenes and and elsewhere. subjects that truly captivated him, and he produced a

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86 ERICH WOLFSFELD Erich Wolfsfeld’s early career was largely devoted to Krojanke 1884-1956 London printmaking, although around 1910 he began painting in oils, although he seems to have always worked on treated Study of a Crying Child paper, rather than on canvas. He travelled widely in Europe, and was also in particular in North Africa and the Middle Oil, black chalk and coloured chalks on paper East. A large and comprehensive exhibition of his work, in which the present sheet was included, was held at the Signed Erich Wolfsfeld at the lower right Derby Art Gallery in 1953. 1 3 311 x 196 mm., 12 /4 x 7 /4 in. [sight] 7 1 355 x 283 mm., 13 /8 x 11 /8 in. [sheet] Writing a few years after his death, one critic noted of Wolfsfeld that ‘He was an artist who loved drawing for its own Provenance sake - who could combine power and sensitivity – who enjoyed Among the contents of the artist’s studio at his death describing the human form either with brush or chalk or the Thence by descent to his stepson, Dr. Max Block, etcher’s needle. And he solved the problem of the portrayal of Mossley Hill, Liverpool the human race with an intensity of perception that is deeply moving particularly in his studies of old men and young Exhibited children.’ Derby, Derby Art Gallery, Erich Wolfsfeld, 1953

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87 SIR GEORGE CLAUSEN, R.A. George Clausen worked from age of sixteen as a London 1852-1944 Cold Ash draughtsman in a firm of decorators in London before winning a scholarship to the South Kensington Schools. A significant a. Farm Buildings, Spring Morning influence on the young artist was Jules Bastien-Lepage, whose work he first saw at the Grosvenor Gallery in London, and Signed lower right: G. CLAUSEN and inscribed who inspired him to take up the theme of rural life as his subject matter. Working directly from nature, he painted verso: Spring Morning scenes of rural life, and in particular the landscape and peasants Watercolour over pencil on laid paper of the farmlands of Essex. As one scholar has written, ‘His 3 3 225 x 298 mm., 8 /4 x 11 /4 in. preoccupation was with light; the dazzle of sun on cornfields and haystacks and mowers at midday, the stilled radiance of blossom b. Study of Trees in orchards, the woods and empty fields at evening, and the subtle atmospheric effects in shadowy barn and stable.’ In 1886 Coloured chalks on brown paper Clausen exhibited at the New English Art Club, and by 1891 3 298 x 233 mm., 11 /4 x 9 in. was showing at the Royal Academy, although he did not have a one-man gallery exhibition until 1902. Provenance: He showed regularly at the Royal Watercolour Society, and in By descent from the artist to his daughter-in-law Mrs 1921 exhibited forty-one of his watercolours at the Hugh Clausen; Grosvenor Gallery. Indeed, in the latter part of his career Anonymous sale, Sotheby’s, 30th September 1992, lot 7 watercolours came to dominate his output.

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88 GUSTAVE LOISEAU my best to convey the impression I receive from nature. Only my instinct guides me, and I am proud I do not resemble Paris 1865-1935 Paris anyone.’ Loiseau produced several paintings of still-life compositions. Often painted on board, most of these works Still Life with a Dish of Fried Eggs were done at Pont-Aven in Brittany between 1922 and 1928. As Didier Imbert has noted of the painter’s method Oil on board and technique, ‘essentially impressionist in his depiction of Signed G. Loiseau at the lower right landscapes or street scenes, it acquires for the still-lifes a 1 3 440 x 554 mm., 17 /4 x 21 /4 in. certain classical resonance, a staid geometric composition, almost synthetic, in which one perceives his preoccupation with Literature immobility, lack of movement, the static quality of the object To be included in the forthcoming Loiseau catalogue represented.’ raisonné by Didier Imbert This large painting may be dated to c.1923. The ceramic Apart from a year at the Ecole des Arts Décoratifs, Gustave dish in which the eggs are placed is found in a number of Loiseau was for the most part self-taught as a painter. His paintings by Loiseau, including a Still Life with Fried Eggs and style remained distinctively his own; as Loiseau once noted a Napkin of 1922, or a Still Life with a Lobster, Eggs and of himself, ‘I only acknowledge one quality, that of being Lemon of 1931. The same dish also appears in a Still Life sincere. I work in my own little corner, as well as I can, and do with Eggs and Oysters sold at auction in London in 1994.

