O N E H U N D R E D ONE HUNDRED D R A W I N DRAWINGS G S & W A AND T E R C O L O WATERCOLOURS U R S S T E P H E N O N G P I N G U Y P E P P I A T T Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd. 2 0 1 3 - Riverwide House 2 0 6 Mason’s Yard 1 Duke Street, St James’s 4 London SW1Y 6BU GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th century to the present day WINTER CATALOGUE 2013–2014 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 We are delighted to present our sixth annual Winter catalogue of One Hundred Drawings and Watercolours , which will, as usual, be accompanied by a Christmas exhibition in our London gallery. The areas of Old Master drawings, early British watercolours, and 19th and 20th century drawings, have long been regarded as disparate fields, each with their own enthusiasts and collectors, auctions and exhibitions. Part of the purpose of this catalogue, and indeed part of 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 fine 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 late 16th 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 £500 to around £15,000 – 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 museum curator. Our respective individual catalogues of more significant drawings will be issued in January and May 2014. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at the gallery over the coming months. Guy Peppiatt Stephen Ongpin Lavinia Harrington The following catalogue contains a combination of drawings and watercolours from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA in red at the top of each page; please therefore direct any enquiries as appropriate. Only a brief account of each drawing is given in the catalogue. Further information and references, as well as high-resolution digital images of each of the works, are available on request. The drawings are available for viewing from receipt of the catalogue. Most of the works are sold framed. A price list is included. 2 SOFA 1 FERRAÙ FENZONI Among the most interesting and distinctive Italian artists Faenza 1562-1645 Faenza active in the late 16th and early 17th centuries, Ferraù Fenzoni arrived in Rome as a young man, working at the Vatican and painting frescoes for several Roman churches. A Young Man Standing in Profile to the Right Between 1593 and 1599 he worked in the Umbrian hill town of Todi before returning to his native Faenza. The Black chalk, with stumping present sheet may be added to a small and stylistically 394 x 183 mm., 15 ½ x 7 ¼ in. homogenous group of figure drawings by Fenzoni, drawn in either black or red chalk, which are today in the Uffizi, Provenance the Albertina, the Biblioteca Ambrosiana in Milan and Dr. Ludwig Burchard, London elsewhere. Each of these drawings is characterized by a robust handling of stumped chalk, abbreviated contours and Literature a particularly expressive treatment of hands, and may be Giuseppe Scavizzi and Nicolas Schwed, Ferraù Fenzoni , dated to the early part of Fenzoni’s long career, before his Todi, 2006, pp.212 and 282, no.D62 move from Rome to Umbria in 1593. 3 SOFA 2 Circle of CLAUDE LORRAIN Prince Jean Cantacuzène, Paris (Lugt 4030) Chamagne 1604/5-1682 Rome By descent to his son, Alexandre Cantacuzène, Paris His sale, Paris, Hôtel Drouot, 4-6 June 1969, lot 506 (as circle of Claude) Landscape with a Bridge over a River Private collection, France Private collection, Florida Pen and brown ink and brown wash, with framing lines in brown ink Numbered 404 This drawing bears the collector’s mark of the famous 18th in brown ink at the lower right century French collector and connoisseur Pierre-Jean 3 7 135 x 201 mm., 5 /8 x 7 /8 in. Mariette, who regarded it as a work by Claude Lorrain. The drawing retained its attribution to Claude when in the Provenance collection of the Baron Malaussena, and throughout the Pierre-Jean Mariette, Paris (Lugt 1852) 19th century, and has only recently been given to an Probably his sale, Paris, anonymous contemporary of the master. 15 November 1775 - 30 January 1776 François Alziari, Baron de Malaussena (Lugt 1887) A version or copy of the present sheet is in the Albertina His sale, Paris, 18-20 April 1866, lot 286 (as Claude), in Vienna, where it is attributed to Pierre Lemaire (c.1612- sold for 210 francs 1688), a follower of Nicolas Poussin. 4 SOFA 3 ITALIAN SCHOOL maps and manuscripts, formed by the Piedmontese Circa 1700 nobleman Cesare Saluzzo (1778-1853) – was acquired en bloc by the Royal Library in Turin in 1952. The present sheet, however, remained in the collection of drawings, A Choir of Angels with Musical Instruments books and manuscripts, mainly of the Italian school, in the possession of Tommaso Alberto Vittorio di Savoia-Genova, Pen and two shades of brown ink and brown wash, 2nd Duke of Genoa (1854-1931) and his eldest son, over an underdrawing in black chalk Ferdinando di Savoia-Genova (1884-1963), 3rd Duke of 3 3 212 x 339 mm., 8 /8 x 13 /8 in. Genoa and Prince of Udine, before being sold and dispersed in the 1950’s. Provenance Probably Cesare Saluzzo, Turin An attribution to the Neapolitan painter Luca Giordano The Dukes of Savoia-Genova (Lugt 47a), (1634-1705) has previously been suggested for this until sold in the 1950’s drawing, by stylistic comparison with two preparatory Giancarlo Baroni, Florence and Switzerland studies, in the Biblioteca Nacional in Madrid and the Metropolitan Museum of Art in New York, for one of the This drawing bears the collector’s mark recently identified major works of that artist’s late, Spanish period; the ceiling as that of the Dukes of Savoia-Genova. The majority of the fresco of Allegory of the Golden Fleece in the Casón del Buen Savoia-Genova collection – some 17,000 drawings, prints, Retiro in Madrid, painted around 1697. 5 SOFA 4 NICOLAS DE LARGILLIÈRE many of his formal portraits were reproduced as Paris 1656-1746 Paris engravings, which served to further his reputation. The 18th century art historian Antoine-Joseph Dezallier A Sheet of Studies of Hands and Arms d’Argenville wrote of Largillière that he worked directly on the canvas, without recourse to preparatory drawings, Black, red and white chalk, on buff paper except for studies of heads, hands and drapery. Indeed, only A portrait study of a cleric in black chalk on the a handful of drawings by the artist are known. It has been verso assumed that, when preparing his compositions, Largillière 1 155 x 304 mm., 6 /8 x 12 in. must have worked from drawings and oil sketches which he kept in his studio. One such oil sketch depicting various One of the leading portrait painters in France during the studies of hands, which can be related to several portraits latter half of the reign of Louis XIV, Nicolas de Largillière by the artist, is in the Louvre. It has been suggested by one was trained in Antwerp and London, settling in Paris in recent scholar that ‘ Dezallier d’Argenville’s observation that 1679. He soon established a reputation as a portrait Largilliere used few drawings can be explained by the fact that painter, and as early as 1681 had painted a portrait of the Largilliere preferred oil sketches to drawings, probably because King. Largillière was accepted into the Académie Royale in the establishment of colour relationships was of primary 1683, and later served twice as its Director. As well as importance to him’. members of the Royal family and the court, Largillière also painted portraits of the landed aristocracy and the haute The attribution of this drawing, which may be dated to the bourgeoisie, as well as leading civil, religious and military end of the first decade of the 18th century, has been figures. The success of his portraiture and the numerous confirmed by Dominique Brême. A closely comparable commissions he received allowed the artist to amass sheet of studies of hands and arms by Largillière, also drawn a considerable fortune.