24885_100 drawings 2012 31/10/2012 09:00 Page 1

GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

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

WINTER CATALOGUE 2012 –2013

to be exhibited at

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

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

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We are delighted to present our fifth annual Winter catalogue of One Hundred Drawings and Watercolours, to be accompanied by a Christmas exhibition in our gallery in London. The areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th century drawings, have long been regarded as separate fields, each with their own enthusiasts and collectors, auctions and exhibitions. Part of the purpose of this catalogue, and indeed the aim of our shared gallery, is to blur the distinction between these collecting areas. A glance at the works included in this catalogue will, we hope, show that a good drawing or watercolour is always worthy of attention, whoever the artist and whatever the date.

This catalogue includes a wide range of British and European drawings, watercolours and oil sketches, placed more or less in chronological order, ranging in date from the early 17th century to the present day. As a glance at the enclosed price list will show, the prices of the drawings are equally broad in scope - from under £1,000 to around £10,000 – with a large number of interesting works at the lower end of this range. The catalogue aims to show that drawings and watercolours by well- established artists can be very affordable, and interesting works by minor or lesser-known artists especially so. There is, we believe, much in this catalogue for the novice collector, as well as for the more experienced connoisseur or curator.

Our respective individual catalogues of more significant drawings will be issued in January and May 2013, and will be accompanied by exhibitions at our gallery. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at the gallery over the coming year.

Guy Peppiatt Stephen Ongpin Lara Smith-Bosanquet

The following catalogue contains a combination of drawings and watercolours from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA at the top of each page; please therefore direct any enquiries as appropriate.

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

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

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SOFA

1 BOLOGNESE SCHOOL Formerly attributed to Annibale Carracci, this drawing would 17th Century certainly appear to be Bolognese in origin. The small sketch of a struggling man at the upper left may be a study for the figure of Antaeus in a painting or fresco of Hercules and Studies of a Reclining Male Nude, Seen from Behind Antaeus. with One Arm Raised, and a Man Grimacing in Pain The drawing bears the distinctive collector’s mark of the Red chalk, with stumping classical archaeologist, scholar and collector Ludwig Pollak 7 326 x 218 mm., 12 /8 x 8 ½ in. (1868-c.1943), who lived and worked in Rome for the most of his career. Pollak was deported from Rome by the Gestapo Provenance: in October 1943 and is presumed to have died in a Dr. Ludwig Pollak, Rome (Lugt 788b) concentration camp. His collection of drawings, now widely dispersed, numbered around three thousand sheets.

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SOFA

2 LOUIS DE CAULLERY the Flemish town of Caulery, on the Scheldt river, he was Caulery c.1580-1621 Antwerp trained in the studio of Joos de Momper. By 1602 he is recorded as a master at the Antwerp painter’s guild. He died in 1621, at the age of thirty-seven. While De Caullery is best Elegant Couples in a Landscape known for his paintings, which are characterized by multifigural compositions and set in elaborate architectural Pen and point of the brush and blue ink, with blue surroundings, his draughtsmanship has remained less studied wash until rece ntly. His drawings have often been confused with 7 1 176 x 281 mm., 6 /8 x 11 /8 in. those of the so-called ‘Master of the Hermitage Sketchbook’, an as-yet unidentified artist who may have worked in Provenance: Antwerp at the same time. Prof. Einar Perman, Stockholm The present sheet may be added to a group of three closely Exhibited: comparable drawings in blue ink and blue wash by Louis de Laren, Singer Museum, Oude Tekeningen uit de Caullery, also from the collection of the Swedish physician Nederlanden: Verzameling Prof E. Perman, Stockholm , 1962, Einar Perman (1893-1976), which were sold at auction in no.69 Amsterdam in 1975 with an attribution to the ‘Master of the Hermitage Sketchbook’. De Caullery has recently been Active for a relatively brief career of less than twenty years, identified as the artist responsible for the four drawings Louis de Caullery remains relatively little known among formerly in the Perman collection, as well as a number of Flemish painters of the 17th century. Born around 1580 in other stylistically related sheets.

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GPFA

3 SIR JAMES THORNHILL, R.A. Melcombe Regis, Dorset 1675-1734 Thornhill, Dorset

Study of a Family Group

Pen and brown ink and wash Image 69 x 55 mm., 2 ¾ x 2 in.

Thornhill was the most important decorative painter of the early eighteenth century. His most famous works are the interior of the dome of St. Paul’s Cathedral and the Great Hall at Greenwich. He also worked on interior decoration at Blenheim, Moor Park, Hampton Court, Easton Neston and Wimpole.

The present drawing is likely to relate to one of his decorative schemes. The distinctive use of crosses in the place of faces is typical of his pen and ink preparatory drawings.

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SOFA

4 CONTINENTAL SCHOOL Two other versions of this view, also dated 1772, are in the Circa 1700 Lambert collection at Barbican House, Lewes.

Studies of Plums, Strawberries, Cherries, Raspberries b. Lewes Castle from the south-west, Sussex and Gooseberries Signed lower left: Ja.s Lambert junr Lewes 1792 Oil on paper Pen and grey ink and watercolour with original wash 1 1 283 x 386 mm., 11 /8 x 15 /8 in border . 329 x 453 mm., 13 x 17 ¾ in.

Lambert Junior was the nephew and pupil of the landscape 5 artist and musician James Lambert Senior (1735-1788). His JAMES LAMBERT, JNR. trade card described himself as a ‘Coach and Sign Painter’ but Lewes, Sussex 1742-1799 he also produced landscape watercolours and oils of Sussex and many of Lewes, where he lived. a. Castle Gateway from the South, Lewes, Sussex

Signed lower left: DRAWN/1772/Jas Lambert junr/Lewes Delt Watercolour on laid paper, oval 437 x 361 mm., 17 ¼ x 14 ¼ in.

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GPFA

a.

b.

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GPFA

6 PAUL SANDBY, R.A. This is a view of the boatmen of the River Thames known Nottingham 1731-1809 London as Watermen ferrying their passengers and goods across the river in a small boat called a wherry or skiff. They were an essential part of early London, transporting people and goods A Wherry unloading at Westminster Stairs on the across the river via a series of public steps or stairs that gave Thames, London access to the river. These public stairs became common in the 16th century when much of the Thames foreshore Grey washes over pencil became enclosed behind private walls. These passengers are 135 x 191 mm., 5 ¼ x 7 ½ in. alighting at the Westminster Stairs, situated near Old Westminster Bridge which can be seen in the background. It was constructed in 1750, only the second permanent bridge to be built across the Thames.

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GPFA

7 JOHN AUGUSTUS ATKINSON Provenance: London 1775-c.1833 Anonymous sale, Christie’s, 14th June 1977, lot 78 With Thos Agnew & Sons, London Private Collection until 2012 Soldiers on the March Atkinson went to St Petersburg with his uncle aged nine Pen and brown ink and watercolour where he studied the paintings in the Hermitage and gained 208 x 264 mm., 8 x 10 ¼ in. the patronage of the Empress Catherine. Aged 21, he returned to London and specialised in Russian views and battle scenes. He exhibited at the Royal Academy and elsewhere and a number of his Peninsular War battle scenes were bought by the Duke of Wellington.

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GPFA

8 9 ANTHONY DEVIS JOHN CLAUDE NATTES Preston 1729-1817 Albury c.1765-1839 Dover

A Distant view of London a. The Mall, Hammersmith

Pen and grey ink and watercolour over pencil on Inscribed with title lower left, dated October 1812 laid paper, with original pen and ink border and numbered 30 306 x 432 mm., 12 x 17 in. Pen and black and brown ink over pencil 240 x 335 mm., 9 ½ x 13 in. Provenance: With Spinks, London, 1980s This shows Hammersmith Mall, the south facing riverside Private Collection, UK, until 2011 embankment at Hammersmith. A number of substantial houses were built here in the second half of the 18th century, This is a view of London looking towards St Paul’s from the including Kelmscott House which was most famously taken north-west taken from near Primrose Hill. At this date, the by William Morris as his studio in 1878. The south facing river northern edge of London did not extend much further than bend and rural setting were regarded as healthy, and also Holborn and north of that would still have been attracted educational establishments for the same reason. farmland. The distinctive wedding cake spire of St Bride’s can Hammersmith Bridge was not built until 1827, however, the be seen to the right of St Paul’s, and Monument is also visible building in the middle distance is possibly the ‘Doves’ coffee to the left. house, still a popular riverside pub today.

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GPFA

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b.

b. The Farmhouse at Suttons, Essex Suttons stands on the edge of the parish of Stapleford Tawney, five miles south-east of Epping. The house was originally 17th Inscribed lower left : Farm House & c, at century and was bought by Charles Smith (1757-1814) of Suttons/August 3.d 1811 Mile End, Middlesex for £15,725 in 1787. The house was inherited by Sir Charles Cunliffe Smith, Bt., in 1838 and Pen and black and brown ink over pencil descended with the baronetcy until it was sold in 1959 on 234 x 329 mm., 9 x 13 in. the death of Sir Thomas Hamilton-Spencer-Smith.

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GPFA

10 11 JOSEPH FARINGTON, R.A. SIR THOMAS LAWRENCE, P.R.A. Leigh 1747-1821 Disbury Bristol 1769-1830 London

A Farmhouse in a Clearing Portrait of a Young Boy

Signed lower left: Jos. Farington Pencil, with traces of an oval framing line in pencil, Pen and brown ink and grey wash with original on buff paper laid down on board, oval washline mount 310 x 454 mm., 12 x 17 ¾ in. Signed with initials and dated TL / [1]791 at the lower left 3 Provenance: 204 x 161 mm., 8 x 6 /8 in. Michael Ingram Provenance: Col. and Mrs. Thomas Bazley-Green, Dorking, Surrey before 1965

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SOFA

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GPFA

12 JOHN CANTILOE JOY John Cantiloe Joy more commonly collaborated with his Great Yarmouth 1806-1866 London brother William in producing carefully drawn, highly coloured, marine watercolours. This is a rarer view of J.C. Joy alone – a similar watercolour by him was sold at Christie’s from the Shipping off the Round Tower, Portsmouth Bauer collection on 22nd January 2002, lot 62.

Watercolour and bodycolour The stone Round Tower was built in the 1490s during the 148 x 221 mm., 5 ¾ x 8 ½ in. reign of Henry VII and was the first stone structure built to defend the entrance to Portsmouth Harbour. During Provenance: Elizabethan times it was rebuilt with six gun ports for cannons, By descent in the family of the present owner since the three of which can be seen in the picture. It was extended in 1960s height around the time of the Napoleonic Wars and still exists today.

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SOFA

13 JACOB CATS He made sketching tours throughout the countryside but, Altona 1741-1799 Amsterdam since he often suffered from arthritis, he seems to have only rarely actually worked outdoors. Gifted with a photographic Winter Landscape with Woodcutters Felling a Tree memory, he would be able to integrate the views he saw in nature into realistic landscape drawings once he was back in Pen and grey and brown ink and brown and grey the studio; indeed, he often noted, in an inscription on the reverse of a drawing, when it was done from memory. Cats wash, with framing lines in brown ink numbered most of his drawings done in this way, so as to be Signed and dated J. Cats inv. et fec. / 1792 on the able to refer to them in his studio when producing highly verso finished versions in pen and ink and watercolour. One 19th Inscribed J. CATS on the mount century scholar noted, however, that some collectors 5 5 144 x 220 mm., 5 /8 x 8 /8 in. preferred the artist’s less finished drawings. As Adriaan van der Willigen wrote of Cats, ‘many of his Drawings are worked Provenance over quite extensively, indeed in the opinion of some this detailing With W. A. van der Grient, Brussels is seen as excessive, working to the detriment of the Masterly treatment, while the work has been termed ‘sombre’ by some. One of the finest draughtsmen working in Holland in the This is the case in many of his coloured Drawings, for which second half of the 18th century, Jacob Cats is best known for reason his sketchy and less worked-up drawings are generally the highly finished, atmospheric landscape drawings he preferred by the true connoisseurs.’ produced as independent works of art for sale to collectors.

