DOCSLIB.ORG

One Hundred Drawings and Watercolours

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
One Hundred Drawings and Watercolours ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT PEPPIATT GUY ONGPIN STEPHEN WATERCOLOURS & DRAWINGS HUNDRED ONE 2014-2015 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 London 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 Bristol views by four of the best-known Bristol School artists, namely Samuel Jackson, William James Müller, Francis Danby 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 hope, 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. 2 SOFA 1 BOLOGNESE SCHOOL 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 Italy between 1773 and 1781 Carlo Maratta, 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 work 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. 3 SOFA 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 found in most of Baur’s work, and the present pair would appear to be somewhat earlier in date. 4 SOFA 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 Rome. 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 5 SOFA 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 6 SOFA 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.
Load more

Recommended publications
  • Pre-Raphaelites. an Extraordinary Exhibition in Milan
    Ressort: Kunst, Kultur und Musik Pre-Raphaelites. An extraordinary Exhibition in Milan Rome/Milan, 05.06.2019 [ENA] In 1848, political and social revolutions involving almost all nations break out in Europe. In England, seven students joined to produce an artistic revolution: freeing British painting from conventions and dependence on old masters. The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. The men and women of the so-called Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) experienced new beliefs, new lifestyles and personal relationships, as radical as their art. Their splendid paintings will be on exhibition for the first time in Milan thanks to the extraordinary collaboration project between Palazzo Reale Milan and Tate Britain.The exhibition “Preraffaelliti. Amore e desiderio” (Pre-Raphaelites. Love and desire ), promoted and produced by the Municipality of Milan-Culture, Palazzo Reale and 24 ORE Cultura-Gruppo 24 ORE is organized in collaboration with Tate and curated by Carol Jacobi, Curator British Art of the London museum. Maria Teresa Benedetti’s scientific contribution highlited the relationship of the Pre-Raphaelites with Italy. It will thus be possible to admire about 80 works in Milan, together with some iconic paintings difficult to see outside of the UK, such as the Ophelia by John Everett Millais, The Awakening of Consciousness by William Holman Hunt, Love of April by Arthur Hughes, the Lady of Shalott by John William Waterhouse.The Palazzo Reale exhibition, open to the public from 19 June to 6 October 2019, reveals the universe of art and values of the 18 pre-Raphaelite artists.
    [Show full text]
  • Bologna Nei Libri D'arte
    Comune di Bologna Biblioteca dell’Archiginnasio Bologna nei libri d’arte dei secoli XVI-XIX Biblioteca dell’Archiginnasio Piazza Galvani 1, 40124 Bologna www.archiginnasio.it L’immagine della copertina è tratta dal frontespizio del volume: GIAMPIETRO ZANOTTI, Le pitture di Pellegrino Tibaldi e di Niccolò Abbati esistenti nell’Instituto di Bologna descritte ed illustrate da Giampietro Zanotti segretario dell’Accademia Clementina, In Venetia, presso Giambatista Pasquali stampatore e libraio all’Insegna della felicità delle lettere, 1756. Comune di Bologna Biblioteca dell’Archiginnasio Bologna nei libri d’arte dei secoli XVI-XIX a cura di Cristina Bersani e Valeria Roncuzzi Biblioteca dell’Archiginnasio 16 settembre – 16 ottobre 2004 Bologna, 2004 L’esposizione organizzata dall’Archiginnasio rientra nel programma delle manifestazio- ni promosse in occasione del Festival del libro d’arte (Bologna, 17-19 settembre 2004). e si svolge col patrocinio del Ministero per i Beni e le Attività Culturali Ministero degli Affari Esteri Alma Mater Studiorum Associazione Bancaria Italiana Associazione fra le Casse di Risparmio Italiane Si ringraziano per la collaborazione: Adriano Aldrovandi, Caterina Capra, Paola Ceccarelli, Saverio Ferrari, Vincenzo Lucchese, Sandra Saccone, Rita Zoppellari Un ringraziamento particolare a Pierangelo Bellettini e alla professoressa Maria Gioia Tavoni Allestimento: Franco Nicosia Floriano Boschi, Roberto Faccioli, Claudio Veronesi Fotografie: Fornasini Microfilm Service Ufficio Stampa: Valeria Roncuzzi Biblioteca dell’Archiginnasio Piazza Galvani 1, 40124 Bologna www.archiginnasio.it INFO: tel. 051 276811 - 051 276813; FAX 051 261160 Seconda edizione riveduta ed ampliata La proprietà artistica e letteraria di quanto qui pubblicato è riservata alla Biblioteca Comunale dell’Archiginnasio di Bologna e per essa al Comune di Bologna.
