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


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 2

We are delighted to present the thirteenth edition of our annual Winter catalogue of One Hundred Drawings and Watercolours. Although this small catalogue has been a hallmark of our yearly exhibition calendar for over a decade, this is the first year that we are presenting both the catalogue and exhibition digitally. Given the challenges we have all faced in the wake of COVID-19, we shall be disappointed to not see many of you at our gallery during what is usually a very lively time of the year. For this reason, a virtual tour of the exhibition, as it is hung on the walls of our gallery, will be available by the time you read this. We hope you enjoy this catalogue and exhibition, and encourage those of you who are able to visit us in person in London to please do so, by appointment. The exhibition in the gallery continues until the 18th of December. This digital catalogue presents a wide range of British and European drawings and watercolours, placed more or less in chronological order, dating from the first half of the 16th century to the present day. The areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th Century drawings have long been regarded as disparate fields, but 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. The prices of the works in this catalogue range from a few hundred pounds to around £14,000, 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, a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past twelve years. All of the drawings in this digital catalogue are available for viewing at the gallery, by preferably appointment. Further information on any of the drawings, as well as high-resolution and framed images of each of the works, are available on request. Please note that most of the works are sold framed. We are pleased 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 direct any enquiries as appropriate. Prices (in GBP) are given in red at the end of each catalogue entry.



1 GIULIO CAMPI Cremona c.1502-1573 Cremona

This small but highly finished pen and ink sketch may have been created by Campi in preparation for a part of the extensive program of ephemeral decorations – in the form of monumental triumphal arches decorated with statues - executed for the route of the ceremonial entry of Emperor Charles V into the city of Cremona on 18 August 1541. Designed by Campi and Bocaccino, the elaborate decorations were later described by the former’s younger brother Antonio Campi in his book Cremona fedelissima città et nobilissima colonia de’ Romani, published in 1585.

Design for an all’antica Military Trophy Pen and brown ink, with framing lines in brown ink 163 x 112 mm., 6 3/8 x 4 3/8 in. Provenance W. Hackenbruch, South Germany Galerie Arnoldi-Livie, Munich Private collection

The present sheet can be compared, on stylistic grounds, with a number of pen and ink drawings by Giulio Campi for the 1541 decorations, such as two studies of kneeling captives in the British Museum. Also similar are two closely-related grisaille drawings for decorative friezes; one with two kneeling satyrs flanking a trophy of arms and armour, in the Szépmüvészeti Múzeum in Budapest, and another of a military trophy flanked by chained prisoners, in the British Museum. Two stylistically comparable pen and ink drawings, each depicting a frieze of putti, are in the Uffizi and at Christ Church in Oxford, both of which seem to be related to a frieze painted in the church of San Sigismondo in Cremona. A drawing of a frieze with a lion and a putto among acanthus leaves, in the Biblioteca Riccardiana in Florence, is also comparable. Like the present sheet, all of these drawings are largely monochromatic, the better to imitate sculpted reliefs.

Part of a Cremonese family of painters, Giulio Campi probably received his initial artistic training with his father Galeazzo Campi. His first signed and dated painting was an altarpiece executed in 1527 for the Cremonese church of SS. Nazaro e Celso, and in 1530 he was commissioned to paint the high altarpiece and surrounding frescoes in Santa Maria delle Grazie in Soncino. For the remainder of his career Campi was active mainly as a fresco painter in the churches of Cremona, notably at Sant’Agata and San Sigismondo, where he worked alongside Camillo Boccaccino. The two artists again collaborated on the temporary decorations erected to celebrate the entrance of the Emperor Charles V into Cremona in 1541. Campi also worked as an architect, and as such was involved in the rebuilding and fresco decoration of the church of Santa Margherita in Cremona, completed in 1547, which is perhaps the work for which he is best known. The artist received a number of significant commissions beyond Cremona, notably in Milan - where his work was to have an influence on the young Caravaggio - and in Brescia, where he painted a number of canvases for the Palazzo della Loggia from 1549 onwards. Giulio is likely to have made a trip to Rome in the middle of the 1550s. Near the end of his career he painted several works for the Duomo in Cremona, notably the large organ shutters, and worked in the church of Santa Maria di Campagna in Piacenza.






2 Attributed to LUZIO LUZZI, called LUZIO ROMANO Todi and Rome, Active between 1528 and 1575

stuccoes in the Castel Sant’Angelo, notably on the walls and ceiling of the Sala della Biblioteca and the so-called Cagliostra rooms. Luzio worked in a chapel in the Roman church of Santa Maria in Via in 1548 and, alongside Daniele da Volterra, decorated the ceiling of San Giovanni in Laterano from 1563 onwards. He also received payments for paintings and stucco work in the Vatican in 1565 and at the Palazzo dei Conservatori in 1575.

A Design for the Grotesque Decoration of a Quarter Section of a Ceiling, with a Landscape with a Ruin Pen and brown ink and brown wash, laid down on an old mount Inscribed Io aucuno [...] confece / anc. recente a [...] ama / che si confiar […] di [...] / il mese […] o di […] on the verso 211 x 288 mm., 8 3/8 x 11 3/8 in.

This drawing for the decoration of a ceiling is, as Peter Fuhring has pointed out, very closely related to another drawing of similar dimensions – also triangular in shape, with the same decorative elements, and undoubtedly for the same project – in the Royal Collection at Windsor Castle. Like the present sheet, the Windsor drawing was associated by A. E. Popham with Giovanni da Udine (1587-1564), but was later attributed by Anthony Blunt to an artist in the circle of Perino del Vaga. As Fuhring has noted of the present sheet, as well as the related drawing at Windsor, ‘The existence of two drawings of the same subject poses the problem of their relationship, as well as that of the designer and of their link with the executed work. Was one of the drawings the preparatory design for a frescoed ceiling decoration? Or were both drawings made after a now-lost, or not-yet published, painted ceiling decoration? Was one of the drawings made after the other, or were both made after an untraced original drawing?…The [present] drawing can be dated to the period 1540-50, it was executed in Rome and can be linked with the decoration of the apartment of Pope Paul III in the Castel Sant’Angelo by Perino del Vaga and his workshop.’ Stylistically comparable drawings by Luzio Romano are in the Uffizi, the British Museum and the Victoria and Albert Museum, the Metropolitan Museum of Art, the Biblioteca Comunale in Palermo and the Royal Collection at Windsor Castle.

Provenance Major A. Merz P. & D. Colnaghi, London, in 1966 Lodewijk Houthakker, Amsterdam (Lugt 3893) Literature Roeland D. Kollewijn, ed., Wanden en plafonds: Tekeningen uit de verzameling Lodewijk Houthakker, exhibition catalogue, Nijmegen, 1985, p.15, no.9 (as Italian School, mid 16th century) Peter Fuhring, Design into Art: Drawings for Architecture and Ornament. The Lodewijk Houthakker Collection, London, 1989, Vol.I, p.165, no.130 (as Circle of Perino del Vaga, and dated c.1540-1550) Exhibited Nijmegen, Museum ‘Commanderie van Sint Jan’ and Haarlem, Frans Halsmuseum, Wanden en plafonds: Tekeningen uit de verzameling Lodewijk Houthakker, 1985, no.9 Bert Meijer has attributed the present sheet to the Roman painter, stuccatore and draughtsman Luzio Romano. Active between c.1528 and 1575, Luzio was among the most important artists and stuccatori in the circle of Perino del Vaga, with whom he worked on the stucco decoration and grotesques in the Palazzo Doria in Genoa in the late 1520s and early 1530s, and again at the Castel Sant’Angelo in Rome around 1545. Known in particular for his expertise in all’antica decoration, Luzio painted a significant number of the frescoes, grottesche and






3 Circle of PIETRO BUONACCORSI, called PERINO DEL VAGA Florence 1501-1547 Rome Neptune and Two Tritons Pen and brown ink and brown wash, with traces of framing lines in brown ink 217 x 147 mm., 8 1/2 x 5 3/4 in. The present sheet would appear to be a 16th century copy of a lost drawing by Perino del Vaga; one of a set of four drawings of marine gods and nymphs by the artist. The four drawings by Perino – two depicting Neptune and two of the sea goddess Thetis - were engraved, probably sometime between 1560 and 1580, by an artist in the circle of the Mantuan printmaker Giorgio Ghisi (c.1520-1582). Two autograph pen and wash drawings of nymphs and tritons by Perino del Vaga, one in the Albertina in Vienna and the other in the Louvre in Paris, are similar to the present sheet in stylistic and compositional terms, and may also be related to the series of four engravings of Neptune and Thetis. These drawings have in turn been associated with the decoration of the Sala di Apollo in the Castel Sant’Angelo, a project begun by Perino del Vaga but completed after his death – which occurred only a fortnight after work had commenced - by his assistant Domenico Rietti, called Lo Zaga. Another anonymous drawing after the same composition by Perino del Vaga is today in the Albertina (fig.1). Perino used a very similar pose of a seated Neptune in a highly finished drawing of Neptune Triumphant over the Waves, today in the Ashmolean Museum in Oxford. £5,000

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Cremonini’s pupils were Odoardo Fialetti, Emilio Savonanzi, Francesco Gessi and, possibly, Guercino. A pen and wash drawing of a close variant of this composition by Giovanni Battista Cremonini, of similar dimensions to the present sheet and inscribed ‘Cremonino’ in a 16th or early 17th century hand, is in the collection of the Uffizi in Florence (fig.1). The Uffizi drawing displays several minor differences with the present sheet, notably in the two walking figures in a landscape in the right-hand panel, as well as some of the flanking motifs. A stylistically comparable drawing for an ornamental frieze by Cremonini is also in the Uffizi.

A Design for a Mural Decoration, with an Allegorical Female Figure of Prudence Flanked by Grotesques and a Painting of Two Figures in a Landscape Pen and brown ink and brown wash, with framing lines in black ink 174 x 319 mm., 6 7/8 x 12 1/2 in. Giovanni Battista Cremonini, sometimes called Zamboni, was an Emilian artist who was particularly known for the fresco decoration of numerous houses and churches in Bologna, where he spent most of his career. He was first trained by his father, the fresco painter Matteo Cremonini di Zanebone, and among his earliest works was a Deposition of Christ in the church of San Pietro in his native town of Cento, which is now in the Pinacoteca Comunale there. Cremonini completed his artistic education in Bologna, where in 1569 he received a commission to paint a secular frieze in the Palazzo Riario (now Sanguinetti), now lost, and he soon earned a reputation as a skilled and gifted decorator and quadraturista. In 1587 he began an extensive series of paintings and frescoes in the church and monastery complex of San Michele in Bosco, which occupied him for much of the next decade. An active member of the Compagnia dei Pittori in Bologna, Cremonini was commissioned in 1600 to paint frescoes in the circular church of the Madonna del Monte.


Among other prominent works by the artist in Bologna – almost all of which are now lost or destroyed - were frescoes in the Ercolani, Fiorini, Lucchini, Montecalvi, Pietramellari and Samperi palaces and the façade of the Collegio di Spagna, as well as paintings in the churches of San Domenico, Santa Agnese, Santa Maria della Vita, San Giorgio, Santa Maria Mascarella, the Corpus Domini and the Scalzi, among several others. Cremonini is also known to have worked on ephemeral decorations at the courts of Modena and Parma. His last dated works are two frescoes in the convent church of San Francesco in Bologna, executed in 1604. Among

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5 GIUSEPPE CESARI, called CAVALIERE D’ARPINO Arpino 1568-1640 Rome

was to work, off and on, for the remainder of his career. Arpino enjoyed a reputation as one of the leading painters in Italy, and among his pupils was the young Caravaggio, who worked with him in the early 1590s.

A Soldier Blowing a Trumpet Black chalk Numbered 216. at the upper left 100 x 123 mm., 3 7/8 x 4 7/8 in.

Cavaliere d’Arpino’s modern reputation rests more on his drawings than his paintings. As a draughtsman, he favoured red or black chalk, or a combination of the two, and his studies are characterized by a delicate yet assured line. Datable to around 1597, this small drawing would seem to be a study for the trumpeter that appears in the left background (fig.1) of Arpino’s monumental fresco of The Battle Between the Romans, led by Tullus Hostilius, and the Veientes and the Fidenates in the Palazzo dei Conservatori in Rome, painted between 1597 and 1601. The fresco, which measures 10 x 14 metres, is one of Arpino’s most significant works, and a number of preparatory chalk drawings survive for various figures, heads and horses in the composition, as well as two large-scale compositional oil sketches on canvas. Other drawings by Arpino for the same fresco, executed in both red and black chalk, are today in the collections of the Kupferstichkabinett in Berlin, the Museum Kunst Palast in Düsseldorf, the Uffizi in Florence, the Metropolitan Museum of Art in New York, the Louvre in Paris, and elsewhere.

Provenance From an album of drawings by Cavaliere d’Arpino and other artists, probably assembled by a collector in the 17th century Anonymous sale, London, Christie’s, 15 April 1980, lot 77 Giancarlo Sestieri, Rome Literature Marco Simone Bolzoni, Il Cavalier Giuseppe Cesari d’Arpino: Maestro del disegno. Catalogo ragionato dell’opera grafica, Rome, 2013, p.416 (as studio of Arpino) Herwarth Röttgen, Cavalier Giuseppe Cesari D’Arpino: Die Zeichnungen / I Disegni. Vol.II: Die großen Aufträge / Le grandi commissioni 1587/93-1605, Stuttgart, 2013, pp.310-311, no.330 The son of a painter from the small hill town of Arpino, halfway between Rome and Naples, Giuseppe Cesari worked mostly in Rome. During his long career, which spanned nearly six decades, he received important commissions from three different Popes, and came to enjoy a position of considerable significance in the Roman art world. Among his important early projects were the decoration of the Olgiati chapel in Santa Prassede and the Contarelli chapel in San Luigi dei Francesi. With the accession to the papal throne of Clement VIII in 1592, Arpino became the principal painter to the Pope, who bestowed on the artist the title of Cavaliere dell’ordine di Cristo. He worked at San Giovanni in Laterano and designed some seventy large cartoons for the mosaics for the dome of St. Peter’s. For the Pope’s nephew, Cardinal Pietro Aldobrandini, he painted the fresco decoration of the Palazzo dei Conservatori with scenes from ancient Roman history; a project on which he


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fantasy landscape. As Teréz Gerszi noted of the artist, ‘Stevens remained essentially a master of idealising and decorative landscapes; in his drawings, nature was transformed into a stylised and colourful fantasy world, which, however, increasingly incorporated elements of reality.’ Based on the characteristics of his draughtsmanship, therefore, the traditional attribution of the present sheet to Stevens is unsurprising. However, the freedom of handling and the application of wash in this drawing, particularly in the treatment of the trees and leaves, seem to differ from landscape studies that can be firmly attributed to Stevens.

Landscape with a Town and Bridge Pen and brown ink and brown wash and watercolour, with framing lines in brown ink Made up at the upper right corner Inscribed Petrus Stephanus and numbered 57 on the verso Further inscribed Pierre Stephane. Col de Spengler No. 1094. on the old mount 190 x 309 mm., 7 1/2 x 12 1/8 in. Provenance Johan Conrad Spengler, Copenhagen (Lugt 1434) His posthumous sale, Copenhagen, 8 October 1839 onwards, lot 1094 (as Pieter Stevens: ‘Stephani, Pierre. Vue d’une ville gothique, traversée par un ruisseau. A la plume et aux couleurs; fol. en trav.’, bt. Wolff) Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent in the Wolff Sneedorf family

Some similarities may be noted with the drawings of such artists as Kerstiean de Keuninck (1560-1632), Gillis van Coninxloo (1554-1607) and Joos de Momper (1564-1635), all of whom made a speciality of fanciful landscape studies of this type, although very few such works are signed. For example, a stylistically similar drawing by Coninxloo in the Rijksmuseum in Amsterdam, wherein the handling of the tree trunks and the development of the leaves with ink and wash closely mirror that found in the present sheet, is worth noting. However, one remains hesitant to firmly attribute this drawing to Coninxloo, or to any of the prominent draughtsmen of the period producing such fantastical landscapes, since many of these artists had pupils and followers working in their style.

Exhibited Nivå, Nivaagaards Malerisamling, Ældre europaæiske tegninger fra Benjamin Wolffs samling, 1983, no.70 The present sheet has long been attributed to the Flemish landscapist Pieter Stevens the Younger (c.1567-1624). Stevens is thought to have trained in Antwerp, where he is documented as an independent master in 1589. In 1594 he was appointed court painter to the Emperor Rudolph II in Prague, and there came into contact with the artists Roelandt Savery and Paulus van Vianen. Between them the three artists established a school of Mannerist painting and drawing, with a strong emphasis on landscape. Stevens remained working in Prague even after Rudolph’s death in 1611, probably in the employ of Charles I, Prince of Liechtenstein and Stadtholder of Bohemia.


As a draughtman, Pieter Stevens often used a combination of pen and brown ink with brown and blue washes, and specialized in a kind of Mannerist 14




7 VENETIAN OR SOUTH GERMAN SCHOOL c.1600 The Goddess Diana Seated in Clouds Pen and brown ink and brown wash, in an inscribed oval in pen and black chalk The sheet squared for transfer in red chalk Another study for the same figure, in a different pose, drawn in pen and brown ink, over a black chalk underdrawing, on the verso 153 x 149 mm., 6 x 5 7/8 in. Provenance Anonymous sale, Milan, Sotheby’s, 8 May 2001, lot 428 Yvonne Tan Bunzl, London Anonymous sale, London, Christie’s South Kensington, 7 December 2005, lot 312 (as Venetian School, 17th Century) Stephen Ongpin Fine Art, London, in 2008 Private collection, New York Thence by descent An attribution to the Augsburg printmaker Lucas Kilian (1579-1637) has been suggested. One of the leading printmakers working in Europe in the first quarter of the 17th century, and the most significant member of an extensive family of engravers who worked in Augsburg well into the 18th century, Kilian produced drawings as studies for prints and as designs for the applied arts, as well as, occasionally, autonomous works of art. He travelled in Italy between 1601 and 1604, spending time in Venice around 1602-1603, and there is a marked Italianate influence in some of his work. Autograph drawings by Kilian are relatively scarce, however; examples are in the Staatsbibliothek in Augsburg, the Kupferstichkabinett in Berlin, the New York Public Library, and elsewhere.


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8 Attributed to SEBASTIANO FOLLI Siena c.1569-1622 Siena

the Louvre in Paris, as well as in the collection of the Dukes of Devonshire at Chatsworth. The number of drawings that can be securely connected to finished paintings by the artist is, however, fairly small.

Saint Michael the Archangel and the Devil Red chalk and red wash Numbered 307 or 309 [partially cut off] at the top edge, and 309 at the bottom edge 231 x 138 mm., 9 1/8 x 5 3/8 in.

The figure of Saint Michael the Archangel appears in a handful of paintings and frescoes by Folli, including a number of lost works, such as an altarpiece of The Virgin and Child with Saint Michael Archangel and other Saints, painted in 1617 for the church of San Michele Arcangelo at Vico Alto, just outside the city walls of Siena. A similarly armoured figure of the saint, although without the devil at his feet, appears in Folli’s large altarpiece of The Virgin and Child with Saints Peter, Francis, Catherine of Alexandria, Paul and Michael Archangel, datable to the first decade of the 17th century, in the church of San Biagio in Castiglione d’Orcia, as well as in a painting of The Virgin and Child with Saints Michael Archangel and Jerome, today in the town hall of Massa Marittima.

Provenance Anonymous sale, New York, Christie’s, 25 January 2007, lot 15 Private collection, St. Paul, Minnesota The attribution of the present sheet to the Sienese artist Sebastiano di Girolamo Folli is traditional. A pupil of Alessandro Casolani and Ventura Salimbeni, Folli enjoyed a successful career and earned several significant commissions. He is already documented as a painter in 1587 and 1589, although his earliest known work - a frescoed portrait in the Palazzo Pubblico in Siena - dates from 1593. Folli painted numerous works for churches in and around Siena, notably at San Domenico, Santa Maria della Scala and San Sebastiano, as well as paintings in several rooms of the Palazzo Pubblico. A series of frescoes, dominated by a Last Judgement, were executed for the chapel of the Palazzo Cinughi de’Pazzi-Vincenti in Siena. Around the turn of the century Folli also worked for some time in Rome, where among his patrons was Cardinal Alessandro de’ Medici, the future Pope Leo XI, for whom he painted frescoes in the church of Sant’Agnese fuori le Mura. Back in Siena, Folli worked on ceiling frescoes in the churches of Santa Lucia in 1612 and Santa Marta between 1615 and 1617.


Folli’s work as a draughtsman reveals the distinct influence of Alessandro Casolani, and the drawings of the two have sometimes been confused. The largest extant group of drawings by or attributed to Folli is today in the Biblioteca Comunale in Siena, and other sheets are in the Kupferstichkabinett in Berlin, the National Gallery of Scotland in Edinburgh, the Uffizi in Florence, the Museo Cerralbo in Madrid and 18




9 ERMENEGILDO LODI Casalmaggiore c.1580/85-1630 Cremona

could be exchanged for the work of the other.’ (Lodi also seems to have retained a number of drawings by Malosso after the elder artist’s death, from which he continued to derive inspiration for some of the figures in his later projects.) Several drawings by Lodi are today in the Uffizi in Florence and the Museo Civico Ala Ponzone in Cremona, and other examples are in the Ashmolean Museum in Oxford, the Metropolitan Museum of Art in New York, the Galleria dell’Accademia in Venice, and elsewhere.

Design for the Ornamental Base of a Table Pen and black ink and grey wash, over traces of an underdrawing in black chalk; the sheet backed The outlines of one of the female figures and the central mascaroon pricked for transfer 241 x 430 mm., 9 1/2 x 16 7/8 in. Active in Cremona in the first quarter of the 17th century, Ermenegildo Lodi was a pupil of the Cremonese painter and architect Giovanni Battista Trotti, known as Il Malosso (1556-1619). Among his earliest works is a painting of The Virgin with Saints Peter and Jacob, signed and dated 1598, in the church of San Rocco at Bussetto, near Parma, while the following year he is recorded as working in the Duomo at Salò. Lodi’s independent career seems to have begun around 1604, when Malosso left Cremona for Parma. From 1608 onwards Lodi worked in the church of San Siro in Soresina, where he painted the right transept and the vault and dome of the presbytery with scenes from the life of the Virgin.

Similar Mannerist decorative elements - including masks, terms, volutes and acanthus-leaf scrolls - are found in a large drawing by Ermenegildo Lodi for the decoration of a ceiling, today in the Louvre, while also somewhat similar is a small pen and grey wash drawing of an ornamental base with caryatids and masks, currently attributed to Malosso, in the Uffizi in Florence. The facial type of the figures in the present sheet is also typical of Lodi’s drawings, as seen for example in a drawing of a Sibyl in the collection of the University of Iowa Museum of Art in Iowa City. £5,500

Lodi also completed the extensive decoration of the vault of the church of San Pietro al Po in Cremona, a project begun by Malosso around 1587, although he had only completed the first bay of the nave. Despite the long period of time between Malosso’s work and Lodi’s eventual completion of the decoration, such was his familiarity with Malosso’s manner of painting that the younger artist was able to achieve a visual coherence in the appearance of the nave as a whole. This was arguably the most significant public commission of Lodi’s career, and he proudly signed and dated the work, which was completed in 1616. The artist also painted a Preaching of Saint John the Baptist for the baptismal font of the same church. Lodi’s draughtsmanship owes much to that of his master Malosso, and indeed their drawing style is sometimes so close that, as the 17th Florentine biographer Filippo Baldinucci noted, ‘the work of one 20




10 STEFANO DELLA BELLA Florence 1610-1664 Florence

produced drawings of the gardens of the Medici villa at Pratolino, the port of Livorno and the Villa Medici in Rome. After suffering a stroke in 1661, Della Bella worked very little before his death three years later.