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GPFA

14 THOMAS ROWLANDSON London 1756-1827 London

Soldiers and a Cart on a Road

Pen and grey ink and watercolour over pencil 147 x 218 mm., 5 ¾ x 8 ½ in.

Provenance: Van Millingen family, Melville Hall, late nineteenth century By descent until 2012

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GPFA

15 THOMAS ROWLANDSON Provenance: London 1756-1827 London Lord Farnham Dyson Perrin Mr and Mrs William Spooner, Ashbrook, Ilkley, Yorkshire Study on the Banks of a River Anonymous sale, Sotheby’s, 20th November 1986, lot 50

Pen and grey ink and watercolour over traces of This may be a view on the river Camel in Cornwall where pencil Rowlandson often sketched when staying with his patron 214 x 279 mm., 8 ¼ x 11 in. Matthew Michell in Cornwall.

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GPFA

16 THOMAS ROWLANDSON London 1756-1827 London

The Sculptor

Pen and grey ink and watercolour over pencil 169 x 132 mm., 6 ½ x 5 in.

Provenance: Van Millingen family, Melville Hall, late nineteenth century By descent until 2012

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GPFA

17 THOMAS ROWLANDSON London 1756-1827 London

The Captain’s Request Pen and grey ink and watercolour 142 x 93 mm., 5 ½ x 3 ½ in.

Provenance: Private Collection, Scotland

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GPFA

18 19 THOMAS ROWLANDSON THOMAS ROWLANDSON London 1756-1827 London London 1756-1827 London

Nymphs and Satyrs cavorting a. Changing Horses at the Swan Inn, Brixton

Pen and grey ink and watercolour Pen and grey and brown ink and watercolour over 341 x 459 mm., 13 ¼ x 18 in. traces of pencil 139 x 234 mm., 5 ½ x 9 ¼ in. Provenance: Dr John Percy (1817-1889) (Lugt 1504), collector’s mark Provenance: verso, bought from Parker of Spur St, 1875 With Spinks, London, circa 1990 Charles Seale Hayne (1833-1903), his sale 18th April 1904 Private Collection, UK, until 2011 Louis Deglatigny (1854-1936) (Lugt 1768a), collector’s mark lower left, his sale, Sotheby’s 11th May 1938, lot 170 b. Outside a West Country Coaching Inn Anonymous sale, Christie’s, 22nd November 1963, lot 6 Pen and grey and brown ink and watercolour over traces of pencil 137 x 236 mm., 5 ¼ x 9 ¼ in.

Provenance: With Spinks, London, circa 1990 Private collection, UK until 2011

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GPFA

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b.

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20 21 THE REV WILLIAM HENRY BARNARD PAUL SANDBY, R.A. Ireland 1767-1818 Stowe Nottingham 1731-1809 London

A street in Fairford, Gloucestershire a. Members of the Sandby Family near the Deputy Ranger’s Lodge, Windsor Great Park Inscribed on part of old mount: Street in Fairford Aug 31 1797 Signed with initials on a tree: PS./Wr Park/1789 Grey washes on laid paper Pen and grey ink and watercolour over pencil on 140 x 190 mm., 5 ½ x 7½ in. laid paper 111 x 132 mm., 4 ¼ x 5 in. Barnard was the grandson of the Bishop of Derry who graduated from Pembroke College, Oxford in 1797 where Sandby’s brother Thomas occupied the Deputy Ranger’s his art was greatly influenced by the Oxford drawing master Lodge in the heart of Windsor Great Park during his tenure and musician John Baptist Malchair (1731-1812). Later he as Deputy Ranger from 1746 until 1798. The original travelled widely in Europe and was Rector of Marsh Gibbon building was remodelled in 1811-13 and then pulled down in and Water Stratford, Buckinghamshire. 1830. It is now the site of Royal Lodge. A more finished view of the Lodge, also including Sandby family members, was sold at Christie’s on 14th July 1987, lot 139.

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GPFA

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b.

b. A Carriage outside a Country Inn 118 x 136 mm., 4 ½ x 5 ¼ in.

Signed with initials lower right and dated 1789 Provenance: Pen and grey ink and watercolour and bodycolour By descent in the family of the present owner since the over pencil on laid paper 1960s

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GPFA

22 23 EDWARD DAYES PAUL SANDBY, R.A. London 1763-1804 London Nottingham 1731-1809 London

Pont Aberglaslyn, North Wales a. Travellers in a Mountainous Landscape

Watercolour over traces of pencil Watercolour and bodycolour with original border 256 x 391 mm., 10 x 15 ¼ in. 91 x 139 mm., 3 ½ x 5 ½ in.

Provenance: b. A Horse and Cart by a Castle With Andrew Wyld, 2005 Private Collection, UK, until 2011 Watercolour and bodycolour 88 x 135 mm., 3 ½ x 5 ¼ in. Exhibited: London, Manning Gallery, November 1967, no. 3 Provenance: By descent in the family of the present owner since the Pont Aberglaslyn, the bridge spanning the beautiful narrow 1960s Aberglaslyn gorge in North Wales, is one mile south of Beddgelert, a popular base for watercolour artists in the late eighteenth and nineteenth centuries.

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GPFA

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GPFA

24 HENRY EDRIDGE, A.R.A. Provenance: Paddington 1769-1821 London By descent in the Burney Family until 2011

Edridge was born in Paddington, London, and studied at the Houses by a Bridge Royal Academy where he began to exhibit portrait miniatures from 1786 (he exhibited 260 pictures there during his Watercolour and black and white chalk and pencil lifetime). He achieved considerable success as a portraitist in on blue-grey paper the late eighteenth and early nineteenth centuries – his 238 x 352 mm., 9 ¼ x 13 ¾ in. portraits are executed in pencil with subtle tints of colour. He also drew landscapes in a similar style to Hearne and Girtin, his friends and fellow artists.

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SOFA

25 JEAN-BAPTISTE PILLEMENT century, Pillement was an equally gifted painter, producing Lyon 1728-1808 Lyon pastoral landscapes, marines, flowerpieces, animal subjects and chinoiseries. Landscapes such as this are typical of Pillement’s approach to the depiction of nature, filtered River Landscape with a Ruined Tower through his study of such Dutch masters as Jan Both, Aelbert Cuyp and Nicolaes Berchem. In general, however, Black and white chalk, with stumping, on canvas Pillement’s landscapes are not topographical views of a Signed and dated jean Pillement 1804 at the lower particular location, but rather tend to depict bucolic scenes left of man and nature in harmony. 1 308 x 393 mm., 12 /8 x 15 ½ in. This finished grisaille landscape – signed in full and dated 1804, Provenance and undoubtedly intended as an independent work of art – With Georges Meyer, Paris was drawn when the artist was living and working in his native Lyon, near the end of his long career. It may also be noted in Exhibited passing that, in keeping with many of the artist’s river New York, Luxembourg & Dayan, Grisaille, 2011-201 2 landscapes, the composition depicts a number of wooden stakes or pilin gs (pillements in French) set into the water’s One of the most influential decorative and ornamental edge; it has been suggested that this may have been intended draughtsmen working in Europe in the second half of the 18th as a sort of whimsical signature on the part of the artist.

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GPFA

26 THOMAS GOOCH Pr ovenance: c.1750-1805 Lyndhurst With Lowell Libson, 2005 Private Collection, UK until 2011 A Coach in the Yard of a large House Gooch was an animal painter who worked mainly in oil and exhibited at the Royal Academy and elsewhere between Signed lower left: T. Gooch 1778 and 1802. In 1796 Farington records that a stroke Watercolour over pencil heightened with affected his right hand and he retired to Lyndhurst, bodycolour Hampshire in 1800. 252 x 366 mm., 9 ¾ x 14 ¼ in.

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27 JOHN RAPHAEL SMITH Provenance: Derby 1752-1812 Doncaster Private Collection, Dorchester

a. Study of a Sportsman and his dog in Parkland John Raphael Smith was a highly skilled mezzotint engraver and print publisher as well as a portraitist in chalks. He produced many mezzotints and was ‘mezzotint engraver to Black chalk on prepared paper the Prince of Wales’ from 1784 but gave up engraving in 1802 390 x 259 mm., 15 ¼ x 10 in. to concentrate on portraits. He exhibited portraits at the Royal Academy from 1779 until 1805. He specialised in Provenance: portrait drawings and later in his life much of his work was With Spinks, London, circa 1985 produced in the northern cities of York, Sheffield and Private Collection until 2011 Doncaster where he died.

b. Portrait of a Girl

Half-length, in a landscape Coloured chalks over pencil 210 x 187 mm., 8 ¼ x 7 ¼ in.

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GPFA

28 29 PETER DE WINT HENRY THOMAS ALKEN Stone 1784-1849 London London 1785-1851 London

Study of a Pheasant a. A Greyhound

Watercolour over pencil Watercolour over pencil 105 x 233 mm., 4 x 9 in. 286 x 384 mm., 11 ¼ x 15 in.

Provenance: Provenance: Robert Witt With Andrew Wyld, 2005 Sir John and Lady Witt, their sale, Sotheby’s, 19th February Private collection, UK, until 2011 1987, lot 108 Private Collection until 2011 Alken used this on-the-spot sketch in his 1824 ‘oil ‘Greyhounds with a dead hare’ which was sold at Sotheby’s on 20th November 1981, lot 12.

b. Jumping a Fence

Watercolour over pencil heightened with bodycolour 242 x 343 mm., 9 ½ x 13 ½ in.

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b.

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SOFA

30 THOMAS HARTLEY CROMEK met and befriended several English artists, including Clarkson London 1809-1873 Wakefield Stanfield and John Frederick Lewis, and gave drawing lessons to several distinguished English visitors, including, in 1837, Study of Plants, Ariccia Edward Lear. In 1849 he was forced to leave Rome by the outbreak of the First Italian War of Independence, and returned to England for good. Cromek seems to have Watercolour, over traces of a pencil underdrawing produced almost no paintings after 1860, as his health Signed, inscribed and dated T.H. CROMEK / Ariccia / gradually failed. 11 Augt. 1845. at the bottom centre 1 183 x 208 mm., 7 ¼ x 8 /8 in. This watercolour was drawn during the summer of 1845 at Ariccia, a town near Lake Nemi in the Roman Campagna, Much of what is known today of Thomas Hartley Cromek’s south of the city. The plant depicted in this watercolour is a life and career is based on a journal he wrote, entitled flowering plant known as a Verbascum or Mullein. Among Reminiscences at Home and Abroad, 1812-1855, which only comparable nature studies by Cromek is a drawing of A came to light in the latter half of the 20th century. The son of Branch with Leaves, among the many watercolours by the an engraver and editor, Cromek first travelled to Italy in 1830. artist today in the possession of his descendants, the He was to spend much of the next twenty years living and Warrington family. working in the country, mainly in Florence and Rome. He

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SOFA

31 EUGÈNE FROMENTIN many travellers with neither poetry nor soul, and his soul is one La Rochelle 1820-1876 Saint-Maurice of the rarest and most poetic I know.’ Thus did Charles Baudelaire, writing in 1859, give an appraisal of the work of An Arab Caravan Eugène Fromentin that underscores the artist’s lifelong fascination with exotic scenes. Particularly interested in the people, culture and landscapes of North Africa, Fromentin Pen and grey ink and grey wash, with white made his first visit to Algeria in 1846, returning home after six heightening, over a pencil underdrawing on buff weeks in the country with numerous drawings and sketches. paper Later trips to Algeria in 1847 and 1852 resulted in the Signed and dated Eug. Fromentin 1845, over an publication of an account of his travels, entitled Un eté dans earlier signature in pencil, at the lower right le Sahara and published in 1857. 5 270 mm., 10 /8 in. diameter Dated 1845, this drawing just predates Fromentin’s first visit ‘M. Fromentin...is neither precisely a landscape nor a genre to Algeria, and is thus unlikely to have been based on painter; these two territories are too restricted to contain his something he would have seen at first hand. The subject may free and supple fancy. If I said of him that he is a teller of instead have been inspired by another, perhaps literary, travellers’ tales, I should not be saying enough, for there are source.

