One Hundred Drawings and Watercolours (2016) - Stephen Ongpin Fine Art

ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2016-2017

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

ONE HUNDRED DRAWINGS AND WATERCOLOURS

GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 20th Century

WINTER CATALOGUE 2016–2017

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

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

Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 guy@peppiattfineart.co.uk www.peppiattfineart.co.uk 1

We are delighted to present our ninth annual Winter catalogue of One Hundred Drawings and Watercolours, which will, as usual, be accompanied by an exhibition in our London gallery. This catalogue includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to the first half of the 20th century. Although the areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th Century drawings have long been regarded as disparate fields, each with their own enthusiasts, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will show that a fine drawing or watercolour – whoever the artist and whatever the date - is always worthy of note.

As the enclosed price list shows, 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. The catalogue aims to show that drawings and watercolours by well-established artists can be affordable, and interesting works by lesser-known artists especially so. We believe that there is much here for the novice collector, as well as for the more experienced connoisseur or curator. Indeed, we are very pleased that a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past eight years.

Our respective individual catalogues of more significant drawings will be issued in January and May 2017, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at our gallery over the coming months.

Guy Peppiatt Stephen Ongpin

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

For reasons of space, only a brief account of each drawing is given in the catalogue. Further information, artist’s biographies and references, as well as high-resolution digital images of each of the works, are available on request.

The drawings are available for viewing from receipt of the catalogue. A price list is included. Most, but not all, of the works are sold framed.

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1 GHERARDO CIBO Genoa or Rome 1512-1600 Rocca Contrada

flowers of the Marchigian region, and became one of the foremost botanists of his day. A gifted artist, despite his lack of any formal training, he produced a large number of colourful and scientifically accurate botanical illustrations. As an amateur landscape draughtsman, Cibo worked mainly in the provinces of Ancona, Pesaro, Macerata and Perugia. His landscape drawings can be divided into two distinct types; views of actual sites in the Marches and purely imaginary landscapes. The drawings made on the spot are often inscribed with the location depicted and with astrological symbols to denote the specific day of the week. While Cibo sent some of his drawings to family members and fellow botanists, most seem to have been done for his own pleasure.

Landscape with a Farmhouse on a Hillside Pen and brown ink and brown wash 129 x 210 mm., 5 1/8 x 8 1/4 in.

Provenance: Cardinal Gaspari(?)

Rafael Valls, London P. & D. Colnaghi, London, in 1969 Private collection, New York

The present sheet was part of a group of twelve landscape drawings from a now-dismembered sketchbook that appeared on the London art market in 1971. The flyleaf of the sketchbook was dated 24 October 1567, while some of the drawings are dated 1567 or 1568. A long inscription in the sketchbook noted that the drawings contained in it were made by Cibo during walks in the countryside.

Born into the Genoese nobility, Gherardo Cibo studied in Rome and Bologna, receiving a fine humanist education, and showed a talent for drawing from an early age. He became a soldier and diplomat attached to the papal court in Rome. In 1540, aged just twenty-eight, Cibo retired from his papal duties and settled in the small town of Rocca Contrada in the Apennines. He dedicated the rest of his life to the study, collection and illustration of the plants and 3

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2 HENDRICK GOUDT The Hague c.1583-1648 Utrecht

Goudt is thought to have travelled to Italy in 1604, and by 1607 is recorded as living in the house of the German painter Adam Elsheimer in Rome, although it remains unclear whether he was formally a pupil of the elder artist.

Goudt made a handful of superb prints after Elsheimer’s paintings which served to spread the posthumous reputation of the German painter and, by extension, his own. Following Elsheimer’s death in 1610, Goudt returned to the Netherlands and by 1611 had settled in Utrecht.

However, he seems to have stopped working after the last of his prints after Elsheimer was published, in 1613. Around 1620 Goudt became severely mentally ill, and by 1625 had been declared legally incompetent. He died in 1648, suffering from mental derangement.

Three Orientals in Conversation Pen and brown ink on buff paper, laid down Irregularly trimmed and made up at the left edge and upper left corner A small made up section at the lower right 91 x 60 mm., 3 5/8 x 2 3/8 in.

Provenance: Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) Thence by descent

As a draughtsman, Goudt worked primarily in pen and ink, producing figural groups, landscapes and Biblical subjects.

He also made a number of highly detailed pen and ink drawings on vellum for collectors. His drawings are difficult to accurately date, however, since only one sheet is dated.

While Goudt’s early drawings show the influence of Jacques de Gheyn II, his mature draughtsmanship is indebted to the manner of Elsheimer; indeed, the figure drawings of the two artists have long been confused.

Literature Hans Möhle, Die Zeichnungen Adam Elsheimers. Das Werk des Meisters und der Problemkreis Elsheimer – Goudt, Berlin, 1966, p.56, illustrated pl.9, no.G16 Little is known of Hendrick Goudt’s artistic training, but it is thought that he studied calligraphy and engraving with Jan van de Velde the Elder, and printmaking with Simon Frisius.

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3 STEFANO DELLA BELLA Florence 1610-1664 Florence

This drawing was once part of a sketchbook used by Stefano della Bella on a trip to the Low Countries between 1647 and 1650. The drawing shares much of its provenance with a similar and slightly larger sheet from the same sketchbook, depicting what seems to be the same woman and showing more of her costume, on which the artist further noted that the drawing was made in Aalkmar on the 6th of May 1647.

This would suggest that the present sheet was drawn at the same time and place. The Italian inscription at the top of the present sheet describes the subjects as Anabaptists from Holland. Another drawing from the same period and quite possibly part of the same sketchbook, showing two Dutch or Flemish women wearing distinctive headpieces, was part of an important album of drawings by Stefano della Bella assembled by the 18th century English calligrapher Thomas Tomkins, and dispersed at auction in 1975. Other drawings by the artist from this Dutch period are in the British Museum, the Louvre and the Istituto Nazionale per la Grafica in Rome.

The Heads of Two Women from Aalkmar Pen and brown ink and grey wash, over a pencil underdrawing Inscribed Anabatiste d’ hollanda at the top 94 x 130 mm., 3 3/4 x 5 1/8 in.

Provenance: Possibly Giuseppe Vallardi, Milan Possibly William Mayor, London P. & D. Colnaghi, London Sir Bruce Ingram, Chesham (Lugt 1405a) Carl Winter, Cambridge Private collection, London Trinity Fine Art, London, in 1990 Monica Streiff, Switzerland 5

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4 LUDOLF BAKHUIZEN Emden 1631-1708 Amsterdam

had also taken up painting, and was soon established as one of the leading marine painters in the city, receiving numerous commissons and enjoying the patronage of several important patrons. After 1672, when Bakhuizen’s main competitors as marine artists, Willem van de Velde the Elder and Willem van de Velde the Younger, moved to England, his output increased significantly.

Coastal Scene with Shipping Pen and brown ink and grey wash Laid down on a 17th century mount Signed L: B: Fecit at the lower left of the mount 118 x 169 mm., 4 5/8 x 6 5/8 in.

Prolific as a draughtsman, Bakhuizen produced, in the words of one scholar, ‘swift and lively sketches in pen and brown ink and gray wash, which sometimes served as preparatory studies for paintings’ - of which the present sheet is a fine example - as well as more finished drawings, which were highly valued and were sold to collectors as autonomous works of art. In his drawings, Bakhuizen was fond of the compositional device of a large ship in the foreground at one side of the scene, with other shipping in the middle ground and far distance. (According to Houbraken, he often worked from a boat, the better to capture the effects he was after.) Due to the fact that his style as a draughtsman remained relatively unchanged throughout his career, it is often difficult to place undated drawings within Bakhuizen’s oeuvre.

Born in Germany, Ludolf Bakhuizen had by 1649 settled in Amsterdam, where he worked as a calligrapher and bookkeeper. The biographer Arnold Houbraken states that Bakhuizen began making drawings of ships and marine subjects soon after arriving in Amsterdam, despite having relatively limited training as an artist. Some of his earliest works were elaborate pen drawings on prepared canvas or wood; known as ‘penschilderij’, these were inspired by similar works produced by Willem van de Velde the Elder.

Drawing seem to have been something of a hobby for several years, however, and Bakhuizen did not join the Guild of St. Luke in Amsterdam until 1663. By this time he 6

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5 JOANNES CARTERON Flemish, late 17th Century An Italianate Coastal Landscape with Shipping Pen and brown ink, with framing lines in brown ink Laid down Signed and dated Joanneir Carteron fecit 1677. and numbered No 516 in the lower right margin 250 x 401 mm., 9 7/8 x 15 3/4 in. [sheet] Provenance: Stanislas d’Albuquerque (Lugt 3147), Paris and Austria 7

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6 CHRISTOPH LUDWIG AGRICOLA Regensburg 1667-1719 Regensburg

Agricola, who was active mainly in Augsburg, and also spent time in England, Holland, France and Italy. As a draughtsman, Agricola produced a series of gouache drawings of natural history subjects, notably a number of fine studies of birds. These include several drawings of kingfishers, always shown isolated on a branch in a winter landscape. The artist must have been particularly fond of the present composition, since he repeated it – with minor changes to the tree and the landscape background – in a handful of related versions, all on vellum and of similar dimensions.

A Kingfisher on a Branch Gouache on vellum, with framing lines in gold 289 x 209 mm., 11 3/8 x 8 1/4 in.

Relatively little is known of the training and career of the late 17th century German landscape painter Christoph Ludwig 8

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7 VITTORIO MARIA BIGARI Bologna 1692-1776 Bologna

commissions in Faenza, Milan, Ferrara and Turin. Although never enrolled in the Accademia Clementina in Bologna, Bigari was four times elected principe of the institution between 1734 and 1773.

Design for the Decoration of a Wall and Ceiling

The extensive architectural elements in this large and impressive sheet would suggest that it is a mature work by the artist. The wall scheme depicts two putti supporting a cartouche with a figure of Minerva as the personification of Wisdom, while above a separate sheet has been inserted into the composition, showing an allegorical female figure crowned by an angel. While it has not been possible to connect this drawing with any extant mural or ceiling decoration by Bigari, the scale and complexity of the design indicates that it was an important commission. A close comparison may be made with a drawing by Bigari of similar dimensions, now in a private collection, which is a study for the quadratura design and fresco of Apollo Crowning the Muse of Painting on the vault of the Palazzo Bovi-Tacconi in Bologna, painted around 1761.

Pen and brown ink and brown and grey washes, over an underdrawing in black chalk A ceiling study in pen and brown ink and wash on a separate sheet of paper laid down and inserted by the artist into the design 395 x 515 mm., 15 5/8 x 20 1/4 in.

The leading decorative painter in Bologna in the mid-18th century, Vittorio Maria Bigari began his career as a scenographic painter and stuccatore. However, he soon developed a reputation as a master of large-scale mural and ceiling frescoes, often working as a figure painter in collaboration with designers of elaborate illusionistic architectural decorations, such as Stefano Orlandi. Bigari travelled extensively throughout Northern Italy, fulfilling 9

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8 JOHANN MICHAEL BAADER Eichstätt 1729-1792 Paris

was particularly influential among the younger generation of German and Swiss artists working in the city. Baader joined Wille’s circle of students and followers on study trips outside Paris, making numerous landscape drawings. By 1766 he is recorded as a pupil of Noël Hallé at the Académie, where he won a prize for drawing, and he worked in France for the remainder of his career. Accepted as a member of the Académie de Saint-Luc in 1775, Baader was soon afterward commissioned by the Marquis de Brunoy to work at his château. He also enjoyed the patronage of the Archbishopric of his native town of Eichstätt in Germany, by whom he was appointed Hoff- und Cabinets Maler. In the 1770s and 1780s a number of his drawings were reproduced as prints. Baader died, after a thirty-year career in Paris, of a cerebral haemorrhage, at the age of sixty-three.

The day after his death, Wille wrote of him in his journal – an important source of information about the Parisian art world of the 18th century, published posthumously in 1857 – ‘If he was not a painter of the first rank, he was at least swift and painstaking; also, he was a very honest man, thrifty, but charitable; his exceedingly good humour made him a friend to all those who might know him.’

The Corner of a Barn: Study of a Haystack with a Barrel and a Lantern Red chalk Signed and dated Baader Del. / 1772 at the lower right 194 x 313 mm., 7 5/8 x 13 in.

Provenance: Peter Wick, Boston A painter and etcher, Johann Michael Baader studied with Johann Georg Bergmüller in Augsburg before travelling to Rome, where he worked with Anton Raphael Mengs. In September 1762 Baader settled in Paris, where he studied at the Académie Royale. He met and befriended the engraver Johann Georg Wille, whose studio in Paris was a meeting place for artists, collectors and dealers, and who 10

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9 THOMAS WORLIDGE Peterborough 1700-1776 Hammersmith

he lived mainly in London, he also worked in Bath for several months each year between 1743, when he married a woman from the city, and his death in 1766. Described by one modern scholar as ‘the most original printmaker to work in Bath in the eighteenth century’, Worlidge, like Thomas Gainsborough, counted among his clients many of the fashionable people who stayed in Bath during the winter social season.

Study of a Man With a Headscarf Graphite, with stumping, and double framing lines in pencil Signed with the artist’s initials and dated TW 1761 at the upper right 204 x 140 mm., 8 x 5 1/2 in.

Unlike much of Worlidge’s work, which is indebted to the example of Rembrandt, the present sheet – signed and dated 1761 – would appear to have been inspired by similar male heads that appear in the work of the Neapolitan artist Salvator Rosa (1615-1673).

A painter, draughtsman and printmaker, Thomas Worlidge received his artistic training from the painter Alessandro Grimaldi and the engraver Louis-Philippe Boitard. Although 11

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10a THOMAS WORLIDGE Peterborough 1700-1776 Hammersmith

contemporary cleric and author William Gilpin, writing in 1768, noted, ‘Among the imitators of REMBRANDT, we should not forget our countryman WORLIDGE; who has very ingeniously followed the manner of that master; and sometimes improved upon him. No man understood the drawing of a head better.’

Study of a Seated Man (after Rembrandt?)

Graphite, with framing lines in pencil, laid down.

Signed with initials TW at the upper right 129 x 98 mm., 5 1/8 x 3 7/8 in.

Among Worlidge’s most important patrons was Sir Edward Astley, who came to possess over six hundred prints by him, and also owned a famous collection of prints by Rembrandt. In 1754 the artist held a public sale of his work, which included copies of two self-portraits by Rembrandt and other works inspired by the master. Among his last significant projects was the Select Collection of Drawings from Curious Antique Gems...Etched after the Manner of Rembrandt, which was posthumously published in 1768, two years after his death.

Throughout Thomas Worlidge’s career, the prime influence on both his style and his oeuvre were the prints and drawings of Rembrandt, whose etching manner he imitated.

Indeed, Worlidge may be regarded as a leading figure in the Rembrandt revival in England in the 18th century, and is credited with introducing the artists William Hoare and Thomas Gainsborough to the work of Rembrandt. As the 12

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10b THOMAS WORLIDGE Peterborough 1700-1776 Hammersmith

printmaker that Thomas Worlidge is best known. His etchings were very popular and were sold in galleries and bookshops in Bath and London, even long after his death.

