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Home , George Arnald, John Pye, John Sell Cotman, John Thirtle, John Varley (painter), Peter De Wint

BRITISH Drawings and Watercolours 2019

GUY PEPPIATT FINE ART BRITISH Drawings and Watercolours 2019

1 Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures Department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical sales. Guy left Sotheby’s in 2004 to work as a dealer in early British watercolours and since 2006 he has shared a gallery on the ground floor of 6 Mason’s Yard off Duke St., St. James’s with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. He exhibits as part of Master Drawings New York every January as well as Art Week in July and December.

Email: [email protected] Tel: 020 7930 3839 or 07956 968 284

Sarah Hobrough has spent nearly 25 years in the field of British drawings and watercolours. She started her career at Spink and Son in 1995, where she began to develop a specialism in British watercolours of the late 18th and early 19th centuries. In 2002, she helped set up Lowell Libson Ltd, serving as co- director of the gallery. In 2007, Sarah decided to pursue her other passion, gardens and plants, and undertook a post graduate diploma in landscape design. She established a landscape design company, which she continues to run, alongside her art consultancy practise. She has consulted for dealers and auction houses, helping Christie’s watercolour department for a number of years, as well private clients, helping them research and develop their collections. She is delighted to be joining Guy Peppiatt Fine Art as a consultant.

Email: [email protected] Tel: 07798 611 017

2 BRITISH Drawings and Watercolours 2019

Monday to Friday 10am to 6pm Weekends and evenings by appointment

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 968284 Fax: +44 (0) 20 7839 1504 [email protected] www.peppiattfineart.co.uk

3 1 William Hogarth (1697-1764) Study of a Mother and Son

Oil on canvas Literature: 1 1 11.7 by 9.3 cm., 4 /2 by 3 /2 in. Elizabeth Einberg, William Hogarth – A Complete Catalogue of the Paintings, 2016, p.70, no.32, ill. Provenance: Probably with the art dealer William Benoni White (1803-c.1878); Exhibited: John Postle Heseltine (1843-1929) by 1906, his Executor’s sale, Sotheby’s, 29th May London, Whitechapel Gallery, Georgian , March 1906, no.1 1935, lot 315 (pt), bt. Turner for £22; Anonymous sale, Sotheby’s, 15th July 1998, lot 45, bt. Agnew; Stylistically this sketch dates from circa 1730 and is probably a fragment of a larger, Private Collection, Scotland, 2004; unfinished portrait. A similar small sketch `Two unknown Gentlemen in Conversation’ With Agnew’s, 2008; recorded in a private collection (Einberg, op. cit., no.31) may once have been part of Private Collection the same canvas.

It has been suggested that the sitters in this sketch may be Mary Edwards and her son Gerard who were sitters in other portraits by Hogarth (op. cit., nos. 70 and 162 the former and no.66 the latter) but the likeness is not conclusive and it would date the present work to nearer 1740.

4 2 Hugh Douglas Hamilton (1740-1808) Portrait of a Mother and Daughter

Pastel over pencil on laid paper laid on canvas 3 1 Oval 40 by 34.7 cm., 15 /4 by 13 /2 in.

Provenance: With Martyn Gregory, 1977; Anonymous sale, Christie’s, 11th July 1995, lot 13; Private Collection until 2018

Literature: Anne Crookshank and the Knight of Glin, The Painters of Ireland circa 1660-1920, 1978, p.72, repr. pl.55; Neil Jeffares, Online Dictionary of Pastels and Pastellists, (www.pastellists.com), no. J.375.2356

Hugh Douglas Hamilton was born in Dublin and studied at the Royal Dublin Society from 1750 until 1756 until moving to London and finding success as a portrait painter in pastel and oil. In 1778 he went to Rome and returned to Dublin in 1792.

5 3 Thomas Rowlandson (1756-1827) `A Talk me Dead Fellow’

Inscribed with title on original mount Pen and ink and washes over pencil on laid paper 1 1 16.5 by 19 cm., 6 /2 by 7 /2 in.

Provenance: Greta Braunsberg; With Martyn Gregory, London; Private Collection, London until 2018

6 4 Thomas Rowlandson (1756-1827) An Execution outside Newgate Prison, London

Pen and brown ink and watercolour over pencil The austere mass of Newgate prison, visible behind the crowds of people, was built by 1 18.3 by 26.8 cm., 7 by 10 /2 in. George Dance the Younger. It was begun, on the site of an earlier prison, in 1770, but was badly damaged by fire during the Gordon Riots in 1780 and so extensively rebuilt Provenance: and completed in 1782. On its completion, London’s gallows were moved from Anonymous sale, Christie’s, 3rd October 2001, lot 391; Tyburn to Newgate and every Monday morning large crowds would assemble outside. Private Collection until 2018 Another view of the same subject by Rowlandson is in the London Museum with Rowlandson has depicted the huge crowds that filled every available vantage point another recorded in the collection of Desmond Coke. on execution day, even climbing up the sides of buildings and onto the nearby roofs. Street sellers can be seen in the foreground, plying goods to the watching crowds.

7 5 6 Thomas Rowlandson (1756-1827) Thomas Rowlandson (1756-1827) The Connoisseur The Hunt

Pen and ink and watercolour on original washline mount Signed lower left: T. Rowlandson 1812 1 1 13.9 by 21 cm., 5 /2 by 8 /4 in. Pen and brown ink and watercolour over pencil 3 30.3 by 48.1 cm., 11 /4 by 19 in. Provenance: With Andrew Edmunds, where bought by the present owner in 2002 Provenance: Nubar Gulbenkian (1896-1972); Drawings of this type by Rowlandson were seldom publicly displayed which explains With Spink, London, 1968; the exceptional condition of the present work. The crisp handling suggests that it Private Collection until 2018 was drawn in the 1780s or 1790s. Drawings of `The Connoisseur’ are common in Rowlandson’s oeuvre although they usually depict an old man admiring a painting or Exhibited: sculpture of a naked woman. Here the`Connoisseur’ is being shown the `wares’ by a London, Spink, Thomas Rowlandson 1756-1827, 7th-23rd March 1978, no.10 madam in a brothel.

8 9 7 Samuel Scott (1701/2-1772) Houses on the River Thames

Grey washes over pencil on laid paper He was a close friend of William Hogarth and accompanied him on his famous river 1 15.1 by 28.6 cm., 6 by 11 /4 in. party to Gravesend in 1732.

Scott was an oil painter specialising in views on the Thames but also produced The neat lines of watercolour on the roofs and fences is typical of his drawings as is topographical watercolours of the river often in grey and washes. He lived in the use of washes to depict light and shades. There are a number of similar sketches Twickenham from 1749 to 1765 and this is likely to be a Thames view of that area. in the Yale Center for British Art.

10 8 Sir George Howland Beaumont (1753-1827) View from the Library at Colerton Hall, Leicestershire

Inscribed on mount: Sir George Beaumont from the Library at Coleorton Beaumont became interested in art at an early stage, studying drawing under Grey washes over pencil heightened with touches of white on grey paper Alexander Cozens, whilst a school boy at Eton. He continued to paint throughout his 1 1 23.4 by 31.7 cm., 9 /4 by 12 /2 in. life, undertook regular sketching tours and exhibited regularly at the Royal Academy between 1794 and 1825. He undertook a tour to in 1782-3, accompanied This is a view of Bardon Hill as seen from Coleorton Hall. Constable painted an oil by Thomas Hearne and Joseph Farington and was at the centre of the British artists of the same view, now in the Yale Center for British Art. The Beaumonts acquired working in Italy at the time. Coleorton Hall in 1426 and it remained in the family until sold to the Coal Board in 1948. Sir George Beaumont had the original house rebuilt in 1804-8 by George Not only a gifted amateur, Beaumont became a leading patron of artists and poets, Dance the Younger and he undertook alterations to the surroundings landscape, advised amassing a notable collection, which on his death formed part of the newly formed by the poet William Wordsworth and his wife, Dorothy (who stayed for long periods collection of the , for which he was an ardent campaigner. on the estate), as well as by Uvedale Price and possibly by William Sawrey Gilpin.

11 9 Francis Towne (1739-1816) Villa Grazioli, Tivoli near Rome, Italy

Signed verso: No 57/Francis Towne/1781/Duke de Braciano Frascati Unlike many of his contemporaries, Towne appears to have funded his year-long visit Pen and grey ink and washes on laid paper entirely himself. He arrived in Rome in the middle of October 1870 and remained 3 1 22.2 by 32.2 cm., 8 /4 by 12 /2 in. until the following March, when he left to visit Naples, before returning once more to Rome, where he stayed until the end of July. From Towne’s surviving work, it appears Provenance: that the artist found his greatest inspiration in the countryside around the city. Bequeathed by the artist to James White of Exeter (1744-1825); John Herman Merivale (1779-1844); This work, numbered 57, is one of a series of 64 watercolour drawings produced By descent to Judith Ann Merivale (1860-1945), Oxford, by 1915; in and around Rome. It was executed towards the end of his time in the region By whom sold to Agnew’s, 28th January 1937 for £30; and according to Oppé, there are four further monochrome drawings of Frascati, With Agnew’s, by whom sold to Professor John Malins (1915-1992), 24th June 1940; numbered 56, 58, 59 and 60. By descent until 2018 Several of his Italian studies bear the imprint of Towne’s thumb or finger and in the Literature: wash of the present drawing, the artist’s thumb print is visible. This rarely occurs in his Adrian Bury, Francis Towne - Lone Star of Watercolour Painting, 1962, p.150; other work and suggests the rapid manner that Towne was perhaps working at this Timothy Wilcox, Francis Towne, 1997, p.86; time and the way he had to improvise whilst working en plein air. Richard Stephens, Francis Towne - Online Catalogue, no. FT287 Towne regarded his Roman drawings as amongst his finest work. On his return to Exhibited: England he used them to promote his work and encourage commissions and he used Possibly London, Agnew’s, Sixty-seventh Annual Exhibition of Water-Colour and Pencil them to form the centrepiece of his 1805 solo exhibition. Drawings, 1940, no. 133 (as `Frascati 1781’)

The present monochrome depicts the landscape around the Villa Grazioli, Tivoli, which was especially noted for its fine views over Rome, distantly visible in the present work, through the trees on the right-hand side. Between 1683 – 1843 the estate was the property of the Dukes of Bracciano. In the 19th Century, it was sold to the Grazioli Lante della Rovere Dukes and became their hunting lodge. It is still standing, the main Palazzo is the Canadian Embassy and the villa is now a hotel, whilst what remains of its gardens is a public park.