A Cavalry Skirmish Pen and brown ink, over an underdrawing in black chalk Laid down 71 x 215 mm., 2 3/4 x 8 7/8 in.

A hugely talented and prolific artist, creating works of considerable energy and inventiveness, Stefano della Bella produced over a thousand etchings, and many times more drawings. The present sheet is a preparatory study for an etching of a cavalry battle (fig.1), part of a series of six prints published in Paris as Divers dessins tant pour la paix que pour la guerre (‘Various drawings both for peace and war’), and datable to between 1638 and 1643. Among stylistically comparable drawings by Della Bella is a study of a battle scene in the Biblioteca Marucelliana in Florence.

Provenance Anonymous sale, London, Christie’s, 4 July 1972, lot 76 (bt. List for 240 gns.) Herbert List, Munich (Lugt 4063) Acquired in 1972 with the rest of List’s collection of drawings by Ursula Ratjen for Wolfgang Ratjen, Munich The Stiftung Ratjen, Vaduz, Liechtenstein Katrin Bellinger / Colnaghi, London, in 2006 Private collection, New York

The drawing bears the drystamp of the German photographer Herbert List (1903-1975), who began collecting drawings in the late 1950s and eventually came to own some 1,100 sheets, of which around 650 were Italian.

A gifted draughtsman and etcher, Stefano della Bella was apprenticed to a goldsmith, and also received training in etching from Remigio Cantagallina. He came to be particularly influenced by the work of Jacques Callot, whom he eventually succeeded as Medici court designer and printmaker, although it is unlikely that the two artists ever actually met. Della Bella’s commissions included etchings of public festivals and tournaments in Florence, as well as court banquets. Under the patronage of the Medici, he was sent to Rome in 1633, where he made drawings after antique and Renaissance masters, landscapes and scenes of everyday life.


In 1639 he accompanied the Medici ambassador to the Parisian court of Louis XIII, and was to remain in France for ten years. He established a flourishing career in Paris, publishing numerous prints and obtaining commissions from Cardinals Richelieu and Mazarin, among other members of the court and the aristocracy. Indeed, the majority of his prints date from this fertile Parisian period, and include scenes of life at the French court. Following his return to Florence in 1650, Della Bella continued to enjoy Medici patronage. Over the next few years he

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11 STEFANO DELLA BELLA Florence 1610-1664 Florence

soldier in the centre of the composition, as well as the seated cavalier to his right, reappear in another small pen sketch formerly included in an album of drawings by Della Bella assembled by the late 18th century calligrapher Thomas Tomkins and dispersed at auction in London in 1975. A figure of a drummer, very close to that seen at the top left of the present sheet, appears in reverse in the left background of a drawing of A Standard Bearer in the Royal Collection at Windsor Castle.

A Sheet of Studies of Soldiers, Cavaliers and a Horse Pen and brown ink, over an underdrawing in black chalk The verso with two studies of weights and pulleys in pen and brown ink, and a further study of a pulley faintly drawn in black chalk Numbered 2(?), 14, 15 and 18, with other illegible inscriptions, in brown ink, above certain figures 134 x 191 mm., 5 1/4 x 7 1/2 in.

Similar studies of soldiers are found in a number of Della Bella’s series of small etchings of military subjects executed in the 1640s, such as the Receuil de diverses pièces très nécessaires à la fortification of c.1638-1643 and the Varii capricci militari of c.1641, as well as the Dessins de quelques conduits de troupes of c.1641-1647. The studies of horsemen in this drawing may also be loosely related to some of the series of nineteen prints entitled Diverses exercises de cavalerie, executed c.1642-1645. Finally, very similar figures of musketeers appear in two etchings from the series La milice moderne, published in 1646.

Provenance From the Kinnaird Castle album of drawings by Stefano della Bella, assembled in the early 19th century, formerly in the collection of Charles Noel, 1st Earl of Gainsborough, Rutland By descent to his daughter, Lady Catherine Hamilton Noel, who married the 9th Earl of Southesk, Master of Kinnaird Castle, Brechin, Angus, Scotland The album dispersed, and the drawings sold individually through the Arcade Gallery, London, in 1946 Il Gabinetto delle Stampe, Milan, in 1976 Private collection, Italy Private collection, [West] Germany Bob P. Haboldt & Co., New York, in 1989 Stephen Ongpin Fine Art, London, in 2007 Private collection, New York


Exhibited London, Arcade Gallery, Stefano della Bella: Exhibition of 60 of his Drawings, 1946, no.16 (priced at 20 gns.) Milan, Il Gabinetto delle Stampe, Turin, L’Arte Antica and Rome, Antiquaria Romana, Disegni di Stefano della Bella, 1976-1977, no.40 New York, Bob P. Haboldt & Co., Netherlandish and Italianate Old Master Drawings, 1989-1990, no.6 The two soldiers at the upper left of this sheet of studies, one priming his rifle and another firing from the edge of a cliff, are repeated in a small drawing by Della Bella in the collection of the Princeton University Art Museum in New Jersey. The standing 24




12 EDWARD DUBOIS Antwerp 1619-1697 London

is inscribed ‘Du Boise’ and ‘Edward’, at Christ Church in Oxford.

Six Studies of the Head of Michelangelo’s Dying Slave

This drawing depicts, from a number of different viewpoints, the head of Michelangelo’s sculpture known as The Dying Slave (fig.1), carved between 1513 and 1516 and intended for the tomb of Pope Julius II. Measuring well over two metres in height, this famous marble sculpture is today in the Louvre. By the mid-17th century, Michelangelo’s Dying Slave, together with a pendant sculpture known as the Rebellious Slave, had been installed in the Château de Richelieu, between Poitiers and Tours in west-central France. Although Dubois may have spent some time in France, it is unlikely that he would have seen the sculpture itself. Instead, the artist was probably working from a small bronze cast or terracotta model of the head of the Dying Slave, which would have allowed him to study and draw it from several angles.

Brush and brown ink and brown wash, heightened with white, on ochre prepared paper, laid down on an old mount with double framing lines in brown ink A small loss at the lower right corner Inscribed Ceur foriant qu-(?) on the reverse of the old mount 110 x 158 mm., 4 3/8 x 6 1/8 in. The present sheet may be grouped with a handful of drawings, usually on a small scale and executed in brush and wash on prepared paper, which have been generally attributed to the Flemish artist Edward Dubois (or Du Bois) or, occasionally, his younger brother Simon (1632-1708). The sons of the painter Hendrick du Bois, both Edward and Simon Dubois lived and worked in Holland and Italy before eventually settling in England around 1680. Little is known of either artist, although Simon was active mainly as a portrait painter and miniaturist, and also seems to have been a gifted copyist of the Old Masters. Edward Dubois trained in the studio of Philips Wouwerman in Haarlem, and is recorded in 1638 in Rotterdam and again in 1646 in Haarlem, before his arrival in London in 1680. He is mostly known as a printmaker and publisher, having published prints by Cornelis Visscher after Pieter van Laer, as well as prints after portraits of his parents by Van Dyck.

Closely comparable drawings by Edward Dubois include a sheet of studies of the head of an infant, formerly in the collection of Michael Jaffé, sold at auction in 2019, and a drawing of seven studies of the head of a bearded man, which also appeared at auction in 2019. £7,500

While it has sometimes proved difficult to distinguish between the drawings of Edward and Simon Dubois, the present sheet may be more favourably attributed to the elder brother. It is he who seems to have been responsible for a small but distinctive group of drawings on prepared paper which take the form of several studies of a particular motif seen from various angles, to judge from a sheet of studies of various male nudes, inscribed ‘Dubois’, in the Metropolitan Museum of Art in New York, as well as another drawing of nude and draped figures, which 1 26




13 LUCAS FRANCHOYS THE YOUNGER Mechelen 1616-1681 Mechelen

career. Among his most significant commissions was a triptych of scenes from the life of Saint Roch, painted between 1669 and 1672 for the church of SaintJean-l’Evangeliste et Saint-Jean-Baptiste in Mechelen, as well as two canvases of The Preaching of Saint Peter and The Preaching of Saint Paul for the same church, completed in 1673. His most important patron was Alphonse de Bergues, the future archbishop of Mechelen, who commissioned several works from the artist for local churches and monasteries. Best known as a portrait and history painter, Franchoys was registered in the artist’s guild in Mechelen in 1655, and served as dean of the guild in 1663. He had several pupils in Mechelen, including Sebastiaen van Aken, leading to the diffusion of Rubens’s style in the area.

A Half-Length Study of a Male Nude Holding a Staff Oiled black chalk, with touches of white heightening, on blue paper 267 x 199 mm., 10 1/2 x 7 7/8 in. Provenance An unidentified collector’s mark VS in monogram stamped in blue ink on the verso Dr. and Mrs. Victor Bloch, London Their sale, London, Sotheby’s, 12 November 1964, lot 99 (as G. B. Beinaschi) Ralph Holland, Newcastle Thence by descent

The attribution of the present sheet - previously thought to be by the 17th century Neapolitan painter Giovanni Battista Beinaschi - to Lucas Franchoys the Younger is due to Martin Royalton-Kisch, who made the suggestion in 1988. Only a handful of drawings by Franchoys are known, some of which are drawn in black (sometimes oiled) chalk and white chalk on blue paper. The influence of the draughtsmanship of both Rubens and Van Dyck is evident in the few drawings and oil sketches by Franchoys that survive.

Literature Milford, Christopher Bishop Fine Art, Master Drawings: Catalog 2014, exhibition catalogue, 2014, p.38, under no.12 One of the few significant 17th century painters to hail from the town of Mechelen (or Malines) in Flanders, Lucas Franchoys the Younger was born into a family of artists. He received his artistic training from his father, Lucas Franchoys the Elder, before entering the studio of Peter Paul Rubens in Antwerp in the late 1630s. Franchoys became one of the most talented of Rubens’s followers, although his work also shows the distinct influence of Anthony Van Dyck. After Rubens’s death in 1640, he may have spent some time working for the Prince de Condé in Paris, although no firm evidence of such a trip survives. The artist’s first recorded commissions were received around the end of the 1640s, for various churches and monasteries in Tournai; among these is an Annunciation in the cathedral at Tournai, which is dated 1649, and a Beheading of Saint John the Baptist, painted in 1650 for the church of SaintQuentin and destroyed during the Second World War.

Among stylistically comparable drawings by Franchoys is a study of the head of a bearded man, also in oiled black chalk, in the Fondation Custodia (Frits Lugt Collection) in Paris, and a similar study of the head of a man with long hair, drawn in black chalk on blue paper, in the Rijksmuseum in Amsterdam. £6,000

Franchoys was back in Mechelen by 1654, and worked there until his death, establishing a successful 28




14 GIOVANNI FRANCESCO ROMANELLI Viterbo 1610-1662 Viterbo

stature in France that he was knighted by Louis XIV into the chivalric order of Saint-Michel. The present sheet is a preparatory study for Romanelli’s fresco of Danaë (fig.1), which, together with a pendant of Narcissus, was part of the decoration executed in 1646-1647 for the Galerie Mazarin in Paris. The compositions of both drawing and fresco are virtually identical, save for the inclusion of the arrow in Cupid’s right hand in the drawing, which was omitted in the final work. This drawing is, in fact, one of only three known preparatory studies by Romanelli for his important fresco cycle in the Galerie Mazarin, which is today part of the site of the Bibliothèque Nationale in Paris. Of the other two known studies by Romanelli for the Galerie Mazarin, a lost drawing for The Judgement of Paris was formerly in the collection of the 18th century art historian Charles Rogers, and is recorded in an aquatint etching by the printmaker James Basire, while a study for The Burning of Troy appeared at auction in 1994.

Danaë Black chalk, in an inscribed oval drawn in black chalk Inscribed Petr. Beret. Da Cortona at the lower right 160 x 234 mm., 6 1/4 x 9 1/4 in. Provenance Yvonne Tan Bunzl, London Andrew Smithson, Thornton Heath, Surrey Private collection, England Crispian Riley-Smith, Yorkshire Private collection, New York Literature Bernhard Kerber, ‘Addenda zu Giovanni Francesco Romanelli’, in Giessener Beiträge zur Kunstgeschichte, 1979, p.4, pl.IV, fig.11 Jörg Martin Merz, Pietro da Cortona und sein Kreis: Die Zeichnungen in Düsseldorf, Munich and Berlin, 2005, p.181 and p.463, note 121

Among stylistically comparable drawings by Romanelli from his Parisian period is an allegorical depiction of The Glorification of France, today in the Musée des Beaux-Arts in Lille.

The painter and tapestry designer Giovanni Francesco Romanelli studied first with Domenichino and then with Pietro da Cortona, becoming one the Tuscan artist’s most outstanding pupils. Romanelli assisted Cortona on the decoration of the Palazzo Barberini in Rome in 1631, and soon gained the patronage of the Barberini family himself, receiving numerous commissions from Pope Urban VIII and serving as the superintendent of the Barberini tapestry manufactory, for which he provided many cartoons. The death of Urban VIII in 1644 and the decline of Barberini patronage in Rome led Romanelli to seek commissions elsewhere. Summoned to France by Cardinal Jules Mazarin, he painted a fresco cycle of scenes from Ovid’s Metamorphoses for the Galerie Mazarin in Paris, executed in 1646-1647. Romanelli’s frescoes were to prove highly influential for French painting of the succeeding generation, and he was again in Paris between 1654 and 1657, when he was commissioned by King Louis XIV to paint various rooms in the Palais du Louvre. Such was Romanelli’s







15 BOLOGNESE SCHOOL 17th Century

Flaminio Torre also studied with Reni in Bologna, and completed his apprenticeship with Cantarini, eventually inheriting his studio after his death in 1648. He settled in Modena by 1658, although the absence of any dated paintings from this period suggests that he painted very little after leaving Bologna. Torre seems to have drawn almost exclusively in red chalk, with a distinctive style which reflects the influence of Cantarini’s draughtsmanship.

A Putto in Flight, Holding an Urn Red chalk on buff paper, laid down on a large album page, with framing lines in red ink Numbered 37 in the lower right corner, in the margin Inscribed (in a modern hand) Roman School, late 17th century. Perhaps by / Carlo Maratta at the lower right of the album page 157 x 164 mm., 6 1/4 x 6 3/8 in.


Provenance Part of a portfolio of drawings (inscribed S.2), with the bookplate of Edward Clive, 1st Earl of Powis, Walcot Hall, Shropshire By descent to his son, Robert Henry Clive, Oakly Park, Shropshire His son, Robert Windsor-Clive, London and Ludlow, Shropshire His son, Robert George Windsor-Clive, later 1st Earl of Plymouth, Hewell Grange, Tardebigge, Worcestershire Thence by descent Sale (‘The Property of the Earl of Plymouth’), London, Christie’s, 1 July 1986, lot 123 (unsold) Private collection This fine drawing would appear to be by a Bolognese artist in the circle of the painters Simone Cantarini (1612-1648) or Flaminio Torri (1621-1661). A painter, draughtsman and printmaker, Cantarini studied with Guido Reni in Bologna and worked there and in Rome, Pesaro and Verona. He was highly praised by the Bolognese art historian and biographer Carlo Cesare Malvasia, who noted, however, that he was jealous of other artists and often argued with his patrons. Of his drawings in particular, Malvasia wrote that ‘there has been no more graceful and delightful draughtsman since the days of Parmigianino’, and many of Cantarini’s drawings – which are almost always executed in red chalk - were acquired by contemporary collectors. Although he was an avid and productive draughtsman, only a few drawings by Cantarini can be related to paintings or etchings by him. 32




16 JAN DE BISSCHOP Amsterdam 1628-1671 The Hague

artist as ‘one of the most productive of the seventeenthcentury amateur artists and one of the most acute observers of sunlight in Holland.’

A Servant Fastening the Shoe of a Patriarch The present sheet may be a copy after an Old Master painting. Jan de Bisschop produced numerous drawn copies - in pen, brush and dark brown wash, often with dramatic effects of chiaroscuro – of earlier works, usually by Italian artists or by Northern artists active in Italy. As the 18th century biographer Arnold Houbraken wrote of the artist, ‘By his knowledgeable skill of drawing with the brush on white paper he was able to recreate each artist’s special manner so cleverly that one could see already at first glance whether his drawing was after a painting by Tintoretto, Bassano, Carracci, Paolo Veronese, Rubens, Van Dyck and so on.’ As Jane Shoaf Turner has noted, ‘At least 180 such copies after old masters were known to van Gelder. Some may have been based on engravings, but most were after original paintings or copies of them. At the time de Bisschop was actively making his copies, during the 1650s, many of the pictures belonged to the Orange family or were in the Arundel collection, part of which was then in Amersfoort and part in Amsterdam.’

Pen and brown ink and brown wash, with framing lines in brown ink 118 x 66 mm., 4 5/8 x 2 5/8 in. [sight] Provenance Hill-Stone, New York Private collection, New York Trained as a lawyer, Jan de Bisschop worked in the legal profession throughout his life. He was, however, also a talented amateur draughtsman and printmaker, producing landscape drawings of views around Leiden and The Hague, portraits, genre subjects and copies after paintings and sculpture by earlier artists, as well as numerous Italianate views, although he never seems to have actually travelled to Italy. Much of the last years of his career were spent in the production of a series of prints after antique sculpture, published as Signorum veterum icones in 1669, and another set of etchings after drawings by Italian artists, with the title Paradigmata Graphices variorum artificium, which appeared in 1671, the year of his death from tuberculosis.

Among stylistically comparable drawings by Jan de Bisschop is a study of Lovers by a Fountain, after figures in a painting by Titian and dated 1667, in the Rijksmuseum in Amsterdam, as well as a drawing of Christ and the Canaanite Woman in the National Gallery of Scotland in Edinburgh.

The surviving corpus of drawings by Jan de Bisschop is thought to number over five hundred sheets. As a draughtsman, he worked mainly with pen and brush, producing drawings characterized by a distinctive tone of reddish-brown wash, perhaps achieved by the mixing of copper red with black (India) ink, which came to be known as ‘biscchops-inkt’, or ‘Bisschop’s ink’. The artist’s drawings remained popular well into the 18th century; the noted collector of drawings Valerius Röver, who died in 1739, owned more than eighty landscape sketches by the artist, while an album of 140 drawings by de Bisschop, mainly after classical sculptures and reliefs, once belonged to Cornelis Ploos van Amstel and Horace Walpole, among others, and is now in the Victoria and Albert Museum. In his seminal 1971 study of the drawings of Jan de Bisschop, J. G. van Gelder aptly describes the







are similar to the present sheet; a study of a nude youth embracing a column, preparatory for another figure in a fresco at the Villa della Petraia, and a study of a dancing youth, on the verso of a drawing related to Volterrano’s cupola fresco in Santissima Annunziata in Florence, executed between 1681 and 1683.

A Seated Male Nude Holding a Bowl Red chalk, with touches of white heightening, on buff paper, laid down Squared for transfer in black chalk 550 x 411 mm., 21 5/8 x 16 1/4 in., [sheet]

The handling of the red chalk in this drawing is, however, a little more precise than is usually the case with Volterrano’s drawings, and alternative attributions to other Florentine draughtsmen of the Seicento may be considered. One possibility is Vincenzo Dandini (1609-1675), the brother of the better-known Cesare Dandini. Mentioned only briefly by the 17th century biographer Filippo Baldinucci, Vincenzo Dandini painted works for several Florentine churches, notably Ognissanti. He produced a number of similar studies of posed nude models in red chalk, only some of which may be related to finished works by the artist; examples are in the Louvre, the Uffizi and the Istituto Centrale per la Grafica in Rome.

Provenance Hill-Stone Ltd, New York Private collection The author of this large and refined drawing of a male nude has proved difficult to identify. It would appear to be the work of a Florentine artist of the 17th century, and the fact that it is squared for transfer would suggest that it was intended to prepare a figure in a larger painted composition, most likely a depiction of Saint John the Baptist in the Desert. An attribution to Baldassare Franceschini, known as Il Volterrano (1611-1690), the leading fresco painter in Florence in the latter half of the 17th century, has been suggested. Indeed, the drawing could perhaps be a first idea for the seated figure of Bacchus in Volterrano’s large easel painting of Bacchus with Attendant Putti of 1673-1675, formerly in the Torrigiani collection in Florence and sold at auction in New York in 2005. The position of the legs and the upraised arm of Bacchus in the Torrigiani painting is close, albeit in reverse, to the figure in the present sheet.

Another Florentine artist who made refined academic nude studies of this type is Mario Balassi (1604-1667), who was active in Florence and Rome, but by whom only a small number of paintings and a handful of drawings are known. A somewhat similar handling of red chalk is found in a study of a sleeping male nude by Balassi in the Louvre. £14,000

One of the finest draughtsmen of the Florentine Seicento, Volterrano produced a number of similar red chalk studies of male nudes. These include a drawing of a seated nude sold at auction in 2011, which is a first idea for the figure of Sleep in the artist’s fresco of Vigilance and Sleep of c.1641-1642 in the Villa Medicea at Castello, and a drawing of a standing male nude in the Uffizi, which is a study for a figure in a fresco in the Villa della Petraia near Florence, painted between 1636 and 1646. Likewise, two red chalk studies of male nudes, sold as part of a large group of drawings by Volterrano at auction in 1980, 36




18 Circle of CLAUDE GELLÉE, called LE LORRAIN Chamagne 1604/5-1682 Rome

manner of landscape draughtsmanship. The drawing boasts a long and distinguished provenance. It is first recorded, in the latter half of the 18th century, in the collection of the Earls Spencer at Althorp House in Northamptonshire, where it was regarded as a drawing by Claude Lorrain. At the Spencer sale in London in 1811, this drawing was described in the auction catalogue as a work by Claude: ‘A landscape, a masterly and tasteful sketch, on blue paper – on the left rise two majestic trees with spreading branches, which are pencil-heightened, and shaded with Ind. ink and bistre; the right side is bounded by smaller trees; on the middle fore-ground, in front of a piece of water, appear two figures, a gentleman and lady sitting; the sky and water are heightened with pencil white’.

Landscape with Two Figures Beneath a Tree on the Edge of a Lake Black chalk, pen and brown ink and brown wash, extensively heightened with white 193 x 262 mm., 7 5/8 x 10 3/8 in. Provenance The Hon. John Spencer, Althorp, Northamptonshire By descent to George John, 2nd Earl Spencer, Althorp, Northamptonshire (Lugt 1530) His sale, London, T. Philipe, 10-18 June 1811, lot 337 (as Claude, sold for £1.1.0) Aimé-Horace-Charles His de la Salle, Paris (Lugt 1333) Louis Galichon, Paris (Lugt 1061) His posthumous sale, Paris, Hôtel des CommissairesPriseurs, 4-9 March 1895, lot 71 (as Claude: ‘Paysage. Divers personnages, à peine indiqués, se reposent, au bord d’une rivière, sous l’ombrage de deux grands arbres que l’on voit à gauche. A la sepia rehaussé de blanc, sur papier vert. Collections Spencer et His de La Salle.’, sold for 50 francs) Eugène Rodrigues, Paris (Lugt 897) Private collection, France

This landscape sketch later belonged to the 19th century French military officer Aimé-Charles-Horace His de la Salle (1795-1878), who assembled a fine collection of Italian, French, Dutch, Flemish and German drawings, around 450 of which he bequeathed to the Louvre. The present sheet then entered the small but choice collection of prints and drawings assembled by Louis Galichon (18291893), the brother of the art historian, critic and fellow collector Emile Galichon, and was probably acquired at his posthumous sale by the Parisian solicitor Eugène Rodrigues (1853-1928). His large collection of drawings dating from the 15th to the 19th centuries was dispersed at several auctions in Paris in the 1920s.

