ONE HUNDREDDRAWINGS

ANDWATERCOLOURS

Stephen Ongpin Fine ArtGuy Peppiatt Fine Art Ltd.

Riverwide House6 Mason’s Yard

Duke Street, St James’sLondon SW1Y 6BU

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GUY PEPPIAT

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2014-2015

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GUY PEPPIATT FINE ARTSTEPHEN ONGPIN FINE ART

ONE HUNDREDDRAWINGS AND WATERCOLOURS

dating from the 16th century to the present day

WINTER CATALOGUE2014–2015

to be exhibited at

Riverwide House6 Mason’s Yard

Duke Street, St. James’sLondon SW1Y 6BU

Stephen Ongpin Fine ArtTel.+44 (0) 20 7930 8813or + 44 (0)7710 328 627info@stephenongpinfineart.comwww.stephenongpin.com

Guy Peppiatt Fine ArtTel.+44 (0) 20 7930 3839or +44 (0)7956 968 284

guy@peppiattfineart.co.ukwww.peppiattfineart.co.uk

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We are delighted to present our seventh annual Winter catalogue of One Hundred Drawings andWatercolours, which will be accompanied by an exhibition in our London gallery. This catalogue includesa wide range of British and European drawings, watercolours and oil sketches, placed more or less inchronological order, ranging in date from the 16th century to the present day. Guy’s selection includesrare early drawings by James Seymour, Louis Philippe Boitard and John Collet, as well as a portrait by theIrish artist Thomas Hickey. Also included is an interesting group of Bristol views by four of the best-knownBristol School artists, namely Samuel Jackson, William James Müller, Francis Danby and the rarely-seenJames Johnson, who died aged only 31. Stephen’s drawings include works by a range of artists activeover four centuries, notably Stefano Della Bella, Samuel van Hoogstraten, Hubert Robert, Jacques-LouisDavid, Edward John Poynter, John William Waterhouse, Edwin Lord Weeks, Camille Pissarro, HenriLebasque, Paul Signac, Gustave Loiseau, Edouard Vuillard, Claudio Bravo and Kyffin Williams.

The works included in this catalogue will, we hope, show that a fine drawing or watercolour is alwaysworthy of attention, whoever the artist and whatever the date. As a glance at the enclosed price list willshow, the prices of the drawings are equally broad in scope – from well under £1,000 to around £15,000– with most of the works at the lower end of this range. This catalogue aims to show that drawings andwatercolours by well-established artists can be affordable, and interesting works by lesser-known artistsespecially so. There is, we believe, much in this catalogue for the novice collector, as well as for the moreexperienced connoisseur or curator. Indeed, we are particularly pleased that a significant number ofBritish, European and American museums have acquired works from these annual Winter cataloguesover the past six years.

Our respective individual catalogues of more significant drawings will be issued in January and May 2015,accompanied by exhibitions in New York and London. In the meantime, we are delighted to present thisWinter 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 PeppiattStephen Ongpin

Julie Frouge

The following catalogue contains a combination of drawings and watercolours from the stock of StephenOngpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA andthe 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, artist’s biographies andreferences, 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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1BOLOGNESE SCHOOL16th Century

Study of a Sleeping Male Nude and a Study of a Right Hand

Black chalk178 x 315 mm., 7 x 12 3/8 in.

ProvenanceProbably purchased in Italy between 1773 and 1781 by John Skippe, The Upper Hall, LedburyHis sister, Penelope Skippe, Mrs. James Martin, Overbury Court, WorcestershireBy descent in the Martin family to Edward Holland, Old Colwall, nr. Malvern, Hertfordshire

His sister, Mrs. A.C. Rayner-Wood, Old ColwallHer nephew, Edward Holland Martin, Old ColwallHis sale, London, Christie’s, 20-21 November 1958, partof lot 127a (as Carlo Maratti)Ralph Holland, NewcastleThence by descent until 2013

The present sheet was once part of the collection of Italiandrawings assembled by the English artist John Skippe(1742-1812) in the last quarter of the 18th century. Whenin the Skippe collection, this drawing was thought to be byCarlo Maratta, an attribution maintained by A. E. Pophamin his catalogue of the Skippe sale in 1958. The drawingappears, however, to be more Bolognese in character, andcloser to the work of the Carracci and their followers. Atentative attribution to Pietro Faccini (c.1562-1602) hasbeen suggested.

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2aNORTHERN SCHOOLFirst quarter of the 17th century

The Martyrdom of Saint Paul

Gouache on vellum, with framing lines in brown ink,laid down on wood Inscribed Callot / 1592 + 1635 / martyre de St. Pa- /-t Paul on the backing board75 x 96 mm., 3 x 3 3/4 in.

ILLUSTRATED SLIGHTLY LARGER THAN ACTUAL SIZE.

ProvenanceAndré Novak(?), according to a label on the old backingboards.

LiteratureJoachim Jacoby, Die Zeichnungen von Adam Elsheimer:Kritischer Katalog, Frankfurt am Main, 2008, p.343, note 262

Despite their evident high quality, the authorship of thissuperb and finely executed pair of gouache drawings on vellum has thus far proved difficult to establish. Their traditional attribution to the 17th century Frenchdraughtsman and printmaker Jacques Callot is untenable,nor are they copies of any etchings by that artist. A morerecent attribution to the Strasburg painter Johann WilhelmBaur (1607-1642), who developed a particular specialty ofsmall gouache drawings on vellum depicting landscapes,battle scenes and allegorical subjects, is more plausible.However, the figures in this pair of gouaches are arguablynot as refined as those found in most of Baur’s work, and the present pair would appear to be somewhat earlierin date.

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2bNORTHERN SCHOOLFirst quarter of the 17th century

The Martyrdom of Saint Peter

Gouache on vellum, with framing lines in brown ink,laid down on wood76 x 96 mm., 3 x 3 3/4 in.

ILLUSTRATED SLIGHTLY LARGER THAN ACTUAL SIZE.

ProvenanceAndré Novak(?), according to a label on the old backingboards

LiteratureJoachim Jacoby, Die Zeichnungen von Adam Elsheimer:Kritischer Katalog, Frankfurt am Main, 2008, p.343, note 262

The artist responsible for this pair of Biblical scenes musthave been inspired by the paintings of Adam Elsheimer(1578-1610), and in particular the small-scale religiousscenes on copper painted by the artist in the first decade ofthe 17th century in Rome. Elsheimer’s small paintings, oftencrowded with figures and full of detail, were highly influentialon the succeeding generation of Dutch, Flemish andGerman artists working in Rome. It is likely, therefore, that the author of the present pair of gouaches, eachcharacterized by a dynamic composition and highly refinedtechnique, may be found among the Northern artists activein Rome in the first quarter of the 17th century.

A tentative attribution to the German painter PieterSchoubroeck (c.1570-1607) has been suggested. OfFlemish origins, Schoubroeck worked in Nuremberg andFrankenthal, and is best known for small and crowdedscenes of Old and New Testament subjects, landscapes andbattle scenes, often painted on copper.

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3aSTEFANO DELLA BELLAFlorence 1610-1664 Florence

Landscape with a Farmhouse

Pen and brown inkInscribed Stefo: della Bella at the lower rightFurther inscribed viene del cantagallina on the verso151 x 210 mm., 5 7/8 x 8 1/4 in.

A hugely talented and prolific printmaker and draughtsman,Stefano della Bella produced works of considerable energyand inventiveness. Succeeding Jacques Callot as Medicicourt designer and printmaker, he published etchings ofpublic festivals, tournaments and banquets in Florence. In1639 he accompanied the Medici ambassador to theParisian court of Louis XIII, and remained in France for tenyears. Della Bella established a flourishing career in Paris,publishing numerous prints and obtaining significantcommissions; indeed, the majority of his prints date from

this period. After his return to Florence in 1650, Della Bellacontinued to enjoy Medici patronage.

Della Bella’s oeuvre numbers over a thousand etchings, andmany times more drawings. Della Bella’s lively drawingsdisplay a keen observation of country life and pursuits, andhe seems to have often worked outdoors, filling severalsketchbooks with scenes of people, buildings and festivities;all drawn on the spot and used as a stock of images andmotifs for both his etchings and more finished drawings.Significant groups of drawings by the artist are today inseveral public collections, with around six hundred sheets inboth the Uffizi and the Louvre, and approximately 150drawings apiece in the Istituto Nazionale per la Grafica inRome and the Royal Collection at Windsor Castle.

A somewhat similar landscape composition, with afarmhouse flanked by trees, is found in an album of drawingsby Stefano della Bella in the collection of the FitzwilliamMuseum in Cambridge.

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3bSTEFANO DELLA BELLAFlorence 1610-1664 Florence

Design for a Table Ornament: A Saltcellar(?) in theForm of a Child Resting on a Bundle of Wheatstalks,Holding a Platter

Pen and brown ink, over an underdrawing in blackchalk177 x 80 mm., 7 x 3 1/8 in.

As a designer of ornament, Stefano della Bella was a creative and highly original artist whose work anticipates the Rococo manner of the 18th century. Indeed, many ofhis ornamental prints directly influenced the work of suchlater artists and designers as Juste-Aurèle Meissonier, Gilles-Paul Cauvet, Mauro Tesi, Johan Paul Schor and Gilles MarieOppenord. This drawing may be compared stylistically tosuch ornamental drawings by Della Bella as a design for ASaltcellar in the Form of a Mermaid Holding a Shell in a privatecollection in Chicago, or a design for a monstrance in theLouvre. Similar drawings for table ornaments by the artistare in the Louvre, the Uffizi, the Royal Collection at WindsorCastle, and elsewhere.

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4CONRAD MEYER THE ELDERZurich 1619-1689 Zurich

Study of a Horse

Pen and grey ink, with touches of white heightening,on paper washed a pale brownSigned and dated Conrad Meyer fecit. / Ao. 1653. atthe lower right349 x 408 mm., 13 3/4 x 16 in.

The son and pupil of the artist Dietrich Meyer, ConradMeyer completed his training in the Frankfurt studio of theprintmaker Matthäus Merian the Younger. He continued towork in Germany, mainly in Frankfurt and Augsburg, in theearly years of his career, before returning to settle in hisnative Zurich in 1643. There he was soon established as a

prolific and successful portrait painter and engraver. As apainter Meyer produced mainly portraits – including manyof the leading citizens of Zurich – as well as landscapes, buthe came to specialize in engravings on copper. Meyer’soeuvre as an engraver numbers over a thousand prints,notably portraits and allegorical subjects, as well as a handfulof important maps and charts. In 1655 Meyer is known tohave travelled for several weeks in the Alps in the companyof the Dutch artist Jan Hackaert.

A stylistically comparable pen and ink drawing of Two Skullson a Ledge by Conrad Meyer was sold at auction inAmsterdam in 1989. Also similar in handling, although morecomplex in medium and probably intended as a finishedwork in its own right, is A Standing Wild Man, dated 1649,which was recently acquired by The Metropolitan Museumof Art, New York.

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5JEAN-BAPTISTE TAVERNIERActive in the second half of the 17th century

A Calligraphic Design for a Frontispiece

Pen and brown inkInscribed, signed and dated EXEMPLAREN / VAN /Verscheyden geschriften / Seer nut in de bequaem voor / Allebeminders en Liefhebbers der Pennen / DOOR / JoannesBaptista Tavernier / Anno 1652 in the centre205 x 302 mm., 8 1/8 x 11 7/8 in. [sheet]

ProvenanceAnonymous sale, Brussels, Les Nouvelles Galeries deParis, 23-24 October 1995, lot 656Jacques Hollander, Ohain, BelgiumThence by descent until 2013

The inscription on this drawing may be approximatelytranslated as ‘Examples of penmanship, very useful for all thosewho admire writing, by Jean Baptiste Tavernier, in the year1652’. The present sheet may have served as a design for the frontispiece of J. B. Tavernier’s Collection ofCalligraphic Pieces, published in Bruges between 1651 and1672. Intended as a guide to penmanship, a manuscriptcopy of this work is in the collection of the NewberryLibrary in Chicago.

It remains unclear whether the artist responsible for thisdrawing may be identified with the well-known French gemmerchant and inveterate traveller Jean-Baptiste Tavernier(1605-1689), who made six long voyages to Persia andIndia between 1630 and 1688. Tavernier was the son andnephew of cartographers, and it is thought likely that he hadsome practice of both cartography and engraving. In theyear 1652, however, Tavernier is known to have been inthe midst of the fourth of his six famous voyages, to India.

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6SAMUEL VAN HOOGSTRATENDordrecht 1627-1678 Dordrecht

A Man Giving Money to a Beggar

Pen and brown ink and brown wash, within framinglines in brown inkInscribed Rembrandt / Anfs(?) on the verso87 x 111 mm., 3 3/8 x 4 3/8 in.

Initially a pupil of his father Dirck in Dordrecht, Samuel van Hoogstraten entered the studio of Rembrandt inAmsterdam in 1641. Working alongside artists such as Carel Fabritius and Abraham Furnerius, Van Hoogstratenremained in Rembrandt’s workshop until 1648, when hereturned to Dordrecht. His first dated independent paintingswere executed in 1644, while his earliest known drawingdates from two years later. After leaving Rembrandt’s studio,Van Hoogstraten began a series of travels throughoutEurope, spending time in Germany and Vienna, wherebetween 1651 and 1656 he worked at the Imperial court.

Arriving in Rome, he joined the Schildersbent, theassociation of Dutch artists in the city, earning the nickname‘Batavian.’ Between 1662 and 1667 Van Hoogstraten wasemployed at the court of King Charles II in London, andfollowing this worked in The Hague, where he is recordedas a member of the local artist’s guild, the Confrerie Pictura,between 1668 and 1671. He painted biblical subjects,portraits and genre scenes, and also produced etchings andnumerous drawings. The final years of Van Hoogstraten’scareer were spent in his native Dordrecht, where he wrotea treatise on painting, published shortly before his death in1678. Among his pupils were Arent de Gelder, ArnoldHoubraken and, possibly, Willem Drost.

As a draughtsman, Samuel van Hoogstraten worked mainlyin pen and ink, often working up his drawings with brushand brown wash, and occasionally with red chalk. Around150 drawings by the artist survive, mostly of Biblical subjects,as well as sheets of studies, nudes and single figures. Themajority of his drawings may be dated to the period of histraining with Rembrandt, between 1641 and 1648, or tothe early years of his independent career in the 1650’s.

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7MARCANTONIO FRANCESCHINIBologna 1648-1729 Bologna

Charity, Surrounded by Angels

Pen and brown ink and brown washSquared for transfer in black chalk388 x 291 mm., 15 1/4 x 11 1/2 in.

ProvenancePaul Wallraf, Paris and LondonPrivate collection, London

A preparatory study for the figure of Charity, one of fourpendentive frescoes below the cupola of the cathedral atPiacenza painted by Franceschini between 1688 and 1689.