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SOFA

32 GIOVANNI (NINO) COSTA acquired by a circle of English artists, collectors and Rome 1826-1903 Rome connoisseurs. He was the leader of an informal group of English landscape painters working in Italy, including Richmond, Howard and Matthew Ridley Corbet, who called Study of a Tree themselves ‘The Etruscans’, and who found inspiration in sketching trips into the Roman Campagna, guided and Watercolour, over an underdrawing in pencil encouraged by Costa. 7 5 405 x 271 mm., 15 /8 x 10 /8 in. Many of Costa’s earliest drawings are studies of trees and Provenance plants, and he seems to have drawn from nature from a By descent in the family of the artist young age. As he once described his approach to landscape painting to the painter Giovanni Fattori: ‘First do a bozzetto di An Italian landscape painter, Giovanni (known as ‘Nino’) impressione from nature as rapidly as possible; then do studies Costa was friendly with several English artists – including of details from nature. Finally, sketch out the picture, remaining Frederic Leighton, William Blake Richmond, Edward Burne- attached to the conception of the bozzetto...’ Jones and George Howard – and much of his work was

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SOFA

33 LOUIS-AMABLE CRAPELET Cataract, and this journey provided him with material for Auxerre 1822-1867 Marseilles much of his later career. In 1859 he visited Tunis, and his drawings from this journey later served to illustrate an account of the voyage for the magazine Le Tour du Monde in 1865. In Sunset in Egypt, with Two Bedouin on Camels the same year he showed a View of Luxor at the Exposition Universelle in Paris. Crapelet exhibited mainly views of Egypt Watercolour at the Salons between 1849 and 1866, as well as the Signed Am. Crapelet at the lower left occasional Italian and Provençal landscape. Towards the end 1 206 x 291 mm., 8 /8 x 11 ½ in. of his career he also worked on the mural decoration of theatres and other buildings in Lyon and Marseilles. A pupil of Jean-Baptiste-Camille Corot, Louis-Amable Crapelet made his debut at the Paris Salon in 1846. After Crapelet was particularly admired for his atmospheric spending some time in Algeria, he went to Egypt between watercolours of Oriental subjects, of which the present sheet 1852 and 1854, travelling down the Nile as far as the Third is a fine example.

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GPFA

34 ATTRIBUTED TO JOHN ALEFOUNDER It has been suggested that these beautiful and highly skilled 1757-1795 Calcutta drawings are the work of John Alefounder. He studied architecture at the Royal Academy schools and in 1784 went to India to make his living as a portrait artist. He exhibited at Study of a Fakir; Study of a Boy the R.A. but had little success and eventually killed himself.

Two, one inscribed verso: Ban Wáh Faquier These drawings may relate to a series of thirty-six pictures he Watercolour over pencil on laid paper watermarked drew in 1788 with the intention of having them engraved. with a fleur de lys The pictures included portraits of nawabs and ‘remarkable Each 242 x 158 mm, 9 ½ x 6 ¼ in. characters’ as well as portraits of local people, customs and ceremonies. The scheme failed however and the engravings were never produced.

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35 PETER DE WINT This is drawn on the back of part of a letter to de Wint which Stone 1784-1849 London accompanied payment for rent. It relates closely to the watercolour of Nottingham in the Victoria and Albert Museum which is dated to 1847/8. a. View of Nottingham from the Trent, with the Castle and St. Mary’s Church b. Nottingham Castle from the West Grey wash and pencil Pen and brown ink 50 x 181 mm., 2 x 7 in. 64 x 182 mm., 2 ¼ x 7 in. Provenance: Provenance: Removed from an album of de Wint sketches compiled in By descent from the artist to Miss H.H. Tatlock the 1870s by Sarah Brooks, whose granddaughter, Mrs Miss G.M. Bostock Boover Brooks, was the artist’s aunt With Andrew Wyld 1979 By descent to Mrs A.G. Dawes With Andrew Wyld 1979 Exhibited: Private Collection until 2012 Andrew Wyld, 3 Cork St., Exhibition of Works by Peter de Wint , September/October 1979, no. 36 Exhibited: Andrew Wyld, 3 Cork St., Exhibition of Works by Peter de This is drawn on the back of part of a letter to de Wint which Wint, September/October 1979, no. 33 accompanied payment for rent.

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36 JOHN VARLEY Hackney 1778-1842 London

Cader Idris from near Dolgelly, North Wales

Signed lower left: J. Varley. 1812. Watercolour over pencil 226 x 476 mm., 8 ¾ x 18 ¾ i n.

This is a view of the north face of Cader Idris from across the River Mawddach estuary which can be seen in the foreground. Cader Idris, meaning ‘Chair of Idris’ from the giant warrior poet of Welsh legend consists of a seven mile craggy and precipitous ridge situated at the southern end of Snowdonia National Park.

This is likely to be one of the four views of Cader Idris by Varley exhibited at the Society of Painters in Water-colours in 1812 and 1813.

Provenance: Acquired by Bolton Museum and Art Gallery in 1965 De-accessioned in 2011

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37 JOHN VARLEY Hackney 1778-1842 London

A Cottage near Conway, North Wales

Signed in pencil verso: Cottage...... /Varley 1812 and in ink in another hand: Varley 47 Edgware Road Watercolour over pencil 247 x 344 mm., 9 ¾ x 13 ½ in.

This shows a cottage across the estuary from Conway Castle.

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38 JOHN VARLEY Hackney 1778-1842 London

Beddgelert Bridge, North Wales

Signed lower right and dated 1824 Watercolour over pencil 180 x 244 mm., 7 x 9 ½ in.

This is a view of Beddgelert Bridge where it crosses the River Colwyn just upstream of its confluence with the River Glaslyn. The mountain Moel Hebog is looking over the bridge on the left, with a range of Snowdonian peaks that make up the Nantlle Ridge in the distance.

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39 JOHN VARLEY Byland Abbey is six miles east of Thirk, just south of the Hackney 1778-1842 London Yorkshire Moors. Once one of England’s greatest monasteries, the abbey was dissolved in 1538. Its ruins still look much as they did during Varley’s time, with the same Byland Abbey, Yorkshire arched entrance. The stained glass formerly in the abbey’s beautiful west front inspired the design of York Minster’s Signed lower right: J. Varley. 1824 and inscribed with famous rose window. title verso Watercolour over pencil heightened with gum Another view of Byland Abbey by Varley, dated 1808, is in the arabic on laid paper Yale Center for British Art and a further was sold at Sotheby’s 217 x 302 mm., 8 ½ x 11 ¾ in. on 12th April 1995, lot 95.

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40 JOHN VARLEY Hackney 1778-1842 London

Travellers on a Country Road near a Castle

Signed lower left: J. Varley Watercolour over pencil heightened with stopping out 91 x 131 mm., 3 ½ x 5 in.

Provenance: Cyril Fry Gallery

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41 ARTHUR GARDINER BUTLER taxonomy of birds, insects and spiders. He also published Beckenham 1844-1925 Beckenham several books on these subjects, such as British Birds with Their Nests and Eggs (1896-1898), and published articles on exotic spiders from Australia, the Galapagos and elsewhere. Butler Studies of Five Butterflies published a number of works on lepidoptery, including Tropical Butterflies and Moths (1873), Catalogue of the Watercolour, over traces of an underdrawing in Lepidoptera of New Zealand (1874) and The Butterflies of pencil Malacca (1879), as well as two catalogues of the lepidoptera Signed with initials and dated A.G.B. / 1861 at the collections of the British Museum, from which he retired in lower right 1901 due to ill health. Butler was a Fellow of the Royal Inscribed Watercolour by A. G. Butler. / Artist & Entomological Society, the Linnean Society of London and Engraver 1861 on a label pasted onto the old the Zoological Society of London. backing board 1 3 The butterflies depicted in this drawing include, at the upper 156 x 163 mm., 6 /8 x 6 /8 in. centre, a Red Admiral (Vanessa atalanta) , flanked by two male Silver-studded blue butterflies (Plebeius argus) . The two Arthur Gardiner Butler was an English entomologist and butterflies at the bottom of the sheet are both Painted Lady ornithologist who worked at the British Museum on the butterflies (Vanessa cardui).

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42 MOSÉ BIANCHI Mosé Bianchi’s earliest works already reveal the lightness of Monza 1840-1904 Monza touch and fluidity of handling that is characteristic of his mature style. A successful fresco painter, he continued to develop his distinctive painterly manner in his views of Venice of the Along the Promenade, Naples (Ricordo di Napoli) 1880’s and of Milan in the following decade.

Pencil and gouache on thick buff paper Datable to 1886, this is a study for a small painting by Bianchi Signed with initials MB at the lower right which is now lost, in which the artist delights in the contrast 3 3 416 x 288 mm., 16 /8 x 11 /8 in. [sheet] between the group of elegant women walking on the quayside at the right with the peasant folk in the foreground. Provenance Stylistically and thematically, the drawing may also be related Acquired from the artist by Juan and Felix Bernasconi, Milan to a number of works showing figures along the promenade Thence by descent in the Bernasconi family until 1987 in Chioggia, a fishing town at the southern end of the Venetian lagoon, that Bianchi produced in the 1880’s. Literature Paolo Biscottini, Mosè Bianchi: Catalogo ragionato, Milan 1996, p.310, no.445.

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43 ANTOINE CALBET A pupil of Alexandre Cabanel, Antoine Calbet made his debut Engayrac 1860-1944 Paris at the Salon de la Société des Artistes Français in 1880, and he continued to take part in the Paris Salons until 1940. A gifted watercolourist as well as a portrait and genre painter, Two Women on a Balcony Calbet had a particular penchant for studies of languid female nudes. He also worked as a decorative painter, counting Black and white chalk, with touches of red, green, among his public commissions the decoration of several yellow and blue chalk, on buff paper theatres and restaurants. He is perhaps known today, Signed A Calbet at the lower left however, for his book illustrations. Among the works 5 499 x 324 mm., 19 /8 x 12 ¾ in. illustrated by Calbet were Emile Zola’s Madame Neigeon, Guy de Maupaussant’s Bel ami, Jean-Jacques Rousseau’s Confessions and Paul Verlaine’s Fêtes galantes.

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44 45 DAVID COX DAVID COX Birmingham 1783-1859 Birmingham Birmingham 1783-1859 Birmingham

Lliwedd and the Llanberis Road from Pen y Gwryd, a. Fors Nevin on the Conway, North Wales North Wales Inscribed lower right: Fors Nevin Watercolour and black chalk Black chalk 183 x 236 mm., 7 x 9 ¼ in. 266 x 181 mm., 10 ½ x 7 in.

Provenance: Provenance: By descent to David Cox Junior (1809-1885) By descent from the artist to his grand-daughter in 1904 Given by him to Miss E. Cox, January 9th 1867 Bought at Walker Galleries, London, between 1960 and Given by her to John Hills, 1922 1967 Private Collection, UK until 2010 By descent from the buyer until sold at Sotheby’s, 25th November 1999, lot 80, where bought by the present Another watercolour of this same view was with Spink-Leger, owner London, in 1999 (see ‘ Air and distance, storm and sunshine’ – Paintings, watercolours and drawings by David Cox, exhibition b. A Hillside, Derbyshire catalogue, 1999, no.27, ill.). Inscribed lower left: Derbyshire Lliwedd is a mountain in North Wales situated next to Pencil on wove paper watermarked: J Snowdon, with its eastern flanks rising up from the Glaslyn valley WHATMAN/TURKEY MILL/1830 188 x 236 mm., 7 ¼ x 9 ¼ in.