As Tim Wilcox notes the area around Frascati had long been popular with artists seeking inspiration; Poussin, Claude and Gaspard Doughet, were amongst a host of earlier artists who spent time there and Towne was amongst the group of British artists, including Pars, Cozens, Jones and Warwick Smith who sought to understand and appreciate the countryside which has so inspired the earlier masters. In a letter to Towne, 4 May 1781, James White wrote, you must ere long now have enjoyed all the coolness of Frascati & Tivoli, studying the beauties of their Woods & Rocks & Water with all the Genius & under the immediate Influence of Gaspar himself. (Tim Wilcox, op cit., p. 57).

12 13 10 Francis Towne (1739-1816) On the Road over the Moor to Tavistock,

Signed verso: No2 / near 1 o Clock / on the road over the Moor to Tavistock / August For this final tour, Towne used a single sketchbook to record most of the trip, it 29th 1815 Francis Towne probably remained intact until it was sold by Mary Ann Loveband in 1938. There are Pen and grey ink and watercolour over pencil a few sketches from the beginning of his tour, when he was in Exeter, which were 1 13.7 by 23.1 cm., 5 /4 by 9 in. originally in another sketchbook.

Provenance: The artist’s habit of working up his on the spot drawings into finished works and Bequeathed by the artist to James White, Exeter (1744-1825); carefully numbering, dating and inscribing them, as seen on the present sheet, means John Herman Merivale (1779-1844); that it is possible to plot the route he took on his various tours. On the 18th August By descent to his granddaughters, Maria Sophia Merivale (1853-1928) and Judith Ann he was in Exeter, where he spent time with his old friend James White, (the recipient Merivale (1860-1945), 1915; of this drawing), before continuing to Chagford, on the eastern edge of Dartmoor, Given to their cousin Mary Ann Loveband (b.1865- at least 1951), who sold it as part then across Dartmoor, to Tavistock and onto , before heading along the of an album to Agnew’s in May 1938; South Devon coast to Sidmouth. D.L.J. Perkins; With Agnew’s, 1939, where bought by J. Hawkesley Elliott of Sheffield; The first sketch, no. 1 in the series, is a view ofHolly Street, Chagford (now in the By descent to his daughter who sold it at Christie’s, 14th March 1978, lot 94, bt. , London) which was executed according to the inscription, the Leger; day before the present watercolour, between 5 and 6 pm in the evening. There is a Anonymous sale, Christie’s, 10th July 1984, lot 198; further view of Tavistock with part of the Abbey, which is numbered 4, in the series, Private Collection, UK; which was also executed on 29th August but slightly later in the afternoon, between Bonham’s on 1 March 2011, lot 196; 3-4pm. There is also an un-numbered and un-inscribed, monochrome watercolour Private Collection, UK. of a view near Tavistock (Private Collection).

Literature: The inclusion of the time, as well as the date evident on this watercolour, was Richard Stephens, Francis Towne - Online Catalogue, no. FT766. something that Towne began to practice whist in Italy. As Tim Wilcox noted he began to record the time on his drawings within a few days of arriving in Rome, it was not Exhibited: something that he, or indeed any other British artist had done before (Tim Wilcox, London, Agnew’s, 66th Annual Exhibition of Water-Colour and Pencil Drawings, 1939, Francis Towne, 1997, p. 18). It clearly demonstrates Towne’s desire to explore a wider no.108; artistic experience, absorb new practices and develop a deeper understanding not London, Leger Galleries, English Watercolours, 1978, no.10 only through others’ work but through sharing ideas and conversations. It reveals that Southampton, Maurice Dear, Fine English Watercolours, 2011, no. 24 Towne became deeply involved in the artistic community in Rome.

Although Towne spent a large part of his life in his adopted Devon, following his return from his European tour in 1782, he spent increasing amounts of time in London, moving there permanently during the final decade of his life. Although he was a popular figure in Exeter, with a wide circle of friends and patrons, he was keen to further his standing as a landscape artist and shrug off his reputation as a provincial drawing master. He continued to undertake regular sketching tours around Britain and in 1815, he embarked on what would be his final tour, returning to Devon.

14 15 11 Anthony Devis (1729-1817) A Telescope view of Beeston from Tabley, Cheshire

Signed with initials lower left and inscribed with title under mount This shows the Peckforton Hills and the ruins of Beeston Castle, situated on a rocky Pen and grey ink and watercolour over pencil on laid paper crag high above the Cheshire Plain. The church in the foreground with its distinctive 1 3 24.4 by 37.5 cm., 9 /2 by 14 /4 in. steep spire is probably that of St Mary’s Astbury on the far eastern side of the Cheshire Plain which may explain Devis’s description of it being a ‘telescope view’. Provenance: John Trower (1755-1840); There are four oil painting at Tabley House by Devis, one of which has the same view F.C. Winby; in the background. Acquired from his son by Thos. Agnew and Sons, London With Guy Peppiatt Fine Art, 2012; Private Collection

16 12 John Cleveley the Younger (1747-1786) Calshot Castle on the Solent

Watercolour over pencil on laid paper John Cleveley the Younger was the son of the shipwright turned artist, John Cleveley 3 1 12 by 21.5 cm., 4 /4 by 8 /2 in. (c.1712-1777). He was taught to draw by who was then teaching at the Woolwich Academy and first exhibited in 1767. He accompanied Sir Joseph Banks as Calshot Castle was built by Henry VIII to protect the mouth of the Solent. Another official draughtsman on his voyage to the Hebrides, Orkneys and Iceland in 1772. He view of Calshot Castle by Cleveley is in the Yale Center for British Art. specialised in marine paintings in both oil and watercolour.

17 13 William Day (1764-1807) The Heights at Dovedale, Derbyshire

Numbered ‘6’ on the original wash mount Their exact route in 1789 is not known but surviving drawings indicate that they Pen and grey ink and watercolour over pencil on laid paper visited all the main spots, including Matlock, Cromford, Dovedale and Castleton. 1 3 34.1 by 47.6 cm., 13 /4 by 18 /4 ins. The tour is described and a number of drawings from it illustrated in the 1996 Berne and Manchester Webber exhibition catalogue (see W. Hauptman, Captain Cook’s The brief facts about William Day and his work were assembled by the late Judy Painter: John Webber 1751-1793 Pacific Voyager and Landscape Artist, 1996, pp. Egerton in an article in Connoisseur magazine in July 1970, pp. 176-185, which 193-214). Several other pairs of Day and Webber drawings have been identified, remains the main source of information on his life. It is not known for certain when some quite recently, from this tour. This watercolour is one such recent identification. Day met John Webber, the Swiss-born artist, but the two were sketching together in Day watercolours are normally mounted on a secondary support with a grey the Wye valley in 1788. Evidently they would sketch side by side and each produce wash border within which is a number; sometimes there is an additional identifying versions of the same view, a practice they continued the following year in Derbyshire. inscription on the reverse. This example has the number ‘6’ but is not inscribed on

18 the reverse. Nevertheless, it is possible to identify the view since it corresponds exactly with the Webber watercolour inscribed “Heights at Dovedale, Derbyshire”, purchased by the Cecil Higgins Art Gallery, Bedford, in 1952 (see E. Joll, Cecil Higgins Art Gallery Watercolours and Drawings, 2002, p. 281).

There are only two other known pairs of Day and Webber watercolours in public collections. The first pair, of Renard’s Hole, Dovedale, is at the Yale Center for British Art, New Haven, Connecticut (see W. Hauptman, op. cit., pp. 211 & 212). The second pair, of Peveril Castle and the Peak Cavern, Castleton, was acquired from a private collection in 2011 by Buxton Museum & Art Gallery (see W. Hauptman, op. cit., pp. 196 & 197). At least four other pairs of Day and Webber watercolours are known, but not in the same collection.

14 John White Abbott (176-1851) Farleigh Castle, Wiltshire

Signed on reverse of original mount: Farley Castle Wilts/JWA June 14. 1827., inscribed with colour notes and numbered on mount: XXIX Pen and grey ink and watercolour 1 18.8 by 13 cm., 7 /4 by 5 in.

Provenance: Anonymous sale, Sotheby’s, 13th March 1969, lot 54

Farleigh Castle is situated near Bath on the Wiltshire Somerset borders. Built in about 1380 by Sir Thomas Hungerford who was the first Speaker of the House of Commons and Steward to John of Gaunt. The Castle was sold in 1705 and largely dismantled for salvage. However, its subsequent ruined state and location meant that it became popular as a Picturesque destination.

