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ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2017-2018

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

ONE HUNDRED DRAWINGS AND WATERCOLOURS


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GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century

WINTER CATALOGUE 2017–2018

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


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We are delighted to present our tenth annual Winter catalogue of One Hundred Drawings and Watercolours, which 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 nearly the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, 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 in this catalogue 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 honoured that a significant number of British, European and American museums have acquired drawings and watercolours from these annual Winter catalogues over the past nine years. Our respective individual catalogues of more significant drawings will be issued in January and May 2018, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this Winter catalogue of 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.

Stephen Ongpin Guy Peppiatt Megan Corcoran

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 full references, as well as high-resolution digital images of each of the works, are available on request, as well as on our respective websites. The drawings are available for viewing from receipt of the catalogue. A price list is included. Please note that most, but not all, of the works are sold framed. 2


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1 CIRCLE OF PAUWELS FRANCK, CALLED PAOLO FIAMMINGO Antwerp 1540-1596 Venice

he worked in the studio of Jacopo Tintoretto, specializing in landscape backgrounds. Known in Italy as Paolo Fiammingo, he remained in Venice for the rest of his career, establishing a successful studio and painting religious scenes, mythological and allegorical subjects. Among his most important clients was the Imperial banker Hans Fugger, for whom he painted several works for the palace of Schloss Kirchheim, near Augsburg, in the 1580s. Together with his slightly younger compatriot Lodewijk Toeput, known as Pozzoserrato, Paolo Fiammingo was instrumental in establishing a new manner of landscape painting in Venice and the Veneto in the second half of the 16th century.

Travellers Among Roman Ruins Pen and brown ink and brown wash A small square made up area at the lower centre of the composition 220 x 301 mm., 8 5/8 x 11 7/8 in. Provenance Possibly Sir William Forbes, 6th Bt. of Monymusk and Pitsligo, Edinburgh and Colinton House His son, Sir William Forbes, 7th Bt. of Pitsligo, Colinton House, Greenhill House and Fettercairn House, Kincardineshire Thence by descent in the Forbes family at Fettercairn House, Kincardineshire

The Scottish banker Sir William Forbes, 6th Baronet of Pitsligo (1739-1806) undertook a Grand Tour of Italy in 1791 and 1792. Although he did not acquire paintings or antiquities on his travels, he did purchase a number of drawings and prints. A cultured and learned man, Forbes was a founder member of Royal Society of Edinburgh in 1783. His son, Sir William Forbes, 7th Baronet of Pitsligo (1773-1828) was, like his father, a banker, and as a young man began to assemble a fine collection of Old Master prints and drawings.

Recorded as a member of the painter’s guild in Antwerp in 1561, Pauwels Franck had by 1573 settled in Venice, where 3


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2 BARTOLOMEO PASSAROTTI Bologna 1529-1592 Bologna

A preparatory study for the figure of the Christ Child in Passarotti’s large altarpiece of The Adoration of the Magi of c.1565-1580, originally in the church of San Pietro and now in the Palazzo Arcivescovile in Bologna. In the painting the Child is seated on the lap of the Virgin, whose lightly sketched hand is visible beneath His arm in this drawing. While the pose of the seated Child is similar in both the drawing and the painting, the angle of His head in the painting differs slightly from that of the main figure in the drawing. Passarotti chose to study the head of the Child in three subsidiary studies on the same sheet, and the final result in the painting is a combination of the head at the lower right of the sheet, and that of the main figure. Other preparatory drawings for the painting are in the Teylers Museum in Haarlem and at Christ Church in Oxford.

Studies of a Young Nude Child Pen and brown ink Inscribed platiae(?) at the right centre, and faintly numbered 135 at the lower left 410 x 272 mm., 16 1/8 x 10 3/4 in. Provenance Lady Violet Crawley By descent to a private collection, England Private collection, USA 4


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3 ANDREA BOSCOLI Florence c.1560/64-1608 Florence

1584, his earliest known painting is a Martyrdom of Saint Bartholomew, painted in 1587 for the church of San Pier Maggiore in Florence. Boscoli painted several works for Florentine churches in the 1590s. Between 1600 and 1605 he worked mainly in the Marches, painting frescoes and altarpieces for patrons and churches in Fano, Fabriano, Macerata, Fermo and elsewhere, while the last years of his career were spent between Florence and Rome.

Judith Preparing to Visit Holofernes Pen and brown ink and brown wash, over an underdrawing in black chalk 156 x 208 mm., 6 1/8 x 8 1/8 in.

Relatively few paintings by Boscoli survive today, and it is as a draughtsman that he is best known. His drawings were highly praised by his biographer Filippo Baldinucci (who noted that ‘he drew so well...without lacking a boldness and an extraordinarily skillful touch’) and were avidly collected. A closely related drawing by Boscoli of Judith Before Holofernes, of similar dimensions and technique and also in the form of a lunette, is in the collection of the Albertina in Vienna. Both the Albertina drawing and the present sheet may be dated to the 1590s, but remain unrelated to any surviving painting or fresco cycle by the artist.

Provenance Amédée-Paul-Emile Gasc, Joigny and Paris (Lugt 1131) William Bateson, London and Grantchester (Lugt 2604a) Bernhard Himmelheber, Karlsruhe (Lugt 4035) Thence by descent to a private collection, Germany Andrea Boscoli visited Rome as a young man in the early 1580s, and between 1582 and 1600 worked primarily in Florence, with brief stays in Siena and Pisa. Although he was admitted into the Accademia del Disegno in Florence in 5


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JACOPO NEGRETTI, CALLED PALMA GIOVANE Venice c.1548-1628 Venice

Palma Giovane was an inveterate draughtsman, and more drawings by him survive than by any other Venetian artist of the period. He seems to have drawn as much for pleasure as to prepare his paintings, and many of his drawings cannot be related to extant works. Indeed, although this drawing is a fine and typical example of Palma’s spirited draughtsmanship, none of the three separate studies on the sheet can be related to any surviving painting or fresco by the artist. As one scholar has noted, ‘Palma effortlessly filled sheet after sheet with pen drawings showing constantly varied presentations of primarily religious subjects...[he] filled sheets with series of rapid studies…including different subjects on the same sheet in a sprightly pen...Palma’s many drawings produced visual resources he could use or revisit for years to feed the prodigious output of paintings from his hand, and from his studio.’

A Sheet of Studies with the Virgin or a Female Saint, A Man Kneeling Before a Priest, and Several Figures Before a Lion Pen and brown ink 226 x 137 mm., 8 7/8 x 5 3/8 in. Provenance The Earls of Crawford and Balcarres, Colinsburgh, Fife By descent to a private collection

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5 ALESSANDRO MAGANZA Vicenza 1556-1632 Vicenza

Alessandro Maganza spent most of his career in his native city of Vicenza. His large workshop came to dominate the artistic scene there in the late 16th and early 17th century, producing paintings for numerous churches and palaces in and around Vicenza and throughout Northern Italy. His biographer Carlo Ridolfi noted that he ‘wielded the pen as easily as the brush’, and he is perhaps better known today as a draughtsman than as a painter. Maganza’s pen and wash drawings, executed with a characteristic flair, show the influence of the draughtsmanship of Palma Giovane, and the drawings of the two have often been confused. In its rapid but assured handling of pen and the use of areas of light brown wash to create effects of chiaroscuro, the present sheet is typical of the idiosyncratic draughtsmanship of the artist, and a fine addition to the corpus of drawings by Maganza.

Two Allegorical Figures (Bacchus and Ariadne?) Pen and brown ink and brown wash, over an underdrawing in black chalk 209 x 112 mm., 8 1/4 x 4 3/8 in. Provenance Émile Louis Dominique Calando, Paris (Lugt 837) His son, Émile Pierre Victor Calando, Paris and Grasse Thence by descent to Marguerite Calando Stephen Ongpin Fine Art, London Private collection, New York 7


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6 CIRCLE OF JACQUES CALLOT Nancy 1592-1635 Nancy

The present sheet is similar in size, medium and technique to several figure drawings made by Jacques Callot as studies for the myriad groups of people in his large etching of The Fair at Impruneta of 1620. Callot made a significant number of preparatory drawings for the etching, including a distinctive group of figure studies in red chalk. The present sheet is derived from the left half of a slightly more finished drawing by Callot of two standing peasants, both of whom appear in The Fair at Impruneta, in the Uffizi.

Study of a Man with a Cane Red chalk Laid down on a thick board Inscribed Callot in a cartouche mounted below the drawing 100 x 87 mm., 3 7/8 x 3 3/8 in.

This drawing bears the distinctive mount and cartouche of the 18th century diplomat and collector Count Karl Cobenzl (1712-1770), who owned around thirty drawings by Callot, which were acquired by the Russian Empress Catherine II. In his 1962 catalogue raisonnÊ of Callot’s drawings, however, Daniel Ternois noted that he regarded most of the drawings from the Cobenzl collection to be by a follower of Callot. Among stylistically comparable red chalk figure drawings with the same Cobenzl and Hermitage provenance is a study of a beggar in the Smith College Museum of Art in Northampton, MA.

Provenance Count Karl Cobenzl, Vienna and Brussels (Lugt 2858b) Acquired in 1770 by the Empress Catherine II of Russia, St. Petersburg Her son, Czar Paul I of Russia, St. Petersburg Presented to The Hermitage, St. Petersburg (Lugt 2061) Hermitage sale, Leipzig, C.G. Boerner, 29 April 1931, part of lot 40 Lucien Goldschmidt, New York Eileen and Herbert Bernard, New York 8


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7 GERMAN SCHOOL 17th Century

The present sheet bears an old attribution to ‘Sarazin’, presumably referring to the 17th Century French sculptor Jacques Sarazin (1588/90-1660). However, the style of the drawing is unlike that of Sarazin’s own drawings, which are mainly in chalk, in a manner indebted to that of his contemporary Simon Vouet, while the sculptor’s few extant pen drawings are executed in a much more rapid, loose technique than is found in the present sheet. It is possible, however, that this drawing may record a sculpture by Sarazin.

Study of a River God Pen and brown ink on buff paper Inscribed Sarazin. on the old mount 127 x 177 mm., 5 x 7 in.

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8 GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO Cento 1591-1666 Bologna

landscapes, caricatures and genre scenes, and have always been coveted by collectors and connoisseurs. The largest extant group of drawings by Guercino is today in the Royal Collection at Windsor Castle.

Study of an Angel

It has been suggested that this drawing may represent a first idea for the angel at the top of a lunette fresco of The Annunciation to the Shepherds, part of the decoration of the cupola of the Duomo at Piacenza, painted by Guercino between 1626 and 1627. Another pen and ink study for the angel, closer to the final fresco, was recently on the auction market in Paris.

Pen and brown ink A variant study for the same angel, in reverse, drawn in pen and brown ink on the verso 176 x 237 mm., 6 7/8 x 9 3/8 in. Provenance Margot Gordon, New York Acquired from her in 1998 by a private collection, Chicago

Similarities may also be noted with the angels in Guercino’s paintings of The Annunciation of 1628-1629, today in the Ringling Museum of Art in Sarasota, and The Martyrdom of Saint Bartholomew, painted in 1635-1636 for the church of San Martino in Siena. A preparatory study in pen and ink for the angel in The Martyrdom of Saint Bartholomew, in the Teylers Museum in Haarlem, is close to the present sheet in style and composition.

Among the most prolific draughtsmen of the 17th century in Italy, Guercino appears to have assiduously kept his drawings throughout his long career, and to have only parted with a few of them in his lifetime. His drawings, for the most part drawn in his preferred medium of pen and brown ink, include figural and compositional studies, 10


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Attributed to PEDRO ATANASIO BOCANEGRA Granada 1638-1688 Granada

certainly be considered as one of Cano’s closest followers, and much of his painted oeuvre is indebted to the example of the older artist, whom he may have assisted on a series of large paintings for the Cathedral in Granada, between 1662 and 1664. Little is known of Bocanegra’s life and career, which seems to have been mostly spent in Granada. He worked at various churches and convents in the city, and in 1673 was named the maestro pintor of the Cathedral. In 1676 he was summoned to the court in Madrid, but his work did not find favour there and he soon returned to Granada. As a draughtsman, Bocanegra’s style is also largely dependent on the example of Cano’s pen drawings. Only a handful of drawings have been firmly attributed to Bocanegra, including sheets in the Louvre and the Uffizi, and the present sheet may be compared stylistically with a signed pen drawing of Saint Jerome in the Uffizi. As one scholar has noted of Bocanegra, ‘very few drawings can be considered as from his hand...But they show an independence from the art of Cano and an original talent.’

Recto: The Flight into Egypt Verso: A Seated Male Nude and a Sketch of the Forelegs of a Horse Pen and brown ink and grey wash, over an underdrawing in black chalk The verso in red chalk and pen and brown ink 177 x 170 mm., 7 x 6 3/4 in. Provenance William S. Brough, J.P., Leeds and London (Lugt 2652) Gustave Soulier, Florence and Naples (Lugt 1215a) Private collection A native of Granada, Pedro Atanasio Bocanegra is thought to have been a pupil of Alonso Cano in the 1650s. He may 11


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10 BALDASSARE FRANCESCHINI, CALLED IL VOLTERRANO Volterra 1611-1690 Florence

type are in the Kunstbibliothek in Berlin, while several others, including the present sheet, were among a large group of drawings by the artist sold at auction in 1980. As Charles McCorquodale has pointed out, Volterrano ‘allowed his most robust, if controlled, drawing style to emerge in his designs for carving, stuccoes, metalwork and other decoration’, while another scholar has noted that such drawings display ‘the elegance and sophistication [that are] always present in Volterrano’s decorations.’ As has also been noted, ‘The florid baroque style evident in these drawings, and even the way numerous unfinished sketches are crowded on to the sheet, seem to be inspired by Bernini, whose work Volterrano knew from his two stays in Rome, but the condensed nature of the ornament is characteristically Florentine.’

Recto: Study of Two Variant Designs for a Cartouche Verso: Studies of Frames or Cartouches Black chalk, the verso in red chalk 247 x 260 mm., 9 3/4 x 10 1/4 in. Provenance Probably part of a group of 410 drawings by Volterrano, in four albums, sold Paris, Hôtel Drouot, 8 November 1922, lot 214 Anonymous sale, London, Sotheby’s, 3 July 1980, probably lot 2 Brian Sewell, London

Drawn in red chalk, the verso of this sheet shows several designs for frames or cartouches, and may be compared with a drawing for an oval cartouche or frame in the National Gallery of Scotland in Edinburgh. Other drawings for frames by Volterrano are in the Rijksmuseum in Amsterdam, the Kunstbibliothek in Berlin, the Romanian Academy in Bucharest and the Metropolitan Museum of Art in New York.