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b.

Provenance: Bought by T.H. Simms from Meatyard, London, 1963 By descent from the artist to Hannah Cox Private Collection, UK

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46 DAVID COX This important early watercolour dates from circa 1814/15 Birmingham 1783-1859 Birmingham after Cox had moved to Hereford to teach at Miss Croucher’s Drawing School. It relates to a more finished version of this view painted in 1815 for Samuel Cane, a Butcher’s Row, Hereford Hereford Surgeon, and now in Hereford City Art Gallery.

Watercolour over pencil on two sheets of joined In 1837, Butcher’s Row on Hereford High St was torn down paper during redevelopment of the city. Only the large twin gabled 216 x 301mm., 8 ½ x 11 ¾ in. house on the right house of the picture still remains.

Provenance: With Spinks, London Private Collection until 2011

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47 DAVID COX, JUNIOR Pevsner called Ightham Mote “the most complete small Dulwich 1809-1885 Streatham medieval manor house in the country”, and it remains today as an example of how such houses would have looked in the Middle Ages. Originally dating from around 1340, it was View of Ightham Mote, Kent bought by the Selby family in 1591 and remained in their ownership until 1889. Inscribed in another hand verso: by David Cox Junr/The Moat House/Ightham/Kent – 1849 Watercolour over black chalk heightened with touches of bodycolour on oatmeal paper 363 x 541 mm., 14 ¼ x 21 ¼ in.

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48 EDWARD LEAR c. A Hunting Dog in long Grass Highgate 1812-1888 San Remo Signed lower left: E. Lear a. A Woman outside a Country House Watercolour and pencil heightened with bodycolour 153 x 203 mm., 6 x 8 in. Watercolour and pencil heightened with bodycolour 161 x 216 mm., 6 ¼ x 8 ½ in. Provenance: By descent in the family of the owner since at least the b. Two Wolves in a Mountainous Landscape 1960s These rare early drawings by Lear have recently been Signed lower left: E. Lear rediscovered having been in a family collection for at least fifty Watercolour and pencil heightened with bodycolour years. They date from the late 1820s when Lear was 123 x 17 mm., 4 ¾ x 6 ½ in. establishing himself as an artist. Other drawings from this period are included in two albums by Lear in the Houghton Library, Harvard University (Ms Type 55.4 and 55.27). For others from the same family collection, see Guy Peppiatt Fine Art, summer catalogue 2012, nos. 40-44.

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c.

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49 50 EDWARD LEAR ENGLISH SCHOOL, 1850S Highgate 1812-1888 San Remo a. Moulmein looking North from near the Talien The Mount of Olives, Jerusalem Barracks, Burma

Inscribed lower right and dated: M.t of Olives./21 Signed on part of old mount, dated 10th October April 1858. 120) and variously inscribed with notes 1855 and inscribed with title Pen and brown ink and watercolour heightened Watercolour over pencil with touches of white 228 x 364 mm., 9 x 14 ¼ in. 83 x 250 mm., 3 ¼ x 9 ¾ in. Moulmein (or Mawlamyine) was the first capital of British Lear arrived in Jerusalem on 27th March1858 but the city Burma between 1826 and 1852 after the area was ceded to was crowded as it was Easter so he carried on to Petra Britain under the Treaty of Yandabo. It is situated in the returning on 20th April. The present drawing dates from the Salween river delta and is flanked by low hills dotted with next day, 21st April. Lear describes in a letter, dated 27th May, ancient pagodas. to his patron Lady Waldegrave who had commissioned a view of Jerusalem from him, that ‘My stay in Jerusalem or It is mentioned in the opening line of Kipling’s poem rather opposite the City, – for I pitched my tents on the ‘Mandalay’: Mount of Olives when I had ascertained the point I thought you would like best for your picture, was the most complete “By the old Moulmein pagoda portion of my tour….’ This shows a view looking east from Lookin’ lazy at the sea the Mount of Olives towards the Dead Sea and Masada. There’s a Burma girl a-settin’ and I know she thinks o’ me”. A watercolour of Jerusalem drawn from the Mount of Olives drawn between 24th and 28th April and numbered 116, was b. Pa-an on the Salween river, Burma sold at Sotheby’s on 15th July 1999, lot 103. Signed on part of old mount, dated 4th October 1854 and inscribed with title Watercolour over pencil 249 x 364 mm., 9 x 14 ¼ in.

Pa-an or Hpa-An is the capital of Kayin state in south-east Burma.

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b.

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51 HELEN ALLINGHAM, R.W.S. In its freedom of handling and vibrant colour, this watercolour Swadlincote 1848-1926 Haslemere is unusual among Helen Allingham’s works. The Allingham family spent the summer of 1878 in the picturesque village of Shere in Surrey, where they rented a cottage. During her stay Just Before Moonrise, Shere in Shere the artist painted views of several cottages and farmhouses in the village, as well as the White Horse Inn and Watercolour the surrounding countryside. She also worked in nearby Signed and inscribed H. Allingham / just before Albury, Gomshall and Abinger Hammer. moonrise. Shere at the lower right 5 132 x 141 mm., 5 ¼ x 5 /8 in. The present sheet was once owned by Allingham’s close friend, the painter Briton Rivière, R.A. (1840-1920). Provenance Briton Rivière, London

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52 LOUIS APPIAN winning a scholarship in 1885 to study in Paris, where he Lyon 1862-1896 Lyon completed his training with Alexandre Cabanel. Although he failed to win the Prix de Rome in 1887, Appian enjoyed a measure of success as a painter, although not on a par with Paris in the Rain the reputation enjoyed by his father, alongside whom he sometimes painted landscapes and seascapes. He first Pen and violet ink exhibited his work at the Salon in his native Lyon in 1886, Stamped with the atelier stamp at the lower right showing portraits, nudes and still life subjects, and began 3 162 x 184 mm., 6 /8 x 7 ¼ in. showing at the Paris Salon two years later. Appian’s health was weak, and was already the object of concern to his parents The only son and pupil of the landscape painter Adolphe as early as 1892. A brief trip to Algeria at the end of 1895 Appian, Louis Appian was active as a genre, still life and seems to have aggravated his poor health, and Appian died landscape painter, as well as a portraitist and etcher. He of tuberculosis in December 1896, at the age of only thirty- entered the Ecole des Beaux-Arts in Lyon in 1879, before four.

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53 WILLIAM ROXBY BEVERLY Richmond 1811-1889 Hampstead

Fishermen on Newhaven Beach, Sussex, at Sunrise

Signed lower right Watercolour heightened with bodycolour 233 x 340 mm., 9 x 13 ¼ in.

This is a view of the old wooden pier at Newhaven, one of two on either side of the River Ouse. They created what was once considered one of the safest harbours on the south coast of England during the eighteenth century.

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54 HENRY BRIGHT Saxmundham 1810-1873 Ipswich

Tal y Llyn, Wales

Coloured chalks 262 x 369 mm., 10 ¼ x 14 ½ in.

Tal y Llyn or Llyn Mwyngil, is a large glacial ribbon lake at the southern end of the Snowdonia mountain range. The lake is situated at the foot of Cader Idris, whose slopes can be clearly seen flooded with the light of the setting sun.

See note to artist under no.55

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55 56 HENRY BRIGHT WALLER HUGH PATON, R.S.A., R.S.W. Saxmundham 1810-1873 Ipswich Dunfermline 1828-1895 Edinburgh

Sunrise off the Norfolk coast in Winter A Willow Tree at Hermitage

Signed lower left: H. Bright Signed lower left: W.H. Paton and inscribed lower Coloured chalks right: Hermitage/2d May 1861 660 x 1220 mm., 26 x 48 in. Watercolour over black chalk heightened with bodycolour on brown paper Provenance: 347 x 237 mm., 13 ½ x 9 ¼ in. Anonymous sale, Sotheby’s, 14th November 1996, lot 232, bought by the present owner Provenance: J.S. Maas & Co., London Bright was born in Saxmundham, Suffolk, the son of a Bought by Sir David Scott (1887-1986), 23rd June 1969 clockmaker and was apprenticed to a chemist in Norwich for £126 before turning to drawing. He learnt under Alfred Stannard By family descent until 2008 and took lessons from John Sell Cotman. In 1836 he moved to Paddington and built up a successful drawing practice in Exhibited: London until 1858 when he returned to Saxmundham. He London, J.S. Maas & Co., High Art and Homely Scenes, lived the last years of his life in Ipswich. This is a typical chalk 1969, no.87 drawing by him. This is probably a view on the Hermitage of Braid, an area of natural beauty just south of the city of Edinburgh as Paton was living there at this date. It was designated a nature reserve in 1993.

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57 EDMUND BERNINGER watercolours of sites in England, France, Italy, the Arnstadt 1843-c.1910 Munich(?) Netherlands, Greece, Constantinople, Egypt (where he is thought to have lived for several years), Palestine, Algeria and Tunisia. He painted views of Jerusalem and Cairo, as well as Landscape in Capri richly coloured landscapes and scenes of Oriental markets and caravans. Berninger also worked as an illustrator, and Oil on paper, laid down on panel painted a number of large-scale public works in the form of Signed E. Berninger at the lower right panoramas (including Egyptian landscapes and battle scenes) 7 170 x 251 mm., 6 ¾ x 9 /8 in. and dioramas.

A landscape painter and watercolourist, Edmund Berninger Many of Berninger’s landscapes are of Mediterranean scenes, was born in Thüringia and abandoned an early career as a particularly in Italy. He was particularly drawn to the area pharmacist in favour of training as an artist in Weimar under around the bay of Naples, Sorrento and the Amalfi coast, Theodor Hagen. Settling in Munich in 1874, he then spent producing a number of paintings of coastal views; one such several years travelling around Europe, North Africa and the example is a large View of Capri in the Philadelphia Museum Near East. He produced paintings, oil sketches and of Art, datable to around 1877.

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58 FRENCH SCHOOL Black chalk on blue-grey paper 19th Century 342 x 261 mm., 13 ½ x 10 ¼ in.

Study of a Standing Man Wearing a Tricorne Hat, with An attribution to Philibert d’Amiens de Ranchicourt (1781- a Separate Study of a Hand Holding a Rod 1825) may be suggested.

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59 FRANZ VON STUCK mythological paintings, characterized by Symbolist overtones, Tettenweis 1863-1928 Munich won medals and prizes at exhibitions in Germany, Europe and America over the next three decades. In 1905 he was awarded a Knight’s Cross of the Order of the Bavarian Two Studies of a Male Nude Throne, which raised him to the nobility, and from this point onwards he signed his works as ‘Franz von Stuck’. The artist Red chalk, heightened with white, on blue paper was recognized by many of his contemporaries as a gifted faded to brown draughtsman, and his drawings of male and female nudes Signed STUCK at the lower right centre were particularly admired. While the present sheet cannot 337 x 273 mm., 13 ¼ x 10 ¾ in. [sheet] be definitively related to any work by the artist, the pose of the figure is quite close to that of one of the souls seen in Active as a painter, sculptor, printmaker and architect, Franz shadow in the left foreground of Stuck’s painting The Angel of Stuck was one of the founders of the Munich Secession in Judgement of c.1922, today in the Künstlerhaus am 1892, and soon became among the most successful and Lenbachplatz in Munich. renowned artists in the city. His large and boldly coloured

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60 CESARE CIANI studied. Fattori’s guidance is readily evident in Ciani’s Florence 1854-1925 Florence landscapes, city scenes and portraits, confidently painted with broad, sketchy brushstrokes. Much of his work was devoted to scenes of daily life in his native city of Florence, and in The Head of a Man particular the ‘oltr’Arno’ neighborhood of Borgo San Frediano, where the artist had his studio on the Via dei Serragli. Ciani Charcoal and stumped black chalk, heightened with exhibited his work regularly in Florence, and also exhibited white, on brown paper in Paris in 1899, gaining an honourable mention. Two years Signed Ciani at the lower left after Ciani’s death a large retrospective exhibition of over 180 431 x 318 mm., 17 x 12 ½ in. of his works was held at the Galleria dell’Accademia in Florence. Several paintings by Ciani are today in the collection A student of Giuseppe Ciaranfi at the Accademia di Belle Arti of the Galleria d’Arte Moderna at the Palazzo Pitti in Florence, in Florence in 1878, where he won a prize for painting, while two self-portraits by the artist, one dating from the Cesare Ciani was also strongly influenced by the work of the 1890’s and another painted shortly before his death, are in Macchiaioli painter Giovanni Fattori, with whom he also the Uffizi.

