Intrepid Artists - The Art of Adventure & Exploration - Nicholas Shaw

The Art of Adventure & Exploration

The Art of Adventure & Exploration

AUTUMN 2022

To be exhibited from 17th to 24th October 2022 (weekend by appointment only)

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

NICHOLAS SHAW

Tel: +44 (0)7734 059604 nick@nicholasshaw.co.uk www.nicholasshaw.co.uk  nicholasshaw3404

Front cover: William Swainson (1789-1855) Bombax Tree [cat.22]

Opposite page: William Page (1794-1872) Figures beneath a ruined arch, possibly Pergamon [cat.14]

Back cover: Attributable to Henry Clifford de Meillon (circa 1800-1859) Two figure studies, Cape Town, circa 1830 [cat.17]

ONE

Asia & Australasia

TWO

Mediterranean & Africa

THREE

Americas

Opposite page: Edward Lear (1812-1888) Kandy, Sri Lanka [cat.5]

PART ONE Asia & Australasia

cat.1

Thomas Daniell RA (1749-1840)

View in the Barramah’l Hills, south east of Bangalore, with distant hill forts

Dated May, 1792

Grey wash and pencil, laid on card 38 by 27cm

Image inscribed ‘puranna Tatcul’

Later inscribed on card ‘Tatcool M….. (Tatikhal, eastern distr., Madras)’ later crossed out, ‘[May 1792]’, in the lower left corner numbered ‘147’. Provenance: Agnews, no.24529 Frame backboard with pounced Christie’s auction number

Thomas Daniell and his nephew, William, arrived in India in 1786. Their first artistic efforts were views of Calcutta followed by a tour north. In 1792, they headed south to Madras and then on to Sri Lanka, heading back to England in 1793 on news of the outbreak of war with the French.

The Daniells tour of south India, between March 1792 and April 1793, was through a land largely still to be explored by the British except in their efforts to contain Haida Ali and his son, Tipu Sultan. Moving through the hilly landscape south of Bangalore, the Daniells observed various hill forts from where Tipu Sultan’s soldiers continued to defend his empire.

The distant hills in this painting also appear in another view by Thomas Daniell entitled ‘Jag Deo and Warrangur, Hill Forts in the Barramah’l’. Jag Deo and Warrangur were two of the twelve hill forts in the possession of Tipu Sultan. The present view has a near contemporary and closely related companion in the collection of the British Museum, entitled ‘Hills between Verapadrug and Cauverypatam’ and dated 11th May 1792.

Reserved

Scene in a Bengal Village

Dated 1816

Pencil on lined paper laid down on card, framed Provenance: Formerly with Spink and Son 23.8 by 17cm

Chinnery was one of the greatest of British artists to travel to India in search of better prospects. He was certainly the last of the truly important artists to settle in the sub-continent. His journey to India may also have been encouraged by an almost neurotic disposition for which society in India might prove a more forgiving refuge as it had proven to be for many Britons of less orthodox character.

As much as he relied on patronage from British society, Chinnery’s disposition would not allow him to endure its company without frequent escapes to the

countryside. He took great delight in fleeing the strictures of portraiture and indulging in landscapes of bucolic villages on the outskirts of Calcutta and would happily have spent “the fag end of life in quietness and ease” which this escape provided him. This drawing is one that he made on such an occasion. The village, though not identified, appears in a number of his drawings and must have been a favoured place of

Chinnery (1774-1854)

cat.3

Sir James Lillyman Caldwell (1770-1863)

Temple at Ambarsumdrum, near Tirunelveli, Tamil Nadu

Dated June 1808

Inscribed ‘Ambarsumdrum, Tinivally..June 1808’ and initialled Grey wash and ink on laid paper 37.5 by 60cm

Sir James Lillyman Caldwell, General and Colonel Commandant of the Royal (late Madras) Engineers, lived a long life that combined a taste for military adventure and obvious danger with an equal enthusiasm for intellectual ingenuity and artistic expression.

