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BRITISH DRAWINGS AND WATERCOLOURS 2013

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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. Topographical views whether they be of Britain or worldwide have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in his gallery on Mason’s Yard, St James’s, shared 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.

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BRITISH DRAWINGS AND WATERCOLOURS 2013

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 27441 GP Summer 2013_SR v5_Layout 1 22/04/2013 11:40 Page 4

1 George Romney (1734-1802) John Howard visiting the Lazaretto

Numbered 86 in a later hand upper left, pencil on laid paper watermarked GR Similarly intense pencil drawings of the subject are in a sketchbook in the Huntington 15.7 by 19.1 cm., 6 by 7 ½ in. Library, San Marino which dates from October 1792. The album is numbered 3 which suggests that two other sketchbooks date from this month alone. Drawings John Howard (1726-1790) was a prison reformer who worked for the improvement of in the sketchbook have similar numberings apparently in the same hand as in the condition in British jails. He visited prisons all over the country and in 1778 he appeared present drawing. before a House of Commons committee to put forward his thoughts on how to improve them. Howard never sat for a portrait but Romney’s drawings of his prison visits are one of his principal projects of the 1780s and early 1790s. Romney focuses here on the cowering prisoners to the right of the image with their gaolers sketched in to the left.

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2 William Lock of Norbury the Younger (1767-1847) Lady Hamilton dancing the Tarantella

Watercolour over pencil 36.9 by 28 cm., 14 ½ by 11 in.

This shows the celebrated Lady Emma Hamilton (1765- 1815) dancing the tarantella. She was the mistress of Sir William Hamilton, the well-known collector and British envoy at Naples. She became famous for her ‘Attitudes’, which involved her dressing up and dancing and posing as figures from mythology to entertain Hamilton’s guests at his villa in Naples. In 1791 she married Hamilton but in the late 1790s she famously started an affair with Horatio Nelson while he was recuperating there after the Battle of the Nile. She and Nelson set up home together in London in 1800 and she gave birth to his child the following year. The affair lasted until Nelson’s death at the Battle of Trafalgar in 1805.

Lady Hamilton is the figure on the right and is shown dancing the tarantella, a South Italian folk dance. William Lock the Younger’s father, William Lock (1732-1810) was a well- known patron and collector of contemporary artists and knew Sir William Hamilton. He met Emma in the summer of 1791 at the family house, Norbury Park in Surrey, and wrote to a friend ‘All the Statues & Pictures I have seen were in grace so inferior to Her, as scarce to deserve a look’ (Elizabeth and Mary Anson, Mary Hamilton , 1925, p.31). Lock the Younger was a promising artist and was encouraged by Henry Fuseli to go to Rome to study which he duly did leaving in the autumn of 1789 and not returning until the end of 1792 at the earliest. It is not known if he visited the Hamiltons in Naples but he is likely to have seen them when they passed through Rome on their way to Naples in late 1791.

Another version of this drawing in pen and ink and pencil on exactly the same sized sheet is in the British Museum (1906,0719.4) and the subject was engraved and published by Mariano Bovi on 2nd May 1796.

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3 Joseph Farington, R.A. (1747-1821) and Robert Smirke (1752-1845) Miss Western and Mr Square – a Scene from Tom Jones

Inscribed verso: Mifs Western & Square/Tom Jones 1790s with Farington drawing the landscape and Smirke the figures. They made Pen and brown ink and grey wash illustrations for five scenes from Shakespeare’s Merry Wives of Windsor for Boydell’s 20.9 by 28.7 cm., 8 by 11 ¼ in. Shakespeare Gallery (see Joseph Farington – Watercolours and Drawings , exhibition catalogue, 1977, nos.81-82, ill. pp.114-5). They also worked on illustrations for Tom Farington took an interest in the career of Robert Smirke and helped him become a Jones, the 1749 novel by Henry Fielding. A drawing of Square’s courtship of Mrs Blifil member of the Royal Academy. They collaborated on a number of projects in the by Farington and Smirke was sold at Sotheby’s on 10th March 1988, lot 39.

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4 Alexander Cozens (1717-1786) A Small Pool with Willow Trees

Signed on original mount lower left: Alex.r Cozens. built up a highly successful practice as a drawing master and numbered members of the Brown washes on laid paper Royal Family among his pupils. His method of teaching using ‘blots’ became fashionable 20.8 by 29.1 cm., 8 by 11 ½ in. and he attracted the attention of William Beckford in the late 1770s.

Provenance: He worked more in the Claudian tradition of romanticised landscapes rather than in With Leger Galleries, December 1982; the British topographical tradition of Paul Sandby. The present drawing has been dated By descent until 2012 to the 1770s. The combination of trees, a pool or body of water and foreground foliage are common in Cozens’s work (see ‘A Mountain Pool’, Tate Gallery, for a similar Alexander Cozens was born in Russia, the son of a shipbuilder and was sent to England composition). Trees remained a fascination for him – in 1771 he published ‘The Shape, to study painting in 1727. He was in Rome in 1746 and on his return to England was Skeleton and Foliage of Thirty-two Species of Trees.’ made drawing-master at Christ’s Hospital in 1749 and at Eton College in 1766. He

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5 Thomas Rowlandson (1756-1827) Crossing the Ford, Okehampton, Devon

Signed lower right: Rowlandson. 1791 and inscribed lower left: Oakhampton Okehampton stands at the junction of the East and West Okement rivers in mid Pen and grey ink and watercolour over traces of pencil Devon just to the north of Dartmoor. A smaller view of Okehampton by Rowlandson 22 by 33 cm., 8 ¾ by 13 in. dated 1816 was sold at Christie’s on July 10 1984, lot 31.