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61 62 WILLIAM LEIGHTON LEITCH JEAN-LOUIS-ERNEST MEISSONIER Glasgow 1804-1883 London Lyon 1815-1891 Paris

A Sailing Boat on a River A Mounted Dragoon

Watercolour over pencil heightened with touches of Pen and grey ink and grey wash, with touches of bodycolour waterolour, heightened with white, on blue paper 202 x 330 mm., 8 x 13 in. partly faded to brown Signed with the artist’s monogram at the lower right Provenance: centre With Colnaghi, London, circa 1950 (A15760) 5 296 x 171 mm., 11 /8 x 6 ¾ in. [sheet]

Provenance The artist’s studio sale, Paris, Galerie Georges Petit, 12-20 May 1893, lot 445 Charles Meissonier His sale, Paris, Hôtel Drouot, 24 April 1901, lot 21 Mrs. John (Dodie) Rosekrans, San Francisco

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‘The incontestible master of our epoch’, as Eugène Delacroix From the late 1840’s onwards Meissonier devoted much of described him, gives some indication of the esteem in which his time to military subjects, basing his paintings on drawings Ernest Meisonnier was held by his contemporaries, critics and and oil sketches of soldiers, their horses, uniforms and the public. Enjoying a career of more than fifty years, he was equipment, mostly taken from life. one of the most famous painters of the 19th century, renowned both in France and abroad. His subject matter This drawing may be a first idea for one of the leading included scenes of 17th and 18th century life, as well as more dragoons in Meisonnier’s painting The Guide of 1883 and contemporary depictions of men at leisure, painted on small exhibited in Paris that year. panels and executed with a meticulous attention to detail.

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63 WILLIAM FRASER GARDEN his watercolours were views of the fen villages along the river Gillingham 1856-1921 Huntingdon Ouse, such as Holywell, Hemingford Grey and St. Ives, each characterized by a remarkable attention to detail and crisp, cool lighting. Throughout the 1880’s Garden was River Landscape near St. Ives, Huntingdonshire represented by the Dowdeswell Gallery in New Bond Street in London, who sold a number of his works. By 1890, Watercolour however, he seems to have given up exhibiting in London, Signed and dated W. F. GARDEN: / ‘97 . at the lower and from then on relied on a small number of local collectors left in Huntingdonshire. He was never, however, a very prolific Faintly inscribed Near S. Ives, Hunts. and 30/ on the artist. As has been noted of Garden, ‘His apparent lack of verso ambition and the consequently few watercolours which he 5 painted each year, even when at his busiest, resulted naturally 195 x 285 mm., 7 /8 x 11 ¼ in. enough in his failing to come to the notice of all but a local Provenance audience.’ Although he was the most successful of the Fraser The Broderick family, Lytham St. Annes, Lancashire. brothers, Garden was very poor for most of his life, and was declared bankrupt in 1899. He lived at in the village of Born into a family of artists, Garden William Fraser changed Hemingford Abbots and later at Holywell, and in his old age his name to William Fraser Garden so as to distinguish himself is said to have paid his bills with drawings instead of bank from his six brothers, all but one of whom were also active notes. Long unknown to scholars and collectors, Garden’s as landscape artists. Arguably the best of the so-called ‘Fraser body of work has only fairly recently been rediscovered, and Brotherhood’, Fraser Garden exhibited his watercolours at his reputation as among the finest Victorian landscape the Royal Academy, the Royal Scottish Academy and the watercolourists firmly established. Royal Institute of Painters in Water-Colours. The subjects of

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64 WILLIAM FRASER GARDEN Fraser Garden’s watercolour views of his native Gillingham 1856-1921 Huntingdon Huntingdonshire and along the river Ouse in Bedfordshire are masterpieces of clarity and detail. As Christopher Newall has written, ‘Garden’s watercolors are a manifestation of the River Landscape near St. Ives, Huntingdonshire late-century revival of interest in the representation of landscape subjects in minute and painstaking detail. He chose picturesque Watercolour but unremarkable subjects in his immediate locality – decrepit Signed and dated W. F. GARDEN: ‘97 . at the bottom mill buildings and riverside inns along the banks of the Great centre Ouse, as well as pure landscapes…His works of the late 1880s Inscribed Near S. Ives, Hunts. - 30/ - on the verso. and early 1890s are extraordinary in their pellucid clarity of light 5 195 x 285 mm., 7 /8 x 11 ¼ in. and their exact delineation of architectural and landscape detail.’ Another writer has noted of the artist that ‘Despite Provenance [his] almost too detailed approach his work lives, though he The Broderick family, Lytham St. Annes, Lancashire. seldom populated his drawings except with a few high-flying birds.’

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65 66 THOMAS MILES RICHARDSON, SENIOR GIOVANNI BOLDINI Newcastle 1784-1848 Newcastle Ferrara 1842-1931 Paris

On the Beach at Cullercoats, Northumberland A Parisian Theatre Audience

Watercolour over pencil heightened with touches of Pencil 7 5 bodycolour 151 x 93 mm., 5 /8 x 3 /8 in. 168 x 283 mm., 6 ½ x 11 in. Provenance Among the contents of Boldini’s Paris studio at the time of his death The artist’s widow, Emilia Cardona Boldini, Ferrara By descent to her nephew, Mario Murari Private collection, Italy.

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Literature are three pages from a similar small sketchbook, each Tiziano Panconi, ed., Boldini Mon Amour: opere note e mai depicting the composer Giuseppe Verdi in the audience at viste, nuove scoperte, fotografie e documenti inediti, the Théâtre du Vaudeville in Paris.) As one recent scholar has Montecatini Terme, 2008, illustrated p.434. noted, ‘The subject of spectators clearly fascinated Boldini, as the large number of pencil and painted sketches suggest.’ Giovanni Boldini produced a large number of pencil drawings and sketches of audiences at Parisian theatres, and several A page from the artist’s sketchbook, this drawing is a examples of these are today in the Museo Boldini in Ferrara preparatory study for a large, unfinished pastel painting by and elsewhere. (Among comparable drawings by the artist Boldini, today in the collection of the Museo Boldini.

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67 WILLIAM COLLINGWOOD, R.W.S. b. A Fishing Boat by the Sea, Hastings Greenwich 1819-1903 Bristol Signed with initials lower right and inscribed: a. Fishermen by their Boats on the Beach at Hastings Hastings/June 11/38 Coloured chalks on buff paper Inscribed lower right: Hastings/Nov.2/38 271 x 186 mm., 10 ½ x 7 ¼ in. Watercolour and pencil heightened with touches of white on grey paper c. A Beached Boat, Hastings 183 x 256 mm., 7 x 10 in. Signed with initials lower left and inscribed: Hastings/June 14/38 Coloured chalks on buff paper 250 x 115 mm., 9 ¾ x 4 ½ in.

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Collingwood was born in Greenwich, the son of an architect. He studied under James Duffield Harding who taught so many artists in the 1820s and 1830s and his influence can be seen in these early drawings drawn in Hastings between June and November 1838. Collingwood became known for his alpine views and exhibited widely. He also established a reputation as a drawing master, teaching at his home at 13 Brixton Hill, London. His cousin William Collingwood Smith was also an artist and his son William Gersham Collingwood was a friend and pupil of John Ruskin.

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68 JAMES BAKER PYNE Bristol 1800-1870 London

View of Heidelberg Castle and the River Neckar, Germany

Watercolour over pencil heightened with bodycolour and gum arabic 317 x 472 mm., 12 ½ x 18 ½ in.

Provenance: With the St Helier Galleries, Jersey

This probably dates from Pyne’s visit to Germany in 1846 shortly after Turner had been there and painted the same view.

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69 JAMES BAKER PYNE Bristol 1800-1870 London

Fishermen by a Harbour

Signed lower right: PYNE. 34 Watercolour over pencil heightened with bodycolour and gum arabic 443 x 595 mm., 17 ¼ x 23 ¼ in.

This early work by Pyne was drawn while he was still living in Bristol and is likely to be a view on the south coast of England.

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70 HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Sussex

The Palazzo del Podesta, Teramo, Italy

Signed with initials lower left and inscribed with title verso Watercolour and bodycolour over pencil on grey paper 120 x 166 mm., 4 ¾ x 6 ½ in.

Exhibited: With the Leger Galleries, London, December 1961 Private Collection until 2012

Teramo is in the Abruzzi region between the Apennines and the east coast of Italy, approximately 93 miles from Rome.

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71 WILLIAM HENRY HUNT room. He often used members of his family as sitters and the London 1790-1864 London present watercolour may show his daughter Emma, which would date it to circa 1845. ‘The Book of Omens’ Hunt was born in Covent Garden, London and, showing promise as a draughtsman, his father apprenticed him to John Indistinctly signed lower right Varley in about 1804. He entered the Royal Academy Watercolour heightened with bodycolour, gum Schools in 1808 and soon afterwards he earned arabic, stopping out and scratching out commissioned from the Duke of Devonshire and the Earl of 262 x 282 mm., 10 ¼ x 11 in. Essex to drawing interiors at Chatsworth and Cassiobury Park respectively. From birth, he had deformed legs and walking Hunt depicts an impressionable young woman who has been was difficult so interiors, still-lives and portraits were obvious reading a book of omens and is consequently startled by a subject matters. From the late 1820s he started exhibiting still- real or imaginary noise she has heard in a dark corner of the lives and soon achieved great success with collectors.