He began his time in India in 1788 as a cadet of the East India Company gaining his first commission with the Madras Engineers in the following year. In 1791, he joined the forces lead by Cornwallis for the campaign against Tipu Sultan. Tipu’s forces were protected by a series of hill top forts across the region which were successively attacked by the British. Caldwell took part in many assaults in this campaign, both engineering the breaching of apparently impregnable defences and as a member of storming parties during which he suffered injury. At the start of the following year he took part in the Cornwallis night time attack on Tipu’s entrenched camp outside Seringapatam. This led to a protracted siege during which Caldwell was again wounded. A peace treaty with Tipu was agreed and Caldwell returned to Madras. For the next few years, his energies were spent on projects to improve public works until, in 1799, General Harris drew his forces together for another and final assault on Tipu Sultan. Caldwell led the ladder party in the successful assault in the second

siege of Seringapatam, suffering injury twice including being shot at the top of the breach before falling into the ditch.

Upon recovery, he resumed his civil duties for a number of years but in 1810 adventure beckoned and he joined the British forces sailing to Mauritius to take on the French. Six months later he returned to his duties as a Chief Engineer in the Madras army and was charged with the duties of restoring the fortress at Seringapatam and subsequently the French settlements on the Malabar and Coromandel coasts. It was during this period that, with Major Thomas Fiott de Havilland, Caldwell designed the Cathedral Church of St. George in southern Chennai whose baroque design was inspired James Gibbs’ St. Martins-in-theField in London.

In 1837, he retired from the active list, receiving the K.C.B., and returned home to live at first in Paris and then, upon the death of his French wife, between London and the Isle of Wight, where he died in 1863.

He was noted for his skill as a watercolourist and his work as a surveyor of monuments afforded him both the time and opportunity to record the forts, palaces and temples of South India. A small number of his works are held in the collection of the British Library.

cat.4

Charles Ramus Forrest (1750-1827)

Temple and village on the Ganges

Circa 1807/08

Watercolour and pencil on paper, framed 19.4 by 27.5cm

One of Charles Ramus Forrest’s beautiful watercolours of his travels up the Ganges and Jumna, the account of which he later published as ‘A Picturesque Tour Along the Rivers Ganges and Jumna’ (Ackerman, 1824, plate XI). The subject is a village and ‘pagoda’ which Forrest observed just below Patna near the town of Azimabad.

A soldier and amateur artist, Forrest recorded and illustrated his travels as an official of the East India Company copying the detail of the landscape attentively and often colouring them in situ in order to preserve the inspiration of the moment.

Forrest gives an account of this precise moment in his published work. On 2 December 1807, he set out from Calcutta, passing through various towns along the river courses, including Bhagalpur, Monghyr and Patna. A few miles below Patna, he “passed a very prettily situated village, with its pagoda of a most picturesque form, its ghaut of the red stone, and its native Hindoos performing their ablutions in the sacred stream of the Ganges. The varied forms and tints of the foliage surrounding this romantic spot give a good relief and effect to the white buildings, as may be seen in the annexed view”.

cat.5 Edward Lear (1812-1888) Kandy, Sri Lanka

Dated December 1874

Inscribed ‘Kandy, Dec. 2nd 1874, 7.45 a.m’ and variously with notes of subject, scale and colour Watercolour, pen and ink 16 by 34.5cm Provenance: Thomas Agnew and Sons

Lear arrived in India on 22nd November 1873 in a state of feverish excitement at the ‘myriad of impossible picturesqueness’ that lay before him to capture. He travelled widely in all directions arriving toward the end of his journey in the much anticipated Sri Lanka. But although Lear had long dreamt of the landscapes of this island, by the time he and his servant and companion, Giorgio, arrived in November 1874, both were tired from the exertions of the previous months and, in early December, Giorgio contracted dysentery. Consequently, their stay in Sri Lanka was brief, just a few weeks, and Lear’s depictions of the island are rare.