    [Show full text]
  • Thomas Hickey”, Apollo, III, 1926, Pp
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition HICKEY, Thomas fixed by some robust process. In his later career Dublin .V.1741 – Madras .V.1824 he continued to make black and white chalk The son of Noah Hickey, a confectioner in drawings capturing his sitters’ spontaneous Dublin, he was a pupil of Robert West (q.v.) at expressions: William Sydenham reported to the Dublin Society school, where he won prizes Humphry in a letter of 10.X.1800 that Hickey between 1753 and 1756. His brother John had been “very successful in making black chalk (1751–1795) was a sculptor. He travelled to Italy portraits as preparatory studies” for his series of between 1761 and 1767 before returning to seven paintings of the “success at Mysore”, no Dublin for three years, after which he moved to doubt the fourth Anglo-Mysore war which England. He was admitted to the Royal resulted in the death of Tipu Sultan. Academy Schools in London on 11.VI.1771, and Bibliography exhibited at the Royal Academy between 1772 Archer 1979; Bénézit; Thomas Bodkin, and 1792 (from Jermyn Street, 1772; Tavistock “Thomas Hickey”, Apollo, III, 1926, pp. 96ff; Row, 1773; Henrietta Street, 1774, Gerard Breeze 1983; Breeze 1984; Crookshank 1969; Street, 1775–76; Bath, 1778; and 31 Margaret Crookshank & Glin 1994; Crookshank & Glin J.39.106 William Monckton-Arundell, né Street, 1792). Boswell records dining with 2002; Dictionary of Irish biography; Dublin 1969; Monckton, 2nd Viscount GALWAY (1725– Hickey and Dr Johnson in 1775 shortly before Figgis 2014; Figgis & Rooney 2001; Sir William 1772), MP, master of staghounds, pstl/ppr, his move to Bath where he is recorded between Foster, “British artists in India”, Walpole Society, c.25x20 ov.
    [Show full text]
  • Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850
    Open Research Online The Open University’s repository of research publications and other research outputs Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850 Thesis How to cite: Mcdermott, Siobhan Clare (2019). Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850. PhD thesis The Open University. For guidance on citations see FAQs. c 2018 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ed14 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850 Siobhan Claire McDermott, BA, MA, Open University, MB, BAO, BCh, Trinity College Dublin. Presented for the degree of Doctor of Philosophy in Art History, School of Arts and Culture, Faculty of Arts and Social Sciences, the Open University, September, 2018. Personal Statement No part of this thesis has previously been submitted for a degree or other qualification of the Open University or any other university or institution. It is entirely the work of the author. Abstract The aim of this thesis is to show that Irish art made in the period under discussion, the late-eighteenth to the mid-nineteenth century, should not be considered solely in terms of Ireland’s relationship with England as heretofore, but rather, within the framework of the wider British Empire.
