Stephen Ongpin Fine Art: Winter 2018 - 2019 Catalogue

ONE HUNDRED DRAWINGS & WATERCOLOURS

ONE HUNDRED DRAWINGS AND WATERCOLOURS STEPHEN ONGPIN

GUY PEPPIATT

2018-2019

GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

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

WINTER Catalogue 2018–2019

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

We are delighted to present our eleventh annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of both British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the late 16th century to 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 hopefully 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 pleased that a significant number of British, European and American museums have acquired drawings and watercolours from these annual Winter catalogues over the past decade.

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

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.

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1 ABEL STIMMER Schaffhausen 1542-after 1606 Baden-Baden

The younger brother of Tobias Stimmer, Abel Stimmer was active as a portrait painter, printmaker and glass painter in Schaffhausen, Basel and Freiburg im Breisgau. He worked on frescoes in the Haus zum Ritter in Schaffhausen, and became a citizen of Strasbourg in 1580. As an etcher he made several portraits of prominent sitters in the late 1570s and early 1580s. Abel Stimmer’s manner of drawing was indebted to the example of his elder brother Tobias.

Drawings by him are rare, however.

An Allegory of Touch: Design for a Stained-Glass Roundel Pen and black ink and grey wash, on paper trimmed to an oval and laid down on a backing sheet Inscribed TACTVS at the top and Abel Sitmer v.

Schaffhausen on the backing sheet 215 mm., 8 1/2 in. diameter

The present sheet is likely to be a design for a roundel of stained-glass, although it may also have been used as a model for a piece of silverware, such as a plate. The drawing was once in the collection of the lawyer and art historian Hugo von Ziegler, who assembled a collection of 16th century Swiss drawings between the 1920s and the 1960s.

Provenance Dr. Hugo von Ziegler, Schaffhausen Thence by descent.

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2 SIENESE SCHOOL 16th Century

Provenance The Earls of Crawford and Balcarres, Balcarres House, Colinsburgh, Fife Thence by descent to a private collection

A Draped Male Figure, Striding to the Right Black chalk on grey paper, laid down on an album page 238 x 127 mm., 9 3/8 x 5 in.

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3 FRANCESCO MONTELATICI, called CECCO BRAVO Florence c.1601-1661 Innsbruck

contributed to the decoration of the Casa Buonarroti.

In 1660 he was summoned to work at the court of the Archduke Ferdinand Karl of Austria at Innsbruck.

Cecco Bravo has only recently been recognized as one of the most distinctive artists of the Florentine Seicento.

He was also a highly original and gifted draughtsman, and the 18th century Florentine collector and art historian Niccolò Gabburri wrote of his drawings that they ‘are sought and treasured by connoisseurs because they truly possess a spirit and wonderful expression beyond all human understanding.’ The present sheet is a splendid example of Cecco Bravo’s idiosyncratic manner of drawing, characterized by a combination of red and black chalk and a feathery, seemingly insubstantial depiction of form.

Although a fairly large number of drawings by Cecco Bravo survive – including numerous studies of male nudes, saints and religious subjects, as well as a series of mysterious allegorical drawings known as the ‘sogni’ (‘dreams’) – only a handful can be related to surviving paintings.

Two Standing Figures Red and black chalk 131 x 109 mm., 5 1/8 x 4 1/8 in.

Provenance The Earls of Crawford and Balcarres, Colinsburgh, Fife Thence by descent to a private collection Relatively little is known of the early life and artistic education of the Florentine painter Francesco Montelatici, known as Cecco Bravo. He worked in Florence and Tuscany for most of his career. Among his most significant works were mural frescoes for the Sala degli Argenti in the Palazzo Pitti, painted in the late 1630s, while he also 5

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4a ERMENEGILDO LODI Active in Cremona between 1598 and 1616

Ermenegildo Lodi was a pupil of the Cremonese painter and architect Giovanni Battista Trotti, known as Il Malosso.

Together with Cristoforo Magnani, Lodi worked on the decoration of the vault of the church of San Pietro al Po in Cremona, as well as a painting of The Preaching of Saint John the Baptist for the baptismal font of the same church.

A painting by Lodi of the Virgin with Saints Peter and Jacob, signed and dated 1598, is in the church of San Rocco at Bussetto, near Parma.

Study of a Man Sheathing a Sword, Facing Right Pen and brown ink, over an underdrawing in black chalk Numbered 125 in pencil on the verso 106 x 58 mm., 4 1/8 x 2 1/4 in.

Noticeable in the underdrawing of the present sheet is that the proper left leg of the figure was originally drawn slightly further forward.

Provenance Paul Sandby, London (Lugt 2112) Anonymous sale, London, Christie’s South Kensington, 21 April 1998, part of lot 35 P. & D. Colnaghi, London, in 1998 Private collection, Middlesex Thence by descent.

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4b ERMENEGILDO LODI Active in Cremona between 1598 and 1616

Provenance As No. 4a.

Lodi’s draughtsmanship owes much to that of his master Malosso, and drawings by the artist are in the Uffizi, the Museo Civico in Cremona, and elsewhere. The present pair of drawings may be compared stylistically with a small group of pen and ink drawings by Lodi in the collection of the Galleria dell’Accademia in Venice.

Study of a Man Sheathing a Sword, Looking Down Pen and brown ink, over traces of an underdrawing in black chalk 105 x 65 mm., 4 1/8 x 2 1/2 in.

Watermark: Circle.

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5 GIOVANNI BATTISTA CAPPELLO 17th Century

Nothing is known about the artist of the present sheet, Giovanni Battista Cappello, whose name is inscribed in Latin in a ribbon at the bottom of the composition. The Latin inscriptions in the cartouches at the left and right sides of the circular frame can be roughly translated to ‘never darken.’ The bird depicted could be a nightingale or an ortolan; a variety of finch common to Europe. Both are songbirds, and the symbolic message of the present sheet may be to encourage the viewer to never quiet or darken their song.

A Bird in an Extensive Landscape, in a Decorated Surround Pen and brown ink on vellum Inscribed Nunquam and Offuscabitur in cartouches at the left and right edges Signed and dated A Ioanne Baptista Cappello, hec delineatio & Inventio A.D. 1670 in a ribbon at the bottom 199 x 188 mm., 7 3/4 x 7 3/8 in.

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6 ISAAC DE MOUCHERON Amsterdam 1667-1744 Amsterdam

Private collection, Middlesex Thence by descent.

Literature Nina Wedde, Isaac de Moucheron (1667-1744): His Life and Works with a Catalogue Raisonné of his Drawings, Watercolours, Paintings and Etchings, Frankfurt, 1996, Vol.I, p.375, no.W88, Vol.II., pl.141.

Italianate Landscape with Shepherds Dancing among Classical Ruins Pen and grey ink and watercolour 240 x 196 mm., 9 1/2 x 7 3/4 in.

A particularly fine example of Isaac de Moucheron’s watercolour landscapes, which were much in demand by collectors. Subjects depicted include topographical views, Arcadian landscapes, scenes in the manner of earlier Dutch artists and, in particular, fantasy views of parks and gardens, known as hofgezichten.

Provenance Christianus Johannes Nieuwenhuys, London His posthumous sale, London, Christie’s, 15 July 1887, part of lot 28 (as Frederick de Moucheron) Anonymous sale, London, Phillips, 12 December 1990, lot 63 9

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7a FRENCH SCHOOL Circa 1750

7b FRENCH SCHOOL Circa 1750

A Laundress

An Umbrella and Bellows Seller

Pen and brown ink and watercolour on laid paper 155 x 102 mm., 6 x 4 in.

Pen and brown ink and watercolour on laid paper 148 x 95 mm., 5 3/4 x 3 3/4 in.

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From the late seventeenth to late eighteenth centuries, there was a fashion, in both London and Paris, for depicting ordinary working people selling their wares on the city streets. They would shout what goods they were offering so they became known as `street cries’ drawing. The most

famous `Cries of London’ drawings were produced by Paul Sandby in the 1750s. We are grateful to Peter Bower who has suggested that the paper used in these drawings is likely to be French and dating from the 1740s.

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8a FRENCH SCHOOL Circa 1750

From the late seventeenth to late eighteenth centuries, there was a fashion, in both London and Paris, for depicting ordinary working people selling their wares on the city streets. They would shout what goods they were offering so they became known as `street cries’ drawing. The most famous `Cries of London’ drawings were produced by Paul Sandby in the 1750s. We are grateful to Peter Bower who has suggested that the paper used in these drawings is likely to be French and dating from the 1740s.

A Gentleman with a Muff Pen and brown ink and watercolour on laid paper 143 x 93 mm., 5 1/2 x 3 1/2 in.

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8b FRENCH SCHOOL Circa 1750 A Gentleman and his Servant Pen and brown ink and watercolour on laid paper 128 x 109 mm., 5 x 4 1/4 in.

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9 THOMAS WORLIDGE Peterborough 1700-1776 Hammersmith

Dutch artist, and may be regarded as a leading figure in the Rembrandt revival in England in the 18th century.

Best known as a draughtsman and etcher, Worlidge also worked as a miniaturist and portrait painter, although only a few paintings by him survive today.

Study of a Man Wearing a Turban Graphite, with stumping, on vellum 182 x 144 mm., 7 1/8 x 5 5/8 in.

Worlidge produced a number of finished portrait drawings in graphite or chalk on vellum or paper, for which he would ask two guineas or more. The present sheet, like much of his work, is inspired by Rembrandt’s paintings and prints of Oriental heads. Such finished drawings as this were sold as independent works of art, and were popular among the fashionable circles of London and Bath. Unlike his prints, however, drawings by Worlidge are relatively rare today.

Active as a painter, draughtsman and printmaker, Thomas Worlidge lived and worked in London and Bath.

Throughout his career, the prime influence on both his style and his oeuvre were the prints and drawings of Rembrandt. He made direct copies of Rembrandt prints as well as compositions of his own in the manner of the 14

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10 HUBERT ROBERT Paris 1733-1808 Paris

Previously unknown and unpublished, this drawing is a study for Hubert Robert’s painting Staircase with Columns, datable to the 1770s and today in the Hermitage in St. Petersburg.

The painting was one of eight works that Robert sent to Czar Alexander I in 1803 by way of Count A. S. Stroganov, and may be regarded as among the finest of the group.

The painting was admired for Robert’s handling of light and his ability to create the illusion of an expansive space in what is quite a small canvas. The present sheet is the only known preparatory study by Robert for this painting.

Figures in the Courtyard of an Italian Palazzo Black chalk Inscribed Paul Anezi del. Cab. De Spengler N0.11. on the old mount 172 x 135 mm., 6 3/4 x 5 1/4 in.

Provenance Johan Conrad Spengler, Copenhagen (Lugt 1434) Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent.

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11 FRENCH SCHOOL 18th Century

Anonymous sale, London, Sotheby’s, 14 December 1992, lot 131 P. & D. Colnaghi, London and New York, in 1995 Private collection, Middlesex Thence by descent.

A Mounted Cavalier Black chalk, with stumping 470 x 389 mm., 18 1/2 x 15 1/4 in.

An attribution to François-Joseph Casanova (1727-1802) has been suggested. A similar subject appears in Casanova’s painting of a Polish Cavalier, on the art market in Paris in 1991 (L’Oeil, March 1991, p.46, fig.13).

Provenance Lady Witt, London (according to an inscription on the old mount) 16

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12 JEAN-BAPTISTE WICAR Lille 1762-1834 Rome

a successful career as a celebrated painter, art dealer and collector, as well as a highly respected connoisseur of art and antiquities.

A Sculpture of a Draped Woman, after the Antique

Wicar’s best-known work of his first lengthy Italian sojourn came in his role as the principal draughtsman for the Tableaux, statues, bas-reliefs et camées de la Galerie de Florence et du Palais Pitti. Published in Paris between 1789 and 1807, the Galerie de Florence was made up of four lavish volumes of engravings based on Wicar’s drawn copies of painting, sculptures and cameos in the celebrated collections of the Grand Dukes of Tuscany in the Uffizi and the Palazzo Pitti in Florence. The present sheet greatly resembles the refined chalk drawings that Wicar executed for La Galerie de Florence, both in style and content.

The sculpture itself is likely one of Urania, the muse of astronomy. The gestures of the figure, one hand upturned holding a sphere and the other pointed down, are closely aligned with those of traditional depictions of Urania.

Black chalk Signed Wicar del and numbered or dated 17-[cut-off] at the lower right Inscribed Albâtre, Femme Drapée, and albâtre in the lower margin 280 x 125 mm., 11 x 4 7/8 in.

A painter, draughtsman and printmaker, Jean-Baptiste Wicar worked for much of his career in Florence, Rome and Naples. Known especially for his expertise in Italian art, Wicar was charged by Napoleon with selecting works to be confiscated and sent to Paris. The last thirty or so years of his life were spent in Rome, where he enjoyed 17

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13a AIGNAN-THOMAS DESFRICHES Orléans 1715-1800 Orléans

P. & D. Colnaghi, London Private collection, Middlesex Thence by descent.

Horsemen in a Landscape with Classical Ruins

Aignan-Thomas Desfriches studied in his native Orléans before moving in 1733 to Paris, where he completed his artistic training in the studios of first Nicolas Bertin and later Charles-Joseph Natoire. He returned to Orléans at the end of the 1730s and worked there for the remainder of his career, founding the Ecole de Peinture, de Sculpture et d’Architecture d’Orléans in 1786. Active primarily as a landscape painter and draughtsman, Desfriches was strongly influenced by the Dutch masters of the 17th century. He first visited the Netherlands in 1753, and began collecting Dutch paintings and drawings soon afterwards, buying many works on a second trip in 1766. By 1778 the inventory of his collection listed a total of 114 paintings and sculptures and between two and three hundred drawings.

A portion of his collection was given by his widow to the Musée des Beaux-Arts in Orléans in 1824.

Black chalk, brush and grey ink and grey wash, with extensive scratching-out, on prepared grey-blue paper, backed Signed and dated Desfriches 1783 at the lower left 87 x 145 mm., 3 3/8 x 5 3/4 in.