The largest extant collection of prints by the artist is today in the collection of the Peterborough City Museum and Art Gallery, in the town of his birth.

Study of a Man With a Fur Hat Graphite, with framing lines in pencil Laid down 140 x 118 mm., 5 1/2 x 4 1/2 in.

Many of Worlidge’s drawings, such as this and the previous sheet, are inspired by Rembrandt’s portraits, or by his prints of Oriental heads. Drawings by Worlidge are rare today, however, although examples are in the collections of the British Museum, the Ashmolean Museum in Oxford and the Victoria Art Gallery in Bath.

Although he produced several small portrait drawings in graphite, as well as miniatures and portrait paintings – although few of these survive today – it remains as a 13

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11 PIETER BARBIERS THE ELDER Amsterdam 1717-1780 Amsterdam

Although as a child he received drawing lessons from his father Anthonie, Pieter Antonisz. Barbiers was largely a selftaught artist, and began his career decorating ladies’s fans and designing wallpaper. He eventually made a specialty of large decorative paintings, tapestry designs and, in particular, drawings for stage decorations, working for theatres in Amsterdam, The Hague, Leiden and Rotterdam. His sons Bartholomeus (1740-1808) and Pieter Barbiers II (17491842) were also painters, and received their training from him; it is sometimes difficult to distinguish between the works of the three artists. Drawings by the elder Barbiers are today in the Rijksprentenkabinets in Amsterdam and Leiden, the Gemeenterachief in Haarlem, and elsewhere.

Study of a Man Pushing Out a Boat Pencil, with framing lines in pencil Inscribed (in a modern hand) P. Barbiers l’aine(?) on the backing sheet 115 x 151 mm., 4 1/2 x 6 in.

Provenance: Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) Thence by descent 14

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12 CLAUDE-LOUIS CHATELET Paris 1753-1795 Paris

majority of the landscape illustrations for the Abbé de SaintNon’s Voyage pittoresque, ou description historique des royaumes de Naples, et de Sicile, published in five volumes between 1781 and 1786. Chatelet undertook a trip to southern Italy to prepare drawings for the book, and he was responsible for the largest number of the illustrations later engraved for this massive project. Actively involved in radical politics, Chatelet was a fervent Revolutionary and a member of the Jacobin Tribunal. Imprisoned after the fall of Robespierre in 1794, he was sent to the guillotine in May of the following year.

Mountain Landscape with a Waterfall Pen and brush and black ink and grey wash, heightened with white, on blue paper Inscribed vallée(?) at the lower left 218 x 285 mm., 8 1/2 x 11 1/4 in.

Very little is known of the artistic training of Claude-Louis Chatelet, and the known facts of his career are few. Active mainly as a topographical draughtsman, he seems to have completed only a handful of paintings, and it is for his landscape drawings in watercolour or gouache that he is best known. Chatelet often depicted the parks and gardens around Paris, such as Bellevue, the Petit Trianon at Versailles and the Folie Saint-James at Neuilly, but his most important commission came when he was asked to supply the

One of a small number of stylistically comparable drawings on deep blue paper by Chatelet, the present sheet may have been executed during the artist’s travels around Switzerland in 1780-1781, in preparation for Jean-Benjamin de La Borde and Baron Beat Fidel de Zurlauben’s Tableaux topographiques, pittoresques, physiques, historiques, moraux, politiques, littéraires de la Suisse, which appeared between 1780 and 1786.

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a.

b. The Ambush

13 THOMAS ROWLANDSON London 1756-1827 London

Pen and grey ink and watercolour 140 x 222 mm., 5 3/4 x 8 3/4 in.

a. Boxers in a Town Square

c. The Burial

Pen and grey ink and grey wash over pencil on laid paper 93 x 152 mm., 3 3/4 x 6 in.

Pen and brown ink and watercolour over pencil on laid paper 122 x 190 mm., 5 x 7 1/2 in.

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b.

c.

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14 THOMAS HEARNE Brinkworth 1744-1817 London

A view of the outer gateway of Allington Castle by Hearne is in the Victoria and Albert Museum (see David Morris, Thomas Hearne and his Landscape, 1989, p.31, no.18, ill.).

An engraving of this view was published on 15th August 1783 as part of the ‘Antiquities of Great Britain’ series. David Morris (op.cit., p.51) tells us that Hearne visited Allington Castle, the home of Lord Romney, in 1777.

The Gateway, Allington Castle near Maidstone, Kent Grey washes over pencil on laid paper 185 x 255 mm., 7 1/2 x 10 1/4 in.

Allington castle was built by Stephen de Pencester between 1279 and 1299. It passed by marriage into the Cobham family before being acquired by Sir Henry Wyatt, a supporter of Henry Tudor (later Henry VII) in 1492. From circa 1600 the castle gradually fell into ruin until it was rebuilt in the early twentieth century.

Provenance: With the Squire Gallery, London, where bought by Miss Sprent of Hove, Brighton, November 1955

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15 FRANCIS NICHOLSON Pickering 1753-1844 London Fountains Abbey, North Yorkshire Watercolour over pencil 290 x 411 mm., 11 1/2 x 16 1/4 in.

Fountains Abbey is about three miles south-west of Ripon and is one of the largest and best preserved ruined Cistercian monasteries in England. It was founded in 1132 and thrived until Henry VIII’s dissolution of the monasteries in the 1530s.

Nicholson was born in Pickering, Yorkshire and lived in various Yorkshire towns before moving to London in 1803.

He painted mainly views of Yorkshire and Scotland and, later in life, London. He built up such a successful career as a drawing master in London that he stopped exhibiting from 1833. Nicholson was one of the founding members of the Old Watercolour Society.

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16 JOSEPH CLARENDON SMITH London 1778-1810 Melrose Abbey, Scotland 17 ANTHONY DEVIS Preston 1729-1817 Albury, Surrey

Signed lower left: J.C. Smith 1809 Brown washes over pencil 216 x 309 mm., 8 3/4 x 12 1/4 in.

a. Landscape with Figure and Cattle

Smith was the son of a builder and sent to sea as a young man. After three years, he was admitted to Christ’s Hospital school to improve his skills in navigation. While there he showed an aptitude for drawing and began working with an engraver. He then turned to working in watercolour and exhibited at the Royal Academy in 1806 and1807. He suffered from tuberculosis and went to Madeira for warmer air but died on the return journey aged only 32. This is typical of his detailed work in brown wash and pencil. A similar work, of Waltham Abbey, dated 1807 is in the British Museum.

Signed with initials lower left Pen and grey ink and watercolour over pencil with pen and ink border 137 x 200 mm., 5 1/2 x 7 3/4 in. b. Landscape with Sheep Pen and grey ink and watercolour over pencil with a pen and ink border 134 x 201 mm., 5 1/2 x 7 3/4 in.

Melrose Abbey, situated in the Scottish Borders, was founded in 1136 by the Cistercians at the request of King David I of Scotland and is now partly ruined.

Provenance: Anonymous sale, Christie’s, 3rd March 1970, lot 67 20

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a.

b.

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19 JOHN WHITE ABBOTT Exeter 1763-1851 Exeter 18 WILLIAM PAYNE

Figures in a Wood, Topsham and the River Exe beyond

London 1760-1830 London Inscribed on reverse of original washline mount: Given to Francis Abbott/March 1, 1832 Pen and brown ink and watercolour 705 x 495 mm., 27 3/4 x 19 1/2 in.

View on the River Dart, Devon Inscribed on original backing: View upon the River Dart Watercolour over traces of pencil 349 x 463 mm., 13 3/4 x 18 1/4 in.

Provenance: Given by the artist to Francis Abbott, 1832; By descent in the family of the artist until sold at Sotheby’s, 11th November 1993, lot 86, where bought by the present owner

This watercolour dates from the mid 1790s.

Payne was the son of a London coal merchant and first exhibited at the Society of Artists in 1776. He was taught by George Haines, Chief Draughtsman at the Tower of London and maybe also Paul Sandby (1730-1809). From 1782 until 1788 he worked on surveys at Plymouth Dock.

He exhibited at the Royal Academy from 1786 and in 1789 he returned to London as a professional artist and became one of the most successful and fashionable drawing masters of the period. His works are mostly Devon views.

Exhibited: Bristol City Art Gallery, John White Abbott, 1946, no.2 This watercolour dates from circa 1800. The viewpoint is the same as in an oil painting of 1808, ‘The Old Lime Kilns near Topsham on the Exe’ in the Royal Albert Memorial Museum, Exeter.

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20 THOMAS BURGESS London1784-1807 London

Burgess exhibited three Derbyshire views at the Royal Academy in 1806 including a view of Matlock Church. He died of tuberculosis at his father’s house on Sloane Square on 23rd November 1807 aged only 23.

Rock Scenery near Matlock, Derbyshire Signed lower left: T Burgefs 1805 and signed on the original mount: Rock Scenery near Matlock by T. Burgefs 1805 Watercolour over pencil heightened with stopping out 289 x 235 mm., 11 1/2 x 9 1/2 in.

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21 Attributed to PHILIBERT-LOUIS DEBUCOURT Paris 1775-1832 Belleville

Debucourt’s colour prints of genre subjects were some of the most significant works in this new medium, culminating in two major graphic works of Parisian genre subjects; the Palais Royal Gallery Walk and The Public Promenade. Until the turn of the century, Debucourt made engravings, often in colour, after his own paintings of genre scenes and portraits, but after 1800 was mainly engaged in reproducing the designs of other artists, which earned him a modest livelihood. Although he continued to show at the Salons infrequently, he never achieved much critical or financial success, and died in relative poverty.

The Gust of Wind Pen and grey ink and grey wash 186 x 200 mm., 7 3/8 x 7 7/8 in.

Agrée at the Académie Royale in 1781, Philibert-Louis Debucourt exhibited genre paintings at the Salons of 1781, 1783 and 1785 before becoming a full member of the Académie in 1786. His subjects tended towards charming and intimate depictions of domesticity; as one scholar has noted, ‘Scenes extolling the pleasures of family life abound in Debucourt’s oeuvre.’ However, the death of his wife in 1783, leaving behind a young son, led him to concentrate on his work as a printmaker, since colour aquatints had the potential to earn him a greater income than his paintings.

Despite the fact that he designed almost six hundred prints, Debucourt seems to have produced relatively few drawings, and they are very rare today. The large retrospective exhibition of the artist’s work, held in Paris in 1920, included just twelve drawings, while the catalogue noted a further eight examples recorded in sale catalogues and previous literature.

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22 WILLIAM PEARSON Durham 1772-1849 London a. 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 is unrecorded. Although the influence of Thomas Girtin is clear in his watercolours, there is no evidence of a direct link between the two. He first exhibited at the Royal Academy in 1799 and his exhibits suggest that he visited Wales in 1801. In 1802, he moved to Shrewsbury and many of his known works and engravings are of Shropshire views.

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22 WILLIAM PEARSON Durham 1772-1849 London b. Old Bank Court, London Signed lower right: W. Pearson May 1803 and inscribed on part of old label attached to the backboard: Old Bank Court Watercolour over pencil heightened with touches of bodycolour on laid paper 258 x 416 mm., 10 Ÿ x 16 ½ in.

This is probably Old Bank Court, a courtyard off Bermondsey St, Bermondsey. The area is full of warehouses many of which were used for making leather.

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23 WILLIAM DANIELL, R.A. Chertsey 1769-1837 London

Smirke who showed him the proposed, Greek revival, plan of the theatre. Following the ceremony all the dignitaries, including the Prince who was still wearing his Freemason regalia, went to the Freemasons Tavern for a meal. On 18th September 1809, the new Theatre Royal reopened with a performance of Macbeth starring Sarah Siddons. The theatre only lasted until 1856 when it again burned down and the present building was opened in 1858.

The Prince of Wales laying the Foundation Stone of the Theatre Royal, Covent Garden on 31st December 1808 Signed lower right: W. Daniell delt Watercolour over pencil heightened with bodycolour and scratching out 355 x 623 mm., 14 x 24 3/4 in.

This drawing depicts the site of the Royal Opera House from Floral Street to the north. To the left is Bow Street where the sign of the Garricks Head Tavern is visible. It had opened in 1805 at no. 27 to serve the theatre’s audience.

The large building behind Bow Street is the Theatre Royal, Drury Lane which had been rebuilt by Richard Brinsley Sheridan in 1794 and was to burn down in 1809. Behind Drury Lane, the spire of the church of St Mary-le-Strand is visible.

At 4 a.m. on the morning of 21st September 1808, fire broke out at the Theatre Royal, Covent Garden, now known as the Royal Opera House. Within three hours, the whole theatre was destroyed but the books, accounts, deeds and cash were saved due to the intervention of the treasurer Mr Hughes. The present drawing shows the Prince of Wales (the future George IV) ceremonially laying the first Portland stone which was said to weigh one ton.

Once workmen lowered it into place, His Majesty gave it three strokes with a mallet. The Prince of Wales was accompanied by the architect of the new building Sir Robert

From 1802 to 1813, Daniell was working on a series of London views and it could be that he intended producing an engraving of this subject. It never happened however but he did publish an engraving of the east front of the new theatre on 1st September 1809.

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24 WILLIAM HEATH Northumbria 1795-1840 Hampstead

farm stood near a major crossroads, and its central position made it key for the combatants to control. Both sides pressed hard to hold and take the farm throughout the day.

The Battle of Waterloo, 18th June 1815

Heath shows the time in the afternoon after the advances of the French forces are beginning to falter, and the tide of the battle is turning in favour of the British and their Allies.

Seen on the left, are members of The Highland Regiments, probably the 92nd Gordon Highlanders, who have consolidated their positions, and are firing on the waning French Cuirassiers in the middle ground. Rushing in from the right to support the Highlanders are the charge of the Household Brigade (Life Guards) and the charge of the Hussars. The mounted officer on the right gesticulating with his sword resembles Lieutenant General Paget, Earl of Uxbridge.

Watercolour over pencil heightened with bodycolour 303 x 548 mm., 12 x 21 3/4 in.

Provenance: Theodore Church, Georgia, VT; Private Collection, UK. Early in Heath’s career (1816-17) he produced a number of watercolours recording the pivotal battles of the Napoleonic Wars. This work depicts the critical events around the Le Hayes Sainte farm on the 18th June. The 29

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25 JOHN WILLIAM UPHAM Offwell near Honiton 1772-1828 Weymouth

26 GEORGE FROST Ipswich 1734-1821 Ipswich

Bow and Arrow Castle, Portland, Dorset

a. Study of a Standing Man

Signed or inscribed on original mount: J.W. Upham 1821 and inscribed verso: Bow and Arrow Castle, Portland 276 x 387 mm., 11 x 15 1/4 in.

Watercolour on laid paper 178 x 73 mm., 7 x 2 3/4 in. b. Study of six Horses and a Carriage Watercolour and pencil 71 x 151 mm., 2 3/4 x 5 3/4 in.