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6 Thomas Rowlandson (1756-1827) A Recruiting Party outside the Sun Inn, Bodmin, Cornwall

Pen and grey and black ink and watercolour over pencil and inns of the old centre of Bodmin and drew them a number of times. At least five With a signed pen and grey ink and pencil drawing verso versions of ‘The Arrival of the Stage Coach at Bodmin’ are known and the Sun Inn, 31 by 47.5 cm., 12 ¼ by 18 ¾ in. Bodmin appears in various drawings by Rowlandson, one in Bury Art Gallery and another ‘Bodmin, Cornwall: The Arrival of the Stage Coach’ which is dated to 1795 Provenance: (see John Riely, Rowlandson Drawings from the Paul Mellon Collection , exhibition Anonymous sale, Sotheby’s, 14th July 1994, lot 117; catalogue, 1978, no.58, p.42). Private collection until 2012 During the Napoleonic Wars recruiting parties would have been a common sight on Rowlandson was a frequent visitor to Bodmin to see his friend the banker Matthew the streets of England and especially in the West Country with the major naval base Michell who lived at nearby Hengar House. These visits lasted from the mid1790s at Plymouth nearby. until Michell’s death in 1817. Rowlandson seems to have admired the quaint houses

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7 Thomas Rowlandson (1756-1827) The Hotel d’Hambourg, Paris

Inscribed by the artist lower right: Hotel D’Hambourgh a Paris Stylistically this dates from the mid1780s which suggests it may have been drawn on Pen and grey and brown ink and wash on laid paper with the artist’s original mount Rowlandson’s third visit to Paris in 1785. A hotel of this name was on Rue Jacob in the 18.8 by 29.5 cm., 7 ¼ by 11 ½ in. St Germain area of Paris at the time and Benjamin Franklin is known to have stayed there in the winter of 1776-77. A similar drawing, once in the Witt Collection, shows Provenance: a scene outside the ‘Hotel de Montmorenci, Paris.’ With W/S Fine Art, 2005; Private collection, UK until 2011

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8 Thomas Rowlandson (1756-1827) The Landing Place by the Salutation Inn, Greenwich

Pen and grey and brown ink and watercolour over traces of pencil This shows the Greenwich Stairs next to the Salutation Inn with the Royal Hospital for 34.4 by 54 cm., 13 ½ by 21 ¼ in. Seamen (now the Royal Naval College) beyond. Rowlandson’s friend Henry Angelo later recalled that Rowlandson ‘was frequently making his sketches at Greenwich, his Provenance: favourite resort, both for shipping and scenes relative to the assemblage of sailors ...’ With Frank T. Sabin, London, 1939; (see Angelo’s Pic Nic’; or, Table Talk , 1834, pp.144-5). Anonymous sale, Christie’s, 12th July 1940, lot 183; Sir William Walton (1902-1983) A slightly smaller version of this view is the Mellon Collection in the Yale Center for British Art (see John Riely, Rowlandson Drawings from the Paul Mellon Collection , Exhibited: exhibition catalogue, 1978, no.72, ill. Pl. XXVIII) and another was sold from the Amsterdam, Rijksmuseum, Intern. Tentoonstelling ban Oude Kunst , July-October 1936, Ingram Collection at Sotheby’s on 8th December 2005, lot 171 for £15,000. no.207; Paris, Musée des Arts Décoratifs, Exhibition of English Manners and Humour 1750-1850 , This drawing belonged to the composer Sir William Walton whose 1925 overture February 1938, no.73; ‘Portsmouth Point’ was inspired by a Rowlandson print of the same name. It depicts London, Frank T. Sabin, Drawings by Thomas Rowlandson , 1939, no.74 in musical form the life of British sailors in the eighteenth century.

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9 Francis Nicholson (1753-1844) Elegant Figures by the lake at Wiganthorpe Hall, Yorkshire

Signed lower centre: F. Nicholson 1793 century. The Metham family lived there during the reign of Elizabeth I and Francis Pen and black and ink and watercolour over pencil Metham undertook extensive rebuilding of the house in 1595. By the mid eighteenth 30 by 42 cm., 11 ¾ by 16 ½ in century, it was in the possession of the Garforth family and in 1780 they commissioned the York architect John Carr (1723-1807) to add a new hall to the Jacobean one. Most Wiganthorpe Hall stood just north of Terrington, seven miles west of Malton, North of the house was destroyed in the 1950s but some of the parkland and its features, Yorkshire, in the Howardian Hills. The house originally dated back to the twelfth including a lake, survive.

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10 John ‘Warwick’ Smith (1749-1831) ‘St Cosimato and the Remains of the Claudian Aqueduct situated on the River Anio, 10 miles above Tivoli in the Apennines’

Signed on reverse of original washline mount: John Smyth 1797 and inscribed with the title ‘Near a mile higher up the river stands the convent of St. Cosimato, the subject of the Watercolour over traces of pencil present view. The situation is highly picturesque. The remains of an ancient aqueduct, 39.2 by 57.3cm., 15 ½ by 22 ½ in. now converted into a bridge to pass the Teverone, renders the scene still more romantic, and adds greatly to the value and beauty of the landscape.’ John ‘Warwick’ Smith spent five years in Italy, from 1776 until 1781. The large size and elaborate inscription suggests that this was a commissioned work. A view of the Provenance: convent of St Cosimato by ‘Warwick’ Smith was engraved in 1795 for his’Select Views Private Collection, Gloucestershire until 2007 of Italy’, vol. I, pl.35. The present watercolour, drawn in 1797, may be a commission arising from the publication of the engraving. ‘Warwick’ Smith’s description of the engraving is as follows:

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11 John Laporte (1761-1839) Ullswater from the Penrith End

Signed lower centre and inscribed with title and numbered 7 verso Laporte trained as an artist in London under John Melchior Barralet and became an gouache accomplished topographical artist working in watercolour and commonly bodycolour as in 29.6 by 58.2 cm., 11 ½ by 23 in. the present work. He exhibited at the Royal Academy and elsewhere from 1785. He visited the Lake District in 1790 (see a dated sketchbook in the British Museum) and Provenance: exhibited Lake District views at the Royal Academy throughout the 1790s. These included With the Heather Newman Gallery; seven views of Ullswater exhibited between 1791 and 1805. For similar gouache views Private Collection, London of the Lake District, see Cecilia Powell and Stephen Hebron, Savage Grandeur and Noblest Thoughts – Discovering the Lake District 1750-1820 , 2010, nos.29-30.

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12 Paul Sandby Munn (1773-1845) The Bridge House, Ambleside, Cumberland

Signed lower right: P.S. Munn 1811 and inscribed on reverse of original mount: At Ambleside/West.d Watercolour over pencil 28.1 by 21.6 cm., 11 by 8 ½ in.

Provenance: With the Manning Gallery, London; Dr H.J. Hoyland, Painswick

Munn exhibited four views of Ambleside at the Society of Painters in Water-colours between 1810 and 1812.