Provenance An 18th century Parisian dealer’s label reading ‘Au Marechal de Logis / Porte Royale du Louvre / Vallée / vend et achette toutes sortes d’Estampes / Anciennes et modernes, et tient un assor- / tîment général de ce qui concerne son état. / A Paria=’ on the reverse of the old backing board Anonymous sale, London, Sotheby’s, 14 April 1999, part of lot 119 18

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13b AIGNAN-THOMAS DESFRICHES Orléans 1715-1800 Orléans

artist is a vast panorama of the city of Orléans itself, now in the collection of the Musée des Beaux-Arts there.

This and the previous sheet are fine examples of a particular type of drawing adopted by Desfriches in the latter part of his career. Using a coated grey-blue paper he had invented, known as a papier à tablettes, the artist produced landscape drawings of marvelous precision and delicacy. These drawings, often mounted on wooden snuffboxes, were regularly presented by him to particular friends.

Washerwomen by a Lake, a Mill in the Background Black chalk, brush and grey ink and grey wash, with extensive scratching-out, on prepared grey-blue paper, laid down on a late 18th century mount Signed and dated Desfriches 1778 at the lower left 88 x 147 mm., 3 1/2 x 5 3/4 in.

Another small papier à tablette by Desfriches of the same house that is depicted on this sheet, seen from a nearly identical viewpoint but with different staffage and dated the following year, was on the art market in Paris in 1925.

Another, very similar view by Desfriches, dated 1782, was part of the superb collection of 18th century French drawings assembled by Marius Paulme in the late 19th century and dispersed at auction in 1929.

Provenance As No.13a.

As a draughtsman, Aignan-Thomas Desfriches produced charming landscapes of the countryside around Orléans and the valley of the river Loire and its tributaries, peopled by acutely observed peasants and travellers. Prominent among a large number of topographical drawings by the 19

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14 BALTHASAR ANTON DUNKER Saal 1746-1807 Bern

The German landscape painter and etcher Balthasar Anton Dunker studied in Paris with Jacob Phillip Hackert, JosephMarie Vien and Noël Hallé, and was also much influenced by the German printmaker Johann Georg Wille. Dunker began his career as a reproductive etcher, and his etchings after the paintings in the collection of the Duc de Choiseul, executed between 1770 and 1771, may be regarded as his first significant works. From 1773, he lived and worked in Bern, producing views of Swiss landscapes, as well as genre pictures, portraits and historical subjects.

Dunker was perhaps best-known as a printmaker, and also produced vignettes and book illustrations for such works as Louis-Sébastien Mercier’s Tableau de Paris. He wrote a number of satirical texts, often illustrated by the artist and published anonymously. An outspoken opponent of the French Revolution, Dunker published a number of antirevolutionary texts, and also drew political caricatures. He died in poverty in Bern in 1807.

The Corner of a Terrace, with Flower Pots, Garden Tools and a Straw Hat Pencil Signed Dunker ad nat: at the lower left Laid down on an old mount, which is in turn pasted onto a mount or album page of grey paper The album page numbered 75 [crossed out] and 77 199 x 176 mm., 7 3/4 x 6 7/8 in.

Provenance The Princes zu Oettingen-Wallerstein, Maihingen and Harburg.

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15 CHIPART Paris 1774-c.1825 Copenhagen(?)

and he remains a mysterious figure today. He seems to have worked outside France for most of his career, and was active for several years as a scenographer, costume designer and painter of theatrical scenery at the Royal Danish Theatre in Copenhagen, between c.1794 and c.1825. Three gouache landscape drawings by Chipart, one of which is dated 1801, are today in the Statens Museum for Kunst in Copenhagen, while a Landscape with Ruins is in the Nasjonalmuseet in Oslo.

Fishermen by the Ruins of an Aqueduct, possibly the Aqua Anio Vetus Gouache Laid down on an old mount Inscribed Chipard. del. Copenhague. at the lower left of the mount 484 x 376 mm.,19 x 14 3/4 in.

Although it is impossible to determine the exact location of the ruins depicted in the present sheet, it is likely to be the Anio Vetus aqueduct, built between 272 and 269 BC, which lies on the road to Tivoli. A stylistically comparable gouache landscape by Chipart, depicting the cascade in the vaults of the Villa of Maecanas at Tivoli, is also with Stephen Ongpin Fine Art. The existence of two large views of sites in or near Tivoli by Chipart would suggest that the artist may have visited the area during his travels.

Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent.

Born in Paris in 1774, very little is known about the life and work of French artist Chipart, including his first name, 21

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16a THOMAS ROWLANDSON London 1756-1827 London

Racing is recorded at York from Roman times but was well established at Clifton before moving to its current location on the Knavesmire in 1731. The first Grandstand, as depicted here, was built by the York architect John Carr in 1754 and race days regularly attracted crowds of over 100,000.

Horseracing on the Knavesmire, York Inscribed in another hand lower left: Nottingham Pen and grey ink and watercolour 118 x 177 mm., 4 1/2 x 7 in.

There are other views of the Knavesmire by Rowlandson taken from the centre of the course showing the new grandstand with windmills on the hill behind it. Two drawings are in the Yale Center for British Art, New Haven, with a more finished watercolour in York Art Gallery. It is also depicted in an 1813 engraving after Rowlandson entitled `Dr Syntax loses his Money on the Race Ground at York.’

Provenance: With Spink, London (K3 9390)

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16b THOMAS ROWLANDSON London 1756-1827 London

Rowlandson drew a number of watercolours of the English cavalry being reviewed or inspected often by member of the Royal Family. `Review of the Light Horse Volunteers on Wimbledon Common’ dated 1798 is recorded in an English Private Collection (see John Hayes, The Art Of Thomas Rowlandson, exhibition catalogue 1990, p.166-7, no.69, ill.) and a large watercolour `The English Review’ is in the Royal Collection, Windsor Castle (op. cit., ill. fig. 69a, p.166).

A Cavalry Review Pen and grey ink and watercolour over pencil 165 x 223 mm., 6 1/2 x 8 3/4 in.

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17 GEORGE KEATE Trowbridge, Wiltshire 1729-1797 London

Keate was a poet, writer and amateur artist. After time in Geneva, where he befriended Voltaire, and Rome, he settled in London where he trained as a lawyer but never practised. Keate exhibited a Margate view at the Royal Academy in 1772 and published engravings of Margate in 1779 in `Sketches from Nature; taken, and coloured, in a Journey to Margate’. His daughter Georgiana married John Henderson, the early patron of Girtin and Turner.

The Customs House, Margate Watercolour over traces of pencil heightened with touches of bodycolour on laid paper 180 x 255 mm., 7 x 10 in.

Provenance: With J.S. Maas & Co, London, 1961 24

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18 JOHN NIXON 1755-1818 Ryde, Isle of Wight

Sir James Mansfield (1734-1821) studied at the Middle Temple from 1755 and was called to the bar in 1758. He was MP for Cambridge University from 1779 to 1784 and Solicitor General from 1780. As Chief Justice, he presided over the trial of John Bellingham in 1812 who was accused of the assassination of the Prime Minister Spencer Percival (1762-1812), the only Prime Minster to have been killed while in office. He was shot in the lobby of the House of Commons. Bellingham was found guilty and hanged.

Portrait of Sir James Mansfield, SL, KC Signed lower right: JN/1810/common/Pleas./Sir James Mansfield Pen and grey ink and watercolour 186 x 129 mm., 7 1/4 x 5 in.

Provenance: The French Hospital of La Providence, Rochester 25

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19 MOSES GRIFFITH Caernarvon 1749-1819 Anglesey

The cromlech at Plas Newydd, the home of the Marquesses of Anglesey, sits on the lawn not far from the house. A cromlech is a Neolithic burial tomb.

The Cromlech at Plas Newydd, Anglesey

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

Inscribed verso: cromleh at Plaisnewydd Pen and grey ink and watercolour over pencil on laid paper with pen and ink border 178 x 275 mm., 7 x 10 3/4 in.

Provenance: Probably Sir William Forbes, 7th Bt. of Pitsligo; By descent in the Forbes family of Pitsligo, Fettercairn House, Kincardineshire, Scotland 26

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20 EDWARD DAYES London 1763-1804 London

This may be one of the watercolours based on sketches by the antiquarian James Moore which were engraved for `Twenty-five Views in the southern Part of Scotland’ published in 1794. Stylistically it dates from this period when Dayes was a particular influence on the young Girtin and Turner.

St Andrew’s Cathedral, Fife, Scotland Watercolour over pencil 163 x 214 mm., 6 1/4 x 8 1/4 in.

St Andrew’s Cathedral was the largest church ever built in Scotland. During the Reformation the interior was ransacked by followers of John Knox in 1559 and the church fell into ruin afterwards.

Provenance: Mrs L.M. Rivett-Carnac; L.G. Duke (no. D3283); With the Ruskin Gallery, Stratford-upon-Avon; Dr J.F. Wallace and Mrs M.E. Wallace, Alcester, Warwickshire 27

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21a ANTHONY DEVIS Preston 1729-1817 Albury, Surrey

Exhibited: On loan to the Ashmolean Museum, Oxford, 1997 to 2018

View at Albury with the Artist’s Sketching House on the Hill, Surrey

Devis lived at Albury House near Guildford from 1780 until his death in 1817 and he drew extensively in the grounds of the house.

Pen and grey ink and watercolour with original pen and ink border 151 x 225 mm., 6 x 8 3/4 in.

Devis built a mushroom-shaped painting studio on top of the hill at Albury which was known as Mushroom Hall.

Provenance: With Spink & Son, London, where bought by Bill and Joan Beale; By descent until 2018 28

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21b ANTHONY DEVIS Preston 1729-1817 Albury, Surrey Albury House, Surrey Pen and grey ink and watercolour with original pen and ink border 143 x 214 mm., 5 1/2 x 8 1/4 in.

Provenance: With Spink & Son, London, where bought by Bill and Joan Beale; By descent until 2018 Exhibited: On loan to the Ashmolean Museum, Oxford, 1997 to 2018 29

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22a SAMUEL HOWITT Nottinghamshire 1756-1822 London

Howitt was born into a wealthy Quaker family in Chigwell, Essex and originally took up drawing as a hobby. He befriended the artists Rowlandson and George Morland and his style is much influenced by the former, whose sister he married in 1779. He rapidly dissipated his fortune however and took up drawing professionally, specialising in scenes of hunting and other countryside pursuits. He is probably best known for his illustrations for Williamson’s Oriental Field Sports published in 1808.

Deer in a Wooded Landscape Watercolour over pencil on laid paper 168 x 229 mm., 6 1/2 x 9 in.

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22b SAMUEL HOWITT Nottinghamshire 1756-1822 London

Provenance: Simon Morrison; Penelope Dewhurst Thomas; With Leger Galleries, London

Hare Coursing

Another watercolour of the same subject was in the collection of L. G. Duke and was engraved by S. Alken.

Pen and grey ink and watercolour on laid paper 230 x 309 mm., 9 x 12 in.

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23a WILLIAM PAYNE London 1760-1830 London

Provenance: Probably inherited by Lady Emily Frances Percy, daughter of the 2nd Duke of Northumberland, who in 1810 married James Murray, 1st Lord Glenlyon (1782-1837); Probably by descent to their son George, 6th Duke of Atholl (1814-1864); By descent at Blair Castle, Blair Atholl, Scotland

Figures by the Sea, a Castle beyond Signed verso: W. Payne Watercolour over traces of pencil Oval 142 x 184 mm., 5 1/2 x 7 1/4 in.

The 1st Duke of Northumberland bought the estate of Werrington, near Launceston, Devon, which would explain his patronage of the Devon artist William Payne.

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23b WILLIAM PAYNE London 1760-1830 London

Provenance: Probably inherited by Lady Emily Frances Percy, daughter of the 2nd Duke of Northumberland, who in 1810 married James Murray, 1st Lord Glenlyon (1782-1837); Probably by descent to their son George, 6th Duke of Atholl (1814-1864); By descent at Blair Castle, Blair Atholl, Scotland

Pentillie Castle from the river Tamar, Devon Signed with initials verso: Pentilly Castle W.P. Watercolour over traces of pencil Oval 144 x 187 mm., 5 1/2 x 7 1/4 in.

Pentillie Castle stands on the banks of the river Tamar near St Mellion, Cornwall.

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24a NICOLAS HUET THE YOUNGER Paris c.1770-1828 Paris

Among his most significant works were a series of elaborate drawings on vellum – studies of mammals, reptiles, birds, insects and sea life – for the Muséum d’Histoire Naturelle, published in 1808.

A Striated Monkey on a Branch

The striated monkey is native to South America. As an early 19th century description noted, ‘This animal is no larger than a Squirrel. Its tail is long, thickly covered with fur, and beautifully marked, through its whole length, with alternate rings of black and white. The body is of a reddish ash-colour, slightly undulated with dusky shades. The face is flesh-coloured, and has on each side a large and thick tuft of milk-white hair, standing out before the ears. The paws, which are covered with hair, have sharp nails.’

Pen and brown ink and watercolour, on vellum laid down on board Signed and dated Hüet. 1813. at the lower left Inscribed Ouistiti, Jacchus vulgaris. G. ST. H. at the lower right centre 463 x 347 mm., 18 1/4 x 13 5/8 in.

A gifted watercolourist and engraver, Nicolas Huet earned a particular reputation as a natural history draughtsman.

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24b NICOLAS HUET THE YOUNGER Paris c.1770-1828 Paris

Nicolas Huet made numerous elaborate and highly finished watercolour drawings of animals, usually on vellum, for private collectors. Writing at the end of the 19th century, one art historian noted of Huet that ‘The works on vellum

by Nicolas Huet…[have] the gift of life; his animals, his birds, always have their familiar attitude, with which they are characterized: they live.’

A Common Squirrel Monkey on a Branch, Eating a Fruit Pen and brown ink and watercolour, over an underdrawing in black chalk, on vellum laid down on board Signed and dated Hüet. 1813. at the lower left Inscribed Saimiri, Callithrix sciureus. G. ST. H. at the bottom 463 x 347 mm., 18 1/4 x 13 5/8 in. [sheet]

The common or South American squirrel monkey (Saimiri sciureus) is a small monkey found mainly in the countries of the Amazon basin, notably Brazil, Ecuador, Colombia, Guyana, Peru, Surinam and Venezuela.