Engraved:

By J. Bluck for a ‘A Fine set of Views in and around Weymouth, Dorset’ as a coloured aquatint, July 1821

Provenance: David Kibble

Originally a pupil of Francis Towne, Upham became a drawing master in Weymouth, Dorset and specialised in Dorset and Devon views. The present watercolour is one of series of coloured aquatints published in July 1821 described as ‘A fine set of views in and around Weymouth, Dorset, drawn and published in Weymouth by John William Upham (1772-1828), with bright matching colour.’

Frost was an office clerk in Ipswich who spent his leisure time sketching in the local area. His friend the Rev. James Ford recalled: ‘he studied nature with the closest attention’ and ‘the pleasing scenery around the town of Ipswich; its hollow and tortuous lanes with broken sand-banks; its 30

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b. copse-grown dells; above all, the richly-wooded and picturesque acclivities of its winding river, were his perpetual haunts’ (obituary in The Gentleman’s Magazine, July 1821, p.

90). He was an ardent admirer of Gainsborough’s landscape drawings, and a close friend of Constable, and he owned a number of the latter’s work.

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27 GEORGE FROST Ipswich 1734-1821 Ipswich

b. Study of a Carthorse facing left

a. Study of a Carthorse facing right

Black chalk and pencil on laid paper, with cut corners 133 x 180 mm., 5 1/4 x 7 in.

Pencil on laid paper 133 x 169 mm., 5 1/4 x 6 1/2 in.

Provenance: David Kibble 32

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28 WILLIAM BROCAS Dublin 1794-1868 Dublin

Literature: Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, 2002, vol.I, p.119, ill.

Looking down the River Liffey towards Dublin, Ireland

William Brocas was the third son of the landscape painter Henry Brocas (1762-1837). He was based in Dublin and exhibited mainly portraits and figure studies at the Society of Artists in 1809 and 1812 and at the Royal Hibernian Academy, Dublin, from 1828 to 1863. He was President of the Society of Irish Artists which held its first exhibition at the Royal Irish Institution in College Street in 1843. was elected an Associate of the Royal Hibernian Academy in 1854, and a full Member in 1860. He lived at 15 Henry Street, Dublin from about 1825.

Signed lower left: W. Brocas delt. and signed and inscribed on reverse of original mount: Drawn by William Brocas 15 Henry Street Dublin/Looking down the River Liffey towards Dublin Watercolour over pencil heightened with touches of bodycolour 294 x 492 mm., 11 3/4 x 19 1/2 in.

Provenance: Anonymous sale, Christie’s, 14th July 1987, lot 83, sold for £1,870 33

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29 Attributed to CONSTANT TROYON Sèvres 1810-1865 Paris

in the Mauritshuis he copied. Troyon soon moved from landscape painting to animal subjects, with a particular emphasis on cattle. Indeed, his contemporary reputation rested largely on his undoubted skills as an animal painter, and he was soon established as one of the foremost animalier artists in France. Exhibited throughout Europe, Troyon’s paintings were acquired by numerous collectors and achieved very high prices long after his death.

The Head of a Bull Oil and pencil on buff paper Various sketches of decoration in pencil on the verso 190 x 207 mm., 7 1/2 x 8 1/8 in. [image]

As one modern scholar has noted, ‘Troyon’s cattle pictures are remarkable for their anatomical accuracy; for he took great pains and made numerous studies of cattle and other domestic animals. He was, in fact, an accomplished draughtsman, and even in his later works, many of which were rapidly executed, we are aware of the sound draughtsmanship and the accumulation of knowledge of the structure not only of cattle and other animals but also of landscape, that he could always call upon.’ Only a handful of preparatory drawings by Troyon for his paintings are known, however.

Constant Troyon began his career as an apprentice at the Sèvres porcelain factory, and received his artistic training with Jean-Victor Bertin and Camille Roqueplan, while also coming under the influence of the Barbizon painters. He exhibited for the first time at the Salon in 1833, showing landscape paintings, and won medals at the Salons of 1838, 1840 and 1846. Of particular importance was a trip he made to Holland in 1847-1848, where he was impressed with the work of such 17th century Dutch artists as Aelbert Cuyp and Paulus Potter, whose 1647 painting The Young Bull 34

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30 HENRY THOMAS ALKEN London 1785-1851 London A Greyhound Watercolour over pencil 286 x 384 mm., 11 1/4 x 15 in.

Provenance: With Andrew Wyld, 2005; Private collection, UK 35

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31 PETRUS JOHANNES SCHOTEL Dordrecht 1808-1865 Dresden

The son of the illustrious marine painter Johannes Christiaan Schotel, Petrus Schotel was also active as a painter of seascapes, and indeed his unsigned work is sometimes confused with that of his father. A period of study and travel in France between 1827 and 1829 had a significant effect on his style. Schotel worked for several years as a drawing teacher at the Koninklijk Marine Instituut in Medemblik, and was recognized for his particular knowledge of the historical and technical details of ships. From 1851 to 1856 he worked in Kampen before settling in DĂźsseldorf, where he remained until 1860, when he moved to Dresden. He exhibited in Amsterdam, Groningen, The Hague and Rotterdam between 1817 and 1864. Paintings by Schotel are today in the museums of Amsterdam, Haarlem and Rotterdam, as well as in Antwerp and Cologne, while drawings by him are in museum collections in Amsterdam, Dordrecht, Haarlem, Otterlo, Rotterdam and Stuttgart.

Shipping on a Choppy Sea Pen and brown ink and grey wash, with framing lines in black ink Signed P. J. Schotel at the lower right 267 x 370 mm., 10 1/2 x 14 1/2 in.

Provenance: Johannes Andreas Jolles, Amsterdam(?)

His sale, Amsterdam, 27 November 1848, lot 256 Marinus van Regteren Altena, Amsterdam By descent to Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) Thence by descent 36

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32 WILLIAM JOY Great Yarmouth 1803-1867

Admiral Maitland was replaced on his death by Commodore Sir James Bremer. The Wellesley saw active service under his command during the First Opium War in the early 1840s.

H.M.S. Wellesley and other Shipping

In 1854 the Wellesley was a guard ship then flagship at Chatham dockyard and was refitted by the London School Ship Society in 1868. In 1940 she was sunk by a German air-raid and was raised in 1948. Her figurehead now stands by the main gates of Chatham Dockyard.

Pen and brown ink and watercolour heightened with bodycolour and stopping out 225 x 327 mm., 8 3/4 x 12 3/4 in.

Named after the Duke of Wellington, H.M.S. Wellesley was a 74 gun third rate and built by the East India Company. She was launched at Bombay on 24th February 1815. She carried Sir Charles Stuart de Rothesay to Brazil in 1823 and was the flagship of Rear Admiral Sir Frederick Maitland in the Mediterranean from 1827 to 1830 and later in Karachi.

William Joy was a marine painter who often collaborated with his brother John Cantiloe Joy (1806-1866). They grew up in Great Yarmouth but moved to Portsmouth in 1832 where they worked as government draughtsmen.

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33 EDWARD LEAR Highgate 1812-1888 San Remo, Italy

Lear arrived in Rome in December 1837 and, apart from a tour of the Bay of Naples from May to August, he remained in the city for most of 1838. A group of studies of trees taken in Alderley Park, Cheshire by Lear in June 1837 are in the Whitworth Art Gallery, University of Manchester (see Charles Nugent, Edward Lear the Landscape Artist, 2009, nos. 98-103, pp.187-192).

Study of Trees, Italy Signed lower left: E Lear/1838 Pencil on blue paper 269 x 182 mm., 10 3/4 x 7 1/4 in.

Provenance: With Spink, London (K3/4388) 38

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34 THOMAS HARTLEY CROMEK London 1809-1873 Wakefield

living and working in the country, mainly in Florence and Rome. While in Italy he met and befriended several English artists, including Clarkson Stanfield and John Frederick Lewis, and gave drawing lessons to a number of English visitors and tourists, including, in 1837, Edward Lear. Cromek made two trips to Greece, in 1834 and 1845. In 1849, however, he was forced by the outbreak of the First Italian War of Independence to leave Rome, and returned to England for good. Cromek seems to have produced almost no paintings after 1860, as his health gradually failed, and he died in relative obscurity in Yorkshire.

Study of Mullein, Ariccia Watercolour, over traces of a pencil underdrawing Signed, inscribed and dated T.H. CROMEK / Ariccia / 11 Augt. 1845. at the bottom centre 183 x 208 mm., 7 1/4 x 8 1/8 in.

Much of what is known today of Thomas Hartley Cromek’s life and career is based on a journal he wrote, entitled Reminiscences at Home and Abroad, 1812-1855, which only came to light in the latter half of the 20th century. The son of an engraver and editor, Cromek first travelled to Italy in 1830. He was to spend much of the next twenty years

This watercolour was drawn during the summer of 1845 at Ariccia, a town near Lake Nemi in the Roman Campagna, south of the city. The plant depicted is a flowering plant known as a Verbascum, or mullein.

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35 KASPAR KARSEN Amsterdam 1810-1896 Biebrich am Rhein

views of the 19th century. He lived and worked in Amsterdam for most of his career, apart from a brief period in Haarlem in the 1840s. He was admitted to the Academy in Amsterdam in 1836, and three years later joined the Dutch artist’s society ‘Arti et Amicitiae’. One of the finest painters of city scenes and river views of his day, Karsen was particularly skilled at rendering architecture. He travelled to Prague and throughout Germany, and often incorporated elements from the cities and towns he visited into what were sometimes imaginary compositions. Drawings by Karsen are today in the Rijksprentenkabinet in Amsterdam (including a sketchbook by the artist), the Teylers Museum in Haarlem, the Rijksprentenkabinet in Leiden, the KröllerMüller Museum in Otterlo, the Museum Boijmans-van Beuningen in Rotterdam, and elsewhere.

A View of a Church and a Town Square Pen and brown ink, with brown and grey wash, and framing lines in pencil Signed K. Karssen on the verso 200 x 241 mm., 7 7/8 x 9 1/2 in.

Provenance: Marinus van Regteren Altena, Amsterdam By descent to Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) Thence by descent

Although many of Karsen’s urban views are difficult to locate, and many seem to depict generic towns and cities, this view has been tentatively identified as the church of Saint Germain at Argentan, in northwestern France.

A pupil of Hendrik Gerrit Ten Cate and Georg Peter Westenberg, Kaspar (or Kasparus) Karsen was one of the most important Dutch painters of townscapes and city 40

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36 SAMUEL PROUT Diss, Norfolk 1783-1852 London

Provenance: Eliza Bell; Given to Edward Ford (b.1813), Enfield Old Park, 1872; Anonymous sale, Christie’s, 16th March 1982, lot 126, sold for £1,400; Private Collection, UK

Old Houses, Nuremberg Signed with monogram lower left: SProut Pen and brown ink and watercolour heightened with bodycolour 427 x 286 mm., 17 x 11 1/2 in.

Prout’s first visit to Germany was his Rhine tour in the summer of 1821 but he first visited Nuremberg on his 1823 tour (see Richard Lockett, Samuel Prout, 1985, p.53). He exhibited three Nuremberg views at the Society of Painters in Water-colours in 1824 and one in both 1825 and 1826.

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37 JOHN LINNELL Bloomsbury1792-1882 Redhill

The son of a London woodcarver and picture dealer, Linnell entered the Royal Academy Schools in 1805 and was a pupil of John Varley (see nos. 41 and 46). He preferred drawing landscapes but made his living as a portrait painter in oil, miniature and watercolour. From 1847, he gave up portraiture to concentrate on landscapes. He was the father-in-law of Samuel Palmer.

Cattle on a Country Road Signed lower left: J. Linnell Watercolour over pencil 148 x 216 mm., 6 x 8 3/4 in.

The present watercolour is likely to be a later work. The composition, with the road and cattle giving depth, is typical of his oils and shows the influence on Linnell of Rubens’s landscapes.

Provenance: With the Fine Art Society, London, April 1963; Private Collection, UK 42

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38 DAVID COX Birmingham 1783-1859 Birmingham

seventeenth century by Sir Charles Cavendish but was in ruins by the mid eighteenth century. It is now in the care of English Heritage.

Horseman on a Track near Bolsover Castle, Derbyshire

This watercolour dates from the 1830s when Cox was a frequent visitor to Bolsover. He was there in the summer of 1834 and again in September 1835 as well as the summer of 1838. He wrote to a friend William Roberts on 5th September 1835: ‘…. and on Thursday will start for Bolsover, which I hope to reach by five o’clock. If you have not seen Bolsover, I think you will be pleased with the distant views of it’ (see N. Neil Solly, Memoir of the Life of David Cox, 1873, p.79).

Watercolour over pencil 267 x 370 mm., 10 3/4 x14 3/4 in.

Provenance: With Thos. Agnew & Sons, London Bolsover Castle stands on a hill six miles east of Chesterfield overlooking the Vale of Scarsdale. It was built in the early 43

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39 THOMAS MILES RICHARDSON SENIOR Newcastle 1784-1848 Newcastle

Exhibited: Newcastle, Laing Art Gallery, Special Loan Collection of works

by T.M. Richardson Senr, 1906, no. 186

a. Lime Kilns near Dumfries, Scotland

Richardson Senior was referred to as ‘The Father of Fine Arts in Newcastle’ during his lifetime. Having been apprenticed to a cabinet maker, he gave it up to succeed his father as master of St. Andrew’s Charity School in Newcastle in 1806. He started working as a drawing master during this period and gave up teaching to devote himself to art in 1813. In 1822 he helped set up the Northumberland Institution for the Promotion of Fine Arts and its success led to the Northern Academy of Arts in Newcastle in 1828.

Watercolour over pencil heightened with bodycolour and scratching out on buff paper 236 x 332 mm., 9 1/2 x 13 in.

Provenance: By descent from the artist to his daughter Mrs Younghusband; Mrs N.G. Clayton of Humshaugh, Northumberland, 1906 44

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39 THOMAS MILES RICHARDSON SENIOR Newcastle 1784-1848 Newcastle b. A Castle on a Hill by the Sea Watercolour heightened with bodycolour and scratching out 217 x 308 mm., 8 1/2 x 12 in.

This may be a view of Harlech Castle, North Wales.

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40 THOMAS LEESON ROWBOTHAM Bath 1782-1853 Camberwell The Inn in Nant Ffrancon Pass, North Wales Inscribed lower left: The Inn/in Nant Francon Pafs Watercolour and pencil heightened with bodycolour 200 x 299 mm., 8 x 12 in.

The main road from London to Holyhead runs through the Nant Ffrancon pass in Snowdonia. It was constructed by Lord Penrhyn in the late eighteenth century and reengineered by Thomas Telford between 1810 and 1826. In 1801, Penrhyn built a coaching inn at Capel Curig which is now the UK National Mountaineering Centre.

Rowbotham was born in Bath and was working there as a drawing master in 1811 before moving to Dublin. By 1825 he was in Bristol where he remained for a decade and many of his topographical views of the area are in Bristol City Art Gallery. Three similar Welsh views by Rowbotham, with similar inscriptions, were with Guy Peppiatt Fine Art in 2011 (see website).

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41 JOHN VARLEY Hackney 1778-1842 London Cader Idris from near Dolgelly, North Wales Signed lower left: J. Varley. 1812.

Watercolour over pencil 226 x 476 mm., 8 3/4 x 18 3/4 in.