The leading fresco painter in Florence in the latter half of the 17th century, Baldassare Franceschini, known as Il Volterrano, was a prolific draughtsman. However, drawings for architecture, decorative motifs and metalwork by him are relatively rare. A group of twenty-four drawings of this 12


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11 CIRCLE OF GIOVANNI FRANCESCO GRIMALDI Bologna c.1606-1680 Rome

he adopted the local interest in landscape draughtsmanship fostered by the Carracci. He enjoyed a highly successful career as a painter of fresco decorations, and also worked as a printmaker, architect, scenographer and designer of book illustrations. Grimaldi was a prolific draughtsman, and is best known for his landscape studies in pen and ink, many of which seem to have been intended as works of art in their own right. He also produced more than fifty landscape etchings, which, like his drawings, reveal the influence of the Carraccesque tradition in which he was trained.

Wooded Landscape with a Castle Pen and brown ink 180 x 326 mm., 7 1/8 x 12 7/8 in. Provenance Antoine-Joseph Dezallier d’Argenville, Paris (Lugt 2951) By descent to his widow, Françoise-Thérèse, née Hémart, until her death in 1778 The posthumous Dezallier d’Argenville sale, Paris, Pierre Rémy, 18-28 January 1779 (as Domenichino) The Earls of Crawford and Balcarres, Balcarres House, Colinsburgh, Fife Thence by descent to a private collection

Although the present sheet is stylistically comparable with drawings by Grimaldi, the difficulty of differentiating his landscape drawings from those of some of his contemporaries working in the Carraccesque landscape tradition, such as Domenichino, has resulted in a something of an attributional minefield. Interestingly, the earliest known owner of this drawing, the 18th century French amateur Antoine-Joseph Dezallier d’Argenville, chose to place it among his drawings by Domenichino, rather than with those of Grimaldi, of which he also owned several examples.

Giovanni Francesco Grimaldi, known as ‘Il Bolognese’, received his artistic training in his native city of Bologna, where 13


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12 ANDREAS BODAN THE YOUNGER Mulhouse 1656-1696 Zerbst

in Mulhouse, painted in 1676. Bodan travelled to Italy, spending time in Rome, Naples and Sicily, and also visited Malta. He was appointed court painter to the Duke of Saxony, Hans Ludwig von Anhalt, in Zerbst, where he died in 1696 at the age of just forty. Drawings by Andreas Bodan are very rare. A drawing of The Death of Cleopatra, signed and dated 1691, is in the Germanisches Nationalmuseum in Nuremberg, while a signed allegorical drawing of Without Ceres and Bacchus, Venus Would Frieze is in the National Gallery of Canada in Ottawa. Among the very few other known drawings by Bodan is a double-sided sheet with a youthful self-portrait, dated 1674, which was once in the collection of Tobias Christ in Basel, while a pen and wash drawing of a Fortune Teller, signed and dated ‘A. Bodan Roma 1677’ appeared at auction in New York in 1982. A signed pen drawing of Susannah and the Elders is in a private collection in Augsburg.

Death and the Scholar Pen and brown ink and brown wash Signed Andr Bodan at the lower left 448 x 295 mm., 17 5/8 x 11 5/8 in. Provenance Boguslaw Jolles, Dresden and Vienna (Lugt 381 or 381a) His sale, Munich, Helbing, 28-31 October 1895, lot 726 Born into a family of painters from Alsace, Andreas Bodan trained with his brother Hans-Conrad, and later with Hans Rudolf Werenfels in Basel. Among his first significant commissions was an Allegory of Justice for the Hôtel de Ville 14


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13 CARLO MARATTA Camerano 1625-1713 Rome

By descent in the Forbes family Anonymous sale, London, Christie’s, 1 July 1986, lot 11 (unsold) Thence by descent in the Forbes family at Fettercairn House, Kincardineshire

Recto: Two Studies of the Head of a Woman Verso: Study of Drapery of a Standing Woman

In his posthumously published life of the artist, Giovan Pietro Bellori notes that, even as a young artist, Maratta’s skill as a draughtsman was readily apparent: ‘his drawings were already held in great esteem because there was no one who equaled him…’ A prolific draughtsman, Maratta made numerous studies of drapery, anatomy and pose for each of his paintings. He seems to have jealously guarded his drawings, and kept most of them in his studio until his death. Although the two heads in this drawing have thus far not been related to any painting by Maratta, a resemblance may be noted between the left hand head and that of a kneeling woman at the right edge of the artist’s Adoration of the Shepherds in the Hermitage in St. Petersburg. A comparable drawing of the head of a woman is in the Witt Collection at the Courtauld Gallery in London.

Black chalk, heightened with touches of white chalk, with framing lines in brown ink, on grey paper The verso in black chalk, heightened with white chalk Inscribed C. Maratti at the lower left centre 273 x 416 mm., 10 3/4 x 16 3/8 in. Provenance Possibly Sir William Forbes, 6th Bt. of Monymusk and Pitsligo, Edinburgh and Colinton House His son, Sir William Forbes, 7th Bt. of Pitsligo, Colinton House, Greenhill House and Fettercairn House, Kincardineshire 15


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14

ANTONIO MOLINARI Venice 1665-1704 Venice

delineated, completely thought out renderings. This is not to belittle the skill with which they are drawn – command of form and technical confidence is apparent in every mark – but to recognize a basic quality that relates to the painterly concerns of both artists, a very Venetian quality at that.’

Venus and Vulcan Pen and brown ink and brown wash, with touches of red chalk, over an underdrawing in black chalk A drawing of The Feast of the Gods(?) in black chalk on the verso 279 x 205 mm., 11 x 8 1/8 in.

While the present sheet cannot be related to any extant painting by Molinari, it may be noted that the artist often depicted muscular, seated male nude figures in his paintings of mythological subjects. This drawing is more finished, and less sketchy, than most of Molinari’s drawings, which are in a more abbreviated style. Of similar technique, style and dimensions is a study of The Virgin and Child with the Archangel Michael, Saint Anne, Saint Joseph and Another Saint in the Louvre, while among the large corpus of drawings by Molinari in the Museum Kunst Palast in Düsseldorf are several examples which, though less resolved than the present sheet, offer numerous stylistic points of comparison.

The drawings of the 17th century Venetian artist Antonio Molinari are characterized by a particular freedom of handling and expression. As one scholar has noted of the artist’s drawings, ‘In many ways, Molinari’s technique prefigures that of Tiepolo. The drawings of both artists have the character of painterly studies rather than carefully 16


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15 ITALIAN SCHOOL Circa 1700

and manuscripts, formed by the Piedmontese nobleman Cesare Saluzzo (1778-1853) – was acquired by the Royal Library in Turin in 1952. The present sheet, however, remained part the collection of drawings, books and manuscripts, mainly of the Italian school, in the possession of Tommaso Alberto Vittorio di Savoia-Genova, 2nd Duke of Genoa (1854-1931). The collection then passed to his eldest son, Ferdinando di Savoia-Genova (1884-1963), 3rd Duke of Genoa and Prince of Udine. Among other drawings with the same provenance from the SavoiaGenova collection is a large group of studies by Giovanni Battista Foggini in the Metropolitan Museum of Art, as well as sheets by other artists in the Rijksmuseum in Amsterdam.

A Choir of Angels with Musical Instruments Pen and two shades of brown ink and brown wash, over an underdrawing in black chalk 212 x 339 mm., 8 3/8 x 13 3/8 in. Provenance Probably Cesare Saluzzo, Turin The Dukes of Savoia-Genova (Lugt 47a), probably Tommaso Alberto Vittorio di Savoia-Genova, 2nd Duke of Genoa, Turin By descent to his son, Ferdinando di Savoia-Genova, 3rd Duke of Genoa, until sold in the 1950s Giancarlo Baroni, Florence and Switzerland

An attribution to the Neapolitan painter Luca Giordano (1634-1705) has previously been suggested for this drawing, by stylistic comparison with two preparatory studies, in the Biblioteca Nacional in Madrid and the Metropolitan Museum of Art in New York, for one of the major works of that artist’s late, Spanish period; the ceiling fresco of Allegory of the Golden Fleece in the Casón del Buen Retiro in Madrid, painted around 1697.

This drawing bears the collector’s mark of the Dukes of Savoia-Genova. The majority of the Savoia-Genova collection – some 17,000 drawings, prints, maps, atlases 17


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16

DOMENICO MARIA FRATTA Bologna 1696-1763 Bologna

His sale, London, T. Philipe, 26 January - 4 February 1804, lot 191 (as Donato Creti) Probably acquired at the sale by Sir William Forbes, 7th Bt. of Pitsligo, Colinton House and Fettercairn House, Kincardineshire By descent in the Forbes family at Fettercairn House

Six Drawings on an Album Page: a. The Head of a Satyr b. The Head of a Satyr c. Mother and Child d. The Head of a Woman e. The Head of a Woman f. Mother and Child

Although each of the small pen and ink drawings on this large album page bears a traditional and longstanding attribution to the Bolognese artist Donato Creti (16711749), Marco Riccomini has pointed out that the four studies of heads are the work of Domenico Fratta, while the two drawings of a woman and child are by an anonymous follower of Creti. Fratta seems to have little or no success as a painter, and is best known today as a draughtsman and printmaker. His drawings are particularly indebted to those of Creti, and works by the two artists have long been confused. Fratta also produced highly finished pen drawings, including several landscapes, which were intended as autonomous works of art for sale.

Each pen and brown ink, of rectangular or oval format, laid down on an album page Inscribed Donato Creti. beneath each drawing Various dimensions, ranging from 48 x 39 mm., 1 7/8 x 1 1/2 in., to 64 x 46 mm., 2 1/2 x 1 3/4 in. The album page: 424 x 318 mm., 16 5/8 x 12 1/2 in. Provenance John McGouan, Edinburgh (Lugt 1496) 18


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17 BENEDETTO LUTI Florence 1666-1724 Rome

Benedetto Luti worked in Rome for most of his successful career, becoming one of the most important and influential artists in the city. He was also particularly noted by his contemporaries for his work as a draughtsman in pastel and coloured chalks. Pastel studies of heads account for a small but significant part of the artist’s oeuvre, and were highly sought-after by collectors and connoisseurs. As Peter Bowron has written of Luti, ‘His earliest biographers expressed their admiration for his pastel and coloured chalk drawings, which, for their relatively early date in the Settecento, are characterized by unexpected freshness and brilliance…These fresh and luminous studies of heads and bust-length figures are historically significant as among the first of their kind to be created and appreciated strictly as independent works of art rather than as preparatory studies for a canvas or fresco...The result was a thriving trade in pastel heads of young children, saints, and angels, and in portraits.’

The Head of a Young Woman Pastel on blue paper 297 x 242 mm., 11 5/8 x 9 1/2 in. Provenance Louis-Antoine and Véronique Prat, Paris (Lugt 3617) His sale, Paris, Hôtel Drouot, 5 December 1984, lot 33 Literature Neil Jeffares, ‘Benedetto Luti’, Dictionary of pastellists before 1800 [online edition], no.J505.237

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18 This charming little drawing of the interior of a circular theatre has long borne an attribution to the 18th century French draughtsman Gabriel de Saint-Aubin (1724-1780). The drawing may depict the interior of one of the dancing halls known as ‘Vauxhalls’, after Vauxhall Gardens in London, which were popular in Paris in the second half of the 18th century. A similar small drawing of the interior of a circular ‘Vauxhall’ theatre by Saint-Aubin is today in the collection of the Musée Carnavalet in Paris.

FRENCH SCHOOL 18th Century The Interior of a Theatre Black chalk, with framing lines in black chalk Inscribed Tu es né pour estre / heureux. on the verso Further inscribed G de St. Aubin at the lower left of the old mount, and G. de SAINT-AUBIN / 1724-1780 on a cartouche pasted onto the old mount 93 x 100 mm., 3 5/8 x 3 7/8 in.

The present sheet, which is inscribed Tu es né pour estre heureux (‘You were born to be happy’) on the verso, once belonged to the Parisian auctioneer and collector Maurice Delestre (1848-1931), and was later acquired by his grandson, the expert Gaston Delestre (1913-1969).

Provenance Maurice Delestre, Paris His sale, Paris, Hôtel Drouot, 14 May 1936, lot 106 (as Gabriel de Saint-Aubin) Gaston Delestre, Paris Thence by descent 20


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19 JACOB DE WIT Amsterdam 1695-1754 Amsterdam

houses of wealthy merchants and patricians of the city. A Catholic, he was also one of the few talented artists in Amsterdam to produce a significant body of paintings of religious subjects. At the time of his death, the contents of his studio contained between 2,500 and 3,000 drawings, bound into some thirty albums, which were dispersed at auction in Amsterdam in 1755. As his biographer Adolph Staring has noted, ‘The immense quantity of studies and sketches from the sale of his atelier and of finished drawings made for collectors spread more readily over the western world than his paintings...and consequently De Wit is much better known as a draughtsman than as a painter.’ With its fictive drawn border of flowers, the present sheet, though unsigned, is likely to have been intended as an autonomous work of art, rather than a preparatory study for a painting. De Wit produced a large number of such finished drawings intended for sale to collectors.

The Virgin and Child, in a Decorative Floral Surround Pen and black ink and grey wash, with framing lines in black ink A faint sketch of a female figure in black chalk on the verso Made up at the lower left corner 186 x 161 mm., 7 3/8 x 6 3/8 in. [image] 209 x 185 mm., 8 1/4 x 7 1/4 in. [sheet] Throughout much of the first half of the 18th century, Jacob de Wit was one of the leading artists in Amsterdam, with a particular reputation as a painter of decorative wall murals, ceiling paintings and overdoors for the town and country 21


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20 JAMES SEYMOUR London 1702-1752 London

Exhibited Possibly London, Spink’s, An Exhibition of Drawings by James Seymour, November 1936 London, Covent Garden Gallery, The Ingenious Mr Seymour, 8th June to 22nd July 1978, no.19

A Postilion on Horseback carrying a coiled Post Horn Pen and brown ink on laid paper, with cut corners 174 x 232 mm., 6 3/4 x 9 in.

Seymour was one of the best known horse painters, alongside John Wootton, of the mid eighteenth century. Born in London, the son of a banker, he reportedly lived so extravagantly at Newmarket that his wealthy father died bankrupt in 1739. He worked in Newmarket and produced confident pencil and ink drawings on the spot which he used for large scale paintings. He painted most of the best known horses of the period with examples of his work being in the Royal Collection, British Museum, Yale Center for British Art, the Tate Gallery and elsewhere. For more on the artist, see the exhibition catalogue by William Drummond, The Ingenious Mr Seymour, 1978.