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25a JOHN WHITE ABBOTT Exeter 1763-1851 Exeter

25b JOHN WHITE ABBOTT Exeter 1763-1851 Exeter

Study of Trees at Canonteign, Devon

Trees at Fordland, Devon

Inscribed verso: Canonteign July 24. 1809 Pen and grey and brown ink and grey washes 268 x 379 mm., 10 1/2 x 14 3/4 in.

Inscribed lower left: Fordland/Sept.r 28. 1844 Pen and grey ink and wash 378 x 263 mm., 14 3/4 x 10 1/4 in.

Provenance: With Thos. Agnew & Sons, London; With Heather Newman, where bought by the present owner, 8th November 1996

Fordland was the estate of James White (1745-1825), White Abbott’s uncle and a close friend of Francis Towne. White Abbott inherited the estate on his uncle’s death in 1825.

Sir Edward Pellew, later Viscount Exmouth (1757-1833) bought the estate of Canonteign in the Teign valley, eight miles south-west of Exeter, from the Helyar family in the 1790s. White Abbott and his fellow artist Francis Towne were frequent visitors to its secluded woodland.

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26 ALBERTUS BRONDGEEST Amsterdam 1786-1849 Amsterdam

collections of his day. He began working as an art dealer, broker and auctioneer, while continuing to paint and draw in his spare time. Each summer until around 1828 Brondgeest made drawings from nature on sketching trips lasting several weeks, visiting Germany, Belgium, France and England. A leading figure in the Amsterdam art market in the middle of the 19th century, Brondgeest was also a noted art collector. As Robert-Jan te Rijdt has written, ‘As an artist, Albertus Brondgeest is today an all but forgotten figure. And yet...some of his subtly wrought landscape drawings are of exceptional quality...Impeccable taste, a discerning reticence, and a particularly fine technique formed the basis of his drawing style. Like almost all the draughtsmen of his generation, he never seems to have attempted large, stirring, or exceptionally ambitious drawings, but instead consistently strived for a certain ‘decorum’ in his work.’

Studies of a Plow, Baskets and Agricultural Implements Black chalk, brown ink and brown wash Numbered 55(?) at the upper left Further inscribed DB and numbered 45 on the verso.

303 x 455 mm., 11 7/8 x 17 3/4 in.

Provenance By descent to D. P. Brondgeest (Lugt 4331) Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) Thence by descent until 2015 Van Regteren Altena sale, Amsterdam, Christie’s, 13 May 2015, lot 64.

The collector’s mark ‘D. P. Brondgeest’ that appears on the verso of this sheet would suggest that the drawing was inherited by a descendant of the artist. Nothing further is known of D. P. Brondgeest, however.

Born into a wealthy family, Albertus Brondgeest made an intensive study of the work of 17th century Dutch artists – primarily drawings – that could be seen in the Amsterdam 38

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27 EDWARD VILLIERS RIPPINGILLE King’s Lynn 1790-1859 Staffordshire

Rippingille moved to Bristol as a young man where he became associated with other Bristol School artists and especially Francis Danby and Edward Bird. He left Bristol in 1830 and travelled to France and Germany before settling in London and exhibiting at the Royal Academy and elsewhere. His fellow artist George Cumberland described him as follows: `he is a sour tempered and unpolished being with little religion and little regard for anyone. He keeps no friends and his politics are radical in the extreme, but he dont [sic] want for talent in painting’ (quoted in Francis Greenacre, The Bristol School of Artists, exhibition catalogue, 1973, p.121).

Portrait of a Postman at Penshurst, Kent With inscription by F.R. Lee: Penshurst Kent/An old Postman, who is said to have walked round/the world in the course of his daily duties./ I think it is a beautiful portrait of a/beautiful old face./by Rippingille R.A. Watercolour heightened with bodycolour and gum arabic 202 x 179 mm., 8 x 7 in.

This fine watercolour belonged to the landscape artist Frederick Richard Lee.

Provenance: Frederick Richard Lee, R.A. (1798-1879) 39

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28 SAMUEL OWEN 1768-1857 Shipping off a Pier in rough Seas Signed lower centre: S. Owen Watercolour over pencil heightened with touches of bodycolour 169 x 131 mm., 6 1/2 x 5 in.

Little is known of Owen’s life before he exhibited a marine view at the Royal Academy in 1791. He specialised in small scale marine and coastal views.

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29 PAUL SANDBY MUNN Greenwich 1773-1845 Margate

Munn was the son of a minor landscape painter James Munn and Paul Sandby R.A. was said to be his godfather.

He visited Wales with his friend John Sell Cotman in 1802 and his early work shows Cotman’s influence. He went to Yorkshire with Cotman in 1803 and was one of the founding members of the Watercolour Society in 1805.

Bala Lake with Cader Idris in the distance, Wales Signed lower right and dated 1833 Watercolour over pencil heightened with touches of bodycolour 112 x 209 mm., 4 1/4 x 8 1/4 in.

This is a view from the town of Bala looking south-west down Bala Lake or Llyn Tegid towards Cader Idris.

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30 PAUL SANDBY MUNN Greenwich 1773-1845 Margate

31a PAUL SANDBY MUNN Greenwich 1773-1845 Margate

Barmouth Estuary and Cader Idris, Wales

A Bridge between Netherby and Langholme. Dumfriesshire, Scotland

Inscribed lower right: Near Barmouth 1815 Watercolour over pencil 150 x 294 mm., 6 x 11 1/2 in.

Signed lower left: P.S. Munn/Between Netherby/& Langholme July 31. 1804 Pencil 158 x 349 mm., 6 x 13 3/4 in.

This is a view taken from north-east of the town of Barmouth looking south-east across the estuary of the river Mawddach to Cader Idris.

This may show Skipper’s Bridge on the river Esk south of Langholme. It dates from his tour in the summer of 1804 to Yorkshire, Scotland and the Lake District. The British Museum has a view of Kippax, Yorkshire dated 5th July and two Lake District views dated 18th and 20th August.

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a.

b.

31b PAUL SANDBY MUNN Greenwich 1773-1845 Margate

The British Museum has a view of Ambleside in the Lake District also dated 1809.

Patterdale, Lake District Signed lower left: P.S. Munn and inscribed lower right: Patterdale. 1809.

Pencil 191 x 360 mm., 7 1/2 x 14 in.

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32 DAVID COX Birmingham 1783-1859 Birmingham

In 1827 Cox returned to London from Hereford where he remained until 1835. In the early 1830s, Cox began to visit the north of England for the first time with recorded visits to Haddon, Hardwick, Bolsover, Bolton Abbey and Lancaster.

In the summer of 1831, the date of the present work, Cox visited Haddon Hall in Derbyshire, with his son David Cox Junior (see no.45) and made a series of drawings of the house while staying at the Peacock Inn at Rowsley.

A Windmill in an Extensive Landscape Signed lower centre: D. COX/1831 Watercolour over pencil heightened with bodycolour 139 x 205 mm., 5 1/2 x 8 in.

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33 DAVID COX Birmingham 1783-1859 Birmingham Travellers by a Country Cottage Watercolour over traces of pencil heightened with touches of bodycolour 214 x 335 mm., 8 1/4 x 13 in.

Stylistically this watercolour dates from 1815-20.

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34a ROBERT HILLS Islington 1769-1844 London

Hills first exhibited at the Royal Academy in 1791 and was a founding member of the Watercolour Society in 1805.

He exhibited almost six hundred pictures there during his lifetime with animals and farmyard scenes being his favourite subjects.

A Forest Scene with Deer Grey washes heightened with white on buff paper 252 x 218 mm., 9 3/4 x 8 1/2 in.

Provenance: Mrs S.H. Robinson, her sale, Sotheby’s, 22nd November 1961; Derek Lockett, Clonterbrook House, Cheshire; Private Collection 46

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34b ROBERT HILLS Islington 1769-1844 London Study of an Apple Tree Inscribed in artist’s shorthand lower left and inscribed verso: Apple Tree near Cumberbank/Moss.....very scanty Watercolour over pencil 214 x 187 mm., 8 1/4 x 7 1/4 in.

Provenance: Sir John Clermont Witt (1907-1982); By descent until 2017 47

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35 ROBERT HILLS Islington 1769-1844 London

Exhibited: London, Thos. Agnew & Sons, 97th Exhibition of Watercolours, 2nd edition, 2nd to 20th February 1970, no.93; London, Thos. Agnew & Sons, 104th Exhibition of Watercolours, 17th January to 18th February 1977, no.88

Stags in Knole Park, Kent Signed lower right: R. Hills 1839 Watercolour over traces of pencil 379 x 499 mm., 14 3/4 x 19 1/2 in.

Hills exhibited `Beech in Knowle Park, with Fallow Deer’ at the Society of Painters in Water-colours in 1839, no.307.

Provenance: The Artist’s Executor, John Garle, F.S.A.; By descent to Mrs Lavinia Garle; With Thos. Agnew & Sons, 1970; With Thos. Agnew & Sons, 1977 48

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36 NEWTON SMITH LIMBIRD FIELDING London 1799-1856 Paris Roe Deer near Loch Rannoch, Scotland Signed lower left : Newton Fielding and again verso: Roe Deer nr Loch Rannoch/N. Fielding 1846 Watercolour over pencil heightened with bodycolour and gum arabic 348 x 499 mm., 13 3/4 x 19 1/2 in.

Newton Fielding was the younger brother of Anthony Vandyke Copley Fielding (1787-1855) and ran the family engraving business in Paris from 1827 with William Callow working for him. He is best known for his animal studies and this is an unusually large work by him.

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37 SÉBASTIEN CORNU Lyon 1804-1870 Longport-sur-Orges

for seven years. After his return to France, he became known as a painter of religious works, both as easel pictures and in the form of large-scale decorations for churches.

Cornu worked in several Parisian churches between 1850 and 1870, including Saint-Merri, Saint-Louis-d’Antin and Saint-Séverin. He exhibited regularly at the Salons in Paris and Lyon, where he showed portraits, historical and literary subjects, and genre and Orientalist scenes.

Portrait of a Young Boy Seated in a Chair Pencil Signed and dated SM Cornu / Paris, avril 1839 at the lower left Inscribed cet enfant represente le petit fils de / Elisabeth Duplay et de (Philippe Lebas) / (Deputé a la convention) / Philippe Lebas ami de Robespierre on the reverse of the frame 328 x 245 mm., 12 7/8 x 9 5/8 in. [sheet]

An inscription on the reverse of the frame identifies the present sheet as a portrait of Leon Grujon Le Bas (18341907) at the age of five. The son of the scholar and archaeologist Philippe Le Bas and the grandson of the French revolutionary Philippe-François-Joseph Le Bas and his wife Elisabeth Duplay, the daughter of Robespierre’s landlord in Paris, Leon Le Bas became the director of the Salpêtrière hospital in Paris.

A pupil of Fleury-Richard in Lyon in 1820, SébastianMelchior Cornu later studied with Jean-Auguste Dominique Ingres in Paris. By 1828 he was in Italy, remaining in Rome 50

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38 HENRI LEHMANN Kiel 1814-1882 Paris

as a painter of historical and religious subjects, portraits and genre scenes. During the Second Empire Lehmann painted a number of significant public decorative schemes in Paris, notably for the Hôtel de Ville, the Palais de Luxembourg and the Palais de Justice. He was also in great demand as a fashionable portrait painter and draughtsman, and exhibited his work at the Salons until 1877. Appointed a professor at the École des Beaux-Arts in 1875, Lehmann devoted much of the last years of his career to teaching, and among his students was Georges Seurat.

Study of a Standing Draped Man Black chalk and brown wash Dated sept 43(?) at the lower left 225 x 109 mm., 8 7/8 x 4 1/4 in.

The German painter Henri Lehmann settled in Paris in 1831, and the following year entered the studio of JeanAuguste Dominique Ingres, becoming one the master’s favourite pupils and assistants. He earned a number of important official commissions, establishing a reputation

This drawing may be a first idea for one of the standing figures at the extreme right edge of Lehmann’s large painting of The Baptism of Christ in the Parisian church of Saint-Merri, executed between 1842 and 1844.

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39 CARL LUDVIG MESSMANN Copenhagen 1826-1893 Gothenburg

Ferdinand Messmann. He studied at the Royal Danish Academy of Fine Arts (the Kunstakadamiet) in Copenhagen between 1840 and 1844, and between 1850 and 1859 exhibited landscape paintings and pencil drawings, several of which were purchased by King Frederik VII. In 1860 Messmann moved to Gothenburg in Sweden, where he became as well known for his views of the city as he had been for his earlier depictions of Copenhagen. He illustrated a series of views of Gothenburg and its surroundings for Viktor Rydberg’s Göteborg med dess omgifningar, published in twelve volumes between 1859 and 1862.

A Farm at Nærum near Søllerød, with Nærumgaard in the Distance Pencil and watercolour, with framing lines in brown ink Signed L. Messmann at the lower right Indistinctly inscribed by the artist Tegnet d. 30 der. Mai 1844 / om Formiddagen / den forn ? at the lower left Further inscribed or signed L. Messman. f. 1844 on the old mount, and Tegend af L. Messmann on the verso 160 x 210 mm., 6 1/4 x 8 1/4 in.

The present sheet, inscribed as having been drawn on the morning of the 30th of May 1844, was drawn towards the end of Messman’s studies at the Kunstakadamiet in Copenhagen. The district of Nærum, in the northern outskirts of Copenhagen, is dominated by the country estate of Nærumgaard (or Nærumgård), seen in the right background of this watercolour. Built in the late 18th century, the house was converted into an orphanage in 1888, and the surrounding land sold to the municipality in 1906.

Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent.

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40 PETER DE WINT Stone 1784-1849 London Haymakers in a Country Landscape Pen and brown ink, with figure drawings verso 124 x 203 mm., 4 3/4 x 8 in.

This is a typical pen and ink drawing by de Wint. He often drew on scraps of paper or the back of letters or envelopes.