Depicting allegorical female figures of Charity, Faith, Chastityand Humility, the pendentives were detached from thecupola during the renovation of the cathedral between1894 and 1902, and were thereafter displayed in theConvento degli Agostiniani. Largely destroyed during theAllied bombardment of Piacenza in 1943, the frescoessurvive today only as fragments. The now-lost fresco ofCharity, in its final form, differed only slightly from thecomposition of this drawing, mainly in the completelydifferent pose of the winged angel at the bottom. Two otherpreparatory studies by Franceschini for the Piacenza Charityare in the Museo Davia Bargellini in Bologna and TheMetropolitan Museum of Art in New York. A relateddrawing for Charity, by a pupil of Franceschini, is in the RoyalCollection at Windsor Castle, while a close copy of thepresent sheet, probably by Franceschini’s chief assistantGiacomo Boni, is in the Uffizi in Florence.

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8JAMES SEYMOUR London 1702-1752 London

Study of a galloping Horse and Jockey

Pencil on laid paper144 x 178 mm., 5 1/2 x 7 in.

Seymour was one of the best known horse painters,alongside John Wootton, of the mid eighteenth century.

Born in London, the son of a banker, he reportedly lived soextravagantly at Newmarket that his wealthy father diedbankrupt in 1739. He worked in Newmarket and producedconfident pencil drawings on the spot which he used forlarge scale paintings. He painted most of the best knownhorses of the period with examples of his work being in theRoyal Collection, British Museum, Yale Center for BritishArt, the Tate Gallery and elsewhere. For a drawing of ahorse in a similar pose, see the exhibition catalogue byWilliam Drummond, ‘The Ingenious Mr Seymour’, 1978, no.38, ill. pl.6.

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9DONATO CRETICremona 1671-1749 Bologna

A Young Woman

Pen and brown ink, oval, with framing lines inbrown inkInscribed (by Horace Walpole) Donato Creti on the backing sheet104 x 74 mm., 4 1/4 x 2 7/8 in.

ProvenanceHorace Walpole, 4th Earl of Orford, Strawberry Hill,Twickenham, MiddlesexBy descent to his cousin’s daughter, Anne SeymourDamer, and thence to his great niece, Laura, Countess of Waldegrave, by 1811Thence by descent to George Waldegrave, 7th Earl ofWaldegraveHis sale of the contents of Strawberry Hill, London,George Robins, 13 June 1842 onwards, possibly part of lots 1262 or 1263

Prof. Sir Albert Richardson, P.R.A., Avenue House,Ampthill, BedfordshireThence by descent until 2013

ExhibitedTwickenham, Orleans House Gallery, Horace Walpole andStrawberry Hill, 1980, no.200

In his biography of the artist, Giampietro Zanotti writes thatDonato Creti’s drawings were highly regarded by hiscontemporaries. (The painter Marcantonio Franceschini, forone, praised the artist as a ‘grandissimo disegnatore’.) Ingeneral he preferred to use pen and ink wash for his studies,drawn with a rapid, calligraphic stroke, although he alsoproduced head studies in chalk. Landscapes, figure studiesand portraits make up the bulk of Creti’s drawings, many ofwhich, according to Zanotti, were given away as presentsby the artist.

The attribution of this drawing, which may be dated to thefirst or second decade of the 18th century, has beenconfirmed by Marco Riccòmini.

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10LOUIS PHILIPPE BOITARD France fl. 1733-1767 London

a. Study of a Woman and Child drawn from Life

Inscribed lower left: from the life.Pen and brown ink and watercolour on laid paper174 x 113 mm., 6 3/4 x 4 1/4 in.

Provenance:With Bill Drummond

These figures were used in a crowd scene in Boitard’s 1747etching ‘The Covent Garden Morning Frolick’, a copy ofwhich is in the British Museum (BM Sat 2877).

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b. Study of a Man carrying a Tankard

Pen and brown ink and watercolour 185 x 112 mm., 7 1/4 x 4 1/4 in.

Provenance:With Bill Drummond

Born in France, Boitard was brought to London by his fatherwhere he became an artist and engraver. These twodrawings typically show his interest in the street life ofLondon. In 1766, he was commissioned by Robert Sayer toproduce 86 drawings of London street characters for ‘TheCries of London.’ There are three similar drawings of figuresin the British Museum and the Yale Center for British Art.

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11THOMAS HICKEY Dublin 1741-1824 Madras

Portrait of Dr Kennedy

Half-lengthSigned centre right: T. Hickey/1774Coloured chalks over pencil on laid paper, oval210 x 164 mm., 8 1/4 x 6 1/4 in.

Provenance:Anonymous sale, Christie’s, 17th May 1934, lot 47;With J. Maher, 1939

Literature: Edward A. McGuire, ‘Pastel Portrait Painting in Ireland inthe XVIII century’, Connoisseur, vol. CIII, 1939, p.11, fig. v;Neil Jeffares, Dictionary of Pastellists before 1800, 2006, p.236, ill.

Hickey was a portrait painter working mainly in oil as wellas pastel. Born in Ireland, he studied in Italy from 1761 to1767 and was in London by 1770. He worked in Bath from1776 to 1780 when he set off to India via Portugal wherehe spent several years, reaching India in March 1784. InIndia, he set up a successful practice as a portrait painterworking for Tipu Sultan amongst others and remainedthere, except for an interlude in Ireland from 1796 to 1798,until his death in Madras in 1824.

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12MARGARET SARAH CARPENTERSalisbury 1793-1872 London

Portrait of Minnie and Janie Smith

Gouache on paper laid on canvasOval 181 x 225 mm., 7 x 8 3/4 in.

Margaret Carpenter was the daughter of Captain AlexanderGeddes and took lessons as a young woman from aSalisbury drawing master. She established herself as a

portrait painter in London from 1814 and exhibited 147pictures at the Royal Academy from 1818. In 1817 shemarried William Hookham Carpenter, who in 1845 wasappointed Keeper of Prints and Drawings at the BritishMuseum. She produced everything from miniatures to full-length portraits in oil and was well known and successful inher day. Her sister married the artist William Collins, R.A.Examples of her work are in the British Museum and theVictoria and Albert Museum. This may be the pictureexhibited at the Royal Academy in 1849, no. 376 as ‘TheChildren of George Smith Esq.’

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13JOHN COLLETLondon c.1725-1780 Chelsea

An East Indian Buffalo

Inscribed with title on reverse of original mountPen and grey ink and watercolour140 x 211 mm., 5 1/2 x 8 1/4 in.

Collet studied at the St Martin’s Lane Academy and was apupil of the landscape artist George Lambert. He was muchinfluenced by Hogarth. He exhibited at the Free Society of Artists from 1761 until his death and a number of his drawings were engraved. His work is characterised by a thick pen and ink outline. Another version of thiswatercolour was sold as part of the Cornish Torbockcollection at Sotheby’s on 14th April 1994, lot 165.

14FRENCH SCHOOL18th Century

The Église du Dôme at the Hôtel des Invalides, Paris

Pen and black and grey ink and grey wash, withtouches of watercolour, over traces of anunderdrawing in pencil Framing lines in black inkFaintly inscribed A3 (or AB?) at the lower left345 x 263 mm. (13 5/8 x 10 3/8 in.)

The royal chapel of the Église du Dôme is part of the Hôtelnational des Invalides, a large complex of buildings in Parisbuilt in the late 17th century and intended to serve as amilitary museum, monument, and a home and hospital forretired soldiers. Initiated by Louis XIV, construction on themain buildings was begun in 1670. The royal chapel itself,dominated by an immense cupola, was begun in 1679 andcompleted in 1706. Designed by the architect JulesHardouin-Mansart, it is one of the masterpieces of FrenchBaroque architecture.

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15SAMUEL HOWITTNottinghamshire 1756-1822 London

Deer in a Wooded Landscape

Watercolour over pencil on laid paper168 x 229 mm., 6 1/2 x 9 in.

Howitt was born into a wealthy Quaker family in Chigwell,Essex and originally took up drawing as a hobby. Hebefriended the artists Rowlandson and George Morland andhis style is much influenced by the former, whose sister hemarried in 1779. He rapidly dissipated his fortune howeverand took up drawing professionally, specialising in scenes ofhunting and other countryside pursuits. He is probably bestknown for his illustrations for Williamson’s Oriental FieldSports published in 1808.

16HUBERT ROBERTParis 1733-1808 Paris

Wooded Landscape with a Washerwoman at aFountain

Red chalk counterproof, laid down on an old mountDated 7. Avril 1771 and inscribed H. Robert pourL’abbée de St. Non. in the margin of the mount365 x 290 mm., 14 3/8 x 11 3/8 in. [sheet]

ProvenanceJean-Baptiste-Claude Richard, Abbé de Saint-Non, Paris

According to the inscription on the mount, this drawing wasonce in the collection of Hubert Robert’s friend and patron,Jean-Claude Richard, Abbé de Saint-Non (1727-1791).The date of 1771 inscribed on the mount may be accurate,as the drawing would certainly seem to date from afterRobert’s return to France from Italy in 1765. By the early1770’s he had developed his mature style as a draughtsman,creating attractive landscapes and pastoral scenes with arefined and subtle use of red chalk.

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17aROBERT DIGHTONLondon 1751-1814 London

The Pretended Elopement

Pen and grey ink and watercolour over pencil onlaid paperOval 192 x 145 mm., 7 1/2 x 5 3/4 in.

Provenance:Colin Hunter (1926-2013)

17bROBERT DIGHTONLondon 1751-1814 London

A Connoisseur

Signed on border l.r.: Dighton del. and inscribed:402/A ConnoisseurPen and grey ink and watercolour over pencil in apainted ovalImage 134 x 109 mm., 5 ¼ x 4 ¼ in.

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Provenance:Carrington Bowles family, by descent until sold atSotheby’s, 30th April 1953 as part of an album, bt Sabin;Bought by Jeffrey Rose, 1953, his sale Sotheby’s, 23rdFebruary 1978, lot 7;Colin Hunter (1926-2013)

Engraved:By Bowles and Carter for ‘A Book of Heads’, 1795

The son of a London printseller, Dighton was a man ofmany talents – caricaturist, actor, writer and singer. He isbest known for his satirical portraits which he exhibited atthe Free Society and the Royal Academy. His sons Richardand Joshua also became caricaturists.

These drawings/ b. comes from a group of over onehundred watercolours by Dighton assembled into an albumin the 1830s by the family of Carrington Bowles who wasone of the main publishers of Dighton’s mezzotints.

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18aTHOMAS ROWLANDSONLondon 1756-1827 London

Horses and Coaches outside an Inn

Pen and grey ink and watercolour heightened with touches of bodycolour216 x 322 mm., 8 1/2 x 12 1/2 in.

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18bTHOMAS ROWLANDSONLondon 1756-1827 London

b. Neck or Nothing – Tally Ho

Signed or inscribed lower rightPen and grey ink and watercolour over traces of pencil119 x 177 mm., 4 3/4 x 7 in.

Engraved:Published by Laurie & Whittle, 53, Fleet St, London, 3rdDecember 1804

Exhibited:Richard Green and Frank T. Sabin, Thomas Rowlandson,1980, no. 22

The engraving was subtitled ‘No dangers we fear that canHunting betide,/For Courage was ne’er to a Sportsmandeny’d.’

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19MICHEL VINCENT CHARLES BRANDOINVevey, Switzerland 1733-1790 Vevey, Switzerland

View of Cluses, Savoy, France

Inscribed on reverse of original washline mount:View of Cluse, a small Town in Savoy on the road/toItaly.Pen and grey ink and watercolour heightened withtouches of bodycolour on laid paper169 x 223 mm., 6 1/2 x 8 3/4 in.

Provenance:Sir William Forbes, 6th Bart of Pitsligo (1739-1806);Anonymous sale, Sotheby’s, 15th July 1999, lot 72

Born in Switzerland, Brandoin was sent to Amsterdam in1748 to work as an apprentice in his uncle’s textile firm. In1762, his uncle died and he moved to London, living inChurch Street, Chelsea, until he returned to Switzerland in1772. In London, he took lessons from Paul Sandby anddevoted himself to painting in watercolour. He took onpupils and worked on commissions for both English andSwiss patrons, as well as exhibiting at the Royal Academyand elsewhere.

On his return to Vevey, he was busy with commissions bothpublic – designs for fountains, church organs, pulpits andmausoleums – and private. The present watercolour wasone of a group belonging to Sir William Forbes and sold atSotheby’s in 1999. Forbes had undertaken his Grand Tourin 1792 and 1793 and presumably bought the group fromthe artist when passing through Switzerland.

Cluses is in the Arve Valley, about 25 miles south of Genevaon the road to Chamonix.

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20JACOB VAN STRIJDordrecht 1756-1815 Dordrecht

A Rhine Landscape with Peasants at Work, afterHerman Saftleven

Watercolour, pen and brown and grey ink, withframing lines in brown inkSigned, dated and inscribed Roelofseck: / HermanSaftleven. f. A: Utrecht / Anno 1664. / na hetorgeneele het welk berust by den / wel edele Heer Mr

Barthout van Slingelandt, vryheer van Slingeland / enGoidschalxoord te dordrecht. door Jacob van Stry1784 on the verso187 x 235 mm., 7 3/8 x 9 1/4 in.

ProvenanceThe ‘Pictura’ society, Groningen (Lugt 2028)

A fine example of a type of highly finished watercolour thatJacob van Strij produced throughout his career, this is amongthe relatively few signed and dated works by the artist, andwas almost certainly executed as an independent work ofart. It is a faithful copy of a small oil painting on panel, dated1664, by the 17th century Dutch artist Herman Saftleven.As the inscription on the verso notes, van Strij made thedrawing in 1784 from Saftleven’s painting, which was at thattime in the collection of M. Barthout van Slingeland, lord ofSlingeland and Goidschalxoord, near Dordrecht. Saftleven’ssmall painting, one of a pair of Rhineland compositions, isnow in a private collection. The painting is signed, dated andinscribed ‘Roelofseck’ on the reverse, which may refer tothe town of Rolandseck, on the Rhine south of Bonn.

Like many Dutch artists of the 18th century, Jacob van Strijmade a number of elaborate watercolour drawings after the paintings of earlier Dutch masters. Often, as in the case of the present sheet, van Strij would base hiswatercolour copies on paintings to be found in localDordrecht collections.

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21FRENCH SCHOOLLate 18th Century

A Cross Section of the Interior of a Theatre: ThePanthéon in the Place du Carrousel, Paris, in c.1786

Pen and black and red ink and brown wash, over apencil underdrawing, on two joined sheets of paperSigned(?) with a monogram Dr at the lower rightInscribed 1 pouce pour toise / 2 lignes pour pied /métrique at the lower right452 x 600 mm., 17 3/4 x 23 5/8 in.