Lear took the train from Colombo to Kandy on 1st December which he found was a ‘singularly comfortable one’ taking two rooms at the Oriental on arrival. He found Kandy damp but delightfully quiet after the raucousness of Colombo. But his was the first day that Giorgio began to endure stomach pains –

described by Lear in his diaries as ‘dolore do panza’ or indigestion – but which over the next two days was to be diagnosed as dysentery. He recorded drawing various views in the morning of the 2nd December before meeting with his friends, the Barings, at Government House. Lear himself was suffering from a bad sore throat and found his spirits slumping in the face off incessant rain. Advised to return to Colombo for the sake of Giorgio’s health, they returned to the coast on 7th December and, once a local doctor had advised that Giorgio was well enough to travel, they boarded the Asia headed for Tuticorin on 12th December.

After a brief time on the Malabar coast they headed to Bombay and within a month of their departure from Sri Lanka, Lear and Giorgio headed home.

cat.6

Anon.

An extremely rare early watercolour of a view of the city of Bangkok

Circa 1822

Watercolour on paper 29.2 by 19.2cm

This rare watercolour relates to a printed image used in a publication giving an account of the British mission to the court of Siam and Cochin China of 1822 undertaken by the then Governor-General of India, John Crawfurd. The account was taken from the journal of George Finlayson, the surgeon and naturalist to the mission and published in 1826 after Finlayson’s death.

The printed image was also used in Crawfurd’s own account of the mission, published in 1828, which sought to rebuff some of the Finlayson’s criticisms of Crawfurds approach to dealings with the Thai court. The mission had hoped to negotiate access to trade in Siam with the King but Crawfurd’s overly deferential manner with him was considered by Finlayson to have

brought a lack of respect for the British officials from the Thai court. The French, in contrast, had already achieved access to trade with Siam, in the opinion of some, by their complete indifference to Thai court etiquette.

The temple buildings across the river have been tentatively identified as Wigan Yot, built by King Rama III, and part of Wat Phra Haew, the temple of the emerald Buddha.

The printed version gives as artist of the original drawing the initials ‘H.A.C.’ but this artist has yet to be identified in full, though presumably a member of the 1822 mission.

cat.7

Captain Sir Christopher Cole (1770-1836) The Capture of the Fort of Banda Neira

Circa 1810

Pencil on paper in two sections, a further sketch on the reverse Inscribed lower left ‘Banda….Cole’

Cole fought in the American Revolutionary War, the French Revolutionary wars and the Napoleonic wars but is perhaps best known for his exploits in the Dutch East Indies in 1810-11, where he was instrumental in the capture of Amboyna and Java.

On 9th August 1810, Cole led and attack on the heavily fortified island of Banda Neira. He had four ships, including the Caroline, under his command. Although the operation started badly for him, Cole personally led a small band of men into the fortress and forced the Dutch into surrender. This drawing depicts the small boats taking this landing force to the fort.

Cole made a number of sketches of the actions on the day of the attack, perhaps in preparation for the engagement. This drawing is an extremely rare survivor of that group which are otherwise known only from the prints which were derived by artists such as William Daniell from Cole’s original sketches (see British Museum 1917,1208.4597 and 1871,1111. 662).

£975

The Sacking of the Taku Forts

Circa 1860 Watercolour on paper 28.6 by 20.6cm

Known as the third battle of the Taku Forts in the second Opium War, in 1860 a joint force of British and French troops made another attempt to take the Chinese position only a year after suffering defeat. This earlier attempt was followed by a year of reconnaissance which allowed the European forces to focus the attack on the weakest point in the Chinese fortifications and, bolstered by British troops fresh from suppressing the uprising in India, victory was swift.

This was one of the last major engagement in the Second Opium war for it gave the European forces clear river access to Peking. Before the end of the year success at the Battle of Palikao resulted in the European forces occupation of the capital.