Provenance: Acquired by Bolton Museum and Art Gallery in 1965; De-accessioned in 2011 This is a view of the north face of Cader Idris from across the River Mawddach estuary which can be seen in the foreground. Cader Idris, meaning ‘Chair of Idris’ from the giant warrior poet of Welsh legend consists of a seven mile craggy and precipitous ridge situated at the southern end of Snowdonia National Park.

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

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42 Circle of FRANCIS NICHOLSON Pickering 1753-1844 London Octon Lodge, East Riding, Yorkshire Watercolour over pencil on original mount 284 x 400 mm., 10 x 15 3/4 in.

This is a view of Octon Lodge looking north towards the Yorkshire Wolds. The house sits to the west of the village of Octon in the East Riding of Yorkshire. It is recorded as the seat of Robert Prickett in Langdale’s Topographical Dictionary of Yorkshire of 1822 as well as in his will of 1844. Prickett, who married Anne, daughter of Samuel Salt of Tottenham in 1798, also had a property in Harley Street, London and appears to have leased out Octon Lodge. In 1838 it was occupied by a gamekeeper John Stephenson and in 1841 by a farmer Charles Harrison. The building still exists today, much altered but recognisable, on the B1249 opposite Eddsfield Airfield.

We are grateful to Lucy Denton for her help with identifying the subject.

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43 GEORGE BARRET JUNIOR London 1767-1842 London A Classical City Watercolour over pencil heightened with bodycolour and stopping out 366 x 545 mm., 14 1/2 x 21 1/2 in.

Provenance: Anonymous sale, Sotheby’s, 16th December 1976, lot 110; Bought by the present owner from Michael Bryan, 1980; Private Collection, UK Barret was one of the founding members of the Old Watercolour Society in 1805 and always lived in the Paddington area of London. From the early 1820s he produced fewer topographical views and concentrated on romantic Claudean compositions like the present work.

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44 JAMES DUFFIELD HARDING Deptford 1797-1863 Barnes

Engraved:

By William Finden as a steel engraving for ‘Ports, Harbours, Watering Places and Coast Scenery of Great Britain’, 1842, vol. I, opp. p.133

Plymouth Sound, looking across Drake Island from Mt. Edgcumbe, Plymouth beyond

Finden describes this view as follows (op. cit.): ‘The view of Plymouth is taken from the grounds of Mount Edgecumbe, looking across the lower part of the Sound. About the middle distance is St. Nicholas’ Island; beyond which are perceived the ramparts of the citadel. Between the citadel and the point of land to the right, where several small vessels are seen, is the entrance of the creek called the Catwater.’

Watercolour over pencil heightened with bodycolour 226 x 332 mm., 9 x 13 1/4 in.

Provenance: With James King, Liverpool

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45 FREDERICK NASH Lambeth 1782-1856 Brighton Prebend’s Bridge on the Wear, Durham

Prebend’s Bridge is one of the three stone bridges crossing the river Wear in Durham. It was built by George Nicholson between 1772 and 1778 replacing one which was swept away in a flood.

Watercolour over pencil heightened with touches of bodycolour 273 x 363 mm., 10 3/4 x 14 1/2 in.

Nash appears to have first visited Durham in 1828 when he exhibited six views of the city at the Society of Painters in Water-colours. He also exhibited Durham views in 1829, 1837, 1838 and 1840.

Provenance: With Abbott and Holder, 1981 51

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46 JOHN VARLEY Hackney 1778-1842 London Classical Landscape Watercolour heightened with bodycolour and gum arabic 295 x 501 mm., 11 3/4 x 19 3/4 in.

The large size, dark colouring and extensive use of gum arabic are typical features of Varley’s late works of circa 1840 (see C.M. Kauffmann, John Varley, 1984, nos. 7081, ill.).

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47 THOMAS MILES RICHARDSON JUNIOR, R.W.S. Newcastle 1813-1890 Newcastle A distant View of Lumley Castle, Durham Signed lower left: TMR Junr/1841 Watercolour over pencil heightened with bodycolour, scratching out and gum arabic 205 x 350 mm., 8 1/4 x 14 in.

Provenance: W.H. Bell, his sale, Christie’s, 27th March 1931, lot 112, bt. Pedley for 6 guineas; Anonymous sale, Christie’s, 22nd November 1946, lot 63, bt. de Cassels for 9 guineas; Private Collection, UK Lumley Castle is a 14th century castle at Chester-le-Street near Durham. It is named after its original creator, Sir Ralph Lumley who converted his family manor house into a castle in the late 14th century. In the 19th century it was the residence of the Bishop of Durham before being given to the newly founded University of Durham. It was part of University College, Durham until it was sold in the 1960s and is now a hotel.

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49 THE REV. JOHN EAGLES Bristol 1783-1855 Bristol On the River Frome at Stapleton, Bristol

48 WILLIAM JAMES MÜLLER Bristol 1812-1845 Bristol

Inscribed verso: July 14. 1848/Stapleton Bodycolour over traces of pencil 491 x 364 mm., 19 1/2 x 14 1/2 in.

On the River Lynn, Devon

In the 19th century, Stapleton was a village on the river Frome north-east of Bristol and, like Leigh Woods, was a popular sketching area for Bristol School artists.

Signed and dated 1844 lower left Watercolour heightened with bodycolour 330 x 525 mm., 13 x 20 3/4 in.

Eagles was born in Bristol and went to school at Winchester College before taking holy orders at Wadham College, Oxford. He was Vicar of Halberton, Devon from 1822 until 1835 when he returned to Winford, Bristol. He knew many of the Bristol School artists and was purportedly the first to use the phrase ‘Bristol School’ in 1826. His work is normally unashamedly old-fashioned and often in brown wash – however the present later watercolour feels broader in style and execution.

Provenance: With Guy Peppiatt Fine Art, 2005; Private Collection, UK This dates from Müller’s visit to Lynmouth in May 1844 with his brother and William West, another artist. He was ‘charmed with its quiet beauty’ (see Cyril G.E. Bunt, The Life and Work of William James Müller of Bristol, 1948, p.47).

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50 HENRY BRIGHT Saxmundham 1810-1873 Ipswich A Wherry on the Norfolk Broads Signed lower right: HBright Black chalk 243 x 347 mm., 9 3/4 x 13 3/4 in.

Bright was born in Saxmundham, Suffolk, the son of a clockmaker and was apprenticed to a chemist in Norwich before turning to drawing. He learnt under Alfred Stannard and took lessons from John Sell Cotman. In 1836 he moved to Paddington and built up a successful drawing practice in London until 1858 when he returned to Saxmundham. He lived the last years of his life in Ipswich. He specialised in chalk drawings often on coloured paper.

A similar drawing of a wherry by Bright is in Norwich Castle Museum (see Marjorie Allthorpe-Guyton, Henry Bright 1810-1873 – Paintings and Drawings in Norwich Castle Museum, 1986, p.93, no.75, ill.).

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51 GEORGE PYNE London 1800-1884 Oxford A College Room, Oxford Watercolour over pencil heightened with bodycolour and gum arabic 250 x 378 mm., 10 x 15 in.

Pyne specialised in depicting views of Oxford and Cambridge colleges, views of Eton as well as interiors of student rooms at Oxford colleges. A pair of views of a room at Magdalen College, Oxford by Pyne sold on 31st March 1999, lot169 for £8,000 and a room in an unidentified college sold at Sotheby’s on 25th November 1999, lot 161 for just over £4,000.

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52 GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896 London Harvesters at Sonning-on-Thames, Berkshire Signed lower left: George A. Fripp./Sonning/1866 Watercolour over pencil heightened with bodycolour 254 x 352 mm., 10 x 14 in.

Fripp exhibited a number of watercolours entitled ‘Haymaking’ at the Society of Painters in Water-colours in 1866 and ‘The Thames near Sonning’ in 1867.

For more on the artist, see note to no.53.

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53 GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896 London Scene near Morenish, on Loch Tay, Perthshire – an October Evening Signed lower left: George Fripp/1851 Watercolour over pencil heightened with bodycolour, scratching out and gum arabic 506 x 711 mm., 20 x 28 in.

Exhibited: London, Society of Painters in Water-colours, 1851, no. 84 Fripp was a Bristol artist, the grandson of Nicholas Pocock, and was taught to paint by James Baker Pyne and Samuel Jackson. He visited Italy with William James MĂźller in 1834 and moved to London in 1838. He was elected to the Society of Painters in Water-colours in 1845 and was secretary from 1848 to 1854. He exhibited 581 pictures there from then until 1893.

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54 WILLIAM CALLOW, R.W.S. Greenwich 1812-1908 Great Missenden

b. Piazza dei Signori, Verona, Italy

a. Dinant on the Meuse, Belgium

Inscribed l.l.: Piazza di Signori/Verona/Sept 19/’65 Pencil 352 x 251 mm., 13 3/4 x 9 3/4 in.

Inscribed l.r.: Dinant/Augt 30\1867 Pencil on buff paper 274 x 380 mm., 10 ¾ x 15 in.

Provenance: Anonymous sale, Sotheby’s, 12th January 1966, lot 2: Private Collection until 2014

Provenance: Anonymous sale, Sotheby’s, 12th January 1966, lot 2: Private Collection until 2014

The Piazza dei Signori is also known as the Piazza Dante.

This drawing dates from Callow’s trip to Venice via Verona in the autumn of 1865. He returned home via Switzerland and Paris.

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55 WILLIAM CALLOW, R.W.S. Greenwich 1812-1908 Great Missenden a. Rufus Castle, Portland, Dorset, from the North Inscribed l.c.: Bow & Arrow Castle/Portland. Oct. 7. ‘42 Pencil on grey paper 257 x 363 mm., 10 x 14 1/4 in.

Provenance: Anonymous sale, Sotheby’s, 12th January 1966, lot 2: Private Collection until 2014 This drawing dates from a short tour of the South Coast which Callow made in the early autumn of 1842, visiting Dartmouth, Torquay, Teignmouth in Devon and Lyme Regis and Corfe Castle in Dorset. Rufus Castle, also known as Bow and Arrow Castle is a ruined 15th century castle overlooking Church Ope Cove at Portland. Portland is five miles south of Weymouth and is the southern-most point of Dorset.

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55 WILLIAM CALLOW, R.W.S. Greenwich 1812-1908 Great Missenden

Callow records in his autobiography: ‘In 1849 I made a sketching tour in the west of Scotland, arriving at Glasgow whilst the Queen and Prince Albert were there’ (William Callow – an Autobiography, edited by H.M. Cundall, 1908, p.103). The Tron Church was built by James Adam in 1795 on the corner of Trongate and Chisholm St, but was derelict by the 20th century. In 1981 it was turned into the Tron Theatre.

b. Tron Church, Glasgow Inscribed l.l.: Tron Church Glasgow 1849 Pencil 251 x 353 mm., 9 3/4 x 13 3/4 in.

Provenance: Anonymous sale, Sotheby’s, 12th January 1966, lot 2: Private Collection until 2014 63

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56 SIR LAWRENCE ALMA-TADEMA, R.A., O.M. Dronrijp 1836-1912 Wiesbaden

Apparently taken from an early sketchbook used by Lawrence Alma-Tadema in the late 1850s, these two studies of men’s headdresses may have been drawn from a book of Egyptology. Alma-Tadema owned an extensive collection of books and photographs devoted to ancient and classical archaeology and architecture, and several of his earliest Egyptian subjects contain accurate depictions of objects and settings which reflect his close study of reference books of the period. As the artist’s contemporary biographer Percy Cross Standing noted of his early paintings of Egyptian subjects, ‘So careful at all times about detail, he took extraordinary care in the preparation of his preliminary sketches for these pictures.’ Egyptian subject pictures account for a small but significant part of Alma-Tadema’s oeuvre.

Although he was not to actually visit Egypt until 1902, he began painting Ancient Egyptian subjects in the late 1850s, and continued throughout the 1860s and 1870s. Stimulated by his friendship with the German Egyptologist Georg Ebers, his interest in Egypt was also inspired by his study of the Egyptian antiquities in the British Museum, on a visit to London in 1862.

Two Studies of an Egyptian Headress Pencil on buff paper Inscribed (by the artist’s daughter Anna) with the artist’s initials LAT at the bottom centre right 133 x 180 mm., 5 1/4 x 7 1/8 in.

Provenance: The studio of the artist The artist’s brother-in-law, Sir Edmund William Gosse, London By descent in the Gosse family until the 1920s or 1930s, when acquired by a private collector Thence by descent

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57 LOUIS-AMABLE CRAPELET Auxerre 1822-1867 Marseilles

paintings, which were generally of an Orientalist nature. He exhibited views of Egypt at the Salons between 1849 and 1866, as well as the occasional Italian and Provençal landscape. Towards the end of his career he also worked on the mural decoration of theatres and other buildings in Lyon and Marseille.

Sunset in Egypt, with Two Bedouin on Camels Watercolour Signed Am. Crapelet at the lower left 206 x 291 mm., 8 1/8 x 11 1/2 in.

Crapelet was particularly admired for his atmospheric watercolours of Oriental subjects, of which the present sheet is a fine example. As Emily Weeks has noted, ‘Watercolour...in the opinions of its champions, perfectly captured the particular qualities of light and air, the vibrancy, and the almost palpable sense of energy that the Middle Eastern landscape offered. Crapelet’s work, which shifts between transparent washes of colour and the more concentrated application of luminous pigments, well conveys this.’ A number of stylistically comparable watercolours of Egyptian views by Crapelet are today in the Louvre.

A pupil of Jean-Baptiste-Camille Corot, Louis-Amable Crapelet made his debut at the Paris Salon in 1846. After spending some time in Algeria, he went to Egypt between 1852 and 1854, travelling down the Nile as far as the Third Cataract, and this journey provided him with material for much of his later career. In 1859 he visited Tunis, and his drawings from this journey served to illustrate an account of the voyage for the magazine Le Tour du Monde in 1865. In the same year he showed a View of Luxor at the Exposition Universelle in Paris. Crapelet produced relatively few 65

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58 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France a. A Village on the Nile With artist’s atelier stamp lower left and inscribed lower right: Nile Jan 1874 Watercolour over pencil 130 x 199 mm., 5 x 7 3/4 in.

Bridgman is one of America’s best known 19th century Orientalist painters. Born in Alabama, the son of a doctor, he trained in New York before moving to Paris where he became a pupil of Jean-Leon Gerome (1824-1904) in 1867. These drawings date from Bridgman’s first trip to Egypt in the winter of 1873-4 which resulted in paintings which brought him worldwide acclaim. Although Paris remained his base, he still exhibited in the USA including a huge one man show of over four hundred pictures on 5th Avenue in 1890.

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58 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France b. Esneh from the Nile With artist’s atelier stamp lower right and inscribed lower left: Esneh from Dahabieh Jan 20 1874 (Egypt) Watercolour over pencil 128 x 199 mm., 5 x 7 ¾ in.

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a.

59 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France a. The Temple of Luxor on the Nile With artist’s atelier stamp lower right and inscribed lower left: Luxor 15 March 1874 Pencil 147 x 304 mm., 5 3/4 x 12 in.

