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

WINTER Catalogue 2019–2020

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

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

We are delighted to present the twelfth edition of our annual Winter catalogue of One Hundred Drawings and Watercolours. The catalogue presents a wide range of British and European drawings and watercolours, placed more or less in chronological order, dating from the late 16th century to the present day. Although the areas of Old Master drawings, early British drawings and watercolours and 19th and 20th Century drawings have long been regarded as disparate fields, 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 – whatever the date and whoever the artist – is always worthy of note. As the enclosed price list shows, the prices of the drawings in this catalogue range from a few hundred pounds 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, as can interesting works by lesser-known artists. We believe that there is much here for the novice collector, as well as the more experienced connoisseur or curator. Indeed, we are very pleased that a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past twelve years. Our respective individual catalogues of more significant drawings will be issued in January and May 2020, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this new 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 therefore direct any enquiries as appropriate. For reasons of space, only a very brief account of each drawing is given in the catalogue. Further information, artist’s biographies and full references, as well as high-resolution digital images of each of the works, are available on request, as well as on our respective websites. The drawings are available for viewing from receipt of the catalogue. A price list is included. Please note that most, but not all, of the works are sold framed. 2


1 CIRCLE OF DOMENICO CAMPAGNOLA Venice(?) c.1500-1564 Padua

Provenance Mathias Komor, New York (Lugt 1882a) P. & D. Colnaghi, London Private collection

Landscape with a Mill Pen and brown ink 413 x 280 mm., 16 ¼ x 11 in. 3


2 MARCO MARCHETTI, CALLED MARCO DA FAENZA Faenza(?) before 1528-1588 Faenza

Known as Marco da Faenza after his birthplace, Marco Marchetti is best known as a designer and painter of grotesque decorations. The recto of this double-sided sheet is a fine example of Marco da Faenza’s distinctive draughtsmanship, characterized by fluid penwork and areas of soft brown wash. Drawings by Marchetti are relatively scarce and, since they can only rarely be connected with known works, are often difficult to date. The present sheet may have been intended as a preliminary study for the artist’s fresco of The Massacre of the Innocents painted in the late 1570s for the logge of Gregory XIII in the Vatican, although the precise arrangement of the figures in this drawing does not appear in the finished work.

Recto: Study for a Massacre of the Innocents: A Roman Soldier with a Mother and Child Verso: A Group of Draped Women and Children Pen and brown ink and brown wash The verso in red chalk and red wash Illegibly inscribed in brown ink at the lower left 195 x 133 mm., 7 5/8 x 5 5/8 in. 4


3 AVANZINO NUCCI Gualdo Tadino 1551-1629 Rome

several commissions for altarpieces and frescoes in the city, although very little of this work survives today. His distinctive draughtsmanship – notably a preference for pen and ink with extensive white heightening on blue or grey-green paper, which gives his drawings a highly finished appearance – led the scholar Philip Pouncey to assemble a group of some fifty drawings by the artist under the provisional name of the ‘pseudo-Bernardo Castello’. In 1967 Pouncey was able to identify the artist on the basis of a preparatory study for a figure in an altarpiece by Nucci in San Silvestro al Quirinale in Rome. A typical and attractive example of Nucci’s manner of drawing, the present sheet remains unrelated to any extant painting, though this is not unusual given the paucity of surviving works by the artist.

The Marriage of the Virgin Pen and brown ink and brown wash, heightened with white, on blue paper Inscribed Avanzino at the lower centre and Pomerancio at the lower right 248 x 170 mm., 9 3/4 x 6 5/8 in. Among the less well-known exponents of the late Mannerist tradition in Rome, Avanzino Nucci received 5



Marco Chiarini, Teodoro Filippo di Liano detto Filippo Napoletano 1589-1629: Vite e opere, Florence, 2007, pp.460-461, no.388 Filippo Teodoro de Liagno, better known as Filippo Napoletano, studied in Naples and Rome, but by 1618 was working at the court of the Grand Duke Cosimo II de’ Medici in Florence. He returned to Rome in 1621, where he worked on the decoration of a number of villas and palaces. For the remainder of his career Napoletano was active in both Rome and Naples, producing cabinet pictures of battle scenes, landscapes and marine subjects. Both thematically and stylistically, the present sheet may be compared with a large and impressive drawing of a Naval Battle in the Louvre and a Shipwreck in the Albertina in Vienna, while another drawing of ships on a stormy sea, more freely executed, is in the Art Institute of Chicago. Perhaps the best compositional comparison, however, may be made with a drawing of Boats in a Storm in the Biblioteca Academiei Romî in Bucharest.

Ships on a Stormy Sea Pen and two shades of brown ink and brown wash Made up at the top left corner, and the sheet backed 165 x 257 mm., 6 1/2 x 10 1/8 in. Provenance Mathias Komor, New York Anonymous sale, London, Sotheby’s, 2 July 1990, lot 155 Galerie Paul Prouté, Paris, in 1993 Anonymous sale, Paris, Hôtel Drouot, 20 October 2000, lot 160 P. & D. Colnaghi, London, in 2003 Private collection Literature Marco Chiarini, ed., I disegni italiani della Biblioteca dell’Accademia di Romania a Bucarest: Catalogo generale, Florence, 2004, p.74, under no.XXXVII

A painting of similar subject and composition appeared on the art market in Rome in the 1900s with a plausible attribution to Agostino Tassi. 6


5 JEAN-BAPTISTE TAVERNIER Flemish(?); Active in the second half of the 17th century

Pieces, published in Bruges between 1651 and 1672. Intended as a guide to penmanship, a manuscript copy of this work is in the collection of the Newberry Library in Chicago, in the form of a vellum-bound volume of around fourteen sheets of calligraphy models – mostly signed ‘Tavernier’ – written in different languages and with various types of script, that are stylistically closely comparable to the present sheet. The Newberry album, however, has a different title page, which reads (in calligraphy) ‘ExemplaerBoeck, inhoudende diuersche soorten ban gheschriften ... gheschrieven ende gemaeckt door J. B. Tauernier’. It may be, therefore, that the present sheet was intended as a frontispiece for another album of calligraphic studies by Tavernier that was never printed or published.

A Calligraphic Design for a Frontispiece Pen and brown ink Inscribed, signed and dated EXEMPLAREN / VAN / Verscheyden geschriften / Seer nut in de bequaem voor / Alle beminders en Liefhebbers der Pennen / DOOR / Joannes Baptista Tavernier / Anno 1652 in the centre 205 x 302 mm., 8 1/8 x 11 7/8 in. [sheet] Provenance Anonymous sale, Brussels, Les Nouvelles Galeries de Paris, 23-24 October 1995, lot 656 Jacques Hollander, Ohain, Belgium

It remains unclear whether the artist responsible for this drawing may be identified with the famous French gem merchant and traveller Jean-Baptiste Tavernier (16051689), who made six long voyages to Persia and India between 1630 and 1688. Tavernier was the son and nephew of cartographers, and it is thought likely that he had some practice of both cartography and engraving. In the year 1652, however, he is known to have been in the midst of the fourth of his famous voyages, to India.

The inscription may be approximately translated as ‘Examples of penmanship, very useful for all those who admire writing, by Jean Baptiste Tavernier, in the year 1652’. This drawing may have served as an unused design for the frontispiece of J. B. Tavernier’s Collection of Calligraphic 7


6 NORTHERN SCHOOL 17th Century Landscape with a Castle on a Hill Pen and brown ink and violet wash, with framing lines in black ink Inscribed Scoffer and gall(?) in the lower margin 106 x 147 mm., 4 3/8 x 5 3/4 in. Provenance Private collection, France 8


7 ASTOLFO PETRAZZI Siena 1580-1663 Siena

The Sienese artist Astolfo Petrazzi was a student of Ventura Salimbeni, and may also have studied with Francesco Vanni and Pietro Sorri. After a period of about ten years in Rome, where he painted an altarpiece for San Giovanni dei Fiorentini, Petrazzi returned to Siena in 1631. Among his important works are altarpieces for the Sienese churches of Sant’Agostino and Santo Spirito, as well as paintings of historical subjects in the Palazzo Pubblico in Siena. Petrazzi was also a gifted painter of still life subjects, executed in a combination of a Caravaggesque and Northern manner.

The Miracle of the Loaves and Fishes Pen and brown ink and brown wash Inscribed Nasini on the verso 170 x 376 mm., 6 3/4 x 14 3/4 in. Provenance Anonymous sale, Amsterdam, Mak van Waay, 15 December 1969, lot 339 (as Federico Zuccaro) Dr. C. Richartz, Rotterdam P. & D. Colnaghi, London, in 1992 Private collection, Middlesex

The essential characteristics of Petrazzi’s draughtsmanship were established in a pioneering article published by Philip Pouncey in 1971, when he grouped a number of previously anonymous drawings under the name of the artist on the basis of a signed drawing in the Albertina in Vienna. Pouncey noted that the present sheet, which is a design for an overdoor painting or fresco, may be contemporary with two similar drawings by Petrazzi, depicting A Franciscan Monk Preaching and Figures Praying before a Tomb, both in the Louvre. Also stylistically comparable is a drawing of Christ in Limbo in a private collection in Portugal.

Literature Philip Pouncey, ‘Trois nouveaux dessins de Rutilio Manetti et une hypothèse sur Astolfo Petrazzi’, Revue de l’Art, 1971, p.71, note 20, fig.18



8 WALLERANT VAILLANT Lille 1623-1677 Amsterdam

Born in Lille, Wallerant Vaillant settled in Amsterdam in 1642, and there established a reputation as a portrait draughtsman and, later, a mezzotint printmaker, becoming one of the first professional advocates of the medium. Vaillant produced around a hundred large-scale portrait drawings in chalk, of which the present sheet, dated 1649, is a fine example. His highly-finished drawings, executed with stumped black and white chalks on blue paper, are characterized by a controlled treatment of light and shade. Around three quarters of Vaillant’s drawings are dated to the early part of his career, between 1642 and 1653, and among his sitters were the burgomasters, magistrates, merchants and soldiers of Amsterdam, as well as foreign dignitaries and noblemen. A closely comparable drawing of the Dutch soldier Jacob Bicker, signed and dated 1643, in which the sitter is also depicted in armour, is in the National Gallery of Ireland in Dublin.

Portrait of a Dutch Soldier, Wearing an Embroidered Collar over Armour Black chalk and stumping, with highlights in white chalk, on blue paper Signed and dated Vaillant f. / 1649 at the upper left The sheet made up with strips at the top, left and right edges, and with some made up areas at the bottom edge 417 x 360 mm., 16 3/8 x 14 1/8 in.



9 LUCAS VAN UDEN Antwerp 1595-1672 Antwerp

a relatively small scale, and made a particular speciality of woodland scenes. His biographer Arnold Houbraken noted that he often ‘awoke at the crack of dawn and went out to the fields and the woods’ to draw. Only a very few watercolours by the artist can be identified as preparatory studies for landscape paintings, and most seem to have been produced as finished works of art in their own right.

A Wooded Landscape with Houses Seen Across a River Pen and brown ink and brown wash, with blue, green and red washes A faint sketch of a church in black chalk on the verso, backed 98 x 149 mm., 3 7/8 x 5 7/8 in.

This is a fine example of the landscape studies for which van Uden was best known, and the combination of delicate pen and ink lines with touches of watercolour is a characteristic feature of his draughtsmanship. As one scholar has noted, ‘In his many water-colour drawings Van Uden often achieved a refinement and a certain tenderness that are not always present in his paintings; it is as though he could express himself better in smaller works. The drawings give a good picture of the flat Flemish country and the wooded fringes of Wallonia. Water often plays an important part in his compositions. It is questionable whether the drawings were made direct from nature; they seem rather to have been conceived as ‘finished’ studio pieces based on sketches made out of doors in chalk or with the pen.’

Provenance P. de Ramaix (Lugt 4099), his stamp on the verso A landscape painter, draughtsman and engraver, Lucas van Uden is supposed to have worked in the studio of Rubens, although this is by no means certain. By 1628 he was registered at the guild in Antwerp, and it was there that he spent almost the whole of his career, apart from a tour along the Rhine between 1644 and 1646. As a landscape painter, van Uden was at his best working on 11


10a NORTHERN SCHOOL First quarter of the 17th century

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

The Martyrdom of Saint Paul

Despite their evident high quality, the authorship of this finely executed pair of gouache drawings on vellum has thus far proved difficult to establish. Their traditional attribution to the 17th century French draughtsman and printmaker Jacques Callot (1592-1635) is untenable, nor are they copies of any etchings by the artist. A more recent attribution to the Strasburg artist Johann Wilhelm Baur (1607-1642), who developed a particular specialty of small gouache drawings on vellum depicting landscapes, battle scenes and allegorical subjects, is more plausible, yet the present pair would appear to be somewhat earlier in date.

Gouache on vellum, laid down on wood. Inscribed Callot / 1592 + 1635 / martyre de St. Pa- / -t Paul on the backing board 75 x 96 mm., 3 x 3 3/4 in. Provenance AndrĂŠ Novak(?), according to a label on the old backing board



10b NORTHERN SCHOOL First quarter of the 17th century

The artist responsible for this pair of Biblical scenes must have been inspired by the paintings of the German artist Adam Elsheimer (1578-1610), and in particular the smallscale religious scenes on copper painted by the artist in the first decade of the 17th century in Rome. Elsheimer’s small paintings, often crowded with figures and full of detail, were highly influential on the succeeding generation of Dutch, Flemish and German artists working in Rome. It is likely, therefore, that the author of this pair of gouaches – characterized by a dynamic composition and highly refined technique – may be found among the Northern artists active in Rome in the first quarter of the 17th century.