Throughout his long career, the practice of drawing was of great importance to Claude Lorrain, occupying a central role in his artistic process. Almost five times as many drawings as paintings by him are known, ranging from nature studies and compositional drawings to figure and animal studies and independent landscapes, as well as records of finished paintings. While he had no known pupils or studio assistants, Claude’s influence on landscape painting and drawing in Europe was significant, and lasted well into the 19th century.


This atmospheric landscape sketch, although regarded as an original drawing by Claude for much of its history, is likely to be by an artist of the late 17th or early 18th century who was closely influenced by the master’s particularly atmospheric 38




19 CARLO CIGNANI Bologna 1628-1719 Forli

Drawings by Cignani are quite rare. His drawings were much admired by contemporary connoisseurs, as seen in the fact that his large-scale cartoons for the Palazzo del Giardino in Parma were acquired by Consul Joseph Smith for the British Royal Collection and are today at Hampton Court in London.

The Head of a Child Looking Down Red chalk on buff paper A half-length study of a male nude faintly drawn in red chalk on the verso 287 x 190 mm., 11 1/4 x 7 1/2 in.

This red chalk study of the head of a child reflects the enduring influence of Correggio on Cignani. Indeed, the latter was regarded by his contemporaries and biographers as the artistic heir to Correggio and Parmigianino; the two great masters of Emilian painting of the previous century. The physiognomy of the child in the present sheet is akin to those of children or putti in several of Cignani’s frescoes and paintings of the 1660s and 1670s. Similar features appear, for example, in the frescoed putti flanking medallions decorating the nave of the church of San Michele in Bosco in Bologna, completed in 1665, as well as in several versions of The Five Senses, notably in the Pallavicini collection in Rome and the Galleria Sabauda in Turin.

A pupil of Giovanni Battista del Cairo and Francesco Albani, Carlo Cignani worked in Rome between 1662 and 1665, painting the apse of the church of Sant’Andrea della Valle, among other works. On his return to Bologna he soon became one of the leading painters in the city, enjoying a stature akin to that of Carlo Maratti in Rome. Cignani was the first director of the Bolognese academy, the Accademia Clementina, and gained the patronage of the Medici and Farnese families, as well as such notable foreign collectors as Prince Johann Adam of Liechtenstein and Johann Wilhelm Wittelsbach, the Elector Palatine. Something of a perfectionist as a painter, Cignani worked in a very slow and painstaking manner, particularly in the field of fresco painting, in which he was highly regarded by his contemporaries. Among his most important fresco commissions was a cycle of mythological subjects ordered by Duke Ranuccio II Farnese in 1678 for the Palazzo del Giardino in Parma, a project which had been left incomplete by Agostino Carracci some seventy-five years earlier. In completing the work, Cignani was assisted by his chief pupil and disciple, Marcantonio Franceschini. Another significant commission was the extensive fresco decoration of the dome of the Cappella della Madonna del Fuoco in the Duomo at Forlì, which was begun in 1683. Cignani worked on the project inspired by Correggio’s famous cupola frescoes in the Duomo in Parma - for over twenty years, eventually completing the decoration in 1706. The artist had transferred his studio to Forlì by 1685, and was to live and work there for the remainder of his career. Apart from Franceschini, Cignani’s pupils included Giuseppe Maria Crespi, Federico Bencovich and Giovanni Camillo Sagrestani.







and earned the cognomen ‘Scaevola’, meaning ‘lefthanded’, for himself and his descendants.

Mucius Scaevola Before Lars Porsena

The traditional attribution of the present sheet to the leading Neapolitan artist Francesco Solimena (1657-1747) finds some justification in similarities with a handful of vigorously executed compositional drawings by the artist, such as a study of The Death of Virginia in the Musée des Beaux-Arts in Rouen or a drawing of The Battle of the Lapiths and Centaurs recently sold at auction in New York. Stylistic analogies may also be made with a number of pen and wash drawings by Giovanni Battista Beinaschi (1636-1688), such as studies of Jacob Uncovers the Well for the Daughters of Laban in the Louvre or Samson Breaks his Shackles in the Albertina. Beinaschi was trained in Rome before arriving in 1664 in Naples, where he worked on numerous fresco commissions.

Pen and brown ink and brown wash, over an underdrawing in red chalk Inscribed Die Beherzteit von Mutius Scirevola. on the verso Inscribed Mutius Scevola. / Esquisse de Solimene. on the old mount Numbered 16 and inscribed F. Solimena. Col de Spengler No.308. on the old mount Further inscribed Mutius Scirevola im Lager der Porsena. van Solimene on the reverse of the old mount 82 x 163 mm., 3 1/4 x 6 3/8 in. Provenance Johann Wilhelm Veith, Andelfingen and Schaffhausen His posthumous sale, Leipzig, Rudolf Weigel, 2 November 1835 onwards, lot 1226 (as Francesco Solimena) Johan Conrad Spengler, Copenhagen (Lugt 1434) His posthumous sale, Copenhagen, 8 October 1839 onwards, lot 308 (as Solimena) Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent in the Wolff Sneedorf family

The first recorded owner of this drawing was the Swiss pastor and art collector Johann Phillip Veith (1758-1833). At the posthumous sale of Veith’s collection in Leipzig in 1835, the drawing was bought by the Danish museum curator Johan Conrad Spengler (1767-1839), who served as steward of the Danish Royal Kunstkammer and later helped to establish the Royal Collection of Paintings. From 1819 onwards he built a fine personal collection of drawings, many bought from dealers and auctions in Germany, including a large and significant group of works by Neapolitan artists, many of which he regarded as by Francesco Solimena. (Spengler is known to have visited Naples at the beginning of 1790, and may have acquired many of his Neapolitan drawings at that time.) At the auction of Spengler’s collection, held shortly after his death in 1839, the present sheet was one of around 150 drawings acquired by another Danish collector, Benjamin Wolff (1790-1866), with whose descendants it then remained for nearly 180 years.

The story of the ancient Roman hero Gaius Mucius Scaevola, taken from Livy’s History of Rome, was long popular with artists. In 508 BC, during the war between the Romans and the Etruscans, the city of Rome was besieged by Lars Porsena, king of the powerful Etruscan city of Clusium. The Roman youth Gaius Mucius Cordius, with the approval of the Senate, volunteered to steal into the Etruscan camp to assassinate Porsena. After killing the king’s scribe in error, Cordius was captured and led before Porsena. To prove his courage and as a display of Roman fortitude in the face of Porsena’s threats, he thrust his right hand into a fire and calmly held it there while it burned. Impressed by his valour, Porsena freed the Roman youth and offered peace terms to the city. Mucius Cordius returned with honour to Rome

£5,000 unframed





21 ALESSIO DE MARCHIS Naples 1684-1752 Perugia

and often unreal appearance of the subject. The drawings are executed with great speed as if they were improvisations on the spur of the moment, possibly not even drawn after nature but thought out in the studio with reminiscences of works by other artists…Alessio’s production must have been very prolific, judging from an even very incomplete survey of the material existing in public and private collections.’

Landscape with a Traveller by a Tree, a House Beyond Pen and brown ink, over traces of an underdrawing in red chalk. 191 x 134 mm., 7 1/2 x 5 1/4 in.

Many of the landscape drawings by de Marchis have the appearance of finished works intended for sale. Furthermore, as Chiarini adds, ‘when Alessio’s observation of nature is at its most personal and subjective, his art occasionally assumes an authentic, individualist character…His drawings often reveal a very subtle treatment of light and an ability at evoking vast landscapes punctuated with ruins which…are caught in unexpected light effects or emerging from misty distances.’

Provenance Giancarlo Sestieri, Rome Exhibited Rome, Palazzo Borghese, Roma. Paesaggi, vedute e costumi: Dipinti e Disegni, 1983, no.59b Born in Naples, the 18th century landscape painter Alessio de Marchis was mainly active in Rome and Urbino. (He remained proud of his Neapolitan heritage, however, and often added his birthplace to his signature on his drawings.) He was much influenced by the landscapes of Salvator Rosa and Claude Lorrain, and as a young artist worked as a fresco painter in the palaces of the Albani and Ruspoli families in Rome. In his desire to paint fire more accurately, he one day set fire to a haystack in order to paint the flames. The fire caused serious damage, and for this act the artist was imprisoned. He was eventually pardoned by Pope Clement XI, who presented him with several commissions for landscape paintings and seascapes, although the artist appears never to have returned to Rome, and seems to have spent the remainder of his career in the Marches and Umbria. Among his important later commissions were the decoration of the Palazzo Anselmi and the chapel of the Collegio Gregoriano in Perugia, where he died in August 1752.

Among stylistically comparable landscape drawings by Alessio de Marchis are examples in the British Museum in London, the Statens Museum for Kunst in Copenhagen, the Christ Church Picture Gallery in Oxford and the Albertina in Vienna. £3,500

In a pioneering article on de Marchis’s drawings, published in 1967, Marco Chiarini has noted of the artist that ‘his technique is usually very easily recognizable. He almost always uses red chalk…and thick brown washes of a burnt Siena tonality, with very pronounced contrasts of light and shade, achieved by allowing the paper to show through to form the highlights, thus underlining the somewhat fantastic 44




22 AURELIANO MILANI Bologna 1675-1749 Bologna

of Santi Giovanni e Paolo and San Bartolomeo dei Bergamaschi and a fresco cycle of the Labours of Hercules for the Palazzo Doria Pamphili, completed in 1732.

Ecce Homo Pen and brown ink and grey wash, over traces of an underdrawing in black chalk Made up at the lower left corner Inscribed Ludovico [crossed out] Caracci / Aureliano Milani on the verso 286 x 215 mm., 11 1/4 x 8 1/2 in.

Milani’s drawings were highly praised by his biographers, both of whom noted that he had a better contemporary reputation as a draughtsman than as a painter. Zanotti admired the artist’s animated figures (‘uomini nudi, muscolosi, e terribili’) and diversity of subject matter, while Luigi Crespi noted of Milani that ‘He made many drawings, and in truth his drawings are equal to those of any great master, for their character, for their immediacy, for their magnificence, and for the ease of execution, with which they are touched, heightened and shadowed.’

Provenance Thomas Hudson, London (Lugt 2432) Anonymous sale, London, Sotheby’s, 13 March 1975, lot 69 (as Italian School, 17th Century) Private collection, in 1992 Anonymous sale, London, Sotheby’s, 7 July 1999, lot 38 Galerie de Loës, Geneva Private collection, Geneva

The composition of this drawing is close to that of a painting by Agostino Carracci of the same subject, datable to 1589-1590, which was once in the Casa Melari in Bologna and is now in the Galleria Durazzo Pallavicini in Genoa. (Indeed, the present sheet was at one time published as a preparatory study by Agostino Carracci for the painting now in Genoa.) Given Aureliano Milani’s close study of the Carracci in his youth, the drawing is likely to date from the early part of his career in Bologna, before his move to Rome. It may be stylistically compared with a number of other drawings by Milani inspired by Carraccesque models and depicting episodes from Christ’s Passion, such as a study of The Capture of Christ in the Pinacoteca Nazionale in Bologna.

Literature Alessandro Brogi, ‘Su un dipinto di Agostino Carracci, e il suo disegno’, Paragone, January 1992, p.39, pl.53 (as Agostino Carracci) Diederik Bakhuys et al., Le dessin en Italie dans les collections publiques françaises. Le Génie de Bologne des Carracci aux Gandolfi: Dessins des XVIIe et XVIIIe siècles, exhibition catalogue, Rouen, 2006-2007, p.216, under no.101 Trained in Bologna by a succession of minor painters, Aureliano Milani received his true artistic education from his close study of the Carracci. Gianpietro Zanotti, in his biography of the artist, noted that the young Milani made drawn copies after the works of the Carracci, and in particular the frescoes of the Palazzo Fava in Bologna. Relatively few paintings survive from Milani’s early years as an independent artist in Bologna, of which the most important is an altarpiece of Saint Jerome and the Blessed Ghisilieri in the church of Santa Maria della Vita, painted around 1718. The following year Milani settled in Rome, where he was to work for the remainder of his career, and where he painted altarpieces for the churches

£8,000 unframed





23 PIO PANFILI Porto San Giorgio 1723-1812 Bologna

1812, aged almost ninety. A posthumous biography of the artist, entitled Memoria della vita di Pio Panfilj, was published by the Marchese Antonio Amorini Bolognini in 1835.

a. Design for the Left Corner of a Decorative Scheme for a Ceiling b. Design for the Right Corner of a Decorative Scheme for a Ceiling

Architectural drawings by Pio Panfili are today in the Pierpont Morgan Library and the Cooper-Hewitt National Design Museum in New York, the Istituto Centrale per la Grafica in Rome and in several museum collections in Bologna; notably an album of drawings and designs (including a self-portrait) in the Pinacoteca Nazionale in Bologna. Panfili also assembled a fine personal collection of drawings, including examples by Agostino Mitelli and Mauro Tesi.

Pen and brown ink and brown wash, with blue gouache, over traces of an underdrawing in pencil, on blue-grey paper Each sheet laid down, with framing lines in brown ink Signed with initials PP at the lower left [a] Signed or inscribed Pio Panfili at the lower right centre [b] a. 183 x 148 mm., 7 1/4 x 5 7/8 in. b. 183 x 145 mm., 7 1/4 x 5 3/4 in.

A stylistically comparable signed drawing of a ceiling design by Panfili, in pen and brown ink and watercolour, was formerly in the collections of Alessandro Maggiori, Edmond Fatio and Lodewijk Houthakker. Also similar is a preparatory drawing for the ceiling of the Sala dell’Aquila in the Palazzo dei Priori in Fermo, signed and dated 1760, which was once in the collection of Richard Wunder, New York, and a drawing for part of the decoration of the cathedral of Fermo, in the Museo Civico d’Arte Industriale e Gallerie Davia Bargellini in Bologna.

Provenance Possibly Alessandro Maggiori, Faenza, Rome and Porto Sant’Elpidio Born near Fermo in the Marches and active mainly in Bologna, Pio Bernardino Panfili studied at the Accademia Clementina in Bologna and established a successful career as a painter of ornament and perspectival decorations, and was also a prolific printmaker and an occasional set designer. He received one of his first important commissions when he was tasked with the fresco decoration of the ceiling vault of the Sala dell’Aquila in the Palazzo dei Priori in Fermo, executed between 1760 and 1762. Panfili had settled in Bologna by 1767, where he produced a series of large-scale engravings of urban views of the city, as well as numerous smaller city views published between 1770 and 1800. In 1774 he completed the ceiling decoration of the staircase of the Palazzo Comunale in Montegiorgio, and in 1783 published a series of ornamental prints under the title Frammenti d’ornati per li giovani principianti nel disegno. Elected a member of the Accademia Clementina in 1786, the following year Panfili began work on the illusionistic fresco decoration of the ceiling of the Duomo in Fermo, which was completed in 1788. At around the same time he decorated the chapel and several rooms of the Palazzo Guerrieri in Fermo. He died in


1 48




24 Attributed to CLAUDE-LOUIS DESRAIS Paris 1746-1816 Paris

exclusively as a draughtsman. He received most of his artistic training in the studio of the battle painter Francesco Casanova, and between 1768 and 1772 exhibited his drawings at four of the annual Expositions de la Jeunesse, eliciting a measure of critical appreciation. After spending much of his early career working in a neoclassical style, he eventually abandoned this manner to become, as one scholar has noted, ‘one of the most sought-after illustrators of the last third of the eighteenth century, specializing, even under the Empire, in fashion plates, portraits of famous men and military and historical scenes.’

Study for a Frontispiece or Monument, with Allegorical Figures Surrounding an Oval Portrait of a Young Woman Pen and black ink, over an underdrawing in black chalk, with framing lines in black ink Signed with the artist’s monogram LDR and dated 1767 at the lower centre, on the pedestal 200 x 130 mm., 7 7/8 x 5 1/8 in. Provenance Patrick Perrin, Paris (as Philibert-Benoît de La Rue) Private collection, Middlesex Thence by descent

In an article published in 1984, Anne Leclair convincingly attributed nine drawings – each signed with a similar monogram LDR and variously dated between 1767 and 1769 – to Desrais, based on a stylistic comparison with a signed drawing of 1769. One of these drawings, an Allegory in Honour of King Stanislas Leczynski (fig.1) in the Art Institute of Chicago2, is particularly comparable to the present sheet in subject, style and execution. Both this drawing and that in Chicago may therefore be placed within an early and still relatively obscure period in the career of Claude-Louis Desrais.

The present sheet would appear to be a design for a monument in honour of a young woman, whose portrait is shown in an oval frame set on a pedestal, surmounted by angels and putti and flanked by, on the left, a male figure of Death and, at the right, an allegorical female figure with attributes that are difficult to decipher. What appears to be the fragmentary ancient Greek marble statue known as the Belvedere torso appears at the lower right.

£3,500 Drawings which bear a monogram of the three interlaced letters L, D and R have been traditionally thought to be by either the sculptor and engraver Louis-Félix de La Rue (1730-1777) or his elder brother, the painter Philibert-Benoît de La Rue (1718-1780), to whom the present sheet was formerly attributed. Although the drawings of the two brothers have often been confused, an attribution of the present sheet to either one is untenable when compared to autograph works by them, as this drawing displays a freedom of line that differs from the more restrained linearity of studies by the De La Rue brothers. The present sheet may instead be more plausibly attributed to another artist of the period, ClaudeLouis Desrais, who employed a similar LDR monogram. A student at the Académie Royale from 1764, Desrais seems to have been active almost

1 50




25 JOSEPH WILTON, R.A. London 1722-1803 London An Angel and Putto mourning by an Urn Pen and black ink and grey washes on laid paper 396 x 226 mm., 15 ½ x 8 ¾ in. Provenance Probably William Ponsonby, 2nd Earl of Bessborough (1704-1793), his Executor’s sale, Christie’s, 7th April 1801, lot 66 (as Francesco Bartolozzi) With Louis Meier, circa 1955, where bought by Ralph Holland (1917-2012) Wilton was the son of an ornamental plasterer who trained as a sculptor in France in the 1740s before spending much of the 1750s in Rome and Florence where he learnt to sculpt. On his return to London, he built up a successful practice producing busts and funerary monuments including many in Westminster Abbey. He was a founding member of the Royal Academy in 1768 and its Keeper from 1790 until his death. A number of similar studies for funerary monuments by Wilton are in the Victoria and Albert Museum. The use of the motif of an angel draped over an urn is typical of Wilton’s work in the1760s – see the tomb of Charlotte St Quintin in St John’s Church, Harpham, the tomb of Mary Okeover in Okeover Church, Staffordshire, and the tomb of Elizabeth Ottley in St John’s, Antigua, all of which date from the mid to late 1760s. £3,750





26 FRENCH SCHOOL late eighteenth century The Fountain of Santa Sofia at Benevento, Italy Inscribed upper left: Fontaine de St Sophia/a Benevent Watercolour over pencil with pen and black ink border 163 x 228 mm., 6 ¼ x 9 in. Benevento lies along the Appian Way about 50 km northeast of Naples. Due to its key location on the railway line between Rome and Apulia, the town was heavily bombed by the allies during World War II and much of the medieval town was destroyed. The church of Santa Sofia survived and was declared a Unesco World Heritage Site in 2011. When the present watercolour was painted, the fountain was sited against a wall, with a sculptural relief above it. However, the wall was pulled down on the orders of Charles Maurice de Talleyrand-Périgord, circa1800 and the fountain rebuilt, as a large central circular fountain, surmounted by an obelisk. £750 unframed





27 SAMUEL HIERONYMOUS GRIMM Bergdorf, Switzerland 1733-1794 London Figures by a Village Pond Signed lower right: S.H Grimm fecit/1772 Pen and grey ink and watercolour on laid paper, with original pen and ink border, oval 238 x 312 mm., 9 ¼ x 12 ½ in. Provenance James Tobin until 1818 Sir John Fitzherbert, Bt. C.M. Harmsworth, 1961 With Appleby Bros., London, 1973 Anonymous sale, Christie’s, 18th March 1980, lot 34 Exhibited London, Walker’s Galleries, 29th Annual Exhibition of Early English Watercolours, 1933, no.71 This drawing was part of an album of sixteen drawings by Grimm sold by James Tobin’s estate in 1818, described as ‘a volume containing a beautiful collection of Tinted Drawings by Grimm, very highly finished. A set of 16 after nature.’ Tobin was a West India merchant and planter from Bristol. The pair to this watercolour, also dated 1772, is illustrated in R.M. Clay, Samuel Hieronymous Grimm of Burgdorf in Switzerland, 1961, pl.39. Grimm was born in Bergdorf, Switzerland and moved to Paris in 1765 before relocating to London in the spring of 1768 where he remained for the rest of his life. £2,400





28 SAMUEL HIERONYMOUS GRIMM Bergdorf, Switzerland 1733-1794 London Westminster Abbey from Millbank, London Signed lower centre: S.H. Grimm fecit 1771 Pen and grey ink and watercolour heightened with bodycolour on laid paper with pen and ink border 198 x 263 mm., 7 ¾ x 10 ¼ in. Provenance Lord Brownlow Anonymous sale, Christie’s, 20th November 1984, lot 85 Wiith Spink & Son (K3 8721) Literature Spink and Son Ltd, English Watercolours and Drawings, Annual Exhibition 1985,15 April - 10 May, cat. no 15, ill. Grimm was born in Bergdorf, Switzerland and moved to Paris in 1765 before relocating to London in the spring of 1768 where he remained for the rest of his life. In the first years of his life in London, he produced a number of views on the Thames and its environs. £3,500





29 JOHN DOWNMAN, A.R.A. Ruabon, Wales 1750-1824 Wrexham Portrait of Captain James Monro Three-quarter length, in profile, the sea beyond Signed lower left and dated 1789 Watercolour and coloured chalks heightened with touches of bodycolour, oval 198 x 161 mm., 7 ¾ x 6 ¼ in. Provenance By descent in the Monro family Captain James Monro (1756-1806) was the daughter of John Monro and his wife Elizabeth and the brother of Dr Thomas Monro (1759-1833), the amateur artist and early patron of Turner and Girtin. He was a captain in the East India Company and regularly skippered ships between Britain and India. Downman drew other members of the Monro family in the same manner, his sisters Charlotte (Courtauld Institute of Art, London, no. D.1967.WS.40) and Elizabeth (Fitzwilliam Museum, Cambridge, no. 2314.14). £2,800





30 WILLIAM LEWIN Stepney 1747-1795 Edmonton A Peregrine Numbered 12 upper right Gouache with pen and ink border 203 x 163 mm., 8 x 6 ¼ in. Provenance Bought from Christopher Powney, 1968 Private Collection, UK Exhibited London, Christopher Powney, William Lewin – Exhibition of British Birds drawn in Gouache, 10th to 20th December 1968 Engraved For The Birds of Great Britain, with Their Eggs, Accurately Figured, first edition, 1789-1794, pl.12 Lewin grew up in Stepney, east London, the son of a mariner. In 1773 he was working as a pattern drawer but by 1783 is recorded as an artist specialising in natural history subjects. He is best known for The Birds of Great Britain, with Their Eggs, Accurately Figured, published between 1789 and 1794, which included 323 watercolour sketches of birds. His son John William Lewin (1770-1819) helped his father on The Birds of Great Britain and in 1800 travelled to Australia and became one of the first professional artists working there, producing topographical and ornithological watercolours. £1,500







A Shoveler

A Male Wigeon

Watercolour and bodycolour over pencil 285 x 221 mm., 11 ¼ x 8 ½ in.

Signed and inscribed lower centre: Anas Penelope. Wigeon. Male/C.A. pinx.t/1786. Watercolour and bodycolour over pencil 220 x 270 mm., 8 ½ x 10 ½ in.