Provenance Possibly Warwick Castle (as part of an album of 197 drawings) Possibly with Spink’s, London, who dispersed the album; Sir John Clermont Witt (1907-1982) By descent until 2017

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21 JEAN-JACQUES DE BOISSIEU Lyon 1736-1810 Lyon

drawing to painting, and completed only a handful of canvases. De Boissieu’s drawings and prints display the particular influence of the Dutch and Flemish artists whose work he copied and collected, and especially the graphic work of Rembrandt. As a draughtsman, he usually worked in either grey, black or brown ink wash, and his drawings are characterized by a freshness imparted by the use of a single shade of ink, together with an abiding interest in light effects. Although many of his drawings are signed with his initials and dated, his style remained relatively unchanged throughout his career, and undated drawings can therefore be difficult to place within his chronology. As one modern scholar has noted of de Boissieu’s landscape drawings, ‘The picturesque elements and luminous atmosphere may have been inspired by some of the “Italianate” Dutch painters who passed through Lyon, but Boissieu’s essentially grisaille technique and his devotion to the Lyonnaise landscape are entirely personal.’

A Ruined Farmhouse Brush and two shades of grey wash 171 x 194 mm., 6 3/4 x 7 5/8 in. Provenance Prof. Peter Gay, New York One of the most gifted draughtsmen working in France in the latter half of the 18th century, Jean-Jacques de Boissieu seems to have been largely self-taught. Apart from a few years in Paris and Italy, he worked almost exclusively in Lyon, travelling throughout the Lyonnais countryside and the Rhône valley, making landscape and genre studies. As the artist noted, in a letter of 1761, ‘I have always made drawings directly from nature, and for me there is no more delightful pleasure.’ Indeed, he seems to have preferred 23


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22 BAREND HENDRIK THIER Lüdinghausen 1743-1811 Leiden

A painter, etcher and watercolourist, Barend Hendrik Thier was active mainly as a painter of decorative wall-hangings and landscapes, but also made finished gouache and watercolour drawings as independent works of art for sale to collectors. In the 1780s Thier likewise produced a series of over one hundred and fifty botanical watercolours of rare plants and flowers, cultivated at an estate garden known as ‘Amerika’, outside Leiden, which were commissioned from the artist by the owner of the garden, Isaac van Buren. A number of sketchbooks by Thier have survived – in the Kupferstichkabinett in Berlin, the Teylers Museum in Haarlem and the Louvre – and the present sheet may be compared with several figure studies of peasants and labourers, drawn in pen and ink wash, in one of these; the so-called Atlas van Stolk sketchbook in the Teylers Museum.

A Woman with a Lantern in a Barn Pen and black and grey ink and grey wash, within a fictive drawn mount Signed Thier at the lower right 131 x 151 mm., 5 1/8 x 6 in. [image 176 x 201 mm., 6 7/8 x 7 7/8 in. [sheet, including fictive mount]

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23 JAMES MILLER fl.1773-1814

Miller was a topographical artist, best known for his views of London street scenes. Five London views by him are in the British Museum and a view of Richmond Bridge in the Victoria and Albert Museum. An album of his London views from the Dudley Snelgrove collection is now in the Yale Center for British Art, New Haven.

The Church of St Mary, Newington, London Inscribed verso: 2. Newington - Surrey. Watercolour over pencil on laid paper 183 x 296 mm., 7 1/4 x 11 1/2 in. This shows the rebuilding of the church of St Mary, Newington Butts, from 1791 to 1793. The church was pulled down in 1876 in order to widen Newington Butts and a new church was built nearby on Kennington Park Road. 25


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24 THOMAS SUNDERLAND Kirkby Lonsdale 1744-1823 Littlecroft Near the Breadalbane Estate, Perthshire Pen and brown ink and watercolour over traces of pencil 323 x 451 mm., 12 3/4 x 17 3/4 in. The name Breadalbane derives from the Gaelic word for ‘High Ground of Scotland’. The Breadalbane area is centred on the upper reaches of the Tay River and loch in northwest Perthshire. Sunderland was born at Whittington Hall near Kirkby Lonsdale, Cumberland and successfully ran the family business of iron mining and smelting until retiring to a house at Ulverston in the early 1780s. An exhibition of some of his Scottish views, which did not include the present drawing, was held at the Walker Galleries in London in 1961. 26


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25 ANTHONY DEVIS Preston 1729-1817 Albury, Surrey Halton Castle, Cheshire Pen and brown ink and watercolour and black chalk on laid paper with original pen and ink border 227 x 317 mm., 8 3/4 x 12 1/2 in. Provenance With Appleby Brothers, London With Abbott and Holder where bought by the present owner Halton Castle is now in the town of Runcorn. It was the seat of the Barons of Halton from the 11th to the 14th century. It was besieged twice during the Civil War and subsequently fell into ruins. 27


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27 Attributed to HENEAGE FINCH, 4TH EARL OF AYLESFORD London 1751-1812 Packington

26 THOMAS ROWLANDSON London 1756-1827 London

‘Depiction of a mature oak tree, with foliage to lower branches and signs of a lightening strike to the upper branches’

The Riding School Pen and grey and brown ink and watercolour over pencil on wove paper watermarked [17]96 137 x 208 mm., 5 1/4 x 8 in.

Pen and brown ink and watercolour on laid paper 469 x 277 mm., 18 ½ x 10 ¾ in. Finch was educated at Oxford where he was a pupil of John Baptiste Malchair. His early work is very much influenced by Malchair but in the 1780s, he began to use brown ink. His work can be difficult to firmly attribute as his brothers and children were all talented amateur artists.

Provenance Salthrop Collection Sir John Clermont Witt (1907-1982) By descent until 2017 28


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28 SAMUEL ATKINS fl.1787-1808 Shipping off the Coast Signed lower right Pen and grey ink and watercolour heightened with touches of bodycolour 260 x 361 mm., 10 1/4 x 14 in. Atkins specialised in marine pictures but little is known about his life. He exhibited at the Royal Academy between 1787 and 1808 and was at sea visiting the East Indies and the coast of China from 1796 to 1804. Examples of his work are in the British Museum, Victoria and Albert Museum, Ashmolean Museum, Oxford and elsewhere. 30


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29 SAMUEL HIERONYMOUS GRIMM Bergdorf, Switzerland 1733-1794 London

Beauchief Abbey is the remains of a monastery in the southern suburbs of the city of Sheffield, Yorkshire. Founded in 1183, it was dissolved in 1537. All that remains now is the western tower which is attached to a chapel built in the seventeenth century.

South West View of Beauchief Abbey, Sheffield Signed lower left: S.H. Grimm fecit 1785 and inscribed on original mount: S. Weft View of BEAUCHIEF Abbey 1785.

A view of Beauchief Abbey, probably the present watercolour, is recorded in the collection of Cornelius Heathcote Rodes (1755-1825) of Barlborough Hall, Derbyshire, one of Grimm’s most important patrons (see Rotha Mary Clay, Samuel Hieronymous Grimm of Burgdorf in Switzerland, 1941, p.83). Grimm was born in Bergdorf,Switzerland, the son of a miniature painter. He became a pupil of J.L. Aberli before moving to Paris in 1765. In 1768 he moved to London where he lived for the rest of his life. He specialised in topographical landscapes and exhibited at the Royal Academy and elsewhere.

Pen and black ink and watercolour over pencil on laid paper 268 x 374 mm., 10 3/4 x 14 3/4 in. Provenance Probably Cornelius Heathcote Rodes (1755-1825) With P. and D. Colnaghi, 14 Old Bond St, London, 1950s 31


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30 WILLIAM HAMILTON, R.A. Chelsea 1751-1801 London

31 EDWARD FRANCIS BURNEY Worcester 1760-1848 London

Astronomy, Religion and Music

The SoirĂŠe

Inscribed on mount: ASTRONOMY/RELGION/MUSIC Pen and grey ink and watercolour, oval 144 x 291 mm., 5 3/4 x 11 1/2 in.

A pair, pen and grey ink and watercolour each approx. 56 x 94 mm., 2 1/4 x 3 3/4 in. Born in Worcester, Burney came to London in 1776 and studied at the Royal Academy Schools. He exhibited mainly portraits as a young man but from the 1790s he worked almost exclusively as a book illustrator. The present drawings show his talent for designing complicated figure groupings on a small scale.

Hamilton was the son of a Scotchman employed by the architect Robert Adam who sent him to Rome to study under Zucchi. He returned in 1769 and entered the Royal Academy Schools. Until 1789 he concentrated on portraiture before turning to book illustration and historical and poetic subjects. 32


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32

JOSEPHUS AUGUSTUS KNIP Tilburg 1777-1847 Berlicum

sale. In 1809 he moved Rome, drawing numerous studies of ancient ruins. He returned to Holland in 1813, but his penchant for Italian views attracted little interest there, and by 1823 he had moved back to Paris. A few years later he returned to Holland, where he continued to work until he became blind in 1832.

A Figure Standing among the Ruins of a House Gouache and watercolour 691 x 515 mm., 27 1/4 x 20 1/4 in. [sheet]

Similar large gouache landscapes by Knip are in the Amsterdam Museum and the Rijksmuseum in Amsterdam. Other comparable, finished watercolour and gouache drawings by the artist include The Ruins of Castle of Batenburg, near Nijmegen, in a private Dutch collection, and a Ruins of a Monastery recently on the art market in Germany, as well as a view of Gothic Ruins with Neapolitan Peasants which appeared at auction in Paris in 1993.

Provenance Dr. Friedrich Gorissen, Cleves His sale, Amsterdam, Sotheby’s, 1 March 1994, lot 137 The son of a minor decorative painter, Josephus Augustus Knip had settled in Paris by 1801, and there produced a number of landscape gouaches as finished works of art for 34


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33 FRANCIS STEVENS Exeter? 1781-1823 Exeter Near Lincoln Inscribed with title verso Watercolour over pencil heightened with gum arabic on laid paper, with pen and ink border 275 x 388 mm., 10 3/4 x 15 1/4 in. Provenance The Forbes Family of Pitsligo, Fettercairn House LIttle is known of the life of Francis Stevens. Reportedly born in Exeter, he was a pupil of Paul Sandby Munn and his work shows the influence of Thomas Girtin. He exhibited at the Royal Academy from 1804. The present work dates from circa 1810 when he exhibited a number of Norwich views at the Society of Painters in Water-colours. In 1811 he exhibited a view of Supholme Abbey, Lincolnshire. 35


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34a FRANCOIS LOUIS THOMAS FRANCIA Calais 1772-1839 Calais

Sir Henry Englefied was a Fellow of the Society of Antiquaries and between 1797 and 1813 he commissioned a series of engravings of English cathedrals. The present drawing probably relates to this series.

The Interior of Winchester Cathedral

This is likely to be one of two interior views exhibited by Francia at the Royal Academy in 1804, no.652 as `Two views of interiors: no. 1 Winchester; no.2 Christ’s Church, Hants.’ For another interior view by Francia from this period, see Marcia Pointon, Bonington, Francia & Wyld, 1985, p.105, no.6, ill.

Signed lower left: L. Francia 1803 and inscribed on reverse of original mount: Inside view of Winchester/Cathedral made for/Sir Henry Englefield Bart/by L Francia 1803, with original pen and ink border 190 x 128 mm., 7 1/2 x 5 in. Provenance Drawn for Sir Henry Englefield (1752-1822), 1803 36


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34b FRANCOIS LOUIS THOMAS FRANCIA Calais 1772-1839 Calais

The Obelisk was built just outside the West Gate, Winchester, in 1759 by the Natives’ Society. It commemorates the spot where the townspeople of Winchester traded with country folk during the Plague of 1666.

The West Gate and Obelisk, Winchester Signed lower left: L.Francia 1804 and again with initials on reverse of original mount: West Gate/& obelisk/Winchester/Hants/LF/1804 Watercolour over pencil 193 x 125 mm., 7 1/2 x 4 3/4 in. 37


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35 JOHN WHITE ABBOTT Exeter 1763-1851 Exeter

36 DRESDEN SCHOOL 19th Century

Herdsmen and Cattle crossing a River

Study of Trees

Dated lower left: June 6. 1831 and numbered 29 and 41 verso Pen and grey ink and grey washes 189 x 302 mm., 7 1/4 x 11 3/4 in.

Watercolour, over a pencil underdrawing 400 x 264 mm., 15 3/4 x 10 3/8 in.

Provenance With Chris Beetles Private Collection Exhibited Nunnington Hall, The Watercolour Tradition in Landscape, 23rd April to 30th June 2013 38


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37 SIR DAVID WILKIE, R.A. Fifeshire 1785-1841 at Sea

painting ‘Duncan Gray’ for exhibition and preparing studies for ‘The Penning Wedding’ which had been commissioned by the Prince Regent and ‘The Chelsea Pensioners’ which was commissioned by the Duke of Wellington in 1816 but not finished until 1822.

Study of the Head of an Old Woman Inscribed verso: Willy Shee Esq.r 8 November 1817 Black and red chalk on buff paper 285 x 213 mm., 11 1/4 x 8 1/4 in.

It is reminiscent of an earlier head study of an old woman in black, red and white chalk on a similarly textured paper (see Nicholas Tromans, David Wilkie - Painter of Everyday Life, exhibition catalogue, 2002, no.34, p.122), which is a study for ‘The Cut Finger’ exhibited in 1809. He tended to use coloured chalks for studies of the body (see Tromans, op.cit., nos. 36, 44, 50 and 57).

This drawing is dated 8th November 1817 on the reverse. Wilkie had just returned from a four month visit to Scotland in early November and was beginning to work on ‘The Abbotsford Family’ depicting Sir Walter Scott, whom he had visited, and his family. He was also reworking his 1814 40


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38 BENJAMIN ROBERT HAYDON Plymouth 1786-1846 London

and black and white chalks on both white and tinted papers. Indeed, as one recent scholar has noted, ‘If...Haydon deserves any re-assessment of his achievements it must be primarily on account of his drawings, by far his most substantial artistic achievement and one for which he deserves to be much better known. Among them are some of the finest drawings produced by any British artist in the nineteenth century.’