ProvenancePrivate collection, FranceSeiferheld and Co., New YorkAnthony Hail and Charles Posey, San Francisco

Inaugurated in 1786, the theatre and ballroom known asthe Panthéon was built on the Place du Carrousel in front

of the Louvre, on the site of the recently demolished 17thcentury Hôtel de Rambouillet. Its name Panthéon wasderived from the circular cupola of the structure. The highcost of the land on which it was built led the architect tosituate the ballroom – known as the Saloon du Vauxhall, ordu Panthéon, and measuring sixty by thirty-five feet – onthe first floor, to allow for shops on the ground floor. Twoengravings published in the Journal polytype des sciences etdes arts of 27 October 1786 record the interior of theballroom and a cross-section of the entire building

The architect of the Panthéon is unknown, but it may havebeen either Nicolas Lenoir, known as Lenoir le Romain(1733-1810), or Nicolas Le Camus de Mézières (1721-1789). Both architects profited from the Parisian vogue fordancing halls known as ‘Vauxhalls’, after Vauxhall Gardensin London, and each designed several theatres in Paris ataround the same time. Numerous ‘Vauxhalls’ were built inParis in the second half of the 18th century, of which thePanthéon was one of the finest. The building was destroyedby fire in 1836.

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22JOHN AUGUSTUS ATKINSON London 1775-c.1833

Roundheads by a Church

Pen and grey ink and watercolour248 x 197 mm., 9 3/4 x 7 3/4 in.

Atkinson went to St Petersburg with his uncle aged ninewhere he studied the paintings in the Hermitage and gainedthe patronage of the Empress Catherine. Aged 21, hereturned to London and specialised in Russian views andbattle scenes. He exhibited at the Royal Academy andelsewhere and a number of his Peninsular War battle sceneswere bought by the Duke of Wellington.

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23WILLIAM PEARSON Durham 1772-1849 London

View of Snowdon from Moel Hebog, North Wales

Watercolour over pencil 372 x 552 mm., 14 1/2 x 21 3/4 in.

Provenance:With John Manning, New Bond St, 1960s;Private Collection, UK

The son of a Durham solicitor, Pearson’s artistic training isunrecorded. Although the influence of Thomas Girtin isclear in his watercolours, there is no evidence of a directlink between the two. He first exhibited at the RoyalAcademy in 1799 and his exhibits suggest that he visitedWales in 1801. In 1802, he moved to Shrewsbury andmany of his known works and engravings are ofShropshire views.

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24MOSES GRIFFITHCaernarvonshire 1749-1819

Llanidan Church, Anglesey

Signed with initials lower centre, dated 1806 andinscribed with titleWatercolour over pencil154 x 273 mm., 6 x 10 3/4 in.

Moses Griffith was born at Trygain House in Lleyn,Caernarvonshire of poor parents. In 1769 he wasemployed by the naturalist, writer and antiquarian ThomasPennant (1726-1798) of Downing Hall near Whitford,Flintshire, and encouraged to study drawing and engraving.Griffith became Pennant’s constant companion on his toursof the country recording what he saw. After Pennant’sdeath, he continued to work for his son until 1813 andsettled at Wibnant near Holyhead, Anglesey and worked asan engraver.

Llanidan is a parish sitting on the banks of the Menai Straitsin south-east Anglesey which includes the village ofBrynsiencyn. This shows old Llanidan church dedicated toSt Aidan, a seventh century bishop.

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25aTHOMAS HEARNEBrinkworth 1744-1817 London

Durham Castle and Framwell Gate Bridge

Grey washes over pencil on laid paper182 x 248 mm., 7 x 9 3/4 in.

Provenance:With Michael Spratt, Guildford;With the English Gallery, Cambridge;Private Collection until 2014

Views of Durham by Hearne are in the British Museum,Ashmolean Museum, V & A Museum, Norwich CastleMuseum and Leeds City Art Gallery (for three of them, seeDavid Morris, Thomas Hearne and his Landscape, 1989, pls.61-63, pp. 80-81).

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25bTHOMAS HEARNEBrinkworth 1744-1817 London

The Gateway at Erwarton Hall, Suffolk

Inscribed verso: Arewarden Suffolk/July 1799Grey washes over pencil154 x 239 mm., 6 x 9 1/4 in.

Provenance:With Spinks, London;Private Collection until 2014

Erwarton Hall is on the Shotley peninsula, nine miles southof Ipswich. The Hall was rebuilt in 1575 and the tunnelvaulted gateway, which still exists today, from 1549. Beforethe rebuilding, the house belonged to Anne Boleyn’s uncleand she is supposed to have been a regular visitor. Theestuary of the river Stour is beyond with the old town andchurch of Harwich in the distance.

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26VENETIAN SCHOOL18th Century

A Standing Man Wearing a Bicorne Hat, Seen fromBehind

Pen and brown ink and brown wash137 x 104 mm., 5 3/8 x 4 1/4 in.

27DR WILLIAM CROTCH Norwich 1775-1847 Taunton

Sir Joseph Lock’s organ room, Oxford

Inscribed verso: No 1 Sir Joseph Lock’s Organ RoomOxford/Over the organ, A Cast of Roubiliac’s Mon.t of Handel Westminster Abbey/& 2 Sphinxes –The/Original Egyptian/Sphinx is supposed by some/tobe the figure of some animal wch has by Timeassumed a/resemblance to the female face & bust –others say it is a combination of/the 2 summer signs of the Lion & the Virgin/Copied Aug 31 1842. Theoriginal is in oblique perspective/The Organ was builtfor his/own/daughter by EnglandWatercolour and pencil178 x 228 mm., 7 x 9 in.

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Provenance:Iolo Williams (1890-1962);By descent until sold at Sotheby’s, 25th November 2004,lot 133

Crotch was born in Norwich and achieved early fame as amusician. At the age of four, he was giving daily organ recitalsin London and composed his first oratorio aged 11 whenstudying music in Cambridge. In the late 1780s he settled inOxford where he met John Baptist Malchair (1731-1812),the German-born leader of the band in the Music Room atOxford. Malchair became a firm friend and influenced bothCrotch’s music and his art. In 1790 at the age of 15 Crotchwas the organist of Christ Church College and became aProfessor of Music in 1797. He returned to London andwas the first Principal of the Royal Academy of Music from1822 until 1832 – many of his known drawings date from1832 onwards. He was a talented artist and draughtsman

and usually inscribed the reverse of each drawing with aplace, date and often the precise time. For more on Crotch,see Jonathan Rennert, William Crotch (1775-1847)Composer, Artist, Teacher, 1975.

Sir Joseph Lock was Mayor of Oxford. The cast of Handelmentioned in the inscription was executed by thecomposer’s friend Roubilliac in 1762 and is in WestminsterAbbey. A terracotta version of it is in the AshmoleanMuseum and many casts of it were produced in theeighteenth and nineteenth centuries. The ‘England’referred to by Crotch is the organ-builder George England(fl. 1740-1788) or maybe his son George Pike England(c.1765-1814).

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28aJOHN WHITE ABBOTT Exeter 1763-1851 Exeter

Study of Plants

Watercolour over pencil on laid paper102 x 178 mm., 4 x 7 in.

28bJOHN WHITE ABBOTT Exeter 1763-1851 Exeter

Study of a Dog

Black chalk and stump118 x 82 mm., 4 1/2 x 3 1/4 in.

White Abbott was born, and spent all his working life, inand around Exeter. His uncle James White, an eminentExeter barrister was a friend of Francis Towne (1739-1816)and White Abbott received tuition and advice from theolder man. White Abbott worked in very similar style toTowne, combining pen and ink with broad washes ofsimple colour. White Abbott was never a professional artistand made his living as a surgeon. He did exhibit at the RoyalAcademy between 1795 and 1822 however. He paintedalmost exclusively in the Devon area with his only majorsketching tour being to the Lake District and Scotland inJune and July 1786. In 1825 he inherited his uncle’s Devonestate at Fordland and retired to concentrate on hispainting. He was said not to have sold a picture in hislifetime and his work remained with his descendants untilwell into the twentieth century.

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29SAMUEL ATKINS fl.1787-1808

Shipping off the Needles, Isle of Wight

Signed on piece of wood lower centrePen and grey ink and watercolour heightened withtouches of bodycolour on laid paper208 x 299 mm., 8 1/4 x 11 3/4 in.

Atkins specialised in marine pictures but little is known abouthis life. He exhibited at the Royal Academy between 1787and 1808 and was at sea visiting the East Indies and thecoast of China from 1796 to 1804. Examples of his workare in the British Museum, Victoria and Albert Museum,Ashmolean Museum, Oxford and elsewhere.

30SAMUEL OWEN 1774-1854 Sunbury, Surrey

Sailors refitting a Man-o’-War near Shakespeare’s Cliff, Dover

Signed lower left: S OWENWatercolour over traces of pencil heightened withbodycolour on wove paper watermarked: J.WHATMAN/TURKEY MILL/1821303 x 241 mm., 11 3/4 x 9 1/2 in.

Provenance:Anonymous sale, Sotheby’s, 15th March 1984, lot 175;Private Collection until 2014

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31aTHOMAS TUDOR Monmouth 1785-1855 Wyesham

The Church of St Mary Redcliffe from across theharbour, Bristol

Inscribed lower right: Redcliff Church from the BackBristolPen and brown ink, brown wash heightened withscratching out on laid paper119 x 236 mm., 4 1/2 x 9 1/4 in.

Provenance:By descent from the artist until with Walker Galleries, 1961

The Church of St Mary Redcliffe was built between the 12thand 15th centuries by wealthy Bristol merchants. situatedat the port, sailors would pray there for safe passage beforea journey and give thanks on their return. This drawingshows the church without a spire. It was struck by lightningin 1446 and not reconstructed until 1872.

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31bTHOMAS TUDOR Monmouth 1785-1855 Wyesham

The Gorge at Clifton, Bristol

Inscribed lower left: Clifton and numbered 22 lowerrightWith a study of ships at sea versoPen and brown ink and brown wash heightenedwith scratching out150 x 243 mm., 6 x 9 1/2 in.

Provenance:By descent from the artist until with Walker Galleries, 1961

Tudor was born in Monmouth, the son of Owen Tudor, a bookseller. He started drawing at a young age providedplans and drawings of local houses and first exhibited at the Royal Academy in 1809. He continued exhibiting until1819 but became a land agent, building Tudor House at Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings and ownedworks by Reynolds, Van Dyck and Turner whose studio hisdiary records he visited in June 1847.

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32WILLIAM PAYNE London 1760-1830 London

At Ryde, Isle of Wight

Inscribed upper right: Ryde/Isle of WightWith a sketch of Cowes from the road to WootonBridge versoGrey washes over pencil 89 x 148 mm., 3 1/2 x 5 3/4 in.

This originated from an album of sketches by Payne, datedbetween 1810 and 1823, which included a number of Isleof Wight views.

Provenance:Michael Ingram

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33JOHN VARLEYHackney 1778-1842 London

South View of Dunstanburgh Castle, Northumberland

Signed lower centre: J. Varley. and signed lower left:J Varley 1808Coloured washes over pencil309 x 521 mm., 12 x 20 1/2 in.

Dunstanburgh (or Dunstanborough) Castle is a dramaticallypositioned 14th century ruined castle perched on the edgeof the North Sea between the villages of Craster and

Embleton. It belonged to the Dukes of Lancaster andexchanged hands several times during the Wars of theRoses. It never recovered from the associated siegeshowever and has been a ruin since the 16th century. It isnow run by English Heritage.

This dates from Varley’s trip to Northumberland inSeptember 1808. The Northumberland Sketchbook in theV. & A. has a number of Dunstanburgh views drawn on 20thSeptember 1808 (see C.M. Kaufmann, John Varley, 1984,no. 25, pp. 118-121). This shows the main entrance to thecastle as one now approaches it from the south. Varleyvisited a number of his patrons on this tour including WilliamOrd at Whitfield and Sir John Swinburne at Capheaton.

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34SAMUEL JACKSON Bristol 1794-1869 Clifton

View of a Bridge in a Mountainous Landscape

Brown washes heightened with stopping out190 x 280 mm., 7 1/2 x 11 in.

Provenance:With the Gallery Downstairs, London, 1991;Private Collection, UK until 2013

This may be a Welsh view. There was a strong tradition ofproducing romantic drawings in sepia wash amongst theBristol School artists. It arose from a series of SketchingClubs in the city in the 1820s and 1830s where artistswould meet up in the evening at each other’s houses toproduce drawings on a given subject. For more on Jackson,see no. 39.

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35JACQUES-LOUIS DAVIDParis 1748-1825 Brussels

A Young Woman with a Veil

Black chalk and graphite on thin paper, laid downonto a backing sheetSigned L. David. at the lower rightA number of small repaired tears around the edgesof the sheet and a larger repaired tear which runsvertically through the centre of the sheet232 x 209 mm., 9 1/8 x 8 1/4 in. [sheet]

The present sheet may be dated to the time of David’sexile in Brussels, and compares well stylistically with otherdrawings of this late period. The physiognomy and pose of the woman is particularly close to that of the right hand figure in a drawing of three women of 1817, today inthe Museum voor Schone Kunsten in Ghent. A similarfigure also appears, in reverse, in another black chalkdrawing of 1817. Comparisons may also be made withsome of a group of single female heads, drawn in blackchalk, in the collection of the Musée des Beaux-Arts inRouen, which have been dated between 1819 and 1823.

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36JOHN GANTZ 1772-1853 Madras

A Brahminy Village Hut near Madras, India

Inscribed in another hand on reverse of originalmount: No.12 Brahamany Village Hut/A Drawing -Gantz/Madras 1828Watercolour over pencil heightened with touches ofbodycolour168 x 234 mm., 6 1/2 x 9 1/4 in.

Gantz was employed as a draughtsman and surveyor bythe East India Company from 1800 until 1803. He is first recorded in Madras in 1807 and he remained thereuntil his death working as an architect and he also ran alithographic press. His son Justinian Gantz (1802-1862) wasalso an artist and specialized in depicting European housesin India. Works by both father and son, including manyMadras views, are in the India Office Library collection.

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37EDWARD LEAR Highgate 1812-1888 San Remo

Bastia, Corsica

Signed with monogram lower left and inscribed withnotes on the borderPen and grey ink and wash over pencil heightenedwith white119 x191 mm., 4 1/2 x 7 1/2 in.

Provenance:With Spink, London;Anonymous sale, Sotheby’s, 10th March 1988, lot 80;John Dayton (1922-2003);Private Collection, London

Literature:Edward Lear, Journal of a Landscape Painter in Corsica, 1870,p. 208, ill.

Engraved:By Edward Lear for Journal of a Landscape Painter inCorsica, 1870

Lear visited Corsica in the spring of 1868 and his Journal ofa Landscape Painter in Corsica records his trip. At the end ofMay, Lear spent several days in and around Bastia. Thisdrawing dates from his return journey to the city on 26thMay. His Journal records: ‘Very beautiful are some of themouths of the little valleys of Cap Corse on such a day asthis, the pure emerald green water close inshore ripplingover the milk-white sand; the mountains south of Bastiapearl clear on the horizon... shortly afterwards, sending onthe trap, I pass an hour, spite of the great heat, in making adrawing of the white city on its promontory, seen betweengraceful olives bending over the sea. By six-thirty I havewalked on to Bastia’ (op. cit., p.208).