Provenance Anonymous sale, Christie’s, 15th November 1983, lot 67 Private Collection, UK

Provenance Anonymous sale, Christie’s, 15th November 1983, lot 68 Private Collection, UK

Atkinson was the son of the rector of Thorpe Arch, York, of the same name, one of his twelve children, of which at least two also became clergymen. He was educated at Trinity College, Cambridge, where he became a Fellow and Tutor. In 1785 he married Catherine, the sister of Sir John Fleming Leicester, 1st Lord de Tabley (1762-1827), who built up a famous collection of British art. Atkinson was one of the first Methodists and rector of Wethersfield in Essex. He was a fine ornithological artist and his grandson the Rev. John Atkinson (1814-1900) wrote a popular book on birds’ nests and eggs.






31b 65


32 Circle of PIAT-JOSEPH SAUVAGE Tournai 1744-1818 Tournai

and later served as court painter to Louis XVI, becoming a member of the Académie Royale in 1783. He returned often to Flanders, where he acquired paintings for the Comte d’Angivillier in 1785 and 1786. Although he painted a number of official portraits, Sauvage made a particular specialty of decorative grisaille friezes in imitation of classical sculptures in marble, bronze or terracotta, as well as miniatures inspired by antique cameos. His decorations may still be seen at the chateaux of Compiègne, where he worked in 1785, Rambouillet, painted between 1786 and 1787, and Fontainebleau, completed in 1786. Sauvage exhibited at the Salons in Paris between 1781 and 1804, while between 1804 and 1807 he worked as a designer for the Sèvres porcelain factory. In 1808 he left Paris to take up a post as a professor of drawing at the Academy in his native Tournai. Among the significant works of Sauvage’s later career are a series of paintings of The Seven Sacraments for the cathedral in Tournai. Paintings by Sauvage are today in museums in Bordeaux, La Rochelle, Lille and Tournai, as well as in the Hôtel de la Prefecture in La Rochelle and a number of churches in Belgium.

A Frieze of Putti with a Chariot Pen and brown ink and brown wash, extensively heightened with white, on two joined sheets of blue paper, with framing lines in brown ink Numbered 37 on the reverse of the old mount Inscribed No.572 / Collection / Eugène Fould on a label pasted onto the backing board 60 x 443 mm., 2 3/8 x 17 3/8 in. Provenance Baron Eugène Fould-Springer, Palais Abbatial de Royaumont, Asnières-sur-Oise By descent to his son, Baron Max Fould-Springer, Palais Abbatial de Royaumont, Asnières-sur-Oise By descent to his nephew, Nathaniel de Rothschild, New York The composition of this charming drawing displays close stylistic and thematic affinities with the friezelike compositions - often depicting putti at play or in a procession, and in the form of a fictive or trompe l’oeil relief sculpture in grisaille - that are a characteristic feature of the work of the Belgian painter Piat-Joseph Sauvage.

The present sheet was once part of the impressive collection of Old Master and Neoclassical drawings and paintings, sculpture, furniture and objets d’art assembled by the banker Baron Eugène FouldSpringer (1876-1929) for his country home, the 18th century Abbey Palace of Royaumont, located about thirty kilometres north of Paris, near Chantilly.

After studying in Tournai and Antwerp, Piat (or Pieter)-Joseph Sauvage settled in Paris in 1774, and there established himself as one of the leading proponents of decorative trompe l’oeil painting. He received commissions from the Prince de Condé


detail 66




33 FRENCH SCHOOL Late 18th or early 19th Century A Dam on a Mountain Stream Gouache and watercolour, over an underdrawing in black chalk 181 x 261 mm., 7 1/8 x 10 1/4 in. This spirited landscape drawing in gouache and watercolour has yet to be firmly attributed to a particular artist, a process made more challenging by the fact that it is unfinished. There were a number of artists producing plein-air studies of this type around the end of the 18th century and the beginning of the 19th century, whose works prefigure the widespread interest in plein-air sketching among artists in the later 19th century. The use of gouache had become popular with landscape artists in France in the second half of the 18th century, since the medium was less transparent and therefore more pictorial. As the artist and writer Claude-Henri Watelet noted, in an entry in Diderot and d’Alembert’s Encyclopédie, published in 1757, ‘Gouache is very suitable for painting landscapes from nature…this manner is quick and expeditious, it has a sheen…’ Although such sketches as this were often intended primarily as exercises, they were sometimes worked up into more finished painted compositions. The present sheet had been tentatively attributed to the painter, draughtsman, printmaker and writer Jean-Pierre Laurent Houël (1735-1813), and a stylistic comparison may be made with a pair of rustic landscapes in watercolour and gouache by the artist in the collection of the Musée Grobet-Labadie in Marseille. Houël studied in his native Rouen with Jean-Baptiste Descamps and in Paris with Francesco Casanova, and also received training as an engraver with Jacques-Philippe Le Bas. He was in Italy between 1769 and 1772, and returned there in 1776, when he travelled to Naples, Sicily and Malta and made numerous drawings of the sites he visited. Admitted into the Académie Royale in 1774, Houël exhibited at the Paris Salons between 1775 and 1807. £2,800 68




34 PIETRO DE ANGELIS Roman, born before 1769, active between c.1780 and c.1825

Soon after the turn of the century, de Angelis appears to have left Italy to live and work north of the Alps. He seems to have spent some time in Russia, to judge from a signed and dated drawing, inscribed ‘De angelis fecit in San Pietrosburgo 1801’, in the Statens Museum for Kunst in Copenhagen, and is recorded as a teacher of perspectival drawing at the University of Vilnius in Lithuania in 1804. By 1810 de Angelis was in Munich, where he lived and worked, as a professor of the Italian language, until at least 1822.

a. An Allegorical Figure of Poetry Watercolour, pen and grey and brown ink and grey wash, with framing lines in brown ink Inscribed Poesia at the bottom centre 143 x 90 mm., 5 5/8 x 3 1/2 in.

Obviously a cultured and intellectual figure, Pietro de Angelis was described by contemporary sources as both an artist and a poet. A book of his poems was published in Frankfurt in 1798 with the title Saggio di poesie, e improvvisi di Pietro de Angelis romano, and other collections of his writings appeared in later years; Saggio di prose e poesie was published in 1808 and La calunia scoperta dalla virtu two years later.

b. An Allegorical Figure of Music Watercolour, pen and grey ink and grey wash, with framing lines in brown ink Inscribed Musica at the bottom centre 144 x 93 mm., 5 5/8 x 3 5/8 in. Provenance Anonymous sale, Paris, Hôtel Drouot, 20 November 2000, part of lot 53 Jean-Luc Baroni Ltd., London

£1,800 each

Relatively little is known of the life and career of the Italian painter, poet and draughtsman Pietro de Angelis. Of Roman birth and of apparently privileged origins, he was trained in the studio of the German painter Anton Raphael Mengs in Rome. His earliest recorded commission was for mural decorations, depicting the labours of the months of the year, for a café on the Piazza Navona in Rome, executed in 1784 and now lost. In 1790 he was tasked with the painting of a ceiling fresco in the Palazzo Badoer in Venice, which remains his only painted work to have survived to this day. The artist appears to have been knighted as a cavaliere di merito sometime in the 1790s, and from then on often signed his drawings with the title of ‘Cavalier’ or ‘Eques’, usually followed by ‘Romano’ or ‘Romans’. In 1793 he is recorded already described as a cavaliere – as a member of the Accademia degli Unanimi, a literary society in Turin, and was also a member of other learned societies, including the Accademia degli Arcadi in Rome, which was made up of writers.




34b 71


34 PIETRO DE ANGELIS Roman, born before 1769, active between c.1780 and c.1825

‘Petrus de Angelis Romanus Fecit’, appeared at auction in London in 1992, with an incorrect attribution to Novelli.)

c. An Allegorical Figure of Spring

Among stylistically comparable drawings by Pietro de Angelis is a Design for a Ceiling Decoration with Ceres in her Chariot, signed ‘De Angelis Fecit’, which appeared at auction in New York in 1998, and a study of Venus and Paris, signed ‘Cav. Pietro de Angelis Romano F.’, sold at auction in Italy in 1974. An analogous drawing by the artist, albeit unsigned, depicting a musician crowned with a laurel wreath by a muse, is in the Kunsthalle in Bremen, while also similar in style and technique is an allegorical depiction of the River Arno, which was on the art market in Florence in 2013.

Watercolour, pen and grey and brown ink and grey wash, with framing lines in brown ink Inscribed Primavera at the bottom centre and numbered 18091 in the lower right margin 141 x 94 mm., 5 5/8 x 3 3/4 in. d. An Allegorical Figure of Medicine Watercolour, pen and grey ink and grey wash, with framing lines in brown ink, the figure traced through onto the verso in black chalk Inscribed Medicina at the bottom centre 145 x 91 mm., 5 3/4 x 3 1/2 in.

£1,800 each

Provenance Anonymous sale, Paris, Hôtel Drouot, 20 November 2000, per of lot 53 Jean-Luc Baroni Ltd., London Literature Marguerite Guillaume, Catalogue des dessins italiens: Collections du musée des Beaux-Arts de Dijon, Dijon, 2004, p.24, under no.5 The attribution of these four small drawings to the still obscure Pietro de Angelis is based on a stylistic comparison with a handful of signed drawings of mythological and allegorical subjects by the artist, for the most part executed in pen and ink and watercolour. His draughtsmanship is typically Venetian in manner, and many of his drawings display the particular influence of the work of the Venetian painter Pietro Antonio Novelli (17291804), whose own drawings come very close to those of the younger artist in style, technique and effect. The two artists may well have met; either in Rome, where Novelli worked between 1779 and 1782, or in Venice, which de Angelis is known to have visited in the early 1790s. (A large drawing of a regatta on the Grand Canal, dated 1791 and signed 72



34d 73


35 JACQUES GAMELIN Carcassonne 1738-1803 Carcassonne

and more intimate scale, in the form of genre scenes and drawings. Gamelin’s drawings, often executed in pen and ink with sombre washes, display a distinctive freedom of handling, bold technique and dramatic lighting. He was an avid reader of classical texts, in which he found inspiration for many of his compositions. During the period of the Revolution, the artist often chose to depict themes from classical history; subjects which held moral lessons for the citizen.

The Sacrifice of Iphigenia Pen and black ink and grey wash, and watercolour, within a fictive drawn circular mount with lines in black ink Signed and dated Gamelin inv. / 1792. at the lower centre 178 mm., 7 in. diameter [image] 258 mm., 10 1/8 in. diameter [sheet]

The present sheet may be added to an interesting and distinctive group of independent pen and wash drawings of scenes from classical history, executed by Gamelin between 1792 and 1795, which are in the same circular format and of similar dimensions. A large number of these oval drawings are today in the collection of the Musée des Beaux-Arts on Carcassonne, while others are in the Musée d’Art et d’Histoire in Narbonne. Another drawing from this group is The Death of Cato of Utica, dated 1792, in the Museum of Art of the Rhode Island School of Design in Providence, while several others are in private collections. As an early 20th century scholar has described them, these are among Gamelin’s finest works as a draughtsman: ‘sa riche série de l’histoire ancienne…vivement enlevés, très originalement composés, et montrant sa conception si personnelle des faits de l’antiquite.’

Provenance Jean-Claude Delauney, Caen Among the most gifted French painters of the latter half of the 18th century, Jacques Gamelin is unusual for his refusal to make his career in Paris, choosing instead to work mainly in southwestern France and the Lanquedoc. His early artistic training in Toulouse was followed in 1764 by a brief period in the Parisian studio of Jean-Baptiste Deshays. In 1765 he travelled to Italy, and remained there for almost ten years. Admitted into the Roman Accademia di San Luca, by the age of thirty-two he had become the official painter to Pope Clement XIV. On his return to France in 1774, Gamelin settled first in Toulouse and later in Montpellier, where he served as director of the Ecole de Dessin de la Société des Beaux-Arts between 1780 and 1783, and finally in Narbonne, where he remained throughout the period of the Revolution. Gamelin was charged with the organization of pubic ceremonies and the design of revolutionary monuments in Narbonne, fulfilling a role much like that of Jacques-Louis David in Paris. In 1796 he was appointed Professor of Drawing at the Ecole Centrale de l’Aude in Carcassonne, where he ended his career.


Gamelin produced a large body of work of considerable variety and originality. His battle scenes, for which he is best known, incorporate a distinctive figural style, and the same is true for his large religious paintings for churches in Carcassonne and Narbonne. Yet perhaps his finest work is that done on a smaller 74




36 THOMAS ROWLANDSON London 1756-1827 London The Boating Party Pen and grey ink and watercolour over pencil 245 x 355 mm., 9 ½ x 14 in. Rowlandson enjoyed drawing crowds of people, and boats, and the present drawing combines the two. The depiction of boating parties in a fantastical setting is typical of the French Rococo and may show the influence of Watteau on Rowlandson’s work. A similar drawing is in the Huntington Library, San Marino and dated to circa 1816, the approximate date of the present work (see Robert E. Wark, Drawings by Rowlandson in the Huntington Collection, 1975, no. 354, ill.). £6,500





37 THOMAS ROWLANDSON London 1756-1827 London The Game of Billiards Pen and grey ink and watercolour 118 x 192 mm., 4 ½ x 7 ½ in. Provenance Mrs Caroline Scott, 1858 With Spink and Son, London Private collection, U.K. until 2018 Engraved As ‘By Gamblers linked in Folly’s noose Play ill or well he’s sure to lose’, for Dances of Life, 1817, p.230 This drawing dates to circa 1817. The player about to make a shot is using a mace, with which the ball was shoved rather than struck. The dominant billiard game in Britain from about 1770 until the early twentieth century was English Billiards, played with three balls and six pockets on a large rectangular table. A similar drawing of a game of billiards, but in reverse, is in the collection of the Yale Center for British Art, New Haven (TMS 5665). £4,750





38 JOHN NIXON 1755-1818 Ryde, Isle of Wight At the Auction Pen and grey ink and watercolour 122 x 202 mm., 4 ¾ x 8 in. Provenance With the Fine Art Society, London, September 1980 Private Collection, UK Nixon was a wealthy Irish merchant based in London and a talented amateur artist and actor, as well as being the Secretary of the Beefsteak Club. Later his successful business enabled him to buy an estate at Uphall on the river Roding at Ilford, Essex. As an artist, he became well known for his caricatures of Georgian life and exhibited thirty-nine pictures at the Royal Academy between 1781 and 1815. He travelled extensively in Ireland, Scotland, Paris and the Netherlands as well as England, sometimes in the company of his friend the caricaturist Thomas Rowlandson (see nos. 36 and 37), whose style he assimilated. A study of figures taken at the King’s Auction Room, King St., Covent Garden, was with Guy Peppiatt Fine Art in 2020 (see Guy Peppiatt Fine Art, British Portrait and Figure Drawings, exhibition catalogue, 2020, no.40). £1,800





39 FRANCIS NICHOLSON Pickering, Yorkshire 1753-1844 London Cayton Mill near Scarborough, Yorkshire Signed and inscribed on the original mount: F. Nicholson 1793 and inscribed by the artist on the back of the original mount: F. Nicholson Knaresborough Yorkshire/or at No 58 Cornhill London and further: Miss Erskine with Mr Carr’s Compts/Leeds 29 October 1793 Pen and black ink and watercolour over pencil 235 x 328 mm., 9 ¼ x 13 in Provenance Mr Carr, a Merchant, Leeds Given by him to Miss Erskine, 1793 With Agnew’s 2004 Private Collection, UK, until 2011 Exhibited London, Agnew’s, Watercolours & Drawings – 131st Annual Exhibition, 25th February to 19th March 2004, no.10 Ryedale Folk Museum, Hutton-le-Hole, Francis Nicholson, March to May 2012 Born in Yorkshire, Nicholson moved to London in 1803. He was a Founding Member of the Old Watercolour Society in 1804 and established a successful career as an artist and drawing master, indeed he became so successful with the latter, that from 1833, he stopped exhibiting. His subject matter is often Yorkshire views. Cayton is a village on the coast four miles south of Scarborough. The mill at Cayton was still recorded in the 1850s but has long since disappeared. £2,500





40 JOHN WHITE ABBOTT Cowick, Devon 1763-1851 Exeter An Italianate Villa Grey washes 177 x 228 mm., 6 ¾ x 9 in. Provenance With the Ruskin Gallery, Stratford-upon-Avon Private Collection, UK Although he never left Britain, White Abbott executed a number of continental, mainly Italian, views. It seems that his Italian views are mainly based on the work of Francis Towne, his friend and teacher, however the present drawing does not relate to any known work by Towne. White Abbott worked as an apothecary and surgeon in Exeter for most of his life, until he retired to Fordlands, the estate he inherited from his uncle and Towne’s principal patron and executor, James White. £1,900





41 JOHN ‘WARWICK’ SMITH Irthington, Cumberland 1749-1831 London

(1742–1803), who had been in Italy at the same time. Smith undertook his first visit in 1784 and the inspiration he found in the dramatic landscape of the country is clear: he made a total thirteen trips between 1784 and 1806.

Hubberston and Hakin from the Hotel at Milford Haven, Pembrokeshire


Inscribed on original mount: Hubberston Hakin from the Hotel at Milford./This View marks the Outlet of Hubberston or Priory Bill into Milford Haven/ Pembrokeshire Watercolour over pencil on laid paper 154 x 247 mm., 6 x 9 ¾ in. This drawing was part of a group of over 700 by Smith belonging to the George Greville, 2nd Earl of Warwick which was dispersed amongst his descendants. Smith earned his sobriquet ‘Warwick’ due to his long patronage by the Earl of Warwick, who not only purchased hundreds of drawings from the artist, but also funded Smith’s two tours of Italy, one between 1776 and 1781 and again in 1785, when the Earl accompanied him. During the latter part of the 18th century, Wales became a fashionable destination with tourists and artists alike. The Napoleonic Wars meant that Britain was cut off from the rest of Europe and so travellers and artists turned inward for inspiration. Wales, with its dramatic landscape, castles, coast and history captured their imagination. During the last decades of the 18th Century, various publications brought the landscape of Wales to the notice of the wider public. In 1776, Paul Sandby (1731–1809) published XII views in North Wales. In 1778 and in 1781, Thomas Pennant (1726– 1798) published his 2 volume Tours in Wales. In the following year, the Rev. William Gilpin (1724–1804) published Observations on the River Wye and several parts of South Wales etc. ‘Warwick’ Smith, who knew Rev. Gilpin through his relationship with his brother Sawrey Gilpin (1733– 1807), was in the vanguard of artists travelling to Wales. His interest was probably further peaked by his friendship with the Welsh artist, Thomas Jones 86




42 JOHN WARWICK’ SMITH Irthington, Cumberland 1749-1831 London

published, Observations on the River Wye and several parts of South Wales etc. ‘Warwick’ Smith, who knew Rev. Gilpin through his relationship with his brother Sawrey Gilpin (1733– 1807), was in the vanguard of artists travelling to Wales. His interest was probably further peaked by his friendship with the Welsh artist, Thomas Jones (1742–1803), who had been in Italy at the same time. Smith undertook his first visit in 1784 and the inspiration he found in the dramatic landscape of the country is clear: he made a total thirteen trips between 1784 and 1806.

The Upper Lake of Llanberis looking towards Snowdon Inscribed on original mount: July 14th 1792./ Interesting View of the Upper Lake of Llanberis - from the Road towards/Llanberis from Carnarvon, looking to Snowdon & its Mountain Train. Watercolour over pencil 133 x 220 mm., 5 ¼ x 8 ½ in. This dates from a trip was made with the Earl of Warwick’s brother the Hon. Robert Fulke Greville (1751-1824) and the artist Julius Caesar Ibbetson (1759–1817) in the summer of 1792. On the 9th June they were on Anglesey, Caernarvon (11th, 12th), Llanberis (14th), Harlech (18th), Barmouth (19th) then south Wales until 13th July.


This drawing was part of a group of over 700 by Smith belonging to the George Greville, 2nd Earl of Warwick which was dispersed amongst his descendants. Smith earned his sobriquet ‘Warwick’ due to his long patronage by the Earl of Warwick, who not only purchased hundreds of drawings from the artist, but also funded Smith’s two tours of Italy, one between 1776 and 1781 and again in 1785, when the Earl accompanied him. During the latter part of the 18th century, Wales became a fashionable destination with tourists and artists alike. The Napoleonic Wars meant that Britain was cut off from the rest of Europe and so travellers and artists turned inward for inspiration. Wales, with its dramatic landscape, castles, coast and history captured their imagination. During the last decades of the 18th Century, various publications brought the landscape of Wales to the notice of the wider public. In 1776, Paul Sandby (1731–1809) published XII views in North Wales. In 1778 and in 1781, Thomas Pennant (1726–1798) published his 2 volume Tours in Wales. In the following year, the Rev. William Gilpin (1724–1804)





43 JOHN ‘WARWICK’ SMITH Irthington, Cumberland 1749-1831 London

time. Smith undertook his first visit in 1784 and the inspiration he found in the dramatic landscape of the country is clear: he made a total thirteen trips between 1784 and 1806.

View of Dolgelly, North Wales


Watercolour over pencil 126 x 210 mm., 5 x 8 ¼ in. Provenance: Private Collection, UK This drawing was part of a group of over 700 by Smith belonging to the George Greville, 2nd Earl of Warwick which was dispersed amongst his descendants. Smith earned his sobriquet ‘Warwick’ due to his long patronage by the Earl of Warwick, who not only purchased hundreds of drawings from the artist, but also funded Smith’s two tours of Italy, one between 1776 and 1781 and again in 1785, when the Earl accompanied him. During the latter part of the 18th century, Wales became a fashionable destination with tourists and artists alike. The Napoleonic Wars meant that Britain was cut off from the rest of Europe and so travellers and artists turned inward for inspiration. Wales, with its dramatic landscape, castles, coast and history captured their imagination. During the last decades of the 18th Century, various publications brought the landscape of Wales to the notice of the wider public. In 1776, Paul Sandby (1731–1809) published XII views in North Wales. In 1778 and in 1781, Thomas Pennant (1726– 1798) published his 2 volume Tours in Wales. In the following year, the Rev. William Gilpin (1724–1804) published, Observations on the River Wye and several parts of South Wales etc. ‘Warwick’ Smith, who knew Rev. Gilpin through his relationship with his brother Sawrey Gilpin (1733 – 1807), was in the vanguard of artists travelling to Wales. His interest was probably further peaked by his friendship with the Welsh artist, Thomas Jones (1742–1803), who had been in Italy at the same





44 WILLIAM PAYNE Exeter 1760-1830 London Cottages by the Sea, Devon Signed lower left: W. Payne Watercolour with original washline mount 126 x 167 mm., 5 x 6 ½ in. Provenance Private Collection, UK This is likely to be a view taken on one of the river estuaries near Plymouth. Payne was the son of a London coal merchant and first exhibited at the Society of Artists in 1776. He was taught by George Haines, Chief Draughtsman at the Tower of London and maybe also Paul Sandby (1730-1809). From 1782 until 1788 he worked on surveys at Plymouth Dock and is best known for his Devon views. He exhibited at the Royal Academy from 1786 and in 1789 he returned to London as a professional artist and became one of the most successful and fashionable drawing masters of the period. £2,000





45 ANTOINE-CHARLES-HORACE VERNET, called CARLE VERNET Bordeaux 1758-1836 Paris

expression while waiting, its grace, and its coquetry.’1 His lifelong interest in equestrian subjects was passed on to his pupil Théodore Gericault, who undertook his earliest artistic training in Vernet’s studio.

A Carthorse Being Yoked An accomplished and energetic draughtsman, Carle Vernet also made a particular speciality of costume studies, often bordering on caricature, which captured the fashionable manners of the day. A series of his figure studies of elegant Parisian types, issued as engravings with the title Incroyables et merveilleuses, achieved considerable success and established his reputation. One of the first artists to take up the practice of lithography, Vernet produced prints of genre scenes, notably a series of a hundred colour aquatints of street vendors and hawkers, entitled Cris de Paris, which first appeared in 1816. As Charles Baudelaire wrote, ‘He was an astonishing man, was Carle Vernet. His collected works are a whole world, a little Comédie humaine of their own; for trivial prints, sketches of the crowd and street, and caricatures, often constitute the most faithful mirror of life.’