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89 CHARLES MAHONEY, A.R.A. this scientific approach can be detected in all of his plant sketches. According to the artist’s wife, ‘Charles delighted in London 1903-1968 London plant life, its richness, strength, grandeur, colour, form and infinite textural qualities... [he] showed uncompromising vigour Iris in recording the structure, detail and above all the total feeling of the plant, each growing and bearing fruit in its particular way.’ Pen and black ink and watercolour, on a page from a This sketch of an iris perfectly illustrates Mahoney’s in-depth large sketchbook knowledge and understanding of plant life, with ink strokes 5 321 x 305 mm., 12 /8 x 12 in. that are quick, confident and yet extraordinarily detailed. As his friend and fellow painter Bernard Dunstan recalled, Provenance ‘Charles was doing a number of quite large drawings of plants... By descent to the artist’s daughter, Elizabeth Bulkeley he concentrated his energies on these superb drawings... They have great directness and objectivity and yet great warmth of Charles Mahoney devoted his career to a combination of feeling. They make most drawings of plants, seem by painting, drawing and teaching. His other great love, comparison, weak or merely botanically accurate... I can think however, was the study of plant life, and he drew a large of very few recent artists who have drawn plants with the vigour variety of plants and flowers. Mahoney was an amateur and understanding that Mahoney brought to them...These botanist and would swap notes and cuttings with friends, and studies seem to me to be drawing on the highest level.’

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90 91 BERNARD MENINSKY CHARLES FREDERICK TUNNICLIFFE, R.A. Karotopin 1891-1950 London Langley 1901-1979 Malltraeth, Anglesey

Still Life with a Knife and Grapes A Belgian Bantam

Gouache on paper, laid down on card Green chalk and watercolour, heightened with 1 255 x 597 mm., 10 x 23 /2 in. gouache, over an underdrawing in pencil Inscribed BELGIAN BANTAM / John Sears at the Provenance lower right The artist’s studio, London Stamped with the artist’s estate stamp CHARLES By descent to Nora Meninsky, London TUNNICLIFFE R.A. / STUDIO 1980 NO.395/3 on the verso Part of a generation of Anglo-Jewish painters that included 1 3 David Bomberg, Mark Gertler and Jacob Kramer, Bernard 283 x 248 mm., 11 /8 x 9 /4 in. Meninsky achieved only a modest amount of critical appreciation in his lifetime, and indeed remains much less One of the finest animal draughtsmen of the last century, well known than many artists of his generation. A shy and Charles Tunnicliffe was in particular highly regarded for his somewhat neurotic man, prone to depression and various depictions of birds, which he began to study in the 1930’s, phobias, Meninsky took his own life in 1950, at the age of eventually publishing several books of his bird illustrations. 58. The following year a memorial exhibition was organized The inscription at the lower right of this sheet refers to John by the Arts Council in London; this was to be the only Sears, of Guildford in Surrey. Sears was a renowned retrospective exhibition of Meninsky’s work for the next breeder of Belgian Bantams, and also served as secretary thirty years. of the British Belgian Bantam Club. A pendant watercolour and gouache drawing by Tunnicliffe of another, lighter- Still life subjects account for a small part of Meninsky’s coloured Belgian Bantam also bred by Sears, of identical output, and were rarely exhibited in his lifetime. dimensions and sharing the same provenance, is in a private collection.

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92a WILLIAM HENRY INNES Innes first exhibited his work during the Second World War London 1905-1999 London while he was in the Royal Air Force. He showed extensively at the Royal Academy, New England Arts Club and the Sunlight on a Forest Glade Royal Institute of Oil Painters in the 1960s and 1970s. He was also a member of the Pastel Society. His work shows a Pastel on brown paper preoccupation with the effects of light. 3 3 272 x 377 mm., 10 /4 x 14 /4 in.