Four Views in New Zealand

William Swainson was a renowned English ornithologist, malacologist, conchologist, entomologist and artist. He published and illustrated numerous publications on the subject of natural history and was elected a fellow of the Royal Society in 1820, on his return from an expedition to Brazil. His reputation in Britain was tarnished following his support for the Quinarian system of biological classification, a system proposed by William Sharp Macleay in 1819 but which, despite the support of proponents such as Swainson, quickly fell out of favour. As a result, in 1841 Swainson decided to retire from scholarly work and emigrate with most of his family to New Zealand. He bought a plot of land in the Hutt valleys south of Wellington. But his life-long love of natural history remained unabated and in his sketches in and around his estate it is clear that the sight of a fine natural history specimen, often tree ferns, inspired a beautiful and accurate depiction of the scene.

Following disputes over land ownership with local Maoris, Swainson left for Sydney in 1851 and embarked on further natural history studies before returning to New Zealand a couple of years later where he died in the Hutt Valley in 1855.

Many related examples of Swainson’s sketches from this period and earlier, along with much of his correspondence, are in the National Library of New Zealand.

on paper, laid on card, mounted

by 10.4cm

Inscribed on image lower right ‘WS 1841-8’ and partial inscription lower left. Inscribed on card below image ‘McDonoughs Creek, Lower Hutt, NZ’ and on reverse in the artist’s hand ‘Since this drawing was made a substantial wooden Bridge has been erected’.

The drawing depicts a figure crossing over a shallow gorge on a felled tree trunk. As often with Swainson’s drawings, his interest in the natural history content demonstrates itself with his careful and accurate depiction of the leaves of the tree fern in the background.

A Black Tree Fern,

Hutt

PART TWO

Mediterranean & Africa

Thomas Hartley Cromek (1809-1873)

The Temple of Apollo at Corinth circa 1840

Circa 1840 Watercolour on paper, mounted 17 by 25cm

Inscribed lower left ‘T. H. Cromek f., Rome’

After a period of studying the old masters in Italy in 1830, Cromek spent most of the next twenty years travelling around Italy and Greece recording the notable and ancient monuments of these two countries. His obvious abilities as a watercolourist were immediately recognised and, on his retirement in 1860, he was elected an Associate of the New Society of Painters in Water-colour.

The subject of this watercolour are the seven remaining monolithic columns of the Temple of Apollo at Corinth, dating from 550-530 BCE, built in the Doric style on the site of an earlier temple. Behind, on the top of a rocky outcrop, is the ancient Acropolis of Corinth, originally fortified but with later Frankish and Venetian additions to those fortifications.

William Page (1794-1872)

Figures beneath a ruined arch, possibly Pergamon

First half 19th century

Watercolour and pencil on paper laid on card, mounted and framed 25.5 by 18cm

Provenance: Christies, 11th March, 1980, lot 83 Collectors stamp to rear ‘hhG 1557’

The composition, of a ruined arch with a figure resting in the shade that it casts, was one that Page returned to frequently. His travels in Greece and Turkey, between 1816 and 1824, provided him with the opportunity to visit the great sites of antiquity in the Ottoman Empire, such as Ephesus and, most likely in this case, Pergamon. These were subjects that

continued to provide Page with inspiration for works long after his return.

The composition relates closely to a monochrome sketch in the collection of the British Museum in a number of elements, such as the bird nesting atop the arch (1974, 1026.27).

Pompey’s pillar is the name given to a Roman triumphal column in Alexandria. It dates to 298-302 A.D. and was dedicated to the Emperor Diocletian, a giant porphyry statue of whom originally surmounted the column. The association with Pompey came from a misreading of a Greek inscription on the base.