Pen and grey ink and grey wash, with touches of watercolour, over an underdrawing in pencil Signed C. Vernet at the lower left 260 x 322 mm., 10 1/4 x 12 3/4 in. [image] 279 x 370 mm., 11 x 14 1/2 in. [sheet] Provenance Anonymous sale, Paris, Hôtel Drouot, 30 October 2000, lot 82 P. & D. Colnaghi, London, in 2001 Private collection, New York The son of the landscape painter Claude-Joseph Vernet, Carle Vernet was born into an artistic dynasty that was later to include his own son, Horace. A winner of the Prix de Rome in 1782, he spent only a few months in Italy between 1782 and 1783 before having to return to France for reasons that remain unclear. He was, however, to use motifs drawn from his Roman experiences throughout his later career. While perhaps best-known today for his engravings and lithographs, Carle Vernet was, in his lifetime, an important and successful painter. In 1799 he exhibited a number of drawings of Napoleon’s Italian campaigns, and in the succeeding years produced several paintings of military subjects, climaxing in the massive canvas of The Battle of Marengo, now at Versailles.


Later in his career Vernet turned his attention to other equestrian subjects, particularly scenes of hunting and racing, and worked almost exclusively in this genre from around 1820 onwards. He also devoted a considerable amount of time to making careful studies of different breeds and types of horses. As a 19th century scholar noted of Vernet, ‘He is the first artist who does not draw inspiration from Van der Meulen or Wouwermans but returns to the stud farm or riding school: he renders the horse’s lively gaits, its





46a CAPTAIN JOHN DURRANT fl.1790-1830

46b CAPTAIN JOHN DURRANT fl.1790-1830

Poolbeg Lighthouse, Dublin Bay, Ireland

Old St Mary’s Church, Clonmel, Co. Tipperary, Ireland

Signed with initials and inscribed verso: Kilmainham Gaol Dublin – JD With a watercolour of Kilmainham Jail, Dublin verso Watercolour over pencil on laid paper 174 x 228 mm., 6 ¾ x 9 in.

Watercolour over pencil on laid paper 175 x 227 mm., 6 ¾ x 8 ¾ in. Provenance Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by descent until 1990

Provenance Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by descent until 1990

The original St Mary’s church was built in 1204 by William de Burgh but the original structure has disappeared and the church was rebuilt between the 14th and 16th centuries. It was renovated in 1805.

Dublin Lighthouse was originally known as Poolbeg, as the site was originally a small pool with a deep anchorage. The peninsula was reclaimed from the sea and the lighthouse was first lit in September 1761. It was the first lighthouse to use candles rather than a beacon of coal and had a gallery round the whole building and a large octagonal lantern on top. It was rebuilt in 1820.

Captain John Durrant (fl.1790-1830) was a highly skilled amateur artist and army officer who was stationed at Portchester Castle, Hampshire, between 1803 and 1813. He was also stationed at Dover, Gosport and Colchester during his career. An ability to sketch was a prized asset in the armed forces in the days before photography and Durrant is likely to have trained in the art of topographical draughtsmanship at the Royal Military Academy at Woolwich where Paul Sandby, R.A. (1730-1809) taught until 1796. An album of over hundred drawings by him is in the collection of Hampshire council.

The verso of the drawing is a view of Kilmainham Gaol, Dublin, which was built in 1796 and in use until 1924. £950





46b 97


47a CAPTAIN JOHN DURRANT fl.1790-1830

47b CAPTAIN JOHN DURRANT fl.1790-1830

A Two-Master being pulled to Shore

A Boat beached by a Pier

Pen and brown ink and watercolour on two sheets of joined paper 208 x 173 mm., 8 x 6 ¾ in.

Pen and brown ink and watercolour over traces of pencil on two sheets of joined paper 199 x 172 mm., 7 ¾ x 6 ¾ in.

Provenance Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by descent until 1990

Provenance Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by descent until 1990


Captain John Durrant (fl.1790-1830) was a highly skilled amateur artist and army officer who was stationed at Portchester Castle, Hampshire, between 1803 and 1813. He was also stationed at Dover, Gosport and Colchester during his career. An ability to sketch was a prized asset in the armed forces in the days before photography and Durrant is likely to have trained in the art of topographical draughtsmanship at the Royal Military Academy at Woolwich where Paul Sandby, R.A. (1730-1809) taught until 1796. An album of over hundred drawings by him is in the collection of Hampshire council. £750




47b 99


48 ENGLISH NEO-CLASSICAL SCHOOL Circa 1800 Study of a Woman in classical dress Numbered 54 lower left Pen and brown ink and pencil on laid paper 162 x 109 mm., 6 ¼ x 4 ¼ in. The present drawing with its strong neoclassical lines, simplicity of form and classical subject matter, is reminiscent of the group of artists working during the second half of the 18th century and include John Flaxman, Henry Fuseli and William Lock amongst others. During the 1750s new theories and practices in art began to supersede the more flamboyant and frivolous style of the Rococo; the idea that art had a serious and moral purpose became wide spread. Artists looked to the classical world of Ancient Rome and Greece for inspiration, in particular sculptural friezes, Greek vases and architecture. Subject matter was taken from antiquity and subjects which had morally uplifting themes became popular. Architecture, sculpture and painting became more restrained and formal and in drawing this was exemplified through the use of line. £1,800 unframed





49 GEORGE JONES, R.A. London 1786-1869 London A Couple playing Chess Inscribed lower right: Jan.y 5. 1811 Pencil on buff paper 287 x 222 mm., 11 ¼ x 8 ¾ in. Provenance With Bill Drummond Jones enrolled at the Royal Academy schools at the age of 15. He was elected A.R.A in 1822 and a full member two years later. When the present drawing was executed Jones was serving in the South Devon militia. He had enrolled in the army in 1808, in response to the call for soldiers during the Peninsular War. Although he did not fight in the Battle of Waterloo, being instead an officer in the occupying army in Paris, he published an account of the Battle of Waterloo in 1817, illustrated with his own maps and drawings and he became known as an expert on the events of Waterloo. This rapid pencil sketch, with its elegant line and dot and dash technique, is typical of his drawings and demonstrates the sophistication with which Jones was able to capture his chosen subject. £1,800





50 THOMAS HEAPHY London 1775-1835 London Portrait of a Sportsman with his Dog by a River Signed lower left: T. Heaphy 1806 Watercolour over pencil 625 x 474 mm., 24 ¼ x 18 ½ in. Heaphy first exhibited portraits in oils at the Royal Academy, however, realising that the market for oil portraits was more competitive and that he was a highly accomplished watercolourist, he decided to specialise in watercolours, portraits, genre and subject pictures. He found royal patronage and was appointed Portrait Painter to the Princess of Wales in 1803. During the Peninsular War, at the invitation of the Duke of Wellington, Heaphy travelled to Spain to undertake portraits of the chief officers of the British Army, including several of Wellington. On his return he produced a monumental watercolour depicting the Duke of Wellington and about fifty of his officers, Field Marshal the Duke of Wellington Giving Orders to his Generals Previous to a General Action. The present watercolour amply demonstrates Heaphy’s careful attention to detail, his innate ability to capture not only a likeness, but the character of the sitter, as well as the delicacy of his palette. £2,500





51 NICOLAS HUET THE YOUNGER Louvre 1770-1830 Paris A Golden-Whiskered Barbet Signed lower left: hüet Watercolour heightened with bodycolour 373 x 234 mm., 14 ½ x 9 ¼ in. Provenance Private Collection, UK Engraved For Nouveau Recueil de Planches coloriées d’Oiseaux, published 1838, pl. 283 The Golden-Whiskered Barbet is found in tropical forests in Malaysia. Huet’s father Jean-Baptiste and grandfather Nicolas Huet the Elder were both artists specialising in animal and bird paintings. He visited Egypt on Napoleon’s scientific and artistic expeditions between 1798 and 1801 and exhibited at the Salon for the first time in 1802. In 1804, he was appointed Painter to the Musée d’Histoire Naturelle and to the menagerie of the Empress Josephine. The museum owns a series of 246 drawings on vellum of animals, birds, insects and sea life which were published as engravings in 1808. He exhibited at the Salon until 1827 and produced work for many aristocratic collectors. £5,000





52a NICOLAS HUET THE YOUNGER Louvre 1770-1830 Paris

52b NICOLAS HUET THE YOUNGER Louvre 1770-1830 Paris

A Stone Curlew

A Channel-Billed Cuckoo

Signed lower left: hüet Watercolour heightened with bodycolour 273 x 235 mm., 10 ¾ x 9 ¼ in.

Signed lower left: hüet and inscribed: présageur (adulte.) Watercolour heightened with bodycolour Sheet 373 x 235 mm., 14 ½ x 9 ¼ in.

Provenance Private Collection, UK

Provenance Private Collection, UK

Huet’s father Jean-Baptiste and grandfather Nicolas Huet the Elder were both artists specialising in animal and bird paintings. He visited Egypt on Napoleon’s scientific and artistic expeditions between 1798 and 1801 and exhibited at the Salon for the first time in 1802. In 1804, he was appointed Painter to the Musée d’Histoire Naturelle and to the menagerie of the Empress Josephine. The museum owns a series of 246 drawings on vellum of animals, birds, insects and sea life which were published as engravings in 1808. He exhibited at the Salon until 1827 and produced work for many aristocratic collectors.

Engraved For Nouveau Recueil de Planches coloriées d’Oiseaux, published 1838, pl. 290 The Channel-Billed Cuckoo is a type of Cuckoo found in Indonesia, New Guinea and Australia. £5,000





52a 109


53 JAMES WARD, R.A. London 1769-1859 Cheshunt Study of a Swan landing Signed with intials lower right, with collector’s mark verso Pencil 155 x 185 mm., 6 x 7 ¼ in. Provenance Sir John Clement Witt (1907-1982) (Lugt. 2228b) By descent until 2017 This sketch is likely to be a preliminary drawing for Ward’s 1817 Royal Academy exhibit, ‘Descent of the Swan’, now in the Fitzwilliam Museum, Cambridge (see C.R. Grundy, James Ward, R.A. – his Life and Works, 1909, p.12 of plates). A related pencil study of swans was recorded in the collection of the Hon. John Ward in 1909 (op. cit., p.20 of plates) and another is in the Tate Gallery (Tate N04987). Ward trained under John Raphael Smith as a printmaker, but abandoned a flourishing career in order to take up painting. He rapidly established himself as one of the leading animal painters of the period but his interests were wide-ranging, from portraiture, both animal and human, to history painting, landscapes and studies of nature. £1,400





54 SIR GEORGE HAYTER 1792-1871

Despite the Royal Academy’s censure, his unconventional personal life, however, does not seem to have affected his wider career or royal patronage. In 1831, Hayter was commissioned to paint a portrait of the then Princess Victoria, for her uncle Prince Leopold of Saxe-Coburg, King of the Belgians. Consequently, Hayter returned to England and gave the Princess art lessons. On her accession in 1837, Hayter was appointed Painter of History and Portraits and in 1841, Painter in Ordinary to the Queen. The following year he was knighted.

Study for ‘The Angels ministering to Christ’ Signed with initials lower centre: Decr. 19 1846 GH and inscribed lower left: To/H.C.H. Pen and brown ink 210 x 158 mm., 8 ¼ x 6 ¼ in. The present drawing is a study in reverse for the head of Christ in the painting The Angels ministering to Christ, completed in 1849 and given to the Victoria and Albert Museum by the artist’s son Angelo, the year after the artist’s death. The inscription on this work, To/H.C.H, refers to his second wife, a widow (Helena) Cecilia Hyde (1791/2-1860), who he had married just a few months earlier, on 12 May 1846. Hayter painted several Old and New Testament subjects, as well as two large scale history paintings, depicting key Reformation events.


Hayter’s personal life was rather unorthodox for the time and was probably the reason that despite his formidable reputation, he was never elected a Royal Academician. Married at a young age, to the former lodger in his parents’ house, he left his first wife and lived with his mistress. The ensuing scandal meant that Hayter left for the continent, moving to Italy for several years. In an apparent bid for attention, his mistress accidently killed herself in 1827. His first wife died in 1844 and two years later he remarried. He married for a third time in 1863, his second wife having died in 1860.





55a SAMUEL DANIELL Chertsey 1775-1811 Ceylon

55b SAMUEL DANIELL Chertsey 1775-1811 Ceylon

A Bushman wearing a Cloak, South Africa

A Bush Woman, South Africa

Inscribed with colour notes Pencil on laid paper watermarked: PB/1795 286 x 151 mm., 11 ¼ x 6 in.

Pencil on laid paper watermarked 1798 193 x148 mm., 7 ½ x 5 ¾ in. Samuel Daniell, younger brother of William Daniell R.A. and nephew of Thomas Daniell, R.A. set off for the Cape of Good Hope, as part of the suite of Sir George Younge, Governor and Commanderin-Chief of the region. They arrived in December 1800 and Daniell was invited to join an expedition to explore further into Southern Africa to ‘countries beyond the limits of the Colony’ as far as the border with Botswana. Daniell was enthralled and made numerous studies of the people, their customs, the animals and flora that he encountered. When Daniell returned to England in 1804, he immediately began to work up his drawings for publication, publishing African Scenery and Animals, in two volumes in 18045.


Daniell’s desire to explore, combined with financial problems encouraged the artist to leave England again, this time for Ceylon. He was appointed Ranger of Woods and Forests by the governor Sir Thomas Maitland, which gave him limitless opportunities to explore the island and record his findings. He died of fever in 1811, however, his brother continued to use his work for publications on South African natural history, including Sketches Representing the Native Tribes and Scenery of Southern Africa, 1820 and Twenty Varied Subjects of the Tribe of Antelopes, 1832. £1,800




55b 115


56 CHARLES JOSI Fl. 1827-1851 A Runaway-Boy Leading a Calf Signed lower left: C. JOSI 1835 Watercolour over pencil heightened with bodycolour and stopping out 143 x 191 mm., 5 ½ x 7 ½ in. Josi was a London-based artist who exhibited at the Royal Academy, British Institution and Suffolk Street between 1827 and 1851. His subject matter is usually sporting or animal-related. The British Museum owns two watercolours by him and a number of prints after his work. £1,600





57 JOHN VARLEY Hackney 1778-1842 London A Gypsy Encampment near Hounslow Heath Signed lower right: J. Varley and inscribed by artist on old backing: Gypsey scene near Hounslow Heath. J. Varley Watercolour over traces of pencil 179 x 236 mm., 7 x 9 Âź in. Provenance John Theobald, 42 Carmarthen St, London, 1825 Exhibited London, Society of Painters in Water-colours, 1825, no.129, bt. Theobald Hounslow Heath was originally a large area in West London which was crossed by main routes from London to west and south-west England including the Bath Road and the Great West Road. Its proximity to London meant it was used for army encampments and in the 18th century it was notorious as a haunt of highwaymen. ÂŁ2,500





58 ALEXANDRE DENIS ABEL DE PUJOL Valenciennes 1787-1861 Paris

and elsewhere. A popular and successful teacher, Abel counted among his pupils Alexandre-Gabriel Decamps, Pierre-Justin Ouvrié and Camille Rocqueplan.

A Woman Abducted by a Mounted Arab Warrior Black chalk, brown wash and touches of watercolour, backed Signed or inscribed Abel at the lower right Further inscribed Enlévement d’Hélène. Vivandiere / au 17 Léger (chevaux Arabes). on the old backing sheet 259 x 252 mm., 10 ¼ x 9 7/8 in. at greatest dimensions Provenance Anonymous sale, London, Christie’s Kensington, 25 April 2007, lot 416 Stephen Ongpin Fine Art, London, in 2008 Private collection, New York

As the inscription on the former backing sheet notes, this drawing depicts the kidnapping of a vivandière named Hélène by an Arab horseman. The term vivandière was used to refer to camp-followers; women who accompanied the army into battle, serving mainly as cooks, laundresses and nurses. Stylistically reminiscent of the work of Abel de Pujol’s contemporaries Carle (1758-1836) and Horace Vernet (1789-1863), the present sheet was until recently mounted and used as a handheld fan. An identical composition is found in a slightly larger drawing attributed to Horace Vernet; one of a pair of pencil and watercolours which appeared on the London art market in 1975.


The illegitimate son of Mortry de Pujol, founder of the Académie de Peinture et Sculpture in Valenciennes, Alexandre-Denis Abel studied there before completing his training in the studio of Jacques-Louis David in Paris. He won a 1st class medal at the Académie in 1806 and another medal at the Salon of 1810 for a painting of Jacob Blessing the Children of Joseph. In 1811 Abel won the Prix de Rome, after which he was formally recognized by his father and was able to add the name Pujol to his own. As a result of poor health, Abel was only able to study in Italy for eight months, but resumed his career in Paris with much success. A painting of The Death of Brittanicus won gold medals from Napoleon and Louis XVIII in 1814, while a painting of The Stoning of Saint Stephen, intended for the church of SaintEtienne-du-Mont, was equally admired at the Salon of 1817, and established his reputation.


Abel continued to produce paintings, altarpieces and designs for stained-glass windows for Parisian churches throughout his career, including at SaintSulpice, Notre-Dame and the Madeleine. He was also in great demand as a painter of public mural decorations, often in grisaille, for the Palais du Louvre, the Bourse, the Palais de Luxembourg





59 Circle of FRANCIS DANBY Circa 1820 Fonthill Abbey Watercolour over pencil 183 x 254 mm., 7 ¼ x 10 in. The present watercolour shows Fonthill Abbey, Wiltshire, from the south-west. Designed by James Wyatt (1746 – 1813) for William Beckford (1760 – 1844), work began in the grounds of the Fonthill estate in 1796 on what was initially to be a gothic folly. However, it rapidly evolved into a vast Gothic Revival house with a central tower that was 267 ft high. It was completed in 1819, but Beckford only lived in it for a short time, his lavish spending, and losses of income following the sale of interests in the West Indies, meant that he was forced to sell it in 1822. Just three years later, the tower collapsed; the builders had cut corners and had not built the tower with the foundations that Wyatt had specified. The tower had already collapsed twice during construction, but each time Beckford had insisted that it be rebuilt in a larger and grander style. The rest of the house was demolished in 1845. Despite only standing for such a short time, Fonthill proved a hugely popular subject with artists, engravers and the general public, all fascinated both by the building and the man responsible for it. Artists including J. M. W. Turner, John Buckler, George Cattermole, William Havell and Francis Danby, amongst others, produced views of Fonthill. Danby’s highly finished watercolour of the Abbey in its surroundings, now in a private collection, was with the Christopher Wood Gallery. The palette and treatment of the present work is reminiscent of Danby’s work. £950 unframed





60 JOHN SELL COTMAN Norwich 1782-1842 London The Church of St Pierre at Hermanville-sur-Mer, Normandy Signed lower left: J.S. Cotman 1818 and inscribed on border under mount: North east View of the Church of Hermonville near Caen Brown washes and pencil Image 248 x 342 mm., 9 ¾ x 13 ½ in. Provenance The Rev. F.N. Vavassour With P. & D. Colnaghi, London Cotman visited Normandy three times to find subject matter for a planned series of etchings entitled Architectural Antiquities of Normandy with the help of his patron Dawson Turner. His first trip lasted from 20th June to 10th August 1817 with a second from 20th June to 7th September 1818 with the final one from 26th July to 10th October 1820. The first of the four instalments was published in early 1820 with the final one issued in the middle of 1822. For more on Cotman’s Normandy tours, see Timothy Wilcox, Cotman in Normandy, exhibition catalogue, 2012 and Miklos Rajnai, John Sell Cotman – Drawings of Normandy in Norwich Castle Museum, 1975. Hermanville-sur-Mer is several miles north of Caen on the Normandy coast. Cotman must have visited the town during his stay in Caen between 24th July and 14th August 1818. This drawing was not engraved for Cotman’s Antiquities series. £4,500





61a THOMAS FISHER, F.S.A. Rochester 1772-1836 Stoke Newington

61b THOMAS FISHER, F.S.A. Rochester 1772-1836 Stoke Newington

Biscot near Luton, Bedfordshire

Ampthill, Bedfordshire

Inscribed on original border: Village of Biscot near Luton in Bedfordshire Watercolour over traces of pencil 243 x 373 mm., 9 ½ x 14 ½ in.

Inscribed on border: Ampthill, Bedfordshire Watercolour over pencil heightened with bodycolour 282 x 410 mm., 11 by 16 in. Provenance Sir Gregory Osborne Page-Turner, Bt. of Battlesden, Bedfordshire By descent to Emily Page-Turner, purchased from her Executors in 1885 By descent until sold at Sotheby’s, 12th June 1980, lot 48 Private Collection, UK

Provenance Sir Gregory Osborne Page-Turner, Bt. of Battlesden, Bedfordshire By descent to Emily Page-Turner, purchased from her Executors in 1885 By descent until sold at Sotheby’s, 12th June 1980, lot 25 Private Collection, UK

Ampthill is a town located between Luton and Bedford, to the north of London. This is a view looking down Church Street, towards the town centre. In the distance is the wooden clock tower, or Moot Hall, presented to the town by the 2nd Earl of Upper Ossory, who lived at Ampthill Park, in 1787, during a campaign to improve the town centre. He also created the current market place and erected a new water pump. In 1852, it was rebuilt by the Duke of Bedford and incorporated into a Jacobean style building. The gates to the right, at no. 28 Church Street, are still there and were removed from Houghton House for which they had been designed by William Chambers. Houghton House, at nearby Houghton Conquest, belonged to the Dukes of Bedford but was abandoned in 1794 but the ruins still exist today.

The old village of Biscot was absorbed into the town of Luton in the early 20th century and little survives today. Recorded in the Domesday Book, the manor of Biscot was sold to John Crawley in 1724 and remained in the Crawley family until the 20th century. Fisher’s work was little known until a sale of 78 of his watercolours at Sotheby’s in 1980 brought him into the limelight. He was born in Rochester, Kent where his father was a printer and bookseller. In 1786 he entered the India Office as a clerk and moved to Gloucester Terrace, Hoxton where he lived for most of his life. At India House, he met Henry Humphrey Goodhall, a geologist and antiquary from Bromham, Bedfordshire who alongside with the Rev. Thomas Orlebar Marsh encouraged Fisher to record the topography of Bedfordshire which had never been done before. He published two illustrated histories of the county and found a number of local patrons, including Sir Gregory Page-Turner, who owned the present watercolour, as well as the Duke of Bedford at Woburn.






61b 127


62a JOHN SKINNER PROUT Plymouth 1805-1876 London

this community but also the changing nature of the landscape as it transformed under the impact of the settlers.

Grass Tree Plains, Flinders Island, Tasmania

Most of Prout’s sketches remain undated but, from a near-identical dated sketch by de Wesselow of the same scene (now in the Tasmanian Library and Art Gallery), we can confidently date this watercolour to February 1845.