    [Show full text]
  • A British Reflection: the Relationship Between Dante's Comedy and The
    A British Reflection: the Relationship between Dante’s Comedy and the Italian Fascist Movement and Regime during the 1920s and 1930s with references to the Risorgimento. Keon Esky A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy, Faculty of Arts and Social Sciences. University of Sydney 2016 KEON ESKY Fig. 1 Raffaello Sanzio, ‘La Disputa’ (detail) 1510-11, Fresco - Stanza della Segnatura, Palazzi Pontifici, Vatican. KEON ESKY ii I dedicate this thesis to my late father who would have wanted me to embark on such a journey, and to my partner who with patience and love has never stopped believing that I could do it. KEON ESKY iii ACKNOWLEDGEMENTS This thesis owes a debt of gratitude to many people in many different countries, and indeed continents. They have all contributed in various measures to the completion of this endeavour. However, this study is deeply indebted first and foremost to my supervisor Dr. Francesco Borghesi. Without his assistance throughout these many years, this thesis would not have been possible. For his support, patience, motivation, and vast knowledge I shall be forever thankful. He truly was my Virgil. Besides my supervisor, I would like to thank the whole Department of Italian Studies at the University of Sydney, who have patiently worked with me and assisted me when I needed it. My sincere thanks go to Dr. Rubino and the rest of the committees that in the years have formed the panel for the Annual Reviews for their insightful comments and encouragement, but equally for their firm questioning, which helped me widening the scope of my research and accept other perspectives.
    [Show full text]
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • Movimiento Prerrafaelista
    06/02/2007 1845 MOVIMIENTO PRERRAFAELISTA: ORÍGENES, DESARROLLO 1870 Y CONSECUENCIAS 1894 Sir John Everett Millais. John Ruskin. 1854 jamp'07 1 jamp'07 2 ALGUNAS OBRAS: Modern Painters (1843) Modern Painters II (1846) The Seven Lamps of Architecture (1849) Pre-Raphaelitism (1851) The Stones of Venice I (1851) The Stones of Venice II and III (1853) Architecture and Painting (1854) Modern Painters III (1856) The Harbours of England (1856) Political Economy of Art (1857) The Two Paths (1859) The Elements of Perspective (1859) Modern Painters IV (1860) RAFAEL (1483-1520): La Unto This Last (1862) Transfiguración 1518-20 jamp'07 3 jamp'07 4 The Pre-Raphaelite Brotherhood was created in 1848 by seven artists: Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, John Everett Millais, Frederic George Stephens, Thomas Woolner and William Holman Hunt. Their goal was to develop a naturalistic style of art, throwing The Pre-Pre-RaphaeliteRaphaelite away the rules and conventions that were drilled into students' BrotherhoodBrotherhood:: heads at the Academies. Raphael was the artist they considered to have achieved the highest degree of perfection, PRB so muchthttdth so that students were encourage dtdfd to draw from his examples rather than from nature itself; thus they became the "Pre-Raphaelites". The movement itself did not last past the 1850s, but the style remained popular for decades, influencing the Arts and Crafts Movement, the Symbolist painters and the Art Nouveau jamp'07 5 jamp'07 6 1 06/02/2007 El planteamiento inicial de
    [Show full text]
  • Forest of Bowland AONB Access Land
    Much of the new Access Land in Access Land will be the Forest of Bowland AONB is identified with an Access within its Special Protection Area Land symbol, and may be accessed by any bridge, stile, gate, stairs, steps, stepping stone, or other (SPA). works for crossing water, or any gap in a boundary. Such access points will have This European designation recognises the importance of the area’s upland heather signage and interpretation to guide you. moorland and blanket bog as habitats for upland birds. The moors are home to many threatened species of bird, including Merlin, Golden Plover, Curlew, Ring If you intend to explore new Parts of the Forest of Bowland Ouzel and the rare Hen Harrier, the symbol of the AONB. Area of Outstanding Natural access land on foot, it is important that you plan ahead. Beauty (AONB) are now For the most up to date information and what local restrictions may accessible for recreation on foot be in place, visit www.countrysideaccess.gov.uk or call the Open Access Helpline on 0845 100 3298 for the first time to avoid disappointment. Once out and about, always follow local signs because the Countryside & Rights of Way Act (CRoW) 2000 gives people new and advice. rights to walk on areas of open country and registered common land. Access may be excluded or restricted during Heather moorland is Many people exceptional weather or ground conditions Access Land in the for the purpose of fire prevention or to avoid danger to the public. Forest of Bowland itself a rare habitat depend on - 75% of all the upland heather moorland in the the Access AONB offers some of world and 15% of the global resource of blanket bog are to be found in Britain.