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38WILLIAM JAMES MÜLLER Bristol 1802-1845 Bristol

a. St Leonard’s Lane, Bristol

Signed lower right: WMuller 1837. and inscribedwith title versoBlack chalk on buff paper347 x 245 mm., 13 1/2 x 9 1/2 in.

b. Bull Paunch Lane, Bristol

Signed lower left: WMuller 1836. and inscribed withtitle versoBlack chalk heightened with white on buff paper369 x 261 mm., 14 ½ x 10 ¼ in.

a.

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Smaller undated versions of both drawings are in the BristolCity Art Gallery (for the view of Bull Paunch Lane, seeFrancis Greenacre and Sheena Stoddard, W.J. Müller,exhibition catalogue, 1991, no. 16, p. 64, ill.). The finishednature of these drawings suggest that Müller wasconsidering publishing them as prints. He is known to havebeen considering a publication of views of old Bristol withhis fellow artist John Skinner Prout.

Bull Paunch Lane is now called Lawford Street and runs offOld Market. St Leonard’s Lane, now known as Leonard

Lane and running between Small St and Corn St, is all thatremains of the medieval gate and church of St Leonardwhich was destroyed in 1770.

By 1836, Müller was well established as an artist in Bristoland was exhibiting at the Royal Academy and elsewhere. In1834 he toured Germany and Italy ending up in Venice andwas in Bristol until a tour of Greece and Egypt in the winterof 1838.

b.

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39SAMUEL JACKSON Bristol 1794-1869 Clifton

a. Study in Leigh Woods, Bristol

Inscribed verso in G.W. Braikenridge’s hand: Studyin Leigh Woods/JacksonWatercolour heightened with bodycolour 297 x 451 mm., 11 1/2 x 17 3/4 in.

Provenance:George Weare Braikenridge (1775-1856);Alderman James Fuller Eberle circa 1900;Thence by descent to Mrs J.F. Shore;With Suzi Quadrat, Clifton, Bristol;Private Collection until 2014

Exhibited:Bristol City Art Gallery, The Watercolours of SamuelJackson, April-May 1986, no. 38

Jackson was one of the best known artists of the BristolSchool. Born in Bristol, he was the son of a merchant andworked for his father until 1820 when he became aprofessional artist. He became a well known drawingteacher in Bristol and lived there throughout his life. Thiswatercolour belonged to George Weare Braikenridge, aBristol antiquary and collector who commissioned hundredsof views of Bristol and the surrounding area in the 1820s.For more on his collection, much of which is now in BristolCity Art Gallery, see Sheena Stoddard, Bristol before theCamera: The City in 1820-30 – Watercolours and Drawingsfrom the Braikenridge Collection, 2001.

Leigh Woods was a popular sketching area for Bristol artistsin the early nineteenth century.

a.

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b. St Vincent’s Rocks from Nightingale Valley, Clifton,Bristol

Black and white chalk on grey paper274 x 249 mm., 10 3/4 x 9 3/4 in.

Provenance:With Suzi Quadrat, Clifton, Bristol;Private Collection until 2014

This is a view looking down Nightingale Valley to StVincent’s Rocks which stand over the Clifton Gorge. AboveSt. Vincent’s Rocks stands Clifton Observatory which from1828 was used as a studio by Jackson’s friend the artistWilliam West. Nightingale Valley was the part of Leigh

Woods most favoured by the Bristol School artists (see no.39a). Jackson’s friend, the amateur artist the Rev. JohnEagles recalled ‘those beautiful woods opposite Clifton,separated from it by the muddy Avon... dividing... the caresand toils of a busy world from the regions of Elysium.Beautiful as these woods are when seen from the oppositehill, those who only see them thus have little conception oftheir beauty. It is the very best artist’s ground and of acharacter unique.’

A watercolour of this view by Jackson is in the Victoria andAlbert Museum (see Francis Greenacre and SheenaStoddard, The Bristol Landscape – The Watercolours of SamuelJackson, 1986, no. 26, ill. p.46).

b.

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40FRANCIS DANBY Wexford, Ireland 1793-1861 Exmouth

View of the Avon Gorge looking towards the SevernEstuary

Signed lower left: F DanbyWatercolour over pencil heightened with touches ofbodycolour274 x 428 mm., 10 3/4 x 16 3/4 in.

Provenance:Anonymous sale, Sotheby’s, 3rd October 1974, lot 210;Private collection, UK until 2011

This is a favourite viewpoint of several Bristol School artistsand especially Danby and Jackson. It looks west down theAvon from Durdham Down, with the Severn estuary in thedistance and the hills of Wales on the horizon. To the right

are the rocks known as Sea Walls with the beyond thetower known as Cook’s Folly.

Stylistically this dates from circa 1815, two years after hisarrival in Bristol. Danby had trained in Dublin and in 1813visited London with his fellow artists James O’Connor(1792-1841) and George Petrie (1789-1866). They werethere only a few weeks before they ran out of money andDanby and O’Connor walked to Bristol with the intentionof finding a boat to take them back to Ireland. However hefound in Bristol a market for his landscapes and portraits andresolved to stay a while. In 1824, he moved to London andfirst exhibited at the Royal Academy in 1817. By the 1820she became famous for his grand landscape paintings.According to Redgrave ‘Danby will always take high rankwith the lovers of art and genius. His imagination was of thehighest class, his landscapes of the truest poetry’ (seeSamuel Redgrave, A Dictionary of Artists of the English School,1878, p.113).

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41JAMES JOHNSON Bristol 1803-1834 Bath

Guard House Passage, Wine Street, Bristol

Signed lower right: J.J. 1821 and signed verso:Entrance to the Guard House Wine S.t Bristol/JamesJohnson del. 1821Watercolour and pencil 231 x 171 mm., 9 x 6 3/4 in.

Guard House Passage was a centuries old passagewayrunning off Wine Street, Bristol. It was used as a billet for the‘Main Guard’ during the Civil War (1642-43) and wasowned by a Robert Yate in 1681. In the eighteenth andearly nineteenth centuries it was used as a lock-up forcriminals and between 1836 and 1844 it was the first Bristol

police station. Another watercolour by Johnson of thissubject dated 1820 is in Bristol Art Gallery (see SheenaStoddard, Bristol before the Camera: The City in 1820-30,2001, p.25, no.19, ill.).

Johnson was the son of a publican at Downend, just outsideBristol. His earliest known work is dated 1819 and fiftyviews drawn in and around Bristol are in the Braikenridgecollection, now in Bristol Art Gallery (see no.39a). He waspart of the Bristol School of artists who met to sketch andsocialise, and exhibited at the Royal Academy and the BritishInstitution in London where he moved in 1825. Hiscontemporaries described him as ‘melancholy’ and heappears to have suffered from a mental illness which led tohis confinement in Bath where he was teaching drawingand, in the summer of 1834, he threw himself out of awindow and died.

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42WILLIAM ROXBY BEVERLEYRichmond 1811-1889 Hampstead

Fishing Boats on a Beach

Watercolour over a pencil underdrawingSigned and dated WBeverley [?] Augt. / 28 1835 atthe lower right258 x 358 mm., 10 1/8 x 14 1/8 in.

ProvenanceMichael Ingram, Driffield Manor, Driffield, GloucestershireHis posthumous sale, London, Sotheby’s, 6 June 2007,part of lot 248Private collection, England

An early work by the artist, the present sheet is a fineexample of William Roxby Beverley’s lively watercoloursketches. The scene depicted here is likely to be found inone of the fishing communities in the North East of England,

where the artist made several sketching tours.Beverley wasparticularly fond of coastal scenes and depictions of suchport towns and fishing communities as Scarborough,Eastbourne, Hastings and Sunderland. In many of hiswatercolours, there is a particular interest in skies andatmospheric effects; a legacy of his training as a scenepainter.

Beverley regularly exhibited his landscape watercolours,almost always of English coastal scenes, at the RoyalAcademy between 1865 and 1880. He also showed hiswork at commercial galleries such as the Dudley Gallery,and is known to have charged up to £400 for some of hisfinished watercolours. By comparison with many of hisfellow artists, however, Beverley produced relatively fewwatercolours, given his busy career as a theatrical painterand scenographer. Nevertheless, as one early critic hadnoted, ‘Beverley painted water-colour pictures of rare anddelicate beauty, works which alone should suffice to win forhim a place in the front rank among our masters of water-colour art.’

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43CLARKSON STANFIELD, R.A. Sunderland 1793-1867 London

View of St Malo, France

Inscribed lower left: S.t MaloWatercolour over pencil heightened with touches ofbodycolour on buff paper172 x 254 mm., 6 3/4 x 10 in.

Exhibited:London, Agnew’s, 131st Annual Exhibition of Watercoloursand Drawings, 2004, no. 68

Stanfield travelled from Calais to St Malo in August 1832together with his wife and son. A number of watercoloursfrom this tour were engraved for Heath’s Picuresque Annualfor 1834 (see Pieter van der Merwe, The Spectacular Careerof Clarkson Stanfield 1793-1867, exhibition catalogue, Tyneand Wear County Council Museums, 1979, no. 194, p.122).

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44DAVID COX Birmingham 1783-1859 Birmingham

Distant View of Lancaster

Indistinctly inscribed upper left: Lancaster…..With a drawing of the site of Dudley Castle versoWatercolour heightened with bodycolour andstopping out160 x 253 mm., 6 1/4 x 10 in.

Provenance:Anonymous sale, Christie’s, 11th November 1997, lot 74;With Spink, London, 1999;Private Collection, UK

This is a view of Lancaster Castle on its hill above the town,in a commanding position overlooking the River Lune. Thetower to the left is Lancaster Priory, founded in 1094. In thedistance beyond the town is the Forest of Bowland, alsoknown as the Bowland Fells. Amongst this high moorland,the scarp slope of Clougha Pike is visible on the far left, withGrit Fell, a lone hill in the centre.

Cox visited Lancaster Sands on Morecambe Bay in north-west England in the summers of 1834, 1835 and 1840,fascinated by the vast skies and ever changing weather. Thesands were, and still are, famously dangerous and travellerswere frequently cut off by the fast moving tides. Stylisticallythis watercolour dates from the mid to late 1830s.

45JOHN VARLEYHackney 1778-1842 London

View of Snowdon from near Capel Curig

Signed lower left: J. Varley/1832., with collector’smark versoWatercolour heightened with stopping out,scratching out and gum arabic364 x 307 mm., 14 1/4 x 12 in.

Provenance:Bought at the Fine Art Society, London, 1961;By descent until 2014

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46EDWARD DUNCAN, R.W.S.London 1803-1882 London

a. The Breaking up of the old ‘Warrior’

With artist’s studio stamp l.l., brown washes overpencil135 x 220 mm., 5 1/4 x 8 1/2 in.

b. An Oyster Dredge and a Fisherman’s boots,Whitstable, Kent

Signed l.r., with artist’ studio stamp l.r. and inscribedat Whitstable/oyster dredge, watercolour over pencilheightened with touches of white on buff paper259 x 203 mm., 10 x 8 in.

Whitstable has been famous for oysters since at least Romantimes and has a celebrated Oyster festival each year.

Duncan was born in St Pancras, London, and apprenticed asa young man to Robert Havell, who specialised in aquatintengravings, and his brother the watercolourist WilliamHavell. After his apprenticeship he set up his own studioworking principally for Fores of Piccadilly. In 1826 heembarked on a project to engrave maritime scenes afterpaintings by the artist William Huggins and this appears tohave sparked his interest in marine subject matter.

He married Huggins’s daughter and embarked on asuccessful career as a marine and coastal painter exhibitingover 500 watercolours at the New and Old WatercolourSocieties from 1833, as well as at the Royal Academy andthe Society of British Artists. He also produced countryscenes, mainly of the South of England.

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47JOHN MIDDLETON Norwich 1827-1856 Norwich

The Timber Yard

Signed lower left: JMiddleton./Sept. 1847Watercolour over pencil 326 x 472 mm., 12 3/4 x 18 1/2 in.

Provenance:Mrs Lavinia Moxey, Framlingham Hall, Norwich, her sale,Christie’s, 19th July 1937, lot 68;Anonymous sale, Christie’s, 11th July 1989, lot 166;With Spink-Leger, London;Anonymous sale, Christie’s, 3rd June 2004, lot 117;Private Collection until 2014

Exhibited:Norwich Castle Museum, Exhibition of Norwich School ofPictures, 1927, no. 224, lent by J.E. Moxey Esq.

This probably dates from Middleton’s visit to Kent in thesummer of 1847 in the company of his teacher HenryBright (1810-1847). Andrew Moore calls 1847 Middleton’s‘Annus Mirabilis’ as it was the year he went to London andfirst exhibited at the Royal Academy (Andrew Moore, TheNorwich School of Artists, 1985, p. 144). Middleton visitedTunbridge Wells and Tonbridge and several drawings fromthe trip are in the Norwich Castle Museum. ‘A Shady Lane,Tonbridge Wells’ was sold at Christie’s on 10th July 2012,lot 162.

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48HENRY NINHAM Norwich 1793-1874 Norwich

View at Cromer, Norfolk

Watercolour over pencil heightened withbodycolour on wove paper watermarked: ..../1828287 x 221 mm., 11 1/4 x 8 1/2 in.

Provenance:With the Clarges Gallery, Walton St, London, 1970s;Anonymous sale, Sotheby’s London, 26th March 1975,lot 245

This is a rare work by Henry Ninham, a second generationNorwich School artist. He was the son of an engraverwhose business he inherited. He exhibited at the NorwichSociety from 1818 and specialised in Norwich street scenes.The composition of the present work, a view down a streetwith a church spire behind, is typical of his work. This maybe the picture exhibited at the Norwich Society of Artists in1830, no.58 as ‘View at Cromer.’ An oil of this view byNinham with different figures is in the Castle Museum,Norwich (1969.301.2 : F).

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49FRANÇOIS-AUGUSTE BONHEURBordeaux 1824-1884 Bellevue-Meudon

Mountain Landscape in the Auvergne

Oil on canvasSigned A Bonheur at the lower leftInscribed Auvergne on a small label pasted at thelower right139 x 308 mm., 5 1/2 x 12 1/8 in.

ProvenanceThe studio of the artist, Magny-les-Hameaux, nearVersailles

The younger brother of Rosa Bonheur, Auguste Bonheurwas, in his day, as celebrated a painter of landscapes andanimalier subjects as his sister. Like her, he was a pupil of hisfather Raymond, a landscape painter, before entering theEcole des Beaux-Arts in 1848, where he studied with PaulDelaroche. Auguste Bonheur made his debut at the Salonof 1845, and continued to exhibit there regularly, firstshowing portraits and genre scenes, and, by the early

1850’s, exhibiting mainly landscapes. In a review of theSalon of 1859, the critic Louis Auvray praised the artist’swork over that of his more famous elder sister, noting that‘M. Auguste Bonheur, the brother of Rosa Bonheur, is a painterwhose talent makes a success of [paintings of] animals andlandscape. His colour is solid and bright at the same time; hisbrush is firmer, more daring than that of his sister.’

