SALE OF PICTURES FROM STOCK MAY 2020 GUY PEPPIATT FINE ART GUY PEPPIATT FINE ART SALE OF PICTURES FROM STOCK MAY 2020 Prices include UK shipping Sold framed except where stated High resolutions images available on request Guy Peppiatt Fine Art Ltd Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU Tel: +44 (0) 20 7930 3839 Mobile: +44 (0) 7956 968 284 Fax: +44 (0) 020 7839 1504 [email protected] www.peppiattfineart.co.uk 1 Sir James Thornhill (1675-1734) Design for a Garden House Pen and brown and grey ink and grey washes on laid paper 18.2 by 17.2 cm., 7 by 6 ¾ in. Provenance: Colonel Gould Weston, his sale, Christie’s, 15th July 1958, lot 125 as part of an album; Ralph Holland (1917-2012) Thornhill was the most important painter of interiors in the early eighteenth century and was the first British artist to be knighted, on his appointment to sergeant-painter to the King in 1720. His most celebrated works are the interior of the Great Hall at Greenwich and the dome of St. Paul’s, London. He also worked in a number of great English houses, including Blenheim, Hampton Court, Chatsworth, Easton Neston and Wimpole. This drawing may be linked to the work that Thornhill did for Isaac Loader (b.1653) at Deptford. Loader was an anchor maker by profession and was appointed Sheriff of Deptford in 1701. Ralph Thoresby (1658-1725) visited Loader’s house in 1714 and records that `the gardens are surprisingly fine and large: there are Mr Thornhill’s paintings in the Bagnio, and other garden-houses’ (see R. Thoresby, The Diary of Ralph Thoresby, F.R.S., 1830, p.237). £1,950 (previously £3,950) 4 2 Thomas Rowlandson (1756-1827) Horseracing on the Knavesmire, York Inscribed in another hand lower left: Nottingham There are other views of the Knavesmire by Rowlandson taken from the centre of the Pen and grey ink and watercolour course showing the new grandstand with windmills on the hill behind it. Two drawings 11.8 by 17.7 cm., 4 ½ by 7 in. are in the Yale Center for British Art, New Haven, with a more finished watercolour in York Art Gallery. It is also depicted in an 1813 engraving after Rowlandson entitled `Dr Provenance: Syntax loses his Money on the Race Ground at York.’ With Spink, London (K3 9390) £1,900 (previously £3,800) Racing is recorded at York from Roman times but was well established at Clifton before moving to its current location on the Knavesmire in 1731. The first Grandstand, as depicted here, was built by the York architect John Carr in 1754 and race days regularly attracted crowds of over 100,000. 3 Thomas Hickey (1741-1824) Portrait of Dr Hugh Kennedy Half-length Signed centre right: T. Hickey/1774 Coloured chalks over pencil on laid paper, oval 21 by 16.4 cm., 8 ¼ by 6 ¼ in. Provenance: Anonymous sale, Christie’s, 17th May 1934, lot 47; With J. Maher, 1939 Literature: Edward A. McGuire, ‘Pastel Portrait Painting in Ireland in the XVIII century’, Connoisseur, vol. CIII, 1939, p.11, fig. v; Neil Jeffares, Dictionary of Pastellists before 1800, 2006, p. 236, ill. Dr Hugh Alexander Kennedy (d. 1795) was Irish by birth and qualified as a doctor of medicine in Edinburgh in June 1754. He was elected Physician to the Middlesex hospital in 1759, a position he held for twenty-three years, and was admitted to the College of Physicians in 1765. He was the physician serving with the Duke of Abermarle at the Siege of Havana in 1762. He was Physician Extraordinary to the Prince of Wales at the time of his death, and Director-General of the Hospitals on the Continent. Another portrait of the same sitter, by Lemuel Francis Abbott (c.1760-1802), is recorded (NPG files). Hickey was principally a portrait painter working mainly in oil as well as pastel. Born in Ireland, he studied in Italy from 1761 to 1767 and was in London by 1770. He worked in Bath from 1776 to 1780 when he set off to India via Portugal where he spent several years, reaching India in March 1784. In India, he set up a successful practice as a portrait painter working for Tipu Sultan amongst others and remained there, except for an interlude in Ireland from 1796 to 1798, until his death in Madras in 1824. £1,200 (previously £1,800) 6 4 Paul Sandby, R.A. (1731-1809) Portrait of Miss Abbott and Miss Rosier Full-length standing, holding hands Watercolour over pencil, with cut corners 16.8 by 12.4 cm., 6 ½ by 4 ¾ in. Provenance: By descent from the artist to William Sandby; By descent to Hubert Peake, the great-grandson of the artist’s niece, Charlotte, his sale, Christie’s, 