Lot 53 in the 1969 Sotheby’s sale is another view of Farleigh Castle by White Abbott also drawn on 14th June 1827. 19 15 Francis Danby (1793-1861) View of the Avon Gorge looking towards the Severn Estuary

Signed lower left: F Danby Stylistically this dates from circa 1815, two years after his arrival in Bristol. Danby had Watercolour over pencil heightened with touches of bodycolour trained in Dublin and in 1813 visited London with his fellow artists James O’Connor 3 3 27.4 by 42.8 cm., 10 /4 by 16 /4 in. (1792-1841) and George Petrie (1789-1866). They were there only a few weeks before they ran out of money and Danby and O’Connor walked to Bristol with the Provenance: intention of finding a boat to take them back to Ireland. However he found in Bristol Anonymous sale, Sotheby’s, 3rd October 1974, lot 210; a market for his landscapes and portraits and resolved to stay a while. In 1824, he Private collection, UK moved to London and first exhibited at the Royal Academy in 1817. By the 1820s he became famous for his grand landscape paintings. According to Redgrave `Danby This is a favourite viewpoint of several artists and especially Danby. It will always take high rank with the lovers of art and genius. His imagination was of the looks west down the Avon from Durdham Down, with the Severn estuary in the highest class, his landscapes of the truest poetry’ (see Samuel Redgrave, A Dictionary distance and the hills of on the horizon. To the right are the rocks known as Sea of Artists of the English School, 1878, p.113). Walls with the tower known as Cook’s Folly beyond.

20 16 (1778-1842) Llyn Padarn and Dolbadarn Castle, North Wales

Signed lower right: JVARLEY 1810 and signed verso: Llanberis Lake/& Dolbadarn Varley first visited Wales in 1798-9, in the company of . He returned a Tower/N Wales/J. Varley 1810 second time, accompanied by his brother, Cornelius, in 1802. These trips provided Watercolour over traces of pencil heightened with scratching out Varley with sufficient material to inspire his work throughout his life. There is a 3 1 17.2 by 24.2 cm., 6 /4 by 9 /2 in. similar earlier, watercolour, from almost the same viewpoint, executed in 1804 and exhibited at the Old Watercolour Society in 1805. Views of mountains and lakes were Provenance: particularly popular with the artist and Varley would often return to subjects that he With Walker’s Galleries, London found particularly pleasing, throughout his career. The block capital signature is typical on his early work. This is a view looking south-east down Llyn Padarn or Llanberis Lake with the ruins of the 13th century Dolbadarn Castle to the right and the summit of Snowdon beyond.

21 17 John Varley (1778-1842) Caernarvon Castle, North Wales, from the North-west

Signed lower right: J. Varley Exhibited: Watercolour over traces of pencil heightened with scratching out London, Spink-Leger, Feeling through the Eye - The `New Landscape’ in Britain 1800- 3 1 12.1 by 32.2 cm., 4 /4 by 12 /2 in. 1830, 14th March - 19th April 2000, no. 100

Provenance: Varley is likely to have visited Caernarvon on his first tour of Wales in 1798 but he With Spink-Leger, 2000; did not exhibit a view of the castle until 1810. This and no.18 are likely to date from Anonymous sale, Christie’s, 6th June 2002, lot 29, one of two; 1815-20. Private Collection until 2018 See note to no.16 for more on his trips to Wales. Literature: Sarah Hobrough and Lowell Libson, Feeling through the Eye - The `New Landscape’ in Britain 1800-1830, exhibition catalogue, 2000, p.98, no. 100, ill.; Timothy Wilcox, John Varley 1778-1842, John Spink exhibition catalogue, 2008, under no.13

22 18 John Varley (1778-1842) Caernarvon Castle, North Wales, from the South-west

Watercolour over traces of pencil heightened with bodycolour and scratching out Exhibited: 3 12.5 by 32.5 cm., 5 by 12 /4 in. London, Spink-Leger, Feeling through the Eye - The `New Landscape’ in Britain 1800- 1830, 14th March - 19th April 2000, no. 100 Provenance: With Spink-Leger, 2000; A smaller version of this view was with John Spink in 2008 (see Wilcox, op.cit., no.13). Anonymous sale, Christie’s, 6th June 2002, lot 29, one of two; Private Collection until 2018 See note to no.16 for more on his trips to Wales.

Literature: Sarah Hobrough and Lowell Libson, Feeling through the Eye - The `New Landscape’ in Britain 1800-1830, exhibition catalogue, 2000, p.98, no. 100, ill.; Timothy Wilcox, John Varley 1778-1842, John Spink exhibition catalogue, 2008, under no.13

23 19 John Varley (1778-1842) The Old Church, Hackney, London

Watercolour over pencil heightened with touches of bodycolour This depicts the sixteenth century church of St Augustine which was demolished 3 3 27.8 by 37.7 cm., 10 /4 by 14 /4 in. in 1798 to make way for a new church on the site dedicated to St John. The large funerary monument to the left survives. Varley was born in a house adjoining Hackney Provenance: churchyard in 1778. Another version of this watercolour, dated 1830, is in the British With Spink, London; Museum (see Lindsay Stainton, British Landscape Watercolours 1600-1860, 1985, Anonymous sale, Sotheby’s, 11th July 1990, lot 97; no.110, pl.83). By descent until 2018

24 20 John Varley (1778-1842) A Bridge between Barmouth and Dolgelly, North Wales

Signed lower right and dated 1824 This view is often misidentified as a view of the bridge at Beddgelert. However a Watercolour over pencil watercolour of this title and view, dated 1813, was with the Fine Art Society in 1970 1 18 by 24.4 cm., 7 by 9 /2 in. and a sketch of the subject was with John Spink in 2008 (see Timothy Wilcox, John Varley 1778-1842, John Spink exhibition catalogue, 2008, no.4). It is presumably a Provenance: view looking north with Snowdon in the distance. With Guy Peppiatt Fine Art, 2012; Private Collection, UK

25 21 John Varley (1778-1842) Lilburn Tower, Dunstanburgh Castle, Northumberland

Signed lower right: J. Varley/1823 Watercolour over traces of pencil heightened with touches of bodycolour and stopping out 1 29.6 by 25.5 cm., 11 /2 by 10 in.

Provenance: With Leger Galleries, December 1982; Private Collection until 2019

Lilburn tower, named after John de Lilburn lies near the north end of the west wall of Dunstanburgh Castle. The castle was begun in 1313 by Thomas, Earl of Leicester, the wealthiest nobleman in England. However, following his part in the baron’s revolt against his cousin, Edward II, he was executed in 1322 and the castle fell into the King’s hands. Lilburn Tower was constructed in 1322 and is named after John de Lilburn, who served as joint Constable of the castle between 1322 and 1323. By the late 15th Century, the castle began to fall into disrepair and over the ensuing centuries became a dramatic ruin popular with artists and tourists, including J. M. W. Turner, and John Varley amongst others, in search of dramatic subjects.

Another view of the same tower by Varley, dated 1811, is in the Manchester City Art Gallery (see Adrian Bury, John Varley of the `Old Society’, 1946, ill. pl.38).

26 22 Edward Duncan, R.W.S. (1803-1882) Shipping off Cowes, Isle of Wight

Signed lower left: EDuncan coast views often in rough seas. He exhibited at the Royal Academy and principally the Watercolour heightened with bodycolour and scratching out Old and New Watercolour Societies from 1830 until 1882. 1 1 21.3 by 31.1 cm., 8 /4 by 12 /4 in. This is likely to be the picture entitled `View of Cowes, Isle of Wight’ exhibited at the Duncan trained as an aquatint engraver under the Havells and was introduced to Exhibition of the Associated Painters in Water-Colours at their Gallery, 16 Old Bond Street marine painting which became his speciality by William Huggins whose pictures he in 1833, no.202. engraved and whose daughter he married. His marine scenes usually depict south

27 23 John Nixon (1755-1818) St. Paul’s Cathedral and Islington from Regent’s Park, London

Inscribed lower right: View in the Regents Park Looking towards/Islington & the City - In 1816, the date of this watercolour, work also began on the section of the Regent’s Oct.r 1816 canal which ran through the north east corner of the park. Nash was a shareholder Pen and grey ink and watercolour over pencil of the canal company, which had seen a need to link the Grand Union Canal with 3 1 22.7 by 42.2 cm., 8 /4 by 16 /4 in. London’s docks at Limehouse Basin. This watercolour appears to show part of the North Eastern section of Regent’s park in the early days of development and may Following a survey undertaken in 1794 of the area that became the Regent’s Park, it show part of the digging of the canal. The small block like structures dotted through was decided that areas of the park should be developed. In 1806, John Nash (1752 the drawing are possibly brick kilns and the remains of its agricultural past are also – 1835) accepted the post of Architect to the Department of Woods and Forestry, visible. Most of the park was farmland until well in the nineteenth century. In 1826, together with his draughtsman, James Morgan. From the outset it was intended as an Sir Stamford Raffles founded the Zoological Society’s menagerie in the area. The exclusive development for the ‘wealthy and the good’, but in the end only 8 were view looks across to the spires of the churches of Islington and around and to St Paul’s constructed and plans for the summer palace abandoned. By 1830, most of the outer Cathedral, which would have been visible from the park, although Nixon has over- terraces surrounding the park from east to west were completed with the north side emphasised the cathedral’s dominance. being left open to protect views through to Highgate and Hampstead.