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41a GEORGE FREDERIC WATTS, O.M., R.A. London 1817-1904 Compton

large-scale mural decorations, notably for the Palace of Westminster and the Great Hall of Lincoln’s Inn in London.

The 1860s found the artist also working as a portrait painter, for which he achieved considerable fame. In 1867, at the age of fifty, Watts was elected to the Royal Academy by the acclamation of his peers, being named an Associate and achieving full membership within the same year, most unusually. He exhibited at the Royal Academy throughout the next decade, showing both important easel pictures and portraits.

View of a Mountain Range Watercolour and gouache on blue-grey paper, laid down 70 x 138 mm., 2 3/4 x 5 3/8 in. [sheet] One of the most famous artists of his day, George Frederic Watts travelled to Italy in 1843 and spent the next four years living and working in Florence, also visiting Perugia, Milan, Rome and Naples. Back in London in 1847, Watts enjoyed considerable commercial success, aided by his association with a large circle of eminent and influential society patrons. In the 1850s he began working on

The present sheet may depict the mountains near Carrara in Tuscany. Watts is known to have made watercolours of the view of the mountains from the top of the Leaning Tower of Pisa, during his four-year stay in Italy in the early part of his career.

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41b GEORGE FREDERIC WATTS, O.M., R.A. London 1817-1904 Compton

Kensington to which he soon added a gallery displaying his work, which was open to the public on weekends. Watts painted over eight hundred canvases, as well as numerous drawings and some significant works of sculpture.

Vesuvius

The four years that Watts spent in Italy in the 1840s were crucial to his artistic development. As Barbara Bryant has noted of this period, ‘Landscape painting first engaged Watts during this time in Italy and it continued to feature in his work ever after…Travel often prompted him to turn to landscape; one visitor to his studio observed that he ‘filled his portfolios with precious memories of foreign lands’…For Watts such landscape studies provided the raw materials for his imagination.’

Watercolour and gouache on blue-grey paper, laid down Inscribed Naples in pencil on the verso 72 x 145 mm., 2 7/8 x 5 3/4 in. [sheet] In 1881 the Grosvenor Gallery mounted a retrospective exhibition of over two hundred paintings by Watts, painted over a career of some forty years; the first time that any living artist had been honoured in this way. By this time a senior figure in the Victorian art world, Watts had moved into Little Holland House, a large home and studio in 55

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42 JOHN VARLEY Hackney 1778-1842 London

Exhibited: London, Spink’s, The Old Watercolour Society and its Founder Members 1804-1812, 13th November to 1st December, 1973

a. A Tree by a Country Track Signed lower right: J. Varley Watercolour over pencil heightened with gum arabic 232 x 289 mm., 9 x 11 1/4 in.

This dates from 1810 to 1815 when Varley was particularly preoccupied with drawing country cottages. For a similar work, see C.M. Kauffmann, John Varley, 1984, pp. 128129, no.30, ill.

This dates from the 1830s.

c. Landscape with Trees

b. Study of a Cottage

Inscribed verso: John Varley Grey washes on two sheets of joined paper With sketches of heads verso 108 x 243 mm., 4 x 9 1/2 in.

With colour sketches verso Watercolour over pencil 177 x 197 mm., 7 x 7 3/4 in.

This rapid sketch is likely to be a late work.

Provenance: With Spink’s, 1973 56

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c.

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43a JAMES STARK Norwich 1794-1859 London

landscape artist John Crome for three years from 1811.

In 1814 he moved to London and exhibited at the Royal Academy, Norwich Society of Artists and British Institution.

Ill health forced him to return to Norwich where he painted a series of views of Norfolk rivers but he returned to London in 1830 living in Chelsea and then Windsor.

The Old Workhouse, Steyning, West Sussex Inscribed lower left: Old Union Steyning July 57 Watercolour over pencil 249 x 359 mm., 9 3/4 x 14 in.

This shows the old workhouse on Mouse Lane, Steyning.

The building still exists as privately owned cottages. This watercolour shows the roof partly thatched and partly tiled (Stark’s inscription `Chaume’ is another word for `thatch’) whereas a photo of the early 1900s shows it all tiled, as it is still today. Steyning is five miles north-west of Shoreham in West Sussex.

Provenance: Private Collection, Norfolk Born in Norwich, Stark became friendly with John Berney Crome at school and was apprenticed to his father the 58

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43b JAMES STARK Norwich 1794-1859 London Fuller’s Hole, St Martin at Oak, Norwich Watercolour over pencil 261 x 362 mm., 10 1/4 x 14 1/4 in.

Fuller’s Hole was the popular name for the house of Alderman Fuller, Mayor of Norwich. Fuller’s Hole stood on the banks of the river Wensum next to Wensum Park. It was knocked down in the 1930s.

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44a FRENCH SCHOOL mid 19th century Boats on the Bosphorus, Constantinople Watercolour over pencil heightened with bodycolour 254 x 357 mm., 10 x 14 in.

This is a view taken on the river Bosphorus which divides Europe from Asia and leads from modern day Istanbul to the Black Sea. 60

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44b FRENCH SCHOOL mid 19th century The Topkapi Palace and the Bosphorus from Galata, Constantinople Watercolour over pencil heightened with bodycolour 254 x 356 mm., 10 x 14 in.

This is a view looking south from the Galata area (now known as Karakoy) taken from near the Arap Mosque with the Yeralti Mosque visible below. In the distance on the Asia side of the Bosphorus are the Selimiye Barracks, with the Topkapi Palace visible on the hill to the right.

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45 DAVID COX JUNIOR Dulwich 1809-1885 Streatham

Cox Junior was taught by his father and as a young man accompanied him to the Continent in 1826. He first exhibited at the Royal Academy in 1827 and took over his father’s successful teaching practice in 1841. Inevitably his work is close stylistically to his father and their works are sometimes confused. The present watercolour dates from the 1830s.

Distant View of Windsor Castle Watercolour over pencil heightened with bodycolour on wove paper watermarked: .....KENT 184 x 266 mm., 7 1/4 x 10 1/2 in.

This is a view of Windsor Castle from the north with Eton College Chapel visible to the left.

Provenance: Palser Gallery, London 62

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46 EDWARD WILLIAM COOKE, R.A. London 1811-1880 Groombridge, Kent View from the Artist’s Study Window, Barnes, Surrey Signed with initials and inscribed lower left: From my Study Window. EWC. Barnes. 1832 Pencil, with ruled border 113 x 205 mm., 4 1/4 x 8 in.

Provenance: Frederick Richard Lee, R.A. (1799-1879) The artist lived on Barnes Terrace, Barnes and this view is looking across the river Thames to Chiswick.

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47 GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896) London A Cottage in a Windswept Landscape Signed lower right: George A. Fripp/1866 Watercolour over pencil heightened with bodycolour, scratching out and stopping out 310 x 500 mm., 12 x 19 3/4 in.

Fripp was a Bristol artist, the grandson of the marine artist Nicholas Pocock. He was taught to draw by the Bristol artists James Baker Pyne and Samuel Jackson. This is likely to be a Scottish view.

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48 JAMES DUFFIELD HARDING Deptford 1797-1863 Barnes The Falls of the Tummel, Perthshire, Scotland Watercolour over pencil heightened with bodycolour 360 x 516 mm., 14 x 20 1/4 in.

Exhibited: Probably London, Society of Painters in Water-colours, 1841, no.121 65

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49 JOHANN HERMANN KRETZSCHMER Anklam, Germany 1811-1890 Berlin, Germany

Kretzschmer studied at the Art Academy in Dusseldorf between 1831 and 1837. In 1838 he visited Rome and in 1840-41 he travelled to Sicily, Greece and Egypt. The present work is likely to date from this trip which was partly funded by painting portraits of local dignitaries including the Ottoman sultan Abdulmecid I.

Portrait of an Egyptian Warrior in the Desert Signed lower right: JH Kretzschmer Watercolour over pencil heightened with bodycolour 362 x 277 mm., 14 1/4 x 10 3/4 in.

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50 JOHN FREDERICK LEWIS, R.A. London 1804-1876 Walton-on-Thames

This dates from Lewis’s two year stay in Italy in the late 1830s. It is one of several studies he made of Italian musicians or pifferari as they were known, one of which was exhibited at the Royal Scottish Academy in 1854 (no.520). Pifferari often played at shrines or religious buildings in Southern Italy but it is not known where the present drawing was made. A piffero was an oboe-like instrument – here two pifferi are attached to a goat skin bag and played like a bagpipe.

An Italian Strolling Musician Watercolour over pencil heightened with bodycolour 427 x 287 mm., 16 3/4 x 11 1/4 in.

Provenance: Anonymous sale, Sotheby’s, 12th July 1984, lot 163 67

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51b THOMAS HARTLEY CROMEK London 1809-1873 Wakefield The Cappella Maggiore, Santa Croce Church, Florence Signed lower left: T.H. Cromek f. 1838 Watercolour over traces of pencil heightened with bodycolour and gum arabic 493 x 303 mm., 19 1/4 x 12 in.

51a THOMAS HARTLEY CROMEK London 1809-1873 Wakefield The Steps and Terrace at the Villa Torlonia, Frascati, Italy

Cromek was born in London, the son of engraver, and was apprenticed to a portrait painter in Wakefield, Yorkshire.

He soon became a landscape painter and lived and worked on the continent, and mainly in Rome, from 1831 to 1849.

He built up a successful teaching practice there until 1849 when he was forced home by Garibaldi’s threatened attack on Rome.

Signed lower left: T.H. CROMEK f Watercolour over pencil heightened with bodycolour 281 x 417 mm., 11 x 16 1/4 in.

Villa Torlonia was originally built in the sixteenth century and its name dates from the nineteenth century when it was bought by Prince Torlonia. The villa was destroyed when Frascati was bombed on 8th December 1943 but the gardens are now a public park.

The Cappella Maggiore is the central chapel of Santa Croce and was decorated by Agnolo Gaddi with frescoes telling the story of the Legend of the True Cross dating from circa 1380.

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52a EDWARD LEAR Highgate 1812-1888 London

Lear left England on 10th July 1837 to make the long journey to Rome where he remained for ten years. He passed through Luxembourg, Germany and Switzerland before spending September and October in the Italian Lakes, reaching Florence in November and Rome in early December.

Figures by a Fishing Boat on the Italian Lakes Signed lower left: Edward Lear del and inscribed lower right: Oct. 1837/53. W Black chalk heightened with white on buff paper 168 x 255 mm., 6 1/2 x 10 in.

This depicts a typical fishing boat of the Italian Lakes with wooden struts covered by blankets to protect the occupants from the sun or rain.

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52b EDWARD LEAR Highgate 1812-1888 London A Castle by the Sea, Italy Inscribed lower right: 59. W. Black chalk on grey paper 167 x 255 mm., 5 1/2 x 10 in.

This dates from the mid1840s and may be an unused drawing for Lear’s `Illustrated Excursions in Italy’ published in 1846.

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53a EDWARD LEAR Highgate 1812-1888 London Sunset in a Desert Landscape Pencil heightened with white on buff paper 71 x 159 mm., 2 3/4 x 6 1/4 in.

Provenance: With Martyn Gregory, London These are both studio works dating from his time in Rome.

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53b EDWARD LEAR Highgate 1812-1888 London Landscape with Trees and Lake Signed lower left: E Lear del. and dated 1846 lower right Pencil heightened with white on buff paper 95 x 160 mm., 3 3/4 x 6 1/4 in.

Provenance: With Martyn Gregory, London 73

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54 EDWARD LEAR Highgate 1812-1888 London Girga on the Nile Signed lower right: Edwd Lear del./Oct 14 1857 and inscribed lower left: Girgeh/On the Nile Pen and brown ink on laid paper stamped with a fleur de lys upper right 113 x 187 mm., 4 1/4 x 7 1/4 in.

Lear visited Girga on his second trip to Egypt from December 1853 to March 1854. Girga is a city on the west bank of the Nile south of Sohag. The present drawing is a studio work drawn in London on 14th October 1857 and is likely to have been a present for a friend.

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55 JULES ACHILLE NOËL Quimper 1815-1881 Algiers

of the Duke and his wife embarking on a ship at Brest.

Three years later, in a review of the Salon of 1846, Charles Beaudelaire noted of a seascape by the artist that ‘M. Jules Noël has made a very beautiful marine, of a beautiful and clear radiant and cheerful colour.’ In 1847, through the Duc de Nemours, Noël obtained a post as a Professor of Design at the Lycée Henri-IV in Paris. During school vacations he would return to Brittany or Normandy to paint, working at Brest, Dieppe, Douarnenez, Fécamp, Landerneau, Le Tréport, Morlaix, Quimper, Roscoff and elsewhere. In ill health after his retirement, he settled in Algeria with his daughter and son-in-law, and died at Mustafa, near Algiers, in 1881. Paintings by Noël are today in the museums of Brest, Quimper, Lille, Vannes and Versailles, as well as the National Maritime Museum in London. A major exhibition of Noël’s work was mounted at the Musée des Beaux-Arts in Quimper in 2005.

Landscape with a Duck Hunter Watercolour, pen and brown ink and brown wash Signed JULES NOËL at the lower left 176 x 250 mm., 6 7/8 x 9 7/8 in. [sheet] The landscape and maritime painter, as well as a gifted watercolourist Jules Noël studied in Brest and Paris, and worked for much of his career in Brittany and Normandy, at first supplementing his income by teaching drawing.

He made his Salon debut in Paris in 1840, exhibiting a seascape. He eventually attracted the patronage of the Duc de Nemours, who in 1843 commissioned a painting 75

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56 ISIDORE PILS Paris 1813-1875 Douarnenez

success as a military painter led to further commissions, including a number of paintings for Napoleon III. He also executed a number of paintings for Parisian churches and took part in the mural decoration of the Opéra.

A Soldier Pushing a Cannon, and other Studies of Soldiers

Pils made numerous drawings, watercolours and oil sketches in preparation for each of his paintings, and particularly for individual figures within the composition.

The present sheet may be an early preparatory study for Pils’s large Crimean War painting of The Passage of the River Alma by the Division of General Bosquet, 20th September 1854, completed in 1861 and today in the Chateau of Versailles. Pils worked for four years on the massive painting, which measured five metres by nine metres. Although none of the figures in this watercolour appear precisely in the finished painting, there are certain similarities between the soldiers pushing a cannon in the large canvas and those in the present sheet.