The Martyrdom of Saint Peter Gouache on vellum, laid down on wood 76 x 96 mm., 3 x 3 3/4 in. Provenance André Novak(?), according to a label on the old backing board Literature Joachim Jacoby, Die Zeichnungen von Adam Elsheimer: Kritischer Katalog, Frankfurt am Main, 2008, p.343, note 262

A tentative attribution to the German painter Pieter Schoubroeck (c.1570-1607) has also been suggested. Of Flemish origins, Schoubroeck worked in Nuremberg and Frankenthal, and is best known for small and crowded scenes of Old and New Testament subjects, landscapes and battle scenes, often painted on copper. 13


11 NICOLAS LANCRET Paris 1690-1743 Paris

Mary Tavener Holmes, who has kindly confirmed the attribution of this drawing to Lancret, has suggested that it is an early work, datable to c.1721-1722. She likens the present sheet in particular to such red chalk drawings by Lancret of the early 1720s as a study of a seated woman in the MusĂŠe des Beaux-Arts in Lille and three drawings of standing or seated women in the Rothschild Collection at Waddesdon Manor in Buckinghamshire. Another red chalk drawing in Lille, of a seated woman, is also stylistically comparable.

A Standing Woman with her Left Arm Outstretched Red chalk 160 x 85 mm., 6 1/4 x 3 3/8 in. Provenance Anonymous sale, Paris, Galerie Georges Charpentier, 26 June 1924, lot 18 (as Watteau?) 14


12 DONATO CRETI AND STUDIO Cremona 1671-1749 Bologna

His sale, London, T. Philipe, 26 January – 4 February 1804, lot 190 Probably acquired at the sale by Sir William Forbes, 7th Bt. of Pitsligo, Colinton House and Fettercairn House, Kincardineshire Thence by descent in the Forbes family

Five Drawings on an Album Page Each pen and brown ink, of circular or oval format, laid down within a wash mount with gold lines on an album page The album page inscribed Donato Creti., and Cremonese at the bottom Various dimensions, ranging from 59 x 77 mm. (2 3/8 x 3 in.) to 119 x 90 mm. (4 5/8 x 3 1/2 in.) Album page: 508 x 383 mm., 20 x 15 in.

The top and two bottom drawings on this album page may be fully attributed to Donato Creti, but the two drawings of putti are the work of an artist in his studio or circle. The attribution of the three drawings by Creti on this album page has been confirmed by Marco Riccòmini, who suggests that the circular drawing at the top may have been part of a larger composition. Two similar album pages, each containing seven small drawings by or attributed to Creti, were once in the collection of Sir Joshua Reynolds; one of these is today in the Courtauld Gallery in London.

Provenance John McGouan, Edinburgh (Lugt 1496) 15


13 PIERRE PARROCEL Avignon 1670-1739 Avignon

Parrocel, Parrocel made his career in Avignon, where among his earliest independent commissions was a series of paintings for the church of Saint Pierre. Over the next thirty or so years of his career, Parrocel painted numerous works for churches in Avignon, as well as in Arles, Carpentras, Marseille, Moulins, NĂŽmes and Tarascon.

The Head of a Bearded Man Black and white chalk on light brown paper 193 x 135 mm., 7 5/8 x 5 3/8 in.

A comparable drawing by Pierre Parrocel of a bearded man is in the MusĂŠe Atger in Montpellier, while another similar study of the heads of two women was at one time in the collection of Jean Masson and was sold at auction in Paris in 1923.

A member of a prominent local family of artists active over several generations, the Baroque painter Pierre Parrocel was known for religious works. A pupil of his uncle Joseph 16


14 BIBIENA FAMILY 18th Century

treatises, notably Varie opera di prospettiva (Various Works of Perspective). Ferdinando’s three sons Alessandro, Antonio and Giuseppe and his nephew Giovanni Carlo were also active as architects and scenographers. Giuseppe Galli Bibiena was arguably the most successful and distinguished member of the family, becoming chief architect and designer of court festivities for the Emperor Charles VI in Vienna, and also working at the Prussian court of Frederick the Great in Berlin.

Design for a Stage Set: The Interior and Courtyard of a Palace Pen and brown ink and grey wash Inscribed and dated Galli(?) / 1760 at the lower right 204 x 241 mm., 8 x 9 1/2 in.

Drawings by the Bibiena family are notoriously difficult to attribute to a specific artist, since nearly every work produced by the members of the dynasty share a similar and distinctive style and handling. The present sheet is a design for a stage set, a field in which the Bibiena were perhaps most highly regarded. While very few of their works as theatrical designers or decorators survive, the variety and magnificence of the Bibiena dynasty’s stage designs can readily be admired from such elaborate drawings as this.

Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420) Three generations of theatre architects and stage designers, the Galli Bibiena family served the courts of Europe for over a century. The brothers Ferdinando and Francesco Galli Bibiena established the reputation of the family as architects and stage designers; both worked at the Hapsburg court in Vienna, while Ferdinando also published a number of 17


15 JOSEPH-FRANÇOIS PARROCEL Avignon 1704-1781 Paris

in 1717 and again between 1736 and 1740, studying at the Académie de France. Agrée at the Académie Royale as a history painter in 1753, Parrocel regularly exhibited both paintings and drawings at the Salon between 1755 and 1781. He also received ecclesiastical commissions, often for such Benedictine churches as the abbey of Mont Saint-Quentin in Picardy, and painted a number of military scenes, some of which are at Versailles.

Virtue Defeating Vice Pen and brown ink and grey wash Signed j f Parrocel at the lower left The sheet with a shaped top, and laid down on another sheet 201 x 146 mm., 7 7/8 x 5 3/4 in.

Relatively few drawings by J.-F. Parrocel are known outside of a large group of some fifty sheets in the Louvre. His drawings, most of which are signed, are characterized by a spontaneity and vivacity that allows for a particular freedom of expression.

A member of a prominent local family of artists active over several generations, Joseph-Ignace-François Parrocel was a pupil of his father Pierre Parrocel. He was in Rome 18


16 LAURENT HUBERT Paris, active between c.1749 and c.1780

Luc, where he was appointed a professor in 1775, Hubert exhibited clay and wax models and small bronzes at the Salons of 1752, 1753 and 1756.

Design for a Sculpture: Venus and Cupid

A closely comparable female nude appears in a rare signed drawing by Hubert of a design for a sconce, formerly in the Wunder collection. The handful of other extant drawings by or attributed to Hubert, including a study for a chimneypiece in the Metropolitan Museum of Art, are stylistically comparable with the present sheet. As has been noted, ‘it is evident that Hubert was never a sculptor in the strict sense but that he practiced rather as a designer of objects of household adornment that were intended to be carried out by specialized craftsmen.’

Black chalk on buff laid paper 322 x 210 mm., 12 5/8 x 8 1/4 in. The present sheet may be grouped with a small number of drawings by the French ornamental sculptor and designer Laurent Hubert. Little is known of Hubert, by whom only two or three signed or inscribed drawings are known. He is first recorded in 1747 as a modeller at the Sévres porcelain factory. A member of the Académie de Saint19


17 FRIEDRICH HEINRICH FÜGER Heilbronn 1751-1818 Vienna

Appointed director of the Akademie in 1795, he rose to become the foremost neoclassical artist in Austria. A respected and fashionable portrait painter, Füger received numerous commissions from the Imperial Habsburg court and the Viennese aristocracy, and also produced portraits of friends and contemporaries. The onset of an eye disease in 1798, however, forced him to abandon painting miniatures.

Portrait of Angelica Kaufmann Pen and grey ink and wash, over an underdrawing in pencil Inscribed Bildnis der Angelica Kaufman at the bottom 199 x 138 mm., 7 7/8 x 5 3/8 in.

The present sheet is a portrait of Füger’s fellow artist, the painter Angelica Kauffman (1741-1807), and is typical of his refined draughtsmanship. It may be compared stylistically with a drawing of Two Young Women (The Gräfinen Tries) in the Albertina in Vienna.

The German painter Friedrich Heinrich Füger showed a talent as a portrait miniaturist at an early age, and established a successful career in Vienna, where he settled in 1774. In 1776 he travelled to Italy, returning to Austria in 1783. 20


18 GILLES-PAUL CAUVET Aix-en-Provence 1731-1788 Paris

The sculptor, architect, engraver and ornamental designer Gilles-Paul Cauvet was particularly known and regarded for his interior decorations, as well as his designs for boiseries, furniture, clocks and gilt bronze ornaments. His distinctive style, with its use of motifs such as acanthus leaves and scrolls, was characterized by a particular lightness and elegance. Appointed sculpteur des bâtiments du roi, Cauvet worked at the Palais-Royal, the Luxembourg Palace and the Opéra at Versailles, and also decorated the interiors of many private hôtels particuliers in Paris. In 1777 he published the Recueil d’ornemens à l’usage des jeunes artistes qui se destinent à la decoration des bâtiments, intended to serve as a compendium of models for young artists studying interior decoration. The present sheet is close to one of the engraved plates in the Recueil d’ornemens, and similar acanthus leaves are found throughout Cauvet’s oeuvre.

An Acanthus Leaf Red chalk, with framing lines in red chalk Signed and dated Cauvet - 1771 at the lower left 227 x 199 mm., 9 x 7 7/8 in. Provenance Martine-Marie-Pol de Béhague, Comtesse de Béarn, Paris Béhague sale, Paris, Hôtel Drouot, 29 November 1995, part of lot 114 Trinity Fine Art, London, in 1996



19 ATTRIBUTED TO PIERRE-ADRIEN PÂRIS Besançon 1745-1819 Besançon

began working as an architect and decorator, and in 1778 was appointed dessinateur du cabinet du Roi to Louis XVI. Two years later Pâris was admitted into the Académie Royale d’Architecture, and in 1784 was named architect of the Menus Plaisirs du Roi. The Revolution found Pâris in semi-retirement, but by 1806 he was back in Italy, serving as acting director of the French Academy in Rome and also helping to direct excavations at the Colosseum.

View of the ‘Temple of Jupiter Serapis’ at Pozzuoli, after Hubert Robert Red chalk 235 x 311 mm., 9 1/4 x 12 1/4 in.

Pâris made several first-rate drawn copies after the Italian landscape drawings of Fragonard and Hubert Robert. The composition of the present sheet is derived from a slightly larger red chalk drawing of the so-called ‘Temple of Jupiter Serapis’ at Pozzuoli by Robert, datable to 1760 and today in a private collection. Although it follows Robert’s drawing fairly closely, there are a handful of significant differences between the two compositions, notably the figures of a man and a woman at the left of centre, which replace the two women found in Robert’s drawing.

Pierre-Adrien Pâris enrolled in the Ecole Royale d’Architecture in Paris in 1860. Although he failed three times to win the Prix de Rome, he was able to study informally at the Académie de France in Rome, where he arrived in 1769. It was there that he met Jean-Honoré Fragonard, whose drawings were to be a particular inspiration. Pâris travelled extensively in Italy, making a particular study of the Roman ruins at Paestum, Pompeii and Herculaneum. On his return to France in 1774, he 22


20 ANTHONY DEVIS Preston 1729-1817 Albury, Surrey

Provenance With Leger Galleries, London, June 1985 With Spink-Leger, London (K3 11397) Private Collection

View in the Fields above the Parsonage, Albury, 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.

Signed with initials lower right Pen and grey ink and watercolour with pen and grey ink border Image 137 x 200 mm., 5 Ÿ x 7 ž in. 23


actual size


and was given lodgings in the Louvre. He exhibited at the ‘open’ Salons held between 1797 and 1804, where he showed landscapes of Paris and its environs. Unlike many of his contemporaries, Moreau never seems to have visited Italy, and his landscapes are rather less Italianate than they are typical scenes of the French countryside. Nature, in all its variety, was the artist’s main concern, and in his compositions figures are always quite small and subordinate to their surroundings. As a draughtsman, Moreau worked primarily in watercolour and gouache, both techniques in which he was able to achieve a remarkable spontaneity and freedom of handling, allowing him to capture effects of light and atmosphere.

A River Landscape with a Seated Woman Gouache on paper 67 mm., 2 5/8 in. diameter Provenance David David-Weill, Paris, until 1936 Wildenstein, Paris Sir Charles Clore, London His posthumous sale, London, Sotheby’s, 10 November 1986, lot 40 Erika Pohl-Ströher, Ferpicloz, Switzerland

Moreau painted only a handful of miniatures of landscapes in this circular format. As Francis Watson has noted, with particular reference to the present work, ‘Genre miniatures were almost as much in favour in France as portraits in little throughout the XVIII century, but landscape miniatures like those of Louis Moreau l’Ainé…are very rare. Working in gouache and water-colour on paper both in great and in little, Moreau specialised in delicately sensitive views of the scenery around Paris painted in a style which anticipates XIX century developments in landscape painting.’

Known as ‘Moreau l’Aîné’ to distinguish him from his younger brother Jean-Michel Moreau, Louis-Gabriel Moreau was a landscape painter and draughtsman of considerable talent. His first exhibited works were watercolour views of ruins, and this type of subject matter remained a common feature of his work throughout his career. Moreau served as painter to the Comte d’Artois, the future Charles X, 24


22 MOSES GRIFFITH Bryncroes, Caernarvonshire 1749-1819 Whitford, Flintshire

Griffith was employed by the celebrated naturalist, writer and antiquarian, Thomas Pennant (1726 – 1798), who lived at Downing Hall, from 1769. He remained with the family, working for Thomas Pennant’s sons until at least 1813. Griffith accompanied Pennant on his tours, and made detailed records of the sites they visited, many of which served as the basis for the illustrations for Pennant’s numerous publications.

Crab, a favourite Terrier at Downing Hall, Flintshire, Wales Inscribed on reverse of original washline mount: Crab, a favourite Terrier at Downing Watercolour over traces of pencil Oval 180 x 242 mm., 6 ¼ x 9 ½ in.