This is one of a group of fresh and spirited landscape oilsketches by Auguste Bonheur that have come to light inrecent years, having been found in his studio after his deathand retained by his descendants. Produced during the artist’sextensive travels throughout France, notably in Brittany, theAuvergne and the Pyrénées, these works can be seen asBonheur’s contribution to the 19th century French traditionof plein-air painting.

Bonheur was particularly fond of the rugged, mountainouslandscapes of the Cantal in the Auvergne, to which hereturned repeatedly throughout his career, and whichprovided the setting for many of his oil sketches and finishedpaintings. The small label inscribed with the locationdepicted and attached to the corner of the oil sketch istypical of the artist’s working practice.

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50JAMES HOLLANDBurslem 1800-1870 London

Fawley Court and the valley of the Thames nearHenley-on-Thames, Oxfordshire

Inscribed verso by Lord Northbrook: Fawley Court& Valley of the/Thames Henley, from one of/mysketches – circa 1840Watercolour over pencil heightened with white onbuff paper159 x 266 mm., 6 1/4 x 10 1/2 in.

Provenance:Private Collection until 2014

This is a view looking east over the Thames Valley from theChiltern Hills at Fawley. Fawley Court, as it stands today,was built for a plantation owner William Freeman in 1684and remained in his family until 1853. On the Thamesstands Temple Island whose folly was built by James Wyattin the early 1770s. In the distance the Thames continuestowards Marlow with the Chiltern Hills at Hambleden tothe left and Rememham Hill ahead. A watercolour ‘NearMarlow’ by Holland, dated 1846, was with the Fine ArtSociety in 1972. The inscription on the reverse suggests thisdrawing is based on a sketch by ‘Lord Northbrook.’ This isprobably Francis Baring, 1st Baron Northbrook (1796-1866). His son Thomas Baring, 1st Earl of Northbrook wasa great friend and patron of Edward Lear.

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51THOMAS MILES RICHARDSON, SENIOR Newcastle 1784-1848 Newcastle

a. A Pier on a rocky Shoreline with a Ship beyond

Watercolour, white chalk and pencil on grey paper168 x 275 mm., 6 1/2 by 10 3/4 in.

b. Sunset over Moorland

Watercolour85 x 153 mm., 3 1/4 by 6 in.

c. Bridge at the Junction of the Tees and Greta, in Rokeby Park, Yorkshire

Inscribed with titleWatercolour and pencil on wove paperwatermarked: EGLIN ROBERTS & CO. / 1828288 x 214 mm., 11 ¼ x 8 ¼ in.

a.

Thomas Miles Richardson Senior was referred to during hislifetime as ‘The Father of Fine Arts in Newcastle’. After anapprenticeship to a cabinet-maker (1799-1806), Richardsonsucceeded his father as master of St. Andrew’s CharitySchool, Newcastle, in 1806. During this period, he alsooperated as a drawing master and in 1813 decided to giveup his job at the school and devote himself to art alone.The catalyst for this was probably the establishment of the Society of Antiquaries of Newcastle in that year. The remainder of Richardson’s well-documented careersaw him attempting to increase appreciation of the arts inNewcastle (as well as selling his own paintings) by organisingexhibitions, as well as being involved with the antiquarianand topographical print market. Richardson was theorganising force behind the foundation of theNorthumberland Institution for the Promotion of the FineArts, which held its first exhibition in 1822. The success ofthese exhibitions led Richardson to set up the NorthernAcademy of Arts, Newcastle’s first purpose-built exhibitionpremises, which opened in 1828. The story of Richardson’sinvolvement with Newcastle’s art exhibitions has been welltold in the exhibition Art for Newcastle Thomas MilesRichardson and the Newcastle Exhibitions 1822-1843, whichwas held at the Laing Art Gallery, Newcastle, in 1984.

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53CHARLES MARSHALLLondon 1806-1890 London

Rochester Castle, Kent

Signed with initials lower leftWatercolour heightened with bodycolour andstopping out312 x 464 mm., 12 1/4 x 18 1/4 in.

Engraved:By William Henshall as a steel line engraving for ‘SelectIllustrated Topography of Thirty Miles round London’,1837-38

Exhibited:London, Royal Academy, 1837, no. 907

Marshall was a scene painter who worked at Drury Lane andCovent Garden as well as drawing landscapes which heexhibited widely. For more information on the artist see PhilipMarshall, Charles Marshall – His origins, Life and Career, 2000.

52THOMAS MILES RICHARDSON, JUNIORNewcastle-upon-Tyne 1813-1890 Newcastle-upon-Tyne

Bywell Castle on the Tyne, Northumberland; The FerryLanding, Bywell

A pair, each inscribed with title and dated 1836watercolour over pencil heightened withbodycolour on buff paper each approx. 240 x 343 mm., 14 1/4 x 21 in.

Bywell Castle is situated on the banks of the river Tyne, fourmiles east of Corbridge, Northumberland. It was built in the1430 by the Neville family but never completed. The threestorey gatehouse still stands incorporated into the currenteighteenth century house, the home of the Beaumontfamily since the early nineteenth century.

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54RODOLPHE BRESDINMontrelais 1822-1885 Sèvres

Landscape with Fishermen

Pen and black ink on papier calque, laid downSigned and dated 1858 Rodolphe Bresdin at thelower right107 x 172 mm., 4 1/4 x 6 3/4 in.

One of the most remarkable and visionary graphic artists ofthe 19th century in France, Rodolphe Bresdin produceddrawings, etchings and lithographs. While his graphic workis well known today, his activity as a draughtsman has beenless studied. Like his prints, Bresdin’s drawings were neveron a very large scale, yet were almost always intricatelydrawn and minutely detailed. The close technical andstylistic relationship between the artist’s prints and hisdrawings has occasionally led to some confusion indistinguishing between them. The dominant themes in

Bresdin’s work include scenes of figures in fantasticallandscapes, peasant interiors, small villages and Biblicalsubjects, all depicted with an abundance of detail.

Many of Bresdin’s drawings were finished works in pen andink, created as autonomous works of art for exhibition orsale. However, from a career spanning some fifty years, onlyslightly more than four hundred drawings by Bresdin survivetoday, alongside a graphic oeuvre of around 160 prints. Onlyrarely do his drawings appear on the market, andthey remain particularly scarce outside important groups in several public collections, notably the BibliothèqueNationale in Paris, the Gemeentemuseum in The Hagueand the Art Institute of Chicago.

Depictions of fishermen occur several times in Bresdin’soeuvre. The present sheet, in common with most of theartist’s drawings, is drawn with a very fine pen in black inkor encre de Chine on tracing paper (in French, papiercalque), with the translucency of the paper helping totransfer or reverse designs and motifs to a print medium.

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55JOHN DAWSON WATSONSedbergh 1832-1892 Conway

Haystack, Inver, Perthshire

Watercolour on buff paperSigned with initials, dated and inscribed J. D. W. /1859. / Inver Strath Braan. Perth. at the lower left213 x 214 mm., 8 3/8 x 8 3/8 in. [sheet]

Born in Yorkshire, John Dawson Watson studied at theManchester School of Art and at the Royal Academy. Settlingin London in 1860, he was elected an Associate Member ofthe Society of Painters in Watercolours in 1864, rising to full

membership five years later. His oeuvre is made up largelyof small oil paintings and highly detailed watercolours ofhistorical and genre scenes, as well as the occasional pastoralsubject, executed in a manner strongly influenced by thePre-Raphaelites. Watson’s landscapes were in particularmuch praised by John Ruskin. He also produced numerousbook illustrations, notably for an edition of John Bunyan’sPilgrim’s Progress, published in 1861, as well as designs forfurniture, medals and theatre costumes.

This watercolour was painted during a trip to Scotland in1859. A stylistically comparable work – a study of the trunkof a birch tree – was formerly in the Oppé collection andnow in Tate Britain.

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57SIR EDWARD JOHN POYNTER, P.R.A.Paris 1836-1919 London

Flowers in an Eastern Vase

Watercolour, gouache and pencilSigned with the artist’s monogram EJP and dated1864 at the lower right257 x 487 mm., 9 7/8 x 19 1/8 in. [image]287 x 504 mm., 11 1/4 x 19 7/8 in. [sheet]

56SIR EDWARD JOHN POYNTER, P.R.A.Paris 1836-1919 London

Study of a Nude Young Woman

Pencil, heightened with white chalk, on brownpaper, oval Faintly stamped with the artist’s monogram EJP atthe lower left254 x 203 mm., 10 x 8 in.

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58JOSEPH GELDARTNorwich 1808-1882 Altrincham

View of Freiburg im Breisgau, Germany

Inscribed lower right: Fribourg in the/BrisgauBlack chalk heightened with touches of bodycolouron buff paper177 x 261 mm., 7 x 10 1/4 in.

Geldart was the fourth son of a wine merchant who wasarticled to the Norwich solicitor Thomas Brightwell.Brightwell was a friend of the best known Norwich Schoolartist John Sell Cotman and Geldart received drawinglessons from Cotman, whose influence is evident in thepresent work. He also befriended his son John JosephCotman (1814-1878) and the two sketched together.Geldart became editor of the Norfolk News and later retiredto Cheshire.

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59JOHN WILLIAM WATERHOUSE, R.A.Rome 1849-1917 London

The Head of a Woman

Pen and brown ink and brown wash, over anunderdrawing in pencil, on paper laid down on boardA sketch of a column in pencil at the right edge,folded overFragments of a red wax seal at the extreme left andright edges of the original sheet, folded over332 x 530 mm., 13 1/8 x 20 7/8 in. [full sheet]261 by 293 mm., 10 1/4 by 11 1/2 in. [sight]

ProvenanceArthur Tooth and Sons, Ltd., London

In much of J. W. Waterhouse’s early work, such as thepresent example, the influence of the classicizing paintings ofLawrence Alma-Tadema is evident. This pen and washsketch of the head of a woman was formerly mounted ontothe reverse of a finished watercolour by the artist, exhibitedat the Dudley Gallery in London in 1879.

The head of the woman in the present sheet is very similarin style, coiffure and physiognomy to the main figure in afinished sepia drawing by Waterhouse entitled At a GreekPlay, showing a woman holding a fan of peacock feathers.That drawing, which was exhibited at the Dudley Gallery’sBlack and White Exhibition in 1880 but is now lost, is knowntoday from a large reproductive engraving published in TheIllustrated London News in 1881.

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60EDWARD LEAR Highgate 1812-1888 San Remo

Lavello from Minervino Murge, Sunrise

Inscribed lower left: from Minervino/Sept. 24.1847/Sunrise and extensively inscribed with notes Watercolour over pencil heightened with touches ofwhite on buff paper104 x 298 mm., 4 x 11 1/2 in.

Having visited Sicily in May and June 1847, Lear touredSouthern Italy from July until October. His diary for the 24thSeptember reads: ‘Having risen before sunrise, theenergetic and practical Don Vincenzino gave us coffee bythe aid of a spirit lamp, and we passed some hours indrawing the town of Minervino, the sparkling lights anddelicate grey tints of whose buildings blended charminglywith the vast pale rosy plains of Apulia in the far distance. Atnine we returned to a substantial déjeûner….’

61EDWIN LORD WEEKSBoston 1849-1903 Paris

Study of a Mounted Arab Warrior

Oil, charcoal and pencil, laid down on boardThe sheet previously torn and repaired, probably bythe artist, in several places453 x 354 mm., 17 7/8 x 13 7/8 in.

ProvenanceBy descent in the family of the artist to his niece, ElizabethGoodwinBy descent to Burton W. F. Trafton, Jr., South Berwick,MaineMervyn E. Bronson, Portland, MaineBernard Broder, Gorham, Maine

ExhibitedDurham, University of New Hampshire, The Art of EdwinLord Weeks, 1976, no.35

The American Orientalist painter Edwin Lord Weeks madeseveral trips to Morocco, becoming one of the fewWesterners to visit Rabat, Salé and Marrakech. He exhibitedMoroccan subjects at the Salons in Paris and at thePennsylvania Academy of Fine Arts and, indeed, paintedalmost exclusively Moroccan themes between 1879 and1882. This large oil sketch – part of a collection of paintingsand drawings which remained with the artist’s descendantsuntil recently – is a preparatory study for Weeks’s canvasThe Departure from the Stronghold, painted in Morocco.

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62THOMAS SEWELL ROBINSDevonport 1810-1880 London

Pulling up the Nets

Signed lower right: T S ROBINS/1866Watercolour over pencil heightened withbodycolour, scratching out and stopping out450 x 685 mm., 17 3/4 x 27 in.

Robins entered the Royal Academy in 1829 and exhibitedwidely from then until 1879, specialising in coastal marinescenes. He also travelled extensively on the continent.

63WILLIAM JAMES BLACKLOCKLondon 1816-1858 Dumfries

A Figure Resting in a Woodland Clearing

WatercolourInscribed By Blacklock on the verso213 x 198 mm., 8 3/8 x 7 3/4 in.

Relatively little is known of the painter William JamesBlacklock, and even his entry in the Dictionary of NationalBiography appears to be replete with errors. Trained at theCarlisle Academy of Arts, between 1836 and 1855Blacklock exhibited almost yearly at the Royal Academy,showing mainly landscapes of the Lake District and the northof England. His work was much admired by John Ruskin,who wrote of him in his book Modern Painters that ‘some ofthe best and most substantial renderings of the green and turfymasses of our lower hills are to be found in the drawings ofBlacklock.’ His work was also praised by fellow artists such as J. M. W. Turner and David Roberts. In the 1850’s,however, Blacklock began exhibiting signs of mental illness,and in 1855 he was admitted to the Royal Mental Institutionin Dumfries. He ceased to paint, and died in 1858 at theyoung age of forty-two. Within a few years Blacklock hadlapsed into obscurity and his work, which remained quiterare, was largely forgotten by later generations of scholars.

A stylistically similar watercolour of The Weir at Henley,dated 1842, is in the British Museum. Also comparable is anundated watercolour of Furness Abbey in the Abbot HallArt Gallery in Kendal in Cumbria.

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64ADOLF HIRÉMY-HIRSCHLTemesvár 1860-1933 Rome

Two Studies of a Kneeling Youth

Red and white chalk on reddish-orange paper336 x 478 mm., 13 1/4 x 18 in.

ProvenanceThe artist’s studio, Rome, and by descent to his daughterMaudThence by descent to a private collectionGalleria Carlo Virgilio, RomeRoger Ramsay Gallery, ChicagoPrivate collection, Hawaii

A remarkably accomplished draughtsman, Adolf Hirémy-Hirschl produced a large number of figure and draperystudies in charcoal or chalk, intended as preparatory studiesfor his paintings. The present sheet may be a first idea studyfor the kneeling figure of Leander in Hirémy-Hirschl’s

painting of Hero and Leander of c.1893, although the poseof the figure in the painting differs somewhat from thatstudied in this drawing.