Watercolour, heightened with touches of gouache, over a pencil underdrawing A made-up area near the lower left corner Stamped with the atelier stamp I. PILS (Lugt 2030) at the lower right 240 x 430 mm. (9 1/2 x 16 7/8 in.)

Provenance The vente Isidore Pils, Hôtel Drouot [Boussaton], 20 March-1 April 1876 Yvonne Tan Bunzl, London, in 2003 Born into a family of artists, Isidore Pils spent the early part of his career as a painter of religious subjects, although he began to paint military scenes after the Crimean war. His 76

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Fontainebleau and the banks of the Seine and Marne rivers – at the Salons from 1851 onwards. Often drawn on a very small scale, his watercolours also included views from his travels in Switzerland, Germany, England and North Africa. He contributed illustrations to Alexandre Bida’s Souvenirs d’Egypte, published in 1851, and also worked as a lithographer, winning a bronze medal in this medium at the Salon of 1876. In 1882, Ciceri published his Cours d’aquarelle; a practical guide for amateur watercolourists.

He died in 1890 at Marlotte, a village on the edge of the forest of Fontainebleau, where he had lived since 1849.

EUGÈNE CICERI Paris 1813-1890 Marlotte Landscape at Quimperlé, Brittany Black chalk on light grey paper Signed and inscribed Quimperlé / Eug Ciceri at the lower left 222 x 302 mm., 8 3/4 x 11 7/8 in.

The son and pupil of the illustrator and décorateur PierreLuc-Charles Ciceri, Eugène Ciceri began his career as a designer of mural paintings, as well as theatre and stage sets. He was mainly active as a landscape painter, however, and in this field was influenced by the work of his uncle and teacher, Eugène Isabey. Ciceri exhibited paintings, gouaches and watercolour views – usually of the forest of

Along with Théodore Géricault and Richard Parkes Bonington, Ciceri provided illustrations for several volumes of Baron Taylor’s monumental series of Voyages pittoresques et romantiques dans l’ancienne France, published between 1820 and 1875, and in particular for the volume devoted to Brittany, which appeared in 1845.

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58a JOHN CALLOW Greenwich 1822-1878 Lewisham

John Callow exhibited several views of the Channel Islands, including one of Sark, at the Society of Painters in Watercolours in 1850 and 1851. He was the younger brother and pupil of William Callow (see nos. 59 and 60).

Fisherman’s Huts on a Beach, Sark Signed lower left: Callow and inscribed verso: Sark Watercolour over traces of pencil heightened with bodycolour and scratching out 234 x 157 mm., 9 1/4 x 6 in.

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58b JOHN CALLOW Greenwich 1822-1878 Lewisham A Pier, Sark Signed lower right: Callow and inscribed verso: In the Island of Sark Watercolour over traces of pencil heightened with bodycolour and scratching out 235 x 161 mm., 9 1/4 x 6 1/4 in.

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

had been connected would be of interest to the public, so I wrote to the Duchess Augustus of Saxe-Coburg, formerly my pupil, Princess Clementine, asking her to obtain permission for me to sketch at these palaces, which she readily obtained. In August 1863 we arrived at Coburg.... (at the Palace) I was welcomed by the Duke and Duchess and their daughters, to whom I showed my sketches. The Duchess requested me to leave them with her, as she was going to Rosenau to see Queen Victoria...’

The Fortress, Coburg Signed lower right: W. Callow and with initials lower left and inscribed lower centre: The Fortrefs Coburg./ Augt 18. ‘63 Watercolour over pencil 257x 359 mm., 10 1/4 x 14 1/4 in.

Callow was summoned to see the Queen at the Chateau, where he was..... `duly presented, but Her Majesty graciously said, `I remember Mr Callow perfectly.’ After looking through my sketches, and expressing her admiration for them, the Queen told me of a number of places of interest which I ought to visit and sketch.’ (H.M. Cundall, William Callow – An Autobiography, 1908, p.121).

Provenance: By descent from the artist until sold at Sotheby’s, 16th September 1999, lot 293; Private Collection, UK This is one of a series of watercolours by Callow of royal palaces drawn in the summer of 1863. Prince Albert had recently died and Callow records in his autobiography: `.....I thought that some drawings of Coburg, Rheinhardsbrunn and other royal palaces with which he

The Queen commissioned eight watercolours, including a view of Coburg, for which he was paid £105 on 22nd January 1864.

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

This shows the Gravensteen Castle from Geldmunt and is based on a pencil sketch drawn in the late summer of 1850 (Tate Gallery (A00149). Another Callow drawing of Ghent in the Tate, of the Place St. Pharailde, is dated 29th September 1850. Callow recalls in his autobiography: `Afterwards we made a very interesting excursion through Belgium for the purpose of sketching. We visited Lille, Courtrai, Tournai, Bruges, Ghent and Antwerp. At all of these towns I had little time for seeing the sights, as I found so many architectural subjects admirably suited for my pencil’ (William Callow – an Autobiography, 1908, p.105).

The Vegetable Market, Ghent Signed lower left: Wm Callow/1863 Watercolour over pencil heightened with bodycolour 342 x 493 mm., 13 1/2 x 19 1/4 in.

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61a ANDREW NICHOLL, R.H.A. Belfast 1804-1886 London

61b ANDREW NICHOLL, R.H.A. Belfast 1804-1886 London

Wild Flowers by a River with Cattle grazing and Mallard in Flight – Sunset

Fingal’s Cave, Staffa, Scotland Signed lower left: Andrew Nicholl R.H.A. Watercolour over pencil heightened with bodycolour, stopping out and scratching out 614 x 473 mm., 24 x 18 1/2 in.

Signed in red lower left: A. Nicholl R.H.A. Watercolour heightened with bodycolour, stopping out and scratching out 480 x 780 mm., 18 3/4 x 30 3/4 in.

Fingal’s Cave is a large natural cave on the uninhabited island of Staffa which is off the Isle of Mull. It is named after the hero of an 18th century poem by James Macpherson.

It became a tourist destination in the 19th century thanks to Mendelssohn’s `Fingal’s Cave overture’ written after the composer’s visit in 1829. Other famous visitors include Queen Victoria, J.M.W. Turner, Wordsworth, Keats, Tennyson and Jules Verne.

Provenance: Anonymous sale, Christie’s, 26th April 1988, lot 120 Nicholl was born in Belfast and apprenticed to a printer before moving to London where he taught himself to paint.

He left for Dublin and exhibited at the Royal Hibernian Academy from 1832. The present watercolour is likely to date from that period when he specialised in views of Ireland seen through a fringe of wild flowers. He returned to London in the late 1830s and exhibited at the Royal Academy from 1832 until 1854.

Another version of this watercolour is in the Royal Collection at Osborne House, Isle of Wight.

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62 HENRY GASTINEAU 1791-1876 Camberwell View on the River Esk at Hawthornden, Scotland Signed lower left: H Gastineau Watercolour over pencil heightened with bodycolour, stopping out and gum arabic 289 x 393 mm., 11 1/4 x 15 1/2 in.

Gastineau exhibited `Hawthornden, near Edinburgh’ at the Society of Painters in Water-colours in 1825, no.178, but stylistically this watercolour is more likely to date from the 1830s.

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63 CHARLES BRANWHITE Bristol 1817-1880 Clifton A Rocky River Signed with initials lower right Watercolour over pencil heightened with bodycolour 360 x 533 mm., 14 x 21 in.

Branwhite lived in Bristol all his life where he was taught

by William James Müller (1812-1845). The present watercolour is reminiscent of Müller’s Devon river views and is typical in its lavish use of bodycolour.

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64 JAMES THOMAS LINNELL London 1826-1905 Near Pen-y-Coed, North Wales

Provenance: Sir Bruce Ingram; Michael Ingram, his sale, 8th December 2005, lot 183; Private Collection, UK

Inscribed on part of old backing attached: near Penycoryd in the vale that leads from Beddgelert to Capel Curig Coloured chalks on buff paper 243 x 352 mm., 9 1/2 x 13 3/4 in.

James Thomas Linnell was the son of John Linnell (17921882) and studied at the Royal Academy Schools with his brothers John and William. He was the most talented of his siblings and exhibited at the Royal Academy between 1850 and 1888.

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65 FRANÇOIS-LOUIS FRANCAIS Plombières-les-Bains 1814-1897 Paris

met the artist Camille Corot, who would become one of the biggest influences on his work. The next phase in his career came during the middle of the 1840s. In 1846 he travelled south to Italy with his close friend FrançoisAuguste Ravier, and he was to remain in Italy for three years. Travel would remain a large influence on his life and art, and Français often went on sketching expeditions with other artists, including Corot, Gustave Courbet and HenriJoseph Harpignies. Although Français was mainly active as a landscape painter, he also painted a number of fine portraits and a few still life subjects.

Portrait of Henri-Joseph Harpignies Pencil.

Signed with the artist’s initials in pencil at the lower left Inscribed Portrait de Harpignies. / fait pendant une séance du / Jury de peinture par / Louis Français. on the verso 84 x 111 mm., 3 1/4 x 4 3/8 in.

Français not only exhibited regularly at the Salons, but was also often asked to participate on its jury. The inscription at the bottom of this sheet notes that this portrait of his close friend Henri Harpignies (1819-1916) was drawn while both artists were serving on the Salon jury. The drawing is a fine example of a quick sketch that captures the essence of the sitter.

François-Louis Français began his artistic career as an illustrator, utilizing the mediums of lithography and wood engraving. In 1834 he entered the the Ecole des Beaux Arts, where he studied under Jean Gigoux. He exhibited at the Salon for the first time in 1837, and the same year 87

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66 MARCELLIN DESBOUTIN Cérilly 1823-1902 Nice

for the next seventeen years, enjoying a luxurious lifestyle and amassing a collection of paintings and furniture. The collapse of his family’s fortunes led to a sudden change in Desboutin’s lifestyle, and he was back in Paris by 1873, living poorly and attempting to make a living from his art.

One scholar has recently described the artist as ‘a sociable man who frequented the most popular salons and cafés in Paris and developed lifelong friendships that placed him at the heart of literary and artistic circles…Desboutin was an engaging character and as a bon vivant who fell on hard times, he became the archetype of the bohemian artist.’ A close friend of Edgar Degas, for whom he posed for the painting L’Absinthe in 1876, Desboutin was, like him, a gifted printmaker. He sent paintings and etchings to the Salons, and in 1890 was a founder member of the Société Nationale des Beaux-Arts, where he exhibited regularly until his death.

Study of a Left Hand Pencil, heightened with white, on grey-green paper A partial study of the crossed legs of a seated figure in pencil on the verso 147 x 108 mm., 5 3/4 x 4 1/4 in.

A painter, printmaker and writer, Marcellin Desboutin was born into a wealthy family, and for the first part of his life enjoyed a comfortable existence. Giving up a career in law in favour of becoming an artist, in 1854 he and his family settled in Italy, living at the Villa dell’Ombrellino at Bellosguardo, overlooking Florence. He was to live there 88

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67 CLÉMENT-AUGUSTE ANDRIEUX Paris 1829-1880 Samois

specialty of battle scenes, notably episodes from the FrancoPrussian war, the Crimean War and Napoleonic campaigns.

Andrieux exhibited at the Salons in Paris from 1850 until his death, and also published a number of lithographs and engravings, including a set of thirty scenes illustrating the siege of Paris during the Franco-Prussian war of 1870-1871.

He was also highly regarded as an illustrator, and was an accomplished watercolourist. His death in 1880, at the age of fifty, left a young son, for whose benefit an auction of the contents of his studio was held the following year. The posthumous vente Andrieux included several mixed lots containing a total of over 1,600 drawings and sketches by the artist, including the present sheet.

A Cavalry Skirmish Red and black chalk on grey paper 169 x 148 mm., 6 5/8 x 5 3/4 in.

Provenance The vente Andrieux, Paris, Hôtel Drouot, 16-17 May 1881 (Lugt 15).

A painter, draughtsman and engraver, Clément-Auguste Andrieux studied in Liège and Paris. He made a particular 89

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68 WILLIAM LEIGHTON LEITCH Glasgow 1804-1883 London

Born in Glasgow, he was apprenticed to a lawyer before turning to painting in the early 1820s. He painted scenery at the Theatre Royal, Glasgow from 1824 to 1826 before moving to London in about 1828. In 1833 he was given the money by a patron, the stockbroker Mr Anderden, to visit Italy and the continent. On his return in July 1837 he set up a successful drawing practice numbering Queen Victoria and other members of the Royal Family among his pupils.

Cattle watering by a ruined Castle and Bridge Signed lower right: WL Leitch 1878 Watercolour over touches of pencil 233 x 376 mm., 9 x 14 3/4 in.

Provenance: With Thos. Agnew & Sons, circa 1940 as `Stranraer’ 90

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69 GEORGE PYNE London 1800-1870 Oxford Magdalen Bridge, Oxford Signed lower left: G Pyne 1871 and inscribed verso: Henley Road/Magdalen Coll & Bridge Watercolour over pencil heightened with bodycolour 145 x 206 mm., 5 3/4 x 8 in.

Pyne specialised in depicting views of Oxford and Cambridge colleges, views of Eton as well as interiors of student rooms at Oxford colleges.

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70a WALLER HUGH PATON, R.S.A. Dunfermline 1828-1895 Edinburgh

Paton was born in Dunfermline, the son of a damask designer, for whom he worked as an assistant before becoming a pupil of J.A. Houston. Ruskin and Millais were both friends of his brother Noel and Paton has been described as the leading exponent of the Pre-Raphaelite landscape in Scotland.

A Road at Largo, Fife Signed lower right: W.H. Paton and inscribed lower left: Largo/24th Sept 1860 Watercolour over pencil heightened with bodycolour on buff paper, with arched top 248 x 361 mm., 9 3/4 x 14 1/4 in.

Lower Largo is a village on the Fife coast across the Firth of Forth from Edinburgh.

Provenance: With the Fine Art Society, London, December 1971, no.