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13 John White Abbott (1763-1851) View of Bartholomew’s Yard, Exeter

Inscribed verso: ..rtholomew’s Yard. Sep.t 12. 1807 from the city’s watermills on aqueducts known as leats which can still be seen in this Pen and grey ink and wash on two sheets of joined paper drawing. The cemetery ceased to be a burial ground after the cholera epidemic of 18.7 by 40 cm., 7 ¼ by 15 ¾ in. 1832, and became a park which still exists today.

Provenance: White Abbott was born, and spent all his working life, in and around Exeter. He The Ruskin Gallery, Stratford-on-Avon was a friend and pupil of Francis Towne and they worked in very similar styles of pen and ink combined with broad washes of simple colour. White Abbott was never a This is a view of Bartholomew’s Yard, one of Exeter’s old cemeteries, north of what professional artist and made his living as a surgeon. He was said not to have sold was Exe Island and the old Bonhay Road. The land had originally been given to a picture in his lifetime and his work remained with his descendants until well into St Nicholas Priory by William I. The monks had used the fields to dry the serge cloth the twentieth century.

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14 John White Abbott (1763-1851) View of the City Walls, York

Pen and grey ink and grey washes on laid paper of this drawing is one of four views by White Abbott in York City Art Gallery (see York 22.8 by 30.9 cm., 9 by 12 in. through the Eyes of the Artist , exhibition catalogue, 1990, p.33, no.20, illustrated).

This shows a view of the site of the Dominican Friary at Toft Green to the south of the The site of the Dominican Friary which was dissolved in the 1530s became a nursery in city of York. The drawing is presumably an on-the-spot drawing executed on his visit to the possession of the Telford family until 1816 when the land was sold to a Quaker family. the city in July 1791. It would appear to be unfinished however as White Abbott has omitted the Minster which stands on the horizon behind the tower. A finished version We are grateful to Richard Stephens for his help in cataloguing this watercolour.

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15 Samuel Atkins (fl.1787-1808) Shipping off the Coast

Signed lower right Atkins specialised in marine pictures but little is known about his life. He exhibited at Pen and grey ink and watercolour heightened with touches of bodycolour the Royal Academy between 1787 and 1808 and was at sea visiting the East Indies 26 by 36.1 cm., 10 ¼ by 14 in. and the coast of China from 1796 to 1804. Examples of his work are in the British Museum, Victoria and Albert Museum, Ashmolean Museum, Oxford and elsewhere.

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16 Francis Nicholson (1753-1844) Cayton Mill near Scarborough, Yorkshire

Signed and inscribed on the original mount: F. Nicholson 1793 and inscribed by the Exhibited: artist on the back of the original mount: F. Nicholson Knaresborough Yorkshire/or at No 58 Ryedale Folk Museum, Hutton-le-Hole, Francis Nicholson , March-May 2012 Cornhill London and further: Miss Erskine with Mr Carr’s Compts/Leeds 29 October 1793 Pen and black and ink and watercolour over pencil Cayton is a village on the coast four miles south of Scarborough. The mill at Cayton 23.5 by 32.8 cm., 9 ¼ by 13 in was still recorded in the 1850s but has long since disappeared.

Provenance: Nicholson was born in Pickering, Yorkshire and lived in various Yorkshire towns Mr Carr, a Merchant, Leeds; including Scarborough before moving to London in 1803. He painted mainly views of Given by him to Miss Erskine, 1793; Yorkshire and Scotland and, later in life, London. He built up such a successful career as With Agnew’s 2004; a drawing master in London that he stopped exhibiting from 1833. Nicholson was one Private Collection, UK, until 2011 of the founding members of the Old Watercolour Society in 1805.

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17 Cornelius Varley (1781-1873) Llanberis or Nant Peris Church, North Wales

Signed lower centre and inscribed: Llanberis Church 1802 from a sketchbook which was still intact at the time of Colnaghi’s 1973 exhibition of 15.3 by 35.3 cm., 6 by 13 ¾ in. Cornelius Varley’s work. Twenty-three of the thirty sheets were executed in pencil and eleven of the album sheets (but not the present one) are watermarked E & P 1796 . Provenance: By descent from the artist until Mrs Winifred Walker, 1972 It depicts what was then Llanberis Church but is now Nant Peris Church. In the early nineteenth century, the village of Llanberis was high up the valley and very small. As a Exhibited: settlement grew lower down the valley and became known as Llanberis, the original London, Colnaghi, Drawings and Watercolours by Cornelius Varley , 1973, no.120 village became known as Old Llanberis and then Nant Peris taking its name after the (as part of an album) valley in which it stood. The church, dedicated to St Peris, originates from the 12th century but was partly rebuilt in the 16th and 17th centuries and then restored in This early drawing dates from Varley’s first tour of North Wales in the company of his the 19th. brother John and the architect Thomas Webster in the summer of 1802. It originates

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18 Edward Dayes (1763-1804) Dartmouth Castle, Devon

Watercolour over pencil square, the whole of which is built upon a rocky promontory, very close to the 14.9 by 21 cm., 5 ¾ by 8 ¼ in. water’s edge.

Provenance: Dayes’s view of the castle from the Dartmouth side of the estuary highlights the J. Palser & Sons, London; dominant position of the Church of St Petrox directly behind the castle. With a history With Appleby Bros., London dating back to Norman times, the present chapel was built in 1647, looking much as it did today, but without the spire which was removed in 1856 when the lighthouse on Dartmouth Castle is a coastal fort guarding the mouth of the River Dart estuary in the other side of the promontory was erected. Devon. Begun in 1388, the castle comprises of a two towers, one round and one

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19 Thomas Theodosius Forrest (1728-1784) Windsor Castle from Home Park

Pen and grey ink and grey wash over pencil on wove paper watermarked: Forrest was the son of a solicitor and having studied under the landscape artist George HIS/I VILLDARY Lambert, he entered his father’s profession based in Covent Garden. He studied under 36.2 by 53.4 cm., 14 ¼ by 21 in. both Paul and Thomas Sandby which may have influenced the subject of the present work. He exhibited at the Royal Academy from 1762 until 1781. Provenance: With Spink, London

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20 Joseph Mallord William Turner, R.A. (1775-1851) Bergamo