As a recent scholar has noted of Hirémy-Hirschl, ‘Hispreferred media were the broad ones of chalk, charcoal andpastel and he had, even among the general level of impressiveexpertise among thoroughly trained academic artists, anextremely fine sense of the coloristic interplay of these mediaon toned and tinted sheets of paper. One expects to find acertain competence in working with charcoal and chalk onbrown, blue and gray papers, but Hirémy-Hirschl’s explorationof the chromatic possibilities in such combinations is extendedto a most remarkable beauty and intensity when he moves aswell to sheets of orange, rose, and green papers.’

This drawing, together with the rest of the contents ofHirémy-Hirschl’s studio in Rome, remained in thepossession of the artist’s descendants for many years afterhis death. This large cache of drawings, watercolours,pastels and oil sketches was only dispersed in the early1980’s.

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65HENRY MONNIERParis 1799-1877 Paris

Before the Reading of the Will

Pen and brown ink and watercolour, over anunderdrawing in pencil, on buff paper, laid downSigned and dated Henry Monnier / 1874 at thelower leftInscribed Héritiers / avant l’ouverture du testament atthe bottom239 x 285 mm., 9 3/8 x 11 1/4 in.

A writer, satirist and versatile actor as well as a celebratedpainter, draughtsman and printmaker, Henry BonaventureMonnier is best known for his depictions of bourgeois life in19th century Paris. As a lithographer, he contributed tovarious books and magazines illustrating Parisian societytypes and manners. (He may also be said to have influencedthe work of his friend Honoré de Balzac, whose Comédiehumaine he illustrated and who described the artist as ‘the

personification of irony’.) In the later years of his careerMonnier produced finished, independent watercolours;masterful scenes of social observation and elegantconversation pieces, such as the present sheet.

Referring to the artist’s drawings and lithographs, a modernbiographer has noted that ‘Monnier’s style has certain easilyrecognizable traits which distinguish his work from that of hiscontemporaries... There is a conspicuous lack of grace in hispersonages... they are solidly planted on their feet, their bodiesare short and stocky. They are clothed with almostphotographic veracity, with minute attention to the detailswhich are appropriate to their social status. But the mostremarkable thing about them is the way in which Monniermade them live: the vivacity and variety of their facialexpressions, and the precision, appropriateness, and restraintof their gestures... Monnier made of his drawings genrepictures in which the figures are subordinated to the settingas they are in certain seventeenth-century Dutch paintings…The result is an admirable evocation of that middle-class worldMonnier was interpreting, with its petty preoccupations andstunted aspirations.’

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66CHARLES WIRGMANLondon 1822-1891 Yokohama, Japan

Girls Warming themselves, Japan

Signed lower right: CWirgman and inscribed lowercentre: Girls warming themselveswatercolour over pencil heightened with touches ofwhite on buff paper143 x 214 mm., 5 1/2 x 8 1/4 in.

Wirgman worked for the Illustrated London News in Londonbefore leaving for China in 1856 to cover the Second OpiumWar. In 1861 he moved to Yokohama, Japan where he liveduntil his death. He published the first magazine in Japan, theJapan Punch, between 1862 and 1887, illustrated with hisown watercolours. From 1864 to 1867 he worked inpartnership with the photographer Felice Beato as ‘Beato &Wirgman, Artists and Photographers’. In the 1860s heaccompanied the British envoy Sir Ernest Satow on a series ofjourneys around Japan which was published as Satow’sDiplomat in Japan.

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67JAMES THOMAS LINNELLHampstead 1823-1905 Redhill

A Copse of Trees

Watercolour, over a pencil underdrawing, on buffpaperA sketch of trees in pastel and watercolour on theversoInscribed by the artist very warm light blue at theupper centre363 x 502 mm., 14 1/2 x 19 3/4 in. [sheet]

ProvenanceE. KinsleyFrom whom purchased in December 1953 by P. & D.Colnaghi, London (as John Linnell)Sold by them to Col. K. R. Palmer in February 1954(as John Linnell)Anonymous sale, London, Christie’s, 16 December1980, lot 92

The second son of the landscape painter John Linnell, JamesThomas Linnell exhibited almost annually at the RoyalAcademy between 1850 and 1888, showing at first religioussubjects in which the landscape predominated. By themiddle of the decade, however, he was exhibiting mainlylandscapes with peasants, farm labourers or children, and itis for these pastoral scenes that he is best known today.Many of Linnell’s landscapes were painted in and aroundthe Redstone estate at Redhill, near Reigate in Surrey, whichhis father had acquired in 1851 and where all the membersof the family lived. Writing in 1872, one critic noted that‘James Thomas Linnell... is entitled to share with his brotherWilliam the estimation in which their pictures are held by theamateur and collector, sometimes rivalling even those of hisfather...It is so rare an occurrence to find a picture by any oneof the Linnell family bearing the distinctive title of the placerepresented, that one would naturally be led to suppose thecompositions are merely imaginary; but this, as a rule, is farfrom the case. Surrey, and the wealds of Sussex, supply theartists with the ground-work of most of their beautifulcompositions, and the localities may generally be recognizedby those who are well acquainted with them.’

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68JOHN CHRISTIAN SCHETKY Edinburgh 1778-1874 London

A Merchant Ship off the Coast

Watercolour over pencil 257 x 362 mm., 10 x14 1/4 in.

Provenance:Lt. Col. Charles Howard Bury;Rex Beaumont;With Leger Galleries, December 1980, where bought byMr and Mrs Peter Lewis;Private Collection until 2014

The artist was the son of a celebrated cellist and composerof Hungarian descent, Johann Schetky, who moved toEdinburgh in 1774. At school in Edinburgh, John Schetkymet Sir Walter Scott who became a lifelong friend. Afterstudying under Alexander Nasmyth, Schetky travelled onthe continent before settling in Oxford where he became adrawing master. In 1811 he was appointed Professor ofDrawing at the Royal Naval College in Portsmouth wherehe began to specialise in marine subject matter working inboth oils and watercolour. From 1805 until 1872, he

exhibited at the Royal Academy and was Marine Painter tothree successive monarchs, George IV, William IV andQueen Victoria.

69EDWARD HENRY FAHEYBrompton 1844-1907 Notting Hill

Looking out to Sea

Signed lower left: E.H. FAHEY. 74Watercolour heightened with bodycolour367 x 263 mm., 14 1/2 x 10 1/4 in.

Provenance:With Martyn Gregory, July 2003;Private Collection until 2014

Edward Fahey was the son of the portrait and landscapeartist James Fahey (1804-1885). He studied architecturebefore visiting Italy from 1866 to 1869. On his return, heentered the Royal Academy Schools to study painting. Heexhibited at the Royal Academy and was a member of theRoyal Institute of British Watercolourists from 1872.

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70aCARL HAAG, R.W.S.Erlangen 1820-1915 Oberwesel

a. A Tyrolese Shepherd

Signed in red lower right: Carl Haag 1857Watercolour heightened with bodycolour and gumarabic356 x 256 mm., 14 x 10 in.

Provenance:With Thos. Agnew & Sons;Robert, 2nd Lord Cawley (1877-1954), Berrington Hall,Herefordshire

Haag was born in Bavaria and in 1847 decided to studyEnglish watercolour painting and came to London. Hestudied at the Royal Academy schools and first visited Italyin the winter of 1847. He travelled widely in Europe and theNear East and from 1860 he had studios in both Londonand Oberwesel, Germany.

Procida sits in the Bay of Naples between Ischia and themainland, 15 miles south-west of Naples.

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70bCARL HAAG, R.W.S.Erlangen 1820-1915 Oberwesel

b. A Woman of Procida, Italy

Signed lower right: Carl Haag and signed verso andinscribed: Roma 22 Jan. 1853Watercolour heightened with bodycolour and gumarabic352 x 248 mm., 13 3/4 x 9 3/4 in.

Provenance:With Thos. Agnew & Sons;Robert, 2nd Lord Cawley (1877-1954), Berrington Hall,Herefordshire

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71MAX SELIGERBublitz/Pommern 1865-1920 Leipzig

Study of Trees

Watercolour, pen and grey ink and grey wash,heightened with touches of bodycolour, on paperlaid down on a thin boardSigned, dated and inscribed M. Seliger VIII 1886Ernsthöhe. at the top of the sheetInscribed, signed and dated Ernsthöhe VII.86 / M.Seliger at the lower left 316 x 219 mm., 12 1/2 x 8 5/8 in.

Max Seliger was active as a painter, decorator and mosaicist,although he remains little known outside of Berlin andLeipzig, where he worked for most of his life. Also active asan illustrator and graphic artist, his most significant role,however, seems to have been as a teacher; between 1901and his death Seliger served as the director of the RoyalAcademy of Graphic Arts and Printing in Leipzig. Drawn in1886, this oil sketch is a fine example of the young Seliger’sinterest in painting en plein air. The inscription ‘Ernsthöhe’,written twice on the sheet, probably refers to the area nearCoburg in Bavaria where the Schloss Hohenfels was built in1840. A similar, slightly larger oil sketch of a single tree, alsodrawn at Ernsthöhe and dated 1886, is in a privateAmerican collection.

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72RAFFAELLE MAINELLABenevento 1856-1941 Lido di Venezia

A View in Cannaregio, Venice

Watercolour, over traces of a pencil underdrawingSigned R. Mainella at the lower left314 x 159 mm., 12 3/8 x 6 1/4 in.

At the start of his career Raffaelle Mainella worked mainly asa painter in oil, but after a few years he decided to devotehimself to watercolour, a medium in which he was highlyregarded by his contemporaries. Although best known forhis watercolour views of the Venetian lagoon, Mainella alsoproduced a number of watercolours of Orientalist subjects.This fine watercolour depicts the Rio della Madonnadell’Orto, with the church of the Madonna dell’Orto shownat the right, past the bridge.

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73CAMILLE PISSARROCharlotte Amalie (St. Thomas) 1830-1903 Paris

Three Studies of Peasant Women

Pencil.Signed with initials C.P. near the upper right corner137 x 217 mm., 5 3/8 x 8 1/2 in.

ProvenanceThe artist’s son, Paul-Émile Pissarro, Lyons-la-FôretJPL Fine Arts, LondonGoodman Gallery, JohannesburgPrivate collectionSale, London, Sotheby’s, 25 October 1995, lot 8Private collection, London

This sheet of studies of peasant women asleep or at rest isa fine example of Pissarro’s assured draughtmanship. Aclosely related drawing of four peasant women, in blackchalk with touches of watercolour, is one of eight drawings

from a dismembered sketchbook, datable between 1874and 1879, in the Ashmolean Museum in Oxford. Thepresent sheet, which is of similar dimensions to theAshmolean drawings, may have come from the samerectangular sketchbook, which appears to have been usedmainly in Montfoucault and Pontoise. As Christopher Lloydand Richard Brettell have noted of the sketchbook pages inthe Ashmolean, ‘Although none of the drawings can bedirectly related to a finished composition, they contain amultiplicity of ideas that Pissarro began to use during thesecond half of the 1870s and was to reuse during the 1880s– interiors and rural subjects most probably drawn at Foucault,landscapes made at Pontoise, nude studies, and a visualrecord of daily peasant toil...The style spans the years 1874-9 and reveals a greater awareness of J.-F. Millet than Pissarrohad shown so far in his work.’

The seated figure at the lower left may be closely related toa similar figure in Pissarro’s painting of a Seated PeasantWoman of c.1883 (see Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures,Milan, 2005, Vol.II, no.709).

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74FRENCH SCHOOLLate 19th Century

Studies of a Figure Holding an Object

Coloured chalks and charcoal on blue paperThe study of a hand on a separate piece of bluepaper stuck down at the upper left of the mainsheetNumbered 17 at the upper right of the main sheetand 18 at the lower right of the smaller sheetInscribed Page d’album H. E. Degas on the margin ofthe backing board209 x 289 mm., 8 1/4 x 11 3/8 in.

ProvenancePossibly Edgar Degas, ParisJacques Thuillier, Paris

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75SIR HUBERT VON HERKOMER, R.A., R.W.S.Waal 1849-1914 Budleigh Salterton

The Head of a Bavarian Man

Watercolour on boardSigned with initials and dated H.H. / 1905 at theright centre320 x 252 mm., 12 1/2 x 9 7/8 in.

76JOHN GEORGE SOWERBYGateshead 1850-1914 London(?)

The Kingfisher’s Haunt

Watercolour and bodycolour on paper laid downon boardSigned JOHN SOWERBY at the lower right245 x 195 mm., 9 5/8 x 7 5/8 in. [sheet]

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77PIERRE PRINSParis 1838-1913 Paris

A View of the English Channel at Puys, near Dieppe

Pastel on paper, laid down on boardSigned Pierre Prins at the lower rightInscribed La mer à Puys / Pierre Prins on the backingboard283 x 382 mm., 11 1/8 x 15 in.

Inspired by friend Edouard Manet, Pierre Prins began towork in the pastel medium in 1878, becoming highlyproficient and eventually working almost exclusively inpastel. In 1890 he had his first one-man exhibition, showingsome forty pastel landscapes at the Galerie Georges Petit inParis. On his deathbed in 1913, however, Prins asked hisheirs not to exhibit his work, nor to release any work fromhis studio, for a period of thirty years after his death. As aresult, his oeuvre remained almost completely unknown for

much of the period when the reputation of his friends andcontemporaries among the Impressionists rose to newheights. It was not until a retrospective exhibition in Paris in1963 that his work came to be better known andappreciated.

In the 1880’s and 1890’s Prins spent much time on thecoast of Normandy and Brittany, where he produced a largenumber of pastel studies of the sea and sky. He often useda coarse-grained coloured paper, and almost never appliedany fixative, so as to keep his pastels as bright and fresh aspossible. An interest in atmospheric effects is evident inmuch of his work, with a particular interest in the sky atsunrise, in full sunlight, at twilight and at sunset. As DanielWildenstein has noted, ‘Prins was above all a painter of thesky and of light in their most subtle expressions... he wasparticularly successful with pastel, which he used with greatmastery and which, in his hand, turns into a luminous haze inboundless space, resting on a very low, very distant horizononly slightly more substantial than the clouds.’

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78ARTHUR JOHN GASKIN, A.R.E., R.B.S.A.Birmingham 1862-1928 Chipping Campden

The Back of 13 Calthorpe Road, Moonlight

Signed with initials lower right and dated May 1924lower left and signed and similarly inscribed versoPastel heightened with scratching out128 x 112 mm., 5 x 4 1/4 in.

Provenance:Mrs Margaret Dennery, daughter of the artist;With Martyn Gregory, London;Private collection, UK, until 2014

Exhibited:Birmingham, City Museum and Art Gallery, and London,The Fine Art Society, Arthur & Georgie Gaskin, February-April 1982, no. C48

Gaskin studied at the Birmingham School of Art and wastaught to paint in tempera by J.E. Southall. He exhibitedwidely and was a jeweller and silversmith as well as an artist. He worked for William Morris in the 1890s andbecame Director of the Jewellers and Silversmiths School,Birmingham.