Study of a Man’s Clasped Hands, Said to be Those of William Wordsworth Pencil, heightened with white chalk 243 x 302 mm., 9 1/2 x 11 7/8 in. (sheet)

This drawing is said to depict the hands of the English Romantic poet William Wordsworth (1770-1850), who once owned the sheet. Haydon met Wordsworth around 1814 and the two became close and lifelong friends. The artist held Wordsworth in very high regard, producing a number of portrait drawings and paintings of him, as well as having a life mask of the author made. As the artist recorded in his diary entry for June 13th, 1815: ‘I had a cast made yesterday of Wordsworth’s face. He bore it like a philosopher...Wordsworth was sitting in the other room in my dressing gown, with his hands folded, sedate, steady & solemn.’ The present sheet may perhaps have been drawn at this time.

Provenance William Wordsworth, Rydal Mount, Ambleside By descent to his great-great-great nephew, Prof. Jonathan Wordsworth, Oxford His sale, London, Sotheby’s, 15 July 1999, lot 100 Agnew’s, London, in 2000 Private collection, USA Although he saw himself as a genius, Benjamin Haydon never achieved lasting success as a painter, and remains a relatively obscure figure today. He was nevertheless an excellent draughtsman, working in pen and ink, graphite, 41


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39 CARL LUDWIG FROMMEL Birkenfeld 1789-1863 Ispringen

The German landscape painter and engraver Carl (or Karl) Ludwig Frommel studied in Karlsruhe. He spent five years in Italy, where he established his reputation, before returning to Karlsruhe, where he later became a professor. Between 1830 and 1858 Frommel also served as the director of the picture gallery in Karlsruhe. A large group of watercolours and drawings by the artist is today in the collection of the Staatliche Kunsthalle in Karlsruhe.

An Ancient Doorway at Tivoli Watercolour and pencil Inscribed and dated Tivoli and 1814. on the margin of the old mount 197 x 173 mm., 7 3/4 x 6 3/4 in.

During his stay in Italy between 1812 and 1817 Frommel often visited Tivoli, and he drew and engraved several works situated there.

Provenance Probably the estate of the artist Bernhard Himmelheber, Karlsruhe Thence by descent to a private collection, Germany 42


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40 NICHOLAS POCOCK Bristol 1740-1821 Maidenhead

with all the Irish ports, the greater number being involved in the trade with Dublin and the ports of southern Ireland – Cork, Limerick, Waterford and Youghall. These ships took on manufactured goods and colonial products, primarily tobacco, returning with dairy produce, salted beef and pork, linen and yam, leather and hides and timber. In addition to this direct trade, the ports of southern Ireland served as victualling stations for Bristol ships in the oceanic trades and Pocock’s surviving logs record voyages to the US, Europe, and the Caribbean. From the late 1770s, he decided to become an artist and a number of Irish views by him are recorded including views of Killarney, Kilkenny, Dublin, Sligo and Shillidear. A view of Lake Killarney is in the Government Art Collection. A view of Cork, dated 1811, was sold at Christie’s on 22nd May 1998, lot 132 and a view of Dublin was at Sotheby’s on 14th April 1994, lot 125.

Spinning outside a Cottage, Inistioge, Co. Kilkenny, Ireland Inscribed on part of old mount attached to the backboard: Vale of Arklow/Farm Inistioge/Kilkenny Watercolour over traces of pencil 307 x 432 mm., 12 x 17 in. Provenance With Stacey Marks, 1977 Private Collection, London Pocock was the son of a Bristol-based master mariner who commanded a number of vessels on the death of his father trading out of Bristol from the 1760s to the early 1780s. During this period the Irish trade was the predominant destination for Bristol-based vessels. Bristol ships traded

Inistioge is a small village situated on the river Nore, 15 miles south-east of Kilkenny. This watercolour is likely to date from circa 1810.

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41 GEORGE RICHMOND, R.A. Brompton 1809-1896 London

pen and ink manner of the Italian master’s draughtsmanship. (Most early drawings by the artist, however, have long remained in the possession of his descendants.) This drawing, which depicts a man dressed as a soldier all’antica, may be likened to a pen and ink study of a seated man, sold at auction in 1977, that was once part of a sketchbook used by Richmond between 1824 and 1830. The present sheet may be dated to the same period, during which the artist studied under Henry Fuseli at the Royal Academy Schools, met the elderly Blake, Samuel Palmer and Edward Calvert, and joined the group of artists known as ‘The Ancients’.

Study of a Seated Man Wearing a Helmet Pen and brown ink and pencil Inscribed The attitude of this figure / is a recollection from nature at the bottom of the sheet 240 x 200 mm., 9 1/2 x 7 7/8 in. [image] 332 x 215 mm., (13 1/8 x 8 1/2 in. [sheet] Like his mentor William Blake, George Richmond preferred the work of Michelangelo to that of Raphael, and his youthful drawings often emulate the 44


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42 SIR GEORGE HAYTER London 1792-1871 London

This drawing is based on the horse in Van Dyck’s ‘Charles I with M. de St. Antoine’ in the Royal Collection. Hayter was a portrait and history painter who was appointed official painter to Queen Victoria on her accession in 1837.

Study of a Horse Signed with initials lower right: GH/1830 and later inscribed: G. Hayter Pen and brown ink 235 x 177 mm., 9 1/4 x 7 in. Provenance Sir John Clermont Witt (1907-1982) By descent until 2017 45


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43 PETER DE WINT Stone 1784-1849 London

Provenance With Walker Galleries, 1961 Anonymous sale, Sotheby’s, 31st October 1962, lot 40 (part)

Study of a Pheasant

Cornelius Varley drew the same view in 1803 inscribed ‘Going to the Devil’s Bridge from S. Wales’ (see Lowell Libson, Cornelius Varley – The Art of Observation, 2005, no.28, p.94, ill.). Tudor was born in Monmouth, the son of Owen Tudor, a bookseller. He started drawing at a young age providing plans and drawings of local houses and first exhibited at the Royal Academy in 1809. He continued exhibiting until 1819 but became a land agent, building Tudor House at Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings and owned works by Reynolds, Van Dyck and Turner whose studio his diary records he visited in June 1847.

Watercolour over pencil 105 x 233 mm., 4 x 9 in. Provenance Robert Witt Sir John and Lady Witt, their sale, Sotheby’s, 19th February 1987, lot 108

44 THOMAS TUDOR Monmouthshire 1785-1855 Wyesham, Monmouth a. Near Devil’s Bridge, Wales

b. Rhaeadr Ddu near Dolgelly, North Wales

Brown washes heightened with scratching out 149 x 236 mm., 5 3/4 x 9 1/4 in.

Grey washes over pencil heightened with scratching out on prepared paper 247 x 310 mm., 9 3/4 x 12 in. The waterfall of Rhaeadr Ddu, also known as the Black Falls, is on the river Gamlan, five miles north-west of Dolgelly. It is a double waterfall of about sixty feet. 46


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b. 47


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46 CORNELIUS VARLEY Hackney 1781-1873 London a. Studies of Sleeping Dogs 45 HENRY THOMAS ALKEN London 1785-1851 London

Signed upper left: C. Varley July 7 1826 and inscribed centre right: July 7 1826 With a study of a haycart and horse verso Pencil on laid paper watermarked: SLADE/1823 224 x 203 mm., 8 3/4 by 8 in.

A Huntsman and a Hound Watercolour over pencil heightened with bodycolour 239 x 335 mm., 9 1/2 x 13 1/4 in.

b. At Purton, Staffordshire Signed lower right: at Purton Stafford C. Varley P.G.T. 1820 Black chalk 258 x 375 mm., 10 x 14 3/4 in.

Henry Thomas Alken was the best known from a family of artists, most of whom specialised in hunting or racing subjects. Mallalieu describes how one of his trademarks was ‘to show his characters taking their fences with the right arm raised above the head, flourishing the whip’ (see Huon Mallalieu, Dictionary of British Watercolour Artists up to 1920, 2002, vol. I, p.56).

Provenance Michael Ingram 48


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a.

b. Varley visited Parton Hall, Staffordshire in August 1820. A watercolour dated 9th August was exhibited at Colnaghi in 1973 (Exhibition of Drawings and Watercolours by Cornelius Varley, 1973, no.98) and a drawing was with Lowell Libson in 2005 (Cornelius Varley – the Art of

Observation, exhibition catalogue, no.62, p.126). The inscription ‘P.G.T.' indicates the drawing was executed using Varley’s Patent Graphic Telescope, a form of camera obscura, which he invented in 1809.

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47 ROBERT HILLS Islington 1769-1844 London

as Treasurer. He specialised in studies of animals and farmyards and his work is distinctive for its ‘fuzzy’ technique. Stylistically this watercolour dates from the 1830s.

A Farmyard, Godalming Watercolour over pencil heightened with touches of bodycolour 314 x 420 mm., 12 1/4 x 16 1/2 in.

48 GEORGE BARRET JUNIOR London 1767-1842 London

Provenance Private Collection

a. A Shepherd with Sheep and Goats in a Classical Landscape

Hills was born in Islington, north London, and entered the R.A. Schools in 1788, exhibiting at the Royal Academy in 1791. He came to prominence in 1804 as one of the six artists who founded the Old Watercolour Society and he exhibited almost six hundred drawings there during his lifetime. He was the Society’s first Secretary and later served

With partially cut off signature lower right Watercolour over traces of pencil heightened with stopping out and gum arabic 185 x 260 mm., 7 1/4 x 10 1/4 in. 50


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b.

Barret Jnr was the son of a Dublin artist of the same name. He was a founder member of the Society of Painters in Water-colours in 1805 and exhibited there throughout his life. Redgrave describes his work as follows: `He excelled in his poetic treatments of sunrise and sunset, the effects of moonlight and in his truly classic and poetic compositions’ (Samuel Redgrave, A Dictionary of Artists of the British School, 1878, p.26).

b. Travellers on a Road in a Classical Landscape Signed lower centre: G Barret/1836 Watercolour 313 x 428 mm., 12 1/4 x 16 3/4 in.

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49 FREDERICK NASH Lambeth 1782-1856 Brighton

Nash first visited Paris in 1819 and returned again in 1824 and 1825. He is best known for his views of Paris producing ‘Picturesque Views of the City of Paris and its environs’ published between 1819 and 1823. This is likely to be the picture exhibited at the British Institution in 1849, no.132 as ‘View under one of the Arches of Pont Tournelle, Paris.’

Notre Dame from the Pont de la Tournelle, Paris Inscribed verso: Notre Dame Paris 7 Watercolour over pencil heightened with touches of bodycolour 283 x 438 mm., 11 x 17 1/4 in. This is a view of the Cathedral of Notre Dame from the east, taken from under the Pont de la Tournelle. The stone bridge was built in 1654 and lasted until it was demolished in 1918 and replaced by the current bridge. 52


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50 JOSEPH SKELTON London 1785-c.1850 London

Skelton produced engravings of both Oxford and Cambridge views and also engraved a series of 154 etchings of the collection of armour at Goodrich Court in 1823. He was the engraver of a watercolour by Frederick Mackenzie of the same view published in 1827.

South East View of Balliol College, Oxford Signed lower right Watercolour over traces of pencil heightened with bodycolour 184 x 283 mm., 7 1/4 x 11 1/4 in.

This watercolour originally belonged to Frederick Morrell of the well known Oxford family. He was the solicitor to the University of Oxford and trustee of the Morrell brewery.

Provenance Frederick Joseph Morrell (1811-1882) By descent until 2016 53


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51 DAVID COX Birmingham 1783-1859 Birmingham Moel Siabod, North Wales Signed or inscribed lower left Watercolour over black chalk heightened with stopping out 200 x 280 mm., 7 3/4 x 11 in. Provenance with Gooden & Fox, London Private Collection This late work dates from the 1840s or early 1850s when Cox was a regular visitor to North Wales. Moel Siabod stands 2,860 feet high and is six miles east of Snowdon and 2 1/2 miles south-west of the village of Capel Curig. 54


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52 DAVID COX Birmingham 1783-1859 Birmingham Dover Pier, Kent Watercolour over traces of pencil heightened with bodycolour 134 x 232 mm., 5 1/4 x 9 in. Provenance With the Fine Art Society, London, March 1972 Private Collection Exhibited Liverpool Art Club, David Cox, 1875 This dates from the late 1820s or early 1830s when Cox visited the South Coast a number of times and visited France in 1829 and 1832. 55


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53 PETER DE WINT Stone 1784-1849 London

Amelia Long and her husband Charles Long (1761-1838) bought Bromley Hill House in 1801 and proceeded to enlarge the original 1760s house to their own designs and improved the much-admired garden which, by 1809, had two picturesque walks, each a mile long, and a view of St Paul’s Cathedral. She was a successful amateur artist described as Thomas Girtin’s favourite pupil. The younger de Wint never knew Girtin but was influenced by his work as a young man at the house of Dr Thomas Monro. A woodland scene by de Wint inscribed verso ‘Bromley Hill 1812’ is in the Yale Center for British Art, New Haven and Amelia Long’s brother-in-law Lord Brownlow is recorded as a regular patron of de Wint (see Hammond Smith, Peter de Wint, 1982, p.190).

Bromley Hill, Kent Watercolour over traces of pencil 245 x 341 mm., 9 1/2 x 13 1/4 in. Provenance Amelia Long, Lady Farnborough (1772-1837)

The gardens of Bromley Hill have long since disappeared but the house, much altered, survives as the Bromley Court Hotel on Bromley Hill. 56


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54 JOHN VARLEY Hackney 1778-1842 London

This is a view looking south-east down the Conway estuary, or Conwy as it is now called, with the mountains of Snowdonia behind. Varley first visited North Wales in 1798 and returned there throughout his life. His first exhibited view of Conway was in 1800 at the Royal Academy and his last at the Old Watercolour Society in 1833. The present watercolour is likely to date from the 1830s.

Conway Castle, North Wales Signed lower left: J. Varley Watercolour over pencil heightened with touches of bodycolour 118 x 194 mm., 4 1/2 x 7 1/2 in. Provenance With J. Leger & Sons, London, June 1961 57


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55a WILLEM HEKKING THE ELDER Amsterdam 1796-1862 Amsterdam

55b WILLEM HEKKING THE ELDER Amsterdam 1796-1862 Amsterdam

Three Plums on a Branch

An Orange

Watercolour 172 x 227 mm., 6 3/4 x 9 in.

Watercolour Inscribed van Amstelring(?) on the verso 235 x 178 mm., 9 1/4 x 7 in.

The son and pupil of the wallpaper painter and landscapist Theodorus Hekking, Willem Hekking also studied with Anthonie van den Bosch. Although he began his career as a painter of wall hangings, he became best known as a watercolour draughtsman and painter, exhibiting highly finished still life subjects of flowers and fruit in Amsterdam and Rotterdam between 1813 and 1838. Watercolours by Hekking are in the Rijksmuseum in Amsterdam, the Teylers Museum in Haarlem, the Museum Boijmans Van Beuningen in Rotterdam, and elsewhere.