Bridgman is one of America’s best known 19th century Orientalist painters. Born in Alabama, the son of a doctor, he trained in New York before moving to Paris where he became a pupil of Jean-Leon Gerome (1824-1904) in 1867. These drawings date from Bridgman’s first trip to Egypt in the winter of 1873-4 which resulted in paintings which brought him worldwide acclaim. Although Paris remained his base, he still exhibited in the USA including a huge one man show of over four hundred pictures on 5th Avenue in 1890.

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b.

59 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France b. The Temple at Luxor With artist’s atelier stamp lower right and inscribed lower left: Luxor 18 March 1874 Watercolour over pencil 228 x 296 mm., 9 x 11 ½ in.

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60 WALTER SHIRLAW, N.A. Paisley 1838-1909 Madrid

A painter and illustrator, Shirlaw also painted mural decorations for private homes and the Library of Congress.

As a draughtsman, Shirlaw worked in pastel, watercolour, chalk and pencil. As a contemporary article on the subject of his drawings noted, ‘both pencil sketches and charcoal studies illustrate the artistic freedom which usually characterize the work of this accomplished painter’, while another critic wrote, ‘His drawings have tone, depth, and sense of construction; they show the intelligent observer and the skill of the practised student.’ Of the present sheet in particular, a modern scholar has commented, ‘Shirlaw...was a Munich trained artist whose Self Portrait reflects the Munich emphasis on dramatic darks, impasto brushwork, and simple subject matter. This work is romantic in feeling, playing upon the theme of the intense, sensitive artist. But it is also realistic.’

And, of this same drawing, Colin Eisler has written, ‘Selfcast as the Great American Bohemian Hero, Walter Shirlaw stares out balefully at his mirrored image, recreated with very considerable skill. His pose and gaze recall those of Poe, or Stevenson, or Baudelaire – men of letters as well as dandies – equally interested in how they see as in how they look.’

Self-Portrait Black and grey gouache en grisaille, heightened with white, on paper, within a fictive mount drawn in white gouache Signed W. Shirlaw at the lower left 121 x 89 mm., 4 3/4 x 3 1/2 in. [image] 193 x 154 mm., 7 5/8 x 6 in. [sheet] The first years of Walter Shirlaw’s career were spent as an engraver of bank notes until, in 1870, at the relatively late age of thirty-two, he travelled to Europe to study at the Akademie der Bildenden Künste in Munich. On his return to New York in 1877, Shirlaw began teaching at the Art Students League, where he helped to popularize the principles of the Munich School; a more realistic style of painting, characterized by direct modelling, heavy and quickly sketched brushstrokes, and a darker colour palette.

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61 SIR WILLIAM BLAKE RICHMOND, R.A. London 1842-1921

Richmond’s finest formal portraits, The Viscountess Hood, exhibited at the Royal Academy in 1888 and much praised by critics. The Times described it as ‘elaborate, profoundly studied and supremely elegant’, while the Illustrated London News noted that it was ‘a magnificent work conceived and executed in Richmond’s best style’ and The Art Journal called it ‘far and away the best work sent anywhere this year by Mr. W. B. Richmond.’ A very similar hand, although in reverse, appears in another painting by the artist also exhibited at the RA in 1888; a portrait of Mrs. J. A. Fuller-Maitland, now in the City Museum in Lancaster.

Study of Two Hands Black and white chalk on brown paper 379 x 200 mm., 14 7/8 x 7 7/8 in.

The lower of the two hands on this sheet may be a study for the right hand of the sitter in one of William Blake 71

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62 EDWARD LEAR Highgate 1812-1888 San Remo, Italy

This image illustrates lines from Tennyson’s ‘Ode to Memory’: ‘Stretched wild and wide the waste enormous marsh.’ The pen and ink sketch for this work is in the Yale Center for British Art (see Scott Wilcox, The Art of Travel, 2000, p.114, no.132, ill.) and is inscribed on the border with the lines from Tennyson. Lear died before he completed the series but in this instance got as far as the finished drawing ready to be engraved.

The Pontine Marshes above Terracina, Italy Pen and grey ink and washes over pencil heightened with white Image 135 x 266 mm., 5 1/2 x 10 1/2 in.

The Pontine Marshes are an area of marsh extending on the coast south of Rome from Anzio in the north to Terracina in the south. This is a view of the marshes from Terracina with the promontory of Monte Circeo or Cape Circeo on the horizon above the town of San Felice Circeo.

This drawing was intended to be engraved as part of a series of illustrations to the poems of Alfred Lord Tennyson (18091892). Lear first met Tennyson in 1851 and over a number of years worked on selecting drawings from his sketches which would fit with lines from Tennyson’s work. In 1878 he began to concentrate on the project and decided to produce 200 images which he had acheived in sketch form by 1885.

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63 EDWARD LEAR Highgate 1812-1888 San Remo, Italy Monte Titano, San Marino Inscribed lower left: 4.30. PM/May 8. 1867/San Marino and numbered 56a lower right Pen and brown ink and watercolour over pencil 71 x 119 mm., 3 x 4 3/4 in.

After his trip down the Nile in the spring of 1867, Lear travelled by boat to Italy. He was in Ravenna from 4th to 6th May, Rimini on the 7th and reached San Marino on the 8th.

The Republic of San Marino, which is independent from the rest of Italy, is only 24 square miles. Lear depicts its highest point, Monte Titano, which is about 2,400 feet above sea level. He continued north from San Marino to the Italian Lakes visiting Garda, Idro, Iseo,Varese, Como and Maggiore reaching Orta on 1st June.

A view of San Marino dated 8th May and numbered 48 is in the Harvard University Collection and number 56, drawn at 5.15pm, was sold at Christie’s on 14th July 1987, lot 235 for £1,980.

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64 FRENCH SCHOOL 19th Century

An attribution to the Dijon artist Claude Hoin (1750-1817) may be tentatively suggested.

The Head of a Young Boy Wearing a Cap Black and red chalk and pastel on paper 344 x 259 mm., 13 1/2 x 10 1/4 in.

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65 WILLIAM HART Paisley 1823-1894 Mount Vernon

William Hart is best known as a landscape painter of idyllic pastoral subjects, and may be counted among the second generation of the Hudson River School of artists. Many of his paintings were reproduced as engravings and chromolithographs, and were also widely disseminated in art journals and illustrated books.

Landscape with a Stream Grey ink and grey wash, with touches of white heightening 100 x 169 mm., 3 7/8 x 6 5/8 in.

As a draughtsman, William Hart was highly regarded by his contemporaries. One prominent critic, writing in 1869, noted that ‘There is a certain charm about a master’s sketch which no finished picture has – a freshness and vividness of ideas, and a truth to nature, often left out of the work elaborated with art and science in the studio. Thus William Hart brought back from his wanderings round the Tappan Zee many most exquisite studies, in oil and in water-color, besides a large number of pen-and-ink studies, free and yet careful in manner, and full of artistic suggestion.’ A large group of drawings, watercolours and sketchbooks, which were among the contents of the artist’s studio at the time of his death, is today in the collection of the Albany Institute of History & Art.

Provenance: Paul Magriel, New York Robert S. Pirie, New York Born in Scotland, William Hart emigrated to America with his family in 1831, settling in Albany in New York State. He was self taught as an artist, and by the age of eighteen had begun to make landscape drawings of views in the Hudson River valley, as well as portrait paintings. During the 1840s Hart worked in Virginia and Michigan before returning to Albany in 1847 and, eventually, moving to New York City in 1854. Like his younger brother, James MacDougal Hart, 75

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66 HENRY GEORGE HINE Brighton 1811-1895 London

67 WILLIAM LEIGHTON LEITCH Glasgow 1804-1883 London

Houndean Valley near Lewes, Sussex

a. Landscape with Trees

Signed lower right: H.G. HINE 1888 and inscribed on border: Valley of Houndean Watercolour over pencil heightened with bodycolour and stopping out 298 x 517 mm., 11 3/4 x 20 1/2 in.

Signed on border under mount: WL Leitch/1857 Watercolour heightened with touches of bodycolour Sheet 98 x 181 mm., 3 3/4 x 7 in.

Provenance: Anonymous sale, Sotheby’s, 19th June 1975, lot 71, part; With Thos Agnew & Sons (no.40526)

Houndean Valley is to the west of Lewes in the South Downs. Hine, the son of a coachman, taught himself to draw by copying the watercolours of Anthony Vandyke Copley Fielding belonging to the vicar of his local church.

His subjects are mainly Sussex views.

b. Landscape with Tower Signed on border under mount: WL Leitch 1857 Watercolour heightened with touches of bodycolour Sheet 98 x 172 mm., 3 3/4 x 6 3/4 in.

Provenance: Anonymous sale, Sotheby’s, 19th June 1975, lot 71, part; With Thos Agnew & Sons (no.40527) 76

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a.

b.

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68 CHARLES W. ANDREWS fl.1855-1865

69 HARRY JOHN JOHNSON Birmingham 1826-1884 London

An artist sketching by a Waterfall, Philippines

a. The Hut Circle by Kes Tor, Dartmoor, Devon

Waterfall heightened with touches of bodycolour 110 x 142 mm., 4 1/2 x 5 3/4 in.

Signed lower left, inscribed lower right: HUT CIRCLE. DARTMOOR and further inscribed on the border under the mount: Hut Circle Kes Tor Dartmoor Watercolour over pencil 423 x 668 mm., 16 3/4 x 26 1/2 in.

Provenance: Anonymous sale, Sotheby’s, 21st May 1997, lot 56, one of two, sold for £4,200 hammer

Kes Tor looks over an old stone circle or hut which in the nineteenth century was popular with visitors as it was considered a centre for druidical ceremonies. It is located on Chagford Common in north Dartmoor.

Andrews was based in Hong Kong in the late 1850s and early 1860s. He appears to have engraved original works by Charles Wirgman (1832-1891) who visited Manila in 1857.

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a.

b.

Provenance: The Artist’s studio sale, Christie’s, 5th March 1885, lot 416, bt. Miss Daly for 7 gns

b. Rushford Mill, Chagford, Devon Signed under mount, inscribed with title and with studio stamp Watercolour over pencil Sheet 386 x 556 mm., 15 1/4 x 22 in.

Rushford is one of the old medieval manors of Dartmoor.

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a. thought that the stepping stones which spanned the river Teign were at one time the main crossing point from the manor to Chagford. The mill is thought to have operated until 1947. It was the setting for Eden Phillpott’s book, ‘Children of the Mist’ written in 1898. He describes the mill as being:

70 ALFRED WILLIAM HUNT, R.W.S. Liverpool 1830-1896 London

‘a picturesque agglomeration of buildings, beside the river. The mill-wheel, fed by a stream taken from the Teign some distance up the valley and here returned again to the parent water, thundered on its solemn round in an eternal twinkling twilight of dripping ferns and green mosses; while hard by the dwelling-house stood and offered small diamond panes and one dormer-window to the south. Upon its whitewashed face three fruit-trees grew–a black plum, a cherry, a winter pear; and before the farmhouse stretched a yard sloping to the river ford, where a line of massive stepping-stones for footpassengers crossed the water.’

a. The Gap of Dunloe, Ireland Inscribed verso: Gap of Dunloe 1846 Watercolour over pencil heightened with bodycolour and scratching out 147 x 236 mm., 6 x 9 in.

This is a rare early work by Hunt dating from his Irish tour of 1846. He visited Ireland as a sixteen year old with his father Andrew Hunt (1790-1861), the drawing master and landscape artist.

Johnson was a pupil of William James Müller (see no.48) and accompanied him on his trip to Lycia in Turkey in 1843.

He settled in London on his return and accompanied David Cox (see no.38) on various sketching tours to North Wales in the 1840s. He also travelled extensively in Greece, North Africa, Italy and France.

Provenance: By descent in the family of the artist until 2016 80

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70 ALFRED WILLIAM HUNT, R.W.S. Liverpool 1830-1896 London

Hunt’s first visit to Whitby was in around 1874 and he returned on a number of occasions. This shows the prominent headland to the south-east of Whitby and The Scar or Scaur which is the rock area at the base of the cliffs.

b. The Scar and Whitby Abbey, Yorkshire

This appears to be a preliminary sketch for a watercolour in the V & A entitled ‘Wind of the Eastern Sea’ (see Christopher Newall, Alfred William Hunt, exhibition catalogue, 2004, p.168-9, no.59, ill.) which shows the same view and is dated to circa 1888. The Abbey is taken from the south-east and the two jetties of Whitby harbour are just visible beyond the headland.

Watercolour Sheet 285 x 395 mm., 11 1/4 x 15 3/4 in.

Provenance: The Rev. William Kingsley (1815-1916) of South Kilverton, Yorkshire, by 1884; Bequeathed by him to his god-daughter, Silvia Hunt, later Mrs Fogg-Elliott; By descent until 2016

The artist’s daughter Violet recalls his father’s time at Whitby: ‘Poor Mamma pounds up Abbey Hill every afternoon to meet Papa sitting exposed on the windy hill behind the Abbey and fetch him back before he grows chilled to the bone’ (quoted in Newall, op.cit., p.168).

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71 LUIGI LOIR Gorritz 1845-1916 Paris

Jean Pastelot and making his Salon debut in 1865. Loir painted mainly views of Paris, in all seasons and at different times of the day or night. His interest in the urban cityscape remained a constant of his career, and it was as a painter of modern Paris and its suburbs that he was best known, and for which he was much admired. As a contemporary writer noted of him, ‘One can say of this master that he created a genre: ‘parisianism’...he is, in effect, the painter of Paris par excellence; no different aspects of the city, often momentary and fleeting, and none of its successive transformations, is any secret to him.’ And, as the 19th century French writer Théodore de Banville aptly noted, ‘[Jean] Beraud painted the Parisians of Paris and Luigi Loir the Paris of Parisians.’ Loir also worked as a commercial graphic artist and illustrator, theatrical and poster designer, book illustrator and lithographer. He continued to exhibit at the Salons until 1914, and paintings by him are today in the Musée d’Orsay, the Hôtel de Ville, the Musée Carnavalet and the Petit Palais in Paris, as well as in the museums of Bar-le-Duc, Bordeaux, Chicago, Le-Puy-en-Velay, Marseille, Moscow, Nancy, Nice, Prague, Rouen, St. Louis and Vienna, among others.

Landscape on the Outskirts of Paris Watercolour with touches of gouache, over a pencil underdrawing, on buff paper Signed LOIR LUIGI at the lower right 239 x 328 mm., 9 3/8 x 12 7/8 in.

Literature: To be included in the second volume of the Luigi Loir catalogue raisonné, in preparation by Noé Willer.

Born in Austria to French parents who served the exiled French Bourbon royal family, Luigi Aloys-François-Joseph Loir moved with his family and the Bourbons to the Duchy of Parma in 1847. There he was enrolled, at the age of just eight, at the Accademia de Belle Arti. He was in Paris by 1863, studying with the decorative painter and set designer 82

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72 EMILE DE SPECHT Born Saint-Denis 1843

Barrias. He exhibited at the Salon des Artistes Français from 1865 to 1897, showing mainly views of Paris, genre scenes and portraits. He also exhibited one work at the Salon des Refusés in 1873 and at the Salon des Indépendants in 1888, and produced a number of prints.