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79PAUL SIGNACParis 1863-1935 Paris

Boats in the Harbour of Saint-Tropez

Pencil and watercolourVariously inscribed with colour notes in pencil258 x 207 mm., 10 1/8 x 8 1/8 in.

ProvenanceThe studio of the artist (Lugt 2285b)

From 1892 onwards Signac lived part of each year at Saint-Tropez, painting numerous views of the Provençal port. Ashe wrote to his mother in 1892, ‘I am settled here sinceyesterday and overjoyed...the golden coast of the gulf, the blueseas breaking on a beach, my beach...there is enough materialto work on for the rest of my days. Happiness – that is what Ihave just discovered.’

80EDOUARD VUILLARDCuiseaux 1868-1940 La Baule

Mme. Hessel on the Telephone

Pencil192 x 143 mm., 7 5/8 x 5 5/8 in.

ProvenanceThe studio of the artist (Lugt 909c)

Datable to around 1917, this page from a sketchbookdepicts Lucy Hessel, the wife of Vuillard’s principal dealerand the artist’s muse, model and lover, in her home in Paris.This pencil sketch may be related to a painting of Mme.Hessel Telephoning, in a private collection. In both thedrawing and the painting, Lucy Hessel is depicted with thetelephone receiver to her ear, while the same side table,hat stand and vase of flowers appears in both works.

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81a RUDOLF SAUTERLondon 1895-1977 Stroud

Nightfall near Dartmoor

Pastel153 x 254 mm., 6 x 10 in.

Rudolf Sauter studied art in London and Munich, andexhibited his work frequently in London and Paris, as well asin New York and South Africa. He travelled extensively, andover his career exhibited landscapes of England, Italy,Morocco, South Africa and the westerns states of America.However, much of his output was destroyed in a fire in the1980’s, shortly after his death, and relatively few works byhim survive today.

Sauter was a particularly skilled pastellist. These three pastellandscapes may be dated to the spring of 1916, when theyoung Sauter visited his uncle, the writer John Galsworthy,who had a home near Dartmoor. They were part of a smallgroup of pastel landscapes loosely placed in a folio –inscribed with a label which read ‘Designs, studies and ideasfor pictures’ – which was found among the artist’s effectslong after his death.

81bRUDOLF SAUTERLondon 1895-1977 Stroud

Sun Through a Thin Mist

Pastel128 x 153 mm., 5 x 6 in.

81cRUDOLF SAUTERLondon 1895-1977 Stroud

Storm over a Tor, Dartmoor

Pastel153 x 128 mm., 6 x 5 in.

a.

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82aALBERT GOODWIN, R.W.S. Maidstone 1845-1932 London

a. The Hermitage of Santa Caterina del Sasso, LagoMaggiore, Italy

Signed lower right: Albert Goodwin, dated 1907 andinscribed lower left: St Katarina Lago MaggioreWatercolour over coloured chalks heightened withbodycolour with original pen and ink border148 x 229 mm., 5 3/4 x 9 in.

Provenance:By descent from the artist until 2013

The Hermitage of Santa Caterina is perched on a cliffoverlooking Lake Maggiore nearer the town of Leggiuno. Itwas founded in 1295 by a merchant who, having beenshipwrecked, built a church in recognition of his deliverance.The present buildings date from the late 13th/early 14thcenturies and were occupied originally by Augustinian monks,followed by Ambrosian hermits in 1379 and Carmelites from1649. Today it is run by a community of Oblate Benedictines.

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82bALBERT GOODWIN, R.W.S. Maidstone 1845-1932 London

b. Sunshine and Rain, the Rigi, Switzerland

Signed lower right: Albert Goodwin and inscribedlower left: Sunshine and rain./the Righi.Watercolour over pencil heightened withbodycolour with original pen and ink borderSheet 140 x 200 mm., 5 1/2 x 7 3/4 in.

Provenance:By descent from the artist until 2013

The Rigi is a mountain of 1,798 metres in central Switzerlandalmost entirely surrounded by water with Lakes Lucerne,Zug and Lauerz almost surrounding it. In the nineteenthcentury, for tourists and artists, the view of the sunrise fromits summit was one of the highlights of a visit to Switzerland.J.M.W. Turner visited the area in 1841 and produced hisfamous series of views of the mountain which for manyrepresents the peak of his achievement in watercolour.

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83LÉON BENIGNI1892-1948

Design for the Cover of Femina magazine

Gouache, over a pencil underdrawing, on paper laiddown on boardSigned lbénigni at the lower left330 x 250 mm., 13 x 9 7/8 in. [image]370 x 269 mm., 14 5/8 x 10 1/2 in. [sheet]

A leading fashion illustrator, Léon Benigni worked with suchdesigners and couturiers as Jeanne Lanvin, Marcel Rochas,Elsa Schiaparelli, Lucien Lelong, Jacques Fath, Jean Patou,Nina Ricci and Cristôbal Balenciaga. He also produced alarge number of covers and full-page plates for Feminamagazine in the second half of the 1920’s and the early1930’s. Another cover design by Benigni for Femina, for theOctober 1930 issue of the magazine, is included in a recentsurvey of fashion illustration (see Cally Blackman, 100 Yearsof Fashion Illustration, London, 2007, p.86).

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84HENRI LEBASQUEChampigné 1865-1937 Le Cannet

A Seated Female Nude in an Interior

Watercolour and black chalkSigned Lebasque at the lower right205 x 194 mm., 8 1/8 x 7 5/8 in.

This vibrant watercolour may be related to a series ofpaintings by Henri Lebasque of female nudes in an interior,painted in the mid 1920’s at Le Cannet in the South ofFrance. Little is known of the models who appear in these

late paintings, apart from their names; one was named Kikiand another was known as Marinette. As has been noted ofthese works, ‘Lebasque painted his young models in poses ofpenetrating intimacy and subtle clarity... [his] nudes are subtle,relaxed and pensive, and rendered with a sure sense ofcontour in the figures.’ The present sheet, which depicts themodel Kiki, is particularly close to two paintings of 1926; aNu a la chemise rose in the Fondation Pierre Giannada inMartigny and a Nu au canapé rose in a private collection inChicago. In these paintings, as in this watercolour, Lebasqueplaced his nude models against colourful and elaboratelypatterned rugs and cushions in the sunny interior of hishome at Le Cannet.

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85ERNEST STEPHEN LUMSDEN, R.S.A, P.R.E.London 1883-1948 Edinburgh

Northern Twilight

Oil on canvas, laid down on board236 x 327 mm., 9 1/4 x 12 7/8 in.

ProvenanceThe Fine Art Society, London, in May 1984Mr. and Mrs. Giorgio Marsan, London

A gifted Scottish printmaker and painter, Ernest Lumsdenwas largely self-taught as an etcher. He soon became adeptin the medium and established a considerable reputation asa printmaker. He travelled widely, visiting Spain, Canada,Japan, Korea, Beijing and Burma. It was in India, however,where he made several trips, that he found scenes andsubjects that truly captivated him, and he produced a

number of etched views of the cities of Benares, Jaipur andUdaipur. In 1914 Lumsden was elected a Fellow of theRoyal Society of Painter-Etchers, and in 1924 he publishedThe Art of Etching, which remains a standard work on thesubject. With the decline in the market for etchings in thelater 1920’s, however, Lumsden began working more as apainter and was elected an associate member of the RoyalScottish Academy in 1923 and a full member in 1933.Having moved to Sir Henry Raeburn’s old studio inEdinburgh’s Queen Street in 1927, he worked mainly as aportrait painter. In November 1935 he showed a numberof paintings, including seascapes and other Berwickshireviews, at the New Gallery in Edinburgh. Crippled by arthritisin his later years, he produced relatively little work in the1940’s before his death at the age of sixty-four. Works byLumsden are today in the collections of the Tate, the BritishMuseum, the Victoria and Albert Museum, the ScottishNational Gallery of Modern Art, the Fitzwilliam Museumand elsewhere.

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86ERICH WOLFSFELDKrojanke 1884-1956 London

Study of a Crying Child

Oil, black chalk and coloured chalks on paperSigned Erich Wolfsfeld at the lower right311 x 196 mm., 12 1/4 x 7 3/4 in. [sight]355 x 283 mm., 13 7/8 x 11 1/8 in. [sheet]

ProvenanceAmong the contents of the artist’s studio at his deathThence by descent to his stepson, Dr. Max Block,Mossley Hill, Liverpool

ExhibitedDerby, Derby Art Gallery, Erich Wolfsfeld, 1953

Erich Wolfsfeld’s early career was largely devoted toprintmaking, although around 1910 he began painting in oils,although he seems to have always worked on treatedpaper, rather than on canvas. He travelled widely in Europe,and was also in particular in North Africa and the MiddleEast. A large and comprehensive exhibition of his work, inwhich the present sheet was included, was held at theDerby Art Gallery in 1953.

Writing a few years after his death, one critic noted ofWolfsfeld that ‘He was an artist who loved drawing for its ownsake - who could combine power and sensitivity – who enjoyeddescribing the human form either with brush or chalk or theetcher’s needle. And he solved the problem of the portrayal ofthe human race with an intensity of perception that is deeplymoving particularly in his studies of old men and youngchildren.’

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87SIR GEORGE CLAUSEN, R.A. London 1852-1944 Cold Ash

a. Farm Buildings, Spring Morning

Signed lower right: G. CLAUSEN and inscribedverso: Spring MorningWatercolour over pencil on laid paper225 x 298 mm., 8 3/4 x 11 3/4 in.

b. Study of Trees

Coloured chalks on brown paper298 x 233 mm., 11 3/4 x 9 in.

Provenance:By descent from the artist to his daughter-in-law MrsHugh Clausen;Anonymous sale, Sotheby’s, 30th September 1992, lot 7

a.

George Clausen worked from age of sixteen as adraughtsman in a firm of decorators in London before winninga scholarship to the South Kensington Schools. A significantinfluence on the young artist was Jules Bastien-Lepage, whosework he first saw at the Grosvenor Gallery in London, andwho inspired him to take up the theme of rural life as hissubject matter. Working directly from nature, he paintedscenes of rural life, and in particular the landscape and peasantsof the farmlands of Essex. As one scholar has written, ‘Hispreoccupation was with light; the dazzle of sun on cornfields andhaystacks and mowers at midday, the stilled radiance of blossomin orchards, the woods and empty fields at evening, and thesubtle atmospheric effects in shadowy barn and stable.’ In 1886Clausen exhibited at the New English Art Club, and by 1891was showing at the Royal Academy, although he did not havea one-man gallery exhibition until 1902.

He showed regularly at the Royal Watercolour Society, and in1921 exhibited forty-one of his watercolours at theGrosvenor Gallery. Indeed, in the latter part of his careerwatercolours came to dominate his output.

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88GUSTAVE LOISEAUParis 1865-1935 Paris

Still Life with a Dish of Fried Eggs

Oil on boardSigned G. Loiseau at the lower right440 x 554 mm., 17 1/4 x 21 3/4 in.

LiteratureTo be included in the forthcoming Loiseau catalogueraisonné by Didier Imbert

Apart from a year at the Ecole des Arts Décoratifs, GustaveLoiseau was for the most part self-taught as a painter. Hisstyle remained distinctively his own; as Loiseau once notedof himself, ‘I only acknowledge one quality, that of beingsincere. I work in my own little corner, as well as I can, and do

my best to convey the impression I receive from nature. Onlymy instinct guides me, and I am proud I do not resembleanyone.’ Loiseau produced several paintings of still-lifecompositions. Often painted on board, most of these workswere done at Pont-Aven in Brittany between 1922 and1928. As Didier Imbert has noted of the painter’s methodand technique, ‘essentially impressionist in his depiction oflandscapes or street scenes, it acquires for the still-lifes acertain classical resonance, a staid geometric composition,almost synthetic, in which one perceives his preoccupation withimmobility, lack of movement, the static quality of the objectrepresented.’

This large painting may be dated to c.1923. The ceramicdish in which the eggs are placed is found in a number ofpaintings by Loiseau, including a Still Life with Fried Eggs anda Napkin of 1922, or a Still Life with a Lobster, Eggs andLemon of 1931. The same dish also appears in a Still Lifewith Eggs and Oysters sold at auction in London in 1994.

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89CHARLES MAHONEY, A.R.A.London 1903-1968 London

Iris

Pen and black ink and watercolour, on a page from alarge sketchbook321 x 305 mm., 12 5/8 x 12 in.

ProvenanceBy descent to the artist’s daughter, Elizabeth Bulkeley

Charles Mahoney devoted his career to a combination ofpainting, drawing and teaching. His other great love,however, was the study of plant life, and he drew a largevariety of plants and flowers. Mahoney was an amateurbotanist and would swap notes and cuttings with friends, and

this scientific approach can be detected in all of his plantsketches. According to the artist’s wife, ‘Charles delighted inplant life, its richness, strength, grandeur, colour, form andinfinite textural qualities... [he] showed uncompromising vigourin recording the structure, detail and above all the total feelingof the plant, each growing and bearing fruit in its particular way.’This sketch of an iris perfectly illustrates Mahoney’s in-depthknowledge and understanding of plant life, with ink strokesthat are quick, confident and yet extraordinarily detailed. Ashis friend and fellow painter Bernard Dunstan recalled,‘Charles was doing a number of quite large drawings of plants...he concentrated his energies on these superb drawings... Theyhave great directness and objectivity and yet great warmth offeeling. They make most drawings of plants, seem bycomparison, weak or merely botanically accurate... I can thinkof very few recent artists who have drawn plants with the vigourand understanding that Mahoney brought to them...Thesestudies seem to me to be drawing on the highest level.’

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90BERNARD MENINSKYKarotopin 1891-1950 London

Still Life with a Knife and Grapes

Gouache on paper, laid down on card255 x 597 mm., 10 x 23 1/2 in.

ProvenanceThe artist’s studio, LondonBy descent to Nora Meninsky, London

Part of a generation of Anglo-Jewish painters that includedDavid Bomberg, Mark Gertler and Jacob Kramer, BernardMeninsky achieved only a modest amount of criticalappreciation in his lifetime, and indeed remains much lesswell known than many artists of his generation. A shy andsomewhat neurotic man, prone to depression and variousphobias, Meninsky took his own life in 1950, at the age of58. The following year a memorial exhibition was organizedby the Arts Council in London; this was to be the onlyretrospective exhibition of Meninsky’s work for the nextthirty years.

Still life subjects account for a small part of Meninsky’soutput, and were rarely exhibited in his lifetime.

91CHARLES FREDERICK TUNNICLIFFE, R.A.Langley 1901-1979 Malltraeth, Anglesey

A Belgian Bantam

Green chalk and watercolour, heightened withgouache, over an underdrawing in pencilInscribed BELGIAN BANTAM / John Sears at thelower rightStamped with the artist’s estate stamp CHARLESTUNNICLIFFE R.A. / STUDIO 1980 NO.395/3 onthe verso283 x 248 mm., 11 1/8 x 9 3/4 in.