Downing Hall, Whitford, Flintshire was the seat of the Pennant family from 1627 until 1920, when it was sold. It caught fire in 1922, was badly damaged and consequently left uninhabited until it was demolished in 1953. 25


23 JOSEPH FARINGTON, R.A. Leigh, Lancashire 1747-1821 Didsbury, Lancashire

publisher John Boydell and arrived there on 21st August. He visited Brussels and spent the 3rd to the 7th August in Antwerp. He continued to Ghent and Bruges, then took the boat home from Ostend and was back in London on 14th September. Two views of Bruges by Farington, dated 11th September 1793, are in the British Museum (see Joseph Farington – Watercolours and Drawings, exhibition catalogue, 1977, p.71, nos. 79 and 80) and a view of Antwerp was with Guy Peppiatt Fine Art in 2009 (see One Hundred Drawings and Watercolours, exhibition catalogue, 2009, no.8).

The Castle at St Antoine near Fontenoy, Belgium Signed lower right: Jos: Farington and inscribed lower left: Castle at S.t Antoine/near Fontenoy/August 10 - 1793 Pen and brown ink and grey washes over pencil 259 x 157 mm., 10 x 6 in.

This drawing may originate from a sketchbook sold in the Tyrwhitt sale at Puttick & Simpson on 9th December 1921, which was inscribed: `The sketches contained in this volume were made during an excursion to Flanders in the months of August and September 1793.... These drawings were made for Messrs. Boydells, who at the time proposed to have engravings executed from them.’

Fontenoy is a village near Tournai near the Belgian-French border. It is famous as the site of the Battle of Fontenoy which took place between the French and English armies as part of the War of the Austrian Succession in 1745. Farington’s diary records that he left London on a trip to Valenciennes in early August 1793. He had been commissioned to produce views of the town by the 26


24 JEAN-BAPTISTE PILLEMENT Lyon 1728-1808 Lyon

Rome, Vienna and Warsaw. During the 1750s the young artist began to turn his attention to landscape painting, and his pastoral scenes, seascapes and picturesque views soon found an appreciative audience. It was in England between 1750 and 1760 that some of his ornamental designs were first engraved and pub­lished, and where he established himself as a fashionable decorative painter. Throughout his career, Pillement received several prestigious commissions, from such patrons as the Prince of Liechtenstein, King Stanislas August of Poland and Marie Antoinette. For much of the 1780s he was in Lisbon, and it was during this period that some of his finest landscape drawings were pro­duced. His last years were spent in his native Lyon, where he was employed at the Manufacture de Soie et des Indiennes and gave lessons in decoration and de­sign. He died in poverty in 1808, a victim of the decline of the French taste for the rococo in the aftermath of the Revolution.

Fishermen by a Mill and an Arched Bridge Black chalk, with stumping 188 x 286 mm., 7 3/8 x 11 1/4 in. Provenance Anonymous sale, Paris, Hôtel Drouot, 4 May 1927, part of lot 12 Anonymous sale, New York, Sotheby’s, 28 January 1998, part of lot 235 P. & D. Colnaghi, London, in 2000 Jean Pillement was among the most influential decorative draughtsmen in Europe in the second half of the 18th century, working in Madrid, Lisbon, London, Turin, Milan, 27


25a PHILIPPE-LOUIS PARIZEAU Paris 1740-1801 Paris

Provenance P. & D. Colnaghi, London, in 1990 Private collection

A Sheet of Studies of Five Legs, One of a Child

Little is known of the life and work of the painter, draughtsman and engraver Philippe-Louis Parizeau, who was active in Paris from the early 1760s. A pupil of Johann Georg Wille, he worked as an engraver and painter, but only a few examples of his paintings are known today. His prints included reproductive images after the work of Franรงois Boucher and Salvator Rosa, as well as genre scenes and religious subjects.

Red chalk, with framing lines in red chalk Signed and dated Ph. L. Parizeau 1785 at the bottom Numbered 329 at the lower right 396 x 255 mm., 15 5/8 x 10 in.



25b PHILIPPE-LOUIS PARIZEAU Paris 1740-1801 Paris

Provenance P. & D. Colnaghi, London, in 1990 Private collection

A Sheet of Studies of Four Arms

These two drawings would appear to have been drawn by Parizeau as technical exercises, perhaps intended for the instruction of students. Two closely related drawings are today in a private collection, while a similar, horizontal study of hands and feet by Parizeau, signed and dated 1761, appeared on the London art market in 1979.

Red chalk, with framing lines in red chalk Signed and dated Ph. L. Parizeau 1785 at the lower left Numbered 324 in black chalk at the lower right 387 x 258 mm., 15 1/4 x 10 1/8 in. 29



26 THOMAS SUNDERLAND Whittington Hall nr. Kirkby Lonsdale 1744-1823 Littlecroft, Ulverston

Exhibited Lowell Libson Ltd, Watercolours and Drawings, 18th and 19th Centuries, 18th November to 12th December 2003, no.8

a. From Birker Moor looking into Eskdale Eskdale is a valley in the west, wilder part of the Lake District. To its south-west, Birker Moor or Fell is an area of upland wilderness dotted with hill farms.

Inscribed with title on border under mount Pen and brown ink and watercolour over traces of pencil Image 320 x 458 mm., 12 ½ x 18 in.

Sunderland was born at Whittington Hall near Kirkby Lonsdale. He successfully ran the family business of iron mining and smelting until retiring to a house at Ulverston, just south of the Lake District, in the early 1780s.

Provenance With Lowell Libson Ltd, 2003 30


b. b. A Waterfall in the Alps

which were popular with artists and tourists alike. Turner, Cozens and ‘Warwick’ Smith (see no.27) amongst others, all visited the falls and produced numerous drawings and watercolours. There is no evidence that Sunderland ever visited the Continent and he is known to have copied other artists’ work.

Pen and brown ink and watercolour over pencil 458 x 343 mm., 18 x 13 ½ in. It is possible that the subject depicted here shows part of the Reichenbach Falls, near Meiringen, Switzerland, 31



27 JOHN `WARWICK’ SMITH Irthington, Cumberland 1749-1831 London

Provenance Anonymous sale, Sotheby’s, 25th January 1988, lot 78, one of two

a. View in the Apennines between Bologna and Florence

‘Warwick’ Smith travelled to Italy in 1776, under the patronage of the 2nd Early of Warwick, who funded his travels. He became well known within the British artistic community in Rome, sketching with William Pars and Thomas Jones as well as Francis Towne, with whom he travelled back to England in 1781.

Inscribed with title by a later hand on reverse of original mount Watercolour over pencil heightened with touches of bodycolour on laid paper 243 x 312 mm., 9 ½ x 12 ¼ in.




b. Remains of the Temple of Diana on the Coast of Baia near Naples

and warm climate. It was widely regarded as superior even to Capri, Pompeii and Herculaneum and the wealthiest, most powerful citizens built luxurious villas there. Due to volcanic activity over the centuries, part of Baia now lies under the sea, whilst the upper part is still on land.

Inscribed on reverse of original mount in a later hand: J. Smith/Remains of the Temple of Venus on the Coast of Baia near Naples Watercolour over pencil heightened with touches of bodycolour on laid paper 249 by 324 mm., 9 3/4 x 12 3/4 in.

The Temple of Diana is next to the entrance to the small port of modern Baia. It was built during the reign of Hadrian (117-137 AD). Archaeological excavations have revealed that this structure was in fact a thermal bath and not a Temple.

Provenance Anonymous sale, Sotheby’s, 25th January 1988, lot 78, one of two

Another version of this watercolour, dated 1808, is in the Ashmolean Museum, Oxford (see Francis Hawcroft, Travels in Italy 1776-1783, exhibition catalogue, 1988, no.138, pp.113-4, ill.). On both watercolours, an inscription on the reverse incorrectly identifies the subject as the Temple of Venus .

Baia was an ancient Roman town on the north-west shore of the Gulf of Naples. During the ancient Roman period it became a fashionable resort, famed for its spa waters 33


28 PAUL SANDBY, R.A. Nottingham 1730-1809 London

Provenance With the Ruskin Gallery, Stratford-on-Avon The present drawing is characteristic of the lively, onthe-spot drawings that Sandby produced, which were often subsequently then used as the basis for staffage and incidental features in his more highly finished watercolours.

Study of Horses Watercolour over pencil on laid paper 65 x 159 mm., 2 ½ x 6 Ÿ in. 34


29 CAPTAIN FRANCIS GROSE Greenford, Middlesex 1731-1791 Dublin

his own admission) ‘too fat to ride a horse and too poor to keep a carriage’, he travelled extensively throughout Britain and Ireland in search for material for his publications. In the late 1780s he compiled his Antiquities of Scotland, whilst his Antiquities of Ireland was published posthumously in 1796. Together they contain over 1000 plates and were the most extensive series of illustrations of ancient monuments.

Winchester Cathedral from the South East Pen and grey ink and watercolour on laid paper with original washline mount Image 253 x 388 mm., 10 x 15 ¼ in.

The present drawing ‘which shews the south-east aspect of the cathedral was drawn from Dr Lowth’s garden, in the year 1781. The building seen on the south side is his prebendal house’. (Grose, op. cit., 1783 p.88). Between 1885 and 1921, the house was the home of Mary Sumner (1828-1921), the founder of the Mother’s Union.

Engraved: For Francis Grose’s Supplement to the Antiquities of England & Wales, 1783 Captain Grose was an antiquary, lexicographer, draughtsman and officer in the militia. Renowned for his easy company and self-effacing wit, he was regarded by his friends, amongst whom numbered Robert Burns and Horace Walpole, as the ‘greatest porter drinker of his age’ (Martyn Gregory, The Vulgar Tongue, exhibition catalogue, 2019). In 1772, he began work on his ambitious ten volume Antiquities of England and Wales. Despite being (by

William Lowth (1661-1732) was prebendary of Winchester Cathedral. His son Dr Robert Lowth (1710-1781) was a gifted poet, who was elected professor of Poetry at Oxford in 1741, the same year he was ordained in the Church of England. He served as archdeacon of Winchester in 1750, before becoming Bishop of London in 1777. He turned down an offer to become Archbishop of Canterbury. 35


30 THOMAS ROWLANDSON London 1756-1827 London

Cornish Wrestling or Wrastling is a form of wrestling particular to Cornwall. During Rowlandson’s lifetime it was at a peak of popularity. A contest at Bodmin in 1811 attracted a crowd of 4,000 spectators. Rowlandson was a frequent visitor to Cornwall from the mid 1790s to see his friend the banker Matthew Michell who lived at Hengar House near Bodmin. These visits lasted until Michell’s death in 1817.

Cornish Wrestlers in a Town Square Pen and grey ink and grey wash over pencil on laid paper 93 x 152 mm., 3 ¾ x 6 in. 36


31 THOMAS ROWLANDSON London 1756-1827 London

Provenance With Walker’s Galleries, London, 1955 With Peppiatt Fine Art, 2014 Private Collection, UK

The Harvesters

Literature Guy Peppiatt Fine Art, British Drawings and Watercolours, exhibition catalogue, 2014, no.18

Bears signature lower right: T. Rowlandson. Pen and grey ink and watercolour over traces of pencil 240 x 188 mm., 9 ½ x 7 ¼ in. 37


32 WILLIAM PEARSON Durham 1772-1849 Durham

Born in Durham, Pearson moved to London and exhibited at the RA for the first time in 1799. He was a founder member of the Watercolour Society in 1804, despite being based in Shrewsbury between 1802 and 1808. He later returned to his native Durham and is listed in an 1834 Directory as a ‘landscape artist and drawing master’. Throughout his career, his style was deeply influenced by Thomas Girtin (see no.33), as evidenced by the present watercolour. Indeed he seems to have tried to benefit from this similarity. Girtin and Loshak note that apparently ‘Pearson was certainly guilty of one fraudulent transaction, and it is not unlikely that he helped put spurious Girtins on the market, probably assisted by Girtin’s brother John’ (Girtin and Loshak, The Art of Thomas Girtin, 1954, p. 123).

Figures by a Country Cottage Watercolour over traces of pencil 168 x 184 mm., 6 ¼ x 7 ¼ in. Provenance Private Collection, UK



33 THOMAS GIRTIN Southwark 1775-1802 London

One of Girtin’s earliest recorded work was a view of Windsor Castle, which was engraved in 1792 for John Walker’s Copper Plate Magazine, two years before he first exhibited at the Royal Academy. This drawing dates to 1793-94. We are grateful to Greg Smith for his help in cataloguing this drawing.

Horses and Pigs in a Landscape, Windsor Indistinctly inscribed and signed lower right: Windsor/ Gi.. Watercolour over pencil 192 x 139 mm., 7 ½ x 5 ½ in. Provenance Major-General Arthur K. Hay DSO, OBE By descent to his son, Joseph B. Hay until 2017 39


34 MAURO GANDOLFI Bologna 1764-1834 Bologna

exhibition catalogue, Bologna and Paris, 2016, p.14, illustrated p.18, fig.10 Mauro Gandolfi enjoyed a relatively brief career as a painter, and it is for his drawings that he is best known today. This is a fine example of the artist’s exquisite draughtsmanship, and is among a group of elaborate pen and ink drawings of studies of heads that were made as independent works of art for sale to collectors. Mauro carried on a tradition begun by his father Gaetano Gandolfi, who produced a large number of similar drawings of this type. The present sheet was, in fact, long attributed to the elder Gandolfi.

Seven Studies of Heads Pen and brown ink, laid down on an old mount Inscribed G. Gandolfi on the reverse of the mount 230 x 177 mm., 9 x 7 in. Literature Marco Riccòmini, ‘L’arte del disegno’, in Marco Riccòmini, Fogli barocchi: Disegni bolognesi tra Seicento e Settecento, 40


35 ROMAN OR FRENCH SCHOOL 18th Century A Seated Male Nude Red chalk, with framing lines in brown ink, laid down on an old mount Inscribed and dated Stefano Pozzi 1768 on the old mount 261 x 371 mm., 10 1/4 x 14 5/8 in. Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent Exhibited Nivå, Nivaagaards Malerisamling, Ældre europaæiske tegninger fra Benjamin Wolffs samling, 1983, no.50. 41



peintre at the Manufacture de Sèvres, a post he held from 1802 to 1813. His fame as a designer led Czar Alexander I to summon him to Russia, and between 1815 and 1820 the artist worked in Saint Petersburg as the chief painter of the Imperial porcelain works. However, he continued to send small cabinet pictures back to Paris to be exhibited at the Salons. These made up a large part of his painted output, and Swebach’s paintings of horse fairs, markets, battle and hunting scenes were acquired by a large and enthusiastic group of private collectors. He also produced a large number of engravings, and in 1806 published his Encyclopédie pittoresque, a series of lithographs of horses. Swebach continued to exhibit regularly at the Salons until his death in 1823.