Inscribed on reverse of original mount watermarked 1795: Bergamo Terrace, London. Monro commissioned young artists to copy works from his collection Watercolour over traces of pencil on Whatman paper and was one of the most important patrons of his day. His collection included many 17 by 22.7 cm., 6 ½ by 8 ¾ in. works by John Robert Cozens, who Monro treated during his mental illness in the 1790s, and he had access to his sketchbooks. Provenance: Probably Dr Thomas Monro, his sale, Christie’s, 2nd July 1833, lot 131, bt. Moon Bought by John Murray III at Christie’s in 1844, it has remained in the present collection Boys & Graves for 5 gns; ever since. It was probably the drawing entitled ‘Bergamo’ in Dr Monro’s sale at Anonymous sale, Christie’s, 23rd April 1844, Christie’s in 1833. The view is from the village of Gorle, an old medieval town on the lot 78, bt. Murray; outskirts of Bergamo. Turner has included the edge of what was once a fortified tower, John Murray III (1808-1892); commonly known as a borghetto. Situated on the west bank of the River Serio, the By descent to the present owner remains were destroyed in a fire. Gorle had many fine buildings, including the summer home of the Bishops of Bergamo, however the villa pictured in the background here is This is an example of Turner’s early work, dating from circa 1794-95 when he was no longer standing. The mountains still dominate the view, including the unusually working for Dr Thomas Monro (1759-1833) at his drawing academy at 8 Adelphi shaped pyramidal Monte Nese, in the low Alps bordering the town.

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Nos.20 to 24 come from the collection of John Murray III (1808-1892) 21 and are being sold by a descendant. Educated at Charterhouse, John Joseph Mallord William Turner, R.A. (1775-1851) Murray III joined the family publishing house, which had been founded by his grandfather, in 1828, based, as it still is, at 50 Albemarle St, Mayfair. In A Limekiln at Briton Ferry, South Wales – Moonlight 1836, he launched a series of travel guides of European countries and in 1843 took over the running of the family firm on the death of his father. Signed lower right He ran the firm until his death in 1892 publishing many notable authors Watercolour over traces of pencil including David Livingstone and Charles Darwin. 19.5 by 27.3 cm., 7 ½ by 10 ¾ in.

The two Turner watercolours were bought by Murray at Christie’s in Provenance: 1844 and the Roberts was given by the artist to Murray in 1855. Murray’s Anonymous sale, Christie’s, 23rd April 1844, lot 81, bt. Murray; relationship with the two artists is documented by letters in the John John Murray III (1808-1892); Murray Archive now in the National Library of Scotland. Murray also By descent to the present owner doubtless knew Samuel Prout who illustrated one of his publications on Venice in the early 1830s. This recently rediscovered watercolour by Turner was bought at auction in 1844 and has been in the John Murray Collection ever since. Turner visited the area on his tour of South Wales in the summer of 1795 and this studio work is likely to date from later the same year. It was drawn from what was once a small promontory on the western bank of the River Neath looking towards Briton Ferry with the moon rising above the slopes of the Briton Ferry Wood above the village, looking beyond towards the larger hill of Mynydd-y-Gaer in the distance. The area is now much changed with the M4 and A48 bridges now dominating the landscape. A pencil sketchbook of the limekiln is in Turner’s South Wales sketchbook in the Turner Bequest, Tate Gallery (TBXXVI, D00566) as well as other views of Briton Ferry and the area.

Turner appears to be painting a corona or aureole around the Moon which is quite often seen when the Moon is hidden, partially or fully, by cloud. The water droplets in the clouds cause diffraction effects and sometimes coloured rings of light.

We are grateful to Eric Shanes and also Mike Frost and Mark Edwards of the British Astronomical Association for their comments on the watercolour.

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22 David Roberts, R.A. (1790-1864) Dryburgh Abbey, Scotland

Signed lower left: David Roberts R.A. , inscribed lower right: Dryburgh Abbey/more Roberts gave this drawing to his friend John Murray in April 1855 but this on-the-spot properly Wet borough ... and further signed on original mount: To my friend John Murray. sketch dates from earlier. He may have visited Dryburgh, which is in the Scottish This Sketch made on the Spot/& presented April 22nd 1855/David Roberts Borders near Galashiels, on his Scottish tour in 1854 and he certainly visited nearby Watercolour over pencil heightened with touches of bodycolour on buff paper Melrose in September-October 1846. He also sketched Dryburgh on his tour in the 24.7 by 35 cm., 9 ¾ by 13 ¾ in. autumn of 1831.

Provenance: A view of Dryburgh Abbey, dated 1832, was sold at Christie’s on 18th March 1980, A gift from the artist to John Murray III (1808-1892); lot 103. By descent to the present owner

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23 Samuel Prout (1783-1852) The Church of San Giorgio dei Greci, Venice

Signed with monogram lower left: SProut Pen and brown ink and watercolour over pencil heightened with touches of bodycolour and gum arabic 41.6 by 27.1 cm., 16 ¼ by 10 ½ in.

Provenance: John Murray III (1808-1892); By descent to the present owner

Prout visited Venice on his first tour to Italy in 1824, probably in late November, and he exhibited Venetian subjects for the rest of his life. John Ruskin was a particular admirer of Prout’s Venetian views and wrote to him in 1849: ‘I had not the least idea of the beauty and accuracy of those sketches of Venice, - so touchingly accurate are they, that my wife, who looks back to Venice with great regret, actually and fairly bursts into tears over them, and I was obliged to take them away from her. I, who in many cases like the sketches better than the places, pursued my walk through Venice with intense pleasure: especially because you have been so scrupulous and fondly faithful ...’ (Letter of May 1849 – Works , vol. XXXVIII, 343).

John Murray III knew Prout as the latter produced illustrations for ‘Sketches from Venetian History’ which Murray published in 1831-32 so this and no.24 probably came direct from the artist.

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24 Samuel Prout (1783-1852) The Temple of Pallas in the Forum of Nerva, Rome

Signed with monogram centre left: SProut Pen and brown ink and watercolour over pencil heightened with touches of bodycolour 42.5 by 27.6 cm., 16 ¾ by 10 ¾ in.

Provenance: John Murray III (1808-1892); By descent to the present owner

Prout visited Rome twice during his tour of 1824, in October and again in December, and he exhibited works of this subject several times at the Society of Painters in Water-colours, firstly in 1826. Versions are in the Birmingham City Art Gallery and the Victoria and Albert Museum (see Richard Lockett, Samuel Prout , 1985, p.139, no.46, illustrated in colour). A lithograph of the subject was published in 1839 in Prout’s Sketches in France, Switzerland and Italy .