One of the finest animal draughtsmen of the last century,Charles Tunnicliffe was in particular highly regarded for hisdepictions of birds, which he began to study in the 1930’s,eventually publishing several books of his bird illustrations.The inscription at the lower right of this sheet refers to JohnSears, of Guildford in Surrey. Sears was a renownedbreeder of Belgian Bantams, and also served as secretaryof the British Belgian Bantam Club. A pendant watercolourand gouache drawing by Tunnicliffe of another, lighter-coloured Belgian Bantam also bred by Sears, of identicaldimensions and sharing the same provenance, is in aprivate collection.

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92aWILLIAM HENRY INNESLondon 1905-1999 London

Sunlight on a Forest Glade

Pastel on brown paper272 x 377 mm., 10 3/4 x 14 3/4 in.

Provenance:The Artist’s studio

a.

Innes first exhibited his work during the Second World Warwhile he was in the Royal Air Force. He showed extensivelyat the Royal Academy, New England Arts Club and theRoyal Institute of Oil Painters in the 1960s and 1970s. Hewas also a member of the Pastel Society. His work shows apreoccupation with the effects of light.

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92bWILLIAM HENRY INNESLondon 1905-1999 London

A Tree by a Fence

Pastel on brown paper273 x 381 mm., 10 3/4 x 15 in.

Provenance:The Artist’s studio

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94RENÉ GRUAUCovignano 1909-2004 Rome

A Woman with a Long Head Scarf: Design for theCover of International Textiles Magazine (July 1971)

Gouache, watercolour, airbrush and black inkSigned with the artist’s initial *G at the lower right368 x 302 mm., 14 1/2 x 11 7/8 in. [image]

Throughout his career, the renowned illustrator RenéGruau produced numerous designs for the covers of fashionmagazines. This striking drawing is a design for the cover ofthe July 1971 issue of the trade magazine InternationalTextiles. Gruau produced bold, vibrant cover designs foralmost every issue of this magazine published between1946 and 1986.

93FREDERICK SORTAIN SAMUELSActive c.1943-1965

Plan for the Reconstruction of the South Wing ofSomerset House

Pen and grey ink and grey washSigned and dated DRAWN BY F. S. SAMUELS / 1950at the lower right1270 x 840 mm., 50 x 33 1/8 in.

Exhibited at the Royal Academy in 1950, this very largedrawing is a design for the restoration of the Navy Staircaseand the South Wing of Somerset House in London.Designed by Sir William Chambers in the late 18th century,the Navy Staircase (later known as the Nelson Stair) risesdramatically through six floors of Somerset House. TheSouth Wing was almost completely destroyed by a Germanbomb in 1940, and was carefully restored after the war bySir Albert Richardson.

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95CLAUDIO BRAVOValparaiso 1936-2011 Taroudant

A Vase of Flowers

PencilSigned and dated CLAUDIO BRAVO / MCMLXII atthe lower right275 x 223 mm., 10 x 8 3/4 in. [image]343 x 285 mm., 13 1/2 x 11 1/4 in. [sheet]

ProvenanceAcquired from the artist by Fleur Cowles, New York,London and Sussex

A superb draughtsman, Claudio Bravo was a master of theuse of pencil, coloured chalks and pastel. As one scholarnoted, ‘Thoroughly grounded in precise draftsmanship, Bravo’straining... included scrupulous copying of old master works ofart. In preparation for his own paintings, however, Bravo doesfew if any drawings... Independent drawings, nonetheless, forma significant part of his oeuvre.’ Drawn in 1962, when theyoung Bravo was living and working in Madrid, the presentsheet was formerly in the collection of the artist, socialite,writer and fashion editor Fleur Cowles (1908-2009), whoacquired a number of drawings from Bravo and later sat forhim. As Cowles recalled in later years, ‘Bravo come into mylife twenty years ago when I discovered him after seeing aBotticelli-like portrait of friends in Madrid: today he is animmensely sought-after painter.’

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96KATHLEEN GUTHRIEFeltham 1906-1981 Shrewsbury

Waves

Gouache on board348 x 254 mm., 13 5/8 x 10 in.

Provenance:By descent in the family of the artist

Although she had her first one-man show in 1932 andexhibited at the Royal Academy and the New English ArtClub, relatively few paintings by Kathleen Guthrie survivefrom the period before and after the Second World War. By

the late 1950’s, Guthrie had begun to experiment withabstract compositions, while continuing to paint figurativesubjects and landscapes. She travelled around Britain,producing landscapes that often explore the abstractqualities of a particular view, and also painting gouachesketches as a means of developing ideas for her largerpaintings. Of a 1966 retrospective exhibition of herpaintings, which included both abstract and figurativecompositions, one critic noted ‘a sense of calm in many ofher pictures, a quality which is reflected in her abstracts. Thislater work makes the most profound impression, with its regardfor the subtle play of light and thoughtful colour combinations.It presents a sense of inevitable resolution, a gentle form ofabstraction...’. Guthrie continued to paint both abstract andnaturalistic subjects until her death, at the age of 76, whileon a sketching holiday in Shropshire.

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97MIMMO PALADINOBorn 1948

Isola

WatercolourSigned, titled, inscribed and dated Agosto 1982ISOLA / Argentouli.(?) casa pellica(?) / MimmoPaladino on the verso255 x 333 mm., 10 x 13 1/8 in.

ProvenanceAcquired from the artist by Galerie Bel’Art, StockholmAnonymous sale, London, Sotheby’s, 27 June 1985, lot763Stanley J. Seeger, London

98SIR KYFFIN WILLIAMS, R.A.Llangefni, Anglesey 1918-2006 Anglesey

Hill Farmer (Wil Ifan)

Brush and grey ink and grey washSigned with initials KW. at the lower right420 x 297 mm., 16 1/2 x 11 3/4 in.

Drawn in 1991, this large drawing depicts a Welsh hillfarmer named, if perhaps apocryphally, Wil Ifan (orWilliam Evans). Kyffin Williams cared deeply for the hillfarmers of the Welsh mountains, and they appear in hispaintings and drawings throughout his career. As the artisthas written of these hill farmers: ‘They come in all shapesand sizes; tall, short, lean or rotund, dark or fair, broad ornarrow of face. They may be Ordovician or Silurian celts butwhatever their distant origins they are the same in theirdetermination to make a living in a harsh environment. ‘Thehill farmer is here studied in isolation, divorced from therugged Welsh landscape in which he so often appears inWilliams’s paintings.

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99SIMON PALMERYorkshire b.1956

Towards the Vale

Signed lower right and again on border andinscribed with titlePen and black ink and watercolour heightened withbodycolour406 x 333 mm., 16 x 13 in.

Based in Yorkshire, Simon Palmer is one of Britain’s leadingwatercolour artists. He has had many solo exhibitions in London and provincial galleries since 1978 and aretrospective exhibition of his work was held at the MercerArt Gallery, Harrogate in 2004. In 2007, he won theWinsor and Newton price for the best watercolour at theRoyal Academy Summer Exhibition. Working in the Britishlandscape tradition, he has a strong connection to the treesand hills of his native Wensleydale. This work is likely to datefrom the 1980s.

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100aANNE CONNELLBorn 1959

A Favourable Reply

Collage, gold leaf, gouache, and oil on papermounted on panel160 × 258 mm., 6 1/4 × 10 1/4 in.

The artist Anne Connell lives and works in Portland,Oregon, and has exhibited widely in America, while twoexhibitions of her recent work have been held at StephenOngpin Fine Art, in 2009 and 2014. She has spent muchtime in Italy, and her work reflects her abiding love of the artof the early Renaissance. Connell’s paintings sample imagesand patterns from Quattrocento sources, while at the sametime representing these elements within a distinctivelymodern idiom, to create an expressive vocabulary with itsown meanings and purposes. Another feature of her workis the sheer craftsmanship involved in its creation,

characterized by a painstaking technique of oil, silverpoint,and, occasionally, gold leaf on prepared panels. As a reviewof an exhibition of her work in The New York Times aptlynoted, ‘Borrowing patterns and fragmentary images fromItalian Renaissance painting for her small, lovingly made panelpaintings, Connell creates a quietly luminous symbolist poetrythat seems as once antique and post-modern.’ AnneConnell’s intimately scaled works demand, and ultimatelyreward, the quiet contemplation of the viewer.

Painted in 2013, this painting incorporates a floral detail froma 16th century woodcut of a rosebush, while the landscapein the lower left corner is from the background of thereverse of Piero della Francesca’s diptych of Federico daMontefeltro and Battista Sforza, painted between 1465 and1472 and today in the Uffizi in Florence.

For further enquiries about Anne Connell’s work, or to viewimages of her recent paintings and drawings, please visit thededicated page on the gallery’s website. Copies of bothexhibition catalogues may also be obtained from the gallery.

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100bANNE CONNELLBorn 1959

Study with Towers

Gouache, over a pencil underdrawing, onhandmade marbled paper, mounted on panel305 x 305 mm., 12 x 12 in.

Drawn in 2010.

The towers are derived from the Vision of Saint Dominic andMeeting of Saint Francis and Saint Dominic (1452), part ofBenozzo Gozzoli’s fresco cycle of the life and deeds of St.Francis in the church of San Francesco, Montefalco.

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Stephen Ongpin has nearly thirty years of experience as a dealer in Old Master, 19th and 20th Centurydrawings. He began his career in 1986 at the long-established gallery of P. & D. Colnaghi, working atthe firm's New York branch for ten years before moving to London in 1996. Working closely withJean-Luc Baroni, Stephen was responsible for organizing the drawings exhibitions mounted by thegallery, and for researching, writing, and editing their annual catalogues of Master Drawings. In 2001he joined Baroni in forming Jean-Luc Baroni Ltd. in London, with Stephen continuing to assumeresponsibility for the new firm's drawing department, organizing their successful drawings exhibitionsand writing the accompanying catalogues. He has to date researched and written nearly thirty scholarlycatalogues of drawings. Since 2006 Stephen has worked as an independent dealer and consultant inthe field of Old Master, 19th century and Modern drawings, assisted by Julie Frouge, and sharing agallery in St. James's in London with Guy Peppiatt. The gallery exhibits at several art fairs, including theSalon du Dessin in Paris and The European Fine Art Fair in Maastricht in March, and Frieze Masters inLondon in October. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both Londonand New York, and also issues regular catalogues.

Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby's BritishPictures department in 1993. He quickly specialised in early British drawings and watercolours andtook over the running of Sotheby's Topographical and Travel sales. Topographical views, whether theybe of Britain or worldwide, have remained an abiding passion. Guy left Sotheby's in early 2004 andhas worked as a dealer since then, first based at home, and now in a gallery in St James's, which heshares with Stephen Ongpin. Guy's main yearly exhibition of early drawings and watercolours is inMay and June and he also exhibits at the Works on Paper Fair in early February and the BADA Fair inMarch. In January he exhibits in a gallery in New York as part of Master Drawings New York. He isChairman of the Vetting Committee at the Works on Paper Fair and also does the vetting at a numberof other fairs. He advises clients on their collections, buys and sells on their behalf and can provideinsurance valuations.

Stephen Ongpin Fine ArtTel.+44 (0) 20 7930 8813or + 44 (0)7710 328 627info@stephenongpinfineart.comwww.stephenongpin.com

Guy Peppiatt Fine ArtTel.+44 (0) 20 7930 3839or +44 (0)7956 968 284

guy@peppiattfineart.co.ukwww.peppiattfineart.co.uk

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ATKINS, Samuel no.29

ATKINSON, John Augustus no.22

BENIGNI, Léon no.83

BEVERLEY, William Roxby no.42

BLACKLOCK, William James no.63

BOITARD, Louis Philippe no.10

BOLOGNESE SCHOOL, 16th Century no.1

BONHEUR, François-Auguste no.49

BRANDOIN, Michel Vincent Charles no.19

BRAVO, Claudio no.95

BRESDIN, Rodolphe no.54

CARPENTER, Margaret Sarah no.12

CLAUSEN, George no.87

COLLET, John no.13

CONNELL, Anne no.100

COX, David no.44

CRETI, Donato no. 9

CROTCH, Dr William no.27

DANBY, Francis no.40

DAVID, Jacques-Louis no.35

DELLA BELLA, Stefano no.3

DIGHTON, Robert no.17

DUNCAN, Edward no.46

FAHEY, Edward Henry no.69

FRANCESCHINI, Marcantonio no.7

FRENCH SCHOOL, 18th Century nos.14 & 21

FRENCH SCHOOL, 19th Century no.74

GANTZ, John no.36

GASKIN, Arthur John no.78

GELDART, Joseph no.58

GOODWIN, Albert no.82

GRIFFITH, Moses no.24

GRUAU, René no.94

GUTHRIE, Kathleen no.96

HAAG, Carl no.70

HEARNE, Thomas no.25

HERKOMER, Hubert von no.75

HICKEY, Thomas no.11

HIREMY-HIRSCHL, Adolf no.64

HOLLAND, James no.50

HOOGSTRATEN, Samuel van no. 6

HOWITT, Samuel no.15

INNES, William Henry no.92

JACKSON, Samuel nos.34 & 39

JOHNSON, James no.41

LEAR, Edward nos.37 & 60

LEBASQUE, Henri no.84

LINNELL, James Thomas no.67

LOISEAU, Gustave no.88

LUMSDEN, Ernest Stephen no.85

INDEX OF ARTISTS

123

MAHONEY, Charles no.89

MAINELLA, Raffaelle no.72

MARSHALL, Charles no.53

MENINSKY, Bernard no.90

MEYER, Conrad no.4

MIDDLETON, John no.47

MONNIER, Henry no.65

MULLER, William James no.38

NINHAM, Henry no.48

NORTHERN SCHOOL, 17th Century no.2

OWEN, Samuel no.30

PALADINO, Mimmo no.97

PALMER, Simon no.99

PAYNE, William no.32

PEARSON, William no.23

PISSARRO, Camille no.73

POYNTER, Edward John nos.56-57

PRINS, Pierre no.77

RICHARDSON JUNR., Thomas Miles no.52

RICHARDSON SENR., Thomas Miles no.51

ROBERT, Hubert no.16

ROBINS, Thomas Sewell no.62

ROWLANDSON, Thomas no.18

SAMUELS, Frederick no.93

SAUTER, Rudolf no.81

SCHETKY, John Christian no.68

SELIGER, Max no.71

SEYMOUR, James no.8

SIGNAC, Paul no.79

SOWERBY, John George no.76

STANFIELD, Clarkson no.43

TAVERNIER, Jean-Baptiste no.5

TUDOR, Thomas no.31

TUNNICLIFFE, Charles Frederick no.91

VAN STRIJ, Jacob no.20

VARLEY, John nos.33 & 45

VENETIAN SCHOOL, 18th Century no.26

VUILLARD, Edouard no.80

WATERHOUSE, John William no.59

WATSON, John Dawson no.55

WEEKS, Edwin Lord no.61

WHITE ABBOTT, John no.28

WILLIAMS, Kyffin no.98

WIRGMAN, Charles no.66

WOLFSFELD, Erich no.86

124

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