Elegant Figures Preparing to go Riding Pencil on laid paper 139 x 143 mm., 5 1/2 x 5 5/8 in. The young Jacques-Francois Swebach left his native Metz and settled in Paris, where he began exhibiting at the Salons in 1791, using the name Desfontaines. He soon gained a reputation for his paintings and drawings of horses and military scenes, and was described by one critic as the ‘Wouwerman of our times’. Swebach was appointed premier 42


37 LUIGI SABATELLI Florence 1772-1850 Milan

From the very beginning of his career, Luigi Sabatelli was highly regarded as a draughtsman. His highly finished pen drawings, and the engravings derived from them, were greatly admired by his contemporaries, and many of the independent drawings were sold to collectors. The present sheet depicts Andromache, the wife of the Trojan prince Hector, mourning over the foot of her husband as he lies on his deathbed after his defeat by Achilles. The artist’s inscription at the bottom of the sheet notes that the drawing was presented by him to a certain ‘Durelli’, probably one of his students during his time as a professor at the Accademia di Brera in Milan. This may refer to either the printmaker Gaetano Durelli or his younger brother, the decorative draughtsman Francesco Durelli, both of whom studied at the Brera.

The Head of Andromache Mourning over the Foot of Hector Pen and brown ink Inscribed Questa dona a Durelli il professore Sabatelli per Sua memoria at the lower centre and right Further inscribed Fece(?) Luigi in the lower margin 295 x 215 mm., 11 5/8 x 8 1/2 in. Provenance Possibly given by the artist to Gaetano or Francesco Durelli, Milan 43


38 JOSEPH CLARENDON SMITH London 1778-1810 At Sea

Dovedale is a valley in Derbyshire through which the river Dove flows. It is now owned by the National Trust but has always been a popular tourist attraction. It runs for about three miles from Milldale in the north to near Thorpe Cloud in the south. The interplay of the limestone geology of Dovedale, with its rock formations and the forms of the wooded areas, clearly captivated the artist.

Dovedale, Derbyshire Indistinctly signed lower right: J.C. Smith f Watercolour over pencil 235 x 346 mm., 9 Ÿ x 13 ½ in.

Initially trained as an engraver, Smith established a career as a topographical artist. However, he developed tuberculosis and in 1810, in the hope that he would benefit from the mild climate, he went to Madeira, but died on the return voyage.

Provenance With the Ruskin Gallery, Stratford-upon-Avon



39 PAUL SANDBY MUNN Greenwich 1773-1845 Margate

Hugh Lloyd’s Pulpit is a tall, isolated columnar rock, which rests on a broad base, rising from the riverbed in a deep glen, near Ffestiniog. Hugh Lloyd was a reputed sorcerer during the reign of James I and apparently delivered his incantations from the summit of the rocky pillar.

Hugh Lloyd’s Pulpit near Ffestiniog, North Wales Signed lower centre: P.S. Munn/1834 and signed and inscribed on reverse of original mount: Hugh Lloyd’s Pulpit/ner Festiniog – N. Wales./P.S. Munn. 1834 Watercolour over pencil heightened with touches of bodycolour 203 x 172 mm., 8 x 6 ¾ in. 45



40 WILLIAM BURGESS London 1749-1812 London

William Burgess was a conventional eighteenth century topographical artist working in pen and ink and wash who also produced portraits in crayon. His father Thomas Burgess (c.1730-1791) was a portrait painter and his sons Thomas, John Cart and Henry William were all artists. He ran a drawing academy in Maiden Lane, London. The present drawings were both executed in December 1797 and subsequently engraved for a publication on Lincolnshire and Cambridgeshire churches.

a. Moulton Church from the South-West, Lincolnshire Signed on border lower right: WBurgefs Delin. Dec.r 28 1797, lower left: Sketch’d on the Spot by W. Burgefs and inscribed verso: Moulton Church/SW Pen and grey ink and wash Sheet 210 x 325 mm., 8 ¼ x 12 ¾ in.

Moulton sits in the Fens in Lincolnshire, five miles east of Spalding. All Saints’ Church, Moulton was built in the late 12th century and in the 1860s. Because of its tall steeple it is sometimes known as `The Queen of the Fens.’

Engraved By W. and H. Burgess for Twelve views of Churches in Lincolnshire and Cambridgeshire, 1800-1805 46



b. Spalding Church from the South-West, Lincolnshire

Spalding stands on the river Welland in the Fens of South Lincolnshire. The foundations of the Church of St Mary and St Nicholas, Spalding, were laid in 1284. The tower was built in 1360.

Signed on border lower right: Drawn by WBurgefs. Dec.r 21st 1797. Finish’d and lower left: Sketch’d on the Spot by Wm & H. Burgefs, Oct 4th 1797 and inscribed verso: Spalding Church/SW Pen and grey ink and wash Sheet 210 x 324 mm., 8 ¼ x 12 ¾ in. Engraved By W. and H. Burgess for Twelve views of Churches in Lincolnshire and Cambridgeshire, 1800-1805



a. 41 ROBERT HILLS Islington 1769-1844 London

Innovations in livestock breeding during the late 18th and early 19th centuries led to artistic commissions from breeders keen to record their successes. Thomas Sidney Cooper, James Ward and Robert Hills were amongst the artists who were most sought after in this field.

a. Study of the Head of a Buffalo Watercolour over pencil heightened with scratching out 266 x 216 mm., 10 ¼ x 8 ½ in.

Hills’ watercolours of animals are particularly notable for being careful, detailed and highly realistic studies, characterised by a delicate use of colour and line. Between 1795 and 1815, Hills published nearly 800 animal studies for his extensive series Etchings of Quadrupeds. 48



b. Study of the Head of a Deer Watercolour over pencil 285 x 240 mm., 11 Ÿ x 9 ½ in. Hills was particularly fascinated by deer, which he would often stalk in order to fully understand how they move and their behaviour. This would help him depict them realistically.



42 EDUARD FECHNER Gross Särchen 1799-1861 Paris

painter Joseph Karl Stieler. Fechner was particularly admired for his portraits of women and children, and counted among his patrons the Duke of Leuchtenberg. In 1825 he settled in Paris, where he worked for the remainder of his career. He made his debut at the Salon in 1835, and continued to exhibit there regularly, showing mainly portraits in oil and watercolour. He also produced a handful of etchings, including a portrait of the noted pianist and composer Clara Schumann, to whom he was related by marriage.

The Head of a Young Boy Wearing a Fur Hat Pencil 210 x 167 mm., 8 1/4 x 6 5/8 in. Born in Saxony, the painter and draughtsman Eduard Clemens Fechner studied at the Akademie in Dresden before completing his training in Munich with the portrait 50


43 AUGUSTA INNES WITHERS Gloucestershire 1792-1877

Withers was the daughter of a Gloucestershire vicar who was a chaplain to the Prince Regent. During the 1820s she established a reputation as gifted botanical and fruit and vegetable artist, whose careful detailed works with an ability to capture textural nuances were highly regarded. From about 1825 she undertook commissions for the Horticultural Society and was involved with numerous prestigious botanical publications. In 1830, she was appointed Flower Painter in Ordinary to Queen Adelaide and later to Queen Victoria.

Still-life of Flowers in a Vase Watercolour and bodycolour heightened with gum arabic 354 x 272 mm., 14 x 10 ž in.



44 WILLIAM ROXBY BEVERLEY Richmond 1811-1889 Hampstead

a result, by comparison with many of his fellow artists, he produced relatively few works. Nevertheless, as one early writer noted, ‘Beverley painted water-colour pictures of rare and delicate beauty, works which alone should suffice to win for him a place in the front rank among our masters of watercolour art.’ A particular interest in skies and atmospheric effects is a legacy of his training as a scenographer.

Fishing Boats on a Beach Watercolour over a pencil underdrawing Signed and dated WBeverley [?] Augt. / 28 1835 at the lower right 258 x 358 mm., 10 1/8 x 14 1/8 in.

An early work of 1835, this is a fine example of Beverley’s lively watercolour sketches. The scene depicted is likely to be one of the fishing communities in the North East of England, where the artist made several sketching tours. One of the first critical reappraisals of Beverley’s work, published in 1921, noted that ‘there are numbers of charming little compositions and studies of boats and shipping, of which he had the completest practical knowledge, down to the smallest detail...His drawing of the subtly curving lines of hulls, his delineation of spars and rigging, is absolutely faultless, and put in with a line unrivalled for certainty and purity.’

Provenance Michael Ingram, Driffield Manor, Driffield, Gloucestershire His posthumous sale, London, Sotheby’s, 6 June 2007, part of lot 248 William Roxby Beverley began his career as a painter of scenery for the theatre, and continued to work in this field throughout his life. Although he began exhibiting his marine watercolours from 1831 onwards, he continued to make his living as a scene painter and, occasionally, as an actor. As 52


45 GEORGE BARRET JUNIOR London 1767-1842 London

Barret was one of the founding members of the Old Watercolour Society in 1804 and always lived in the Paddington area of London. From the early 1820s he produced fewer topographical views and concentrated on romantic Claudean compositions like the present work.

A Classical City Watercolour over pencil heightened with bodycolour and stopping out 366 x 545 mm., 14 ½ x 21 ½ in. Provenance Anonymous sale, Sotheby’s, 16th December 1976, lot 110 Bought by the present owner from Michael Bryan, 1980 Private Collection, UK 53


46 JOHN SELL COTMAN Norwich 1782-1842 London

This relates to a watercolour in Norwich Castle Museum of this title dated 1809. It was Cotman’s exhibit at the Norwich Society in 1809 (see Miklos Rajnai and Marjorie Allthorpe-Guyton, John Sell Cotman – Early Drawings (1798-1812) in Norwich Castle Museum, 1979, no.82, ill. pl.52). Another version of this drawing, with colour notes, is also in Norwich Castle Museum (op. cit., no.81, ill. pl.51). Cotman drew a number of studies of fishing tackle and beached boats at this period which were probably executed at Cromer.

Fish Swills, Rudder, etc. Pencil 139 x 263 mm., 5 ½ x 10 ¼ in.



47 JOHN SELL COTMAN Norwich 1782-1842 London

Melton Constable is the seat of the Earls of Hastings and the church of St Peter’s built in 1092, was originally the estate church. The simplicity of the Norman exterior belies the ornateness of the interior; the result of the Hastings Mausoleum, which fills the south transept and houses the family pew and a series of ornate memorials to the Astley family.

St Peter’s, Melton Constable, Norfolk Signed lower right and inscribed: Melton Church Nork. JS Cotman. Pencil 155 x 237 mm., 6 x 9 ¼ in.

There is a reference to a work of similar size to the present drawing, depicting Melton Constable Church, Norfolk, from the South East, which is also signed and was formerly in the Bulwer Collection (C.F. Bell, ‘John Sell Cotman, (The Bulwer Collection)’, Walker’s Quarterly, 1925, no.69). Although whether this is the present drawing, or another version is uncertain. The Bulwer Collection also included a view of Melton Constable House which was engraved for Excursions through Norfolk, published in 1819 (Bell, op.cit., no.106).

Provenance The Fry Gallery Christie’s, Anonymous sale, 8th December 2011, lot 402 Private Collection, London Cotman depicts the church from the south-east, looking toward both the south transept and the East End. The window in the south transept has been altered subsequently, as has the pitch of the roof on the central tower. 55



48 THOMAS ALLOM London 1804 – 1872 Barnes

Allom served as an apprentice to the architect Francis Goodwin for seven years from 1819. He later worked for Sir Charles Barry on Highclere House and the Houses of Parliament and was a co-founder of the R.I.B.A. He travelled extensively throughout Europe, the Near and Far East. However, he also established himself as a topographical artist and produced numerous drawings for engravings.

a. Ferry over the Derwent, Matlock Bath Inscribed verso: Matlock, Bath, Ferry, Derby..../ August/T..... Brown washes heightened with stopping out and scratching out 98 x 154 mm., 3 ž x 6 in.

The present drawing is taken from downstream just below the ferry that crossed the river Derwent and shows the Ferry House on the left-hand side, which was demolished in 1910. Matlock Bath was a popular tourist destination from the 17th Century when the spa waters were first discovered.

Engraved By J.W. Lowry as a steel engraving for The Counties of Chester, Derby, Nottingham, Leicester, Rutland, & Lincoln Illustrated, 1836-37 56



b. Stybarrow Crag, Ullswater, Westmorland

Patterdale Hall, who during the Civil War, led a group of dalesmen to Stybarrow Crag to repulse a band of Scots, who were en route to fight for Charles I at Preston.

Inscribed in pencil, verso, Stybarrow Crag, Westmorland Pencil, brown ink and wash heighted with touches of white and scratching out 147 x 101 mm., 5 ž x 4 in. Engraved By S Bradshaw, for Westmorland, Cumberland, Durham and Northumberland Illustrated, with descriptions by Thomas Rose, Vol.3, no.31, London, 1832 The dramatic composition, with the narrow pass and rocky cliff bordering the expanse of Ullswater, and the towering fells beyond, dramatizes the story of John Mounsey of 57


49 GEORGE CHAMBERS Whitby 1803-1840 Brighton

Chambers went to sea at the age of 10 and this early career served him well when he embarked on a career as a marine painter, despite his dislike of the experience. His ability to capture the finer points of nautical details meant that he found a ready market with naval officers and even with the nautically-minded William IV, who along with his wife, Queen Adelaide, purchased a number of paintings from the artist. During the 1830s Chambers began to work increasingly in watercolour, which suited his careful technique.