Among comparable watercolours by the artist is a study of Five Apricots on a Branch, formerly in the collection of Hans van Leeuwen and sold at auction in Amsterdam in 1999, a study of Four Plums on a Branch sold at auction in Amsterdam in 2000, and a watercolour of A Lemon, Fruit and Blossom from the collection of Dr. Anton Dreesmann, which appeared at auction in London in 2001.

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56 HENRY BRIGHT Saxmundham1810-1873 Ipswich View of a Lake through an Archway Signed with monogram lower left Coloured chalks on brown paper 208 x 238 mm., 8 x 9 1/4 in. Provenance Mandell’s Gallery, Norwich Bright was a Norwich School artist who spent most of his career in London. Chalk drawings of this type are typical of his later work and this is likely to be a Continental view. He is known to have visited the Alps in 1849 and the Rhine in 1851. 60


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57 Provenance Hélène Boitte (according to a note on the verso) Albert van Loock, Brussels (Lugt 3751) Private collection, France Anonymous sale, Paris, Artcurial, 22 June 2011, lot 159 (as Paul Gavarni)

FRENCH SCHOOL 19th Century

An Artist Seated at an Easel Pencil Inscribed Dessin au crayon / extrait de l’album / de la collection / Hélène Boitte on the verso 136 x 110 mm., 5 3/8 x 4 3/8 in.

The verso of this drawing bears the stamp of the Belgian art dealer Albert van Loock (b.1917), who worked from a gallery on the Rue Saint-Jean in Brussels after 1949. The stamp was applied to the drawings and prints that he sold. 61


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58 Attributed to GIOVANNI JEAN SCHRANZ Malta 1794-1882 Malta

59 SAMUEL OWEN 1768-1857 Sunbury

The Harbour, Marseille

a. Shipping off the Coast in Calm Seas

Watercolour heightened with bodycolour and gum arabic with pen and black ink border 216 x 303 mm., 8 1/2 x 12 in.

Signed lower left Watercolour over pencil heightened with bodycolour 135 x 222 mm., 5 1/4 x 8 3/4 in.

This is likely to be by a member of the Schranz family who were based in Malta and produced mainly coastal views of Mediterranean towns.

b. Shipping off the Dutch Coast in Rough Seas Signed lower centre Watercolour over pencil heightened with bodycolour 132 x 223 mm., 5 x 8 3/4 in. Nothing is known of Owen’s life until he exhibited a marine view at the Royal Academy in 1791. He specialised in smallscale marine and coastal views in a distinctive style reminiscent of Francia. 62


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a.

b.

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60 CHARLES BENTLEY London1806-1854 London View of Hull from the South Watercolour over traces of pencil heightened with bodycolour and stopping out 222 x 303 mm., 8 3/4 x 11 3/4 in. Hull sits on the North Sea at the confluence of the Hull and Humber rivers. The spire of the medieval Hull Minster is visible to the left. The influence of Richard Parkes Bonington is often evident in Bentley’s work. He was apprenticed to the engraver Theodore Fielding (1781-1851) until 1827 and Fielding produced plates for Bonington’s work. 64


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61 JOSEPH MURRAY INCE Presteigne 1806-1859 London Boats in a Harbour at Low Tide Signed on wall centre right: JM Ince/1847 Watercolour over pencil heightened with bodycolour and scratching out 203 x 343 mm., 8 x 13 1/2 in. Ince came to London in 1826 after several years as a pupil of Cox in Hereford. He exhibited at the Royal Academy and elsewhere. From the mid 1830s until his death he lived back in Presteigne in central Wales. He specialised in small scale landscapes and coastal scenes. 65


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62a WILLIAM CALLOW, R.W.S. Greenwich 1812-1888 Great Missenden Dunster Castle, Somerset Inscribed with title verso Watercolour over pencil 230 x 345 mm., 9 x 13 1/2 in. Provenance Manning Gallery, London Dunster Castle sits above the village of the same name on the north Somerset coast near Minehead. Originally an eleventh century Norman castle, it has been extensively rebuilt and remodelled over the years and is now a National Trust property. For another view of Dunster Castle, dated 1847, see William Callow – An Autobiography, edited by H.M. Cundall, 1908, ill. opp. p.144. 66


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62b WILLIAM CALLOW, R.W.S. Greenwich 1812-1888 Great Missenden A Watermill Signed lower left Watercolour over pencil heightened with scratching out, stopping out and gum arabic 227 x 303 mm., 9 x 12 in. 67


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63a GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896 London Old Snuff Mill, Stainton near Penrith Signed lower right: G.A. Fripp/1840 Watercolour over traces of pencil heightened with bodycolour 220 x 342 mm., 8 1/2 x 13 1/2 in. This depicts the snuff mill of William Nevinson at Eamont Bridge at Stainton, just south of Penrith. This had originally been a corn mill, then gunpowder mill, then from 1835 a snuff mill. In the mid 1930s, with snuff going out of fashion, the mill and Eamont Bridge were closed. 68


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63b GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896 London View on a River, North Wales Signed lower left: G.A. Fripp/1836 Watercolour over traces of pencil heightened with bodycolour, scratching out and stopping out and gum arabic 267 x 417 mm., 10 1/2 x 16 1/4 in. 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 Muller in 1834 and moved to London in 1838. 69


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64 PIERRE PEYTIER Ardèche, France 1793-1864 France

He returned to France in 1836, working in the cartographic section of the army. The map of Greece was published in 1852, the year he became Colonel. He compiled an album of drawings and watercolours of Greece which stylistically closely relates to the present watercolour. This watercolour was discovered by the present owner in a copy of the 1971 book. Formerly in the Stephen Vagliano collection it was sold at Koller in Zurich on 24th March 2014 lot 451 for the equivalent of ÂŁ220,000.

Greek Soldiers on a Hill, Greece Watercolour over pencil heightened with bodycolour 190 x 258 mm., 7 1/2 x 10 in. Peytier was a French engineer and army officer who worked on a French expedition which organized the first cartographic study of Greece from 1829 to 1836. In 1829, Peytier and three other officers arrived in Greece to train young Greek engineers to undertake the surveying project of Corinth and the Peleponnese, a project which extended to the whole of Greece in 1833. 70


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65 RICHARD PRINCIPAL LEITCH Glasgow 1826-1882

Leitch was the son of the watercolour artist William Leighton Leitch (1804-1883) and took over his father’s royal pupils, including Queen Victoria, from 1859 onwards. This watercolour probably relates to a group of Chinese views which Leitch worked up from sketches by Charles Wirgman (1822-1891) in 1857 for the Illustrated London News.

Sampans on a Chinese Lake Signed lower right: R.P. LEITCH/1856 Watercolour over traces of pencil heightened with bodycolour 228 x 324 mm., 9 x 12 3/4 in. 71


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66 JOHN GENDALL Exeter 1790-1865 Exeter

(1763-1851). Perhaps encouraged by White, Gendall was in London by 1811 working for Ackermann’s where he produced drawings to be engraved. He returned to Exeter in the late 1820s and moved into Mol’s Coffee House on the Cathedral Close in 1833. He lived there with his wife Maria and worked as a drawing teacher, carriage painter, carver and gilder.

Woodcutters by Fingle Bridge, Dartmoor, Devon

Watercolour over black chalk heightened with bodycolour on buff paper 334 x 450 mm., 13 x 17 3/4 in.

Fingle Bridge is a seventeenth century crossing of the river Teign in north-east Dartmoor, three miles north-west of Moreton Hampstead.

Gendall was born in Exeter and started life as a servant to a barrister James White, the uncle of John White Abbott 72


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67 GEORGE FREDERICK PROSSER London 1805-1882 Winchester

Prosser was born in London and worked in Surrey before moving to Winchester in the early 1850s. He lived and worked at no.80 High Street, Winchester, where he also taught drawing, and specialised in local views.

The West Front of Winchester Cathedral Watercolour over traces of pencil heightened with bodycolour, stopping out and gum arabic 401 x 292 mm., 16 x 11 1/2 in. 73


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68 HENRY NINHAM Norwich 1793-1874 Norwich

This is a rare work by Henry Ninham, a second generation Norwich School artist. He was the son of an engraver whose business he inherited. He exhibited at the Norwich Society from 1818 and specialised in Norwich street scenes. The composition of the present work, a view down a street with a church spire behind, is typical of his work. This may be the picture exhibited at the Norwich Society of Artists in 1830, no.58 as ‘View at Cromer.’ An oil of this view by Ninham with different figures is in the Castle Museum, Norwich (1969.301.2 : F).

View at Cromer, Norfolk Watercolour over pencil heightened with bodycolour on wove paper watermarked: ..../1828 287 x 221 mm., 11 1/4 x 8 1/2 in. Provenance With the Clarges Gallery, Walton St, London, 1970s Anonymous sale, Sotheby’s London, 26th March 1975, lot 245 74


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69 EDMUND JOHN NIEMANN London 1813-1876 Brixton

Pull’s Ferry is a medieval waterway on the river Wensum south of Broadgate, Norwich. It was built by monks to link a canal to the Wensum to ferry stone from France to build Norwich Cathedral. The watergate is 15th century and built of brick and flint. The adjoining Ferry House dates from 1647. The building became known as Pull’s Ferry after John Pull who ran a ferry across the Wensum at this point from 1796 to 1841.

Pull’s Ferry, Norwich Signed lower left: The Ferry/Norwich/Niemann 51 Watercolour over pencil 354 x 482 mm., 14 x 19 in.

Niemann exhibited ‘The Fish Market, Norwich’ at the Royal Academy in 1852.

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70a MILES EDMUND COTMAN Norwich 1810-1858 Norwich Still-Life of Boxes, Bottles, Jars and a Gavel With a watercolour of a pupil’s work verso Inscribed verso: Still Life - a New Year gift to Brother John 1841 Watercolour over pencil 168 x 263 mm., 6 1/2 x 10 1/4 in. Provenance Given by the artist to his brother John Joseph Cotman, 1841

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70b MILES EDMUND COTMAN Norwich 1810-1858 Norwich Shipping in Rough Seas Watercolour heightened with stopping out 310 x 405 mm., 12 1/4 x 16 in. Miles Edmund Cotman was the eldest son of John Sell Cotman (1782-1842) and was brought up an artist. He exhibited in London between 1835 and 1856 and succeeded his father as Drawing Master to King’s College, London. His marine scenes are very close in style to his father’s and can be difficult to tell apart. Still-lives are rare in his oeuvre. 77


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71a THE REV. JOHN LOUIS PETIT Ashton-under-Lyme 1801-1868 Lichfield

life to writing, speaking and drawing church architecture. He became the leading voice against the fashion for neogothic, preferring all international styles, not just British. He travelled and drew throughout Europe and the Middle East, recording what he saw to demonstrate the beauty and dignity of ‘the relics bequeathed to us’ so as to help their preservation. He never sold his work during his lifetime but exhibited his drawings at his speeches. Most were retained by his family until the 1990s. Recent articles on the artist have been written in the British Art Journal and Antique Collectors’ Magazine.

Caernarvon Castle, North Wales Inscribed verso: Caernarvon Castle and with typed label I9 Watercolour over pencil 361 x 279 mm., 14 1/4 x 11 in. Provenance By descent to the Tate Family Private Collection, UK

This was drawn on one of his first visits to the Barmouth area in about 1848. Seven drawings from the same group are now in the National Library of Wales. Petit would later spend more time in the area building the Chapel at Caerdeon, the only church he designed as an architect.

The Reverend Petit studied at Trinity College, Cambridge and took orders in 1826. He worked as a curate at Bradfield, Essex until 1834, when he resigned to devote his 78


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71b THE REV. JOHN LOUIS PETIT Ashton-under-Lyme 1801-1868 Lichfield

Provenance By descent to the Tate Family Private Collection, UK

Conway Castle, North Wales Inscribed verso: 3 Conway and with a typed label I13 Watercolour over pencil 348 x 271 mm., 13 3/4 x 10 1/2 in. 79


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72a THE REV. JOHN LOUIS PETIT Ashton-under-Lyme 1801-1868 Lichfield

Provenance By descent to the Tate Family Private Collection, UK

Brussels Cathedral, Belgium

Petit made several trips to the Continent in preparation for his first book Remarks on Church Architecture of 1841, including the Low Countries between 1833 and 1837. In Vol. II, p.165, he describes Brussels Cathedral noting the decorated style and fine tracery of the windows.

Watercolour over traces of pencil 290 x 230 mm., 11 1/4 x 9 in.

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72b THE REV. JOHN LOUIS PETIT Ashton-under-Lyme 1801-1868 Lichfield

See no.71 for a biography of the artist.

The Cathedral, Pavia, Italy Inscribed upper centre: Cathedral at Pavia and inscribed with the artist’s notes verso Watercolour 234 x 153 mm., 9 1/4 x 6 in. 81


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73 EDWARD LEAR Highgate1812-1888 San Remo

Lear spent the winter of 1864-5 in Nice. This studio work appears to be based on an on-the-spot sketch dated 15th January 1865, 8 to 9.30 am which was with Spink in 1992 (see Spink, Annual Watercolour Exhibition, catalogue 1992, no.37). Villefranche-sur-Mer is three miles east of Nice and has one of the deepest natural harbours in the Mediterranean. This view, taken from the west near Mount Boron, shows the fortified old town.

View of Villefranche, France Signed lower left: Villefranche./Edwd Lear. del. Pen and brown ink and watercolour over traces of pencil 155 x 230 mm., 6 x 9 in. Provenance With Spink, London, where bought by the present owners 82


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74 THÉODORE VALÉRIO Herserange 1819-1879 Vichy

draughtsman, he produced landscapes, genre scenes and military subjects. He was an inveterate traveller, and in the 1840s and 1850s made extensive tours of Italy, Switzerland, Germany, Austria, Hungary and Romania, as well as the Balkans and Turkey. He made numerous studies of the exotic costumes of the people he saw on his travels, as well as genre scenes, and many of these were published in the form of albums of lithographs or etchings. During the Crimean War Valério was attached to the Ottoman army of Omar Pasha, and produced numerous drawings and watercolours of the conflict, notably the siege of Sebastopol. Valério exhibited at the Paris Salons between 1838 and 1879, and also showed a large group of watercolours at the Exposition Universelle in Paris in 1855, to considerable acclaim. He spent much of his later years in Brittany, which he had first visited in 1843, and also spent some time in England before his death in 1879.