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70b WALLER HUGH PATON, R.S.A. Dunfermline 1828-1895 Edinburgh Loch of Park near Banchory, Aberdeenshire Signed lower centre: Waller H. Paton R.S.A. and inscribed lower right: Loch of Park/8th August 1879 Watercolour over pencil heightened with bodycolour Sheet 282 x 392 mm., 11 x 15 1/4 in.

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72 BENJAMIN RICHARD GREEN London 1808-1876 London Picnicking at Dryburgh Abbey, Scotland

71 GEORGE FREDERICK PROSSER London 1805-1882 Winchester

Signed lower right: B.R. Green Watercolour over traces of pencil heightened with bodycolour and gum arabic 498 x 407 mm., 19 1/2 x 16 in.

St. Catherine’s Hill from the Water Meadows, Winchester Watercolour over pencil 148 x 240 mm., 5 3/4 x 9 1/2 in.

Provenance: With William Rodman & Co, Belfast, 1944

Prosser was born in London and worked in Surrey before moving to Winchester in the early 1850s. He lived and worked at 80 High Street, Winchester where he also taught drawing, and specialised in local views.

The son of the portrait painter James Green (1771-1834), Green studied at the Royal Academy Schools from 1826 and exhibited from 1832 as well a working as a drawing master and lecturer.

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73 EDME ALEXIS ALFRED DEHODENCQ Paris 1822-1882 Paris

years, producing paintings and drawings of scenes from Spanish life. In 1854 Dehodencq visited Morocco for the first time. He became the first Western artist to work extensively in the country, and divided his time between Cadiz and Tangiers until his return to France in 1863. A number of his genre scenes, depicting life in the Arab and Jewish communities of Morocco, were sent to Paris for exhibition at the Salons. After his early successes, however, Dehodencq died in obscurity. He left a large group of drawings, many of which are now in the Louvre and the Musée des Beaux-Arts in Lille, while others are in the collection of the Israel Museum in Jerusalem.

Studies of Arab Horsemen Pen and brown ink and brown wash 77 x 146 mm., 3 x 5 3/4 in.

Provenance Possibly Alfred Dehodencq fils, Paris.

The French Orientalist painter Alfred Dehodencq was a pupil of Léon Cogniet, entering the Ecole des BeauxArts in Paris in 1839. He made his Salon debut five years later. In 1849 he travelled to Spain, where he spent five

The present sheet is a fine example of Dehodencq’s expressive draughtsmanship in pen and ink.

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74 ALBERT BALLU Paris 1849-1939 Paris

also competed unsuccessfully for the reconstruction of the Sorbonne. During the 1880s, he travelled to Algeria, charged with the restoration of religious buildings in the French colony. In 1889 Ballu was appointed chief architect of the historical monuments department in Algiers, a post he would hold for the next thirty years, during which he oversaw the excavations of numerous Roman ruins. He was tasked with designing the Algerian pavilions for the Paris Expositions of 1889 and 1900. While most of Ballu’s drawings are of an architectural or scientific nature, the present sheet, a colourful scene from daily life in Algiers, showcases a different aspect of his oeuvre.

A Street in Algiers Watercolour Signed, dated and dedicated Ă Mme. Roujon / hommage respecteux / 1883 A Ballu at the lower left 245 x 140 mm., 9 5/8 x 5 1/2 in.

The architect Albert Ballu entered the Ecole des Beaux-Arts in Paris in 1868. He designed several buildings, including the Faculty of Medicine and Pharmacy in Bordeaux, and 97

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75 FRANÇOIS CLÉMENT SOMMIER, called HENRY SOMM Rouen 1844-1907 Paris

of Belle Epoque Paris. Somm was one of the graphic artists who fell under the spell of Japonisme, which first emerged in France in the early 1860s. At the invitation of Edgar Degas, he took part in the fourth Impressionist exhibition of 1879. Somm’s finished drawings are often related to his more commercial work as an illustrator for magazines or books. Although he died in relative obscurity, a retrospective exhibition of his work was mounted at the Galerie Berthe Weill in Paris in 1911.

A Group of Elegant Figures Watercolour on paper laid down on card Signed Hy. Somm at the lower right 151 x 226 mm., 6 x 8 7/8 in.

Somm is best known for his depictions of Parisian society.

As one scholar has noted, the artist ‘has been termed a “petit impressioniste” by art critics and historians. While some of his works – mainly scenes of leisure in the city of Paris – exhibit stylistic qualities that support this designation in a broad sense, careful examination of his drawings reveal that Somm is a transitional figure between Impressionism and Symbolism, whose subject matter is principally concerned with contemporary life in Paris.’

After studying at the École Municipale de Dessin in Rouen, François Clément Sommier settled in Paris in the late 1860s, training briefly with Isidore Pils and adopting the name Henry Somm. He was to enjoy a successful career as an illustrator and draughtsman, contributing regularly to such popular journals as Le Monde Parisien, Le Rire and L’Illustration Nouvelle. Somm was also active as a graphic designer, providing menus, theatre programs, invitations and announcements for the many fashionable events 98

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76 WALTER CRANE Liverpool 1845-1915 Horsham

exhibited a painting of The Lady of Shalott at the Royal Academy, to critical acclaim. Later submissions to the Academy were rejected, however, and Crane chose instead to exhibit at the Grosvenor Gallery. Strongly influenced by Japanese colour prints, Crane worked as an illustrator of children’s books between 1869 and 1875, and it is as a book illustrator – particularly of fairy tales, of which several books were published each year – that he was best known, not only in England but also in Germany and elsewhere. A founder member of the Arts and Crafts Exhibition Society in 1888, Crane was elected master of the Art Worker’s Guild in 1888 and 1889. He worked with William Morris on books published by Morris’s Kelmscott Press and also produced designs for wallpaper. He taught at the Manchester School of Art, Reading College and the Royal College of Art.

Landscape near Tunbridge Wells, Kent Watercolour and gouache on brown paper Signed and dated Walter Crane 82 at the lower left Signed and inscribed Walter Crane / 63 / View nr.

Tunbridge Wells on the old backing board 237 x 340 mm., 9 3/8 x 13 3/8 in.

A painter, draughtsman and writer who may be regarded as one of the most significant figures of modern decorative art, Walter Crane was born in Liverpool and settled in London in 1857. There he came into contact with the works of the Pre-Raphaelites and the writings of John Ruskin, and began working as an apprentice in the studio of the wood-engraver William James Linton. In 1862 he

Dated 1882, this watercolour is a fine example of Crane’s interest in a naturalistic depiction of landscape.

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77 LUIGI LOIR Gorritz 1845-1916 Paris

at the Accademia de Belle Arti. He eventually rejoined his family in Paris in 1863, and made his Salon debut in 1865, continuing to exhibit there until 1914. Loir painted mainly views of Paris, in all seasons and at different times of the day or night, and these works proved both popular and commercially successful. By the end of the 1880s several of his paintings had been acquired by French and foreign museums. Although best known as a painter of Parisian scenes, Loir travelled extensively throughout France, painting landscapes characterized by an attention to detail and an interest in light. He also worked as a commercial graphic artist, theatrical and poster designer, book illustrator and lithographer, and designed the cover of the official catalogue of the Exposition Universelle of 1900.

A member of both the Société des Aquarellistes and the Société de Peintres-Lithographes, as well as a jury member of the Société des Artistes Français and the Société des Arts Décoratifs, Loir rose to a position of some prominence in the Parisian art world.

A Naval Parade Gouache and pencil, with framing lines in pencil Signed LOIR. LUIGI at the lower left centre 75 x 107 mm., 3 x 4 1/4 in. [sheet] Provenance Galerie du Carlton, Cannes Private collection, France.

Born in Austria to French parents who served the exiled French Bourbon royal family, Luigi Loir moved with his family and the Bourbons to the Duchy of Parma in 1847. In 1860 his family returned to Paris, but Luigi remained in Parma, having enrolled, at the age of eight, 100

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78 PIERRE-GEORGES JEANNIOT Geneva 1848-1934 Paris

and the following year exhibited his first painting, a landscape. At first known for military subjects, he soon turned his attention to the elegant Parisian genre scenes and studies of the society women of the Belle Epoque for which he became best known. He exhibited regularly at the Salons of the Société des Artistes Français in Paris and the Société Nationale des Beaux-Arts in Nantes, while between 1893 and 1903 he also exhibited at the Munich Secession. Jeanniot was highly successful as an illustrator, working on more than thirty books between 1884 and his death, and also worked as a cartoonist. Shortly after his death in 1934, a retrospective exhibition was held at the Galerie Georges Charpentier, and in the same year a selection of his works was gifted to the Musée des BeauxArts in Dijon by his widow.

A Cat Black chalk on buff paper 163 x 245 mm., 6 3/8 x 9 5/8 in. [image] 209 x 268 mm., 8 1/4 x 10 1/2 in. [sheet] Provenance Molly Klobe, Chamberlin Gallery, New York.

Born in Geneva to French parents, Pierre-Georges Jeanniot was a student of his father, Pierre-Alexandre, who served as the director of the Ecole des Beaux-Arts in Dijon for many years. Although he attended the military college at Saint-Cyr and began his career in the army, he painted and drew in his spare time. In 1872 Jeanniot made his debut at the Salon, where he showed some watercolours,

Jeanniot occasionally included animals in his paintings and drawings, and they can often be found featured prominently in the foreground.

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79a HENRI EVENEPOEL Nice 1872-1899 Paris

Literature Philippe Roberts-Jones, ‘Evenepoel et l’art de son temps’, in Eliane De Wilde et al, Henri Evenepoel 1872-1899, exhibition catalogue, Brussels, 1994, illustrated p.92.

Adolphe Crespin Painting at an Easel

A portrait of the Belgian painter, decorator and poster designer Adolphe Crespin (1859-1944), who was Henri Evenepoel’s teacher at the Académie des Beaux-Arts in Brussels. Crespin remained close to the artist throughout his life, and was the only one among his friends to know the actual parentage of Evenepoel’s illegitimate son, Charles De May. Evenepoel painted a portrait of Crespin in 1894, today in a private collection.

Charcoal Stamped with the artist’s monogram he in a circle and numbered No.777 on the verso 384 x 243 mm., 15 1/8 x 9 1/2 in.

Provenance Probably the artist’s cousin, Louise De May-van Mattemburgh, Brussels By descent to their son, Charles De May, Brussels Roland Leten, Ghent Private collection, England 102

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79b HENRI EVENEPOEL Nice 1872-1899 Paris

Describing a visit to Lautrec’s Parisian studio, in a letter to his father in 1895, Evenepoel wrote that, ‘More than ever, I maintain that Toulouse-Lautrec is an artist of immense value and even that he is a complete artist.’ (After another visit to Lautrec’s studio, Evenepoel had noted that, ‘Toulouse-Lautrec does not much care what anybody thinks of his painting, but he would not forgive any slighting remarks about his American drinks.’) The subject of this drawing, however, is unbearded, unlike Toulouse-Lautrec throughout most of his life.

A Seated Artist, Possibly Henri de Toulouse-Lautrec, Drawing at an Easel Charcoal Stamped with the artist’s monogram he in a circle and numbered No.744 on the verso 305 x 212 mm., 12 x 8 3/8 in.

These two drawings belonged to Evenepoel’s illegitimate son Charles De May, born in 1894 to the artist’s cousin, Louise De May-van Mattemburgh. The drawings may be compared stylistically with several sketches of figures formerly in the collection of Roland Leten in Ghent, who also owned the present pair.

Provenance As No.79a.

This may be a portrait of Henri de Toulouse-Lautec (18641901), of whose work Evenepoel was a great admirer.

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80 CLAUDE-EMILE SCHUFFENECKER Fresne-Saint-Mamès 1851-1934 Paris

He began to achieve some commercial success around 1888, after Theo van Gogh held an exhibition of his work in Paris. Although by no means wealthy, Schuffenecker was able to support the careers of Gauguin and other artists, whose works he purchased. In time he came to own a large number of works by Gauguin, as well as paintings and drawings by Cezanne, van Gogh and Redon, although he was forced to sell his collection following his divorce in 1903. As an artist, Schuffenecker remains little known today in comparison to Gauguin and some of his contemporaries, and only a handful of exhibitions have been devoted to him outside of France.

Study of a Young Boy Lying on his Stomach Pastel Stamped with the atelier monogram at the lower right 154 x 237 mm., 6 x 9 3/8 in.

Provenance The estate of the artist Probably his daughter Jeanne Schuffenecker, Paris

This a fine example of Schuffenecker’s use of pastel, a medium he favoured and which he used with considerable skill throughout his career. The drawing can be related to a small oil painting of figures on a beach of c.1888, in which appears a similar boy lying on the ground, but in reverse.

A closely comparable study of a seated young boy, also in pastel, is in the Van Gogh Museum in Amsterdam.

Émile Schuffenecker met Paul Gauguin when both worked at a stock brokerage firm, and they remained close friends throughout his life. The stock market crash of 1882 led him to abandon his career as a stockbroker, and to support himself as an art teacher; a career he maintained until 1914.

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81 HENRI ADAM Rouen 1864-1917 Rouen(?)

by day in a bank in Rouen, and it was not until he was fortyfive that he was able to devote himself full time to painting.

He remains an obscure figure, however, and very little is known of his career. Adam was employed as a professor of drawing at the Collège de Normandie, and painted views along the coast between Brittany and Ostend in Belgium.

Two watercolour views of Rouen by the artist are today in the collection of the Musée des Beaux-Arts in Rouen.

Woodland Scene Watercolour Stamped with the Henri Adam atelier stamp (not in Lugt) on the verso 313 x 213 mm., 12 1/4 x 8 3/8 in.

The present sheet is a fine example of Adam’s watercolour technique. The artist here depicts the forest through a balance of lightly washed areas in the background to more developed trees in the foreground.

A student of Philippe Zacharie at the Ecole des Beaux-Arts in Rouen, Henri Adam was an amateur artist who worked 105

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82a HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Kent Mt Etna from Taormina, Sicily Signed with initials lower left and inscribed lower right: from Taormina Watercolour 187 x 284 mm., 7 1/4 x 11 in.