A Dockyard on the Thames, London Signed with initials lower centre Watercolour over pencil 178 x 239 mm., 7 x 9 Âź in. Provenance Ursus Books, New York Charles Ryskamp (1928-2010)

This watercolour formerly belonged to Charles Ryskamp, an art scholar and avid collector who was at different times Director of the Frick Collection and the Morgan Library, both in New York. 58


50 PETER DE WINT Stone, Staffordshire 1784 – 1849 London

Lausanne, Foundation de l’Hermitage, L’Âge d’Or de l’Aquarelle Anglaise 1770 – 1900, 1999, no. 72 London, Andrew Wyld, Peter de Wint, Colourist and Countryman, 16 November – 9 December 2005, no. 20

Barges on the River Thames at Lambeth, London

Literature Gerald Bauer, Le Siècle d’Or de L’Aquarelle Anglaise, 1998, p. 108, pl. 141 W. Hauptmann, L’Âge d’Or de l’Aquarelle Anglaise 1770 – 1900, 1999, p. 123, ill. Andrew Wyld, Peter de Wint, Colourist and Countryman, London, 2005, no. 20, ill.

Watercolour over pencil 219 x 190 mm., 8 ½ x 7 ½ in. Provenance Harriet de Wint, the artist’s wife By descent to Miss H.H Tatlock, the artist’s granddaughter Ms Muriel Grace Bostock Sir Geoffrey Harmsworth, Bt. (1904-1980) With Agnew’s, London, 1990 M and Mme Gerald Bauer, their sale, Christie’s 22 January 2003, lot 39 With Andrew Wyld Ltd, 2005

De Wint’s watercolour shows the tower of St Mary’s Church, Lambeth, which is the only part of the original 12th Century building to survive. The main body of the church was largely rebuilt shortly after de Wint’s death. It suffered neglect and in 1972 was deconsecrated with a view to demolish it. However, it was rescued by Rosemary and John Nicholson who formed the Tradescant Trust, restored the building and established the Garden Museum, the world’s first museum of garden history.

Exhibited Lincoln, Usher Art Gallery, An Exhibition of the Work of Peter de Wint, 1937, no. 173 London, Agnew’s, English Watercolours and Drawings, 1990, no. 63 59



51 HENRY BRIGHT Saxmundham 1810-1873 Ipswich

Bright, the son of a clockmaker, was apprenticed to a chemist in Norwich before turning to drawing. He learnt under Alfred Stannard and took lessons from John Sell Cotman (see nos.46 and 47). In 1836 he moved to Paddington and built up a successful drawing practice in London until 1858 when he returned to Saxmundham. He lived the last years of his life in Ipswich. He specialised in chalk drawings often on coloured paper.

a. The Serpentine, London Signed with initials, dated and inscribed lower left: From a sketch by the Honb Mrs Ca....ll/HB 1832 Coloured chalks on buff paper 265 x 435 mm., 10 ½ x 17 Ÿ in. 60



b. A Windmill by Moonlight Signed with initials lower left Coloured chalks on grey paper 208 x 271 mm., 8 x 10 ½ in.



52 DAVID COX Birmingham 1783-1859 Birmingham

Cox only visited the Continent on three occasions, Belgium and Holland in 1826, and France in 1829 and 1832. Calais Pier was a favourite subject with views of it in Birmingham Museums and Art Gallery, Whitworth Art Gallery and the National Museums, Liverpool.

Calais Pier Watercolour over pencil 120 x 157 mm., 4 ž x 6 in. 62


53 ROBERT LEMAN Norwich? 1799-1863 Norwich

This is a copy of a John Sell Cotman watercolour in the Tate Gallery (T08836) which dates from his tour of Yorkshire in 1805. Leman was a second generation Norwich School artist who was much influenced by Cotman (see nos. 46 and 47) and owned a large collection of his work. The existence of this copy suggests that Cotman’s `View on the Greta or the Tees’ is likely to have been in Leman’s collection which was sold at the Exhibition Rooms, Norwich on 23rd April 1863.

A View on the Greta or the Tees – after John Sell Cotman Inscribed Leman on part of old backboard Watercolour over pencil heightened with touches of bodycolour 322 x 477mm., 12 ½ x 18 ¾ in. 63


54 THOMAS MILES RICHARDSON JUNIOR, R.W.S. Newcastle 1813-1890 Newcastle

Lumley Castle is a 14th century castle at Chester-leStreet near Durham. It is named after its original creator, Sir Ralph Lumley who converted his family manor house into a castle. In the 19th century it was the residence of the Bishop of Durham before being given to the newly founded University of Durham. It was part of University College, Durham until it was sold in the 1960s and is now a hotel.

A distant View of Lumley Castle, Durham Signed and dated lower left: TMR Junr/1841 Watercolour over pencil heightened with bodycolour, scratching out and gum arabic 205 x 350 mm., 8 ¼ x 14 in. Provenance W.H. Bell, his sale, Christie’s, 27th March 1931, lot 112, bt. Pedley for 6 guineas Anonymous sale, Christie’s, 22nd November 1946, lot 63, bt. de Cassels for 9 guineas Private Collection, UK 64


55 GEORGE PETRIE Dublin 1790-1866 Dublin

hills, whose apparent height is increased by a shrouding veil of mist while the sky is overcast with dark clouds. There is a partial break in this gloomy canopy overhead through the gloomy canopy overhead through which a single sunray falls perpendicularly on the still waters of the lonely lake, on the ruins, and the wild wood which hangs above them, as if to show that even in its desolation and ruin, and in storm and darkness, some light from heaven still falls on this old scene of Christian worship’ (see William Stokes, The Life and Labours in Art and Archaeology of George Petrie, 1868).

Gougane Barra with the Hermitage of St. Finbarr, Co. Cork, Ireland Indistinctly signed and dated lower right: G. Petrie/1831 Watercolour heightened with touches of bodycolour and scratching out, with added strip to bottom of sheet 273 x 370 mm., 10 ¾ x 14 ½ in.

There are at least two other versions of this watercolour, one in the National Gallery of Ireland, Dublin (see Peter Murray, George Petrie (1790-1866) – The Rediscovery of Ireland’s Past, 2004, p.147, no.GP76 and GP77, ill. in colour p.25). One of them was exhibited at the Royal Hibernian Academy in 1831, no.226.

William Stokes describes the scene as follows: `The subject is the hermitage of St. Finbar, situated on a lake between Cork and Bantry. The lake is surrounded by 65


56 PAUL HUET Paris 1803-1869 Paris

painter, Eugène Delacroix, who had admired Huet’s watercolours in a shop window, and the two remained lifelong friends. Following his Salon debut in 1827, Huet accompanied Bonington on a sketching tour of the Normandy coast. This was to be the first of his extensive travels throughout France, and the artist was to return often to the regions of Normandy, the Auvergne and Provence, as well as forests of Compiègne and Fontainebleau. Wherever he went, he made numerous drawings and sketches sur le motif in pencil, pastel and watercolour, all imbued with a feeling for light and colour.

A Lake in the Mountains Watercolour, over an underdrawing in pencil 140 x 188 mm., 5 1/2 x 7 3/8 in. Provenance In Huet’s studio at the time of his death, with the atelier stamp (Lugt 1268) By descent in the family of the artist

This atmospheric watercolour is likely to be a view of a lake in the valley of the Auvergne – possibly the Lac de Guéry in Puy-de-Dôme – and may be dated to c.1833. An analogous landscape watercolour of what may be the same view is in the Bruyas collection of the Musée Fabre in Montpellier, while another related watercolour was formerly in the Pierre Miquel collection.

In 1820, while training in the studio of Baron Gros at the Ecole des Beaux-Arts, Paul Huet befriended a fellow student, the young Englishman Richard Parkes Bonington. He learned the English manner of watercolour technique from Bonington, and his rapid command of the medium has meant that works by the two artists have often been confused. He also came into contact with another young 66


57 JAMES HOLLAND Burslem, Staffordshire 1799-1870 London

The town of Ariccia lies in the Alban Hills about 16 miles South-East of Rome and the Chigi family were the ducal family of the town. The road to the right of the gateway leads up the hill to the town and the church of Santa Maria dell’Assunta. The gateway had previously been drawn by Turner on his visit to Ariccia several decades earlier, in 1819.

The Gateway to the Chigi Park, Ariccia, Italy Inscribed verso: at La Riccia Watercolour over pencil heightened with watercolour on grey paper 175 x 258 mm., 6 ¾ x 10 in. Provenance Andrew Wyld, his sale, Christie’s, 10th July 2012, lot 188 67


a. 58 JAMES HOLLAND Burslem 1800-1870 London

Provenance Bought at Guy Peppiatt Fine Art, 2008 By descent to the present owner

a. The Dome and Campanile of the Church of Santa Maria Formosa from near the Palazzo Malipiero, Venice

Literature Guy Peppiatt and Stephen Ongpin, One Hundred Drawings and Watercolours, 2008, no.42, p.45

Signed with monogram c.l. and inscribed: Church/ Venice Watercolour over pencil heightened with white on buff paper 261 x 165 mm., 10 Ÿ x 6 ½ in. 68



b. Calle Regina, Venice

works he produced as a result of these trips, were largely responsible for cementing his reputation.

Signed centre right: J.H. ‘44 and inscribed on backing in a later hand: Corte della Regina/Venice Watercolour over pencil heightened with bodycolour 227 x 150 mm., 8 ž x 6 in.

Calle della Regina is in the Santa Croce district of Venice. It is named after Caterina Cornaro, who became Queen of Cyprus in 1472 but following the Turkish invasion of 1489, returned to Venice and resided in the Castello di Asolo.

Between 1835 and 1865 Holland undertook numerous visits to Venice. The architecture and landscape of the city provided the artist with endless inspiration and the



59 DENIS-AUGUSTE-MARIE RAFFET Paris 1804-1860 Genoa

Auguste Raffet enjoyed a successful career as a lithographer and illustrator. Among his patrons was Prince Anatole Demidov (or Demidoff), with whom travelled on an expedition to southern Russia and the Crimea in 1837, and in later years the two travelled together to Spain, Austria, Scotland and elsewhere.

Portrait of the Smuggler Juan Arria, Seated Pen and black ink and black and brown wash, over a pencil underdrawing Inscribed juan arria at the lower centre and Seville 3 oct at the lower right 317 x 221 mm., 12 1/2 x 8 3/4 in.

The present sheet was probably drawn during Raffet and Demidov’s journey through Spain between July and November 1847. In a posthumously published account of the journey, the artist noted that, on the 5th and 6th of October in Seville, he drew three studies of a ‘Costume de contrebandier’, of which this is likely to be one. Another drawing of the same sitter, shown standing and inscribed ‘Juan Arria, contrebandier’, was recently on the art market in Paris.

Provenance Prince Anatole Demidov, Paris and Florence (Lugt 2127) His sale, Paris, Charles Pillet, 8-10 March 1870, part of lot 529 Lallemand collection 70


60a 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 exhibited landscape paintings and pencil drawings, several of which were purchased by King Frederik VII, between 1850 and 1859. In 1860 he 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. Messmann illustrated a series of views of Gothenburg and its surroundings for Viktor Rydberg’s GÜteborg med dess omgifningar, which was published in twelve volumes between 1859 and 1862.

A Tree in the Forest of Ermelunden Pencil Signed and dated L Messmann d 1 Mai 1846 Ermelund at the lower centre Signed L Messmann /1 / at the lower right Inscribed L. Messmann. del 1846. on the old mount 307 x 365 mm., 12 1/8 x 14 3/8 in.

The small forest of Ermelunden, an area of about seventy hectares, lies in the northern suburbs of Copenhagen.

Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420)

This and the following two drawings bear the drystamp of the 19th century Danish collector Benjamin Wolff (17901866).

Relatively little is known of the Danish landscape draughtsman, lithographer and painter Carl Ludvig 71




60b CARL LUDVIG MESSMANN Copenhagen 1826-1893 Gothenburg A Tree in the Charlottenlund Forest, North of Copenhagen Pen and brown ink and brown and grey wash Signed, dated and inscribed L Messmann / 26 / September 1846. / i Charlottenlund. at the lower right Inscribed L. Messmann. del 1846. on the old mount 320 x 260 mm., 12 5/8 x 10 1/4 in.

60c CARL LUDVIG MESSMANN Copenhagen 1826-1893 Gothenburg Study of Trees

Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420)

Pencil, with framing lines in brown ink Signed or inscribed Messmann. on the verso Inscribed Messmann. del on the old mount 138 x 193 mm., 5 3/8 x 7 5/8 in.

A former Royal deer park, the forest of Charlottenlund is situated several kilometres north of Copenhagen, on the shores of the Ă˜resund. At the heart of the forest is the 18th century Charlottenlund Palace and its gardens, which was used as a Royal summer residence until the 1930s.

Provenance Benjamin Wolff, Engelholm, Denmark (Lugt 420) 73


61 EDWARD LEAR Highgate, London 1812-1888 San Remo, Italy

June, he toured Southern Italy from July until October. He described the castle as `sufficiently imposing at this silent hour of night. There is a drawbridge, and sullen gates, and dismal court-yards, and massive towers, and seneschals with keys and fierce dogs – all the requisites of the feudal fortress of romance’ (see Edward Lear in Southern Italy, 1964, pp. 182-184). Melfi is in the central southern area of Basilicata to the east of Naples.

The Entrance to Melfi Castle, Basilicata, Italy Signed and dated lower right: Edward Lear. del./21. Sept/1847 and inscribed lower left: Castello di Melfi/ in Basilicata. Pen and grey ink and watercolour over pencil heightened with bodycolour 177 x 277 mm., 7 x 10 ¾ in.