The Arab traveller, Ibn Battuta, visiting Alexandria in 1327, describes an archer firing a line over the top of the column so that an ascent could be made. Perhaps inspired by this story, in 1798, after Napoleon’s rapid invasion of Egypt, French soldiers flew a kite with a line attached over the column in order to harness ropes for an ascent. It seems that their purpose was simply to raise the French flag. After the expulsion of the French by the British a few years later, a British soldier was keen to show that he could more than match the efforts of the French. In early 1803, Commander John Shortland of HMS Pandour flew his kite over the column to fix lines for a rope ladder.

cat.15 Anon.

Pompey’s Pillar

Early 19th century Watercolour on paper 39.1 by 24.9cm

Shortland and the Master of the Pandour, John White, climbed to the top where they raised the Union Jack, toasted King George III and gave him three cheers. Four days later, they re-climbed the ladder and, on reaching the top of the column, raised a staff, attached a weather vane, ate a beef steak and, again, toasted the King.

Judging by the structure visible on the top of the column, this watercolour depicts the column just after Shortland’s ascent when the monument was still prominent in the mind of British visitors to Egypt.

The notoriety of the column at this time inspired an over life size replica to be built in County Wexford, Ireland. It is known as the Browne-Clayton monument after the General who commissioned its building to commemorate a fellow officer who died in the campaign against Napoleon.

Admiral James Stoddart (1813-1892)

The Citadel, Alexandria

First half 19th century Watercolour on paper 17.2 by 24.7cm Inscribed on the reverse: ‘Pharos of Alexandria’ Provenance: from the family of Admiral James Stoddart

This watercolour depicts the Citadel, or Fort, of Qaitbay, the late Mamluk ruler. Established in 1477 AD, it sits on the site of the famous lighthouse of Alexandria at the mouth of the Eastern harbour of Alexandria. It formed one of the most important defensive strongholds in the Mediterranean.

Stoddart was from a family of prominent British naval officers. Joining the Royal Navy at the age of 14, he spent much of his first years based in the Mediterranean, with occasional recalls to Britain. In 1841, he joined HMS Cornwallis as Lieutenant and departed for the East Indies where he saw some action in the first Anglo-Chinese War. On his return, he was

given command of the re-commissioned Growler taking her back to the Mediterranean in the summer of 1849 arriving in Alexandria toward the end of the year. On 8th December, he took some of the seaman from the Growler ashore and had them take part in a donkey race for the entertainment of the European residents of the city. The accounts of the race suggest that the seaman, unused to the riding of donkeys spent much of the time falling from their mounts. This visit to the city may have afforded Stoddart the opportunity to record this image of the citadel.

(2)

cat.17

Attributable to Henry Clifford de Meillon (circa 1800-1859)

Two figure studies, Cape Town

Circa 1830

Watercolour on paper with an embossed border Sheet 12.4 by 8.4cm, image 9 by 5.3cm

Henry Clifford De Meillon was a British born South African artist who served in the British Navy, surveying the east coast of Africa in the early 19th century. He was aboard the HMS Leven which, on its return in 1826, had succeeded in mapping 30,000 miles of coastline and producing 300 new charts but had lost nearly half of its original crew to tropical diseases. De Meillon had returned early, in 1823, to Simonstown on the Cape, himself a victim of malaria caught whilst in Mozambique.

His artistic talents were soon recognised in the Cape though he also turned his hand to supplementary work, such as tutoring the Cloete children at Groot Constantia for some months of 1825. His artistic renown is largely for his depiction of the scenes and people of Cape Town, with contributions of illustrations to George Thompsons “Travels and Adventures in Southern Africa” of 1827 and for series of smaller figure studies, such as the one that these two images would originally have formed a part.

Daniell

Seated Male Figure, Southern Africa

Circa 1802

Pencil on laid paper, watermarked 1798 19.3 by 14.8cm

This quick, energetic sketch captured a figure that Daniell came across during his time in Southern Africa. He first visited South Africa in 1800 as part of the entourage of George Younge, Governor and Commander-in-Chief of the region. After his arrival, Daniell was invited to join an expedition from the Cape to Bechuanaland which set off in 1802. This provided Daniell with the opportunity to explore and

record what he soon discovered to be the fascinating figures, animals and landscapes of the South African interior. After his return to England, in 1804, along with his brother, William, and uncle, Thomas, he published some of these images under the title African Scenery and Animals. More were published posthumously, in publications of 1820 and 1832.