A Presumed Portrait of Edgar Degas Black chalk, with stumping Signed and dated Le 22 Novembre 1878 / Émile de Specht / Paris at the lower right 305 x 232 mm., 12 x 9 1/8 in.

Dated 1878, this would appear to be a portrait of the artist Edgar Degas (1834-1917) at the age of forty-four. A similar portrait drawing in black chalk by Émile de Specht, depicting Dr. Paul Gachet and dated the 19th of December 1895, is now lost, but is known from an engraving by Gachet himself, under the name Paul van Ryssel.

Émile de Specht entered the Ecole des Beaux-Arts in Paris in 1861, and was a pupil of Léon Cogniet and Félix-Joseph 83

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73 EDWARD LOEVY Warsaw 1857-1911 Paris

settling in Paris in 1880. He worked mainly as an illustrator for newspapers, books and periodicals in France, Poland and Germany. He also provided some five thousand drawings, mostly portraits, to illustrate the Encyclopédie Larousse, and produced numerous book illustrations. Among his contemporaries, Loevy was best known for his illustrations for such newspapers and periodicals as the Revue Universelle, L’Illustration and the Revue Encyclopédique in France, Über Land und Meer in Germany, and Tygodnik Ilustrowany, Biesiada Literacka and Tygodnik Powszechny in Poland. The present sheet is drawn on a blank official stamped document – a summons or subpoena, with instructions to the recipient to appear before a Paris bailiff (‘huissier-audiencier’) as a witness – which is dated 1891.

A Man Walking Pen and black ink, drawn on a printed sheet of stamped legal blue paper (an ‘assignation a témoin’, or witness summons), dated Paris 1891 Signed ELoevy at the lower right 227 x 174 mm., 9 x 6 7/8 in.

Born in Poland, Edward Loevy (sometimes Loewy or Lövy) studied in Warsaw, St. Petersburg and Munich before 84

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74 EDMUND BERNINGER Arnstadt 1843-c.1910 Munich(?)

Constantinople, Egypt (where he is thought to have lived for several years), Palestine, Algeria and Tunisia. He painted views of Jerusalem and Cairo, as well as richly coloured landscapes and scenes of Oriental markets and caravans.

Berninger also worked as an illustrator, and painted a number of large-scale public works in the form of panoramas – including Egyptian landscapes and battle scenes – and dioramas.

Landscape in Capri Oil on paper, laid down on panel Signed E. Berninger at the lower right 170 x 251 mm., 6 3/4 x 9 7/8 in.

Many of Berninger’s landscapes are of Mediterranean scenes, particularly in Italy. He was especially drawn to the area around the bay of Naples, Sorrento and the Amalfi coast, producing a number of paintings of coastal views; one such example is a large View of Capri in the Philadelphia Museum of Art, datable to around 1877.

A landscape painter and watercolourist, Edmund Berninger abandoned an early career as a pharmacist in favour of training as an artist in Weimar under Theodor Hagen.

Settling in Munich in 1874, he then spent several years travelling around Europe, North Africa and the Near East.

He produced paintings, oil sketches and watercolours of sites in England, France, Italy, the Netherlands, Greece, 85

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75 HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Kent A Street Scene, Tangiers Signed lower right, watercolour over pencil heightened with bodycolour 256 x 167 mm., 10 1/4 x 6 3/4 in.

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76 SIR EDWARD JOHN POYNTER, P.R.A., R.W.S. Paris 1836-1919 London

This drawing dates from Poynter’s summer visit to Italy in 1898. At the time he was President of the Royal Academy, Director of the National Gallery and had recently been knighted.

Sacro Monte di Orta, Italy

The Sacro Monte di Orta is a series of devotional chapels on the hill of San Nicolae on the western shore of Lake Orta, northern Italy. The building of the chapels, dedicated to St Francis of Assisi, were begun in 1583 and 20 of the planned 36 were built, with the last being finished in 1788. A watercolour of Isola San Giulio, Lago d’Orta by Poynter, also dated 1898, is in the Yale Center for British Art.

Inscribed l.r.: Sacro Monte/Orta/Sep. ‘98 Pencil 178 x 133 mm., 7 1/4 by 5 1/4 in.

Provenance: By descent from the artist in the Baldwin family until sold at Sotheby’s, 10th July 1995, lot 224, one of two; Private Collection, UK 87

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77a FRENCH SCHOOL 19th Century

77b FRENCH SCHOOL 19th Century

Cross Section View of the Pavilion of Brazil

The Western Facade of the Pavilion of Brazil

Pen and black ink and watercolour, over an underdrawing in pencil Inscribed COUPE. at the upper left 455 x 301 mm., 17 7/8 x 11 7/8 in.

Pen and black ink and watercolour, over a pencil underdrawing Inscribed FAÇADE OVEST at the upper right 456 x 298 mm., 18 x 11 3/4 in.

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78 ALPHONSE MUCHA Ivancice 1860-1939 Prague

poster depicting the celebrated actress Sarah Bernhardt, executed in 1894, which secured Mucha’s reputation. He also received frequent commissions for advertising posters and other commercial projects, including designs for calendars, menus, theatre programs, illustrations and advertisements; all characterized by the artist’s iconic, graceful female form. It was the Exposition Universelle of 1900 in Paris which launched le style Mucha to an international audience, and popularized the Art Nouveau aesthetic with which he was so closely associated. In 1910 he began working on an ambitious project for a series of twenty monumental paintings illustrating scenes from Czech and Slavic history. Known as The Slav Epic, this sequence of enormous canvases occupied the artist for eighteen years.

A Seated Man Writing at a Desk (Self-Portrait) Pen and black and grey ink, and black and grey wash Signed Mucha near the lower right 160 x 211 mm., 6 1/4 x 8 1/4 in. [image] 189 x 233 mm., 7 7/8 x 9 1/8 in. [sheet] Born in southern Moravia, Alfons (Alphonse) Mucha led the typical itinerant life of a young artist from Central Europe, studying in Vienna, Munich and finally Paris. His earliest works took the form of decorative mural paintings, graphic designs for posters and calendars, and illustrations for books, magazines and newspapers. It was his brilliant design for a

A self-portrait, the present sheet can be dated to around 1900.

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79 WILLIAM FRASER GARDEN Gillingham 1856-1921 Huntingdon

from then on relied on a small number of collectors in Huntingdonshire. He was never, however, a very prolific artist. As has been noted of Garden, ‘His apparent lack of ambition and the consequently few watercolours which he painted each year, even when at his busiest, resulted naturally enough in his failing to come to the notice of all but a local audience.’ Very poor for most of his life, he was declared bankrupt in 1899, and in his old age is said to have paid his bills with drawings. Garden’s body of work has only fairly recently been rediscovered, and his reputation as among the finest Victorian landscape watercolourists is now firmly established.

River Landscape near St. Ives, Huntingdonshire Watercolour Signed and dated W. F. GARDEN: / ‘97. at the lower left Inscribed Near S. Ives, Hunts. and 30/ on the verso 195 x 285 mm., 7 5/8 x 11 1/4 in.

Provenance: The Broderick family, Lytham St. Annes, Lancashire

Garden’s watercolour views of his native Huntingdonshire and along the river Ouse in Bedfordshire – notably around the fen villages of Holywell, Hemingford Grey and St. Ives – are masterpieces of clarity and detail. As Christopher Newall has written, ‘Garden’s watercolors are a manifestation of the late-century revival of interest in the representation of landscape subjects in minute and painstaking detail…His works of the late 1880s and early 1890s are extraordinary in their pellucid clarity of light and their exact delineation of architectural and landscape detail.’

Born into a family of artists, William Fraser Garden changed his name from Garden William Fraser to distinguish himself from his six brothers, all but one of whom were also active as landscape artists. Arguably the best of the so-called ‘Fraser Brotherhood’, he exhibited his watercolours at the Royal Academy, the Royal Scottish Academy and the Royal Institute of Painters in Water-Colours. In the 1880s Garden sold a number of his works through a London gallery, but by 1890 he seems to have given up exhibiting in London, and 91

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80a HENRI DELUERMOZ Paris 1876-1943 Paris

Jungle Book, Louis Pergaud’s Histoires de bêtes and Henri de Montherlant’s Les Bestiaires. Deluermoz did not send any paintings to the Salon until 1909, when he was already in his thirties, although thereafter he exhibited there regularly. At the Salon of 1911, a large painting of a stampede of wild animals before a flood elicited much praise, with one critic writing of the work in The Studio magazine, ‘Each creature is represented in its own character, and in motion true to life, and one takes pleasure in studying in turn the elephant and the buffalo in their heavy flight, the panther bounding along, the deer leaping lightly forward – all this evolved in the mind of a Kipling of the brush.’

Studies of an Eagle Brush and black ink and brown wash, with touches of white heightening, on reddish-brown prepared paper Signed with a monogram and dated hD.1906 at the lower right Inscribed with colour notes brun rougeâtre, autour du bec et / des yeux (jaune), and duveter soigneussement la tête / trop mou 273 x 398 mm., 10 3/4 x 15 5/8 in.

Deluermoz also exhibited at commercial galleries in Paris.

An exhibition of his work at the Galerie Reitlinger in 1913 led to the purchase by the State of a large drawing of a bullfight, while an exhibition of animal drawings was held at the Galerie Le Goupy in Paris in 1926. A larger and more comprehensive exhibition of paintings and drawings by Deluermoz was mounted at the Galerie Charpentier in Paris in 1939.

A painter, illustrator and engraver, Henri Deluermoz was a pupil of Alfred Roll and Gustave Moreau, and became one of the finest animal painters of his day, with a particular penchant for depictions of wild beasts. He also painted Provençal landscapes, equestrian and bullfight scenes, and produced designs for tapestries, mural decorations, and book illustrations, including editions of Rudyard Kipling’s 92

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80b HENRI DELUERMOZ Paris 1876-1943 Paris

Both of these drawings are early works by Henri Deluermoz. The artist had spent the early years of his career sketching in the Jardin des Plantes and the Jardin d’Acclimation in Paris. In 1905 he settled in the Provençal town of Orange, where he was engaged on a large-scale decorative mural project, and began a series of travels around the Midi. These drawings, one of which is dated January 1906, were done in Marseille, probably at the Jardin Zoologique in the gardens of the Palais Longchamp.

Studies of the Wings of an Eagle Brush and black ink, with touches of white chalk, on reddish-brown prepared paper Signed with a monogram and dated Marseille / hD. Janv.1906 at the lower right Extensively inscribed with colour notes: brun très foncé et très chaud / plumes légères nour et brun jaunâtre., tête duvetée (blanc), collier plumes très fines et / très blanches., entre les plumes / le fond du duvet / est gris très fin et chaud, plumes très fortes / et brunes, fond foncé dans les / bruns chauds / dessins noirs, culottes blanches. serres très puissante, plumes plus marquées que celles / du collier., plumes plus longues et en perspective., [?] en avant 268 x 397 mm., 10 1/2 x 15 5/8 in.

Four similar drawings of animals by Deluermoz – studies of an elephant, a bear, a wolf and a tiger, each of identical technique to the present pair of drawings – are in the collection of the National Gallery of Canada in Ottawa. A similar drawing of an eagle by Deluermoz is illustrated in an article on the artist published in the magazine L’Artiste Contemporain in 1920.

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81 ANDRÉ EDOUARD MARTY Paris 1882-1974 Paris

theatrical review Comoedia Illustré, but much of his career was occupied with producing numerous fashion illustrations for the magazine Gazette du Bon Ton, mainly between 1913 and 1925. He also provided illustrations for Vogue, Femina, L’Illustration des Modes, Monsieur, Harper’s Bazaar, Le Sourire and House and Garden, among others, and illustrated some fifty books.

A Woman and Child Seated in a Tropical Landscape Pen and grey ink, heightened with white, over a pencil underdrawing, on buff paper Signed A.E.M. at the lower right 242 x 208 mm., 9 1/2 x 8 1/8 in. [image]

The present sheet may possibly have been intended as an illustration, though not eventually used, for Gérard de Houville’s novel Le Seducteur, published in 1926 with illustrations by Marty. Gérard de Houville was the pen name of the French novelist and poet Marie de Régnier (18751963), and Le Seducteur, first published in 1914, was inspired by the childhood of her father, the poet Jose-Maria de Heredia, in Cuba.

André Edouard Marty studied in the studio of Fernand Cormon at the Ecole des Beaux Arts in Paris. He also came under the particular influence of the illustrator Maurice Boutet de Monvel, reflected in the refined and elegantly stylized figures in his own work as an illustrator. Marty’s earliest published illustrations appeared in 1909 in the 94

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82 ANDRÉ EDOUARD MARTY Paris 1882-1974 Paris

Exhibited: Paris, Galerie du Luxembourg, Andre E. Marty 1882-1974, 1975-1976, no.117 (‘L’Étoile du berger’)

The Evening Star: A Couple Walking in a Moonlit Winter Landscape

Apart from his work as a book illustrator, André Marty was known for his fashion illustrations, which often appeared alongside that of such friends and contemporaries as Georges Lepape, Charles Martin, Pierre Brissaud and Bernard Boutet de Monvel. As one contemporary writer noted of his illustrations, ‘The very simplicity of his technique brought out the full wealth of Marty’s ideas, graphically expressed with delicacy of colour and arrangement.’

Exhibitions of Marty’s work were held in Paris at the Galerie Georges Petit in 1912 and the Galerie Levesques in 1913, and at the Galerie Lucien Vogel and the Galerie Devambez in the 1920s.

Gouache and two shades of grey ink, heightened with touches of white, on buff paper Inscribed A E MARTY (esquisse) / original at the lower right Further inscribed DINO / Selection du Readers Digest / 216 Bd St Germain / Bureau 21 on the verso 110 x 149 mm., 4 3/8 x 5 7/8 in. [image] 166 x 200 mm., 6 1/2 x 7 7/8 in. [sheet] 95

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83 HERMANN WÖHLER Hanover 1897-1961 Hanover

worked primarily in black and white, creating large-scale ink drawings, such as the present sheet, throughout the late 1910s and the 1920s. During and after the Second World War, however, he turned towards fairytale themes, painted in bold colours, which can be seen as an escape from the horrors of war. From 1934 until his death, Wöhler served as a professor at an art school in Hanover. His long career as an art teacher seems to have largely precluded him exhibiting his own work, however, and his oeuvre remained almost completely unknown in his lifetime. Indeed, it was not until 1987, a quarter of a century after his death, that the first exhibition of Wöhler’s work was mounted.

Wooded Landscape Pen and black ink 442 x 277 mm., 17 3/8 x 10 7/8 in.

A painter and graphic artist, Hermann Wöhler created striking works characterized by fantastical imagery and imaginative compositions. At the beginning of his career he 96

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84 GIUSEPPE CASCIARO Ortelle 1863-1941 Naples

in 1885, when a series of pastel drawings by the artist Francesco Paolo Michetti was shown in Naples. Two years later, in 1887, he exhibited a series of eleven pastel landscapes of his own. Casciaro settled on the hillside quarter of Naples known as the Vomero, and for much of his life his preferred subject matter were views in and around Naples and the islands of Capri and Ischia. Between 1892 and 1896 he travelled regularly to Paris, where he exhibited his work and received commissions from the dealer Adolphe Goupil. Appointed a professor at the Accademia in Naples in 1902, he was also engaged as a tutor in pastel drawing to the Queen of Italy, Elena di Savoia.