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82b HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Kent The Burning of the Houses of Parliament – after J.M.W. Turner Coloured chalks 140 x 183 mm., 5 1/2 x 7 in.

The Houses of Parliament burnt down on the evening of the 16th October 1834. This is a copy of a watercolour of the subject by J.M.W. Turner in the Turner Bequest, Tate Gallery (TB CCCLXIV 373).

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83 SIGISMOND JEANèS Nancy 1863-1939

landscapes in watercolours and tempera, with a particular emphasis on atmospheric light effects. Writing of a view of Venice exhibited by the artist at the Salon d’Automne of 1906, the author Maurice Guillemot noted, ‘Jeanès will perhaps equal Turner with his painting Sunrise in Venice: he uses watercolour in a very particular way, in imprecise blonde shades, with warm tones, like cotton wool, in an apotheosis of Wagnerian colouring.’ In 1911 Jeanès participated in the Exposition de la Société Internationale de la Peinture à l’Eau. Works by the artist are in the collections of the Louvre and the Musée d’Orsay in Paris.

A November Evening on Lake Garda, Val du Col Loppio, Trentino Watercolour on silk, mounted on panel Signed Jeanes at the right centre Inscribed by the artist Lac de Garde / Vue du col di loppio / soir de Novembre on the backing panel 332 x 409 mm., 13 1/8 x 16 1/8 in.

An exhibition of thirty watercolours by Jeanès, held at the art gallery of the John Wanamaker department store in New York in 1921, led one critic to note that ‘These paintings, of Venice, the Dolomites, the côte d’azure, and other romantic spots of France and Italy, are characteristic of this great master of the water-color medium. Rarely does one see color combined with line to produce effects of such power. In oil they would be remarkable pictures, in water color they are prodigious.’

The landscape painter Sigismond Jean-Ernest Jeanès was largely self-taught as an artist. The early part of his career seems to have been spent travelling extensively around Europe, and as far afield as China and India. Jeanès worked extensively in Italy and the South Tyrol, painting views of the Dolomites, the Alps and Venice. He exhibited at the Salon d’Automne from 1906 onwards, and also at the Société des Artistes Indépendants, showing mountain 108

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84 AUGUSTO SEZANNE Florence 1856-1935 Venice

decoration at the Accademia between 1882 and 1893.

In 1893 he moved to Venice, where he taught at the Accademia di Belle Arti and exhibited at the first Biennale in 1895. In 1898 he joined the Aemilia Ars society, an applied arts manufactory, to which contributed designs for furniture, ceramics and stained-glass windows.

Portrait of a Young Boy in Profile Pencil, with stumping Signed and dated AS 99 at the lower right 223 x 231 mm., 8 3/4 x 9 1/8 in.

The present sheet may tentatively be related to the decorative mosaic frieze designed by Sezanne for the Stucky family funeral chapel in the Venetian church of San Michele in Isola, commissioned by the Venetian-Swiss businessman and mill owner Giovanni Stucky. Sezanne designed the cartoons for the decorative scheme, superbly painted in a Pre-Raphaelite manner, which were then translated into mosaics by the firm of Salviati-Jesurum and the mosaicist Antonio Castaman, between 1903 and 1905. Although the youth in this drawing does not appear in the final mosaic decorations, this type of beatific head finds stylistic parallels in the numerous angels in the mosaic frieze.

Provenance Private collection, Bologna, in 1977.

Exhibited Bologna, Galleria d’Arte Moderna, Il Liberty a Bologna e nell’Emilia Romagna, 1977, no.AG 314 A painter, engraver, ceramicist and sometime architect, Augusto Sezanne lived and worked in Bologna in the first part of his career, serving as professor of ornamental 109

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85 WILLIAM STRANG, R.A. Dumbarton 1859-1921 Bournemouth

pastoral subjects, as well as portraits of prominent artistic and literary figures. The realism and psychological intensity of his etched portraits was carried through into the paintings Strang began to produce around the turn of the century, and which came to dominate his output.

Portrait of a Man Red, black and white chalks on buff paper Signed and dated W. STRANG / 1906. at the lower right 410 x 261 mm., 16 1/8 x 10 1/4 in.

From early in his career, Strang was recognized as a brilliant draughtsman. He was in particular much admired for his portrait drawings, inspired by those of Hans Holbein in the Royal Library at Windsor Castle, which he had studied closely. Between 1898 and 1909 Strang produced some five hundred portrait drawings of this ‘Holbein’ type, characterized by the use of red and black chalks on paper washed pink or beige, for which each sitting took about three hours.

The Scottish artist William Strang was a student of Alphonse Legros at the Slade School of Art between 1876 and 1880.

Much of the first two decades of his career was spent as a printmaker, and he produced etchings of landscape and 110

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86 JESSIE MARION KING New Kilpatrick 1875-1949 Kirkcudbright

commission to produce ninety-five illustrations for William Morris’s The Defence of Guinevere and Other Poems, drawings characterized by fine detail and meticulous technique. King also worked as a designer of textiles, jewellery, wallpaper, posters, wall tiles, theatrical costumes, ceramics and book covers. In 1908 she married a fellow artist, Ernest Archibald Taylor, and in 1911 the couple moved to Paris, where they established an art school known as the Shearling Atelier.

With the outbreak of the First World War, they moved back to Scotland, living near Kirkcudbright. Although King remained active for the remainder of her career, she died in relative obscurity in August 1949.

Back of Tenements, Paris Watercolour, pen and brown ink and brown wash 190 x 273 mm., 7 1/2 x 10 3/4 in.

Provenance The artist, and by descent to her daughter, Merle Elspeth Taylor, Kirkcudbright Her sale, Glasgow, Sotheby’s at the Charles Rennie Mackintosh Society, 21 June 1977 Aitkin Dott & Son, Edinburgh Private collection, Scotland.

While putting together illustrations for a planned book on Paris views, King went on sketching walks around the city, and the present sheet is likely to have originated on one of these outings. She drew not only the major monuments and sights, but was also attracted by out of the way streets and the architectural details of rooftops or shopfronts. Some of King’s drawings of Paris were reproduced in Paris Past and Present, a book edited by E. A. Taylor and published in 1915.

Jessie Marion King studied at the Glasgow School of Art in the early 1890s, concentrating on drawing and illustration.

Much admired for her highly individual illustrative style, by 1902 she was the subject of an admiring article in the magazine The Studio. Two years later she gained a 111

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87 MATHURIN MÉHEUT Lamballe 1882-1958 Paris

A decorative mural painter, book illustrator, tapestry designer and ceramic painter, the Breton artist Mathurin Méheut established his career in Paris, but returned frequently to Brittany, working at Douarnenez, Quimper, Roscoff, Paimpol and elsewhere.

Peacocks: Notes de Céramique Watercolour, pen and brown and black ink with brown and grey wash.

Signed MM at the lower right Inscribed Mlle / JULIETTE / THIERRY / RENNES at the top, NOTES / DE / CÉRAMIQUE at the bottom and En Souvenir des Vacances . MM on the verso 328 x 237 mm., 12 7/8 x 9 3/8 in.

The present sheet may have been intended as a design for a book cover. In the Courrier de Rennes newspaper of 20 June 1903, it was noted that ‘Mlle. Juliette Thierry, dessinateur, élève de notre école’ had won an honorable mention in the 13th annual concours de composition decorative, organized by the Société d’Encouragement à l’Art et à l’Industrie.

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88 THEO VAN RYSSELBERGHE Ghent 1862-1926 Saint-Clair

Sunday Afternoon on the Island of La Grande Jatte at the eighth impressionist exhibition in Paris. This led Van Rysselberghe to experiment with the pointillist technique; and from 1886 onwards he was working in a Neo-Impressionist manner, becoming one of the leading exponents of the movement in Belgium. Regarded in particular the finest portrait painter among the Neo-Impressionists, he continued working in a pointillist manner until around 1907.

Portrait of the Artist’s Mother-in-Law, Mme. Sylvie Monnom-Descamps Pencil on laid paper, laid down on board Inscribed and dated Jersey / 31 juillet 07 and signed with the artist’s monogram VR at the lower right Further inscribed Mme. Monnom and Monnom / [?] on the reverse of the backing board 202 x 255 mm., 8 x 10 in.

The subject of this drawing is Sylvie Monnom-Descamps (1836-1921), the artist’s mother-in-law and the head of the Monnom publishing company. Van Rysselberghe painted at least six portraits of his mother-in-law, as well as a number of drawings. Drawn in 1907, the present sheet is a preparatory study for a small, unfinished painting of Mme. Monnom Reading in a private collection in Paris, which, like the present sheet, was painted in Jersey in 1907. A closely related pencil drawing of Sylvie Monnom reading, dated July 1891 but perhaps more likely to be of the same date as the present sheet, is in a private collection.

Literature Ronald Feltkamp, Théo Van Rysselberghe 1862-1926: Catalogue raisonné, Brussels, 2003, p.365, no.1907-019 A gifted painter and draughtsman, Theo van Rysselberghe encountered Georges Seurat’s monumental canvas A 113

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89 HENRI-JOSEPH HARPIGNIES Valenciennes 1819-1916 Saint-Privé

regularly throughout his very long and productive career.

His luminous landscape paintings, depicting both rural and urban views, were inspired by his first meetings with Camille Corot in the early 1850s. Harpignies continued to maintain an emphasis on a distinctive manner of tonal landscape, inspired by the example of Corot, in the paintings and drawings that he produced well into the early years of the 20th century. In 1898 the critic G. Frederic Lees wrote that ‘Harpignies...[has] the power of producing the most powerful effects by teints unies; his sobriety of colour, breadth of treatment, firmness of touch, and precision of drawing placing him in the front rank of water-colour artists.’ Despite his increasing fame and success, Harpignies seems to have remained at heart a man of simple tastes, committed to his art. As Agnes Mongan has written, ‘Clearly, his happiness was in recording, whether in drawings, watercolor, or paint, the landscapes he saw around him…his ninety-seven years were productive of a large number of landscapes in a variety of media that have delighted and continue to delight those who enjoy their sensitive and particular artistic qualities.’

A Stream in an Arid Landscape Watercolour, pen and grey ink and grey wash Signed h. harpignies 1912 at the lower right 151 x 226 mm., 6 x 8 7/8 in.

Provenance Arnold & Tripp, Paris (Lugt 3279) Marlborough-Gerson Gallery, New York H. A. Robinson, London, by 1947 Private collection, Scotland.

It was not until 1848, when he was in his late twenties, that Henri-Joseph Harpignies abandoned a career as a travelling salesman and begin training as an artist. He made his Salon debut in 1853, and he continued to exhibit 114

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90 LÉO-PAUL ROBERT Biel/Bienne 1851-1923 Orvin

medal, while the following year he won a silver medal at the Exposition Universelle. A Symbolist for the early part of his career, Robert drew on music by composers such as Schubert and Beethoven for inspiration. In 1883 he visited Palestine, and after spending a year there his artistic production shifted away from Symbolism towards a more religious sentiment. This is reflected in what is perhaps his best-known work; three large murals for the stairwell of the museum in Neuchâtel. Measuring seven meters by nearly six meters, the paintings took the artist eight years to complete. As well as painting decorative murals for such public buildings as the museums of Neuchâtel and Bern, Robert established a reputation as a landscape painter, while also developing a particular speciality as a painter of birds and caterpillars. His sons Paul-André and Philippe were also active as botanical and natural history artists, and a large group of works by the Robert family is today in the collection of the Neues Museum in the artist’s native town of Biel/Bienne in Switzerland.

River Landscape with Small Boats Watercolour over a pencil underdrawing Signed and dated Paul Robert Vieu[?]-1911 at the lower right 261 x 453 mm., 10 1/4 x 17 7/8 in.

Provenance Galerie Jacques Fischer-Chantal Kiener, Paris Private collection, New York.

Born into a family of Swiss artists, Léo-Paul Robert was the son of the painter Aurèle Robert and nephew of the genre painter Léopold Robert. He studied at the Kunstakademie in Munich, and also in Florence and Paris. Robert exhibited at the Salon for the first time in 1877, winning a gold 115

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91 ROBERTO FRANZONI Bologna 1882-1960 San Marino

A lifelong exponent of the Art Nouveau style, known in Italy as the ‘Stile Liberty’, Roberto Franzoni enjoyed a long and productive artistic career, working in the fields of painting, sculpture and the graphic arts. In 1908 he decorated the Rizzi chapel in the cemetery of the Certosa in Bologna with an elaborate decorative scheme involving painting, stucco, glass and ironwork, all in an Art Nouveau style. He also decorated rooms in the Palazzo Ronzani, the Palazzo Saraceni and the Credito Fondario in Bologna.

As well as paintings and drawings, Franzoni produced designs for film and travel posters, stamps, and the applied arts. He spent the last years of his career in the republic of San Marino, where he designed a large number of the country’s stamps. Franzoni remains relatively little-known today, however, particularly outside Italy.

An Allegory of Fame, in Honour of Giuseppe Verdi Pen and black and grey ink, extensively heightened with white, on card A printed portrait of Verdi inserted into an oval opening at the top of the sheet Inscribed (signed?) R. FRANZONI on the verso Inscribed GIUSEPPE VERDI - BUSSETTO 1813 – MILANO 1901 – in the margin of the oval portrait of Verdi and with the titles of Verdi’s operas along the top and right edge of the sheet Inscribed massima lunghezza / del cliche cm. 12 1/2 / in proporzione la / larghezza massima cm. 7 at the lower right 280 x 184 mm., 11 x 7 1/4 in.

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92 ANDERSON Early 20th Century

the front of the old mount.

350 x 518 mm. (13 3/4 x 20 3/8 in.) [image] 421 x 586 mm. (16 5/8 x 23 1/8 in.) [sheet]

Air Polo, The Next Thing in Games: Illustration for Puck Magazine

Provenance The publishers Keppler & Schwartzman, New York (with their stamp on the verso) Private collection, New York.