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72a EUGÈNE GRASSET particular jewellery, stained glass and furniture. He also Lausanne 1845-1917 Paris produced designs for theatrical and advertising posters, magazine covers and book illustrations. Design for a Brooch The present sheet is a design for the ‘Marguerite’ daisy brooch – in gold, ivory, enamel, sapphire and topaz – created by the Gouache and watercolour over a pencil jewelers Henri and Paul Vever in 1900 and today in the underdrawing, on buff paper collection of the Musée des Arts Decoratifs in Paris. Half A number of pencil sketches for various elements of hidden by the woman’s flowing hair, the inscription reads ‘Un the brooch drawn near the centre right edge of the peau, beaucoup, passionément, pas du tout’ (‘I love you a little, sheet a lot, passionately, not at all’) , which may better be freely Signed with the artist’s monogram EG at the lower translated into English as ‘She loves me, she loves me not.’ The right ‘Marguerite’ brooch was one of the most admired of some twenty pieces of jewellery, each designed by Grasset and Inscribed Eugene Grasset (?) Vever expo 1900 at the made by Vever, which were shown at the Exposition lower left edge of the sheet. Universelle in Paris in 1900 to much acclaim, winning several 5 7 320 x 250 mm., 12 /8 x 9 /8 in. [sheet] prizes. Of the jewellery designed by Grasset for Vever, twelve examples survive today (eleven in museum collections) while Trained as an architect in his native Switzerland, Eugène the appearance of a further five pieces are known through Grasset settled in Paris in 1871. He was active mainly as a old photographs or preparatory drawings by Grasset. specialist designer in the applied and decorative arts, in

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72b EUGÈNE GRASSET around 1900. The piece was exhibited at the Exposition Lausanne 1845-1917 Paris Universelle in Paris that year but is now lost, and its appearance is known only through this drawing for it. Design for a Comb in the Form of a Hydrangea Flower A stylistically similar drawing by Grasset for a different comb, in the form of a sea nymph, is in the Cooper-Hewitt National Gouache, watercolour and gold over a pencil Design Museum in New York. Three combs designed by underdrawing, on light brown paper Grasset for Vever are today in the collection of the Musée 3 313 x 239 mm., 12 ¼ x 9 /8 in. [sheet] des Beaux-Arts de la Ville de Paris at the Petit Palais in Paris. A similar depiction of hydrangeas is found in an earthenware This drawing, which includes a sketch of the comb in profile, and cloisonné enamel tile designed by Grasset for the ceramic drawn in pencil near the right edge of the paper, is a design factory of Emile Muller & Co. in Ivry in 1894. for a ‘Hortensia’ comb made by the jeweller Henri Vever

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73 GEORGES DE FEURE the facade and designing two suites of furniture for Bing’s Paris 1868-1943 Paris Pavillon de l’Art Nouveau at the Exposition Universelle of 1900; a project that earned extravagant praise from critics. Thereafter he worked closely with Bing as an artiste- An Oriental Palace by the Sea décorateur, providing numerous designs for furniture, stained glass, wallpaper, ceramics and lamps. In 1903 a large Gouache, over a pencil underdrawing, on pale grey exhibition of De Feure’s decorative work for Bing’s Galerie de paper l’Art Nouveau was held in Paris. Among his significant later Signed G de Feure at the lower right projects was the decoration of the Parisian studio of the 3 214 x 267 mm., 8 /8 x 10 ½ in. [sheet] couturier Madeleine Vionnet in 1922, and interiors and pavilions for various expositions. Of Belgian and Dutch origins, Georges de Feure was largely self-taught as an artist and illustrator, and, like such The present sheet would appear to be a design for a stage contemporaries as Alphonse Mucha and Eugène Grasset, set. A compositionally similar gouache drawing, with a castle was equally skilled in the field of applied or decorative arts. He in the distance framed by a proscenium-like arrangement of embarked on an association with the Art Nouveau pioneer trees and branches in the foreground, is in a private collection. Siegfried Bing that was to establish his reputation, decorating

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74 FRENCH SCHOOL lines in black and red ink 20th Century Signed with a device or symbol at the lower right 7 3 557 x 441 mm., 21 /8 x 17 /8 in. A Woman with a Pearl Necklace Provenance Pen and black ink, gouache and watercolour, over a Ralph Esmerian, New York. pencil underdrawing on buff paper, with framing

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75 MATHURIN MEHEUT Douarnenez, Quimper, Roscoff, Paimpol and elsewhere. Lamballe 1882-1958 Paris Between 1910 and 1912 Méheut worked at the marine biology station in Roscoff, and his drawings resulted in the publication of a book , Etude de la mer, flore et faune de la A Holly Branch Manche et de l’Océan, and the exhibition of some 450 of his drawings at the Musée des Arts Décoratifs in Paris in 1913. Gouache and black chalk Throughout his travels, Méheut recorded the appearance of Signed with the artist’s monogram at the lower right the peoples, sites, animals and plants of the places he visited. 306 x 203 mm., 12 x 8 in. A member of the Académie de la Marine, he was appointed official painter to the Marine Department in 1921. In 1925 Provenance Méheut began to decorate commercial passenger ships and The artist’s estate ocean liners such as the SS Normandie. He was also active as By descent to his daughter, Maryvonne Méheut a decorative mural painter, book illustrator, and ceramic The Musée Mathurin Meheut, Lamballe, until 2012 painter. The largest collection of the artist’s work is today in the Musée Mathurin Méheut in Lamballe, established with A Breton painter, Mathurin Méheut established his career in works donated by the painter’s daughter. Paris, although he returned frequently to Brittany, working at

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76 GIUSEPPE (BEPPE) CIARDI completed his training at the Accademia in Venice, where he Venice 1875-1932 Quinto di Treviso studied under Ettore Tito until 1899, when he exhibited two paintings in Venice. In 1894 an exhibition of sixty of the young painter’s works were shown at the Castello Sforzesco in Santa Marta, Venice Milan. In 1900 Ciardi won a prize at an exhibition at the Brera in Milan, and the following year earned a gold medal at an Oil on panel exhibition in Munich. Ciardi worked prolifically and achieved Numbered 9 and inscribed Santa Marta on the much success with his landscape paintings, executed with a reverse confident handling of paint and a particular interest in effects Inscribed Santa Marta – Venezia / l’impressione di of light. Beppe / Ciardi. / per l’autenticità / Emilia Ciardi on the reverse The area of Santa Marta, at the extreme southwestern tip of 5 5 Venice on the Canale della Giudecca, is today the home of 117 x 192 mm., 4 /8 x 7 /8 in. the city’s port. Long a poor, working class neighborhood of fishermen, the area was centred around the church and Provenance convent of Santa Marta, founded in 1315 and rebuilt in 1468. The artist’s wife, Emilia Ciardi, Quinto di Treviso The church was deconsecrated in 1805 and was later used Thence by family descent, until 2011 as a warehouse. Ciardi’s spirited oil sketch shows Santa Marta before the construction of the port buildings and low income Beppe Ciardi was, together with his younger sister Emma, a housing around the abandoned church. student of his father, the painter Guglielmo Ciardi. He

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77 ‘GUNNER’ F. J. MEARS as experienced by a soldier in the trenches. Thirty of his small- c.1890-1929 scale works were exhibited at 20 Old Bond Street in London in May 1920, and among the purchasors of his work were Lady Astor, the Duchess of Norfolk and Lieutenant General Soldiers with Gasmasks Advancing on the Western Hubert Gough, commander of British Fifth Army during the Front at Night Great War. An article about the exhibition in the Daily News of 7 May 1920 bore the headlines ‘Art genius who paints in a Watercolour and silver paint over an underdrawing garret. Lowly man’s pictures bought by aristocracy. Dukes as in pencil customers.’ , and the success of the exhibition is said to have Signed, dated and inscribed Gnr F J Mears BEF 1916 saved Mears and his wife from abject poverty. upside down at the lower left 1 Mear’s work is usually signed upside down. When asked why 114 x 181 mm., 4 ½ x 7 /8 in. this was so, Mears is said to have replied, “The whole world is Very little is known of the soldier and artist F. J. Mears, who upside down. Why should my signature be the right way up?” served with the Royal Garrison Artillery in France and Belgium Paintings by Gunner Mears are in the collections of the during the First World War, as part of the British Expeditionary Imperial War Museum in London, the World War History Force. In a newspaper interview after the war, Mears noted and Art Museum in Alliance, Ohio, and elsewhere. that his watercolours tried to express the horror of warfare

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78 ERICH WOLFSFELD North Africa and the Middle East. A popular and respected Krojanke 1884-1956 London teacher at the Akademie in Berlin, as a German Jew Wolfsfeld was forced to resign from the school in 1935. Three years later he settled in England, bringing much of his work with The Head of a Soldier him. A large and comprehensive exhibition of his work was held at the Derby Art Gallery in 1953. Pen, brush and brown ink and brown wash Signed Erich Wolfsfeld at the lower left The present sheet was drawn during the First World War, 5 373 x 266 mm., 14 /8 x 10 ½ in. when Wolfsfeld served in the German army as an officer and a trainer of military police dogs. The artist produced a number Provenance of drawings and sketches of military subjects, including several By descent in the family of the artist studies of wounded soldiers. These were usually drawn in a combination of pencil, chalk, brown ink and brown or grey Erich Wolfsfeld’s early career was largely devoted to wash, and the artist sometimes even used boot polish, which printmaking, but by 1912 he had begun painting in oils, may be the case here. A related drawing of the same soldier although he always preferred to work on treated paper, seen from the front, of identical technique and dimensions, rather than canvas. He travelled widely, and in particular to was exhibited in London in 1986.

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79 A. MORAEL me fut donnée par son mari quelque temps après le 20th Century décès de Madame Dehouck en Janvier 1930 en reconnaissance de services rendus en cette A Young Moroccan Girl circonstance. M. Maertens.’ pasted onto the old backing board 7 1 Watercolour 300 x 232 mm., 11 /8 x 9 /8 in. Signed and dated A. Morael / Rabat 1921 at the lower right Nothing is known of the female artist responsible for this A typed label reading ‘Cette aquarelle, oeuvre charming watercolour portrait. It is interesting to note, originale de Mademoiselle MORAEL, elève de Mr. however, that the artist was visiting Morocco less than a DEBAENE, présente une jeune marocaine faite au decade after the country had been opened up to foreign visitors. Unlike Tunisia or Algeria, Morocco remained largely course de son sejour au Maroc. Offerte par l’artiste à closed to foreigners throughout the 19th century, until it was Madame DEHOUCK, Postière à DUNKERQUE, elle declared a French protectorate in 1912.

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80 EDWARD GORDON CRAIG of stage design and scenography. In 1904 he was invited to Stevenage 1872-1966 Vence Berlin to work with the Lessing Theatre, and there wrote a book entitled The Art of the Theatre . In Berlin Craig worked with Max Reinhardt on productions of The Oresteia, The Costume Design for a Young Boy Tempest, Macbeth, Oedipus and King Lear . It was also in Berlin that he met Isadora Duncan, whose manager and lover he Watercolour, over traces of an underdrawing in became. He also worked in Florence, Copenhagen and pencil, with touches of white heightening, on light Moscow, where he designed a famous production of Hamlet brown paper in 1912. Between 1908 and 1929, Craig published The Mask , Signed with the artist’s monogram at the left centre the most influential theatrical magazine of the day, as well as Inscribed Francis on the verso several books on the theatre. His activity as a stage designer 5 lessened considerably after the First World War, and his last 244 x 126 mm., 9 /8 x 5 in. production was mounted in 1929. On his death he left much The illegitimate son of the actress Ellen Terry and the architect of his collection of theatrical material to the Bibliothèque Edward William Godwin, Edward Gordon Craig abandoned Nationale in Paris. his career as an actor in 1899 in favour of working in the field

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81 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S. greater pleasure...We once spent a glorious autumn in the Edinburgh 1880-1969 London Highlands, six weeks of perfect painting weather from the start of October to mid-November. The trees, rowan, beech, birch and oak, became more and more autumnal till all was a blaze Perthshire Hillside in Autumn of vermilion and gold...A lot of work was done there: I think I painted forty water-colours.’ Flint first exhibited a number of Watercolour Highland watercolours in his second one-man show, at the Signed and dated W. RUSSELL FLINT 1913 at the Fine Art Society in London in 1911. lower right Titled and inscribed Perthshire Hillside in Autumn / W Russell Flint / 12 Bedford Road / Bedford Park on the old backing board 82 7 1 E. ADELBRECHT 276 x 384 mm., 10 /8 x 15 /8 in. 1921 Provenance The Fine Art Society, London, in 1914 Two Men Observing an Elegant Woman Carrying Erwin H. Furman, Los Angeles Several Hatboxes

William Russell Flint was always particularly fond of the Black ink, watercolour and gouache, over an scenery of his native Scotland. As his friend and biographer underdrawing in pencil and traces of red chalk, on Arnold Palmer has noted of the artist, ‘The dark, rich landscape buff paper, with framing lines in black ink of Scotland is what he likes best to render; and after Scotland, Signed and dated E. ADELBRECHT. 5.21 . at the Spain, and next in order Southern France.’ The artist himself lower right once noted that, ‘I suppose I have painted more Scottish 5 5 landscapes than anything else; and I never paint anything with 321 x 244 mm., 12 /8 x 9 /8 in.