Provenance: The Artist’s studio

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92b WILLIAM HENRY INNES London 1905-1999 London

A Tree by a Fence

Pastel on brown paper 3 273 x 381 mm., 10 /4 x 15 in.

Provenance: The Artist’s studio

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93 94 FREDERICK SORTAIN SAMUELS RENÉ GRUAU Active c.1943-1965 Covignano 1909-2004 Rome

Plan for the Reconstruction of the South Wing of A Woman with a Long Head Scarf: Design for the Somerset House Cover of International Textiles Magazine (July 1971)

Pen and grey ink and grey wash Gouache, watercolour, airbrush and black ink Signed and dated DRAWN BY F. S. SAMUELS / 1950 Signed with the artist’s initial *G at the lower right 1 7 at the lower right 368 x 302 mm., 14 /2 x 11 /8 in. [image] 1 1270 x 840 mm., 50 x 33 /8 in. Throughout his career, the renowned illustrator René Exhibited at the Royal Academy in 1950, this very large Gruau produced numerous designs for the covers of fashion drawing is a design for the restoration of the Navy Staircase magazines. This striking drawing is a design for the cover of and the South Wing of Somerset House in London. the July 1971 issue of the trade magazine International Designed by Sir William Chambers in the late 18th century, Textiles. Gruau produced bold, vibrant cover designs for the Navy Staircase (later known as the Nelson Stair) rises almost every issue of this magazine published between dramatically through six floors of Somerset House. The 1946 and 1986. South Wing was almost completely destroyed by a German bomb in 1940, and was carefully restored after the war by Sir Albert Richardson.

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95 CLAUDIO BRAVO A superb draughtsman, Claudio Bravo was a master of the Valparaiso 1936-2011 Taroudant use of pencil, coloured chalks and pastel. As one scholar noted, ‘Thoroughly grounded in precise draftsmanship, Bravo’s A Vase of Flowers training... included scrupulous copying of old master works of art. In preparation for his own paintings, however, Bravo does Pencil few if any drawings... Independent drawings, nonetheless, form a significant part of his oeuvre.’ Drawn in 1962, when the Signed and dated CLAUDIO BRAVO / MCMLXII at young Bravo was living and working in Madrid, the present the lower right sheet was formerly in the collection of the artist, socialite, 3 275 x 223 mm., 10 x 8 /4 in. [image] writer and fashion editor Fleur Cowles (1908-2009), who 1 1 343 x 285 mm., 13 /2 x 11 /4 in. [sheet] acquired a number of drawings from Bravo and later sat for him. As Cowles recalled in later years, ‘Bravo come into my Provenance life twenty years ago when I discovered him after seeing a Acquired from the artist by Fleur Cowles, New York, Botticelli-like portrait of friends in Madrid: today he is an London and Sussex immensely sought-after painter.’

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96 the late 1950’s, Guthrie had begun to experiment with KATHLEEN GUTHRIE abstract compositions, while continuing to paint figurative Feltham 1906-1981 Shrewsbury subjects and landscapes. She travelled around Britain, producing landscapes that often explore the abstract Waves qualities of a particular view, and also painting gouache sketches as a means of developing ideas for her larger Gouache on board paintings. Of a 1966 retrospective exhibition of her 5 348 x 254 mm., 13 /8 x 10 in. paintings, which included both abstract and figurative compositions, one critic noted ‘a sense of calm in many of Provenance: her pictures, a quality which is reflected in her abstracts. This By descent in the family of the artist later work makes the most profound impression, with its regard for the subtle play of light and thoughtful colour combinations. Although she had her first one-man show in 1932 and It presents a sense of inevitable resolution, a gentle form of exhibited at the Royal Academy and the New English Art abstraction...’. Guthrie continued to paint both abstract and Club, relatively few paintings by Kathleen Guthrie survive naturalistic subjects until her death, at the age of 76, while from the period before and after the Second World War. By on a sketching holiday in Shropshire.