28 24 James Holland (1800-1870) View at Hospital looking across the Grand Square towards Queen Mary Court

Watercolour over pencil heightened with bodycolour and gum arabic James Holland moved to London, from his native Staffordshire in 1819. He became 1 3 21.8 by 30 cm., 8 /2 by 11 /4 in. captivated by the beauty and grandeur of the architecture of Greenwich and moved there in 1830. He remained there until 1845 and frequently studied not only the Provenance: architecture of the Naval Hospital in numerous sketches and finished paintings, but With the Cotswold Gallery, London 1926; also the surrounding landscapes of Greenwich and Blackheath. Paul J. Sachs (1878-1965); Lucy Weiss, a gift from her mother, December 1984

Exhibited: On loan to Fogg Art Museum, Harvard, from 1929 to c.1965

29 25 (1782-1842) The South Gate, Yarmouth

Inscribed in another hand on part of the old mount: North Side of South Gate - The present watercolour is based on a drawing in the Castle Museum, signed Yarmouth, taken down in 1812. John Sell Cotman and numbered `2363’. The South Gate was destroyed in 1812, so this view must date Watercolour over pencil from that year or earlier. Cotman moved to Yarmouth in April of the same year, at the 1 18.5 by 22.7 cm., 7 /4 by 9 in. instigation of his friend and patron . He and his family moved to Bank House, Southtown, a mile from the centre of Yarmouth and they remained there until Provenance: 1823 when they returned to Norwich. With Spink & Son, London, before 1977; Mr and Mrs Giles Pilcher until 1987; Cotman spent most of his life in , away from the artistic centre of London, and With Agnew’s, London, 1992; perhaps partly because of this, became one of the most original artists of the period. Private Collection until 2004; He was fascinated by the monumentality of landscapes and buildings, their structure With W/S Fine Art (Andrew Wyld), London, where bought in 2007; and the pictorial patterns formed by the interplay of light, shade and colour. In order to Private Collection until 2018 capture these, he developed a unique and highly personal style. Cotman’s early training was at Dr Monro’s ‘Academy’ where he was influenced by the work of Thomas Girtin, Literature: especially the latter’s use of strong tonal contrasts and restricted palette. Agnew’s, 119th Annual Exhibition of English Watercolours and Drawings, 1992, no.35; W/S Fine Art (Andrew Wyld), Landscape on Paper, 2007, no.23, ill. In the present watercolour Cotman has concentrated his view on the gate, merely sketching in the surrounding buildings with slight washes. The interplay of bold light and Exhibited: shadow helps to create a sense of atmosphere and mood, which is characteristic of the Probably Norwich, of Artists, 1812, no.63 as South Gate, Yarmouth’; artist’s finest works. London, Agnew’s, 119th Annual Exhibition of English Watercolours and Drawings, 1992, no.35; This image was widely disseminated through the engraving which Cotman produced London, W/S Fine Art (Andrew Wyld), Landscape on Paper, 2007, no.23 for his 1817 publication, Specimens of Norman and Gothic Architecture in the county of Norfolk. Although in the engraving, Cotman played down the interaction of light and Engraved: shade in order to emphasis the architecture. As an etching by Cotman for Specimens of Norman and Gothic Architecture in the County of Norfolk, 1817

30 31 26 John Sell Cotman (1782-1842) A Cottage by a River

Watercolour over pencil 3 1 29.9 by 24.2 cm., 11 /4 by 9 /2 in.

Provenance: Dr Francis Rex Parrington (1905-1981), ; Anonymous sale, Christie’s, 1st March 1977, lot 146; Private Collection until 2018

32 27 (1777-1839) Wherries on a River

Watercolour over pencil on laid paper Watercolour Artists up to 1920, 2002, vol. II, p.212). Born in Norwich, he was 3 3 19.7 by 27.8 cm., 7 /4 by 10 /4 in. apprenticed to a London framer, returning to Norwich in circa 1800 and setting up in business as a framer as well as an artist and drawing tutor. He was a founder of the Provenance: Norwich Society in 1803 and exhibited from 1805. A sketch by Thirtle in the Castle Harry Littlewood, M.R.C.S., C.M.G. (1861-1921), Erpingham, Norfolk; Museum, Norwich has similar boats and figures (see Marjorie Allthorpe-Guyton,John By descent until 2018 Thirtle - Drawings in Museum, 1977, p.62, no.95, ill. plate 46).

Apart from his brother-in-law John Sell Cotman, `Thirtle was by far the best This watercolour belonged to Harry Littlewood, a distinguished surgeon, who left a watercolourist among the Norwich artists’ (Huon Mallalieu, The Dictionary of British number of works by John Sell Cotman to the Norwich Castle Museum.

33 28 (1783-1852) View on the Exe, Devon

Watercolour over pencil heightened with bodycolour and stopping out This important large work by Prout, in his early style, dates from circa 1820. The 43.2 by 56.3 cm., 17 by 22 in. traditional title `View on the Exe, Devon’ may not be correct. It formerly belonged to Walter Fawkes, the important collector and patron of J.M.W. Turner and may have Provenance: been one of Prouts included in the exhibition of Fawkes’s collection held in 1819 at 45 Walter Fawkes of Farnley Hall, Yorkshire (1769-1825); Grosvenor Place, London. With the Manning Gallery, London, 1969

Exhibited: London, Manning Gallery, November 1969, no.30

34 29 Samuel Prout (1783-1852) The Church of the Virgin Mary and St. Charlemagne, Prague

Inscribed lower right: Prague/St Charles Samuel Prout developed a reputation for depicting detailed topographical studies, Pencil and stump heightened with white particularly of continental architectural views and he travelled widely throughout 1 1 26.2 by 39.5 cm., 10 /4 by 15 /2 in. Europe in order to find suitable subject matter. He visited Prague in 1829, the year he was appointed Painter in Ordinary in Watercolours to George IV. Provenance: The Artist’s studio sale, Sotheby’s, 21st May 1852, lot 36; This trip proved hugely successful and as a result, he produced a series of lithographs Anonymous sale, Sotheby’s, 24th September 1987, lot 205, one of two; entitled, Facsimile of Sketches made in Flanders and , published in 1833, which With Spink, London; included five views of Prague. Treatises and books on travel, became hugely popular Anonymous sale, Bonham’s, 6th June 2006, lot 44; in the 19th century, and Prout’s publication was in the vanguard of these. It proved Private Collection, Ontario, Canada influential on many of Prout’s contemporaries, including Thomas Shotter Boys, and (see no.65), who was directly inspired to undertake his first The present drawing depicts the Church of the Virgin Mary and Saint Charlemagne, visit to Europe. built on Mount Charles, the highest point in the new town of Prague. In September 1350, Charles IV personally laid the foundation stone for the church which took 27 years to build.

35 WILLIAM PAGE (1794-1872) Nos. 30-33

Page undertook an extended tour to Greece and Turkey, with Lady Ruthven (1789 – 1885) and her brother William Campbell (1793 – 1821). They were cousins of Lady Elgin and thus would have heard at first hand the Elgin’s accounts of their time in the region. The group were in Athens by 1818, where they remained for several months, before Page continued onto Turkey with Campbell, arriving in Constantinople in May 1821. In the spring of 1821, the Greek war of Independence broke out, which cut Page’s trip short. He was back in England by 1824 and exhibited several Near Eastern subjects between 1824 and 1829 and again between 1838 and 1843.

Page’s drawings and watercolours from this trip included detailed architectural studies, landscapes and carefully detailed costume studies. J. H. Money suggests that Page’s costume studies can be divided into two categories, some are copied from other sources, possibly before he travelled to the Near East, whilst others were based on on-the-spot observations. The vivacity of the present group of watercolours, along with the date of 1822, indicate that these drawings were all based on personal observation, rather than from other illustrations.

30 William Page (1794-1872) Study of a Galleaongee or Tchaiouse under the Kapudan Pasha

Signed lower left: W. Page/1822. and inscribed verso: no.9/Galiongée or Tchiaouse/under the Capudan Pasha Watercolour over traces of pencil 1 1 36.6 by 26.6 cm., 14 /4 by 10 /2 in.

The Kapudan Pasha was the Grand Admiral of the Ottoman navy, a post at this time held by Deli Abdullah Pasha who would go on to become Vizier. A ‘galiongee’ is used elsewhere, indeed by Page himself, to refer to a sailor or naval officer. In this case, being described as ‘under the Kapudan Pasha’, the figure portrayed must have been one of the more eminent naval officers of the age. He is depicted armed with a pair of pistols and a silver- mounted yataghan, a distinctive Ottoman form with a hilt deriving its form from a bone. A sketch by Page of what appears to be the same officer, though from a different angle, is in the collection of the Victoria and Albert Museum (SD723).

The term Tchiaouse was a phrase in use with some French writers to describe a court official. Aubry de la Motraye, in his account of his travels in Europe, Asia and Africa published in 1723 referred to ‘...deux Divan- Tchiaouses, ou Maitres des ceremonies...’ (p.270). (see Aubry de La Mottraye, Travels through Europe, Asia, and into Part of Africa, 1723, p.270).

36 31 William Page (1794-1872) Study of a Turkish Janissary

Signed lower left: W. Page/1822. and inscribed verso: Turkish Janifsary Watercolour over traces of pencil 1 1 36.7 by 26.3 cm., 14 /4 by 10 /4 in.