Casciaro exhibited frequently in Naples and at the Biennale in Venice, as well as throughout Europe, winning a bronze medal at the Exposition Universelle in Paris in 1900.

A Coastal Landscape Pastel, over an underdrawing in pencil, on brown paper Faintly signed and dated GCasciaro / 6 08(?) 07 at the lower left Dedicated, signed and dated a Paride / De Marco(?) / l’amico / GCasciaro. / 1 luglio 1916 napoli at the lower right Stamped G. CASCIARO / NAPOLI in a circle in blue ink on the verso 168 x 331 mm., 6 5/8 x 13 in.

Casciaro remained devoted to the medium of pastel throughout his long career, and his landscapes were greatly admired by both collectors and connoisseurs. The present sheet bears a dedication to the Neapolitan collector Paride de Marco, whose collection also included works by other Neapolitan artists such as Francesco Michetti, Vincenzo Irolli, Eduardo Dalbono and many others. De Marco’s collection was sold at the Palazzo Spinelli in Naples in 1918.

One of the finest practitioners of the art of the pastel landscape in Italy in the late 19th century, Giuseppe Casciaro enjoyed a long and successful career of some sixty years. He studied at the Accademia di Belle Arti in Naples, where he won numerous prizes, and soon developed a particular proficiency for landscape drawings in pastel, although he also painted a handful of oil paintings. Casciaro may have first been inspired to take up the medium of pastel 97

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85 JEAN-ADRIEN MERCIER Angers 1899-1995 Paris(?)

Abel Gance and Sacha Guitry. He also produced numerous commercial posters, notably for the Cointreau brand, for whom he worked for some forty years, eventually becoming the artistic director of the firm. At the end of the 1930s Mercier began producing illustrations for children’s books and fairy tales. He also decorated of the children’s playroom on the transatlantic ship France, painted in 1961, and designed the ship’s menus.

Two Women in a Cemetery in Rabat, Morocco Gouache and watercolour, over an underdrawing in pencil Signed and dated Jean A. Mercier – 5 – 22 – at the upper right, and inscribed Rabat at the upper left Dedicated, signed and dated a Madame Lecocq bien(?) affecteusement / souvenir de Maroc - Jean A. Mercier / - 5 - 22 - on the old backing sheet 192 x 245 mm., 7 5/8 x 9 5/8 in.

This watercolour is dated May 1922, when Mercier was 23 years old; it is interesting to note that the young artist was visiting Morocco only a decade or so after the country had been opened up to foreign visitors. Unlike Tunisia or Algeria, Morocco remained largely closed to foreigners throughout the 19th century, until it was declared a French and Spanish protectorate in 1912. The French decided to move the capital from Fez to Rabat, a port dominated by Barbary pirates since the 17th century. This drawing depicts a small cemetery on the Atlantic coast of Rabat, just north of the Kasbah des Oudaïas and to the north and east of the larger Cimitière As-Shouhada.

A graphic designer and illustrator, Jean-Adrien Mercier began his career as a designer of publicity and cinema posters, a field in which he was to remain active throughout his life, and for which he remains best known today.

Between 1925 and 1942 Mercier designed more than 120 cinema posters for films by such directors as Jean Renoir, 98

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86 HARRY TITTENSOR, R.I. Burslem 1887-1942 Barlaston

1925, however, he focused his energies on topographical paintings and watercolours, often of cities and towns in Normandy and Brittany. His paintings and watercolours were exhibited at the Royal Academy, the Royal Institute of Painters in Water-Colours (of which he became a member in 1931) and the Fine Art Society in London. This large watercolour was exhibited, priced at ÂŁ10, at both the Royal Academy in London and the Glasgow Institute of the Fine Arts in 1929.

The Cafe, Honfleur Watercolour 545 x 482 mm., 21 3/8 x 19 in.

Harry Tittensor began his career as a ceramic painter and designer, working for the Doulton & Co. factory. Around 99

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87 MARCEL-JACQUES HEMJIC 1894-1942

The French artist and illustrator Marcel Hemjic studied with Bernard Boutet de Monvel and worked as a fashion illustrator for Paul Poiret. He contributed drawings to such magazines as Femina, Le Rire, Le Sourire and La Baïonette, and designed several posters. Hemjic also created advertisements for Lancel and Le Bon Marché, among many others, and exhibited at the Salon des Arts Décoratifs.

An Elegant Woman and Child in a Snowfall Pen and black ink, watercolour and gouache, over a pencil underdrawing, with framing lines in black and yellow ink Signed Hjic at the lower right 336 x 279 mm.. 13 3/8 x 11 in. [sheet] 100

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88 PAUL-ÉMILE PISSARRO Eragny 1884-1972 Clécy

boy, and also took lessons with his godfather, Claude Monet. By the 1920s he was sharing a studio with Kees van Dongen in Paris, and exhibiting at the Salon des Indépendants, the Salon des Tuileries and the Salon d’Automne. Drawn in 1926 at Lyons-la-Fôret in Normandy, where the artist had settled two years previously, this watercolour displays the particular influence of Paul Cézanne on the young Pissarro, who would have met him several times. Cézanne’s lasting influence on Paul-Émile is evident in the overall tonality of his paintings and watercolours, as well as his preference for a palette knife over a paintbrush in later years.

Study of Willow Trees Watercolour, over a pencil underdrawing Signed and dated Paulémile Pissarro. 1926. at the lower left Inscribed Saules à Lyons on the verso 482 x 320 mm., 19 x 12 5/8 in.

The fifth and youngest child of Camille Pissarro, Paul-Émile Pissarro accompanied his father on painting trips as a young 101

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89 LAWRENCE EDWIN BLAZEY Cleveland 1902-1999 Cleveland(?)

Lawrence Blazey studied at the Cleveland School of Art and the Cranbrook Academy of Art in Michigan, as well as the Slade School of Art in London. He is best known as a draughtsman and illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, industrial designer, ceramicist and product development engineer. The present sheet was probably drawn for the commercial advertising firm Manning & Greene Inc., of Cleveland, Ohio.

A Skyscaper at Night Pen and brown ink and brown wash, pencil and gouache, within a fictive drawn mount Signed le. blazey at the lower right and inscribed with a monogram device MG at the lower right 542 x 394 mm., 21 3/8 x 15 1/2 in.

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90a BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

Merson, and exhibited his first decorative painting at the Salon d’Automne in 1905. In the 1920s he received numerous commissions for paintings and wall panels to decorate the homes of such clients as the couturier Jean Patou, and an exhibition of his work as a décorateur was mounted in New York in 1926. A frequent exhibitor at the Salons in Paris, where he showed portraits, landscapes and nudes, Boutet de Monvel died in a plane crash near the Azores in 1949.

Dancing Couple Pen and black ink, over an underdrawing in pencil, on papier calque Signed with the artist’s monogram BMB at the lower left 137 x 259 mm., 5 3/8 x 10 1/8 in.

This is a study, in reverse, for an illustration in the article ‘de quelques attributs masculins’, written by the artist’s brother Roger Boutet de Monvel and published in the Gazette du Bon Ton in October 1920. The article charts the evolution of men’s fashions, with particular emphasis on beards and moustaches. This illustration appears near the end of the piece; the dancing man (named Paul, or ‘Paupaul’), with a small moustache, is described as wearing the fashionable attire of 1872, including flared trousers (‘pantalons en pattes d’éléphant’), a large cravatte-plastron and, perched on his head, a miniscule boater (‘canotier’).

Provenance: Among the contents of the artist’s studio in Paris at the time of his death Thence by descent in the Boutet de Monvel family The son of the artist and illustrator Maurice Boutet de Monvel, Bernard Boutet de Monvel is regarded as one of the finest painters and illustrators of the Art Deco era. He began to study painting in 1900, with the artist Luc-Olivier 103

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90b BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

As a modern scholar has recently written, ‘the foundation of Boutet de Monvel’s talent, its hidden structure, remained first and foremost the solidity of his drawing, powerfully structured, firmly modeled, distinguished, sublime, and founded on converging lines that were forceful and stripped of all superfluous detail and functionless features.’ Such characteristics of his draughtsmanship had already been noted in the artist’s lifetime. As Paule de Gironde noted, in an article published in 1927, ‘Bernard Boutet de Monvel is, when we look at his drawings, an architect and a sculptor, a lover of line, of form and of the harmonious balance between them.’

A Family Looking at a Painting, with the Artist Pencil on papier calque Stamped with the artist’s posthumous studio stamp (not in Lugt) at the lower right centre 162 x 258 mm., 6 3/8 x 10 1/8 in.

Provenance: Among the contents of the artist’s studio in Paris at the time of his death Thence by descent in the Boutet de Monvel family 104

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90c BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

Although he is perhaps best known as a painter of decorative panels and portraits, as well as urban views, Boutet de Monvel also produced book and fashion illustrations for such magazines as the Gazette du Bon Ton, La Vie Parisienne, Fémina, Le Journal des Dames et de Modes and Le Rire. He provided drawings for Harper’s Bazaar in the 1920s and 1930s, and contributed illustrations to the first French edition of Vogue, published in June 1920, for which he continued to illustrate the latest fashions. Boutet de Monvel was himself a well-known dandy, known for his innate style and elegant dress sense. As his fellow illustrator Georges Lepape wrote, in a letter of November 1926 from New York, ‘Since we arrived a week ago we’ve seen a lot of Bernard Boutet de Monvel and his brother Roger. We often go out or go to receptions together, and the other night at midnight Bernard and I were in topper and tails on a bus in Fifth Avenue; it was hilarious.’

Three Men Walking, Seen from Behind Pen and black ink and pencil on papier calque Stamped with the artist’s posthumous studio stamp (not in Lugt) at the lower right 135 x 187 mm., 5 1/4 x 7 3/8 in.

Provenance: Among the contents of the artist’s studio in Paris at the time of his death Thence by descent in the Boutet de Monvel family

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90d BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

This and the following drawing were used to illustrate Henry Bidou’s short story ‘La peinture absolue’, published in the Gazette du Bon Ton of March 1920.

La peinture absolue: A Man Looking at a Painting, Seen from Behind

The present sheet depicts Luc, an artist, admiring a painting by the Cubist artist Jean Metzinger, which was being exhibited at a gallery at 19, rue de la Baume in Paris. (This was, in fact, the address of Léonce Rosenberg’s Galerie l’Effort Moderne, where an exhibition of Metzinger’s Cubist paintings was mounted in January 1919.) Luc studies each canvas closely, and greatly admires Metzinger’s technique and rigorous compositions.

Pen and black ink, with touches of white gouache, over an underdrawing in pencil, on papier calque Signed with the artist’s monogram BMB at the lower right 187 x 128 mm., 7 3/8 x 5 in.

Provenance: Among the contents of the artist’s studio in Paris at the time of his death Thence by descent in the Boutet de Monvel family 106

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90e BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

This drawing was also used to illustrate Henry Bidou’s story ‘La peinture absolue’ in the March 1920 issue of the Gazette du Bon Ton. At the Metzinger exhibition, the artist Luc meets an old man who describes the work as ‘la peinture absolue’ (‘absolute painting’). He points out to Luc that Metzinger is not painting the thing but the idea of the thing, and that one must not copy, but paint the essence of beings. Luc replies that he used to think this way in his youth, but then he became an Impressionist, and it is for this reason that his soul is not pure, unlike that of Metzinger. The old man leaves him, and Luc has no doubt that ‘an angel spoke through the old man’. He departs the gallery with his vision of the universe altered, viewing everything he sees on the street in terms of lines, angles and geometry, and becomes a Cubist.

La peinture absolue: Two Men Looking at a Painting Pen and black ink, over an underdrawing in pencil, on papier calque Signed with the artist’s monogram BMB at the lower right 190 x 128 mm., 7 1/2 x 5 in.

Provenance: Among the contents of the artist’s studio in Paris at the time of his death Thence by descent in the Boutet de Monvel family 107

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91a MICHAEL REILLY Born 1898

Coldfield by 1946. As a commercial artist, Reilly received commissions from several railway companies, including the Great Western Railway, Southern Railway and the London Underground. He designed a number of railway posters, of which several examples are today in the collection of the National Railway Museum in York; these include a poster of Wells in Smiling Somerset, published by the Southern Railway in 1931 and Wales, Unsurpassed for Scenic Grandeur for the Great Western Railway, printed around 1930. Other posters designed by Reilly for the G.W.R. include scenes of Criccieth and Porthcawl in Wales, dating from 1935 and 1937 respectively, and Weston-super-Mare in Somerset, published in 1946. A watercolour view of Aberystwyth in Wales, drawn by Reilly in 1946 and today in the National Railway Museum, was also used for a G.W.R. poster.

Design for a Great Western Railway Menu Card: Paignton, Devon Gouache on card Signed Michael Reilly at the lower right, and inscribed Paignton in the lower right margin 162 x 241 mm., 6 3/8 x 9 1/2 in. [sheet] Provenance: Malcolm Guest, Knaresborough, North Yorkshire Michael Reilly studied at the Central School of Arts and Crafts in Birmingham between 1923 and 1926. Very little is known of his life and career, which seems to have been spent living and working in the West Midlands; the artist lived in Birmingham in the 1930s and was in nearby Sutton

The harbour at Paignton, on the western shore of Tor Bay in Devon, was established in the 18th century, and remained for many years a thriving fishing port.

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91b MICHAEL REILLY Born 1898

overlook a wide, sandy beach, nearly two miles in length.

The cliffs at Perranporth also figure prominently in an illustrated guide to the county published by the Great Western Railway Company in 1934.

Design for a Great Western Railway Menu Card: Perranporth, Cornwall

Another design by Michael Reilly for a Great Western Railway menu card, depicting a view of Newquay in Cornwall and datable to c.1930, is today in the collection of the National Railway Museum in York.

Gouache on card Signed with initials MR at the lower right and inscribed Perranporth in the lower right margin 158 x 241 mm., 6 1/4 x 9 1/2 in. [sheet]

Both of these gouache drawings by Michael Reilly were part of the extensive collection of railway memorabilia – including posters, artwork and archives, with a particular emphasis on the Great Western Railway – assembled by the late Malcolm Guest (1943-2009).

Provenance: Malcolm Guest, Knaresborough, North Yorkshire On the Atlantic coast of Cornwall, southwest of Newquay, Perranporth is a small seaside resort noted for its cliffs, which 109

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92 MAXWELL ASHBY ARMFIELD, R.W.S. Ringwood 1881-1972 Dorset

and a review in The Times noted the artist as ‘a man of originality and promise…[he] is said to be very young: but he is also very versatile…his gifts are undoubted.’ A prolific and accomplished illustrator, he also found the time to publish a number of books of poetry, travel accounts, and technical guides such as the Manual of Tempera Painting, published in 1930.