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25 Samuel Prout (1783-1852) Part of the Stockalper Castle, Brig, Switzerland

Pen and brown ink and watercolour over pencil heightened with touches of watercolour 42.5 by 27.6 cm., 16 ¾ by 10 ¾ in.

Provenance: Dr Dixon-Mann, Manchester; Bought at Harrods, Knightsbridge, circa 1960

Stockalper Castle, which was built between 1658 and 1678 by a silk merchant, Kaspar Stockalper still stands in Brig, in the Canton of Valais in southern Switzerland At the time it was the largest private residence in Switzerland and is now open to the public.

This may be the watercolour exhibited by Prout at the Society of Painters in Water-colours in 1830, no.152, as ‘At Brig.’ Another version of this watercolour is in the Courtauld Institute, London. A pencil drawing by Prout of the Courtyard of Stockalper Castle is in the collection of the Fogg Museum, Harvard.

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26 Samuel Prout (1783-1852) Study of seated Figures

Watercolour over pencil 5.5 by 5.6 cm., 2 by 2 in.

27 Samuel Prout (1783-1852) Study of figures at a Market

Watercolour over pencil 5.8 by 13 cm., 2 ¼ by 5in.

These on-the-spot drawings date from one of Prout’s continental tours to France, Belgium and Germany from 1819 onwards. He would have used these figure groups in his larger finished watercolours such as nos.23-25.

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28 Charles Bentley (1806-1854) Shipping off the Coast in rough Seas

Signed lower right: Chas Bentley. 1833 Bentley specialised in marine scenes with extensive use of scratching out and this fine Watercolour over pencil heightened with bodycolour, gum arabic, stopping out and early watercolour shows the influence of Bonington’s marine works of 1824-25. scratching out Bentley was apprenticed to the engraver Theodore Fielding (1781-1851) until 1827. 22.8 by 29.9 cm., 9 by 12 ½ in. Fielding produced plates for Bonington’s work which Bentley would have had access to.

Provenance: Private Collection, UK

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29 Richard Parkes Bonington (1802-1828) Study of a seated Woman

Pencil 13.1 by 10.3 cm., 5 by 4 in.

This may belong to a group of sketches of women dated to circa 1827 (see Patrick Noon, Richard Parkes Bonington – the Complete Drawings , 2011, nos.393-397). This is on the same sized sheet as ‘Study of a Seated Woman’ in the Wadsworth Atheneum Museum of Art, Hartford (Noon no.394).

However we are grateful to Patrick Noon who has pointed out that the small sketch in the upper right corner is also close to studies dated to circa 1825 (see Noon, op. cit. , nos.372-4).

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30 William Henry Hunt (1790-1864) A Lady asleep in a Chair

Watercolour over pencil heightened with touches of bodycolour on laid paper With a pencil study of an easel verso 13.7 by 11 cm., 5 ¼ x 4 ¼ in.

Provenance: The artist’s daughter, Emma, Mrs Thomas Robinson; Her son William Hunt Robinson; His eldest daughter Maud Marie Ennis, née Robinson (1886-1963); Her son Desmond Wilfred Ennis (d. 2000); By descent until 2010

Intimate portrait drawings of this type by Hunt often depict members of his own family or close friends. Another, more finished, watercolour of a sleeping woman is in the Cecil Higgins Art Gallery, Bedford (see John Witt, William Henry Hunt (1790-1864) – Life and Work, with a Catalogue , 1982, no.266, illustrated as plate 41).

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31 William Havell (1782-1857) The Islands at Bolney on the Thames from Park Place

Signed lower left: W HAVELL and signed and inscribed on original backing: The Islands estate with a house originally dating from the early eighteenth century. Havell exhibited at Boulney on the Thames/near Henley. WHavell three views of or from Park Place at the Watercolour Society in 1827 of which this is Watercolour and bodycolour heightened with scratching out almost certainly one. Another ‘View on the Thames from Park Place, Henley’, is 25.8 by 35.9 cm., 10 by 14 in. recorded as in the collection of the Earl Cawdor and was the cover illustration in the 1982 Havell exhibition catalogue. The third, ‘Woodcutters at Park Place, Henley’ was This is a view looking south from Park Place towards the small islands in the middle of sold at Christie’s on 5th July 2011, lot 166 for £30,000. Stylistically it is typical of his the Thames at Bolney. Park Place, across the river from Henley-on-Thames is a large work of the late 1820s with particular use of bodycolour and scratching out.

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Havell was born in Reading into a family of artists and he painted Thames views 32 throughout his life. In 1802 he made his first sketching tour to Wales and he was a David Cox (1783-1859) founder member of the Society of Painters in Water-colours in 1805. He visited China with Lord Amherst in 1816 and spent eight years in India returning to England in 1827. The Fishseller on the Banks of the Thames

Exhibited: Watercolour over pencil heightened with bodycolour Probably London, Society of Painters in Water-colours , 1827, no.135 as ‘Boulney on 21.7 by 31.8 cm., 8 ½ by 12 ½ in. the Thames, taken from Park Place, Henley, Oxon’, sold for 10 guineas. This early work dates to circa 1810-11. Another version of the same view, with some differences, was with Andrew Wyld in 2006 (see exhibition catalogue, June 2006, no.24).

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33 David Cox (1783-1859) Fishermen off the Coast

Signed lower left: D. Cox/1829 This dates from Cox’s second trip to France in 1829 in the company of his son David Watercolour over pencil heightened with touches of bodycolour Cox Junior. Cox uses the figure group in the present watercolour in another 1829 15.7 by 23.3 cm., 6 by 9 in. watercolour, ‘Fishing Boats off Dover’, sold at Sotheby’s on 9th November 1995, lot 101.

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34 David Cox (1783-1859) Snowdon from Capel Curig, North Wales

Signed lower centre: David Cox / 1835 Provenance: Watercolour over pencil heightened with touches of bodycolour and scratching out With Thos. Agnew & Sons, 1955 18.4 by 27.4 cm., 7 ¼ by 10 ¾ in. Capel Curig is six miles west of Bettws-y-Coed, an area which Cox visited extensively in the 1840s and 1850s.