    [Show full text]
  • 2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
    National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening.
    [Show full text]
  • Sale of Pictures from Stock May 2020
    SALE OF PICTURES FROM STOCK MAY 2020 GUY PEPPIATT FINE ART GUY PEPPIATT FINE ART SALE OF PICTURES FROM STOCK MAY 2020 Prices include UK shipping Sold framed except where stated High resolutions images available on request Guy Peppiatt Fine Art Ltd Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU Tel: +44 (0) 20 7930 3839 Mobile: +44 (0) 7956 968 284 Fax: +44 (0) 020 7839 1504 [email protected] www.peppiattfineart.co.uk 1 Sir James Thornhill (1675-1734) Design for a Garden House Pen and brown and grey ink and grey washes on laid paper 18.2 by 17.2 cm., 7 by 6 ¾ in. Provenance: Colonel Gould Weston, his sale, Christie’s, 15th July 1958, lot 125 as part of an album; Ralph Holland (1917-2012) Thornhill was the most important painter of interiors in the early eighteenth century and was the first British artist to be knighted, on his appointment to sergeant-painter to the King in 1720. His most celebrated works are the interior of the Great Hall at Greenwich and the dome of St. Paul’s, London. He also worked in a number of great English houses, including Blenheim, Hampton Court, Chatsworth, Easton Neston and Wimpole. This drawing may be linked to the work that Thornhill did for Isaac Loader (b.1653) at Deptford. Loader was an anchor maker by profession and was appointed Sheriff of Deptford in 1701. Ralph Thoresby (1658-1725) visited Loader’s house in 1714 and records that `the gardens are surprisingly fine and large: there are Mr Thornhill’s paintings in the Bagnio, and other garden-houses’ (see R.
    [Show full text]
  • The History of Painting in Italy, Vol. V
    The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method.
    [Show full text]
  • THE POLITICS of CATASTROPHE in the ART of JOHN MARTIN, FRANCIS DANBY, and DAVID ROBERTS by Christopher J
    APOCALYPTIC PROGRESS: THE POLITICS OF CATASTROPHE IN THE ART OF JOHN MARTIN, FRANCIS DANBY, AND DAVID ROBERTS By Christopher James Coltrin A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2011 Doctoral Committee: Professor Susan L. Siegfried, Chair Professor Alexander D. Potts Associate Professor Howard G. Lay Associate Professor Lucy Hartley ©Christopher James Coltrin 2011 For Elizabeth ii Acknowledgements This dissertation represents the culmination of hundreds of people and thousands of hours spent on my behalf throughout the course of my life. From the individuals who provided the initial seeds of inspiration that fostered my general love of learning, to the scholars who helped with the very specific job of crafting of my argument, I have been the fortunate recipient of many gifts of goodness. In retrospect, it would be both inaccurate and arrogant for me to claim anything more than a minor role in producing this dissertation. Despite the cliché, the individuals that I am most deeply indebted to are my two devoted parents. Both my mother and father spent the majority of their lives setting aside their personal interests to satisfy those of their children. The love, stability, and support that I received from them as a child, and that I continue to receive today, have always been unconditional. When I chose to pursue academic interests that seemingly lead into professional oblivion, I probably should have questioned what my parents would think about my choice, but I never did. Not because their opinions didn‟t matter to me, but because I knew that they would support me regardless.
    [Show full text]