Three Studies of an Italian Peasant Woman Pencil, brush and brown ink and brown wash, with touches of watercolour and heightened with white gouache, on light brown paper 285 x 427 mm., 11 1⁄4 x 16 3⁄4 in. Provenance Among the contents of the artist’s studio at the time of his death The Valério studio sale (Lugt 2476), Paris, Hôtel Drouot, 12-14 February 1880 Of Italian origins, Théodore Valério was born in the Moselle region of France and entered the studio of Nicolas-Toussaint Charlet in 1834. The two artists soon became friends, and in 1836 travelled together on a sketching tour of Germany, Switzerland and Italy. Active as a painter, engraver and

A study of a seated Italian peasant, very close in style to the present sheet, was included in an exhibition of some seventy drawings by Valério, shown in Paris in 1980.

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75 EDWARD LEAR Highgate1812-1888 San Remo

This dates from Lear’s tour of Sicily in April and May 1842. He had left England in late 1837 and was mainly based in Rome until 1848. He visited Sicily with two pupils, Leopold Acland, son of Sir Thomas Acland, and a nephew of Sir Stamford Raffles.

The Temples at Agrigento,Sicily Inscribed lower left: Girgenti 4. May 1842 and variously inscribed with colour notes and inscribed verso: 64./Long./Lowest Black chalk and pencil on buff paper 182 x 419 mm., 7 x 16 1/2 in.

He returned to Sicily in 1847 and wrote about Agrigento (or Girgenti as it was known) to his sister Ann: ‘Nothing of earth can be so beautiful as Girgenti with its 6 Temples – I speak of the old town – & the flowers & birds are beyond imagination’ (Letter to Ann, 23rd May 1847).

Provenance Private Collection, New York until 2017 84


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76 EDWARD LEAR Highgate1812-1888 San Remo

easy, but ‘the effect of this causeway in the middle of wide waters is singular, (great lines and circles of Pelicans, – & groups of Ivory Egrets) & were one sure of quiet, there is much poetry in the Scene, but it wants thought and arrangement.’

The Pyramids, Egypt Inscribed under mount: Pyramids of Ghizeh Signed with monogram lower right Watercolour over pencil heightened with white Image 105 x 201 mm., 4 x 7 3/4 in.

Feeling unwell, Lear postponed his Indian trip and returned home to San Remo where he began work on the two oils in the summer of 1873. On July 1st, he realized that the pelicans in the foreground were too large, and ‘half the day went in painting out & scraping out all the birds’. By the middle of September both pictures were finished however, and the following month he left once more for India.

This studio work dates from the mid 1870s and relates to an oil commissioned by Lear’s friend and patron Lord Northbrook. Northbrook was appointed Viceroy of India in early 1872 and invited Lear to join him in India at the same time as commissioning two paintings of the Pyramids. Lear stopped in Cairo for a few days in October 1872 on his way to India exploring possible views. Pestered by locals and high winds which destroyed the reflections and plagued by midges, he did not find work on the preliminary drawings

This watercolour relates to the oil painted for Lord Northbrook titled ‘The Pyramids of Ghizeh’ with the same viewpoint as well as the pelicans in the foreground. The oil was sold at Christie’s New York on 20th October 2005, lot 16 for $284,000.

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77 CHRISTIAN MØLSTED Dragør 1862-1930 Dragør

the opportunity to travel to Paris to study developments in contemporary art in France. Mølsted first exhibited his work in 1884, and five years later won a prize for a painting of Ships in the Harbour at Larsens Plads, Copenhagen. He soon established a reputation for historically accurate depictions of naval battles from Danish history; the most famous of his works in this vein was a painting of The Frigate Niels Juel at the Battle of Heligoland, painted in 1898 and recording a naval engagement that had taken place in 1864. Mølsted also earned several official state commissions for paintings of scenes from Danish naval history. The artist’s studio in his home town of Dragør is now a museum devoted to his work.

Coastal Scene at Rubjerg Knude, on Vendsyssel, Denmark Watercolour and gouache, over a pencil underdrawing Signed and dated Chr: Mølsted. 1888. at the lower left Signed and inscribed Rubjergknude a Vendsyssel. / sildig Eftermittag. / Chr Molsted. / St: Anna Plads No.3. den 15/3 88. on the verso Further inscribed Chr Molsted. / St: Anna Plads No.3. and Rubjergknude a Vendsyssel on the old backing board 415 x 624 mm., 16 3/8 x 24 1/2 in.

Mølsted mainly painted views on the coast near Copenhagen or on the Jutland peninsula. Dated the 15th of March 1888, the present sheet was drawn, as the artist has noted on the verso, late one afternoon (‘sildig Eftermittag’), and depicts a view of the coast at Rubjerg Knude, on the island of Vendyssel at the northern end of Jutland. In 1900 a lighthouse was built on this spot, but by 1968 a combination of shifting sands and coastal erosion led to the light no longer being visible from the sea, and it ceased operation.

The son of a fisherman, the Danish artist Christian Mølsted was a marine and genre painter. In 1880, following a stint on a Danish frigate, he entered the Royal Danish Academy of Fine Arts, where he spent four years, although he also took 86


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78 EUGÈNE EMMANUEL VIOLLET-LE-DUC Paris 1814-1879 Lausanne

outstanding draughtsman, his watercolours of buildings and interiors are some of the most beautiful examples of architectural draughtsmanship of the 19th century.

View near Handeck, Switzerland

Dated the 19th of June 1875, this watercolour depicts a view near the Swiss alpine village of Handeck (or Handegg). Viollet-le-Duc had a lifelong interest in the topography and geology of the mountains and glaciers of the French and Swiss Alps. Beginning in 1868, and in particular between 1871 and 1876, he spent many weeks climbing and hiking in the Alps. As has been noted of the artist, ‘mountaineering counted among his greatest pleasures, a form of physical and mental exercise that grew compulsive by the late 1870s. Above all, he took refuge in the mountains to liberate himself from the claustrophobic Parisian scene.’ Viollet-le-Duc produced numerous drawings and watercolours of alpine subjects; among comparable late watercolours is a view of The Chamonix Valley with the Aiguilles Rouges Massif, dated 1877, sold at auction in France in 2015.

Watercolour heightened with gouache, on blue paper Inscribed and dated au dessus / d’ handek / 19 juin 75 at the lower right 274 x 378 mm., 10 3/4 x 14 7/8 in. Provenance The studio of the artist (Lugt 2494a) An architect and restorer of medieval buildings, as well as a painter, watercolourist and illustrator, Eugène Viollet-le-Duc is best known for his reconstruction and renovation of Gothic buildings and churches throughout France. An 87


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79a JAMES THOMAS LINNELL London 1823-1905

James Thomas Linnell was the son of John Linnell (17921882) and studied at the Royal Academy Schools with his brothers John and William, but he was the most talented of his siblings. He exhibited at the Royal Academy between 1850 and 1888, initially biblical subjects and later on, landscapes.

On the old Road from Beddgelert to Ffestiniog, North Wales Inscribed with title lower centre: On the old Road from Beddgelert to Ffestiniog Coloured chalks on brown paper 203 x 135 mm., 8 x 5 1/4 in. 88


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79b JAMES THOMAS LINNELL London 1823-1905 Near Ffestiniog, North Wales Inscribed with title lower centre: Near Ffestiniog Black and white chalk on brown paper 200 x 147 mm., 7 3/4 x 5 3/4 in.

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80

EDWIN JOHN ALEXANDER, R.S.A., R.W.S., R.S.W. Edinburgh 1870-1926 Edinburgh(?)

Crawhall, whose work was to prove highly influential on his own style. In 1892, following a period of study in Paris, he travelled to Egypt, where he remained until 1896. Living on a houseboat on the Nile, he made watercolours of Bedouin encampments and animals, as well as desert landscapes and studies of grasses along the Nile. Alexander eventually settled on the west coast of Scotland, and became known for his animal and bird paintings, as well as for delicate studies of flowers and grasses, inspired by the restrained manner of Crawhall’s work and Japanese woodcuts. He had a preference for unusual materials in his drawings, often working on rough paper or cardboard, as well as silk or linen. He produced little work after 1917, when he suffered a stroke.

Grasses and a Small Heath Butterfly Watercolour, heightened with gouache, on coarse grey paper washed brown Signed with the artist’s initials E A at the lower left 349 x 222 mm., 13 3/4 x 8 3/4 in. Edwin Alexander studied at the Edinburgh School of Art, and in 1887 visited Morocco with the painter Joseph 90


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81 JEAN-GEORGES HUYOT, CALLED GEORGE AURIOL Beauvais 1863-1938 Paris

provided illustrations for such periodicals as L’Estampe and L’Affiche and the publishers Hachette and Larousse. His love of flowers as decorative motifs found its way into many of his designs for lithographic illustrations, posters, sheet music covers, theatre programmes, menus and advertisements. Around 1901 Auriol began working as a typographer, designing a number of Art Nouveau-inspired fonts and typefaces, of which the most famous – named ‘Auriol’ after the artist – was used for the signage on the stations of the Paris Métro. He also published three books of designs à la Japonaise for stamps and monograms. Indeed, such was the influence of Japanese art on his work that the contemporary art critic and writer Arsène Alexandre referred to the artist as ‘Un Japonais de Paris’. Auriol ended his career as a teacher of drawing at the Ecole Estienne, where he was employed from 1924 onwards.

Breton Landscape: Design for a Fan Watercolour, over an underdrawing in pencil Signed with the artist’s monogram GA near the lower right Inscribed Georges / Auriol / Bretagne (?) du marais(?) / (?) 150- at the lower right 173 x 450 mm., 6 3/4 x 17 3/4 in. [image] at greatest dimensions 325 x 495 mm., 12 3/4 x 19 1/2 in. [sheet] An artist, typographer, critic, poet, composer and singer who worked under the pseudonym George Auriol, JeanGeorges Huyot began his career as a writer, and in 1885 became the editor of the satirical journal Le Chat Noir, which was closely associated with the Montmartre cabaret of the same name. Auriol composed a number of songs for the Chat Noir, where he befriended the artists Henri Rivière and Théophile-Alexandre Steinlen, as well as the satirist and political cartoonist Caran d’Ache. He also

This view in Brittany is one of a handful of watercolours drawn by Auriol as designs for fans, and displays the influence of the colour woodcuts and lithographs of Breton scenes produced by his close friend and teacher Henri Rivière, which were in turn inspired by Japanese prints. The particular form of the artist’s monogram, stamped in red ink at the lower left, was used by Auriol between 1899 and his death. 91


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82a LOUIS HAYET Pontoise 1864-1940 Cormeilles-en-Parisis

Louis Hayet worked mainly as a commercial artist and a painter of stage sets, and only occasionally found time to paint for pleasure. Indeed, he spent most of his career struggling for success as a painter, and was always forced to make a living in other ways. He began working in a pointillist manner in the late 1880s, and exhibited for the first time in 1899, at the Salon des Indépendants. His output as a painter fluctuated depending on whether he had the time and resources to work, and there were often periods of several months or years when he painted very little. By the 1920s Hayet was almost completely forgotten, and in the early 1930s, suffering from poor health, had largely ceased to paint.

A Tugboat on the Quai Bucherelle, Pontoise Watercolour over a pencil underdrawing, drawn on a page from a small sketchbook A faint sketch of boats in pencil on the verso Numbered 19 in pencil at the lower right 118 x 182 mm., 4 3/8 x 7 1/8 in. Provenance Dr. Jean Sutter, Paris (Lugt 3542) His sale, Paris, Hôtel Drouot, 15 May 2001, lot 63 Alain and Ginette Lesieutre, Paris.

Hayet chose for his subjects Parisian street scenes, café interiors, musical performances, and circuses, as well as landscapes and portraits. It has been estimated that he produced around 100 and 150 drawings and pastels, some 200 watercolours and gouaches, and between 400 and 500 paintings, mostly of small dimensions. However, it is thought that about half of Hayet’s total output is lost.

Literature Guy Dulon and Christophe Duvivier, Louis Hayet 18641940: Peintre et théoricien du Néo-impressionnisme, Pontoise, 1991, illustrated p.43

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82b LOUIS HAYET Pontoise 1864-1940 Cormeilles-en-Parisis

Literature Guy Dulon and Christophe Duvivier, Louis Hayet 18641940: Peintre et théoricien du Néo-impressionnisme, Pontoise, 1991, illustrated p.46.

Gas Lamps

These two drawings belong with a small group of Impressionistic watercolours that are datable to the early years of Hayet’s career, between 1883 and 1887. Both watercolours once belonged to the art historian Jean Sutter, who published several books on Neo-Impressionism. Sutter owned numerous paintings and drawings by Hayet, of whom he prepared a manuscript catalogue raisonné, which was never published. Both of these watercolours were included in the exhibition Louis Hayet, oeuvres néoimpressionnistes de 1885 à 1895, held at the Musée Tavet in Pontoise in 1991.

Watercolour and pencil, drawn on a page from a small sketchbook Numbered 16 in pencil at the lower right 182 x 118 mm., 7 1/8 x 4 3/8 in. Provenance Dr. Jean Sutter, Paris (Lugt 3542) His sale, Paris, Hôtel Drouot, 15 May 2001, lot 123 Alain and Ginette Lesieutre, Paris 93


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83 GEORGES CLAIRIN Paris 1843-1919 Belle-Îsle-en-Mer

for the foyer of the Opéra in Paris, painted in 1874, as well as the Bourse de Commerce, the Sorbonne and the Hôtel de Ville. A popular member of artistic society in Belle Epoque Paris, Clairin was associated with an elegant crowd of socialites, writers, actors, artists and musicians. He was best known for his numerous paintings of the actress Sarah Bernhardt, who was a close friend.

The Venetian Lagoon Watercolour, heightened with gouache, over traces of a pencil underdrawing, on buff paper laid down on board Signed and dedicated à mon oncle Al. Clairin / souvenir d’amitie - / G Clairin at the lower right 345 x 534 mm., 3 5/8 x 21 in. (image) 370 x 540 mm., 14 5/8 x 21 1/4 in. (sheet)

Clairin produced a handful of paintings and watercolours set in Venice, mostly depictions of elegant genre scenes and festival subjects. This sizeable sheet may be compared to a large watercolour of Ships at a Quayside, drawn in 1891 when the artist was in Venice as the guest of Princesse Edmond de Polignac, recently with Stephen Ongpin Fine Art and today in a private American collection. A similar large watercolour view of boats on a quay in Venice, dated 1892 and dedicated by the artist to Charles Garnier, the architect of the Opéra, was on the art market in France in 2004 and 2012.