The Janissary became a figure emblematic for the European artist of the former glories of the Ottoman army. This troupe of elite infantry, founded possibly as early as the late 14th century had been at the core of the great military expansion of the Ottoman Empire in the fifteenth and sixteenth centuries. Originally recruited only from enslaved Christian boys forced to convert to Islam, by the seventeenth century the need for ever greater numbers meant that this form of selection was no longer sustainable. The Janissary corp was not only feared by foreign armies but also came to be the scourge of later Sultans keen on modernising the Ottoman army. The corp strenuously resisted attempts to change its practices and tactics and to deprive it of its position of privilege and high status but its decline came dramatically just four years after Page painted this portrait when, on the instructions of Sultan Mahmud II, more than 6000 were massacred in an event known as the ‘Auspicious Incident’.

37 32 William Page (1794-1872) Portrait of Saith Satoor Sadik Beg

Signed lower left: W. Page/1822. and inscribed verso: Persian. Saith Satoor Watercolour over traces of pencil 3 40.6 by 27.3 cm., 16 by 10 /4 in.

It seems likely that Saith Satoor Sadik Beg acted as translator for the Campbell/Ruthven party with which Page was travelling (see introduction on p. 36). Sadik Beg had previously acted as translator for the artist Sir Richard Ker Porter (1777-1842) on his travels in Persia, Iraq and Turkey between 1818 and 1819. Sadiq Beg was born of an Armenian father, a trader from Bushehr province, and educated in Bombay. He became a protegé of Abbas Mirza, favourite son and intended heir of the first Qajar ruler, Fathali Shah. During his time in Persia, Porter had had the opportunity to draw a portrait of this great ruler and also met and engaged the services of Sadik Beg.

Clearly an able linguist and entrepreneurial in spirit, Sadiq Khan continued to travel between London, Turkey and Persia after his time with Lady Ruthven and her party in pursuit of commercial interests. However, devastated both emotionally and then financially by the untimely death of Abbas Mirza, Sadiq Beg died in penury in 1842. A lithograph portrait by him after Richard James Lane was published in 1824.

He is depicted by Page in the typical dress of a courtly Persian figure of this period sporting on his head an Astrakhan, or karakul, with a sheathed dagger of characteristic Persian form, known as a kard, slipped into the opening of his tunic.

An unsigned version of this watercolour is in the Victoria and Albert Museum.

38 33 William Page (1794-1872) Study of a Turkish Lady

Full-length standing Signed lower left: W. Page/1822. and inscribed verso: Turkish Lady Watercolour over traces of pencil 1 1 36.3 by 26.7 cm., 14 /4 by 10 /2 in.

An unsigned version of this watercolour is in the Victoria and Albert Museum.

39 34 David Cox (1783-1859) On the Thames at Greenwich

Watercolour over pencil heightened with bodycolour 1 1 14 by 23.4 cm., 5 /2 by 9 /4 in.

This and no.35 date from the late 1820s when Cox drew a number of views on the upper reaches of the Thames.

40 35 David Cox (1783-1859) Rainbow with Hulk

Watercolour over pencil 15.5 by 22.8 cm., 6 by 9 in.

Exhibited: London, Royal Society of British Artists, 1923

This and no.34 date from the late 1820s when Cox drew a number of views on the upper reaches of the Thames.

41 36 David Cox (1783-1859) Travellers on the way to Market

Signed lower right: D. Cox/1832 Watercolour over pencil heightened with bodycolour and stopping out 3 17.3 by 25.6 cm., 6 /4 by 10 in.

Provenance: With William Rodman & Co, Belfast, 1930s; The MacGeough-Bond family of Drumsill and The Argory, Co. Armagh; With Thos. Agnew & Sons, London, 1950s

This probably belonged to Walter (Tommy) MacGeough-Bond (1908-1986) who had a large art collection.

42 37 David Cox (1783-1859) The Institut de looking down Rue Mazarine,

Watercolour over traces of pencil on laid paper 3 3 19.5 by 14.8 cm., 7 /4 by 5 /4 in.

Provenance: By descent from the artist to his granddaughter Hannah Cox (1840-1909)

The Institut de France is on the Left Bank near the Ȋle de La Cité. Cox drew two sketches of bridges by the Ȋle de La Cité – `Near the Pont d’Arcole’ in the (see Scott Wilcox, Sun, Wind, and Rain – The Art of David Cox, exhibition catalogue, 2008 no.45) and `Pont Neuf from the Quai de l’Ecole’ in the Yale Center for British Art (Wilcox, op. cit., no.46). The Victoria and Albert Museum has a view of the Pont des Arts from the Quai Conti with the Louvre behind which is taken from near the Institut de France (Wilcox, op.cit., no.52).

This drawing dates from Cox’s second trip to the Continent, and first to Paris, in the summer of 1829 in the company of his son and fellow artist David Cox Junior. In Paris they met their friend the Birmingham engraver who offered to be their guide. On their second day in the city, Cox badly sprained his ankle while descending stairs in the Palais Royal which incapacitated him throughout his six week stay. Undaunted, he hired a cab which he asked to stop when he found an interesting subject or view and sketched from inside the vehicle or occasionally from a chair. This may explain the rapid, unfinished nature of most of his Paris drawings which are some of his most impressive and sought after works. Stephen Duffy (op. cit., p.77) describes his French drawings from 1829 as `works of exceptional brilliance and vigour.’

The present watercolour is among the most rapid and impressionistic of all his Paris sketches. Stylistically it relates closely to a Paris street scene recorded in a private collection in 1973 (see N. Neal Solly, Memoir of the Life of David Cox, 1973 reprint, illustrated on cover and as frontispiece).

43 38 David Cox (1783-1859) A Farm near Cader Idris, North Wales

Watercolour over pencil heightened with bodycolour 1 1 26.6 by 36.2 cm., 10 /2 by 14 /4 in.

Provenance: Anonymous sale, Christie’s, 28th November 2000, lot 140

This drawing, like no.39, dates from the mid 1830s and may relate to Cox’s drawings for Roscoe’s `Wanderings and Excursions in North Wales’ published in 1836.

44 39 David Cox (1783-1859) Salmon Leap on the Teivy, South Wales

Indistinctly inscribed verso: Water Mill on the Teivy, three miles from Newcastle Emelyn This shows Cenarth Falls on the river Teifi with Cenarth Church on the hill behind. Watercolour over pencil heightened with bodycolour and stopping out After the success of the publication of Thomas Roscoe’s `Wanderings and Excursions 1 20.5 by 29.7 cm., 8 by 11 /2 in. in North Wales’ in 1836, which included twenty-nine engravings after Cox, Cox was asked to produce sixteen watercolours to be engraved for `Wanderings and Provenance: Excursions in South Wales’ which was published in 1837. Solly records that Cox spent Anonymous sale, Christie’s, 21st November 2001, lot 34 time in South Wales in the autumn of 1836 making drawings in preparation for the publication (see N.Neal Solly, Memoir of the Life of David Cox, 1973 reprint, p.58). Engraved: Cox made an agreement with the publishers Wrightson and Webb of New Street, By W. Radclyffe for or Thomas Roscoe’s `Wanderings and Excursions in South Wales’, Birmingham, who agreed to pay four guineas for half of the watercolours and five 1837, repr. opp. p.180 guineas for the remainder.

45 DAVID COX IN NORTH WALES 1844-1856 The present group of watercolours, two of which are dated 1853 and 1851, all date from the final decade of his life. They demonstrate the simplification of form David Cox had an abiding love for the Welsh landscape. He first visited Wales in and freedom of handling, that Cox continued to develop during his last years, in 1805, in the company of his friend Charles Barber and returned regularly throughout order to fully capture the atmospheric effects, or the interplay of light and shadow his career. From 1844 until his final visit in 1856, Cox visited North Wales annually, on landscape. The energy and dynamism inherent in his work conveys the sense staying at Bettws-y-Coed (which had captivated him, when he first stayed there of movement intrinsic to landscape, such as the wind through the grass, or through two years earlier) and making forays into the surrounding landscape. Many of his trees, clouds scurrying across the sky or rain moving across open spaces. landscapes, were not intended as pure topography, rather they were exercises in capturing emotion or exploring effects of light, or weather on a landscape.

WATERCOLOURS FROM A PRIVATE COLLECTION NOS. 40-43

40 David Cox (1783-1859) A Country Lane, North Wales

Signed lower left: David Cox/1851 Watercolour and black chalk over pencil heightened with bodycolour on oatmeal laid paper 3 3 27.8 by 37.7 cm., 10 /4 by 14 /4 in.

Provenance: With F.R. Meatyard, London; Claude Muncaster (1903-1974); Private Collection, UK

46 41 David Cox (1783-1859) Figures on a Lane by Conway Castle, North Wales

Watercolour and black chalk on laid oatmeal paper 3 1 27.3 by 37.3 cm., 10 /4 by 14 /2 in.

Provenance: With the Wren Gallery, London, 1973; Private Collection, UK

Exhibited: Wren Gallery, London, David Cox, March 1973

47 42 David Cox (1783-1859) A Horse and Cart on a Track, North Wales

Signed lower left: David Cox/1853 Watercolour over traces of pencil 3 1 27.7 by 37.3 cm., 10 /4 by 14 /2 in.

48 43 David Cox (1783-1859) On Plynlimon, Wales

Watercolour and black chalk on laid oatmeal paper Plynlimon is the higest point of the Cambrian Mountains in mid Wales. A similar view 3 1 25.3 by 36.3 cm., 9 /4 by 14 /4 in. by Cox was sold at Sotheby’s on 9th March 1989, lot 9.