Signed lower right: J. Skinner Prout Watercolour over pencil heightened with bodycolour 105 x 171 mm., 4 x 7 in. Prout was amongst the most talented artists to work in colonial Australia. Born in Plymouth, Devon, his uncle was the artist Samuel Prout (1782-1852). He lived and worked mainly in Bristol where he was a friend of Müller and Samuel Jackson, with whom he visited Wales and Ireland in the summer of 1833. In 1840 he emigrated to New South Wales with his family. He took up a position in Sydney lecturing on painting whilst exploring the landscape for views that could be used in volumes of prints. He soon became an influential and supportive figure in the nascent art world encouraging, among others, Conrad Martens. In January 1844, he travelled to Tasmania and, so enlivened by what he encountered, he returned to New South Wales to collect his family arriving back in Hobart in April. As he had done before, on his arrival here he delivered lectures on the arts and encouraged the artists around him, including Francis Simpkinson de Wesselow. With Tompkinson he explored the region for inspiration for the lithographic series to be later published as Tasmania Illustrated. He travelled widely, his journeys including a visit to Flinders Island. Although Prout’s concerns were often primarily with capturing the picturesque rather than with topographical detail, with this and the other sketches taken on Flinders island he records the presence of the few remaining Tasmanian aboriginals, who by this time were a depleted and dejected community. They had been transferred to this and the neighbouring islands in an attempt to protect them from harassment by white settlers in Tasmania. From 1833, the community was centred at Wybalenna on Flinders Island but of the 200 shipped there 150 had perished and in 1847, just a few years after Prout’s visit, the settlement was closed. Prout’s work of this period, and that of his fellow sketchers, does much to illustrate the fate of

Prout appears to have left Tasmania by the end of 1846, returning to London in 1848 where he spent the remainder of this productive life. He continued to work on the material that he had gathered in Australia reworking many of his sketches for subsequent lithographic publications. Amongst those works to provide inspiration for these later volumes is this sketch which appears in printed form in around 1874. In the print, the three figures have been depicted in a slightly different arrangement, the same as in another watercolour of this subject by Prout in the National Library of Australia. This suggests that the version in the NLA may have been worked from our original by Prout after his return to London in preparation for the later series of lithographs. £7,500 62b JOHN SKINNER PROUT Plymouth 1805-1876 London A Valley with Ferns and Aboriginal Encampment, probably Tasmania Signed lower left: J. Skinner Prout Watercolour over pencil heightened with bodycolour on laid paper 113 x 76 mm., 4 ¼ x 3 in. Prout would appear to have taken great delight in the valleys strewn with ferns which he came across both in Van Diemen’s Land, later Tasmania, and in New South Wales. He sketched them frequently and used these sketches to develop more finished watercolours on his return to the studio and even once back in Britain. £4,500 128



62b 129


63 DAVID COX Birmingham 1783-1859 Birmingham Study of a Rocky Landscape Watercolour over black chalk on laid paper 124 x 167 mm., 4 ¾ x 6 ½ in. The loose handling of the watercolour and extensive use of black chalk suggests a date in the 1840s or 1850s. Cox was a regular visitor to North Wales from 1844 until 1856. He would usually stay in Bettwsy-Coed and sketch in the surrounding countryside. Tempting as it is to identify this as a Welsh view, it seems more likely to be an exercise in composition. £2,400





64 SAMUEL OWEN 1768-1857 Sunbury A Frigate, a Cutter and Fishing Boats off the Coast Indistinctly signed lower right Watercolour over pencil heightened with bodycolour 165 x 220 mm., 6 ½ x 8 ¾ in. Provenance The Newall Sale, Christie’s, 13-14 December 1979, lot 53 Private Collection, UK Samuel Owen specialised as a painter of marine subjects, however, unlike many of his contemporaries he was less concerned with creating accurate portraits of the vessels. Rather, as evidenced by the present watercolour, Owen wanted to capture the romance of the subject, concentrating on atmosphere and mood. Numerous of his watercolours were reproduced as engravings and included in publications such as W. B. Cooke’s The Thames, published in 1811 and Picturesque Tour on the River Thames, published by Owen and William Westall in 1828. £3,500





65 THOMAS LINDSAY Alnwick 1792-1861 Cusop, Herefordshire In the Meadows near Mortlake, London Inscribed lower right: In the Meadows nr Mortlake, 20 Oct 1834 Watercolour over pencil 163 x 245 mm., 6 ¼ x 9 ½ in. Lindsay was born at Alnwick, Northumberland on 26th December 1792. He trained as a landscape painter in watercolour and exhibited at the New Watercolour Society from 1833, living in London and then Greenwich. In 1848 he moved to Cusop near Hay-on-Wye where he lived at Dulas Cottage. Examples of his work are in the British Museum, Victoria and Albert Museum and the National Library, Wales. Mortlake is on the south side of the river Thames between Kew and Barnes. £1,900





66 CHARLES MOZIN Paris 1806-1862 Trouville-sur-Mer

and near Villerville, and similar cliffs appear in several works by the artist. One such painting was recently acquired by the Villa Montebello museum in Trouville-sur-Mer, which houses several paintings and drawings, as well as over a hundred lithographs, by Mozin.

A Coastal Cliff in Normandy Pencil and white bodycolour on brown paper Inscribed Charles Louis MOZIN on the verso 359 x 264 mm., 14 1/8 x 10 3/8 in.

This drawing was at one time part of the exceptional collection of 18th and 19th century French drawings and prints assembled by the Parisian antique dealer Alfred Beurdeley (1847-1919). While the bulk of his collection was dispersed at auction in France in 1920 and 1921, the present sheet had remained within the Beurdeley family until recently.

Provenance The studio of the artist, Trouville The posthumous vente Mozin (Lugt 1829b), Paris, 7-8 April 1865 Alfred Beurdeley, Paris (Lugt 421) Thence by descent

£2,500 Born into a family of musicians, Charles-Louis Mozin studied with the landscape and genre painter Xavier Leprince. Primarily a painter and lithographer of coastal landscapes, harbour views and seascapes, particularly in Normandy, Mozin may perhaps best be labelled as a ‘pre-Impressionist’ artist. Along with Eugène Isabey and Richard Parkes Bonington, he was one of the first artists to paint landscapes depicting the beach resort and fishing port of Trouville, which he discovered around 1825, and where he eventually settled in 1839. He travelled in Germany and Holland, where he frequently exhibited his work between 1840 and 1850. Mozin exhibited at the Salons in Paris between 1824 and 1861, and also produced over 360 lithographs. In 1865, three years after the artist’s death, a sale of the contents of his studio was held in Paris, amounting to over two hundred paintings, drawings and watercolours, as well as several models of boats. Landscape paintings by Mozin are today in the museums of Amiens, Dieppe, Honfleur, Rouen, Toulon, Versailles, and elsewhere, while a number of views of Paris are in the Musée Carnavalet in Paris. Retrospective exhibitions of Charles-Louis Mozin’s work were held in Trouville in 1963, 1988 and 2018. Mozin made numerous drawings and paintings of rocks and coastal cliffs. The cliffs depicted in the present sheet are reminiscent of those at Étretat 136




67 PIERRE-NICOLAS BRISSET Paris 1810-1890 Paris

Easel paintings by Pierre-Nicolas Brisset are today in the collections of the Ecole des Beaux-Arts and the Musée d’Orsay in Paris, the Château of Versailles, the Musée de Art et d’Histoire in Narbonne, the Los Angeles County Museum of Art and elsewhere, while a number of drawings by the artist are in the Musée des Beaux-Arts in Angers.

The Head of a Choirboy Red, black and white chalk on blue paper Signed and dedicated à l’ami manguin / Pre Brisset at the lower left Inscribed and dated Rome / 1844 at the upper left 272 x 204 mm., 10 3/4 x 8 in.

The present sheet, executed in 1844 while Brisset was studying at the Académie de France in Rome, is dedicated by the artist to a M. Manguin, possibly the architect Pierre Manguin (1815-1869), who was responsible for the design of the Hôtel de la Païva in Paris, where Brisset worked in the 1860s.

Provenance Given by the artist to a M. Manguin, possibly Pierre Manguin, Paris Marie-Madeleine Aubrun, Paris Her posthumous sale, Paris, Hôtel Drouot, 8-9 February 1999, lot 129

This drawing later belonged to the art historian MarieMadeleine Aubrun (1924-1998), a noted scholar of 19th century French painting, who published articles and catalogues on the works of Jules Bastien-Lepage, Achille and Léon Benouville, Gustave Boulanger, Théodore Caruelle d’Aligny, Pierre-Athanase Chauvin, Alexandre Desgoffe, Jules Dupré, Henri Lehmann and others.

A painter of historical, religious and mythological scenes, as well as portraits and landscapes, PierreNicolas Brisset was a pupil of Louis-Charles-Auguste Couder and François-Édouard Picot. He visited Italy in 1835, and achieved second place in the Prix de Rome competition in 1837. Three years later Brisset won the Prix de Rome with a painting of Caius Gracchus, Summoned by the Senate, Leaves for Rome. He studied as a pensionnaire at the French Academy in Rome between 1841 and 1845, and it was during this period that he painted a canvas of Saint Lawrence Displaying the Treasures of the Church that was much admired when it was exhibited at the Salon in Paris.


On his return to France, Brisset assisted his teacher Picot on the frescoes in the Parisian church of SaintVincent-de-Paul, while later working independently as a mural painter in the churches of Sainte-Clotilde, La Sainte-Trinité, Saint-Roch and Saint-Augustin. His non-ecclesiastical commissions included murals for the Grand Théâtre in Geneva, executed in 1879 but destroyed by fire in 1951, as well as work at the Hôtel Matignon and the Hôtel de la Païva in Paris, while in 1883 he helped to restore the frescoes at Fontainebleau. In 1862 Brisset designed the 100 franc banknote for the Banque de France, which remained in use until 1923. Also active as an art teacher, among his most famous pupils was Henri Gervex. 138




68 JOHN GENDALL Exeter 1790-1865 Exeter A Pool on the River Avon at South Brent, Devon Watercolour over pencil heightened with bodycolour 432 x 539 mm., 17 x 21 in. Exeter born, Gendall began life as a servant to James White, uncle of John White Abbott and friend to Francis Towne and Ozias Humphrey. White encouraged Gendall in his aspirations to become an artist and introduced him to Sir John Soane, who commissioned him to record one of the windows in Westminster Abbey. This, along with an offer of employment from the leading print maker of the period, Rudolph Ackermann encouraged Gendall to move to London in about 1811. He became Ackermann’s assistant in his experiments with lithography and travelled extensively through Britain and to France, recording material for the Repository of Arts amongst others. Despite his growing reputation, Gendall decided to return to Devon in the mid 1820s and remained there until his death in 1865. Gendall’s early works tended to be pure watercolour, but over the years, he began increasingly to use bodycolour in his work. Many of his exhibited works between the mid 1840s and 1860 were views on the river Avon with several being of South Brent. South Brent lies on the southern fringes of Dartmoor. Originally a woollen and market town, its prosperity made it an important and influential town. The River Avon (one of 9 rivers of that name in Britain) rises north of South Brent, near Ryder’s Hill and flows for just 7 miles, south through Dartmoor and various of its towns and villages including South Brent before reaching the English Channel at Bigbury-on-Sea, to the south-west. £1,800





69 PETER DE WINT Stone, Staffordshire 1784-1849 London

Stylistically this work is typical of his late atmospheric watercolours with its loose application and extensive use of scratching out. The use of white bodycolour on the herons and the foaming water is a feature of his watercolours dating from the 1840s. Another version of this watercolour, without the pair of herons in the foreground, is in the Birmingham Museum and Art Gallery.

The Falls of the West Lynn at Lynmouth, North Devon Indistinctly signed on old label attached to the backboard: No.2/Falls of the West Lynn at Lynmouth/ North Devon/P. de Wint/40 Upper Gower St Watercolour over pencil heightened with white and scratching out 735 x 517 mm., 29 x 20 ¼ in.


Exhibited London, Society of Painters in Water-colours, 1842, no. 11 Lynmouth and Lynton are adjoining villages in north Devon straddling a gorge where the East and West Lynn rivers meet. This view is taken on the West Lynn just south of the confluence of the rivers. De Wint’s first visit to Devon appears to have been in the summer of 1841 as the present watercolour was his first exhibited watercolour of the area, in 1842. A sketch of Lynmouth, dated 22nd September 1841, is in an album in the British Museum. He appears to have travelled along the North Somerset coast visiting Dunster and Minehead continuing to Lynmouth across the border in Devon but no further. A view of Dunster Castle is in the collection of the University of Liverpool (see David Scrase, Drawings and Watercolours by Peter de Wint, 1979, no.88) and `At Minehead’ is in the Victoria and Albert Museum (op.cit., no.90). He may subsequently have visited his patron Mr Champernowne of Dartington Hall in South Devon. His wife Harriet de Wint’s Memoir of Peter de Wint records this visit: ‘He had been some years previously into Somersetshire, and as far as Lynton in North Devon, with which he was much pleased. Minehead and Dunster he considered very beautiful, and the cottages, &c., highly picturesque’ (quoted in Hammond Smith, Peter de Wint, 1982, p.125).





70 GEORGE FREDERICK PROSSER London 1805-1882 Winchester The approach to St Michael’s Church and Chauntry House, Bray, from Maidenhead, Berkshire Signed lower left: Bray/G.F. Prosser 1871 and inscribed with title and dated on part of old mount Watercolour over pencil 176 x 264 mm., 7 x 10 ¼ in. St Michael’s Church, Bray, strategically located by an ancient crossing on the River Thames near Maidenhead, originally dates to 1293. It was built by Queen Margaret, wife of Edward 1 and being a royal foundation and near Windsor, the church was expensively and elaborately constructed, especially given the size of the population at the time. Chauntry House, the red brick house to the right of the church, was originally built in 1754, during its long history it has been both private residence and hotel. The cricket pitch, just seen over the fence, beyond the road, is reputedly one of the oldest in the country and has been in continuous use since at least 1774. The first recorded cricketer from Bray was in 1744, when he was selected to play at the Artillery Ground in London, when cricket was first being formulated and six years before the foundation of Hambledon Cricket Club, widely regarded as the cradle of cricket. Prosser was born in London and worked in Surrey before moving to Winchester in the early 1850s. He lived and worked at 80 High Street, Winchester where he also taught drawing, and specialised in local views. £1,900





71 THOMAS MILES RICHARDSON, JUNIOR Newcastle 1813-1890 Newcastle A rocky Shoreline with a rough Sea Inscribed in pencil verso: Richardson Jun. Watercolour over pencil heightened with white on grey paper 192 x 270 mm., 7 ½ x 10 ½ ins. Richardson found success early and regularly sent watercolours to both the British Institution and the Royal Academy, while still based in his native Newcastle. He was elected an Associate of the Old Watercolour Society in 1843 (and full member in 1851), which may have encouraged his decision to move to London in 1846. By the time of his death in 1890, he had exhibited over 700 watercolours at the Society. This is an early work dating from the 1830s. £950





72 GEORGE RICHMOND RA Brompton 1809-1896 London

Linnell’s. Richmond’s landscape drawings in pencil have an almost Constable-like elegance. But there is little evidence of development; landscape remained for him a static medium, so that a watercolour done at Margate in 1850 or at Mickleham in 1860 might have been drawn within a week of one another…This is not to underrate them, for some of his landscape works, even slight drawings, are first rate…Richmond’s landscapes are probably so appealing because his prime reason for painting them was to please himself; he seldom, if ever, exhibited a pure landscape. The result is often a delightful purity and freshness of observation that, unlike much of the work of his mature years, still portrays some feeling for the visual ideals of the Ancients as expressed during the Shoreham years.’

Landscape near Walton Watercolour, over traces of an underdrawing in pencil Signed with the artist’s initials GR at the lower right Inscribed and dated near. Walton / 1854 at the lower left 135 x 213 mm., 5 1/4 x 8 3/8 in. Provenance James Mackinnon, London, in 2015 Matthew Rutenberg, New York

Dated 1854 and likely drawn on a page from a small sketchbook, this view of dunes by the sea was probably drawn in September or October of that year, when Richmond is known to have taken a holiday in the town of Walton; probably the small seaside resort of Walton-on-the-Naze in Essex, on the east coast of England. The present sheet would appear to depict part of the Naze, a marshy headland projecting into the North Sea, just to the north of the town, which today contains a small nature reserve. This landscape sketch is comparable, in stylistic terms, with a handful of other watercolours by the artist, such as a study of a large tree which remained in the possession of Richmond’s descendants until 2001, or a view of Norbury Woods, Surrey, of 1860.

A disciple of Willam Blake and a close friend of Samuel Palmer, George Richmond formed - with Palmer, Edward Calvert and other followers of Blake - a small group who called themselves ‘The Ancients’. The only member of the Ancients who received a conventional academic training, Richmond entered the Royal Academy Schools in December 1824, at the age of just fourteen, and studied there under Henry Fuseli. It was while he was at the Academy Schools that he first showed himself to be an accomplished and gifted draughtsman. Between 1824 and 1828 Richmond often joined Blake, Palmer, John Varley and others at John Linnell’s Hampstead home to draw from nature, as he also did with Palmer at Shoreham in Kent for several weeks in 1827. After his marriage in 1831, Richmond began working primarily as a portrait painter, quickly achieving considerable success in this field. He was elected to the Royal Academy in 1866, and his stature in the London art world was such that he was twice offered the directorship of the National Gallery, which he twice declined. It is as a portraitist that Richmond is best known today, and that accounts for the bulk of his extant oeuvre as a painter.


As the artist’s biographer Raymond Lister has noted, ‘Richmond’s landscape studies have a gentle idyllic quality not unlike some of the post-Shoreham studies of Samuel Palmer and some of the work of John Linnell, although on the whole they are less luxuriant than 148




73 CARL HAAG, R.W.S. Bavaria 1820-1915 Oberwesel A Tyrolese Shepherd Signed in red lower right: Carl Haag 1857 Watercolour heightened with bodycolour and gum arabic 356 x 256 mm., 14 x 10 in. Provenance With Thos. Agnew & Sons Robert, 2nd Lord Cawley (1877-1954), Berrington Hall, Herefordshire Haag trained in Nuremberg and Munich and initially worked as a book illustrator and miniaturist. In 1847 he arrived in England having decided to study watercolour painting. He studied at the Royal Academy Schools and exhibited watercolours from 1849. He travelled widely in Europe and to the Near East and Egypt. Queen Victoria was one of his patrons and he visited Balmoral in the autumn of 1853 and Windsor that winter. The present watercolour is typical of his early tight style, betraying his training as a miniaturist, and may be based on sketches drawn in the Tyrol in 1852 or 1853. ÂŁ1,800





74 THOMAS LEESON ROWBOTHAM Bath 1782-1853 Camberwell A Pier, Black Rock, Brighton Signed lower right: Black Rock/at Brighton/Aug 2/’41/ Rowbotham Watercolour over traces of pencil heightened with bodycolour 164 x 340 mm., 6 ¼ x 13 ¼ in. In the early nineteenth century, Black Rock consisted of a several houses and an inn overlooking the sea to the east of Brighton. Rowbotham was born in Bath and was working there as a drawing master in 1811 before moving to Dublin. By 1825 he was in Bristol where he remained for a decade and many of his topographical views of the city are in the museum there. In 1835 he moved to London where he was appointed drawing master at the Royal Naval School in New Cross.






75a PAUL JACOB NAFTEL Guernsey 1817-1891 Strawberry Hill, London

75b PAUL JACOB NAFTEL Guernsey 1817-1891 Strawberry Hill, London

Boat by the Solent

Cattle in a Landscape, Guernsey

Signed with initials lower right Watercolour over traces of pencil 128 x 355 mm., 5 x 14 in.

Inscribed lower right: Guernsey Watercolour over pencil heightened with bodycolour 252 x 355 mm., 9 ¾ x 14 in. £1,800

Born in Guernsey, the second of 11 children, Naftel initially established himself as a drawing master and was appointed Professor of Drawing at Elizabeth College in 1847, a post he retained until he moved to London in 1870. He travelled widely throughout the British Isles and Europe, including several trips to Scotland, as well as to Wales and Ireland, Switzerland, Italy and Spain. His early work was characterised by a rich application of bodycolour, which allowed him to capture the bright contrasts of colour found in the coastal subjects of Guernsey. Later, he was influenced by David Cox, whose work he became familiar with during a tour to North Wales in 1840. In 1856, he was elected an Associate of the Society of Painters in Watercolours, becoming a full member three years later. In 1862, several his watercolours were reproduced as a series of woodcut illustrations for D. T. Ansted and R.G. Latham’s The Channel Islands. £1,400







76 ENGLISH SCHOOL Circa 1820 Study of Trees and Sky Black and white chalk on blue laid paper 167 x 258 mm., 6 ½ x 10 in.

£450 unframed





77 WILLIAM CALLOW Greenwich 1812-1908 Great Missenden The Entrance Gate to Reinhardsbrunn, Germany Signed with initials lower left and inscribed: Reinhardsbrunn/Entrance Gate./August 27th/1863 Watercolour over pencil 355 x 253 mm., 14 x 9 ¾ in. This is one of a series of watercolours by Callow of royal palaces drawn in the summer of 1863. Prince Albert had recently died and Callow records in his autobiography: ‘.....I thought that some drawings of Coburg, Rheinhardsbrunn and other royal palaces with which he had been connected would be of interest to the public, so I wrote to the Duchess Augustus of SaxeCoburg, formerly my pupil, Princess Clementine, asking her to obtain permission for me to sketch at these palaces, which she readily obtained. In August 1863 we arrived at Coburg.... (at the Palace) I was welcomed by the Duke and Duchess and their daughters, to whom I showed my sketches. The Duchess requested me to leave them with her, as she was going to Rosenau to see Queen Victoria...’ Callow was summoned to see the Queen at the Chateau, where he was ‘duly presented, but Her Majesty graciously said, ‘I remember Mr Callow perfectly.’ After looking through my sketches, and expressing her admiration for them, the Queen told me of a number of places of interest which I ought to visit and sketch.’ (H.M. Cundall, William Callow - An Autobiography, 1908, p.121). The Queen commissioned eight watercolours from Callow, including a view of Coburg, for which he was paid £105 on 22nd January 1864. £2,800





78 THOMAS MILES RICHARDSON, JUNIOR Newcastle 1813-1890 Newcastle On the Black Mountain, Argyllshire, Scotland Signed lower right: TMRichardson/1856 and inscribed lower left: on the Black mount/Argyleshire Watercolour over pencil heightened with bodycolour 305 x 846 mm., 12 x 33 ¼ in. The Black Mount range in the Central Highlands, runs between Glen Orchy to the south and Glen Etive at the start of Glencoe in the north. The name originally referred to the forest that covered the slopes, but as the forest has disappeared over the centuries, the name became synonymous with the peaks themselves. The range has four munros, or mountains over 3000ft, Stob Ghabhar, Stob a’ Choire Odhair, Creise, with the highest peak, Meall a’Bhuiridh or Hill of the Roaring Stag, standing at just over 3600ft. Richardson found success early and regularly sent watercolours to both the British Institution and the Royal Academy, while still based in his native Newcastle. He was elected an Associate of the Old Watercolour Society in 1843 (and full member in 1851), which may have encouraged his decision to move to London in 1846. By the time of his death in 1890, he had exhibited over 700 watercolours at the Society. £1,800





79 ALEXANDRE BIDA Toulouse 1813-1895 Bühl

colour with colourless materials. But what is still more essential is the ripe study and appreciation of character, and the keen eye for the picturesque, displayed by the artist on all occasions. His sphere of action has hitherto been chiefly confined to Oriental climes, from which he has brought home some beautiful works...’

A Standing Arnavut Soldier Black chalk, with touches of white heightening Signed Bida at the lower right A small torn and repaired section at the right centre of the sheet 400 x 275 mm., 15 3/4 x 10 7/8 in.

The present sheet depicts an Arnavut (or Arnaut), an Albanian soldier used by the Pasha of Egypt, Muhammad ‘Ali, as the elite of his regular army. Predominantly Muslim, Arnavuts were a warlike mountain people from the region of Epirus, in the northwestern part of the Ottoman Empire. As described by a 19th century visitor to Cairo, ‘Their costume is artistically disheveled, their costly weapons as glittering as they are inoffensive, their proud and disdainful poses, their slightest gestures, everything about them seems to have been studied in its effect.’ Albanian soldiers were to be found throughout the Near East and were particularly noted for their elaborate dress. The poet Lord Byron, who employed a number of Arnavuts as his personal guards, praised their costume as ‘the most magnificent in the world, consisting of long, white kilt, gold-worked cloak, crimson velvet gold laced jacket and waistcoat, silver mounted pistols and daggers.’