26th May 1959; With Thos. Agnew & Sons, London; With Kennedy Galleries, New York £1,600 (previously £2,400) 7 5 Joseph Farington, R.A. (1747-1821) A Farmhouse in a Clearing Signed lower left: Jos. Farington Exhibited: Pen and brown ink and grey wash with original washline mount Lowell Libson, Watercolours and Drawings, 15th November to 8th December 2006, 31by 45.4 cm., 12 by 17 ¾ in. no.2 Provenance: £1,900 (was £3,500) Michael Ingram (1917-2005); With Lowell Libson Ltd, 2006; Private Collection, UK 8 6 Robert Cleveley (1747-1809) The Embarkation of Caroline of Brunswick on board the Jupiter at Cuxhaven 1795 Signed verso and inscribed: The Embarkation of Her Royal Highness the Princess of Wales on board the Jupiter at Cux haven Pen and grey ink and watercolour 11.9 by 18.4 cm., 4 ¾ by 7 ¼ in. This shows Caroline of Brunswick, the future Princess of Wales and wife of George Robert Cleveley was the son of John Cleveley (1712-1786), a shipwright and painter IV, leaving Cuxhaven at the mouth of the river Elbe in Northern Germany on 28th from Deptford. He was a clerk and purser in the Navy and first exhibited in 1767. He March 1795 on her way to England to marry George, the Prince of Wales. They had was appointed Marine Draughtsman to the Duke of Clarence and Marine Painter to the intended to depart from Holland but French troops blocked their way so they diverted Prince of Wales. to Cuxhaven. When they reached Gravesend, the Princess transferred to the royal yacht Augusta and sailed up the Thames arriving at Greenwich as planned at noon on Easter £1,500 (previously £3,500) Sunday, 5th April. 9 7 Captain John Durrant (fl.1790-1830) The Church and Hospital of St Cross, Winchester Inscribed upper centre: St Cross Winchester Captain John Durrant (fl.1790-1830) was a highly skilled amateur artist and army officer Watercolour over pencil on laid paper who was stationed at Portchester Castle between 1803 and 1813. He was also stationed 17.6 by 22.5cm., 6 ¾ by 8 ¾ in. at Dover, Gosport and Colchester during his career. An ability to sketch was a prized asset in the armed forces in the days before photography and Durrant is likely to have Provenance: trained in the art of topographical draughtsmanship at the Royal Military Academy at Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by Woolwich where Paul Sandby, R.A. (1731-1809) taught until 1796. An album of over descent until 1990 hundred drawings by him is in the collection of Hampshire council. The Hospital of St Cross stands south of Winchester in the water meadows alongside the £900 (previously £1,200) River Itchen. The Norman Church dates from the twelfth century and the Hospital is England’s oldest continuing almshouse. 10 8 Captain John Durrant (fl.1790-1830) The West Gate, Winchester Inscribed upper centre: Westgate Winchester Captain John Durrant (fl.1790-1830) was a highly skilled amateur artist and army officer Pen and brown ink and watercolour over pencil on laid paper who was stationed at Portchester Castle between 1803 and 1813. He was also stationed 17.7 by 23cm., 7 by 9 in. at Dover, Gosport and Colchester during his career. An ability to sketch was a prized asset in the armed forces in the days before photography and Durrant is likely to have Provenance: trained in the art of topographical draughtsmanship at the Royal Military Academy at Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by Woolwich where Paul Sandby, R.A. (1731-1809) taught until 1796. An album of over descent until 1990 hundred drawings by him is in the collection of Hampshire council. This is one of the two surviving gates to Winchester of the original five. It dates from the £900 (previously £1,200) fourteenth century and stands at the top of the High Street. 11 9 François Louis Thomas Francia (1772-1839) The Interior of Winchester Cathedral Signed lower left: L. Francia 1803 and inscribed on reverse of original mount: Inside view of Winchester/Cathedral made for/Sir Henry Englefield Bart/by L Francia 1803, with original pen and ink border Watercolour over pencil 19 by 12.8 cm., 7 ½ by 5 in. Provenance: Drawn for Sir Henry Englefield (1752-1822), 1803 Sir Henry Englefield was a Fellow of the Society of Antiquaries and between 1797 and 1813 he commissioned a series of engravings of English cathedrals. The present drawing probably relates to this series. This is likely to be one of two interior views exhibited by Francia at the Royal Academy in 1804, no.652 as `Two views of interiors: no.