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83 BERNARD BOUTET DE MONVEL urban views, Boutet de Monvel also produced numerous Paris 1881-1949 near the Azores book illustrations, as well as fashion drawings. He provided drawings for Harper’s Bazaar in the 1920’s and 1930’s, and contributed illustrations to the first French edition of Vogue , A Gentleman Smoking published in June 1920, for which he continued to illustrate the latest fashions for several years. He died in a plane crash Ink and gouache in 1949. Signed BERNARD / B. DE MONVEL at the lower left. 5 192 x 101 mm., 7 /8 x 4 in. [sheet] This drawing may be dated to the first half of the 1920’s. Boutet de Monvel was himself a well-known dandy, known Provenance for his innate style and elegant dress sense. As the illustrator Ralph Esmerian, New York. Georges Lepape wrote, in a letter written in November 1926 from New York: ‘Since we arrived a week ago we’ve seen Bernard Boutet de Monvel is regarded as one of the finest a lot of Bernard Boutet de Monvel and his brother Roger. We illustrators of the Art Deco era. He began to study painting in often go out or go to receptions together, and the other night at 1900, with the painter Luc-Olivier Merson. Although he is midnight Bernard and I were in topper and tails on a bus in Fifth perhaps best known as a portrait painter and a painter of Avenue; it was hilarious.’

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84 LAWRENCE EDWIN BLAZEY Lawrence Edwin Blazey was trained under the painter Frank Cleveland(?) 1902-1999 Cleveland(?) Wilcox at the Cleveland School of Art, and also studied at the Cranbrook Academy of Art in Michigan and the Slade School of Art in London. He is best known as a draughtsman and Skyscaper at Night illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, designer, ceramicist Pen and brown ink and brown wash, pencil and and product development engineer. In later years he taught gouache, within a fictive drawn mount at the Cleveland School of Art, and gave lectures on industrial Signed le. blazey and inscribed with a monogram design. Works by Blazey are in the collection of the Cleveland device MG (for Manning & Greene Inc.) at the Museum of Art and elsewhere. lower right 3 The present sheet was probably drawn for the commercial 542 x 394 mm., 21 /8 x 15 ½ in. advertising firm Manning & Greene Inc., of Cleveland, Ohio.

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85 ALGERNON NEWTON, R.A. always seemed to be a warm haze enveloping everything London 1880-1968 London including the sky and the clouds floating behind the roofs and chimney pots looked even more majestic than they had appeared in Cornwall. I was chiefly attracted to the poorer St. Paul’s Cathedral from the South Bank of the districts and the slums. They seemed to me so much more Thames beautiful than the West End of London, there was more of the individual character of London there, far more mental Pen and black ink and watercolour atmosphere and a certain sadness made up of human Signed with initials and dated AN / 23 at the lower associations hung over the sordid streets and backwaters of right London.’ 338 x 470 mm., 13 ¼ x 18 ½ in.

Much of Algernon Newton’s work was made up of urban views of London, often depicted without figures and imbued 86 with a sense of profound stillness and calm. He tended to PAUL MULLER avoid the more famous parts of the city, preferring instead 20th Century the run-down areas of Bayswater, Paddington and the industrial landscapes along the Regent’s Canal in North Lucky Strike London. As Newton recalled in his memoirs, ‘When I first came to London from Cornwall, I could not see anything I Gouache, gold and watercolour on paper laid down wanted to paint but after a few weeks of wandering around the streets in all parts of London, I came to the conclusion that that on board there was much worth painting and that London held a very Signed and dated PMuller / 1928 at the upper left 7 1 individual beauty of its own, a beauty that was London. There 377 x 281 mm., 14 /8 x 11 /8 in. [image]

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87 ROSALIE BRILL Active mainly between 1920 and 1940, Rosalie Brill (née Grantham 1903-1992 Clarke) was the wife of the painter Reginald Brill (1902- 1974), whom she met in 1923 and married two years later. Rosalie served as her husband’s chief model throughout the Lillies in a Pot early years of their marriage. When Reginald Brill was awarded a scholarship to the British School in Rome in 1927 Watercolour over pencil Rosalie accompanied him there and continued to work as an 7 555 x 369 mm., 21 /8 x 14 ½ in. artist. She displayed a particular penchant for flower subjects, and exhibited occasionally at the Royal Academy later in her career.

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88 UBALDO COSIMO VENEZIANI After completing his studies at the Accademia di Brera in Bologna 1894-1958 Milan Milan, Ubaldo Veneziani worked as a fashion illustrator, with his drawings appearing in several fashion magazines. Also active as a painter, illustrator and poster designer in the 1930’s In the Rain and 1940’s, Veneziani eventually gave up a career in the advertising business to devote himself solely to art and design. Pen and black ink. over a pencil underdrawing Datable to the first half of the 1920’s, this drawing appears to Signed VENE / ZIANI at the lower left have been used as an illustration for the Italian monthly review Inscribed testata / piccola at the lower left Novella, Rivista letteraria. The content of the magazine – Further inscribed Novella 4 , base cm. 7.= and 766 / launched in 1919 by the publisher Italia but later taken over Mondadori on the verso. by the Mondadori publishing house – was largely devoted to 7 short stories by Italian writers. 324 x 251 mm., 12 ¾ x 9 /8 in.

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89 CECIL ARTHUR HUNT, R.W.S. Torquay 1873-1965 Burnham

The Blue Moor

Signed lower right Watercolour and bodycolour 298 x 370 mm., 11 ¾ x 14 ½ in.

Provenance: With the Fine Art Society, 1919 Given as a wedding present to Seymour and Joan Whidborne, December 1919

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90 ARTHUR CHARLES KEMP entered the Birmingham School of Art, winning an award for Kings Heath, nr. Birmingham 1906-1968 excellence in arts and crafts at his graduation in 1936. He was Birmingham(?) also qualified as an art teacher, and was thus employed for the next few years, while continuing to work as both aa painter and silversmith. In the early 1940’s the Kemp family The Barn, Cawston Lane Farm moved from Kings Norton in Worcestershire to the town of Rugby in Warwickshire. Kemp also spent much time travelling Brown ink and brown wash over a pencil around Wales, where he would often find subjects to paint, underdrawing, on oatmeal paper and he had a second home at Llanystumdwy, on the river Inscribed AK 88 and 39 on the verso. Dwyfach. One of his few public commissions was a very large 3 5 390 x 574 mm., 15 /8 x 22 /8 in. [sheet] mosaic for the Rugby College of Technology, while a second mosaic of The Virgin and Child , proposed for the rebuilt Provenance Coventry cathedral. never progressed beyond preparatory By descent to the artist’s son, Jeremy Raynham-Kemp drawings. In 1960 Kemp suffered a stroke, which left him without the full use of his left arm, though he continued to Born into a Quaker family, Arthur Kemp had wished to study draw and sketch as often as possible. art but, facing the disapproval of his father, was instead trained as a musician. In the mid-1920’s he joined the City of Datable to c.1939-1940, this drawing depicts the barn at Birmingham Orchestra, but following his marriage in 1934, he Cawston Lane Farm at Rugby in Warwickshire.

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91 ARTHUR CHARLES KEMP artist, his wife and son were staying in a cottage in Skeabrae Kings Heath, nr. Birmingham 1906-1968 in the Orkney Islands, and father and son rowed across the Birmingham(?) Loch of Harray. As his son recalled many years later, ‘1961 saw more improvement in Dad and for the first time ever the three of us went away for a holiday to the Orkney Islands. I had Red Sky over Loch Harray, Orkney hired a rowing boat and Dad and I would go off together where he would be quite content to sit and sketch while I did a spot of Watercolour fishing. Other days we would go off around the headlands and Numbered AK 192 on the verso find a suitable subject to paint. I remember one day the wind 191 x 279 mm., 7 ½ x 11 in. was so strong that I had to hold the paper down on his board for him to paint or the lot would have been blown away to sea.’ Provenance By descent to the artist’s son, Jeremy Raynham-Kemp A related, albeit more finished, sky study is in the collection of the Museum of Modern Art of Wales in Machynlleth in This watercolour was one of a series of sky studies painted Powys, which houses a large number of paintings by Arthur during the Kemp family’s summer holidays in 1961. The Kemp.

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a. Baptism

92 TRISTRAM HILLIER, R.A. Provenance Peking 1905-1983 Bristol The Revd. O. I. Waring, and by descent in the family of the artist until 2010

The Seven Sacraments: Baptism, Penance, Eucharist, Literature Confirmation, Marriage, Ordination and Extreme Ina Oppenheimer, ed., The Mass and Redemption in Unction Pictures, London, 1958, pp. 403-411 Jenny Pery, Painter Pilgrim: The Art and Life of Tristram Hillier, Each pencil or pencil and coloured pencil London, 2008, pp.125-127, figs.104.1-104.7 Each (except Extreme Unction ) signed Hill ier, and each titled and inscribed in the margins 1 Exhibited Each approximately 179 x 158 mm., 7 x 6 /8 in. Bradford, Cartwright Hall, and elsewhere, A Timeless [image] Journey: Tristram Hillier R.A. 1905-1983, 1983-1984, no.99

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b. Penance c. Eucharist

Tristram Hillier’s return to the Catholic faith of his childhood Jenny Pery, in her recent monograph on Hillier, describes the ensured that he remained deeply religious in his mature origins of this series of drawings in more detail: ‘Hillier’s years, and his religious convictions and deep spirituality was delicate drawings, full of spirituality, made to illustrate the Seven at times vividly expressed in his work. This series of drawings Sacraments (1956-57) are all of hands engaged in the representing the seven sacraments of the Catholic faith were sacramental rites. The hand representing Baptism holds a jug, drawn between 1956 and 1957, and were used to illustrate Confirmation is portrayed as an outstretched hand, Penance is a book entitled The Mass and Redemption in Pictures, a single upright hand, Eucharist a pair of hands holding a chalice, published in 1958. As was noted of these drawings when Extreme Unction a downward-pointing hand surrounded by an they were exhibited in the Hillier exhibition of 1983-1984, eye, ear, nose and mouth, Ordination a pair of hands knotted ‘This unusual and unique sequence of seven drawings together and Marriage links two hands with a ring. Some of these representing the position of hands in the Seven Sacraments of were studies of the hands of Christopher Leyne, then art master the Catholic Church were drawn before the Second Vatican at Downside, who in 1956 had suggested that his promising Council made changes in the manner of the administering of pupil Rob Stuart should take private lessons from Hillier. As Leyne the Sacrament. They were produced for an edition of the Bible wrote to Stuart: ‘Tristram, who has been up in the Attic quite a published by his friend George Rainbird. Papal approval was lot doing some drawings of my hands to help illustrate the Seven sought and gained for this in the course of a journey to Rome Sacraments, is very keen on the student having only one master.’ with both George Rainbird and his friend and advisor Fr Philip Hillier’s only pupil, Stuart was initially sent from Downside for Caraman, S.J..’ In her review of the exhibition, Frances weekly tutorials in Hillier’s studio, later confessing that these Spalding singled out these seven drawings, ‘which mesmerize lessons terrified him. He did not become a ‘follower’, eventually with their combination of accuracy and sensitivity.’ abandoning painting in favour of picture dealing while remaining a friend and confidant. The exalted, prayerful quality of the Seven Sacraments drawings can hardly be missed. Perhaps they were an impossible act for a student to follow.’

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d. Confirmation e. Marriage

f. Ordination g. Extreme Unction

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93 EDWARD ARDIZZONE, R.A. French Indo-China 1900-1979 Rodermersham Green

The Watcher

Watercolour over pencil 117 x 220 mm., 4 ½ by 8 ½ in.