PART THREE The Americas

Barnard

A Mi’kmaq woman

Circa 1815

Watercolour on laid watermarked paper 18.2 by 12.7cm

Provenance: The William Sandby Collection

With an original separate label on paper watermarked ‘Whatman 1815’ inscribed in pen: ‘Indian Squaw – Taken in Mrs. Barnard’s Kitchen – Halifax, Nova Scotia – North America; taken from life by E. Barnard – June 181[?]’

It can be assumed that Ellen Barnard is one of the seven children of Doctor Samuel Barnard. Barnard was Surgeon to the 98th Regiment who, in 1795, married Charlotte Augusta Sandby, daughter of Thomas Sandby. Barnard’s regiment served in Bermuda and New Brunswick between 1805 and 1815.

The Mi’kmaq are indigenous to Nova Scotia. In this period, their dress is known from amateur depictions such as this. Typically, the women are depicted with the characteristic head covering and frequently they wear a crucifix around their necks. This Mi’kmaq

woman appears to be in domestic service with the Barnard household and the painting provides not only a portrait of her but also a detailed account of the interior of a relatively humble home of this time. In the background can be seen Ellen’s mother and even her dog ‘Lancer’.

Another depiction of a Mi’kmaq woman was in the Winkworth Collection and is now in the Art Gallery of Nova Scotia. Others are in the Library and Archives Canada, such as C-151329.

cat.20

Anon.

A rare view of the harbour, Havana

Early 19th century Watercolour on wove paper

Original backboard inscribed with initials ‘H.I.R.M. [?]’ 53.8 by 26.3cm

As a reaction to the Spanish for their departure from neutrality in the Seven Years War against the French, the British siege of Havana in 1762 lasted from March to August and led to much destruction in the city. By February of the following year, as part of the Treaty of Paris, the city had been returned to the Spanish, the British acquiring Florida as part of the settlement.

The rebuilding of Havana began and the numerous buildings that can be seen in this painting lining the Malecon, the waterfront road to the right of the mouth of the harbour entrance, suggest that this view was taken once this recovery was well under way.

William Swainson (1789-1855) Six Views Around Rio De Janeiro

1841

Pencil on wove paper each on original inscribed mount

William Swainson had spent many years in search of public recognition for his contribution to the knowledge of the living world. For him, the appointment to a paid position in a prominent British institution could be that recognition, as well as providing him with an income and an opportunity to continue his studies. A series of disappointments in pursuit of this ambition finally led him to despair of this ever happening. Having heard of the prospect of land to newly colonise in New Zealand, he set off to that distant and completely unfamiliar place. With him he took his hope of establishing a more fruitful life, both professionally and financially, using his immeasurable appetite for the observation of the natural world.

In 1840, he set sail from Gravesend with his family, leaving one son to be brought up in Gibraltar, and his second wife, Ann Baddly, aboard the ship Jane, which even on departure was not in the best state. Reaching Rio de Janeiro it sustained damage which necessitated a delay of several weeks while work was carried out to make the ship seaworthy. It would seem that these repairs were, at best, makeshift and on its arrival in Wellington, on 24th May 1841, the ship was declared no better than ‘a pig sty’ and legal action ensued from the embittered passengers.

Swainson, as was typical, seized the opportunity in Brazil to explore the area around the city of Rio and record and draw its flora. He had been to Brazil before, in 1818, with the well- known explorer Henry Koster, but had to leave after a year when political turmoil began to erupt in the country. This was a chance, albeit brief, to rediscover the joys of the natural world of Brazil. The six drawings were taken at different points around the outskirts of the city including the area known as the ‘Valley of the Orangeras’ and around the lakes near Botafogo with Sugar Loaf Mountain in the background.