Two drawings of Melfi by Lear, also dated 21st September 1847, have been with Guy Peppiatt Fine Art, one in 2013 (see One Hundred Drawings and Watercolours, 2013-14, no.51) and the other in 2019 (see British Drawings and Watercolours, 2019, no.62).

Lear visited Melfi from 17th to 22nd September 1847 while he was living in Rome. Having visited Sicily in May and 74


62 THÉODORE VALÉRIO Herserange 1819-1879 Vichy

Austria, Hungary and Romania, as well as the Balkans and Turkey. He made numerous studies of the exotic costumes of the people he saw on his travels, and many of these were published in the form of albums of lithographs or etchings.

A Bashi-Bazouk from Upper Egypt Watercolour, pen and brown ink and brown wash Signed and dated VALERIO 1854 SILISTRIA at the lower right 453 x 277 mm., 17 7/8 x 10 7/8 in. [sheet]

This drawing of a bashi-bazouk was drawn in 1854 at an Ottoman military camp in Silistria, a town on the banks of the Danube in what is today Bulgaria. A bashi-bazouk was an irregular soldier of the Ottoman army. Although usually of Albanian, Kurdish or Circassian origins, they could be of any ethnicity. This watercolour is closely related to an etching, of smaller dimensions, reproduced in Valério’s album Les Populations des provinces danubiennes en 1854, published around 1855.

A painter, engraver and draughtsman, Théodore Valério produced landscapes, genre scenes and military subjects. He was an inveterate traveller, and during the 1840s and 1850s made extensive tours of Italy, Switzerland, Germany, 75



63 THOMAS HARTLEY CROMEK London 1809-1873 Wakefield

Cromek’s depictions of Tuscania or Toscanella as it was known until the late 19th century, are considered amongst his finest works. It is in the province of Viterbo to north of Rome. The artist first visited the village in May 1844 and it became a favourite place. He was particularly impressed by the two Romanesque churches, San Pietro and Santa Maria Maggiore. He recalled in his Journal: `Toscanella is the ancient Tuscania in Etruria….. It contains two remarkably interesting old churches of the 10th and 11th century very rich in ornaments; the porches are very beautiful.’

a. The façade of the Church of St. Peter, Tuscania, Italy Watercolour over traces of pencil 383 x 474 mm., 15 x 18 ½ in.



b. b. The Pulpit of the Church of Santa Maria Maggiore, Tuscania, Italy

Provenance Warrington Collection

Inscribed on reverse of the mount: No 27 Pulpit Sta Maria Toscanella/June 1846 Watercolour over traces of pencil heightened with touches of bodycolour and gum arabic 494 x 339 mm., 19 Âź x 13 Âź in.

Another view of the Church of Santa Maria Maggiore is in the Whitworth Art Gallery, University of Manchester.



64 DAVID COX Birmingham 1783-1859 Birmingham

Exhibited Leeds City Art Gallery, Exhibition of Early English Watercolours, 1958, no.18

A Rocky Stream surrounded by Woodland

This loose late work dates from the late 1840s or early 1850s and is likely to be a view in North Wales where Cox was a regular visitor during this period of his life.

Watercolour over pencil 364 x 455 mm., 14 ½ x 18 in. Provenance Anonymous sale, Sotheby’s, 20th November 1986, lot 51 78


65 JOHN VARLEY Hackney 1778-1842 London

During the latter part of his career, Varley produced a number of bold, loosely executed sketches of this type. The contrast in the present watercolour between the brown washes and the white highlights clearly demonstrates the artist’s interest in capturing the play of moonlight on the landscape.

Evening Signed and inscribed on reverse of original mount: Evening/J. Varley 1826 Watercolour and bodycolour on laid paper, varnished 129 x 200 mm., 5 x 8 in. 79



66 GEORGE PYNE London 1800-1884 Oxford

Pyne was primarily an architectural draughtsman, who was influenced by his father, William Henry, a Founder Member of the O.W.S, as well as by the work of John Varley (see no. 65), whose daughter he married.

a. Eton College and Windsor Castle by the Thames, Berkshire

The elongated format of the present watercolour has enabled Pyne to depict both Windsor Castle and town in the distance, as well as part of Eton College and Chapel from College Field, on the opposite bank of the Thames, which meanders between the two.

Signed lower right: G. Pyne. 1871 Watercolour over pencil heightened with touches of bodycolour 197 x 508 mm., 7 ž x 20 in. 80



b. Eton from the Terrace at Windsor Castle

This is a view looking north from the North Terrace of Windsor Castle. Eton College Chapel and school are visible on the other side of the river Thames. Paul Sandby painted a number of views looking east and west along the North Terrace (see Jane Roberts, Views of Windsor – Watercolours by Thomas and Paul Sandby, 1995, nos. 16-18 and p. 66, figs. 17.2 and 17.3, Yale Center for British Art). Another version of this subject by Pyne was sold at Christie’s, 12th December 1972, lot 45, bought Agnew’s for 480 guineas.

Signed lower left: G. Pyne. 1849 Watercolour over pencil heightened with touches of bodycolour, stopping out and gum arabic 217 x 293 cm., 8 ½ x 11 ½ in Provenance With the Fine Art Society, London, October 1954



67 GEORGE PYNE London 1800-1884 Oxford 68 JOSEPH MURRAY INCE Presteigne 1806-1859 London

The Garden of St John’s College, Oxford Signed lower right: G. Pyne 18... 217 x 343 mm., 8 ½ x 13 ½ in.

The Radcliffe Camera, St. Mary’s Church and Brasenose College, Oxford

Provenance With Sanders of Oxford

Signed lower left: J.M. Ince 1833 Watercolour over traces of pencil heightened with bodycolour 270 x 200 mm., 10 ½ x 7 ¾ in.

The present watercolour depicts St John’s College from its extensive gardens. The College of St John the Baptist was founded in 1555 by Sir Thomas White, a wealthy London merchant tailor, who also founded the Merchant Taylors schools. The gardens were laid out in the 16th Century into three distinct gardens; the President’s Garden, the Masters’ garden or outer grove and the inner grove. During the 1770s the boundaries between the outer and inner grove were blurred, the gardens simplified and rendered more naturalistic. Despite this there is still a distinctly different character between the two gardens, with the outer grove being laid to lawn flanked by trees, as depicted here, whilst the inner grove is more elaborately and densely planted.

Provenance With Thos Agnew & Sons (no.31950) Ince was born in the Welsh borders and was a pupil of David Cox in Hereford from 1823 until 1826 when he went to London and began to exhibit at the Royal Academy. By 1832 he was living in Cambridge working as an architectural draughtsman but returned to Presteigne in the mid 1830s where he remained for the rest of his life. 82




69 THOMAS LINDSAY London 1793-1861 Hay-on-Wye

replace the ruined medieval church, part of whose tower still stands in the graveyard. It would not however, have been possible to have seen the tower as fully from the position Lindsay has adopted, suggesting that this work was produced in the studio, based on on-the-spot studies, or perhaps Lindsay merged a couple of different viewpoints in order to create a more pleasing image.

Quarry, Blackheath, London Signed lower left: Blackheath/T. Lindsay 1847 Watercolour over pencil heightened with touches of bodycolour 193 x 266 mm., 7 ½ x 10 ½ in.

Blackheath was long exploited for its rich seams of gravel and chalk and numerous gravel and chalk pits and even underground mines were dotted over the heath. The present watercolour illustrates the scale of some of these quarries, the horse and cart at the bottom is dominated by its surroundings. Many of the old quarries were only filled in following World War II, when sites were needed to dispose of the bomb rubble.

Provenance Private Collection. UK The present watercolour shows a view across Blackheath looking south towards Eliot Vale, with Eliot House at the far right and the tower of St Margaret’s, Lee visible. The carriage in the distance above the quarry is on Hare and Billet Road, which runs across part of the Heath. St Margaret’s Church was built between 1839-41 in the gothic revivalist style by John Brown of Norwich, to

We are grateful to Dr Pieter van der Merwe for his help with cataloguing this watercolour.



70 MYLES BIRKET FOSTER, R.W.S. North Shields 1825-1899 Weybridge

Exhibited London, J. & W. Vokins, 14 and16 Great Portland St., Birket Foster Loan Exhibition, 1882, no.25 (part)

Cliveden from Maidenhead Bridge, Berkshire

This is a view looking north from Maidenhead Bridge with the island of Bridge Eyot in the foreground and Cliveden House on the hill in the distance. Cliveden is an Italianate mansion 200 feet above the Thames on a hillside. The present house, the third on the site, was built in 1851 by Charles Barry for the 2nd Duke of Sutherland and is now a prestigious hotel.

Signed with initials lower right and inscribed with title under mount: Cliefden from Maidenhead Bridge Watercolour heightened with bodycolour Whole sheet 178 x 220 mm., 7 x 8 ½ in. Provenance J. Noble, 1882 85


71 JOHN LINNELL Bloomsbury 1792-1882 Redhill

Lieutenant-Colonel James Bellhouse Gaskell was one of three sons of Holbrook Gaskell (1813-1909), a wealthy industrialist and his wife Frances Anne Bellhouse. Holbrook Gaskell formed a notable collection of art including works by Turner and Constable. His son J.B. served as a militia officer in the South Lancashire Regiment and was on the board of several companies, including that founded by his father. Like his father he was an avid collector, particularly of medals, books, Japanese works of art and paintings. In 1889, he purchased the substantial property, Roseleigh in Woolton in South Liverpool, from Albert Tate, the son of Sir Henry Tate, where he lived until his death in 1925.

Changing Pastures Signed lower left: J. Linnell Watercolour over traces of pencil heightened with bodycolour and scratching out on laid paper 127 x193 mm., 5 x 7 ½ in. Provenance Lt.-Col. J.B. Gaskell (1848-1925) of Roseleigh, Woolton near Liverpool, his sale, Christie’s, 30th April 1926, lot 71, bt. Parker for £31.10 86


72 HENRY BARLOW CARTER Bermondsey 1804-1868 Torquay

Henry Carter was a marine and landscape artist and drawing master, who settled in Scarborough during the 1830s. He established close links with a local bookseller and printer, Solomon Wilkinson Theakston, and produced numerous illustrations for Theakston’s publications, including 22 works for Guide to Scarborough, as well as single subjects that were engraved as souvenirs for the expanding tourist market. Carter was influenced by the work of J.M.W. Turner and de Wint, forming a collection of the latter’s work.

Scarborough Castle, Yorkshire Signed lower right: H.B. CARTER. 1834. Watercolour heightened with bodycolour and scratching out 318 x 422 mm., 12 ½ x 16 ½ in. 87


73 JEAN-FRANÇOIS MILLET Gruchy 1814-1875 Barbizon

upon his return to his studio in Barbizon. Soon after his arrival in Vichy on his first visit in June 1866, Millet wrote to his patron Emile Gavet, ‘I have become acquainted with some of the environs of Vichy and have found several very pretty subjects. I make as many sketches as I can, and hope they will supply me with drawings of a different kind from those you already have…I want to provide myself with as large a store of documents [ie. sketches] as possible, and I have to look about me, since I do not know the country well.’ Characterized by a freedom of handling, the landscapes Millet drew in Vichy were critical in the development of his watercolour technique, and this period was his most productive as a landscape draughtsman since the 1850s. Using pocket sketchbooks of various sizes, he would begin a landscape composition with a quick sketch in pencil overlaid with pen and ink, to which he would sometimes add colour notes lightly written in pencil. The artist never parted with, or exhibited, any of his Vichy drawings and watercolours, which only came to light after his death.

Landscape in the Environs of Vichy Pen and brown ink, with touches of watercolour Inscribed by the artist Vichy at the lower right 111 x 163 mm., 4 3/8 x 6 3/8 in. Provenance The studio of the artist, Barbizon (Lugt 1816; Herbert 1894G) The present sheet belongs to a distinctive group of landscape drawings and sketches resulting from Millet’s stay in the spa town of Vichy, in central France, in the summers of 1866, 1867 and 1868. The artist made numerous drawings and sketches of the hills and farmland around Vichy, some of which were worked up into finished paintings and pastels 88



Provenance Georges Antoine Rochegrosse, Paris The present sheet is a portrait of the artist’s young son Edmond Dehodencq (1860-1887). Edmond was also a painter, and trained with his father, but died young, at the age of twenty-seven. Alfred Dehodencq produced a number of charming paintings and drawings of his young children, culminating in the finished painting Interior (The Children of the Artist) of 1872. This watercolour once belonged to the painter Georges Antoine Rochegrosse (1859-1938), who was a young pupil of Alfred Dehodencq at the very beginning of his career.

Portrait of the Artist’s Son, Edmond Dehodencq Pen and brown ink and watercolour Inscribed portrait d’Edmond Dehodencq / le plus jeune fils du Maitre / Edmond Dehodencq, mort très jeune, presque / enfant encore, montrant les plus extraordinaires / dispositions pour la Peinture. Il aurait / ete surement un Artiste de valeur on the verso 163 x 120 mm., 6 3/8 x 4 3/4 in. 89



This watercolour is traditionally attributed to Lionel Constable, John Constable’s youngest son. His father died when he was nine, but he was encouraged to draw in the early 1840s by his brother Alfred. A sketchbook dated 1845 is in the Louvre, Paris and he first exhibited at the Royal Academy in 1849. Over the years, many pictures by him were mistakenly attributed to his father. An exhibition of his work was held at the Tate Gallery from 24th February to 4th April1982 (see Leslie Parris and Ian FlemingWilliams, Lionel Constable, exhibition catalogue, 1982). His landscapes studies, like the present watercolour, echo the work of his father with low horizon and extensive skies.

Study of Clouds Inscribed lower right: Oct 1863 Watercolour on wove paper watermarked: J WHATMAN/1853 194 x 397 mm., 7 ½ x 15 ¼ in. 90


76 SIR EDWARD COLEY BURNE-JONES, BT., ARA, RWS Birmingham 1833-1898 London

It has been suggested that the present sheet may be a preparatory study for a figure in a stained-glass window design by Burne-Jones. A similar leg and torso, for example, is found in the figure of the Archangel Michael in the artist’s stained-glass window of The Last Judgement in the church of St. Michael and St. Mary Magdalene in Easthampstead in Berkshire. The artist received the commission in 1874 and produced a cartoon the following year, and the window was completed and installed in 1876.