Pen and black ink, over a pencil underdrawing, with framing lines in black ink Signed Anderson at the lower left Inscribed Air polo. in the lower margin Inscribed Air polo / the next thing in games on the verso Stamped and inscribed OVERLAY DEPT. / 215 TUES MAY 2 1911 and / 845 A.[M]. Wed – [3] – [1911] on the verso Stamped KEPPLER & SCHWARTZMAN / “PUCK” / APRIL 38 1911 / NEW YORK on the verso Inscribed and dated AIR POLO: THE NEXT THING IN GAMES. / 1911 on a typewritten label pasted onto

An illustration for a 1911 issue of Puck, an American weekly humour magazine of political and social cartoons and caricatures, published between 1871 and 1918.

Founded in 1871 in St. Louis, Missouri by the Austrianborn cartoonist Joseph Keppler, Puck was printed in both German and English language editions, and by 1877 was being published in New York. From 1887 until its demise in 1918, the magazine was based at the Puck Building on the corner of Lafayette and Houston streets in New York.

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93 EDMUND STEPPES Burghausen 1873-1968 Deggendorf

Steppes had begun to enjoy some success, selling his work to private collectors and state museums and enjoying the support of a number of influential figures in the art world.

He studied the art of the Old Masters, particularly of the late Gothic period, and produced numerous drawings with detailed observations of nature, made mainly on sketching expeditions around southern Germany. These drawings – of flowers, plants and leaves, trees and fantastic rock formations – account for some of his most distinctive works. In January 1945 his studio was destroyed by an Allied bomb, leading to the loss of numerous drawings and paintings. A retrospective exhibition of Steppes’s work was held in Tuttlingen in 1963, on the occasion of the artist’s 90th birthday.

Study of a Toad Pen and grey-black ink on paper washed grey Signed with a monogram and dated Edm. St. / 1916. at the bottom centre Further inscribed München on the verso 178 x 224 mm., 7 x 8 3/4 in. [sheet] The landscape painter Edmund Carl Ferdinand Steppes studied at the private art school established by the genre and portrait painter Heinrich Knirr in Munich, and in 1893 exhibited his work at the Kunstverein in Munich.

The following year he left the academy, and completed his artistic training on his own. By the turn of the century

A closely-related pencil drawing of a toad by Steppes, dated October 1917 and showing more of a landscape setting, was recently on the art market in Germany.

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94 PAUL ALLIER Paris 1883-1953 Paris

known in particular for highly refined, hand-coloured stencil prints known as pochoirs, which were often issued in series.

Each image signed by the artist and individually numbered, Allier’s pochoirs were published in limited editions and came to be much prized by collectors. Dated 1920, the present sheet is a design for a pochoir entitled Le Billet Doux. The subject depicts an ‘Incroyable’ receiving a surreptitiously passed note from a female counterpart, a ‘Merveilleuse’, during the period of the Directoire in France, at the very end of the 18th century. ‘Incroyables’ and ‘Merveilleuses’ were members of a fashionable aristocratic subculture in Paris in the years just after the Reign of Terror, who – perhaps in a reaction to having survived the bloody events of 1793-1794 – dressed in an affected or exaggerated style and acted in a decadent, devil-may-care manner.

Le Billet Doux (Incroyable and Merveilleuse) Pen and black ink and gouache Signed and dated PAUL ALLIER / 1920 at the lower left 300 x 220 mm., 11 3/4 x 8 5/8 in. [image] A pupil of Fernand Cormon at the Ecole des Beaux-Arts, Paul Allier was active mainly as a fashion illustrator. His work appeared in such magazines as L’Assiette au Beurre, Femina, Flirt, Le Jardin des Modes and Vogue, while he also produced book illustrations and theatre designs. Allier was 119

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95 ODILON ROCHE Châteauneuf-sur-Loire 1868-1947 Six-Fours

homme fastueux dans une époque médiocre.’ In 1917 Léonce Bénédite, the executor of Rodin’s will and soon to be the first curator of the Musée Rodin, asked Roche to classify the entire contents of the sculptor’s studio, including countless boxes of loose drawings and watercolours.

Study of a Standing Draped Woman, Seen from Behind Pencil and watercolour Inscribed A Rodin at the lower right Stamped with a variant of the Roche mark (Lugt 2007e) at the lower right 337 x 274 mm., 13 1/4 x 10 3/4 in.

The decade Roche spent on this immense project gave him ample opportunity to study Rodin’s distinctive style and technique as a draughtsman. As a result, Roche’s own drawings and watercolours, especially of female nudes, display the profound influence of those of the great sculptor.

(He also assembled around 160 drawings by Rodin for his own collection; most of these were dispersed at auction in 1933.) On his retirement in 1931, Roche settled in SixFours-les Plages, in the Var, southwest of Toulon, where he continued to paint his watercolours, now including coastal scenes and landscapes. He does not seem to have ever sold or exhibited his work, and it was not until the early 1970s, some twenty-five years after his death, that a group of Roche’s drawings was discovered at a framer’s shop in Saint-Tropez.

An amateur artist and a disciple of Auguste Rodin, Odilon Roche was one of the more fascinating characters in Paris in the first quarter of the 20th century. He actually began his professional career as a wine taster, before opening a shop in Montmartre selling artists’ supplies, where he counted among his customers Pissarro, Renoir and Steinlen. A second shop selling Persian and Chinese antiques became a fashionable rendezvous for cultured Parisians, among them the novelist Colette, who described Roche as ‘un 120

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96 EDOUARD VUILLARD Cuiseaux 1868-1940 La Baule

known as the Square Berlioz, at its centre. In 1926 he and his mother moved to an apartment on the square itself, at 6 Place Vintimille. As one scholar has noted, ‘Vuillard’s name has become almost synonymous with the Place Vintimille…

He obviously delighted in the view from his windows overlooking the leafy enclosure dominated by the statue of Hector Berlioz, who had lived nearby, and across to the shabby dignity of the yellowish houses also confronting the little public garden with its strollers sunning themselves.’ This page from a small sketchbook is a preparatory study for a square-format painting of modest dimensions. Both the drawing and the painting can be dated fairly precisely to between late October and early November 1919, as each depicts, at the bottom of the composition, several colourful election posters attached to the railings of the park. These were for the general election held on the 16th of November 1919.

The Square Berlioz on the Place Vintimille, Paris Pencil and pastel, on a page from a small sketchbook Stamped with the Vuillard atelier stamp (Lugt 909c) at the lower right 133 x 102 mm., 5 1/4 x 4 in.

In 1907 Vuillard and his mother settled into a fifth-floor apartment on the rue de Calais, close to the Place Vintimille (today the Place Général Adolphe-Max), in the 9th arrondissement of Paris. The artist soon began producing numerous paintings, pastels and drawings of views of this picturesque small square, and the oval public garden, 121

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97 ERICH LINDENAU Bischofswerda 1889-1955 Dresden

A German painter of flowerpieces and landscapes, working mainly in watercolour, Erich Lindenau studied at the Kunstgewerbeschule in Dresden, but was otherwise largely self-taught. An exhibition of his work was held in 1931 at the Józef Sandel’s Galerie junge Kunst in Dresden.

In February 1956, not long after Lindenau’s death the previous year, a retrospective exhibition of his work was held at the Albertinum in Dresden.

Study of Bullrushes Watercolour, over a pencil underdrawing, on Fabriano paper Signed and dated EL. 29. at the lower left centre Inscribed “Binsen” on the verso 384 x 267 mm., 15 1/8 x 10 1/2 in.

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98 ARCHIBALD THORBURN Dumfries 1860-1935 Godalming Guillemots on a Cliff with Puffins flying Signed lower left: A. Thorburn Watercolour heightened with bodycolour on buff paper 135 x 188 mm., 5 1/4 x 7 1/4 in.

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99 CHARLES KNIGHT Hove 1901-1990 Ditchling

Schools. There he discovered the work of John Sell Cotman (1782-1842) which was a lifelong influence and led him to concentrate on working in watercolour. He exhibited widely and taught on and off at the Brighton School of Art for many years becoming, in 1959, the Vice-Principal and Head of the Drawing and Painting Department. In 1944 he was asked by the Queen Mother to give lessons in watercolour painting to Princess Margaret which he did for three years. He is probably best known for the forty drawings of Sussex which he produced for the Recording Britain project in the late 1930s.

Trevor Rocks near Llangollen, North Wales Signed lower left: CHARLES KNIGHT ‘33 Watercolour over pencil 363 x532 mm., 14 1/4 x 20 3/4 in.

Knight studied at Brighton School of Art from 1919 to 1923 before winning a scholarship to the Royal Academy 124

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100a ANNE CONNELL Born 1959

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

A Little Sanctuary Collage and gouache on hand-marbled paper mounted on panel 255 × 255 mm., 10 × 10 in.

The architectural details were appropriated from two paintings by the 15th century Sienese painter Giovanni di Paolo; the column is from Saint Catherine Dictating Her Dialogues of c.1447-1449 in the Detroit Institute of Arts, while the pink facade is taken from Saint Clare of Assisi Blessing the Bread before Pope Innocent IV of c.1455, in the Yale University Art Gallery, New Haven. The pointing hand was inspired by that of the archangel Gabriel in Fra Angelico’s Annunciation of c.1430-1431 in the Museo Diocesano in Cortona.

Painted in 2018.

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

Connell’s paintings sample images and patterns from Quattrocento sources, while at the same time representing these elements within a distinctively modern idiom.

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100b ANNE CONNELL Born 1959

The tiny villa can be found in the landscape on the south wall of Benozzo Gozzoli’s Chapel of the Magi in the Palazzo Medici-Riccardi, Florence. The ladder is an adaptation of that in the armorial bearings of the medieval tilers’ guild of Paris.

The Scheme of Things Collage and gouache on hand-marbled paper mounted on panel 255 × 255 mm., 10 × 10 in.

For further information about Anne Connell, or to view images of her recent paintings and drawings, please visit the page dedicated to her work on the gallery’s website.

Two exhibitions of her work have been held at Stephen Ongpin Fine Art in London, in 2009 and 2014, and copies of the catalogues of both exhibitions may be obtained from the gallery on request.

Painted in 2018.

‘In essence, just about everything I’ve ever made has been a collage of some sort or other. I always expect my literal collages – the paper and glue ones – to come together more easily than my paintings, yet they never do.’ (Anne Connell).

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Stephen Ongpin has over 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 Alesa Boyle, 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.

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

Stephen Ongpin Fine Art Tel.+44 (0) 20 7930 8813 or + 44 (0)7710 328 627 info@stephenongpinfineart.com www.stephenongpin.com 127

INDEX OF ARTISTS ADAM, Henri

no.81

ALLIER, Paul

no.94

ANDERSON no.92 ANDRIEUX, Clèment-Auguste

DUNKER, Balthasar Anton

no.14

EVENEPOEL, Henri

no.79

FIELDING, Newton Smith Limbird

no.36

no.67

BALLU, Albert

no.74

FRANÇAIS, François-Louis

no.65

BRABAZON, Hercules Brabazon

no.82

FRANZONI, Roberto

no.91

BRANWHITE, Charles

no.63

FRENCH SCHOOL, 18th century

BRONDGEEST, Albertus

no.26

nos. 7-8, 11

FRENCH SCHOOL, 19th century

no.44

FRIPP, George Arthur

no.47

GASTINEAU, Henry

no.62

CECCO BRAVO, Francesco Montelatici no.3

GREEN, Benjamin Robert

no.72

CHIPART no.15

GRIFFITH, Moses

no.19

HARDING, James Duffield

no.48

HARPIGNIES, Henri-Joseph

no.89

CALLOW, John CALLOW, William CAPPELLO, Giovanni Battista

no.58 nos. 59-60 no.5

CICERI, Eugène

no.57

COOKE, Edward William

no.46

CONNELL, Anne CORNU, Sébastien COX, David

no.100 no.37

HILLS, Robert

no.32-33

COX JUNIOR, David

no.45

CRANE, Walter

no.76

CROMEK, Thomas Hartley

no.51

nos. 34-35

HOWITT, Samuel

no.22

HUET, Nicolas

no.24

JEANÈS, Sigismond

no. 83

JEANNIOT, Pierre-Georges

no.78

DAYES, Edward

no.20

DEHODENCQ, Alfred

no.73

KEATE, George

no.17

DESBOUTIN, Marcellin

no.66

KING, Jessie Marion

no.86

DESFRICHES, Aignan-Thomas

no.13

KNIGHT, Charles

no.99

DEVIS, Anthony

no.21

KRETZCHMER, Johann Hermann

no.49

DE WINT, Peter

no.40 128

LEAR, Edward

nos.52-54

ROWLANDSON, Thomas

no.16

LEHMANN, Henri

no.38

RYSSELBERGHE, Theo Van

no.88

LEITCH, William Leighton

no.68

LEWIS, John Frederick

no.50

SCHUFFENECKER, Claude-Emile

no.80

LINDENAU, Erich

no.97

SEZANNE, Augusto

no.84

LINNELL, James Thomas

no.64

SIENESE SCHOOL

no.2

LODI, Ermenegildo LOIR, Luigi

no.4

SOMM, Henri

no.75

no.77

STARK, James

no.43

STEPPES, Edmund

no.93

MEHEUT, Mathurin

no.87

STIMMER, Abel

MESSMANN, Carl Ludvig

no.39

STRANG, William

no.85

MOUCHERON, Isaac de

no.6 THORBURN, Archibald

no.98

MUNN, Paul Sandby

nos. 29-31

no.1

NICHOLL, Andrew

no.61

VARLEY, John

no.42

NIXON, John

no.18

VUILLARD, Edouard

no.96

NOËL, Jules Achille

no.55 WATTS, George Frederic

no.41

WHITE ABBOTT, John

no.25

WICAR, Jean-Baptiste

no.12

WORLIDGE, Thomas

no.9

OWEN, Samuel

no.28

PATON, Waller Hugh

no.70

PAYNE, William

no.23

PILS, Isidore

no.56

PROSSER, George Frederick

no.71

PYNE, George

no.69

RIPPINGILLE, Edward Villiers

no.27

ROBERT, Hubert

no.10

ROBERT, Léo-Paul

no.90

ROCHE, Odilon

no.95 129

130

57852 100 Drawings 2018-19_SR.qxp 05/11/2018 11:25 Page 1

ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2018-2019

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