Provenance Webster House, Kansas City, Missouri Regarded in his day as one of the finest draughtsmen of the 19th century, Alexandre Bida studied with Eugène Delacroix in Paris. It was the influence of Delacroix, as well as the work of Gabriel-Alexandre Decamps and Auguste Raffet, that led Bida to be interested in Orientalist themes. An early visit to Constantinople in 1843 instilled in him a fascination with Near Eastern subjects, and at his Salon debut in 1847 he showed two highly finished drawings of A Cafe in Constantinople and A Cafe on the Bosphorus, both of which were purchased by the State. Bida visited Egypt in 1850 and Greece, Turkey and the Crimea in 1855, and continued to exhibit regularly at the Salons, showing only finished drawings. As the French painter and art critic Etienne-Jean Delécluze, writing in 1856, noted of the artist, ‘Even though M. Bida only exhibits drawings, their merit is such that we add them to the painters whose aim is to depict the manners and costumes of the time, even though they come from faraway countries…[These] are superiorly composed works, treated with a pure taste and style, and which reveal in a pleasing manner the customs and dress of the East.’

A contemporary of Byron’s further remarked that ‘The Albanians or Arnauts...are extremely fond of gold and silver ornaments in their dress...The wealthier Arnauts have the outer vest of velvet and gold, richly interwoven with elegant ornaments...’ Arnavut soldiers appear frequently in Bida’s oeuvre as a draughtsman and lithographer. £5,000

That Bida’s drawings were also widely praised outside France can be seen in the comments of an anonymous critic, writing in an English periodical of 1859, who noted that ‘Amongst the most noteworthy things of the kind of our day are M. Alexandre Bida’s masterly crayon drawings. They combine in a remarkable degree boldness and freedom of outline with a soft and brilliant finish, producing the effect of 162




80 F. BOURGAREL 19th century The Head of a Black Man with a Turban Pastel and gouache on brown paper, laid down Signed FBourgarel in blue chalk at the upper right Inscribed Téte de négro in brown ink and numbered 125 in blue chalk on a label on the backing board 326 x 239 mm., 12 7/8 x 9 3/8 in. Nothing is known about the artist who signed this striking head study in pastel and gouache. F. (or perhaps T) Bourgarel does not appear in any biographical dictionaries, and was in all likelihood an amateur artist. The artist may not have exhibited his or her work in public, which would further explain the lack of extant information associated with the name. The present sheet can approximately be dated to the late 19th century, and may have been drawn in one of the French colonies in North Africa. £3,000

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81 EDWIN LORD WEEKS Boston 1849-1903 Paris

extensive account of his travels in Morocco, in an article entitled ‘Two Centres of Moorish Art’ which appeared in Scribner’s Magazine. Between 1882 and 1893 Weeks made three long trips to India, and his paintings of the country proved extremely popular with French and American collectors. When the contents of his studio were dispersed at auction two years after his death, it was noted of Weeks that ‘His sympathetic nature and his indomitable pluck made him an ideal traveller, and being equipped besides with wide general knowledge and unusual technical facility, he recorded his travels with both his pen and his brush in a manner rarely, if ever, equalled.’

Study of a Mounted Arab Warrior Oil, charcoal and pencil, laid down on board The sheet previously torn and repaired, probably by the artist, in several places 453 x 354 mm., 17 7/8 x 13 7/8 in. Provenance By descent to the artist’s niece, Elizabeth Goodwin Thence by descent to Burton W. F. Trafton, Jr., South Berwick, Maine Mervyn E. Bronson, Portland, Maine Bernard Broder, Gorham, Maine

This large sheet is a preparatory study for Weeks’s early painting The Departure from the Stronghold, painted in Morocco and formerly in the collection of the American artist Chester Hicks Loomis. A preparatory watercolour study for the painting, depicting just the landscape setting and the fortress in the background, shares the same provenance as the present sheet, while other studies for the work are recorded in one of the artist’s Moroccan sketchbooks.

Exhibited Durham, University of New Hampshire, University Art Galleries, The Art of Edwin Lord Weeks, 1976, no.35 Little is known of the American Orientalist painter Edwin Lord Weeks’s artistic training before 1874, when he enrolled in the studio of Léon Bonnat in Paris. By this time, however, he had already visited Morocco, Egypt, Palestine and Syria, and had exhibited several paintings inspired by this journey in Boston. His exposure to these exotic lands was to stand him in good stead with Bonnat and his friend Jean-Léon Gérôme, both of whom encouraged Weeks’s interest in Orientalist subjects. Weeks made his home in Paris, where he exhibited with great success at the annual Salons, and he never returned to live in America after 1872. He continued to travel to the Near East and North Africa, spending a considerable amount of time in Morocco between 1878 and 1880. He was one of the few Westerners to visit Rabat, Salé and Marrakech, and nearly died from typhoid fever. His made his debut at the Paris Salon in 1878 with a painting of a Moroccan camel driver, and he continued to show Moroccan subjects for several years thereafter, both at the Salons in Paris and at the Pennsylvania Academy of Fine Arts. Indeed, from 1879 to 1882 Weeks painted almost exclusively Moroccan subjects. He also published an

The present sheet is part of a large collection of early paintings, drawings and oil sketches by Weeks, many dating from the years before his studies in Paris, which remained with the artist’s descendants until 2012. As the late Weeks scholar Ellen Morris noted of this group, ‘These rarely-seen early paintings demonstrate Weeks’ raw talent, and significantly contribute to our understanding of the artist’s we have a trove of studies – the raw materials of academic painting – the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works...the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks’ working method, from composition to rendering of detail.’ £12,000





82a FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France

82b FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France

On the Banks of the Nile, Egypt

Buildings by the Nile

With artist’s atelier stamp lower right Watercolour over pencil 44 x 197 mm., 1 ¾ x 7 ¾ in.

With artist’s atelier stamp upper left Watercolour over pencil 52 x 94 mm., 2 x 3 ½ in. £750

Born in Alabama, following the death of his father and with growing unrest in the period before the American Civil War, Bridgman and his family returned to New England, settling in New York. In 1863 Frederick was apprenticed as an engraver to the American Banknote Company, whilst also attending art classes. Three years later he travelled to France, where he remained for the rest of his life. He initially settled in Paris and worked in Jean Léon Gérome’s Atelier at the École des Beaux-Arts. He also spent time in Brittany, at Pont Aven, where the artists’ colony frequented by Paul Gauguin and Emile Bernard, as well as a group of American painters, including Robert Wylie (1839–1877) was based. His success allowed him to set up a lavish studio on the Boulevard Malherbes, however, during World War I, financial losses, in part the result of gambling debts, meant that he sold his studio, moving permanently to his country house in Lyons-le-Fôret, Normandy. Bridgman established an international reputation as an artist, exhibiting regularly throughout Europe, at the various Paris Salons, as well as at Berlin Kunst Ausstellung and the Royal Academy, London, between 1871 and 1904. In 1878, he was awarded the Légion d’Honneur, becoming an Officier in 1907. In 1881 he was elected a Member of the National Academy, New York and was also a member of the Société des Artistes Peintres, Paris. These drawings date from Bridgman’s first trip to Egypt in the winter of 1873-4 which resulted in paintings which brought him worldwide acclaim. Although Paris remained his base, he still exhibited in the USA including a huge one man show of over four hundred pictures on 5th Avenue in 1890. £750 168






83 EDWARD LEAR London 1812-1888 San Remo View from the Hotel Reale, Varenna, Lake Como Extensively inscribed lower left: Hotel Reale/ (Marcioni) (Daisy)/Varenna/Lago di Como/21. Augt. 1878/11.30. AM/wonderful Oleanders Pen and brown ink and watercolour over pencil 329 x 498 mm., 12 ¾ x 19 ½ in. Provenance Ray Livingston Murphy, his sale, Christie’s, 19th November 1985, lot 74 Private Collection, New York In March 1871, Lear moved into the Villa Emily, San Remo, Italy, where he was to remain for the rest of his life. In July 1878, he visited Monte Generoso, Switzerland where he continued to go almost every summer until 1883. In August, the date of the present work, he travelled down to Lake Como to see his friend Marianne North who has just returned from India. A watercolour made the previous day, 20th August is illustrated in Philip Hofer, Edward Lear as Landscape Draughtsman, 1967, no. 87. Lear’s illustrations to Tennyson’s The Daisy include ‘Lago di Como, from Varenna’, no. 175 (‘One tall Agave above the Lake’) and ‘Varenna, Lago di Como’, no. 176 (‘That Fair Port’). A view of Monte Generoso dated 10th and 14th August 1878 was sold at Christie’s on 3rd July 2012, lot 160 for £11,250. £7,750





84 GIACOMO FAVRETTO Venice 1849-1887 Venice

Favretto was a prolific draughtsman, working mainly in pen and ink and in black chalk, and many of his drawings remain today in private collections in Italy. He was also a fine watercolourist, although he tended to use the medium primarily for heads and figure studies for his paintings.

A Man Smoking a Pipe Pen and brown ink, with framing lines in brown ink Signed G. FAVRETTO at the lower right 193 x 126 mm., 7 5/8 x 5 in. [image] 218 x 164 mm., 8 1/2 x 6 1/2 in. [sheet]

The present sheet may tentatively be identified as a youthful self-portrait by Giacomo Favretto, to judge by the appearance of the artist in a handful of selfportraits executed in the first half of the 1870s, when he was in his early twenties.

Provenance Anonymous sale, Rome, Bloomsbury Auctions, 25 November 2010, lot 2 Jean-Luc Baroni Ltd., London


The Venetian painter Giacomo Favretto had a relatively brief career, dying at the age of thirtyeight. He was born into a modest family, the son of a carpenter, and was trained at the Accademia in Venice, which he entered in 1864 at the age of fifteen. There he was a pupil of Michelangelo Grigoletti and Pompeo Molmenti, and after completing his studies he remained at the Accademia as an assistant to Molmenti until 1878. From the start of his independent career Favretto made a speciality of scenes of contemporary Venetian life. He first came to public prominence in 1878 when an amusing genre painting entitled The Mouse was exhibited at the Brera in Milan. (The previous year, however, the artist had lost an eye as a result of a blood infection.) Also in 1878, Favretto sent two paintings to the Exposition Universelle in Paris, which he visited that year in the company of the painter Guglielmo Ciardi. While in Paris he was much taken with the period compositions of Jean-Louis-Ernest Meissonier and Mariano Fortuny, and on his return to Venice began to depict 18th century costume pieces of genre scenes and images of daily life in the city. After his trip to Paris Favretto seems not to have left Venice again, although he continued to exhibit widely throughout Italy - mainly in Milan, Turin and Venice - and received commissions from art dealers and galleries as far afield as Germany and England. Although best known as a painter of popular genre subjects, he was also an accomplished portraitist. 172




85 EDWIN ELLIS Nottingham 1842-1895 London A Storm off Great Yarmouth Jetty Signed lower left: E. ELLIS Watercolour heightened with bodycolour, stopping out and scratching out 328 x 559 mm., 12 ¾ x 22 in. Edwin Ellis was born in Nottingham, but moved to London in 1867, to further his career as a marine and landscape artist. He exhibited widely, not only at the various galleries and institutions in London, including the Society of British Artists (of which he became a member in 1875), the Royal Academy and Agnew’s, but also further afield in Manchester, Liverpool and Birmingham. He travelled extensively throughout Britain as far afield as Cornwall, Northumberland, Yorkshire, North Wales and the Channel Islands. During the early 19th Century, Great Yarmouth became a popular seaside resort. However, it had a long and important history as a fishing, trading and naval town, which is evidenced in the history of its jetty and piers. Yarmouth Jetty was constructed towards the end of the 16th Century. It was intended for local fishermen to land their catch, as well as to take larger trading vessels. During the Napoleonic Wars, naval ships frequently restocked from the jetty and in 1801, Nelson landed at the jetty, following his victory at the Battle of Copenhagen. The jetty was only demolished in 2012, when the town was unable to raise the funds required to restore the structure. Two larger piers, both 700 ft long and serving both to land ships and as promenades, were constructed during the second half of the 19th Century. Wellington Pier, was opened in October 1852 and Britannia Pier, was begun just four years later and opened in July 1858, although the latter was completely rebuilt several times, following an accident with a ship, storm damage and various fires.






86 ALBERT GOODWIN, R.W.S. Maidstone 1845-1932 London The Lighthouse, Port Said, Egypt Signed lower right: Albert Goodwin, dated 1900 and inscribed lower left: The Lighthouse/Port Said. Watercolour heightened with bodycolour and gum arabic with original pen and ink border 179 x 280 mm., 7 x 11 in. Provenance: By descent from the artist until 2013 The son of a builder, Goodwin was a pupil of Arthur Hughes and Ford Maddox Brown. In 1872 he was taken to Italy by John Ruskin and subsequently travelled extensively. He visited Egypt in 1876, India in 1895, North America in 1902 and 1912, and New Zealand in 1917. The Lighthouse at Port Said was designed by Franรงois Coignet at the request of the Khedive of Egypt, Ismail the Magnificent and was finished a week before the opening of the Suez Canal in 1869. Unusually for the time, it was constructed in concrete and is 56 metres high. Until 2013, the present drawing was in a Goodwin family album. Late in his life, Goodwin would rework his earlier works, add ink borders and assembly them in albums ยฃ3,500





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

the pioneering ‘Japoniste’ art critic and collector Philippe Burty, and often used oriental motifs in his work. Indeed, Somm became one of the earliest artistic exponents of Japonisme, his work in this genre first developed in his illustrations accompanying a series of articles by Burty under the general title of ‘Japonisme’, published in the magazine L’Art in 1875 and 1876. As one recent scholar has noted of Somm, ‘His fascination with Japanese art is manifested in countless drawings, watercolors, and etchings that depict Japanese geishas, street scenes, and gardens, as well as Oriental objets d’art.’

A Japanese Fisherman Watercolour Signed Hy. Somm at the lower right Laid down on an old mount 100 x 182 mm., 3 7/8 x 7 1/8 in. Provenance Eric G. Carlson, New York Thence by descent


François Clément Sommier, known as Henry Somm, studied at the École Municipale de Dessin in Rouen before settling in Paris in the late 1860s, where he trained briefly with Isidore Pils. He enjoyed a successful career as an illustrator and draughtsman, contributing regularly to such popular journals as Le Monde Parisien and L’Illustration Nouvelle. Somm was also active as a designer of menus, theatre programs, invitations and announcements for the many fashionable events of Belle Epoque Paris. He produced visiting cards and bookplates, as well as designs for plates for the Haviland porcelain factory. At the invitation of Edgar Degas, Somm took part in the fourth Impressionist exhibition of 1879. In the 1880s he was among a group of artists associated with the cabaret Le Chat Noir in Paris, for whose eponymous journal he published reviews and articles. Somm’s finished drawings are often related to his more commercial work as an illustrator for magazines or books. In the latter part of his career, he was chiefly employed by the periodical Le Rire. Required to provide several drawings for each issue, his draughtsmanship became both more economical in line and more self-assured. Somm died in 1907 in relative obscurity. Like many of his contemporaries, Somm developed a fascination with Japan. He studied the Japanese language and in the early 1870s had planned a trip to Japan that had to be abandoned with the outbreak of the Franco-Prussian war. He was friendly with 178




88 LEON AUGUSTIN LHERMITTE Mont-Saint-Père 1844-1925 Paris

strength and command of effect in black and white... to such qualities in his black and white, as delicacy of draughtsmanship, exquisiteness and sweetness of effect, and refinement of expression, Lhermitte’s work makes no pretension. It assails the imagination by a rude, massive, and primitive strength akin to that which impresses us in the monuments and buildings, the life and faith, of that Brittany from which he derives most of his subjects, and in which his genius seems most at home. How eminently favourable this stern simplicity is to effect, in such materials as chalk and charcoal...It is impossible to forget Lhermitte’s work. He is at once the Millet and Jules Breton of Black and White.’

The Interior of a Barn Charcoal Signed L. Lhermitte at the lower left 307 x 451 mm., 12 1/8 x 17 3/4 in. Léon Lhermitte studied at the École Imperiale du Dessin and exhibited for the first time at the Salon of 1864. Ten years later he won a third-class medal at the Salon, and also spent several months working in Brittany. He was to return there frequently over the next five years, during which time he showed Breton subjects at the Salon. At the Salon of 1882 he achieved considerable success with the exhibition of his canvas The Paying of the Harvesters, which was purchased by the State. He began to concentrate on depictions of rural and peasant life, centred on his native town of Mont-Saint-Père, on the banks of the Marne river in Picardy. He enjoyed commercial and critical success throughout his long career, and his paintings and drawings of daily life in the countryside proved popular with French, British and American collectors. In 1890 he began exhibiting annually at the newly-established Société Nationale des Beaux-Arts, where he was given the honour of a retrospective exhibition in 1924, the year before his death.

The Lhermitte scholar Monique Le Pelley Fonteny has written of the artist that, ‘In his drawings he achieved a masterful subtlety between light and shadow, white and black, about which Théodore de Banville once remarked: “In his hands charcoal and black chalk are like magical tools.”’ Lhermitte’s charcoal drawings, or fusains, were avidly collected in France, England and America. They were also much admired by other artists, notably Vincent Van Gogh, who noted of Lhermitte in a letter to his brother Theo, written in September 1885, ‘there’s something astonishingly masterly in everything he does - in modelling, above all things, he utterly satisfies the demands of honesty... When I think about Millet or about Lhermitte – then - I find modern art as great – as Michelangelo and Rembrandt - the old infinite, the new infinite too - the old genius, the new genius.’

As a draughtsman, Lhermitte produced mainly finished pastels and charcoal drawings, for which he was very highly regarded. The pastels were much sought-after, and were exhibited at the Société des Pastellistes and sold through his dealers Boussod & Valadon. His charcoal drawings were also exhibited as independent works and much praised by critics. Indeed, Lhermitte became one of the leading fusainistes – as artists who produced highy-finished drawings in charcoal for sale came to be known - of the 19th century. As one writer noted in a review of the third Black and White Exhibition at the Dudley Gallery in London in 1875, where nine charcoal drawings by Lhermitte were exhibited: ‘we should be disposed to put Léon Lhermitte at the head of all those who exhibit here for the most potent secrets of

Lhermitte produced finished charcoal drawings of peasant interiors throughout his career, and the present sheet can de compared with such drawings as a Sheep Barn in the Philadelphia Museum of Art and an Interior of a Forge in the Musée Jean de La Fontaine in Château-Thierry. £12,000





89 AUGUSTE LEPÈRE Paris 1849-1918 Domme

In his own day, Auguste Lepère was much admired for his technical skill as both a draughtsman and printmaker. As one critic noted in 1897, ‘Lepère is an incomparable draughtsman, surmounting all sorts of difficulties with an ease which many just envy him; an engraver, too, of the first rank, handling with equal facility the knife or the burin, equally at home in relief engraving or in etching; also a lithographer of remarkable flexibility and breadth of touch. He excels, in fact, in every branch of his art. Everything he touches bears the impress of a truly personal originality, alike in his method of looking at things and in the way he reproduces them. With a deep knowledge of all the secrets of the draughtsman’s art, he has one great merit, among many others – namely, in never being cramped in the expression of his ideas, in always succeeding in developing them to their fullest extent.’ In more recent times, however, Lepère’s reputation as a printmaker has somewhat overshadowed his considerable gifts as a draughtsman and watercolourist.

Studies of a Breton Fisherman Charcoal, watercolour and gouache on board Signed A. Lepère at the lower right Inscribed no.32 – Etude Le Vieux pecheur and 278 / (200F) on the verso 406 x 291 mm., 16 x 11 1/2 in. Provenance Galerie Antoine Laurentin, Paris, in 1995 Private collection Exhibited Paris, Galerie Antoine Laurentin, Auguste Lepère, 1995, unnumbered This drawing of a shrimp fisherman carrying a large net and a basket is a fine example of the work of the French graphic artist Louis-Auguste Lepère. Lepère began his career as an illustrator and engraver for various publications in Paris, including the Magasin pittoresque, La revue illustrée and L’Illustration, while he also contributed illustrations to the Graphic and Black and White magazines in London and Harper’s in America. In the early part of his career he produced wood engravings characterized by a fine and delicate line. Around 1889 he took up the woodcut, and published several prints of views of monuments erected for the Exposition Universelle in Paris. In 1894 Lepère entered into an exclusive arrangement with the print dealer and publisher Edmond Sagot, who from then onwards received his entire output for sale. Lepère regularly exhibited at the Salon des peintres-graveurs Francais, the Salon des Artistes Français and the Salon national des Beaux-Arts. In 1905 Alphonse Lotz-Brissonneau, a patron and close friend of the artist who had assembled an almost complete collection of his graphic work, published a catalogue of his etchings and woodcuts. Three years later Lepère was given the honour of a lifetime retrospective exhibition in one room of the Salon des Beaux-Arts, as well as a solo exhibition at a gallery in London.






90 LOUIS WELDEN HAWKINS Esslingen 1849-1910 Paris

of paintings by Hawkins may be found in French museum collections. A monographic exhibition of his work was held at the Van Gogh Museum in Amsterdam in 1993.

Portrait of the Actress Jeanne Silvain

A fine example of Hawkins’s refined draughtsmanship, this drawing in pastel, gouache and watercolour is a portrait of the French actress Jeanne-Louise-Pauline Silvain (1892-1983), at the age of around seventeen. Born into a theatrical family, she was the daughter of Eugène Silvain and Louise Silvain - both of whom were noted actors at the Comédie-Française - and the sister of the playwright Jean Silvain. In 1916 Jeanne married the actor, theatre director and Resistance fighter Edmond Roze.

Pastel, coloured chalks, watercolour and touches of gouache, with a framing line in pencil Signed and dated LOUIS. WELDEN. HAWKINS - 09at the bottom In a carved gilt frame with a laurel wreath design, with the artist’s monogram at the bottom 338 x 315 mm., 13 1/4 x 12 3/8 in. Born in Germany to an English father and an Austrian mother, Louis Welden Hawkins was raised in England but was trained as a painter in France, where he lived and worked for his entire career. He made his public debut at the Salon des Artistes Français in 1881, where his melancholy painting Les Orphelins was much praised, winning a third-class medal before being purchased for 10,000 francs by the State for the Musée du Luxembourg. Hawkins exhibited at the Salons of the Societé des Artistes Français between 1881 and 1891, after which he showed his work at the Salon de la Societé Nationale des BeauxArts, exhibiting mainly landscapes, sentimental genre scenes and refined portraits, all of which earned him a considerable reputation.

A similar oval pastel portrait by Hawkins of the present sitter’s mother, Louise Silvain, dated March 1906, was recently on the art market in Paris. £8,500

Although Hawkins worked in a range of styles, perhaps the most interesting is a form of refined Symbolism, reflecting the artist’s interest in the work of the Pre-Raphaelites and his friendship with writers such as Stephane Mallarmé and painters like Eugène Carrière and Pierre Puvis de Chavannes. Around 1900 Hawkins found himself struggling to sell his work. To support his family, he turned increasingly towards commercial work, designing advertisements for the silversmiths Christofle et Cie., as well as writing articles and producing drawings for the journal L’Oeuvre d’Art International. When the magazine ceased publication in 1905, Hawkins left Paris and settled in Perros-Guirrec in Brittany, where he predominantly painted landscapes. He died in 1910 of a heart attack. Despite the fact that he worked for his entire career in France, only a handful

Jeanne Silvain 184




91 AUGUSTE ROUBILLE Paris 1872-1955 Paris

Among his more public commissions, Roubille painted a decorative frieze for the Maison du Rire pavilion at the Exposition Universelle of 1900, as well as a series of wall panels for the fashionable Café d’Harcourt near the Sorbonne. He produced several advertising images as posters, and also provided illustrations for a handful of books, including Paul Feuillâtre’s Écho et Narcisse and Grandgoujon by René Benjamin. Like some of his contemporaries, including ThéophileAlexandre Steinlen and Kees van Dongen, Roubille worked with anarchist publications, notably the illustrated weekly L’Assiette au Beurre, with which he was closely associated between 1901 and 1905. This allowed him to further his mission, within the bounds of political satire, of illuminating the injustices of state violence and the oppression of workers.