Provenance: Mrs E. Ardizzone With Chris Beetles Ltd

Literature: Gabriel White, Edward Ardizzone, London, 1979, colour plate III, between pp.80 and 81

This is one of a series of sketches of the subject, originally on one sheet, recorded by Gabriel White as being in the artist’s collection, and dated by him to circa 1970.

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94 UNKNOWN ARTIST 20th Century

Design for a Poster or Advertisement: A Girl Tasting Sugar from a Barrel

Oil paint, pencil, black chalk and gouache on card 7 301 x 211 mm., 11 /8 x 8 ¼ in.

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95a 95b INGRID GERHARDT INGRID GERHARDT Düsseldorf(?) 1925-2002 Düsseldorf(?) 1925-2002

Landscape with a Bridge over a Stream A Study of Foliage with White Berries

Watercolour and gouache, with pen and brown ink Watercolour and gouache 5 and brown wash, on pale grey paper 221 x 167 mm., 8 ¾ x 6 /8 in. A study of a haystack in pencil on the verso. 5 192 x 292 mm., 7 /8 x 11 ½ in.

Almost nothing is known of the German artist Ingrid Gerhardt, who does not appear in any biographical dictionaries of 20th century artists. She studied at the free art school established by the painter Jo Strahn in Düsseldorf in the 1940’s. Gerhardt lived and worked for much of her later life in France, in the département of Ille-et-Vilaine in Brittany. That she was also active as a printmaker is evidenced by an illustration of a woodcut of a puppet-master, published in the newsletter of a German amateur theatrical society in 1955.

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96a INGRID GERHARDT Düsseldorf(?) 1925-2002

A Study of Leaves, Berries and Fruit

Watercolour and gouache 7 3 200 x 239 mm., 7 /8 x 9 /8 in.

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96b INGRID GERHARDT Düsseldorf(?) 1925-2002

A Derelict Farmhouse

Watercolour and gouache, with pen and brown ink and brown wash Signed and dated I. Gerhardt / 1948 at the lower right 7 176 x 266 mm., 6 /8 x 10 ½ in.

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97 CHARLES FREDERICK TUNNICLIFFE, R.A. income earned from selling his etchings, which so impressed Langley 1901-1979 Anglesey his tutors at the Royal College that he was allowed an extra year to work on this aspect of his art. In 1932 Tunnicliffe was commissioned to produce wood engravings for an illustrated A Lioness edition of Henry Williamson’s acclaimed novel Tarka the Otter, the success of which led to considerable demand for his work Watercolour, heightened with gouache, over an as an illustrator. The artist was to illustrate more than eighty underdrawing in pencil books, including several other works by Williamson, as well 64 x 159 mm., 2 ½ x 6 ¼ in. as books by H. E. Bates, Mary Priestley, Ernest Hemingway, Richard Church and others. Best known for his depictions of Provenance birds, Tunnicliffe published several books of his bird Bunny Bird Fine Art, London, in 1986 illustrations. He also produced drawings as designs for other projects, such as calendars, advertisements and Brooke Bond Literature tea cards. In 1944 he was admitted as an Associate member Robert Gillmor, Charles F. Tunnicliffe. RA: The Composition of the Royal Academy, rising to Academician ten years later. Drawings, London, 1986, p.48, no.272, illustrated p.49 From 1947 until his death Tunnicliffe lived and worked on the island of Anglesey in North Wales. Raised on a small farm in Cheshire, Charles Tunnicliffe drew avidly from an early age and won a scholarship to the Royal The present sheet is study for the large finished watercolour College of Art in London. He supported his scholarship with Whistling Thorn , exhibited at the Royal Academy in 1972.

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98 CHARLES FREDERICK TUNNICLIFFE, R.A. As his close friend and fellow artist Kyffin Williams has written Langley 1901-1979 Anglesey of Charles Tunnicliffe, ‘The whole of nature absorbed him and he was more sensitive to it than any man I have ever met; but it was nature in the particular that motivated his probing eye A Prowling Tiger and forced him to live a life of obsession that produced a body of work that has hardly been equalled by any British artist...He Watercolour, heightened with gouache, over an had learned to master the art of the watercolour, the underdrawing in pencil, and with framing lines in transparency of the wash and the subtle addition of pencil gouache...He had filled his sketch books with information, both 3 163 x 247 mm., 6 /8 x 9 ¾ in. artistic and scientific, that will always be referred to by those who study our wild-life.’ Provenance Bunny Bird Fine Art, London, in 1986 This watercolour is a preparatory study for Tiger , which was included in the exhibition Birds, Beasts & Fishes at the Tryon Literature Gallery in London in 1962. A very similar tiger appears on Robert Gillmor, Charles F. Tunnicliffe. RA: The Composition the cover of an album of a set of fifty Picture Cards entitled Drawings, London, 1986, p.47, no.267, illustrated p.49 Asian Wild Life, illustrated by Tunnicliffe and produced by Brooke Bond Tea in September 1962.

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99 PAUL HOGARTH, R.A. area extending a few miles inland from the lake and seven or Kendal 1917-2001 Cirencester eight miles along its shore contains a historic anthology of the most splendid architecture in America...But marvelous as certain buildings are, what makes Chicago so impressive is the Chicago Skyline placing of these buildings near the lake...Chicago is architecturally successful in setting up great vertical towers near Watercolour, pen and black ink and grey wash, over the lake, contrasting with the texture of the water the an underdrawing in pencil, on thick white paper horizontality of the plains. Although in one of the flattest parts Signed and titled Paul Hogarth Chicago Skyline at the of America, the buildings – just because there is such a lower left concentrated battery – project elevation and suggest, when one 1 407 x 588 mm., 16 x 23 /8 in. [sheet] is on the ground, views from high up. And if one does go high up, one sees by day the immense luminous shield of the lake Literature laid against the shore of roads and parks and buildings, and by Paul Hogarth and Stephen Spender, America Observed , night the endless moving sparkling chains of lights of cars against New York, 1979, illustrated pp.84-85 the lakeside towered over by golden luminous skyscrapers.’

This large watercolour may be dated to 1978, and was used A vertical variant of this watercolour, showing just the left half as a double-page illustration in Paul Hogarth’s book America of the composition, is in a private collection. This smaller Observed , with text by Stephen Spender, published in 1979. drawing was used as one of Hogarth’s illustrations for Nigel As Spender writes, in the text which accompanies the present Buxton’s guidebook America, published in 1979. drawing, ‘The real and lasting triumph of Chicago is that the

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100 ANNE CONNELL Drawn in 2012. Born 1959 Anne Connell lives and works in Portland, Oregon, and has exhibited widely in America over the past two decades. In Study with Juniper November 2009 Stephen Ongpin Fine Art mounted the first exhibition of Connell’s paintings to be held in Europe. A new Gouache and sepia on handmade marbled paper, exhibition of paintings is scheduled for the fall of 2013. mounted on panel 305 x 305 mm., 12 x 12 in.

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INDEX OF ARTISTS

ADELBRECHT, E. no.82 CONTINENTAL SCHOOL, c.1700 no.4 ALEFOUNDER, John no.34 COSTA, Giovanni (Nino) no.32 ALKEN, Henry no.29 COX, David nos.44-46 ALLINGHAM, Helen no.51 COX JNR., David no.47 APPIAN, Louis no.52 CRAIG, Edward Gordon no.80 ARDIZZONE, Edward no.93 CRAPELET, Louis-Amable no.33 ATKINSON, John Augustus no.7 CROMEK, Thomas Hartley no.30

BERNINGER, Edmund no.57 DAYES, Edward no.22 BARNARD, William Henry no.20 DE CAULLERY, Louis no.2 BEVERLY, William Roxby no.53 DE FEURE, Georges no.73 BIANCHI, Mosé no.42 DEVIS, Anthony no.8 BLAZEY, Lawrence Edwin no.84 DE WINT, Peter nos.28, 35 BOLDINI, Giovanni no.66 BOLOGNESE SCHOOL, 17th Century no.1 EDRIDGE, Henry no.24 BOUTET DE MONVEL, Bernard no.83 BRABAZON, Hercules Brabazon no.70 FARINGTON, Joseph no.10 BRIGHT, Henry nos.54-55 FEURE, Georges de no.73 BRILL, Rosalie no.87 FLINT, William Russell no.81 BUTLER, Arthur Gardiner no.41 FRASER GARDEN, William nos.63-64 FRENCH SCHOOL, 19th Century no.58 CALBET, Antoine no.43 FRENCH SCHOOL, 20th Century no.74 CATS, Jacob no.13 FROMENTIN, Eugène no.31 CAULLERY, Louis de no.2 CIANI, Cesare no.60 GERHARDT, Ingrid no.95-96 CIARDI, Beppe no.76 GOOCH, Thomas no.26 COLLINGWOOD, William no.67 GORDON CRAIG, Edward no.80 CONNELL, Anne no.100 GRASSET, Eugène no.72

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HILLIER, Tristram no.92 ROWLANDSON, Thomas nos.14-19 HOGARTH, Paul no.99 RUSSELL FLINT, William no.81 HUNT, Cecil Arthur no.89 HUNT, William Henry no.71 SANDBY, Paul nos.6, 21, 23 SMITH, John Raphael no.27 JOY, John Cantiloe no.12 STUCK, Franz von no.59

KEMP, Arthur Charles nos.90-91 THORNHILL, Sir James no.3 TUNNICLIFFE, Charles Frederick nos.97-98 LAMBERT JNR, James no.5 LAWRENCE, Sir Thomas no.11 VARLEY, John nos.36-40 LEAR, Edward nos.48-49 VENEZIANI, Ubaldo Cosimo no.88 LEITCH, William Leighton no.61 VON STUCK, Franz no.59

MEARS, F. J. (‘Gunner’) no.77 WOLFSFELD, Erich no.78 MEHEUT, Mathurin no.75 MEISSONIER, Jean-Louis-Ernest no.62 MORAEL, A. no.79 MULLER, Paul no.86

NATTES, John Claude no.9 NEWTON, Algernon no.85

PATON, Waller Henry no.56 PILLEMENT, Jean-Baptiste no.25 PYNE, James Baker nos.68-69

RICHARDSON Senior, Thomas Miles no.65

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Stephen Ongpin has more than twenty years of experience as a dealer in Old Master and 19th century drawings. He began his career in 1986 at the long-established gallery of P. & D. Colnaghi, working at the firm's New York branch for ten years before moving to London in 1996. Working closely with Jean-Luc Baroni, Stephen was responsible for organizing the drawings exhibitions mounted by the gallery, and for researching, writing, and editing their annual catalogues of Master Drawings. In 2001 he joined Baroni in forming Jean-Luc Baroni Ltd. in London, with Stephen continuing to assume responsibility for the new firm's drawing department, organizing their successful drawings exhibitions and writing the accompanying catalogues. He has to date researched and written nearly thirty scholarly catalogues of drawings. Since 2006 Stephen has worked as an independent dealer and consultant in the field of Old Master, 19th century and Modern drawings, assisted by Lara Smith-Bosanquet, and sharing a gallery in St. James's in London with Guy Peppiatt. The gallery exhibits at several art fairs, including the Salon du Dessin in Paris and The European Fine Art Fair in Maastricht in March, and Frieze Masters in London in October. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.

Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby's British Pictures department in 1993. He quickly specialised in early British drawings and watercolours and took over the running of Sotheby's Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby's in early 2004 and has worked as a dealer since then, first based at home, and now in a gallery in St James's, which he shares with Stephen Ongpin. Guy's main yearly exhibition of early drawings and watercolours is in May and June and he also exhibits at the Watercolours and Works on Paper Fair in early February, the BADA Fair in March, the Art Antiques London Fair in June and the Winter Olympia Art and Antiques Fair in November. He also advises clients on their collections, buys and sells on their behalf and can provide insurance valuations.

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

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