Provenance: Private Collection, UK

49 44 Thomas Lindsay (1792-1861) Sky Study, Cusop Churchyard, Herefordshire

Inscribed upper centre: All these light Clouds are floating underneath a higher of cold from 1833, living in London and then Greenwich. In 1848 he moved to Cusop near gray,/mottled over a blue tint of sky/very like this paper, but very/little of which is/seen/23d Hay-on-Wye where he lived at Dulas Cottage. This on-the-spot sketch, inscribed with July 1858/Cusop Ch. yard and lower left: Cusop Churchyard and verso: By Thos Lindsay colour notes, is a view taken from his local church. Watercolour over pencil heightened with bodycolour on blue-green paper 1 19 by 30.4 cm., 7 /2 by 12 in. Examples of his work are in the , V. and A. and the National Library, Wales. Lindsay was born at Alnwick, Northumberland on 26th December 1792. He trained as a landscape painter in watercolour and exhibited at the New Watercolour Society

50 45 Thomas Lindsay (1793-1861) Kite-Flying near Margate, Kent

Signed lower left: T. Lindsay and signed and inscribed verso: Coast of Kent - nr Provenance: Margate/T. Lindsay 1858 Anonymous sale, Christie’s, 4th February 1974, lot 7; Watercolour over pencil heightened with bodycolour and scratching out By descent until 2018 1 1 21.5 by 32.1 cm., 8 /2 by 12 /2 in.

51 46 (1784-1849) View of Exeter from across the Exe

Watercolour over pencil heightened with white, scratching out and gum arabic This watercolour shows the city of Exeter from the south from the banks of the river 3 1 32.5 by 99.7 cm., 12 /4 by 39 /4 in. Exe. In the centre is Exeter Cathedral with the houses of Colleton Crescent, built in the 1820s, to the left. J.M.W. Turner painted the city from a similar viewpoint in the Provenance: mid 1820s (see Smiles and Pidgley, op. cit., no.80, p.106). Mrs Day, 1884; Prudential Corporation plc, 1995; This dates from de Wint’s last major sketching tour, to Exeter and the river Dart Anonymous sale, Christie’s, 17th November 2005, lot 60 in September 1848. In 1848 he was still in poor health following an earlier attack of bronchitis. His wife Harriet recalled in his Memoir: `He was ill the whole of the Literature: year 1848, and it was hoped the country would be beneficial. The mild humid air of Sam Smiles and Michael Pidgley, The Perfection of Devon – Artistic Visitors to Devon South Devon, however, did not suit him, although the few days he spent at Exeter he c.1750-1870, exhibition catalogue, 1995, no.16, ill. p.55 was better and able to sketch a great deal, as he very much admired the city and its venerable cathedral’ (quoted in Hammond Smith, Peter de Wint, 1982, p.125). Exhibited: London, Society of Painters in Water-colours, 1849, lot 276; This large studio work was completed in the winter of 1848 and was one of his last London, Vokins, Peter de Wint, Society of Painters in Water-Colour Centenary Exhibition, exhibited works, at the Old Watercolour Society in 1849 along with `View on the 1884, no.89; River Dart, Devonshire.’ He died in June 1849. The critic of the Athenaeum magazine Exeter, Royal Albert Memorial Museum and Djanogly Art Gallery, University of thought his exhibits of 1849 were `as remarkable for breadth and mastery of handling Nottingham, The Perfection of Devon – Artist Visitors to Devon c.1750-1870, 1995, as any we have hitherto seen by him.’ The use of white bodycolour is typical of his no.16 late work.

52 47 Peter de Wint (1784-1849) Harvesters by a Village, a Castle beyond

Watercolour over pencil heightened with bodycolour, scratching out and stopping out 1 30.5 by 47 cm., 12 by 18 /2 in.

Provenance: Ruskin Gallery, Stratford-on-Avon; Given to Dr Levi Fox, OBE (1914-2006) in July 1964; Private Collection, UK

53 48 William Turner of Oxford (1789-1862) Parkland near Whiteleaf Hill near Princes Risborough, Buckinghamshire

Watercolour over pencil Whiteleaf Hill lies about 20 miles from Oxford, between Princess Risborough and 1 3 21.6 by 32.8 cm., 8 /2 by 12 /4 in. Great Missenden. It has been an important local landmark for centuries, Neolithic and Bronze Age barrows are situated on the hill and a 100m high chalk hill figure, Whiteleaf Provenance: Cross, is carved into the side of the hill. The origins of the chalk figure are obscure, With Frank T. Sabin, London although it was not mentioned in any literature before 1742. The hill and chalk figure are visible across the Vale of Aylesbury and as far away as Headington Hill, Oxford. Turner based himself in his native Oxfordshire, apart from a brief spell in London when he was studying under John Varley. He built up a highly successful practice as a This watercolour was probably the result of a commission by one of Turner’s patrons, watercolourist and drawing master, in Oxford. to record the park with its herd of fallow deer and its dramatic view across to the distant Whiteleaf Hill, with its dramatic hill figure.

54 49 (1792-1882) An Angler by a River at Sunset

Signed lower left: J. Linnell Exhibited: Watercolour over pencil heightened with bodycolour and scratching out Manchester, Royal Jubilee Exhibition, 1887 1 1 10.9 by 18.8 cm., 4 /4 by 7 /4 in. Sir William Agnew, 1st Bt. (1825-1910) was the second generation of the famous art Provenance: dealing firm Thomas Agnew & Sons which was founded by his father in 1817. Starting Sir William Agnew, 1st Bt. (1825-1910), M.P. for South East Lancashire; as an apprentice in 1840 with his brother Thomas, they became partners of the firm By descent to Evelyn Joll (1925-2001), his Executor’s sale, Christie’s, 8th December which was then based on Exchange Street, Manchester. He became the guiding force 2011, lot 396; of the firm overseeing the opening of their London gallery in 1860 before retiring in Private Collection, London until 2018 1861.

55 50 Samuel Palmer (1805-1881) The Campagna and Aqueducts of Rome

Watercolour over pencil heightened with bodycolour and gum arabic Exhibited: 3 14.6 by 40.2 cm., 7 by 15 /4 in. London, Society of Painters in Water-colours, 1843, no.312

Provenance: This watercolour which dates from 1843 is based on sketches executed on Palmer’s With Graves Art Gallery, Birmingham; honeymoon trip to Italy from 1837 to 1839. On 30th September 1837, he married Anonymous sale, Christie’s, 14th November 1967, lot 132; Hannah Linnell, the eldest of the artist John Linnell’s nine children and on 4th October H.T. Worton, his sale, Sotheby’s, 10th July 1980, lot 178; they set off for Italy reaching Rome in mid November. They stayed in Rome until May Anonymous sale, Christie’s, 20th November 1984, lot 116 1838 and again from January to May 1839 before returning home. This is drawn in what Palmer called his favoured `little long’ format which he adopted on his return Literature: from Italy. Raymond Lister, Samuel Palmer: His Life and Art, 1987, p. 131; Raymond Lister, Catalogue Raisonné of the Works of Samuel Palmer, 1988, no. 381, p. 142, ill.

56 51 Andrew Nicholl (1804-1886) The Hermitage on the river Shimna at Tollymore, Northern Ireland

Signed lower right: A. Nicholl RHA by James Hamilton (2nd Earl of Clanbrassil) in the 1770s in memory of his friend the Watercolour heightened with bodycolour, stopping out, scratching out and gum arabic Marquis of Monthermer. It is built into the side of the gorge above the river and was 3 35.8 by 53 cm., 14 by 20 /4 in. used as a place for ladies to shelter while the men fished. The house was demolished in 1952 but the park and hermitage still exist in Tollymore Forest Park at Bryansford The Hermitage is a small stone shelter in the grounds of Tollymore House, designed near the town of Newcastle.

57 52 William Callow (1812-1908) The Belfry, Market Square, Bruges

Signed lower right: W. Callow/1854. 1483-7, with the addition of the octagonal upper stage. Dominating its surroundings, Watercolour over pencil heightened with touches of bodycolour the Belfry became symbolic of the freedom and wealth of the city. 3 1 27.3 by 37.4 cm., 10 /4 by 14 /2 in. This studio work is probably based on sketches drawn on Callow’s 1850 trip to Provenance: Belgium when he visited Lille, Courtrai, Tournai, Bruges, Ghent and Antwerp. Anonymous sale, Bonham’s, 6th February 2007, lot 112; He records `At all these towns I had little time for seeing the sights, as I found so Private Collection, UK many architectural subjects admirably suited for my pencil’ (see William Callow – an Autobiography, 1908, p.105). Another watercolour of the same view but depicting the The Belfry, the tallest in Belgium, was initially constructed, circa 1240, but was bustle of Market Day was executed in 1891. devastated by fire in 1280 and subsequently rebuilt. It was further added to between

58 53 Thomas Miles Richardson Senior (1784-1848) Sunset after the Storm

Signed lower right: TR 1837 to an engraver and in 1806 succeeded his father as master of St. Andrew’s Grammar Watercolour heightened with bodycolour and scratching out School. He give this up in 1813 however to concentrate on painting and exhibited in 1 21.4 by 30.7 cm., 8 /4 by 12 in. London and elsewhere from 1818. At least six of his sons became artists with varying degrees of success – see no.54. Richardson was born in Newcastle and spent all his life in the city. He was apprenticed

59 54 George Richardson (1808-1840) A Farm Building near a Stream at Sunset

Signed lower right: G. Richardson/1830 The eldest son of Thomas Miles Richardson Senior (see no.53), he died tragically Watercolour over pencil heightened with bodycolour, scratching out, stopping out and young of consumption so his work is rare and his name little known. He set himself up gum arabic as a drawing master in Newcastle aged only 18 and exhibited at the British Institution 1 3 31.3 by 45.1 cm., 12 /4 by 17 /4 in. from 1828 until 1833 and also at the New Watercolour Society.