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35 David Cox (1783-1859) Drovers in the Scottish Highlands

Signed on rock lower left: D. Cox / 1828 Provenance: Watercolour over pencil heightened with touches of bodycolour and scratching out on Private Collection until 2012 wove paper watermarked: ..DS 1825 18.4 by 25.9 cm., 7 ¼ by 10 in. This may have been exhibited at the Society of Painters in Water-colours in 1828, no.325 as ‘Scottish Drovers.’

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36 William Turner of Oxford (1789-1862) Drovers resting, after ascending from Cluany towards Tomandoun and Glen Garry, Inverness-shire, Mam Soul in the distance, Scotland

Signed lower left: W. Turner/Oxford and signed, inscribed no.3 and with title on This is a view looking north-west towards Cluanie Inn with Mam Sodhail, anglicised reverse of original mount as Mam Soul, and other mountains behind. Loch Cluanie is down on the valley floor. Watercolour over pencil heightened with bodycolour and gum arabic 44.5 by 68.3 cm., 17 ½ by 26 ¾ in. Turner of Oxford appears only to have toured the Highlands once, in the summer of 1838, and it provided Scottish subject matter for the rest of his life. His extensive tour Provenance: took him to many of the wilder parts of Scotland where few other artists had been. By With Wm. C. Price, Croydon, early twentieth century 5th July he was beyond Inverness at Loch Croisk and continued north to Loch Inver before turning south to Skye. His return took him along the shores of Loch Cluanie Exhibited: and he was at Glencoe by 4th August. London, Society of Painters in Water-colours , 1851, no.72

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37 Harry John Johnson (1826-1884) The Parthenon from Piraeus, Athens

Signed lower left and dated 1861 and inscribed lower right: PARTHENON FROM Johnson was a pupil of the Bristol artist William James Müller and accompanied him PHALERUM BAY. 1861 , further inscribed on part of old mount: The Acropolis & on his trip to Lycia in Turkey, with the archaeologist Sir Charles Fellows, in 1843. He Pentelius from Phalerum Bay – / seen acrofs the Marsh – with the Parthenon rising/ settled in London on his return and accompanied David Cox on various sketching tours behind the Hill of the Museum to North Wales. He also travelled extensively in Greece, Italy, France and North Africa. Watercolour heightened with touches of bodycolour and scratching out 27.4 by 51.5 cm., 10 ¾ by 20 ¼ in. This is view of the Parthenon from Faliro (Phalerum in ancient Greece) which is part of Piraeus. Faliro is by the sea five miles south-west of the city centre.

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38 John Gantz (1772-1853) View of St Andrew’s Bridge, Madras

Signed lower right: J. Gantz 1821 and inscribed with title, signed and dated on reverse Gantz was employed as a draughtsman and surveyor by the East India Company from of original mount 1800 until 1803. He is first recorded in Madras in 1807 and he remained there until Watercolour over pencil his death working as an architect and he also ran a lithographic press. His son Justinian 33.4 by 52.0 cm., 13 by 20 ½ in. Gantz (1802-1862) was also an artist and specialized in depicting European houses in India. Works by both father and son, including many Madras views, are in the India St Andrew’s Bridge was one of the first to be built in the city of Madras. Under the Office Library collection. administration of the East India Company, it was constructed by Lt. Col. Thomas Fiott de Havilland of the Madras Engineers in 1817. A comprehensive account of its Engraved: construction was written by de Havilland in a pamphlet published in 1826, which By Mr Maxwell for T.F. De Havilland’s ‘Descriptions and Delineations of some of the includes an engraving of this watercolour by Gantz, along with a breakdown of its Public and Other Edifices at and in the vicinity of Madras with other objects near that cost at £8,036.88. Although the bridge is no longer standing, the nearby St Andrew’s Presidency’, and published by Parbury, Allen and Co., Leadenhall Street, 1826. Church also mentioned in de Havilland’s memoir, is still standing and much admired for its architectural design.

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39 Peter de Wint (1784-1849) Trees at the edge of a Cornfield, hills beyond

With a watercolour of a river scene verso Watercolour 15.2 by 31.8 cm., 6 by 12 ½ in.

Provenance: Lord Clwyd; With the Manning Gallery, London, 1967, where bought by John Byng Kenrick for £315; By descent until sold at Christie’s, 5th June 2003, lot 100

Exhibited: London, W/S Fine Art, Peter de Wint 1784-1849 – Colourist and Countryman , 16 November to 9 December 2005, no.24

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40 Peter de Wint (1784-1849) View of Derwentwater, Cumbria

Watercolour over pencil 29.9 by 46.2 cm., 11 ¾ by 18 in.

This is a view looking south down Derwentwater from Castlerigg with Walla Crag to the left and Maiden Moor. De Wint was a frequent visitor to the Lake District in the 1830s and 1840s. He often stayed with the Howard family at Levens Hall and the Lonsdales at Lowther Castle.

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41 Henry Bright (1810-1873) Study of Rocks

Signed lower left: Henry Bright/Sep 1847 accompanied on this trip by John Middleton (see no.42). Another drawing dated Black chalk and stump September 1847, of a barn, is in Norwich Castle Museum (see Andrew Moore, 32.2 by 46.8 cm., 12 ½ by 18 ¼ in. The Norwich School of Artists , 1985, p.141, illustrated).

This drawing is dated September 1847 when Bright is recorded as being in Kent and Bright was born in Saxmundham, Suffolk, the son of a clockmaker and was apprenticed Sussex according to a report of a meeting of the Graphic Society in December 1847: to a chemist in Norwich before turning to drawing. He learnt under Alfred Stannard ‘Mr Bright’s studies made during the past summer in Kent and Sussex were impressive and took lessons from John Sell Cotman. In 1836 he moved to Paddington and built up for their sense of truth to Nature – more so than any oil pictures that we have seen a successful drawing practice in London until 1858 when he returned to Saxmundham. from his hands’ ( The Athenaeum , 11 December 1847). He was almost certainly He lived the last years of his life in Ipswich.