Study of the Torso and Right Leg of a Man Pencil 282 x 137 mm., 11 1/8 x 5 3/8 in. 91



77 EDWARD DUNCAN London 1803-1882 London

Provenance: Probably the Artist’s studio sale, 11th March 1885 With the Hampshire Gallery, 1994 Private Collection until 2013 With Guy Peppiatt Fine Art, 2014, where bought by the present owner

a.Study of two Punts With artist’s studio stamp l.r., watercolour over pencil on grey paper 97 x 186 mm., 3 ¾ x 7 ¼ in.

Exhibited Guy Peppiatt Fine Art, Exhibition of Drawings and Watercolours by Edward Duncan, 5th to 9th February 2014, nos. 9 and 11-13

b.Study of a covered Boat

Duncan’s early career was as an engraver, primarily of sporting and marine subjects and from 1843 to 1851, he was on the staff of the Illustrated London News. The present group of carefully observed drawings of boats demonstrates Duncan’s delicacy and precision of line, for which he was celebrated. They are part of a group of sketches of boats drawn on Mumbles Beach, South Wales.

Signed with initials lower left and dated 22 September 1877, with artist’s studio stamp lower right, pencil 86 x 112 mm., 3 ½ x 4 ¼ in. c.Study of a covered Boat With artist’s studio stamp lower right pencil 85 x 142 mm., 3 ¼ x 5 ½ in. d. Study of a covered Boat and Anchor With artist’ studio stamp lower right, pencil 86 x 133 mm., 3 ¼ x 5 ¼ in. 92




d. 93


78 ALEXANDRE THOMAS FRANCIA Calais 1815-1884 Brussels

The son and pupil of the emigré French watercolourist François Louis Francia, who worked for many years in England, Alexandre Francia was raised in his father’s native city of Calais. Unlike his father, who after returning from London in 1817 worked in relative obscurity in Calais until his death, Alexandre travelled extensively throughout Europe, particularly in Scotland and the Low Countries, and eventually settled in Brussels. He specialized in marine subjects, notably views of ports, fishing scenes and storms. He made his Salon debut in Paris in 1835, and was to exhibit there and in London, Antwerp and Brussels throughout his career, receiving numerous honours and prizes.

A Still Life of Letters, Cards, an Envelope, a Pencil, a Match and a Cigar Stub Watercolour Signed with a depiction of the artist’s visiting card, inscribed Mr A. FRANCIA. / 6 rue de Berceau and P.P.C. Dated 1880 twice, on a letter and a banknote 171 x 214 mm., 6 3/4 x 8 3/8 in.

Dated 1880, this charming watercolour still life is unusual in Francia’s oeuvre, which is dominated by landscapes and marine subjects. When the present sheet was exhibited in London in 1985, it was noted that ‘Painted not long before the artist died, it carries, with its cigar stub and the blackedged visiting card ironically marked P.P.C. (parti pour congé), a suitably valedictory message.’

Provenance: Nicholas Meinertzhagen, London King Street Galleries, London, in 1987 Mr. and Mrs. Jerrold Ziff, Urbana, Illinois Exhibited: London, Anthony Reed Gallery, Louis Francia and his son Alexandre, 1985, p.87, no.56, illustrated p.32. 94


79 HENRI-LÉOPOLD LÉVY Nancy 1840-1904 Paris

and portraits. At the Salon of 1872 he achieved critical success with his painting of Herodias, and was acclaimed again the following year with a painting of Christ in the Tomb. Lévy also had a particular talent for large-scale mural decoration. He experienced considerable hardship in the latter stages of his career, however, as a result of the wave of anti-Semitism roused in France by the Dreyfus affair in 1895. His adamant refusal to use a pseudonym to sign his pictures went against the demands of his dealers, and he lost an important outlet for his works, although he still received commissions for decorative mural schemes. Lévy remains relatively little known and studied today, although a small exhibition of his work was held in Nancy in 1996.

The Head of a Youth Charcoal and black chalk, heightened with touches of white chalk, on thin papier calque 278 x 276 mm., 11 x 10 7/8 in. Provenance The first or second sales of the contents of the studio of Henri Lévy (Paris, Hôtel Drouot, 2-3 March 1905 or 29 November 1905), with the vente stamp (Lugt 1675) at the lower left

The present sheet is a study for the head of the angel of death in Lévy’s painting of Death and the Maiden, painted in 1876 and today in the Musée des Beaux-Arts in Nancy.

Henri Lévy made his Salon debut in 1865 and continued to exhibit regularly, showing history subjects, allegories 95


80 WILLIAM LEIGHTON LEITCH Glasgow 1804-1883 London

to London, where he continued as a scenery painter, while taking lessons from Copley Fielding. He travelled extensively throughout Europe between 1833 and 1837, particularly in Italy, where he was based. On his return he established himself as a landscape painter and drawing master, numbering Queen Victoria amongst his pupils.

The Trossachs at Loch Katrine, Ben Venue, Perthshire Signed lower right: W.L. Leitch 1858 Watercolour over pencil heightened with traces of bodycolour 318 x 485 mm., 12 ½ x 19 in.

Ben Venue lies approximately one mile south-west of Loch Katrine in the Trossachs. The area was immortalised in Sir Walter Scott’s poem, The Lady of the Lake, 1810. It was a popular subject with artists including Copley Fielding, who exhibited a similar subject at the OWS in 1848.

William Leighton Leitch began his career as a scene painter and painter of snuff boxes in Scotland before moving 96


81 THOMAS MILES RICHARDSON JUNIOR Newcastle-upon-Tyne 1813-1896 Newcastle-uponTyne Traveller on horseback in the Scottish Highlands Indistinctly signed lower right Watercolour heightened with bodycolour and scratching out 253 x 358 mm., 10 x 14 in. Provenance Bought at the Heather Newman Gallery, April 2002 By descent to the present owner 97


82 ITALIAN SCHOOL 19th Century Vesuvius from Anacapri Pen and brown ink and brown wash, over an underdrawing in pencil Numbered 1 to 4 Inscribed with a legend N5 Il Vesuvio, 1 Veduti d’Anna Capri. / portici, 2 / torre del greco, 3 / torre del annunziata 4 at the upper left 176 x 244 mm., 6 7/8 x 9 5/8 in. Provenance Private collection, London 98


83 ETIENNE DINET Paris 1861-1929 Paris

and in 1904 bought a home in the town of Bou-Saada in southern Algeria. By the turn of the century Dinet was regarded as one of the leading Orientalist painters of his generation. As one contemporary writer noted, ‘No other painter has evidenced such an intimate knowledge of the East; no one has caught and recorded with such fidelity the spirit of the Orient – people, topography, atmosphere, everything in his canvases is true to fact; no one has so vitalized his pictures with the breath that is not of the Occident…in Dinet’s case we have the work of a man who by study and residence has literally made himself an Oriental, and who sees and feels the East as an Oriental must naturally feel and see it.’ By 1913 he converted to Islam, changing his name to Nasreddine Dinet.

The Head of an Algerian Youth Pastel, charcoal and gouache on brown paper Signed E DINET at the lower right 331 x 235 mm., 13 x 9 1/4 in. In 1884 Alphonse-Étienne Dinet won a travel scholarship to Algeria. He was to return often to the country, which he soon regarded as a second home, and immersed himself in the local culture. He spent up to nine months a year there, 99


84 SIR WILLIAM ORPEN, RHA, RA Stillorgan, Co. Dublin 1878-1931 London

Orpen, Augustus John and Charles Conder joined the newly married Rothensteins on holiday in Normandy. Both Orpen and John fell in love with Grace, and she maintained a correspondence with the former throughout the winter of 1899-1900. She first posed for Orpen in 1900, and the two were married the following year, with Grace becoming one of his most faithful models.

Portrait of Grace Knewstub Orpen Coloured chalks on dark grey paper 165 x 130 mm., 6 1/2 x 5 1/8 in. [image]

The present sheet is a preparatory study for Orpen’s nowlost double portrait of himself and Grace painted in 1901 and shown at the Society of Portrait Painters exhibition in London that year. The pendant to the present sheet, a self-portrait of the artist – of identical medium, technique, dimensions and provenance, also a study for the now-lost double portrait – was recently sold at auction. It is possible that both drawings once made up a single sheet.

Provenance John Postle Hestletine, London (Lugt 1508) Possibly Wyndham T. Vint, Bradford, Yorkshire Private collection, and thence by descent This is a portrait of Grace Knewstub, the younger sister of Alice Knewstub, the wife of the painter William Rothenstein. Grace first met Orpen in the summer of 1899, when she, 100


85 HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Sussex

Brabazon travelled almost ceaselessly during his life, throughout Europe and to North Africa and India. The present view looks across the city and the old harbour of Genoa, towards the sea.

Genoa Harbour, Italy Inscribed verso: Genoa Watercolour and bodycolour on buff paper 235 x 323 mm., 9 ¼ x 12 ¾ in. 101


86 MARY WOODWARD fl. 1890-1914 The Water Butt Signed lower right: MARY WOODWARD 1894. Watercolour heightened with stopping out 142 x 243 mm., 5 ½ x 9 ½ in. 102


87 WALTER LANGLEY Birmingham 1852-1922 London

setting up his studio in 1882, following his visit to the village two years earlier. He remained in West Cornwall until his death in Penzance in 1922. Langley began his training at the Birmingham School of Design and in the studio of the lithographer, August Heinrich Biermann, before studying at the South Kensington Schools in London. He initially established himself as a lithographer, working with his former master, however, in 1879, he abandoned this early career preferring to concentrate on painting.

A Cottage at Tredavoe near Newlyn, Cornwall Signed lower right: W LANGLEY and inscribed on part of old mount: 2213/At Tredarvoe Watercolour 200 x 125 mm., 7 ž x 4 ž in.

This early view, which dates from circa 1880, is drawn at Tredavoe, a village to the south-west of Newlyn.

Langley is often regarded as the pioneer of the Newlyn School, as he was the first of the group to settle in the village, 103


88 WILLIAM STRANG, RA Dumbarton 1859-1921 Bournemouth

by those of Hans Holbein at Windsor Castle, which he had studied closely. Between 1898 and 1909 Strang produced some five hundred drawings of this ‘Holbein’ type, characterized by the use of red and black chalks on paper washed pink or beige.

Portrait of the Artist’s Daughter, Nancy Strang Red, black and white chalks on ochre prepared paper Signed and dated W. STRANG / 1904. at the lower right 374 x 286 mm., 14 3/4 x 11 1/4 in.

The present sheet is a portrait of Strang’s only daughter, Nancy. The artist produced a number of intimate drawings of Nancy Strang in 1904, and comparable drawings include one in the Glasgow Art Gallery and Museum and another that was sold from the collection of the Albertina in Vienna on the art market in Switzerland in 1927.

A superb draughtsman, the Scottish artist William Strang was admired in particular for his portrait drawings, inspired 104


89 HERBERT DALZIEL London 1853-1941 Kent

Academy, the New Gallery, the Grosvenor Gallery and elsewhere. He suffered from ill health and poor eyesight throughout much of his career, and as a result his output remains very small. Nevertheless, he produced a number of small, beautiful landscape paintings, of which the present work is an especially fine example.

The Kiln Oil and pastel on paper laid down on board Inscribed and dated “The Kiln” / Oil Pastel / Painted by Herbert Dalziel / 1910 on a label pasted onto the backing board 167 x 117 mm., 6 5/8 x 4 5/8 in. [sight]

Dated 1910, this delicate landscape, painted in oil pastel on paper, is among a small group of plein-air studies that remained in the artist’s studio at the time of his death; works which show the influence of James McNeill Whistler, who Dalziel knew. Part of a group of paintings, pastels and oil sketches in which he adopted a Neo-Impressionist technique, the present sheet evinces his interest in capturing atmospheric effects in his landscapes. As Kenneth McConkey has noted, ‘In an extraordinary departure, around 1910, Herbert Dalziel abandoned his conservative style and produced a number of jewel-like landscapes which adopt a sophisticated divisionism.’

Provenance The studio of the artist, and by descent to his daughter Ailsa The Dalziel studio sale, London, Sotheby’s Belgravia, 16 May 1978, part of lot 130 A descendant of the Victorian family firm of reproductive engravers known as Dalziel Brothers, Herbert Dalziel exhibited pastoral subjects and landscapes at the Royal 105


90 RAPHAËL KIRCHNER Vienna 1875-1917 New York

Raphaël Kirchner began his career in his native Vienna, where he became known in particular for the risqué ‘Kirchner Girl’; a highly eroticised and exotic woman, who appeared in hundreds of picture postcards. After his move to Paris in 1900, Kirchner continued to depict these seductive women, though the influence of Parisian fashion led his muses to be transformed from languid and sensuous to more elegant and sophisticated. After the outbreak of the First World War, Kirchner settled in New York, where he worked as a decorative painter, portraitist and illustrator.

An Elegant Woman with a Fur Muff Gouache over an underdrawing in black chalk and touches of white chalk, on brown paper Signed, indistinctly dedicated and dated RAPHAËL / KIRCHNER / à mon [?] / [?] sympathetique / Oct.(?) 1914 at the lower left 424 x 161 mm., 16 5/8 x 6 3/8 in. 106


91 CHARLES ROBINSON SYKES (‘RILETTE’) Redcar 1875-1950 Berkshire

sculpture of the Madonna and Child, also for the Abbey. A statuette of a bacchante exhibited at the Royal Academy a few years later led to the commission to design a mascot for Rolls-Royce cars. Each cast of the Spirit of Ecstasy was made to order, and in later years Sykes enlisted the help of his daughter Jo Sykes, who was also to become a sculptor, in the casting and finishing of each individual mascot. Sykes designed the gold and silver cups for Ascot, and also received other commissions for ceremonial gold and silverware, as well as numerous trophies and medals. After the First World War he began to focus more on the commercial projects, with his work in this field signed with the pseudonym ‘Rilette’. (The name ‘Rilette’ stems from the artist’s surname Sykes, or sike; a Scottish word meaning a little brook whose flow creates a shallow channel, or rill.) Over the next few years he produced, as ‘Rilette’, numerous fashion drawings which filled the pages of the Sunday Dispatch and the monthly covers of the magazine Woman. Sykes also designed a series of travel posters for the LNER railway. In 1951 a memorial exhibition of bronzes, drawings, watercolours, pastels and oil paintings by Sykes was held at the Walker Galleries in London.