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97 98 MIMMO PALADINO SIR KYFFIN WILLIAMS, R.A. Born 1948 Llangefni, Anglesey 1918-2006 Anglesey

Isola Hill Farmer (Wil Ifan)

Watercolour Brush and grey ink and grey wash Signed, titled, inscribed and dated Agosto 1982 Signed with initials KW. at the lower right 1 3 ISOLA / Argentouli.(?) casa pellica(?) / Mimmo 420 x 297 mm., 16 /2 x 11 /4 in. Paladino on the verso 1 255 x 333 mm., 10 x 13 /8 in. Drawn in 1991, this large drawing depicts a Welsh hill farmer named, if perhaps apocryphally, Wil Ifan (or Provenance William Evans). Kyffin Williams cared deeply for the hill Acquired from the artist by Galerie Bel’Art, Stockholm farmers of the Welsh mountains, and they appear in his Anonymous sale, London, Sotheby’s, 27 June 1985, lot paintings and drawings throughout his career. As the artist 763 has written of these hill farmers: ‘They come in all shapes Stanley J. Seeger, London and sizes; tall, short, lean or rotund, dark or fair, broad or narrow of face. They may be Ordovician or Silurian celts but whatever their distant origins they are the same in their determination to make a living in a harsh environment. ‘The hill farmer is here studied in isolation, divorced from the rugged Welsh landscape in which he so often appears in Williams’s paintings.

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99 SIMON PALMER Based in Yorkshire, Simon Palmer is one of Britain’s leading Yorkshire b.1956 watercolour artists. He has had many solo exhibitions in London and provincial galleries since 1978 and a Towards the Vale retrospective exhibition of his work was held at the Mercer Art Gallery, Harrogate in 2004. In 2007, he won the Signed lower right and again on border and Winsor and Newton price for the best watercolour at the Royal Academy Summer Exhibition. Working in the British inscribed with title landscape tradition, he has a strong connection to the trees Pen and black ink and watercolour heightened with and hills of his native Wensleydale. This work is likely to date bodycolour from the 1980s. 406 x 333 mm., 16 x 13 in.

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100a ANNE CONNELL characterized by a painstaking technique of oil, silverpoint, and, occasionally, gold leaf on prepared panels. As a review Born 1959 of an exhibition of her work in The New York Times aptly noted, ‘Borrowing patterns and fragmentary images from A Favourable Reply Italian Renaissance painting for her small, lovingly made panel paintings, Connell creates a quietly luminous symbolist poetry Collage, gold leaf, gouache, and oil on paper that seems as once antique and post-modern.’ Anne mounted on panel Connell’s intimately scaled works demand, and ultimately 1 1 160 × 258 mm., 6 /4 × 10 /4 in. reward, the quiet contemplation of the viewer.

The artist Anne Connell lives and works in Portland, Painted in 2013, this painting incorporates a floral detail from Oregon, and has exhibited widely in America, while two a 16th century woodcut of a rosebush, while the landscape exhibitions of her recent work have been held at Stephen in the lower left corner is from the background of the Ongpin Fine Art, in 2009 and 2014. She has spent much reverse of Piero della Francesca’s diptych of Federico da time in Italy, and her work reflects her abiding love of the art Montefeltro and Battista Sforza, painted between 1465 and of the early Renaissance. Connell’s paintings sample images 1472 and today in the Uffizi in Florence. and patterns from Quattrocento sources, while at the same time representing these elements within a distinctively For further enquiries about Anne Connell’s work, or to view modern idiom, to create an expressive vocabulary with its images of her recent paintings and drawings, please visit the own meanings and purposes. Another feature of her work dedicated page on the gallery’s website. Copies of both is the sheer craftsmanship involved in its creation, exhibition catalogues may also be obtained from the gallery.

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100b ANNE CONNELL Drawn in 2010. Born 1959 The towers are derived from the Vision of Saint Dominic and Study with Towers Meeting of Saint Francis and Saint Dominic (1452), part of Benozzo Gozzoli’s fresco cycle of the life and deeds of St. Gouache, over a pencil underdrawing, on Francis in the church of San Francesco, Montefalco. handmade marbled paper, mounted on panel 305 x 305 mm., 12 x 12 in.

120 Stephen Ongpin has nearly 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 Julie Frouge, 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 The European Fine Art Fair 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 June and he also exhibits at the Works on Paper Fair in early February and the BADA Fair in March. In January he exhibits in a gallery in New York as part of Master Drawings New York. He is Chairman of the Vetting Committee at the Works on Paper Fair and also does the vetting at a number of other fairs. He advises clients on their collections, buys and sells on their behalf and can provide insurance valuations.