Three Feathers Tempera on board Signed with the artist’s monogram and numbered OP / 253 at the upper right 253 x 305 mm., 10 x 12 in.

Numbered by the artist as Opus 253, which would suggest an approximate date of 1948, the present work was first exhibited the following year. Writing a few years later, Armfield described the particular appeal of tempera, noting that ‘only in this apparently most material and restricted medium could I learn to express in this age, those fundamental things which could not at the present time find acceptance in a direct or ostensible way.’ Elsewhere, Armfield wrote, ‘Tempera because of the exigencies of material is specially suitable for smallish pictures, gay and rich in colour…the peculiarities of the medium itself render it most suitable for the presentation of flowers, fruit, and the small beasts naturally associated with them: for sky, pebbles, and generally, the smaller details of nature...’

Provenance: Kensington Art Gallery, London, in 1949 Purchased from them by Mrs. Carrow, London Gladys Lilian Grant, and thence by descent until 2006 Although he studied at the Birmingham School of Art, Maxwell Armfield was largely self-taught as an artist. It was as a student that he began experimenting with painting in tempera, although he only began taking up the medium seriously around 1910. His first significant one-man exhibition was held at the Carfax Gallery in London in 1908, 110

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93 INGRID GERHARDT Düsseldorf(?) 1925-2002 France(?)

Very little is known of the German artist Ingrid Gerhardt, who does not seem to appear in any biographical dictionaries of 20th century artists. She is recorded as having studied at the free art school established by the painter Jo Strahn in Düsseldorf in the 1940s, and she seems to have lived and worked for much of her later life in France, in the département of Ille-et-Vilaine in Brittany. That she was also active as a printmaker is evidenced by an illustration of a woodcut of a puppet-master, published in the newsletter of a German amateur theatrical society in 1955.

A Large Manor House Watercolour and gouache, with pen and brown ink and brown wash Signed and dated Gerhardt 50 at the lower right 312 x 482 mm., 12 1/4 x 19 in.

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94 CHARLES FREDERICK TUNNICLIFFE Macclesfield 1901-1979 Afon Cefni, Anglesey

Tunnicliffe is probably the best known bird artist of the second half of the twentieth century. Born in Langley, east Cheshire, the son of a shoemaker, he trained as an artist at Manchester School of Art and in 1921 he was awarded a Royal Exhibition to the Royal College of Art where he specialised in engraving. He exhibited extensively at the Royal Academy from 1928 until 1979 and became a Royal Academician in 1954.

A Long-faced Tumbler Pigeon Variously inscribed, watercolour over pencil heightened with bodycolour 237 x 271 mm., 9 1/2 x10 3/4 in.

In 1952, his best known book, ‘Shorelands Summer Diary’, was published, documenting the land and life around his Anglesey home, and his reputation as a bird artist was firmly established. He exhibited continuously at the Royal Academy from 1938 until 1978, culminating in a major exhibition of his drawings and sketchbooks at the Royal Academy in 1974. In 1954, he was made vice-president of the RSPB and in 1968 of the Society of Wild Life Artists. In 1975 he was awarded the gold medal of the RSPB and in 1978 he was appointed OBE.

Provenance: With Heather Newman Gallery; Jean Parry-Williams, Painswick Exhibited: Wallsworth Hall, Sandhurst, Nature in Art, 18th May to 27th June 1993

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95 STANLEY ROY BADMIN, RWS Sydenham 1906-1989 Bignor

interesting drawings in this show are provided by S. R. Badmin...[He] is almost miniaturist in the fineness of his work he packs into a small picture area, but in spite of all this wealth of beautifully designed detail, he contrives, with the aid of washes of tender colour, to preserve a seemly order in all his drawings.’ In the 1940s and 1950s Badmin illustrated a number of books on pastoral or topographical themes, notably Village and Town and The British Countryside in Colour.

As one recent author has noted of the artist, ‘his craft has been based on hard work and experience, and his talent on a love for and deep knowledge of the British countryside.’

St. Ives, Cornwall Watercolour over pen and black ink, heightened with touches of gouache Signed and inscribed St. Ives. / S.R. Badmin at the lower right 287 x 386 mm., 11 3/8 x 15 1/4 in. [sheet] A gifted artist and printmaker, S. R. Badmin is best known for his delightful watercolour landscapes of the English countryside. In 1932, at the age of twenty-six, he became one of the youngest Associate members of the Royal Society of Painters in Watercolours. At the exhibition of the Society in 1932, Badmin’s work was singled out for praise by several reviewers, one of whom noted that ‘The most

Badmin produced a handful of views of the picturesque Cornish fishing port of St. Ives. Another watercolour view of the town, inscribed by the artist ‘A Corner of St. Ives’ and ‘The Room with the View’, was on the London art market in 1985, while a view of St. Ives from Porthminster was shown at the Royal Watercolour Society in 1953.

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96 RENÉ GRUAU Covignano 1909-2004 Rome

Arguably the most famous fashion illustrator of the second half of the 20th century, René Gruau produced numerous designs for the covers of fashion magazines, notably Vogue, International Textiles, L’Officiel de la Couture et de la Mode de Paris and Club. The present sheet is a design for the cover of a 1964 issue of the magazine Sir, a quarterly trade publication devoted to male fashion, published in Holland by the International Textiles group. Gruau produced many cover designs and illustrations for the magazine.

Design for the Cover of Sir Magazine (No.4, 1964) Brush and black ink, gouache, and green film, over a pencil underdrawing, on paper Signed with the artist’s initial *G in at the lower right 410 x 287 mm., 16 1/8 x 11 1/4 in.

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97 JOHN LANGLEY HOWARD Montclair 1902-1999 San Francisco

exhibition with his older brothers Charles and Robert; a review of that show noted that, of the three Howard brothers, ‘John Langley is the poet, the mystic and the most complex...there predominates in his work a certain quality, an element of sentiment that escapes definition but is the unmistakable trait by which one recognizes deeper art.’ With the onset of the Depression Howard began to incorporate Marxist themes in his work, which often emphasized the plight of the working classes. This was perhaps most explicit in a commission he received in 1934 for a mural to decorate part of the interior of the Coit Tower on Telegraph Hill in San Francisco. While the decorations were intended as a celebration of California’s achievements in industry and agriculture, the artist’s decision to devote his mural to the depiction of a group of unemployed workers, combined with the subjects chosen by some of the other equally politicized artists working on the same project, led to considerable controversy. After the outbreak of World War II, however, Howard’s work began to move away from social commentary and towards a renewed focus on landscapes, still lives and natural history subjects. Between 1953 and 1965 he worked as an illustrator for Scientific American magazine, creating many covers that emphasized the delicacy and beauty of objects found in the natural world.

Apples on Earth Watercolour on paper, laid down on board Signed and dated JOHN LANGLEY HOWARD ’67 at the lower right 146 x 218 mm., 5 3/4 x 8 1/2 in. [image] 214 x 285 mm., 8 3/8 x 11 1/4 in. [sheet] Provenance: Acquired from the artist by the Garzoli Gallery, San Rafael, California Acquired from them in 1996 by Charles Ryskamp, Princeton, New Jersey.

Born into a family of artists and architects, John Langley Howard studied at the California Guild of Arts and Crafts in Oakland and at the Art Students League in New York in the early 1920s. He worked mainly in tempera, watercolour and oil, and also produced a number of etchings. His first one-man exhibition was held at the Modern Gallery in San Francisco in 1927, and the following year he shared a joint 115

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98 WOLF KAHN Born 1927

greatest significance for the artist throughout his long career.

In Orange Afterglow, which can be dated between 1994 and 1998, the bright bands of orange, purple, yellow and green echo the artist’s belief in the independence of colour within a composition, without compromising the chromatic autonomy of the whole. As Kahn has noted, ‘sometimes the vibrancy we seek is to be found in nature; often it comes entirely from the pastel box. The source doesn’t matter. What is necessary is to find a way, by using color in its extreme forms, to grab the viewer by the lapels and give a good shake or two.’

For Kahn, each colour holds importance, but in particular purple and orange; as he has stated, ‘Laying down a good area of purple is all I need to start a picture.’ He also believes that bright orange is one of the best colours to capture the viewer’s attention, since ‘it resists being used in a subtle way, is never reticent, or decorous, or delicate’, and he adds that one of the best times to use this audacious colour is for a sunset. The use of broad bands of colour in bright pastels, appearing at first glance abstract but with the slightest hint of form along the horizon, is characteristic of Kahn’s oeuvre, and is a compositional and chromatic theme which he has continued to develop in recent years.

Orange Afterglow Pastel on thick archival paper Signed W. Kahn at the lower centre 300 x 403 mm., 11 3/4 x 15 7/8 in. [image] 450 x 554 mm., 17 3/4 x 21 3/4 in. [sheet] Born in Germany, Wolf Kahn immigrated with his family to America in 1940, and began his studies with the Abstract Expressionist painter Hans Hoffman, whose studio assistant he later became. He had his first solo exhibition in 1956, and continues to work productively to this day. The artist has travelled extensively throughout his long career, painting views in Egypt, Greece, Italy, Kenya and Mexico, as well as in Hawaii, New Mexico, Maine and, in particular, Vermont, where he continues to spend several months each year in the summer and autumn.

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99 ANNE CONNELL Born 1959

purposes. Another feature of her work is the craftsmanship involved in its creation, characterized by a painstaking technique of oil, silverpoint and gold leaf on prepared panels. As a review of an exhibition of her work in The New York Times aptly noted, ‘Borrowing patterns and fragmentary images from Italian Renaissance painting for her small, lovingly made panel paintings, Connell creates a quietly luminous symbolist poetry that seems as once antique and postmodern.’

Without the Walls Collage, gold leaf, gouache, graphite and silverpoint on paper mounted on panel 230 × 340 mm., 9 × 13 3/8 in.

Painted in 2014-2016.

The hill in this composition was freely adapted from Sassetta’s Journey of the Magi (1320s), in the Pinacoteca in Siena, while the city is a detail taken from Agnolo Gaddi’s frescoes in the Cappella del Sacro Cingolo in the cathedral in Prato, executed between 1392 and 1395. The comet comes from a depiction in the Augsburger Wunderzeichenbuch (Book of Miracles), dating to the middle of the 16th century.

The artist Anne Connell lives and works in Portland, Oregon. She has spent much time in Italy, and her work reflects her abiding love of the art of the early Renaissance.

Connell’s paintings sample images and patterns from Quattrocento sources, while at the same time representing these elements within a distinctively modern idiom, to create an expressive vocabulary with its own meanings and 117

SOFA

100 ANNE CONNELL Born 1959

For further information about Anne Connell, or to view images of her recent paintings and drawings, please visit the page dedicated to her work on the gallery’s website. Two exhibitions of her recent work have been held at Stephen Ongpin Fine Art in London, in 2009 and 2014, and copies of the catalogues of both exhibitions may be obtained from the gallery on request.

The Incoherence of Melancholia Collage, gouache and silverpoint on paper mounted on panel 255 × 204 mm., 10 × 8 in.

A large loan exhibition of Connell’s work, entitled The Silent Heart: Modern Illuminations by Anne Connell, is on view at the Chapel Art Center at Saint Anselm College in Manchester, New Hampshire, through December 2016.

Painted in 2016.

The bird and the foliate ornaments come from 19th century heraldry. The tree was inspired by the early 15th century frescoes of the Sala Baronale in the Castello di Manta, near Saluzzo in Piedmont.

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

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

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

Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 guy@peppiattfineart.co.uk www.peppiattfineart.co.uk 119

INDEX OF ARTISTS

AGRICOLA, Christoph Ludwig

no.6

COX, David

no.38

ALKEN, Henry Thomas

no.30

CRAPELET, Louis-Amable

no.57

ALMA-TADEMA, Sir Lawrence

no.56

CROMEK, Thomas Hartley

no.34

ANDREWS, Charles William

no.68

ARMFIELD, Maxwell Ashby

no.92

DANIELL, William

no.23

DEBUCOURT, Philibert-Louis

no.21

no.8

DELLA BELLA, Stefano

no.3

BADMIN, Stanley Roy

no.95

DELUERMOZ, Henri

no.80

BAKHUIZEN, Ludolf

no.4

DE SPECHT, Emile

no.72

DEVIS, Anthony

no.17

EAGLES, Rev. John

no.49 no.79

BAADER, Johann Michael

BARBIERS, Pieter

no.11

BARRET JNR, George

no.43

BERNINGER, Edmund

no.74

BIGARI, Vittorio Maria

no.7

BLAZEY, Lawrence Edwin

no.89

FRASER GARDEN, William

BOUTET DE MONVEL, Bernard

no.90

FRENCH SCHOOL

nos.64,77

BRABAZON, Hercules Brabazon

no.75

FRIPP, George Arthur

nos.52-53

FROST, George

nos.26-27

BRIDGMAN, Frederick Arthur

nos.58-59

BRIGHT, Henry

no.50

BROCAS, William

no.28

GERHARDT, Ingrid

no.93

BURGESS, Thomas

no.20

GOUDT, Hendrick

no.2

CALLOW, William

GRUAU, René

no.96

HARDING, James Duffield

no.44

nos.54-55

CARTERON, Joannes

no.5

CASCIARO, Giuseppe

no.84

HART, William

no.65

CHATELET, Claude-Louis

no.12

HEARNE, Thomas

no.14

HEATH, William

no.24

HEMJIC, Marcel-Jacques

no.87

CIBO, Gherardo CONNELL, Anne

no.1 nos.99-100

120

HINE, Henry George

no.66

POYNTER, Sir Edward John

no.76

HOWARD, John Langley

no.97

PROUT, Samuel

no.36

HUNT, Alfred William

no.70

PYNE, George

no.51

JOHNSON, Harry John

no.69

REILLY, Michael

no.91

JOY, William

no.32

RICHARDSON JUNIOR, Thomas Miles no.47 RICHARDSON SENIOR, Thomas Miles no.39

KAHN, Wolf

no.98

RICHMOND, Sir William Blake

no.61

KARSEN, Kaspar

no.35

ROWBOTHAM, Thomas Leeson

no.40

ROWLANDSON, Thomas

no.13

LEAR, Edward

nos.33,62-63

LEITCH, William Leighton

no.67

SCHOTEL, Petrus, Johannes

no.31

LINNELL, John

no.37

SHIRLAW, Walter

no.60

LOEVY, Edward

no.73

SMITH, Joseph Clarendon

no.16

LOIR, Luigi

no.71 TITTENSOR, Harry

no.86

TROYON, Constant

no.29

TUNNICLIFFE, Charles Frederick

no.94 no.25

MARTY, André Edouard

nos.81-82

MERCIER, Jean-Adrien

no.85

MUCHA, Alphonse

no.78

MÜLLER, William James

no.48

UPHAM, John William

NASH, Frederick

no.45

VARLEY, John

NICHOLSON, Francis

nos.41,46

nos.15,42 WHITE ABBOTT, John

no.19 no.83

PAYNE, William

no.18

WÖHLER, Hermann

PEARSON, William

no.22

WORLIDGE, Thomas

PISSARO, Paul-Émile

no.88

121

nos.9-10

122

ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2016-2017

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

ONE HUNDRED DRAWINGS AND WATERCOLOURS