The drawings measure approximately 28 by 22cm and slightly smaller. Each is laid down on thick paper taken from an album. Some have notes in pencil variously recording places, species and locations. Each of the backing papers has lined borders and is inscribed ‘Rio de Janeiro, 1841’ in ink.

These drawings have come by descent directly from the family of William Swainson. Swainson’s granddaughter, the sculptor Lilian Swainson (1865-1939) married into the Hamilton family, latterly of Lowood House near Melrose. The Hamilton family have recently dispersed the contents of their family home.

pencil l.r. ‘WS

1841, Valley of the Orangeros,

in pen on mount ‘Rio de Janeiro, 1841’ in Swainson’s hand

by

de Janeiro, No’

CATALOGUE

cat.1 Thomas Daniell RA (1749-1840)

View in the Barramah’l Hills, south east of Bangalore, with distant hill forts, dated 1792

cat.2 George Chinnery (1774-1854)

Scene in a Bengal Village, dated 1816

cat.3 Sir James Lillyman Caldwell (1770-1863)

Ambarsumdrum, near Tirunelveli, Tamil Nadu, dated 1808

cat.4 Charles Ramus Forrest (1750-1827)

A temple and village on the Ganges, circa 1807/08

cat.5 Edward Lear (1812-1888)

Kandy, Sri Lanka, dated 1874 cat.6 Anon.

An extremely rare early watercolour of a view of the city of Bangkok circa 1822

cat.7 Captain Sir Christopher Cole (1770-1836)

The Capture of the Fort of Banda Neira, circa 1810

cat.8 Anon.

The Sacking of the Taku Forts, circa 1860 cat.9 William Swainson (1789-1855)

A View of the Soft Leaved Fern and Hutt Forest, New Zealand, 1841-55

cat.10 William Swainson (1789-1855)

McDonoughs Creek, Lower Hutt, New Zealand, 1841-55

cat.11 William Swainson (1789-1855)

Native Hut on the Hutt Road, New Zealand, 1841-55

cat.12 William Swainson (1789-1855)

Black Tree Fern, River Hutt, 1841-55

cat.13

Thomas Hartley Cromek (1809-1873)

The Temple of Apollo at Corinth, circa 1840 cat.14 William Page (1794-1872)

Figures beneath a ruined arch, possibly Pergamon, first half 19th century cat.15 Anon.

Pompey’s Pillar, early 19th century cat.16 Admiral James Stoddart (1813-1892)

The Citadel, Alexandria, first half 19th century cat.17

Attributable to Henry Clifford de Meillon (circa 1800-1859)

Two figure studies, Cape Town, circa 1830 cat.18

Samuel Daniell (1775-1811)

A Seated Male Figure, Southern Africa, circa 1802 cat.19 Ellen Barnard

A Mi’kmaq woman, circa 1815 cat.20 Anon.

A rare view of the harbour, Havana, early 19th century cat.21

William Swainson (1789-1855)

Valley of the Orangeros, dated 1841 cat.22

William Swainson (1789-1855)

Bombax Tree, dated 1841 cat.23 William Swainson (1789-1855)

Valley of the Orangeros, dated 1841 cat.24 William Swainson (1789-1855)

House below hills, dated 1841 cat.25

William Swainson (1789-1855)

A Study of a Tree, dated 1841 cat.26 William Swainson (1789-1855)

A Cashew Tree near Botafogo, dated 1841

The Art of Adventure & Exploration

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

Tel: +44 (0)7734 059604 nick@nicholasshaw.co.uk www.nicholasshaw.co.uk  nicholasshaw3404

Opposite page: William Swainson (1789-1855) Valley of the Orangeros [cat.21]

Design by Sarah Garwood sarahagarwood@outlook.com