Provenance Given by the artist to his uncle Apart from the easel pictures and illustrations for which he was highly regarded, Georges Clairin received a number of important public commissions, notably the ceiling painting 94


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84 THOMAS MATTHEW ROOKE, R.W.S. Marylebone 1842-1942 Northampton

Rooke was a regular visitor to Northern France, and especially Chartres, recording old buildings for John Ruskin for whom he worked between 1878 and 1893. He also worked for Morris & Co. and especially Burne-Jones.

A Gate leading to the North Transept of Chartres Cathedral, France Signed with initials lower right: TMR/CHARTRES/1894 Watercolour over traces of pencil 494 x 237 mm., 19 1/4 x 9 1/4 in. 95


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85

FRANZ WALDRAFF Tuttlingen 1878-1961 Nice

décorateur Clément Mère, and the two artists soon began working in partnership. Mère produced furniture and objects in wood, ivory and precious metals after Waldraff’s designs or decorated by him. Waldraff also designed silk brocades that were manufactured in Lyon for Parisian fashion houses, as well as designs for stained glass panels, such as the present sheet.

Design for a Stained Glass Decoration, with a Pair of Peacocks in a Garden Gouache and watercolour, over pen and black ink, with framing lines in yellow watercolour Signed FWff. at the lower right 172 x 214 mm., 6 3/4 x 8 3/8 in.

In the first quarter of the 20th century, Waldraff collaborated with the leading glass painter Félix Gaudin. At the Salon de la Société Nationale des Beaux-Arts in Paris in 1906, Gaudin exhibited a stained glass panel decoration, designed by Waldraff, entitled Les paons (The Peacocks), for which the present sheet is a preparatory study. The glass panel has been lost or destroyed, but is recorded in an old photograph, as is a maquette for the same work by Waldraff. The decoration, made up of nine panels, was intended for the residence of a Sr. Cousino of Santiago, Chile.

The German decorative painter, designer and illustrator Franz Waldraff studied in Düsseldorf before moving to Paris in 1902. He exhibited at the Salons between 1903 and 1909, and at the Salons of the Société des artistes décorateurs between 1910 and 1914. At the gallery La Maison Moderne he met the French designer and peintre96


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86 FRANÇOIS CLÉMENT SOMMIER, CALLED HENRY SOMM Rouen 1844-1907 Paris Wildflowers at the Base of a Tree Watercolour Signed with the artist’s initials H. S at the lower right 198 x 139 mm., 7 7/8 x 5 1/2 in. 97


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87a FREDERICK ARTHUR BRIDGMAN Tuskegee 1847-1928 Rouen

One of the foremost American Orientalist painters, Frederick Bridgman was born in Alabama and began his career as an engraver of banknotes, while at the same time studying at the Brooklyn Art School and the National Academy of Design in New York. In 1866 he won a travel scholarship to study in Paris, where he completed his training with the Orientalist painter Jean-Léon Gérôme. Bridgman made his Salon debut in 1868, and was to spend the rest of his life and career in France. He spent some time among the colony of artists at Pont-Aven in Brittany and visited the Pyrenees before undertaking the first of several trips to North Africa and Egypt. In 1873 he made a voyage up the Nile, as far as the Second Cataract, that was to provide him with inspiration for a series of major Orientalist paintings for the next few years. From this time onwards he worked almost exclusively as a painter of Orientalist subjects, and returned almost every year in the 1870s and 1880s to Algeria and Egypt.

Study of a Tree Pencil and watercolour Stamped with the Bridgman studio stamp Atelier F. A. BRIDGMAN / NICE 1954 (not in Lugt) at the lower right 250 x 306 mm., 9 7/8 x 12 in.

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87b FREDERIC ARTHUR BRIDGMAN Tuskegee 1847-1928 Rouen

Bridgman became a highly fashionable and successful artist in Paris, keeping two studios and exhibiting frequently at the annual Salons, where he won a number of medals and prizes, as well as in London and America, with which he retained close ties. An exhibition of over three hundred of his works at the American Art Gallery in New York in 1881, which included both finished paintings and studies, was much admired by critics, and found the artist at the height of his fame and popularity in his native country. Bridgman’s illustrated book, Winters in Algeria, was published in 1890, and in the same year a major retrospective exhibition of his work, numbering around four hundred works, was held in New York and Chicago.

Interior Pencil on paper; a page from a sketchbook Inscribed and dated Thorne(?) / 3 Sept. 1904 at the lower right Further illegibly inscribed in pencil on the arch at the upper left Stamped with the studio stamp Atelier F. A. BRIDGMAN / NICE 1954 (not in Lugt) at the lower right 183 x 236 mm., 7 1/4 x 9 1/4 in. 99


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88 HIPPOLYTE PETITJEAN Mâcon 1854-1929 Paris

Among the Neo-Impressionist painter Hippolyte Petitjean’s most distinctive and original works were his vibrant pointillist watercolours, which were often made as independent works of art, and of which the present sheet is a fine example. The range and variety of Petitjean’s watercolours were only rediscovered several years after his death, at a centenary exhibition of his work held in Paris in 1955. A comparable watercolour study of waves by the artist is in the Princeton University Art Museum.

The Wave Watercolour on buff paper 323 x 250 mm., 12 3/4 x 9 7/8 in. Provenance The studio of the artist (Lugt 2022c) 100


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89 ANDRÉ DERAIN Chatou 1880-1954 Garches

André Derain remains best known today for his avant-garde work as a painter between 1900 and 1914, and in particular for his significant contribution to the short-lived movement known as Fauvism. Similar watercolour studies of flowers are found in a small sketchbook of over three hundred pages used by Derain between 1903 and 1907, today in the collection of the Musée National d’Art Moderne in Paris.

Study of Flowers Watercolour on buff paper A fragment of a nude study in red chalk on the verso Stamped with the Knaublich Derain collection sale stamp (not in Lugt) at the lower right centre 233 x 334 mm., 9 1/8 x 13 1/8 in. [sheet]

The present sheet was part of a group of some 4,200 drawings by Derain, sold at auction in France in 2002, which belonged to the artist’s illegitimate son, André Charlemagne Derain, known as ‘Boby’ (1939-1996). Recognized by his father and ‘adopted’ by the artist’s wife Alice, Boby inherited some three-quarters of the contents of Derain’s studio at the time of the artist’s death in 1954. Following Boby’s death in 1996, the collection passed to his mother (and Derain’s model and mistress) Raymonde Knaublich, who died in 2001.

Provenance By descent to the artist’s son, André Charlemagne (‘Boby’) Derain, Paris His mother, Mme. Raymonde Knaublich, Paris Her posthumous sale, Saint-Germain-en-Laye, 23-24 March 2002

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90a GISBERT COMBAZ Antwerp 1869-1941 Saint-Gilles

The leading Belgian Art Nouveau artist, Gisbert Combaz studied briefly at the Académie des Beaux-Arts in Brussels. He was much influenced by the work of the Belgian artististic and literary group known as Les XX, and exhibited with the group’s successor, La Libre Esthétique from 1897 onwards, designing many of its exhibition posters. Known mainly for his poster designs and postcards, Combaz was also active as a painter, lithographer, illustrator and furniture designer, and was a leading scholar of Oriental art. Yet although he exhibited between 1897 and 1914 at La Libre Esthétique, Combaz was never given a one-man show during his career, and only one brief article about his work was published in his lifetime. For over forty years Combaz taught decorative composition at the Ecole des Arts Industriels et Décoratifs in Ixelles, and later at the Académie des Beaux-Arts in Brussels, where among his pupils was René Magritte.

Orchids and a Butterfly Pen and black ink and watercolour, on buff paper laid down on board Signed with the artist’s monogram and dated 1912 at the lower right 433 x 582 mm., 17 x 22 7/8 in. Provenance Louis and Berthe Wittamer-De Camps, Brussels Literature Yolande Oostens-Wittamer, La Belle Epoque: Masterworks by Combaz, Léo Jo and Livemont, San Francisco and elsewhere, 1980-1981, p.34, no.37 102


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90b GISBERT COMBAZ Antwerp 1869-1941 Saint-Gilles

These flower studies were executed in 1911 and 1912 and are signed with the artist’s late monogram. During this period Combaz was consistently producing works with a pronounced Oriental influence, reminiscent in style of his work from before the turn of the century. The painterly style of these large-scale floral watercolours stylistically mirrors such posters of the same period as one for the exhibition Les art anciens du Hainaut, Salon d’art moderne in Charleroi, published in 1911.

Wisteria Pen and black ink and watercolour, on buff paper laid down on board Signed with the artist’s monogram and dated 1911(?) at the lower left 433 x 583 mm., 17 x 22 7/8 in.

These two watercolours were part of the remarkable collection of late 19th and early 20th century Belgian graphic art assembled by Louis and Berthe Wittamer-De Camps, the owners of the town house known as the Hôtel Solvay on the Avenue Louise in Brussels. A masterpiece of Belgian Art Nouveau architecture and interior decoration, the Hôtel Solvay was the work of the architect and designer Victor Horta, and was built between 1895 and 1900. The house was acquired by the Wittamer family in the 1950s and remains a private home today, with its unique furnishings intact. Berthe Wittamer was a pupil of Combaz, and she and her husband became keen collectors of his work.

Provenance Louis and Berthe Wittamer-De Camps, Brussels Literature Yolande Oostens-Wittamer, La Belle Epoque: Masterworks by Combaz, Léo Jo and Livemont, San Francisco and elsewhere, 1980-1981, p.35, no.40

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91 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S. Edinburgh 1880-1969 London

Exhibited London, The Fine Art Society, An Exhibition of Water Colours of Italy, Sicily, and Scotland by W. Russell Flint, February 1914, no.28

Perthshire Hillside in Autumn

William Russell Flint was always particularly fond of the scenery of his native Scotland. As his biographer has noted of the artist, ‘The dark, rich landscape of Scotland is what he likes best to render; and after Scotland, Spain, and next in order Southern France.’ The artist himself has noted that ‘I suppose I have painted more Scottish landscapes than anything else; and I never paint anything with greater pleasure...We once spent a glorious autumn in the Highlands, six weeks of perfect painting weather from the start of October to mid-November. The trees, rowan, beech, birch and oak, became more and more autumnal till all was a blaze of vermilion and gold...A lot of work was done there: I think I painted forty water-colours.’ Flint first exhibited a number of Highland watercolours in his second one-man show, at the Fine Art Society in 1911.

Watercolour Signed and dated W. RUSSELL FLINT 1913 at the lower right Titled and inscribed Perthshire Hillside in Autumn / W Russell Flint / 12 Bedford Road / Bedford Park on the old backing board 276 x 384 mm., 10 7/8 x 15 1/8 in. Provenance The Fine Art Society, London, in 1914 The Print Rooms, Los Angeles Erwin H. Furman, Los Angeles Private collection

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92 VICENTE BORRรS Y ABELLA Valencia 1867-1945 Barcelona

A painter and art restorer, Vicente Borrรกs y Abella received his initial training from his father, Vicente Borrรกs y Mompo, before enrolling at the Escuela de Bellas Artes in Barcelona, where he was later to become a professor. He painted genre scenes, portraits, landscapes, seascapes and interiors; works characterized by a strong luminosity and vibrant colours. He won several awards at exhibitions in Spain during his career, as well as a second prize medal at the Exposition Universelle in Paris in 1900. Borrรกs y Abella was also a skilled conservator, and worked for several Spanish museums and collectors.

The Head of a Young Woman Looking Down Charcoal, with touches of red chalk, on buff paper The sheet irregularly trimmed at the left and right edges and backed Signed and dated Borras Abella / 1908 at the lower right 499 x 434 mm., 19 5/8 x 17 1/8 in. 105


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93

VINCENZO IROLLI Naples 1860-1949 Naples

A gifted painter and draughtsman, the Neapolitan artist Vincenzo Irolli made a particular speciality of genre paintings, as well as depictions of mothers and their babies, young Neapolitan girls, portraits, still life subjects and some religious scenes. He exhibited widely throughout Italy, as well as in Barcelona, Berlin, London, Munich and Paris, well into the 20th century. As one American reviewer of the Venice Biennale of 1920 noted, ‘We notice also with great pleasure the interiors and figure studies of Vincenzo Irolli, warm in color and full of light.’ Irolli’s paintings came to be much in demand among Neapolitan collectors, as well as with art dealers and collectors in France, England and Germany.

The Head of a Young Girl Oil on panel Signed V. Irolli at the lower left Signed and dedicated [illegible] Amico(?) / Salvatore Petruolo / affettuosamente / V. Irolli / 29.6.941 on the reverse Further inscribed Dono al Capitano / Sig.re Giovanni de Gaudio / 14 9bre 1942 S. Petruolo on the reverse 303 x 240 mm., 11 7/8 x 9 1/2 in.

This small, spirited oil sketch, executed with the bravura brushwork characteristic of Irolli’s technique, bears on the reverse a dedication from the artist to the Neapolitan landscape painter Salvatore Petruolo (1857-1942).

Provenance Given by the artist to Salvatore Petruolo, Naples, in 1941 Given by Petruolo to Giovanni de Gaudio in 1942 106


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94a BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

Bernard Boutet de Monvel is regarded as one of the finest painters, printmakers and illustrators of the Art Deco era. Beginning in the late 1890s, when he was still a teenager, his remarkable colour etchings first established the young artist’s reputation. In the 1920s he received numerous commissions for portraits and wall panels to decorate the homes of wealthy clients. Boutet de Monvel also produced illustrations for such magazines as the Gazette du Bon Ton, La Vie Parisienne, Fémina, Le Journal des Dames et de Modes and Le Rire, as well as Harper’s Bazaar and Vogue. A frequent exhibitor at the Salons in Paris, showing portraits, landscapes and nudes, Boutet de Monvel died in a plane crash near the Azores in 1949.

An Inebriated, Elegantly Dressed Man Attempting to Fit a Key into a Door Lock Pencil on papier calque Stamped with the artist’s posthumous studio stamp (not in Lugt) at the lower right 352 x 196 mm., 13 7/8 x 7 3/4 in. Provenance By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris 107


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94b BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

The present sheet is a study for an illustration in the short story ‘Deuil’ (‘Mourning’), written by the artist’s brother Roger Boutet de Monvel and published in the Gazette du Bon Ton in October 1920. This illustration appears at the end of the piece.

Three Men Drinking Pen and black ink, over a pencil underdrawing, on papier calque Stamped with the artist’s posthumous studio stamp (not in Lugt) at the lower right 159 x 185 mm., 6 1/4 x 7 1/4 in.