Pensées d’Automne Pen and black ink and black wash Signed ARoubille at the lower centre Inscribed par le temps qui court les hommes / ne marchent pas at the bottom Further inscribed tres urgent at the lower right, and paru dans Le Rire / No. 408 1er page on the verso. 225 x 205 mm., 8 7/8 x 8 1/8 in. [image] 319 x 245 mm., 12 1/2 x 9 5/8 in. [sheet] A painter, draughtsman, poster designer, caricaturist and illustrator, Auguste Jean Baptiste Roubille was an extremely versatile artist, at times working in an imposing Nabis manner and at others in a more traditional illustrative style. He exhibited his watercolours and gouaches at the Salon des Indépendants and the Salon d’Automne, as well as the Salon des Humoristes, for which he also designed several posters. As an illustrator, Roubille’s métier lay in satire, both of a political and comedic nature. His first illustrations appeared in Les Temps nouveaux in 1896 and the Courrier français in 1897, and his drawings, illustrations and cartoons were later published in Cocorico, Le Rire, Le Canard Sauvage, Le Sourire and Le Cri de Paris, while from 1906 until 1933 he provided cover illustrations for the satirical magazine Fantasio.

This is a preparatory drawing for the cover (fig.1) of the 26 November 1910 issue of the humour magazine Le Rire, with the title Pensées d’automne and the caption ‘Par le temps qui court, les hommes ne marchant pas. Il n’y a plus que la Seine qui monte.’ £900

Although best known for his cartoons and drawings of comical subjects, Roubille’s skill as a draughtsman was evident in all his work. Furthermore, as one contemporary English writer noted, ‘In mentioning at random the names of distinguished artists most popularly known in France by drawings of a humorous nature, that of Auguste Roubille will unhesitatingly be included. Despite the jesting character of his drawings on the covers as well as the inside of various jocular journals, he is nevertheless an artist with a profound sincerity of thought, and his work perhaps gets nearer to the true relation of art to life than much which pedantically poses with a superficial seriousness in massive gold frames.’

1 186




92 SIR MUIRHEAD BONE Glasgow 1876-1953 Oxford

Colnaghi and Obach gallery in London in 1914, to very positive reviews. This drawing depicts part of the outer façade of the city gate known as the Porta del Popolo, a section of the Aurelian Walls encircling the city of Rome. Built by Pope Sixtus IV for the Jubilee year of 1475, the Porta del Popolo was remodelled in the 16th century under Pope Pius IV. The Pope had asked Michelangelo to design the new outer façade of the Porta, but the elderly artist passed the commission on to the architect Nanni di Baccio Bigio, who completed the work between 1562 and 1565. Bone here depicts just the extreme right-hand side of the Porta del Popolo, viewed from the Piazzale Flaminio just outside the gate, and showing further buildings to the right.

The Porta del Popolo in Rome Pen and brown ink on buff paper Signed Muirhead Bone at the lower right 222 x 170 mm., 8 3/4 x 6 5/8 in. Provenance An unidentified triangular collector’s mark with the initials RSM (not in Lugt) stamped on the verso Exhibited Possibly Berlin, Austellunghaus am Kurfürstendamm, Fünfundzwanigste Ausstellung der Berliner Secession: Zeichnende Künste, November-December 1912, no.78 (‘Porta del Popolo, Rom’)

Bone drew another view of the other side of the Porta del Popolo, with the church of Santa Maria del Popolo alongside, seen from a terrace on the Pincian Hill, in a pencil drawing now in the National Gallery of Art in Washington, D.C.

Muirhead Bone was initially trained as an architect, but abandoned this in favour of working as a draughtsman and printmaker. His drawings were as much admired as his etchings, and several of them were reproduced in such publications as the Architectural Review, the Pall Mall Gazette, the Art Journal and the German Die Graphischen Künste. As the curator and scholar Campbell Dodgson noted of the artist, ‘he is much more at home with pencil and charcoal, ink and watercolour wash and pastel, than with the pigments and utensils of the landscape painter in oils. He is a “black and white” artist first and foremost, and one of the most gifted, varied and accomplished draughtsmen that have ever been known…gifted, above all with a most astonishing eyesight, keen, searching and tireless, and with equally unfailing sureness of hand.’


One of the first trips that Muirhead Bone made outside Britain was a long stay of about two years, from 1910 to 1912, in central and northern Italy, accompanied by his wife Gertrude and their children. After several weeks in Florence, the Bone family settled in Rome in the early months of 1911, and from October 1911 lived in a flat overlooking the Piazza del Popolo. During his time in Italy Bone produced thirty-two copper plates and numerous fine drawings, several of which were exhibited at the 188




93 VINCENZO GEMITO Naples 1852-1929 Naples

was to cease production three years later. Around 1887, after he began to experience bouts of mental illness, he gave up sculpture almost entirely, and spent much of the next twenty years as a recluse in his own home, working only as a draughtsman. He produced a large number of superb drawings, mostly portraits of friends and colleagues, as well as studies of street urchins, Neapolitan girls and other city folk. It was not until around 1909 that Gemito again took up sculpture full time, and it was in this later period of his career that he produced some of his finest work in bronze, executed with a delicacy and level of detail ultimately derived from his drawings. Known colloquially in Naples as ‘o scultura pazzo’ (‘the crazy sculptor’), Gemito also produced fine work in gold and silver late in his career.

Study of a Bearded Man, Looking to the Left Brush and black wash, over an underdrawing in pencil, on light brown paper Signed and dated GEMITO / 1912 at the lower right Inscribed carbone grezzo / cent. 8 margine / cornice noce [?] on the verso Further inscribed dichiaro che questo disegno è autentico / avendolo avuto da Gemito personalmente / quando Egli mi fece dono di una / sua fotografia con dedica nel 1912 / Vittoria Castelfranco on the old backing sheet 218 x 138 mm., 8 5/8 x 5 3/8 in.

Vincenzo Gemito was an immensely gifted draughtsman, and produced figure and portrait studies in pen, chalk, pastel and watercolour that were greatly admired and avidly collected by his contemporaries. Yet until relatively recently Gemito’s drawings have remained little known outside Italy, and it may be argued that he deserves to be recognized as not only one of the most significant sculptors of the period, but also one of its most talented draughtsmen.

Provenance Given by the artist to Vittoria Castelfranco in 1912 Heim Gallery, London Arthur M. Sackler, New York Thence by descent Sale, New York, Sotheby’s, 29 January 2010, part of lot 560 Stephen Ongpin Fine Art, London, in 2010 Private collection, Madrid After Antonio Canova, Vincenzo Gemito was perhaps the foremost Italian sculptor of the 19th century. A precocious talent, in 1868 the sixteenyear old Gemito exhibited a sculpture in Naples that attracted the attention of the King of Italy, Vittorio Emmanuele II, who acquired a bronze cast of the work for the palace at Capodimonte. Between 1877 and 1880 Gemito lived in Paris, and at the Salon of 1877 exhibited his sculpture of a Neapolitan Fisherboy to considerable critical acclaim, earning a number of commissions as a result. He continued to exhibit his work in Paris after his return to Naples, winning the Grand Prix for sculpture at the Salon of 1889 and a gold medal at the Exposition Universelle the following year.


In 1883 Gemito was able to set up his own foundry, located on the via Mergellina in Naples, although it





94 CHARLES KNIGHT Hove 1901-1990 Ditchling Study of Trees Signed lower right: Charles Knight Watercolour over pencil 355 x 355 mm., 14 x 14 in. Knight studied at Brighton School of Art from 1919 to 1923, before winning a scholarship to the Royal Academy Schools. There he discovered the work of John Sell Cotman (see no.60) which was a lifelong influence and led him to concentrate on working in watercolour. He exhibited widely and taught on and off at the Brighton School of Art for many years becoming, in 1959, the Vice-Prinicipal and Head of the Drawing and Painting Department. In 1944 he was asked by the Queen Mother to give lessons in watercolour painting to Princess Margaret which he did for three years. He is probably best known for the forty drawings of Sussex which he produced for the Recording Britain project in the late 1930s. ÂŁ1,200





95 ALETHEA GARSTIN Penzance 1894-1978 Zennor

Alethea Garstin’s paintings, almost always on a small, intimate scale, are characterized by a lightness of touch and a freedom of execution. They have been aptly likened to the intimiste paintings of Edouard Vuillard by the artist Patrick Heron, who championed her work. Writing just before her death, Heron noted, ‘I say Vuillard in view of the basic means employed by Alethea throughout sixty years of painting small, delectable, ever-different pictures…and that basic means is the small, blunt-ended hoghair brush which stippled, stroked, dragged and drew good oldfashioned oil paint, depositing it with an infinite variety of tonal colours upon tiny panels of wood…I have taken Vuillard as a peg – and if there are for some time to come those who think the comparison with such a master is simply a gratuitous gift to Alethea Garstin… - I shall have no reply, save only to invite contemplation of her output as prolonged and intent as that devoted to her by her smallish band of intense admirers.’

The Moroccan Bride Black chalk on paper; a page from a sketchbook A slight sketch of a standing youth drawn in pencil on the verso Numbered 403 at the bottom and (8) on the verso 300 x 229 mm., 11 3/4 x 9 in. [sheet] Provenance By descent in the family of the artist The daughter and pupil of the painter Norman Garstin, Mary Dochie Alethea Garstin began painting seriously at the age of sixteen, and two years later had a work accepted by the Royal Academy Summer exhibition; at the time the youngest artist ever to be so honoured. She often accompanied her father when he undertook the summer schools of painting that he held almost every year in Brittany and Northern France between 1899 and 1927, and in which she also participated. The Garstin family settled first in the artists’ colony at Newlyn in Cornwall, later moving to Penzance, where Alethea lived for most of her life. Alethea’s first gallery exhibitions were joint shows with her father, held in London in 1921 and 1924, and she only had her first solo gallery exhibition in 1940. She exhibited widely at group shows in galleries and at open exhibitions in England and elsewhere, until just before her death. Garstin travelled throughout England, Ireland, and Scotland, often using her small red Morris Eight car as a mobile studio, producing paintings of the sites she visited. She also made trips to France, Belgium, Italy, Morocco, Kenya, Tanzania, Australia and elsewhere. Among her close friends were the artists Dod Proctor (with whom she often travelled), Alfred Wallis and Morland Lewis. She remained very active well into old age, with her final painting trip abroad undertaken at the age of eighty-two. In 1978, the year of her death, a large retrospective exhibition of work by both Norman and Alethea Garstin was held in St. Ives, Dublin and London.

A page from one of the artist’s sketchbooks, this drawing is a preparatory study for the larger painting The Moroccan Bride (fig.1), which was formerly in the possession of the artist’s descendants and appeared at auction in Cornwall in 2014. Alethea Garstin first visited Tangier in 1928, and returned there each year for the next three years. Another painting of the same period is The Reverend Charles Francis Benthall on Holiday in Morocco, owned by the National Trust and on view at Benthall Hall in Shropshire. £2,000

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96 ROBERT LOUIS BANKS RIBA Cheltenham 1911-2000 London(?) A Courtyard in Cordoba, Spain Watercolour over a pencil underdrawing Signed BANKS at the lower left 236 x 155 mm., 8 7/8 x 6 1/8 in. Provenance Anonymous sale, Salisbury, Woolley and Wallis, 17 October 2007, lot 317 The Canon Gallery, Oundle Daniel Katz, London An architect and artist, Robert Banks studied at the Architectural Association between 1928 and 1933. Following military service in the Second World War, during which he was awarded the Military Cross, Banks worked as a town planner until the 1950s, when he began to devote himself to painting. A fellow of the Royal Institute of British Architects, he exhibited his work at the Trafford Gallery and the Alwin Gallery in London. He travelled extensively around Italy, painting views in Rome, Venice, Lecce, Naples, Urbino and elsewhere, and also visited Greece and Japan. The present sheet may depict a house on the Calle San Fernando (also known as the Calle de la Feria) in the centre of the Spanish city of Cordoba in Andalusia, which Banks is known to have visited in 1964. Among comparable watercolours of Cordoba of the same period by Banks are two much larger works recently on the art market; one entitled Al Paros, Cordoba, signed and dated 1964, which appeared at auction in England in 2014, and A Patio in Cordoba, also dated 1964, which was recently with a gallery in Paris. ÂŁ1,800






Switzerland, Germany and Holland firmly established the artist’s international reputation. In 1982 the artist was included in both the Sydney Biennale and in Documenta 7 in Kassel, and the same year he produced his first bronze sculpture. In the succeeding years sculpture became a more and more significant aspect of his oeuvre, often incorporated into largescale, site-specific installations in urban spaces. From the early 1980s Paladino also began working as a printmaker, producing etchings, woodcuts, linocuts and aquatints.

Isola Watercolour Signed, titled, inscribed and dated Agosto 1982 ISOLA / Argentouli.(?) casa pellica(?) / Mimmo Paladino on the verso 255 x 333 mm., 10 x 13 1/8 in. Provenance Acquired from the artist by Galerie Bel’Art, Stockholm Anonymous sale, London, Sotheby’s, 27 June 1985, lot 763 Stanley J. Seeger, London

In 1985 Paladino was given a retrospective exhibition at the Städtische Galerie im Lenbachhaus in Munich, while another important exhibition of paintings, sculptures and works on paper was held in Prague in 1991. The artist has continued to exhibit extensively throughout Italy and elsewhere in Europe, as well as further afield; in Japan, China, America and Canada. Paladino has also worked as a book illustrator, filmmaker and poster designer, and has created sets for stage and opera productions. In 2008 the artist constructed a five-meter tall monument, entitled Porta d’Europa (‘Gateway to Europe’), on the remote Italian island of Lampedusa, as a memorial to the numerous migrants who had died attempting the perilous sea journey from North Africa to Europe. Another retrospective exhibition was held in Milan in 2011, and in 2015 a room in the Italian pavilion at the Venice Biennale was dedicated to his work. Paladino today lives and works in Rome, Milan and in his home town of Paduli.

A sculptor, painter and printmaker, Domenico (Mimmo) Paladino was a leading member of the Italian artistic movement known as Transavanguardia. The term, which can be translated as ‘beyond the avant-garde’, was coined by the art critic and curator Achille Bonito Oliva in 1979 to refer to a small group of young Italian artists - Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicolo de Maria and Paladino - who displayed a neo-expressionist tendency in their work. The artists of the Transavanguardia group came to public prominence at the 1980 Venice Biennale, and it was to become one of the most influential artistic movements of post-war Italian art. Paladino was born in 1948 in the town of Paduli di Benevento, some sixty kilometres east of Naples, and had his first one-man exhibition at a gallery in Naples at the age of twenty. Although he began his career working mainly with photography and conceptual art, he soon gravitated towards painting, and by 1977 had settled in Milan. In 1980 Paladino was invited by the Bonito Oliva to show in the Aperto section of the Venice Biennale, alongside the other artists who were to make up the Transavanguardia group. The following year Paladino’s work was included in the seminal exhibition A New Spirit in Painting at the Royal Academy in London, while an exhibition of his drawings that was shown in several museums in

A gifted draughtsman, Paladino has often exhibited his drawings, which he has regarded as of equal importance as painting, sculpture and printmaking. As he has stated, ‘I really draw. It is easy for me. In reality, the less struggle there is for me the better I produce. It is not that I have a mentality that preplans, but I feel that drawing is about the impalpable…transparency.’ Executed in August 1982, this watercolour can be related to a later painting of the same title L’Isola (The Island), dating from 1993 and depicting a human figure resting alongside a small island in the midst of a sea, in the Würth collection in Germany. £4,500 198





mirror. It becomes increasingly difficult to gauge how far away from the drawing you’re standing. It ‘floats’ in the air, suffused with life and energy. Leonardo considered it the finest technique of all.’


As a review of a gallery exhibition of Koulbak’s drawings in New York in 2000 noted of the artist, ‘his silverpoint drawings – when seen for the first time – recall the work of Old Masters. But, on closer inspection, the muted colors, the dreamy look, all are meant to entice the viewer into the artist’s world. The works, many highlighted with watercolor, are rendered on a special type of paper prepared with ground marble dust, adding to the dreamy, otherworldly feeling...each one seems to have a tale waiting to be told. Victor Koulbak is a master.’

Silverpoint, with touches of watercolour 318 x 259 mm., 12 1/2 x 10 in. Provenance W. M. Brady & Co., New York, in 2007 Mark Murray, New York Stephen Ongpin Fine Art, London, in 2009 Private collection, Madrid Exhibited New York, W. M. Brady & Co., Koulbak drawings, 2007 London, Stephen Ongpin Fine Art and Guy Peppiatt Fine Art, One Hundred Drawings and Watercolours, 2009-2010, no.99

The present sheet was drawn in 2005. £9,000

Victor Koulbak was born in Moscow and studied at art school there before beginning his career as a commercial draughtsman and illustrator. In 1975 he left Russia and settled first in Vienna and later in France, where he lived and worked between 1976 and 2000. He lives today in Malta. Koulbak established a reputation for working in the techniques of Renaissance masters, in particular the medium of silverpoint, which features prominently in his work from 1990 onwards. He had his first one-man exhibition in Sweden in 1976, and has since exhibited widely in France, England, Germany, Belgium, Japan and America. In 2015 an exhibition of Koulbak’s drawings and paintings was held at the June Collins Smith Museum of Fine Art at Auburn University in Alabama. As the artist himself has recalled, ‘When I saw silverpoint for the first time, I was bowled over. I read that the masters used to prepare their gesso by burning chicken bones and mixing them with glue made of rabbit skins. This creates a rough surface to which the particles of silver adhere and act like microscopic mirrors reflecting the light. As the drawing progresses, the layer of silver thickens and begins to act like a 200





represent the thrill of competition and the spectacle of man struggling against the elements.’ The aesthetic qualities of these yachts inspire many of Mackrill’s works, being in abundance in the Yarmouth harbour, near his studio.

Working Aloft Pen and brown ink and watercolour, over a pencil underdrawing Signed and dated Martyn R. Mackrill 09 at the lower left 569 x 449 mm., 22 3/8 x 17 5/8 in. [sheet]

A drawing of a closely-related composition by Mackrill, entitled Aloft, executed in pen and black ink and black wash (fig.1), is known. £12,000

Provenance Messums, London, in 2009 Christopher Cone and Stanley J. Seeger, Whitby Exhibited London, Messums, Martyn R. Mackrill: Home Waters II, 2009, no.48 Born on the Isle of Wight, Martyn Mackrill is the son of a marine engineer in the Merchant Navy and grew up around boats and harbours. He studied at Portsmouth Art College and has established a successful career as a painter and illustrator of marine subjects. Mackrill lives and works today in the village of Freshwater on the Isle of Wight, producing both paintings and works on paper. He is an Honorary Painter to the Royal Thames Yacht Club and the Royal Yacht Squadron at Cowes, both of which own his paintings, as do the Royal Hong Kong Yacht Club and the Royal Solent Yacht Club, while private collectors who have acquired his work include HRH Princess Anne and HRH Prince Henrik of Denmark. As the yachting journalist and broadcaster Tom Cunliff has said of him, ‘Martyn Mackrill is now accepted among the foremost marine artists of his generation. For the sake of all those who love the sea as she really is, may his brushes long continue to weave their magic amidst the ever-changing waves.’ A devoted sailor himself, Mackrill restored a 31-foot gaff-rigged cutter built in 1910 named Nightfall over a period of twelve years. These antique vessels, according to Mackrill, represent the golden age of yachting, and ‘offer not only elegant lines and superb craftsmanship that are pleasing to the eye, but

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returned to his artistic roots, and now lives in London, focusing his efforts on drawing and printmaking.

a. Anonymous Leaf I

Chris Boulden’s upbringing in New Zealand was extremely formative and inspiring, fostering his love of the outdoors and the natural world. In his own words, he produces ‘intimate compositions that touch on the quiet and the storm of nature, hinting at visual naturalism.’

Watercolour over pencil Signed and dated 20/19 / CBoulden at the lower centre 320 x 240 mm.,12 5/8 x 9 1/2 in. b. Anonymous Leaf II

The present pair of watercolours are part of a larger group of studies of leaves executed in 2018 and 2019; some singular compositions and others clusters of leaves, all drawn from life. As the artist has noted, ‘[the] Anonymous Leaf series depicts nature through close observation and naturalistic watercolour paintings of shed and scattered leaves. Made during the waning of each leaf’s life, the artefacts and texture of decay contrast against the flush of life’s colour, infinitesimal landscapes, a portrait of life and death.’

Watercolour Signed with initials and dated CB 20/18 at the lower centre 153 x 230 mm., 6 x 9 1/8 in. Born in New Zealand, Christopher Boulden realized his talent for art and design early in life, being particularly attracted by traditional watercolour and drawing techniques, and went on to study drawing, printmaking and design at Christchurch Polytechnic. Early in his career, Boulden focused more on design, and after graduating in 1997 began working in advertising and later as an illustrator and animator for television. Since 2008, however, Boulden has

As with much of his subject matter, Boulden plays with the juxtaposition of traditional watercolour and printing mediums, also producing several similar woodcuts. £1,200 each


b. 204



100b 205

INDEX OF ARTISTS ABEL DE PUJOL, Alexandre-Denis ARPINO, Cavaliere d’


DURRANT, Captain John


ELLIS, Edwin

ATKINSON, The Reverend Christopher no.31 BANKS, Robert Louis


BIDA, Alexandre




BOULDEN, Christopher

no.92 no.80

BRIDGMAN, Frederick Arthur


BRISSET, Pierre-Nicolas


ENGLISH SCHOOL, 19th Century




FISHER, Thomas


FLEMISH SCHOOL, 17th Century





BOLOGNESE SCHOOL, 17th Century no.15 BONE, Muirhead



FLORENTINE SCHOOL, 17th Century no.17 FOLLI, Sebastiano FRANCHOYS II, Lucas

no.8 no.13

FRENCH SCHOOL, 18th Century nos.26,33 CALLOW, William CAMPI, Giulio

no.77 no.1



COTMAN, John Sell


COX, David


CREMONINI, Giovanni Battista


GAMELIN, Jacques




GEMITO, Vincenzo






GRIMM, Samuel Hieronymous DE ANGELIS, Pietro




DE WINT, Peter


DANBY, Francis [circle]






DESRAIS, Claude-Louis




DUBOIS, Eduard


HAAG, Carl


HAWKINS, Louis Welden


HAYTER, George


HEAPHY, Thomas


HUET II, Nicolas




JONES, George


JOSI, Charles


KNIGHT, Charles




LEAR, Edward


LEPÈRE, Auguste


LEWIN, William


LHERMITTE, Leon Augustin




LODI, Ermenegildo


LORRAIN, Claude [circle] LUZZI, Luzio [attr.]



ROMANELLI, Giovanni Francesco


ROMANO, Luzio [attr.]




ROWBOTHAM, Thomas Leeson




SAUVAGE, Piat-Joseph [circle]


SMITH, John ‘Warwick’


no.32 nos.41-43

SOMM, Henry MACKRILL, Martyn


MILANI, Aureliano


MOZIN, Charles


NAFTEL, Paul Jacob


SOUTH GERMAN SCHOOL, 17th Century no.7 VAGA, Perino del [circle] VARLEY, John VENETIAN SCHOOL, 17th Century

NEAPOLITAN SCHOOL, 17th Century no.20 NICHOLSON, Francis




OWEN, Samuel






PAYNE, William




PROSSER, George Frederick


PROUT, John Skinner




no.3 no.57 no.7



WARD, James


WEEKS, Edwin Lord


WILTON, Joseph