A Woman Stepping into a Bath Pencil, with touches of brown ink, on thin buff paper 369 x 510 mm., 14 1/2 x 20 1/8 in. Provenance Christopher Cone and Stanley J. Seeger, Whitby The English sculptor, painter and graphic designer Charles Robinson Sykes is perhaps best known for the design of the Spirit of Ecstasy figure used on Rolls-Royce cars, which he executed in 1911. Born in Yorkshire, Sykes won a scholarship to the Royal College of Art in London in 1898 and established a successful career as both a fine and commercial artist. His first significant commission was from Lord Montagu, for a triptych in the Cistercian abbey of Beaulieu, completed in 1903. This was soon followed by a second commission for a nearly life-size bronze 107


92 JAMES McBEY Newburgh 1883-1959 Tangier

Provenance The Fine Art Society, London, in 1960

by the 1920s McBey had become one the best known and most successful etchers in Britain, with his landscape etchings and drypoints fetching high prices. He began working in watercolours in Morocco in 1912, mainly as aids towards his etchings. He was, however, soon persuaded by his London dealers, Colnaghi and Obach, that his watercolours would find a ready market, and an exhibition of them – mainly views in Holland, Scotland and Suffolk – was held at the gallery in 1914, and all were sold. By the end of the 1920s, the Depression and the decline of the once-booming market for prints led McBey to focus more on watercolour and oil painting. His technique as a landscape watercolourist developed considerably in the 1930s, resulting in works of remarkable virtuosity.

Born in a small village a few miles north of Aberdeen, James McBey had little or no formal training, and from the age of fifteen worked as a bank clerk. He began painting and drawing as a hobby, and was in particular interested in etching. By 1910 he had abandoned his career in banking to devote himself full time to art. His first exhibition of etchings in London in 1911 proved highly successful, and

The small fishing village of Sizewell in East Suffolk sits on the southeast coast of England, between Aldeburgh and Southwold on the North Sea. McBey is known to have worked at Sizewell several times. A charming watercolour by the artist Martin Hardie of McBey sketching on the beach at Sizewell, drawn in 1914, is in the Aberdeen Art Gallery and Museums.

Fishing Boats at Sizewell, Suffolk Pen and brown ink and brown wash and watercolour Signed and dated McBey / Sizewell 1920 july(?) at the lower right Inscribed Light on the verso 285 x 447 mm., 11 1/4 x 17 5/8 in. [sheet]



93 SIMON BUSSY Dole 1870-1954 London

From early in his career, Simon Bussy produced splendid pastel landscapes and portraits of friends and family. From about 1912 onwards, however, he began to focus on pastel drawings of birds and animals. His pastels were widely admired by his contemporaries, and avidly collected. The poet Guillaume Apollinaire wrote that, ‘The pastels of Simon Bussy are delicate images, as precious as Persian miniatures.’ Although studies of plants and flowers are somewhat uncommon in Bussy’s oeuvre, this group of studies are typical examples of his refined, delicate pastel technique.

Five Studies of Orchids and other Flowers Each pastel, over an underdrawing in pencil, on paper laid down on board Three of the drawings inscribed Coelogyne Himalaya, Lycaste Guatemala and Aristalochia / Brasil Overall with backing board: 505 x 593 mm. (19 7/8 x 23 3/8 in.)

These five drawings were at one time part of the extensive collection of over three hundred paintings and pastels by Bussy, inherited by the politician John Strachey, which were dispersed at auction in 1964 and 1965.

Provenance By descent to the artist’s nephew John Strachey, London Robin McDouall, until 1985 Bequeathed by him to a private collection, London 109


94 GUSTAVE LOISEAU Paris 1865-1935 Paris

financial freedom. For the remainder of his career, he was to travel tirelessly in Brittany, Normandy and the Ile-deFrance, painting landscapes along the Seine and elsewhere.

Still Life with a Dish of Fried Eggs

Loiseau produced several paintings of still-life compositions. Often painted on board, many of these works were done at Pont-Aven between 1922 and 1928. As Didier Imbert has noted of the painter’s method and technique, ‘essentially impressionist in his depiction of landscapes or street scenes, it acquires for the still-lifes a certain classical resonance…in which one perceives his preoccupation with immobility, lack of movement, the static quality of the object represented.’ This large painting may be dated to around 1923. The ceramic dish in which the eggs are placed is found in a number of other paintings by Loiseau, such as a Still Life with Fried Eggs and a Napkin of 1922, or a Still Life with a Lobster, Eggs and Lemon of 1931. The same dish also appears in a Still Life with Eggs and Oysters sold at auction in 1994.

Oil on board Signed G. Loiseau at the lower right 440 x 554 mm., 17 1/4 x 21 3/4 in. Abandoning a career as a house painter, Gustave Loiseau took up painting around 1884 and had devoted himself to it entirely by 1887. Apart from a year at the Ecole des Arts Décoratifs, he was for the most part self-taught as a painter. He joined the Société des Artists Indépendants in 1893, exhibiting six paintings at the group’s annual exhibition, and he continued to show at the Indépendants nearly every year thereafter. In 1897 he entered into a contract with the Galerie Durand-Ruel which allowed him a measure of 110


95 HENRI PICCOT London 1899-1972 Paris(?)

Jura region of Switzerland. He studied at the school of art in La Chaux-de-Fonds between 1915 and 1919, and with the financial assistance of a local patron was able to spend a year in Munich, between 1921 and 1922, as an apprentice to an engraver. By 1924 Piccot had settled in Paris, where he was active mainly as a landscape and still life painter, watercolourist and pastellist, exhibiting at the Salon des Indépendants in 1925 and 1928, as well as at a number of Parisian galleries. He also showed his work in the early 1920s in exhibitions in his native canton of Bern in Switzerland; at Delémont, Saint-Imier and La Chauxde-Fonds. Between 1927 and 1930 Piccot worked as a jewellery designer for the famous house of Janesich in Paris, counting among his clients members of Parisian high society as well as English and European royalty. Late in his career, Piccot also provided book illustrations for the Swiss author Nancy-Nelly Jacquier’s Sanitra, l’enfant de la colline, published in 1971.

Souvenir de la Mobilisation: Still Life with Army Boots and a Canteen Pen and black ink Signed Henri Piccot at the lower right centre Inscribed and dated Fus. Piccot Henri cp.II 223 / Souvenir de la mobilisation 1939. at the lower left Further indistinctly inscribed [?] Proget(?) [erased?] at the lower left 352 x 478 mm., 13 7/8 x 18 3/4 in. [image] 361 x 511 mm., 14 1/4 x 20 1/8 in. [sheet] Born into a Swiss family in London, at the age of six Henri Piccot returned with his family to Tavannes in the Bernese 111


96 KEITH VAUGHAN Selsey 1912-1977 London

During the Second World War, Keith Vaughan declared himself a conscientious objector, and was conscripted into the Non-Combatant Corps (NCC). While serving in the NCC, since there was a limited range of media that could be carried in a regulation army knapsack, Vaughan became adept at expressing himself through the graphic mediums of ink, crayon and gouache. The early 1940s found the artist executing numerous drawings of his surroundings, the barracks and fellow soldiers and labourers, some in sketchbooks and some – known as the ‘Army Drawings’ – on much larger paper and typically filled out with gouache. Dated 1942, the present sheet is a page from one of the many small sketchbooks that Vaughan filled with figure, landscape and compositional studies in pen and ink during this period. In the summer of that year the artist was stationed at a barracks in Codford in Wiltshire, near Ashton Gifford House, where he and his fellow soldiers were tasked with clearing the overgrown grounds.

Stacking Hay Pale brown ink and brown wash, on a page from a sketchbook Signed KV. at the lower right Dated 1942 at the lower left 126 x 173 mm., 5 x 6 3/4 in. [sheet] Provenance Austin/Desmond Fine Art, Ascot, in 1987 J. Brooks Buxton, London Anthony Hepworth Fine Art, Bath



97 JOHN NASH London 1893-1977 Colchester Landscape with Sun inscribed with colour notes and squared for transfer With artist’s studio stamp on backboard Watercolour and pencil on laid paper 230 x 297 mm., 9 x 11 ½ in. Provenance: The Artist’s studio 113


98 DOROTHY HAWKSLEY London 1884-1970 London

Literature Maas Gallery, Dorothy Hawksley, exhibition catalogue, 2005, no. 11, p.31, ill.

Study of a Doorway

Exhibited London, Maas Gallery, Dorothy Hawksley, 2005, no.11

With a sketch of a mother and child verso Watercolour over pencil heightened with touches of bodycolour on grey paper 349 x 235 mm., 13 ¾ x 9 ¼ in.

Hawksley was the daughter of an instrument maker and granddaughter of a marine artist. She studied at the Royal Academy Schools and then taught at King’s College, London for two years. She exhibited at the Royal Academy from 1904 to 1964 and also at the Paris Salon. 114


99 RAY HOWARD-JONES Lambourn 1903-1996 Ravenscourt Park, London

Ray Howard-Jones was born in Lambourn, Berkshire of Welsh parents. From 1920 to 1924, she studied at the Slade, but her career as an artist did not take off until she became one of the few accredited female war artists. Many of these works are now in the Imperial War Museum. She is best known for her views of the Island of Skomer off the Pembrokeshire coast where she spent long periods of time between 1949 and 1958.

A Ramshackle Farm Signed lower right: RAY/’55 Watercolour and bodycolour over pencil 277 x 455 mm., 10 ¾ x 17 ¾ in. 115


100 ANNE CONNELL Born 1959

flea markets, handwork appropriations of architectural details from Quattrocento and Cinquecento paintings, and other idiosyncratic motifs. The tree is an adaptation, in silverpoint, of one in Pinturicchio’s fresco Enea Silvio Piccolomini Presents Frederick III to Eleonora of Portugal in the Piccolomini Library in the Duomo of Siena. The tower (with altered perspective) comes from Benozzo Gozzoli’s fresco Arrival of St. Augustine in Milan in the apsidal chapel of Sant’Agostino in San Gimignano.

In the Realm of Conjecture Silverpoint, gouache and collage on paper mounted on panel 255 × 255 mm., 10 × 10 in. The artist Anne Connell’s work reflects her abiding love of the art of the early Renaissance. This is one of an ongoing series of mixed-media collages by Connell which incorporate antique paper ephemera from Italian

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.


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 in January he exhibits in a gallery in New York as part of Master Drawings New York. He advises clients on their collections, buys and sells on their behalf and can provide insurance valuations. Recently Sarah Hobrough has joined Guy Peppiatt Fine Art as a consultant. Sarah has spent nearly 25 years in the field of British drawings and watercolours starting his career at Spink and Son in 1995. In 2002, she helped set up Lowell Libson Ltd and more recently has worked as a consultant for Christie’s watercolour department before joining Guy Peppiatt Fine Art in 2018.

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

Stephen Ongpin Fine Art Tel.+44 (0) 20 7930 8813 or + 44 (0)7710 328 627 117







BARRET Junior, George


FOSTER, Myles Birket


BEVERLEY, William Roxby


FRANCIA, Alexandre Thomas




FÜGER, Friedrich Heinrich


BRABAZON, Hercules Brabazon

no. 85





BURGESS, William


GIRTIN, Thomas


BURNE-JONES, Edward Coley




BUSSY, Simon


GROSE, Captain Francis



no.98 no.41

CAMPAGNOLA, Domenico [circle]


CARTER, Henry Barlow

no. 72

HILLS, Robert

CAUVET, Gilles-Paul




no. 75





HUBERT, Laurent


HUET, Paul


INCE, Joseph Murray


ITALIAN SCHOOL, 19th Century






COTMAN, John Sell

nos. 46-47

COX, David

nos. 52, 64

CRETI, Donato


CROMEK, Thomas Hartley

no. 63


DE WINT, Peter


DALZIEL, Herbert


LANCRET, Nicolas






DEVIS, Anthony


LEAR, Edward


DINET, Alphonse-Etienne


LEITCH, William Leighton


DUNCAN, Edward


LEMAN, Robert


LÉVY, Henri-Léopold





RAFFET, Denis-Auguste-Marie




RICHARDSON Junior, Thomas Miles

LOISEAU, Gustave


nos.54, 81


MARCO DA FAENZA, Marco Marchetti no.2


no.35 nos.30-31

MCBEY, James


MESSMANN, Carl Ludvig


MILLET, Jean-François




MOREAU, Louis-Gabriel




MUNN, Paul Sandby


SMITH, Joseph Clarendon


SMITH, John ‘Warwick’


STRANG, William




NAPOLETANO, Filippo Liagno


NASH, John




SYKES, Charles Robinson


TAVERNIER, Jean-Baptiste


VAILLANT, Wallerant


NUCCI, Avanzino ORPEN, William

no.6, 10 no.3 no.84

PÂRIS, Pierre-Adrien [attr.]


VALÉRIO, Théodore


PARIZEAU, Philippe-Louis




PARROCEL, Joseph-François








PEARSON, William




WITHERS, Augusta Innes




PETRIE, George




PILLEMENT, Jean-Baptiste


PYNE, George

nos.66-67 119


64196 100 Drawings COVER 2019-20_SR 10mm SPINE.qxp_Layout 1 24/10/2019 15:15 Page 1


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


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