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

121 INDEX OF ARTISTS

ATKINS, Samuel no.29 FRENCH SCHOOL, 18th Century nos.14 & 21 ATKINSON, John Augustus no.22 FRENCH SCHOOL, 19th Century no.74

BENIGNI, Léon no.83 GANTZ, John no.36 BEVERLEY, William Roxby no.42 GASKIN, Arthur John no.78 BLACKLOCK, William James no.63 GELDART, Joseph no.58 BOITARD, Louis Philippe no.10 GOODWIN, Albert no.82 BOLOGNESE SCHOOL, 16th Century no.1 GRIFFITH, Moses no.24 BONHEUR, François-Auguste no.49 GRUAU, René no.94 BRANDOIN, Michel Vincent Charles no.19 GUTHRIE, Kathleen no.96 BRAVO, Claudio no.95 BRESDIN, Rodolphe no.54 HAAG, Carl no.70 HEARNE, Thomas no.25 CARPENTER, Margaret Sarah no.12 HERKOMER, Hubert von no.75 CLAUSEN, George no.87 HICKEY, Thomas no.11 COLLET, John no.13 HIREMY-HIRSCHL, Adolf no.64 CONNELL, Anne no.100 HOLLAND, James no.50 COX, David no.44 HOOGSTRATEN, Samuel van no. 6 CRETI, Donato no. 9 HOWITT, Samuel no.15 CROTCH, Dr William no.27 INNES, William Henry no.92 DANBY, Francis no.40 DAVID, Jacques-Louis no.35 JACKSON, Samuel nos.34 & 39 DELLA BELLA, Stefano no.3 JOHNSON, James no.41 DIGHTON, Robert no.17 DUNCAN, Edward no.46 LEAR, Edward nos.37 & 60 LEBASQUE, Henri no.84 FAHEY, Edward Henry no.69 LINNELL, James Thomas no.67 FRANCESCHINI, Marcantonio no.7 LOISEAU, Gustave no.88 LUMSDEN, Ernest Stephen no.85

122 MAHONEY, Charles no.89 SAMUELS, Frederick no.93 MAINELLA, Raffaelle no.72 SAUTER, Rudolf no.81 MARSHALL, Charles no.53 SCHETKY, John Christian no.68 MENINSKY, Bernard no.90 SELIGER, Max no.71 MEYER, Conrad no.4 SEYMOUR, James no.8 MIDDLETON, John no.47 SIGNAC, Paul no.79 MONNIER, Henry no.65 SOWERBY, John George no.76 MULLER, William James no.38 STANFIELD, Clarkson no.43

NINHAM, Henry no.48 TAVERNIER, Jean-Baptiste no.5 NORTHERN SCHOOL, 17th Century no.2 TUDOR, Thomas no.31 TUNNICLIFFE, Charles Frederick no.91 OWEN, Samuel no.30 VAN STRIJ, Jacob no.20 PALADINO, Mimmo no.97 VARLEY, John nos.33 & 45 PALMER, Simon no.99 VENETIAN SCHOOL, 18th Century no.26 PAYNE, William no.32 VUILLARD, Edouard no.80 PEARSON, William no.23 PISSARRO, Camille no.73 WATERHOUSE, John William no.59 POYNTER, Edward John nos.56-57 WATSON, John Dawson no.55 PRINS, Pierre no.77 WEEKS, Edwin Lord no.61 WHITE ABBOTT, John no.28 RICHARDSON JUNR., Thomas Miles no.52 WILLIAMS, Kyffin no.98 RICHARDSON SENR., Thomas Miles no.51 WIRGMAN, Charles no.66 ROBERT, Hubert no.16 WOLFSFELD, Erich no.86 ROBINS, Thomas Sewell no.62 ROWLANDSON, Thomas no.18

123 124 N UDE RWNS&WTROOR TPE NPN U EPAT 2014-2015 ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

ONE HUNDRED DRAWINGS AND WATERCOLOURS

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