Founded by Lucien Vogel in 1911 and first published in 1912, the Gazette du Bon Ton was an monthly illustrated magazine devoted to fashion, elegance and art. Publication was suspended in August 1914, with the outbreak of war, and resumed in January 1920. Boutet de Monvel had a long association with the magazine, for which he provided numeorus vignettes and illustrations. Among the other artists employed in producing illustrations for the Gazette du Bon Ton were George Barbier, Pierre Brissaud, Georges Lepape, Charles Martin and André-Edouard Marty.

Provenance By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris

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94c BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

Provenance Among the contents of the artist’s studio in Paris at the time of his death By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris

A Horse and Carriage Pen and black ink, over a pencil underdrawing, on papier calque Squared for transfer in pencil Signed with the artist’s monogram BMB at the lower right Inscribed Paris(?) en 1920 at the top left Variously numbered and inscribed 5-6 and 596-6-3, Dec. 1-28-20 / 1460C / Vogue on the verso 135 x 186 mm., 5 1/4 x 7 3/8 in.

A similar image, but with the seated footman facing forward, appears as 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 November 1920.

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94d BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

The standing woman at the left of the present sheet is closely related to a fashion illustration by Boutet de Monvel, depicting a woman wearing an evening dress designed by the House of Worth, published in the June 1920 issue of the Gazette du Bon Ton. Founded in Paris in 1858 by the English couturier Charles Frederick Worth, the House of Worth was soon established among the leading houses of high fashion in Paris, a position it retained well into the 20th century.

An Elegantly Dressed Standing Woman Observed by Two Men in a Carriage Pen and black ink, over a pencil underdrawing, on papier calque Stamped with the artist’s posthumous studio stamp (not in Lugt) at the lower right. 129 x 187 mm., 5 1/8 x 7 3/8 in.

As the Boutet de Monvel scholar Stéphane-Jacques Addade has noted of the artist’s illustrations for the Gazette du Bon Ton, ‘Boutet de Monvel’s work...was striking for the pared back and rectilinear qualities that were so characteristic of the sleekness of his style. In place of sinuous curves, elaborate volutes and glistening golds, he preferred the pure, controlled lines of a pale outline...This productive economy of means led him to also make color subordinate to line.’

Provenance By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris

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94e BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

Provenance Among the contents of the artist’s studio in Paris at the time of his death By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris.

A Recumbent Woman and a Standing Man Pen and black ink, over a pencil underdrawing, on papier calque, laid down Signed with the artist’s monogram BMB at the lower right Numbered 4 and inscribed La posture dans laquelle s’était mise la malheureuse n’en / offrait pas moins quelque chose de révoltant. in pencil at the bottom 187 x 265 mm., 7 3/8 x 10 3/8 in.

The scene seems to show a man criticizing a woman for sitting on the foor in an unladylike manner, and the inscription at the bottom of the sheet may loosely be translated as ‘The posture in which the unhappy woman had placed herself nevertheless offered something revolting.’

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95a HENRY LAMB, R.A. Adelaide, Australia 1885-1960 Salisbury Study of a Sleeping Woman Signed upper right: H. Lamb Pencil 197 x 203 mm., 7 3/4 x 8 in. This may be a study of Lamb’s first wife Euphemia whom he married in 1906. Their marriage was stormy and they soon separated. However this highly finished drawing is more typical of Lamb’s work of the 1920s or 1930s and this study is evidently of a sitter with whom he was intimate. 112


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95b HENRY LAMB, R.A. Adelaide, Australia 1885-1960 Salisbury Study of the Head of a Man Red chalk 230 x 177 mm., 9 x 7 in. This late portrait study is likely to date from the 1950s. 113


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96 PAUL CADMUS New York 1904-1999 Weston, Connecticut

Provenance Palm Beach Galleries, Palm Beach, Florida Private collection, Los Angeles

Vermont Waterfall No.1

The American artist Paul Cadmus was, from early in his career, recognized as a gifted draughtsman, and throughout his life evinced a particular preference for toned paper. In the 1940s, when his friend and sometime lover Jared French and his wife Margaret bought a summer house in the town of Hartland in Vermont, Cadmus was given his own house on the property, and the present sheet is likely to have been drawn at around this time.

Coloured chalks on blue-green paper Signed Cadmus at the lower right Inscribed VERMONT WATERFALL / #1 / CADMUS / 12 1/2 x 8 3/4 on the old backing board 328 x 234 mm., 12 7/8 x 8 3/4 in.

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97 JOHN MINTON Great Shelford 1917-1957 London

In both his painted and drawn portraits, he often chose to depict his subjects seated and seen from a high vantage point. As one scholar has noted, Minton ‘formed a personal lexicon which was largely concerned with the male figure, whether in landscape and urban settings, or in sensitive portraits of friends, students and lovers...Minton depicted many of his sitters in the same wooden Oxford Windsor Chair, with a high back and arm rests that enabled them to rest comfortably with their hands in their lap...These are not ‘heroic’ portraits concerned with conveying the outward masculinity of the sitters, but instead posses a quietness and intimacy which convey the sense of an inner reverie.’

Portrait of a Seated Young Man Pen and two shades of brown ink Signed and dated John Minton 1950 at the upper right 382 x 281 mm., 15 x 11 1/8 in. Provenance Piccadilly Gallery, London, in 1958 Acquired from them by Charles Ribon in December 1958 Private collection, Canada

The present sheet is likely to depict one of a group of young art students at the Royal College of Art who gathered around the inspiring figure of Minton and became known as ‘Johnny’s Circus’. The drawing may be a first idea for a more finished pen and ink portrait drawing of what appears to be the same sitter, which appeared at auction in 1997.

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98 DAVID R. THOMAS London 1916-1990 London(?)

years showed regularly at the Summer Exhibitions at the Royal Academy. Active as a topographical artist, Thomas painted views of London, Rome, Venice, Jerusalem and Istanbul. In 1983 an exhibition of his work was mounted at the Guildhall Art Gallery in London, whose collection includes the artist’s largest work, a sixteen-foot wide view of London from the Top of the Shell Centre, painted in 1968. Other views of the city by Thomas are in the Government Art Collection, including a large watercolour of Waterloo Bridge and the Thames from St. Bride’s.

From Saint Bride’s Watercolour and gouache, over a pencil underdrawing Titled, signed and dated FROM SAINT BRIDES / DAVID THOMAS / AD.1960. at the lower right 426 x 642 mm., 16 3/4 x 25 1/4 in. [image]

This very large and impressive view of the City of London, looking towards St. Paul’s Cathedral, was taken from the spire of the church of St. Bride’s on Fleet Street. Designed by Sir Christopher Wren in 1672, the church boasted one of the tallest church spires in London, rising to a height of 69 metres. Gutted by fire during the Blitz in December 1940, St. Bride’s was rebuilt during the 1950s and rededicated in December 1957. This view was therefore executed less than three years after the church was reopened.

David Thomas studied at the Chelsea School of Art in 1931 and worked as a waiter before embarking on a series of adventures that found him working as a pavement artist in London and Paris and travelling around the world on a tramp steamer, before being shipwrecked off Cape Town. He also undertook four further voyages by sea as a member of the ship’s orchestra on P & O ships. Following service in the Royal Artillery during the Second World War, Thomas returned to art school for a further four years, and in later 116


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99 FRANK AUERBACH Born 1931

red and the purple drapery, that great knot of people like a tear which underscores the fleshy drama which is an orchestrated accompaniment of poignancy and waste. It’s sort of obvious that she’s betrayed him, that he’s ruined and that she loves him.’

Study after Rubens’s Samson and Delilah Pen and black ink and black felt-tip pen, drawn on an invitation card for the exhibition Frank Auerbach: recent work at Marlborough Fine Art, September – October 1990 Signed and titled After Rubens’ “Samson & Delilah” Frank Auerbach below the drawing 128 x 148 mm., 5 x 5 3/4 in. [image] 209 x 297 mm., 8 1/4 x 11 5/8 in. [sheet]

Auerbach’s studies after Rubens’s Samson and Delilah resulted in a large painting, completed in 1993, that was recently sold at auction in London. As Colin Wiggins notes, ‘Auerbach’s painting took several months to make, yet what the viewer sees is only the last session of work. The picture was completed after many previous and failed attempts, all of which were scraped off before the next try...The finished work is the result of both the accumulated experience of the failed attempts and of the many small working drawings executed in front of the original. These were made regularly and frequently during the months that Auerbach was working on the painting, taken back to the studio and pinned on the wall. It was to these, rather than to a reproduction of the painting, that Auerbach referred when working on his version.’

Frank Auerbach has made drawings after paintings in the collection of the National Gallery in London throughout much of his career, beginning in the late 1940s. In 1992 and 1993 he made a large number of drawings after Rubens’s large panel of Samson and Delilah, painted around 1609-1610. As he noted of the painting, ‘the yellow, the 117


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100

JESS SHEPHERD Born 1984

even before my brushes touch the paper. I believe that a good picture is made using not only sight, but also touch, sound, smell and movement. One has to be aware of all of these elements in order to portray the plant well and describe the space that the plant is growing into, both over and underground. I trained in botany before committing myself fully to painting so that I would understand the processes of plants more comprehensively.’

030320161305 Cabbage Leaf (Brassica oleracea) 37° 10’ 31.3” N / 3° 41’ 28.7” W Watercolour, over a pencil underdrawing Signed and inscribed Jess Shepherd / 030320161305 at the lower right Inscribed, signed and dated Brassica oleracea var. / capitata / A leaf taken from a cabbage / which was in our fridge / on 3rd March 2016 at 13:05. / These leaves always remove my / painters block. / Jess Shepherd / 2016 on the verso 188 x 128 mm., 7 3/8 x 5 in., [sight]

Painted in Granada in Spain, this study of a cabbage leaf depicts one of the artist’s favourite subjects, and, as she has noted on the verso, was done as a means of overcoming a case of painter’s block. The titles of Shepherd’s watercolours reflect the precise circumstances of her contact with the leaf depicted. As she notes, ‘Once I started questioning mankind’s use of scale and measurement to record size and space, I realised that to refer to time as a measurement in the collection was an absolute must. So the titles record the exact time I found the leaf.’

As the artist and botanist Jessica Shepherd has written of her work, ‘I am a botanical painter. When I paint plants I try to become them. There is a great deal of observation involved 118


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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 TEFAF 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


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INDEX OF ARTISTS ALEXANDER, Edwin John

No. 80

DEVIS, Anthony

No. 25

ALKEN, Henry Thomas

No. 45

DRESDEN SCHOOL, 19th Century

No. 36

ATKINS, Samuel

No. 28

AUERBACH, Frank

No. 99

FIAMMINGO, Paolo [circle]

AURIOL, George

No. 81

FINCH, Heneage [attributed]

No. 27

FLINT, William Russell

No. 91

FRANCESCHINI, Baldassare

No. 10 No. 34

BARBIERI, Giovanni Francesco

No. 8

BARRET JUNIOR, George

No. 48

FRANCIA, François Louis Thomas

BENTLEY, Charles

No. 60

FRANCK, PAUWELS [circle]

BOCANEGRA, Pedro Atanasio [attr.]

No. 9

No. 1

No. 1

FRATTA, Domenico Maria

No. 16

BODAN the Younger, Andreas

No. 12

FRENCH SCHOOL, 18th Century

No. 18

BOISSIEU, Jean-Jacques de

No. 21

FRENCH SCHOOL, 19th Century

No. 57

BORRÁS Y ABELLA, Vicente

No. 92

FRIPP, George Arthur

No. 63

FROMMEL, Carl Ludwig

No. 39 No. 66

BOSCOLI, Andrea

No. 3

BOUTET DE MONVEL, Bernard

No. 94

BRIDGMAN, Frederick Arthur

No. 87

GENDALL, John

BRIGHT, Henry

No. 56

GERMAN SCHOOL, 17th Century

BURNEY, Edward Francis

No. 31

GRIMALDI, Giovanni Francesco [circle] No. 11

CADMUS, Paul CALLOT, Jacques [circle]

No. 96

No. 7

GRIMM, Samuel Hieronymous

No.29

GUERCINO

No. 8

No. 6

CALLOW, William

No. 62

HAMILTON, William

No. 30

CLAIRIN, Georges

No. 83

HAYDON, Benjamin Robert

No. 38

COMBAZ, Gisbert

No. 90

HAYTER, Sir George

No. 42

COTMAN, Miles Edmund

No. 70

HAYET, Louis

No. 82

HEKKING, Willem

No. 55

HILLS, Robert

No. 47

HUYOT, Jean-Georges

No. 81

INCE, Joseph Murray

No. 61

COX, David DE WINT, Peter

Nos. 51-52 Nos. 43, 53

DE WIT, Jacob

No. 19

DERAIN, André

No. 89 120


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IROLLI, Vincenzo

No. 93

POCOCK, Nicholas

No. 40

ITALIAN SCHOOL, c. 1700

No. 15

PROSSER, George Frederick

No. 67

KNIP, Josephus Augustus

No. 32

RICHMOND, George

No. 41

ROOKE, Thomas Matthews

No. 84

ROWLANDSON, Thomas

No. 26

LAMB, Henry

No. 95

LEAR, Edward

Nos. 73, 75-76

LEITCH, Richard Principal

No. 65

SCHRANZ, Giovanni [attributed]

No. 58

LINNELL, James Thomas

No. 79

SEYMOUR, James

No. 20

LUTI, Benedetto

No. 17

SHEPHERD, Jess

No. 100

SKELTON, Joseph

No. 50

SOMM, Henry

No. 86

MAGANZA, Alessandro

No. 5

MARATTA, Carlo

No. 13

STEVENS, Francis

No. 33

MILLER, James

No. 23

SUNDERLAND, Thomas

No. 24

MINTON, John

No. 97

MOLINARI, Antonio

No. 14

THIER, Barend Hendrik

No. 22

MØLSTED, Christian

No. 77

THOMAS, David

No. 98

TUDOR, Thomas

No. 44

VALÉRIO, Théodore

No. 74

NASH, Frederick NEGRETTI, Jacopo

No. 49 No. 4

NIEMANN, Edmund John

No. 69

VARLEY, Cornelius

No. 46

NINHAM, Henry

No. 68

VARLEY, John

No. 54

VIOLLET-LE-DUC, Eugène Emmanuel No. 78 OWEN, Samuel

No. 59

VOLTERRANO

No. 10

PALMA GIOVANE

No. 4

WALDRAFF, Franz

No. 85

PASSAROTTI, Bartolomeo

No. 2

WHITE ABBOTT, John

No. 35

WILKIE, Sir David

No. 37

PETIT, Rev. John Louis

Nos. 71-72

PETITJEAN, Hippolyte

No. 88

PEYTIER, Pierre

No. 64 121


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ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

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Stephen Ongpin Fine Art - Winter 2017-2018 catalogue  

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