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42 John Middleton (1827-1856) A House by a Country track

Indistinctly signed with initials and dated 1847 lower left indistinctly dated 1847 and therefore may date from his trip to Kent in the late summer Watercolour over pencil heightened with bodycolour of that year. He drew a number of views in the Tonbridge and Tunbridge Wells, see 33 by 48.4 cm., 13 by 19 in. ‘A Shady Lane, Tonbridge Wells’ sold at Christie’s on 10th July 2012, lot 162, and ‘Bullingstone, Kent’, Andrew Moore, The Norwich School of Artists , 1985, p.142, Middleton was born in Norwich and was taught by the Norwich School artists J.B. illustrated. Even though Middleton died tragically young, he is still considered probably Ladbroke, Joseph Stannard and Henry Bright (see no.41). In 1847 he spent some time the greatest of the second generation of Norwich School artists. briefly in London and first exhibited at the Royal Academy in 1849. This watercolour is

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43 James Holland (1800-1870) The Ile de la Cité and the Pont Neuf, Paris

Signed lower right: JHolland 1834 Despite its name, the Pont Neuf is the oldest bridge in Paris, begun by Henri III in Watercolour over pencil heightened with touches of bodycolour 1578 and completed in the reign of Henri IV, who inaugurated it in 1607. The Pont 15.4 by 32.4 cm., 6 by 12 ¾ in. Neuf was a modern bridge for its time, the first without houses built on it. Holland clearly highlights its two spans and their corresponding arches on either side of the Provenance: side of the Île de la Cité. With Heather Newman, Gloucestershire; Private Collection until 2012 Much of this view is unchanged today, such as the Institut de France visible on the immediate right. However, although the Quai de Conti is present on the Left Bank, This early work by Holland dates from 1834 when he was most influenced stylistically the lower levels of the quai have yet to be built. The towers of Notre Dame can be by the work of Bonington. The two had met in London, probably in 1827 during clearly seen on the Île de la Cité, while visible on the Right Bank is the remaining Bonington’s visit to England, and two works by Holland from that year were in Gothic tower of the Church of Saint-Jacques-de-la-Boucherie which was demolished Bonington’s possession on his death in 1828. Holland was living in Greenwich at this during the French Revolution. By 1824 it was being used as a shot tower. In the further period and, after a brief visit to Paris in 1830, he returned there in the autumn of distance on the Right Bank is the outline of the Church Saint-Gervais-Saint-Protais, 1831. He met up with John Scarlett Davis (1804-1844) while he was there and they one of the oldest in Paris. sketched together.

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44 Thomas Shotter Boys (1803-1874) A Street Scene, Northern France

Signed lower centre: Thos Boys/1832 Watercolour over pencil heightened with bodycolour 21.2 by 16.5 cm., 8 ¼ by 6 ½ in.

Provenance: With the Fine Art Society, London, May 1953

This view of an unknown, probably French, street scene dates from Boys’s best period in the early 1830s. Boys began his apprenticeship, to the engraver George Cooke, in London in 1817 and in 1823 arrived in Paris to begin a career as an engraver and subsequently a watercolourist. There were few British artists in Paris at the time and Boys would quickly have become acquainted with Richard Parkes Bonington who was a strong influence on his work at this time. Boys returned to England in 1837 but his work from the 1830s and early 1840s is considered his best.

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45 Thomas Hartley Cromek (1809-1873) The Pulpit of the Church of Santa Maria Maggiore, Tuscania, Italy

Inscribed on reverse of the mount: No 27 Pulpit Sta Maria Toscanella/June 1846 Watercolour over traces of pencil heightened with touches of bodycolour and gum arabic 49.4 by 33.9cm., 19 ¼ by 13 ¼ in.

Provenance: Warrington Collection

Tuscania, or Toscanella, was a favourite place for Cromek who visited there in May 1844 and was particularly impressed by the two Romanesque churches, San Pietro and Santa Maria Maggiore. He recalled in his journal: ‘Toscanella is the anient Tuscania in Etruria ... It contains two remarkably interesting old churches of the 10th and 11th century very rich in ornaments; the porches are very beautiful.’ Tuscania is in the province of Viterbo just under sixty miles north of Rome.

Views of the Church of Santa Maria Maggiore are in the Whitworth Art Gallery, University of Manchester and the Warrington Collection. His Tuscania views are considered amongst his finest work.

46 Thomas Hartley Cromek (1809-1873) The Interior of the Basilica of San Clemente, Rome

Watercolour over traces of pencil heightened with bodycolour and gum arabic 37.5 by 51.4 cm., 14 ¾ by 20 ¼ in.

Provenance: Mrs Huskisson, Rome, 1845; Hubert George de Burgh-Canning, 2nd Marquess of Clanricarde (1832-1916); By whom bequeathed to his great-nephew, Henry Lascelles, 6th Earl of Harewood (1882-1947); By descent until 2012

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Exhibited: The Basilica of San Clemente dates from the twelfth century and was built over the Bath, Holburne Museum, Thomas Hartley Cromek: A Vision of Italy , March-May 1999; remains an original fourth century church. Its famous apse mosaics date from the mid Yorkshire, Harewood House, Thomas Hartley Cromek: A Vision of Italy , September- twelfth century and show Christ on the cross surrounded by the Tree of Life. The October 1999 church interior is little changed from Cromek’s day.

Literature: Cromek’s journal for 12th February 1845 recalls: ‘Interior of the Church of San Tancred Borenius, Catalogue of the Pictures and Drawings at Harewood House and Clemente for Mrs Huskisson. She got the original study, as I was tired of copying it’ elsewhere in the Collection of the Earl of Harewood , Oxford 1936, p.115, no.242; (see Thomas Hartley Cromek, Reminiscences at Home and Abroad 1812-185 5). Yorkshire, Harewood House and Bath, Holburne Museum, Thomas Hartley Cromek: A Classical Vision , 1999-2000, p.33

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47 Edward Lear (1812-1888) The Tor San Giovanni near Rome

Inscribed lower left: Tor San Giovanni and lower right: April 7 1843 2011 (see summer exhibition catalogue, 2011, no.49) and for other works from this Watercolour over pencil heightened with touches of white on grey paper period, see Scott Wilcox, Edward Lear and the Art of Travel , 2000, nos.29-31. 22.1 by 36.4 cm., 8 ½ by 14 ¼ in. Stylistically this shows Lear’s work at its most traditional, influenced by the artists he Provenance: came across in Rome. Until the early 1840s his landscape drawings were executed in With Thos. Agnew & Sons, London, 1968; pencil heightened with white showing the influence of James Duffield Harding and from Private collection until 2012 the late 1840s he developed his unique style for which he is best known.