60 55 Thomas Shotter Boys (1803-1874) Fort St Aubin, Jersey

Inscribed lower left: Fort at St Aubin and with Ingram collector’s mark verso Exhibited: Watercolour over pencil Winchester, Winchester College Exhibition, June 1963; 3 12.7 by 34.9 cm., 5 by 13 /4 in. Stroud, Stroud Festival Silver Jubilee Exhibition, 1971; London, Albany Gallery, November 1972; Provenance: Nottingham University Art Gallery and Thos. Agnew & Sons, London, Thomas Shotter With Agnew’s, London; Boys - Centenary Exhibition, 1974, no.51 Ingram Family by 1974; Michael Ingram, his Executor’s sale, Sotheby’s, 6th June 2007, lot 51; The current drawing is a fine example of Boys’s late spontaneous style. It dates from Private Collection, UK the early to mid 1850s when he exhibited a number of Jersey views. All four of his exhibits at the Amateur Artist’s Gallery in 1854 were Jersey subjects. Literature: Alastair Smart, Thomas Shotter Boys, exhibition catalogue, 1974, p.43-4, no.51

61 56 John Frederick Lewis, R.A. (1804-1876) Study of the Head of an Old Man

Signed lower centre: JFL Watercolour and coloured chalks over pencil heightened with touches of bodycolour 3 3 24.7 by 20.1 cm., 9 /4 by 7 /4 in.

Provenance: Anonymous sale, Sotheby’s, 15th July 1999, lot 99

This is probably a study of an Italian monk drawn when Lewis was in Italy from 1837 to 1839.

62 57 Edward Lear (1812-1888) `The Little Dog laughed to see such Sport’

Pen and brown ink on laid paper watermarked with Britannia the sort of drawing that Lear would produce to illustrate his own and other’s nursery 1 16.2 by 20.3 cm., 6 /4 by 8 in. rhymes and nonsense poems, characterised by a rapid pen line and simplified forms, often with exaggerated features. Lear was an accomplished poet who was passionate Provenance: about the play of words and sounds and took great pleasure in inventing nonsense With Gooden and Fox, London (pre-1973); poems and limericks. It was apparently whilst staying with the 14th Earl of Derby at Yehudi Menuhin (1916-1999) Knowsley between 1832 and 1837 that Lear began to make up nonsense rhymes and stories, accompanied by amusing cartoons and for the Earl’s grandchildren. Lear is working on an illustration to the nursery rhyme `Hey Diddle Diddle’ in the present drawing: This drawing belonged to Yehudi Menuhin. His wife, Diana, was a fan of Edward Lear `Hey, diddle, diddle, The cat and the fiddle, The cow jumped over the moon; The and the family chalet in Gstaad was named ‘Chankley Bore’ a reference to his poem, little dog laughed To see such sport…’ The Jumblies.

Lear illustrated this, as well as other well known traditional nursery rhymes, like ‘Sing a Song of Sixpence’ and ‘Goosy Goosy Gander’. The present drawing is typical of

63 58 Edward Lear (1812-1888) The Pass of Monte D’Oro, Corsica

Signed with monogram lower left and inscribed on reverse of mount:: Snow peaks Lear’s Journal records a visit to Corsica made in the summer of 1868. It was his last exact & sharp off cloud/Foliage all Beech on turf/small stream in foreground travel book and the only one illustrated with wood engravings. The Journal entry for Pen and brown ink and washes and pencil heightened with touches o white, with pen 19th May 1868 includes the following: `As you pass out of the woody amphitheatre and ink border which half circles Bocognano there are beautiful views looking back to the church 1 8.5 by 10.2 cm., 3 /4 by 4 in. and villages. After passing the last hamlet the ascent is steep, the road winding up always in face of the huge Monte d’Oro, divided from it by a deep hollow, narrower Provenance: and clothed less with chestnut and more with ``maquis’’ as you mount higher. The Frances, Countess Waldegrave and her husband Chichester Fortescue, friends of the scenery of this wild pass is of a vast impressive character, but not very drawable, at artist least without longer time for study; on the left, the heights of Monte d’Oro are bleak and savage.’ Engraved: For Lear’s Journal of a Landscape Painter in Corsica, 1870, p.161

64 59 Edward Lear (1812-1888) Study of a King Vulture

Signed lower left: E. Lear del., dated lower right: April. 1832. and inscribed lower The present work was drawn at Zoological Gardens in April 1832. They were centre: Sarcoramphus papa (Linn.)/Drawn from life at the/Surrey Zoological Gardens set up by Edward Cross in 1829 in the grounds of Walworth Manor, near Kennington. Watercolour over pencil heightened with bodycolour and gum arabic For a number of years, the Surrey Zoo proved more popular than its rival in Regent’s 3 Sheet 25.5 by 32.9 cm., 10 by 12 /4 in. Park, despite it being less easily accessible. Cross, an affable character, was more than happy to allow Lear to study his collection. Between 1830 and 1832 Lear published a series of highly coloured lithographs in Illustrations of the Family of Psittacidae or Parrots, recorded from life of the birds found The King Vulture is a native to Central and South America, found in lowland forests, in the Regent’s Park Zoo. These helped establish Lear’s reputation as a natural history as far afield as southern Mexico and northern Argentina. Although highly finished, this painter and during the 1830s, he became highly sought after, working on many of watercolour does not appear to have been engraved. the great ornithological publications of the period. At the same time, between 1832 and 1837, he was based for long periods, at Knowsley; employed by Lord Stanley to record the thousands of birds and animals at his menagerie.

65 60 Edward Lear (1812-1888) Study of a Paradise Shelduck

Signed lower left: Edward Lear del./Casarca variegata (Gen)/juv. and in another hand: Thomas Campbell Eyton (1809 – 1880) was one of the leading ornithologists of the Casarka castanea, Eyton period. He was friends with many of the leading naturalists of the period including, Watercolour over pencil heightened with bodycolour and gum arabic John Gould, Sir William Jardine and Charles Darwin, amongst others. He formed the 3 3 Sheet 22.3 by 27.5 cm., 8 /4 by 10 /4 in. largest collection of birds’ skins and skeletons in Europe and published a number of volumes on birds, including Catalogue of British Birds, 1836 and A Monograph of the Engraved: Anatidae or Duck Tribe,1838, both of which Lear worked on. For T.C. Eyton’s `A Monograph of the Anatidae or Duck Tribe’, London, 1838

This is one of six studies of Ducks by Lear engraved for Eyton’s book. 18 uncoloured plates were produced by George Scharf. A number of other watercolours for Eyton’s project are in the Ruskin Gallery, Sheffield and a further preliminary study is in the Houghton Library, Harvard.

66 61 Edward Lear (1812-1888) Tarxien, Malta

Inscribed lower left: Tarshien./5. PM/28 March 1866./Old cactus trees below/very dark/ 7.15am he got a cart to Qormi (which he spelt `Kurmi’) then walked south down a their trunx at 8, numbered 257 lower right and further inscribed with further colour valley to Siggiewi. When he got to the chapel at Zebbug at 12, Lear had to shelter notes from the rain under a bridge `when the wind was like a pair of bellows.’ After lunch, Pen and grey ink and watercolour over pencil he continued down the valley of Zebbug between showers described it as `extremely 1 21.2 by 38.3 cm., 8 /4 by 15 in. lonely and striking.’ He made some sketches (one drawn at 2.15pm was with Guy Peppiatt Fine Art in 2008, see summer catalogue, no. 37) but it was `very cloudy and Provenance: cold at times. After it cleared, we walked out of the Kurmi [Quormi] valley, & straight Henry Willett (1823-1905), a friend of the artist; to Paola – the pomegranate gardens are delightful… and then to Tarrchien [Tarxien], By descent to the present owner where I got a little sketch of the buildings …… with their basement of Cactus. - & we walked back to the Hotel slowly, arriving at 6.45.’ Lear arrived in Malta in December 1865. He knew that a friend and patron Sir Henry Storks, who had previously been High Commissioner of the Ionian Islands from Henry Willett, the original owner of this watercolour, was married to Frances 1859 until 1863, was now Commander-in-Chief in Malta. Storks had just departed Coombe, a family friend of Lear. The Coombe family lived at Peppering House, however but Lear stayed on Malta until April 1866. Burpham, Sussex and Lear frequently visited there as a young man in the 1830s. Willett, a Sussex businessman and collector, was an early benefactor of Lear’s diary shows that he spent 28th March 1866 walking in the south of Malta. At Museum. It has remained in the family collection until now.

67 62 Edward Lear (1812-1888) The Castle and Bridge at Melfi, Basilicata, Italy

Signed lower right: Edward Lear. del./21. Sept/1847 and inscribed lower left: Castello di There is a drawbridge, and sullen gates, and dismal court-yards, and massive towers, Melfi/in Basilicata. and seneschals with keys and fierce dogs – all the requisites of the feudal fortress Pen and grey ink and watercolour over pencil heightened with bodycolour of romance’ (see Edward Lear in Southern Italy, 1964, pp. 182-184). Melfi is in the 1 3 16.5 by 25 cm., 6 /2 by 9 /4 in. central southern area of Basilicata to the east of Naples.