Lear arrived in Rome at the end of 1837 and remained there until 1848. He tended This is view of the Tor san Giovanni, also known as the Torre Salaria, which is located to winter in Rome and spend the summers exploring the rest of Italy. He spent much north of the old city of Rome on the Via Salaria, where the Aniene joins the River time in the Roman Campagna, a flat desolate area outside the city which was littered Tiber. This medieval watch-tower was built on top of an ancient Roman tomb carved with Roman remains. In the 1840s he befriended a wealthy widow Jane Davy who out of tufa known as Sepolcro di Mario, after Marius, the leader of a faction in the First had the advantage of a carriage and together they explored the area. A view of the Roman Civil War. Once a landmark on the empty Roman landscape, the tower, which Aqueduct of Nero, dated 20th September 1844, was with Guy Peppiatt Fine Art in still stands, has today been enveloped by the spread of modern Rome.

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48 49 Edward Lear (1812-1888) Edward Lear (1812-1888) St Julian’s Bay, Malta Mount Serbal from Wadi Selaff, Sinai Peninsula, Egypt

Inscribed lower left: St. Julian’s Bay/Malta/13 March. 8 A.M. 1866 , variously inscribed Inscribed lower left: Gebel Serbal./from Wady Selaff./sunset. 20 minutes after 5./24. with colour notes and numbered lower right 138 Jany 1849. Mountain like transparent amber = glafs , inscribed with colour notes and Pen and brown ink and watercolour over pencil numbered 133 lower right 21.4 by 45.6 cm., 8 ¼ by 18 in. Pen and brown ink and pencil on cream paper 22.1 by 36.4 cm., 8 ½ by 14 ¼ in. Provenance: With the Redfern Gallery, Cork St, London, 1947, where bought by R.F. Keith Provenance: With Thos. Agnew & Sons, London, 1968; Lear arrived in Malta in December 1865. He knew that a friend and patron Sir Henry Private collection until 2012 Storks, who had previously been High Commissioner of the Ionian Islands from 1859 until 1863, was now Commander-in-Chief in Malta. Storks had just departed however but Lear stayed on Malta until April 1866. This unusually large watercolour by Lear, executed on the spot, dates from 13th March 1866 and is typically annotated with date, time and other notes.

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This dates from Lear’s first visit to Egypt in January 1849 which he reached after nine Gebel or Mount Serbal is in Wadi Feiran in Southern Sinai. It is the fifth highest months travelling round the eastern Mediterranean. He left Cairo in the company of a mountain in Egypt at 2,070 metres (6,791 feet). Lear passed Mount Serbal twice on friend John Cross on 13th January, reached Suez on the 17th and stayed three days at his way to and from Mount Sinai. The present drawing dates from 24th January and Suez. Soon however the weather turned bad and Lear abandoned the trip returning to another drawing, dated the same day drawn at 3pm and numbered 132, was sold at Malta from Alexandria. Christie’s on 6th December 2012, lot 273. Two drawings of the mountain dated 30th January were sold at Sotheby’s, one in 1974 and another in 1987.

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50 Edward Lear (1812-1888) On the Nile above Aboushegarb

Inscribed lower left: 2 or 4 miles above Aboushegarb. 2.30. PM. January 3. 1867 and numbered 48 lower right Pen and brown ink and watercolour over pencil 7.7 by 25.1 cm., 3 by 9 ¾ in.

Provenance: With the Ruskin Gallery, Stratford-upon-Avon

This dates from Lear’s third visit to Egypt from December 1866 to March 1867. The purpose of this trip was to visit the Upper Nile which he had never reached and to get to Nubia. This is a typical sketch drawn on the lower reaches of the Nile which tend to be long and thin. For others from this trip dated from 4th January (the present drawing is dated 3rd January) until 31st March, see Scott Wilcox, Edward Lear and the Art of Travel , 2000, nos.60-123, pp.82-106, illustrated.

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51 Thomas Miles Richardson, Junr., R.W.S. (1813-1890) On the River Tummel, Perthshire

Signed lower right: TMRichardson Junr/1849. The river Tummel issues from the east end of Loch Rannoch and flows 29 miles east Watercolour over pencil heightened with bodycolour on buff paper where it joins the Tay near Ballinluig. Loch Tummel is formed by an expansion of the 31.8 by 49.3 cm., 12 ½ by 19 ¼ in. river seven miles north-west of Pitlochry. This view may be taken at the eastern end of the loch, but a dam was built on the river in the 1950s which raised the water level Provenance: and altered the landscape considerably. With Thos. Agnew & Sons, London

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52 Samuel Jackson (1794-1869) Harlech Castle, North Wales – Sunset

Watercolour over pencil heightened with bodycolour and stopping out This is a view of Harlech Castle from the south, on the road above the village of 24.8 by 38.5 cm., 9 ¾ by 15 in. Harlech itself. In the middle distance is the large tidal estuary of several Snowdonia rivers that spill into Tremadog Bay. The strikingly prominent peak to the left is Moel Jackson first exhibited North Welsh views at the Society of Painters in Water-colours Hebog with its distinctive pointed summit. in 1829 which would suggest he visited there in the summer of 1828. In June and July 1833 he travelled through Wales with his fellow artists William James Müller and John Skinner Prout. He exhibited many Welsh views in the 1830s and 1840s, the likely date of the present watercolour.

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INDEX

Atkins, S. 15 Johnson, H.J. 37

Bentley, C. 28 Laporte, J. 11

Bonington, R.P. 29 Lear, E. 47-50

Boys, T.S. 44 Lock of Norbury, W. 2

Bright, H. 41 Middleton, J. 41

Cox, D. 32-35 Munn, P.S. 12

Cozens, A. 4 Nicholson, F. 9, 16

Cromek, T.H. 45, 46 Prout, S. 23-27

Dayes, E. 18 Richardson, T.M. 51

De Wint, P. 39, 40 Roberts, D. 22

Farington, J. 3 Romney, G. 1

Forrest, T.T. 19 Rowlandson, T. 5-8

Gantz, J. 38 Smith, J.W. 10

Havell, W. 31 Turner, J.M.W. 20-21

Holland, J. 43 Turner of Oxford, W. 36

Hunt, W.H. 30 Varley, C. 17

Jackson, S. 52 White Abbott, J. 13, 14

56