Lear visited Melfi from 17th to 22nd September 1847 while he was living in Rome. A wash drawing of Melfi, also dated 21st September 1847, was with Guy Peppiatt Having visited Sicily in May and June 1847, he toured Southern Italy from July until Fine Art in 2013 (see One Hundred Drawings and Watercolours, 2013-14, no.51) and October. He described the castle as `sufficiently imposing at this silent hour of night. is now in a private collection.

68 63 Edward Lear (1812-1888) Abetone in the Apennines, Italy

Inscribed lower left: Abetone/19. August/1883/3.15 PM During the last decade of his life, Lear no longer returned to England for the summer Pen and brown ink and watercolour over pencil months, preferring to spend his time travelling in Southern Europe. The present 3 1 9.6 by 16.7 cm., 3 /4 by 6 /2 in. drawing was executed during the extended walking tour Lear undertook in Umbria and Tuscany, following the death of his faithful servant and friend Giorgio Kokali. Abetone lies between Emilia Romagna and Tuscany in the Apennines about 50 miles The artist spent at least two days at Abetone, recording the dramatic, mountainous north-west of Florence. It was founded in 1732, as a customs post on the road landscape and majestic pine trees that populate the area. between the Duchies of Modena and Tuscany and takes its name from an enormous fir tree that was cut down to create the road. During the early 20th century, it became popular as a ski resort.

69 64 Edward Lear (1812-1888) Toski on the Nile, Egypt

Inscribed lower left: Toske. 4 5. p.m. and numbered 401 lower right Other watercolours executed at Toski are in the collection of the National Gallery of Pen and brown ink and watercolour Scotland (annotated `2.30-2.45pm’ and numbered 398), with the Fine Art Society 1 3 6.2 by 17.5cm., 2 /4 by 6 /4 in. in 1970 (numbered 393) and with the Leger Galleries in 1987 (`2-2.30pm’ and numbered 397). No. 400, drawn at 4pm, is in the collection of Yale Center for British This dates from Lear’s third trip to Egypt in the winter of 1866-67. He left Cairo with Art. A further view taken at Toski, numbered 389, was sold at Christie’s on 21st his servant Giorgio and they met Lear’s Canadian cousin Archie Jones at Luxor. They November 2001, lot 60. reached the southern-most point of their journey on 4th February at Abu Seer and the present watercolour dates from 10th February 1867 on their return journey. Toske or Toski is on the Nile between Abu Simbel (which Lear visited on 8th February) and the rock temple Derr (11th February) and was the site of a battle in the Sudan War on 3rd August 1889.

70 65 John Ruskin (1819-1900) St Giles’s Cathedral, Edinburgh

Signed lower right: Edinburgh. J Ruskin 1837./signed/1879 This drawing dates from Ruskin’s visit to Edinburgh in August 1838 and is one of only Pencil heightened with touches of white on grey-blue paper on wove paper a few known drawings of the city. This may be the vignette which he drew with the watermarked: SMITH & AL…/1837, with cut corners intention of reproducing it in Praeterita, a plan which he later abandoned. It is drawn 1 1 18.9 by 24.6 cm., 7 /4 by 9 /2 in. in his early style influenced by Samuel Prout (see no. 29).

Provenance: We are grateful to Dr James Dearden for his comments on this drawing. Anonymous sale, Christie’s Edinburgh, 30th October 2003, lot 15; Private Collection

71 66 John Ruskin (1819-1900) Castle Rock, Edinburgh

Inscribed lower left: By John Ruskin MA Wm Ward 1850s, in 1853 and 1857. In 1853, he was there to deliver one of his `Lectures on Pen and grey ink and watercolour over pencil heightened with white on buff paper Architecture and Painting’ but there are no known Edinburgh views dating from that 30.6 by 43.3 cm., 12 by 17 in. year, only some drawings executed when he was staying at Glenfinlas. It is therefore more likely to date from 1857. The inscription in the lower left was written by William Provenance: Ward (1829-1908), an artist who was paid by Ruskin to copy the work of J.M.W. William Ward (1829-1908); Turner. Sir Hugh Casson (1910-1999); Anonymous sale, Christie’s, 16th December 2009, lot 65; We are grateful to Dr James Dearden and Stephen Wildman for their comments on Private Collection this drawing.

This on-the-spot sketch dates from one of Ruskin’s two visits to Edinburgh in the

72 67 John Ruskin (1819-1900) Limestone Cleavages at Talloires, France

Indistinctly signed lower right: Limestone Cleavages, Talloires/JR 1862 Ruskin spent several months in Switzerland and the Haute-Savoie, France in 1862-3. Watercolour over pencil heightened with bodycolour on buff paper Talloires is on the east bank of the Lake of Annecy, about twenty-five miles south of 3 1 12.3 by 18.7 cm., 4 /4 by 7 /4 in. Geneva. He was working on a book on Swiss towns and studying the geology of the area. In his Deucalion, published between 1875 and 1883, Ruskin writes: `I quickly Provenance: saw that the elements of the question were all gathered in the formation of the North Carolina Museum of Art, Raleigh, their sale, Sotheby’s 31st March 1999, lot mountains round the Lake of Annecy: and at Talloires, in the spring of 1862, made a 173; series of studies of them, which only showed me how much more study I wanted.’ Private Collection

Literature: `Acquisitions’, North Carolina Museum of Art Bulletin Biennal Report, Issue IV, no. 2-3, 1st July 1961-30th June 1963, p.64, fig.23; Catalogue of Paintings, Volume II, British Paintings to 1900, North Carolina Museum of Art, 1969, no.109

73 68 John Ruskin (1819-1900) Study of Oak Leaves

Signed lower right: J. Ruskin/Brantwood 10 Sept 1879 shapes and crackling textures of the leaves a sculptural character analogous to the Watercolour over traces of pencil decoration of a carved capital or a piece of wrought iron’. (see John Ruskin, Artist 3 3 22.2 by 27.9 cm., 8 /4 by 10 /4 in. and Observer, London 2014 p. 346). By placing the twig and its leaves centrally on the sheet, and viewing the subject up close, Ruskin has imbued the subject with a Provenance: monumentality. This study was executed at Brantwood, the artist’s Lake District With the Leicester Galleries, London, where bought July 2002; home, which he had bought in 1871 and which provided him with a tranquil escape Private Collection from the pressures of his working life. Like at least one of the studies in the Guild of St George, the current drawing is on a dark pink paper which has bleached. The present drawing is part of a small group of rapidly executed studies of oak leaves, executed in September 1879. Two other drawings are in the Guild of St George, Throughout his career, Ruskin made careful studies of leaves, branches, foliage, Museums Sheffield. One bears an inscription which states that it was drawn to show feathers and other small natural elements. His interest always appears to be in his friend and neighbour, Susan Beever ‘the manner of his work’. As Christopher capturing the inherent beauty in the shapes and forms of his chosen subject, rather Newell has noted, in this group of lively studies, Ruskin has found ‘in the contorted than in botanical accuracy.

74 69 John Ruskin (1819-1900) Study of the tower of a Church, Switzerland

Signed lower right: JR Pencil heightened with white on grey paper 1 26.1 by 20.5 cm., 10 /4 by 8 in.

Provenance: Anonymous sale, 14th September 2010, lot 111; Private Collection

This drawing is likely to date from one Ruskin’s Swiss tours of the 1840s.

75 70 Walter Langley (1852-1922) The Steps of a House at Mousehole,

Signed lower left: WLangley 1880 and inscribed verso: Mousehole/ Cornwall Watercolour heightened with stopping out 3 1 42.5 by 26 cm., 16 /4 by 10 /4 in.

Langley is often regarded as the pioneer of the Newlyn School, as he was the first of the group to settle in the village, setting up his studio in 1882, following his visit to the village two years earlier. He remained in West Cornwall until his death in Penzance in 1922. Langley began his training at the Birmingham School of Design and in the studio of the lithographer, August Heinrich Biermann, before studying at the South Kensington Schools in London. He initially established himself as a lithographer, working with his former master, however, in 1879, he abandoned this early career preferring to concentrate on painting.

The small picturesque village of Mousehole lies about 2 miles to the south of Newlyn.

76 INDEX

Beaumont, Sir G.H. 8 Nicholl, A. 51 Boys, T.S 55 Nixon, J. 23

Callow, W. 52 Page, W. 30-33 Cleveley, J. 12 Palmer, S. 50 Cotman, J.S. 25-26 Prout, S. 28-29 Cox, D. 34-43 Richardson, G. 54 Danby, F. 15 Richardson Senior, T.M. 53 Day, W. 13 Rowlandson, T. 3-6 Devis, A. 11 Ruskin, J. 65-69 De Wint, P. 46-47 Duncan, E. 22 Scott, S. 7

Hamilton, H.D. 2 Thirtle, J. 27 Hogarth, W. 1 Towne, F. 9-10 Holland, J. 24 Turner of Oxford, W. 48

Langley, W. 70 Varley, J. 16-21 Lear, E. 57-64 Lewis, J.F. 56 White Abbott, J. 14 Lindsay, T. 44-45 Linnell, J. 49

77 78 Guy Peppiatt Fine Art Ltd

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