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ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT
Riverwide House 6 Mason’s Yard Duke Street, St James’s London SW1Y 6BU
Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd.
ONE HUNDRED DRAWINGS AND WATERCOLOURS
GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART
ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th century to the present day
WINTER CATALOGUE 2010–2011
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 email@example.com www.stephenongpin.com
Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 firstname.lastname@example.org www.peppiattfineart.co.uk 1
We are delighted to present our third Winter catalogue of One Hundred Drawings and Watercolours. Traditionally the fields of Old Master drawings, early British drawings and watercolours, and 19th Century and modern drawings, have each had their own collectors, auctions and exhibitions. The aim of this catalogue, and indeed the aim of our shared gallery as a whole, is to blur the distinction between these collecting areas, and hopefully show that a good drawing is always a good drawing, whoever the artist and whatever the date. This catalogue includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the early 16th century to the present day. As a glance at the enclosed price list will show, the prices of the drawings are equally broad in scope – from under £1,000 to around £10,000 – with a large number of interesting works at the lower end of this range. Drawings and watercolours by well-established artists can be very affordable, and interesting works by minor or little-known artists especially so. There is much in this catalogue for the novice collector, as well as for the more experienced connoisseur or curator. Our respective individual catalogues of more significant drawings will be issued in 2011 and will, as ever, each be accompanied by exhibitions at our gallery. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at the gallery over the coming months. Guy Peppiatt Stephen Ongpin
The following catalogue contains a combination of drawings 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 at the top of each page; please therefore direct any enquiries as appropriate. Only a brief account of each drawing is given in the catalogue. Further information on most of the drawings, as well as more complete biographical information on the artists, is available on request. The drawings are available for viewing from receipt of the catalogue. A price list is included. A selection of the drawings in this catalogue will also be exhibited by us at the Watercolours and Works on Paper Fair at the Science Museum, London, on 2–6 February 2011. 2
1 TUSCAN SCHOOL Early 16th Century
Exhibited: New York, William H. Schab Gallery, Los Angeles, Los Angeles County Museum of Art and Indianapolis, Indianapolis Museum of Art, Woodner Collection II: Old Master Drawings from the XV to the XVIII Century, 1973, no.38 (as School of Filippo Lippi)
The Visitation Black chalk (and silverpoint?), heightened with white, on prepared paper washed purple A study of The Holy Family with Two Saints faintly drawn in pen and grey ink on the verso Numbered 2 at the upper right, and 3 on the verso 174 x 227 mm., 6 7/8 x 9 in.
While the previous attribution of the present sheet to Filippo Lippi is untenable, this drawing does display the influence of Florentine draughtsmanship at the very end of the 15th century and the first two decades of the 16th century, and in particular the work of the painter Fra Bartolommeo (1472â€“1517). It is, however, slightly more provincial in character, and may well have been drawn elsewhere in Central Italy. A date between 1510 and 1520 may be proposed.
Provenance: William H. Schab Gallery, New York, in c.1969 Ian Woodner, New York His posthumous sale, London, Christieâ€™s, 2 July 1991, lot 71 3
2 FRANCESCO VANNI Siena 1563–1610 Siena
in red chalk of an arm and shoulder at the right centre of the sheet are studies for the pose of the Christ Child in Vanni’s 1593 altarpiece of The Virgin and Child with Saints Bernardino of Siena, Francis and Leonard in the Capuchin church on the outskirts of Arcidosso, south of Siena. In the painting, the Child holds an orb, and his legs are partly covered with drapery.
A Sheet of Studies of a Young Child Red and black chalk Inscribed Franc.o Vanni at the lower left 179 x 254 mm., 7 x 10 in.
The remaining studies on the sheet are related to the Christ Child in The Madonna and Child with Saints Cecilia and Agnes in the Sienese church of Sant’Agnese a Vignano, datable to between 1595 and 1600. The study of a reclining child in red chalk at the bottom centre of the sheet is very close to the pose of the child in the painting, although in reverse. Just above this sketch is a definitive study in black chalk for the extended leg of the Child, again in reverse. The red chalk study of arms at the top centre and the black chalk studies at the upper right of the sheet are studies for the arms of the Child, which in the painting reach out to place a garland on the head of Saint Cecilia.
Francesco Vanni worked for most of his career for churches in and around Siena, and, with his half-brother Ventura Salimbeni, came to dominate the artistic scene in the city at the turn of the century. He was a gifted and prolific draughtsman, whose drawings were in great demand among collectors. This sheet of studies may be related to two altarpieces by Vanni of the late 1590s. Both the sketch in black chalk of a child’s legs and lower torso at the lower left and the study 4
3 MARTEN DE VOS Antwerp 1532–1603 Antwerp
were later engraved, which served to spread his reputation throughout Flanders. A highly productive draughtsman, de Vos was also active as a designer for print publishers, although he was not a printmaker himself. While most of the five hundred or so drawings by the artist that survive are preparatory studies for prints, he is known to have designed many more, as a total of some 1,600 original engravings after his designs exist.
The Death of Lucretia Pen and brown ink and brown wash, with touches of white heightening, the outlines partially indented for transfer Inscribed Mart de Vos / fec. on the verso 133 x 110 mm., 5 1/4 x 4 3/8 in.
The present sheet is a preparatory drawing, in reverse, for an engraving of Lucretia by Raphael Sadeler I (Hollstein 1330). The engraving was one of a series of three prints depicting women as examples of chastity – the others being Susanna and Sophronia – designed by the artist and executed by Sadeler. The drawing can be dated to 1590, the date on the engraving of Susanna. The popularity of Marten de Vos’s designs, and the prints made after them, is seen in an engraved design for the metal tip of a dagger sheath by Theodor de Bry, which incorporates at its centre the identical figure of Lucretia.
Provenance: An unidentified collector’s mark stamped on the verso Jacob H. Wiegersma, Utrecht (Lugt 1552b) P. & D. Colnaghi, London, in 1999 Arguably the most influential Flemish artist of the generation before Rubens, Marten de Vos was established as one of the leading painters in Antwerp by the second half of the 16th century. Many of his religious and history paintings 5
4 DUTCH SCHOOL 17th Century
d. Coastal Landscape with a Ruined Tower e. Coastal Landscape with a Villa and Gardens Each pen and brown ink Each 95 x 193 mm., 3 3/4 x 7 5/8 in.
An Album Page with Five Drawings: a. A Ruined Temple, after Matthijs Bril
The main drawing in this group, at the upper centre of the album page, is copied after a pen and ink drawing by Matthijs Bril the Younger (1550–1583) in the Louvre. Bril’s drawing depicts a ruined Roman fountain flanked by two marble trophies, which remained in situ until they were transferred to the Campidoglio in 1590. After Matthijs Bril’s death in 1583, his brother Paul kept many of his drawings of Roman views, and often allowed them to be copied by the younger generation of Northern artists working in the city, such as Willem van Nieulandt and Jan Brueghel.
Pen and brown ink Inscribed h. van Swanevelt at the lower right Further inscribed tekening van Swanevelt / 4 Schellingen on the verso 165 x 248 mm., 6 1/2 x 9 3/4 in. b. Two Peasant Women with Vegetables Pen and black ink 68 x 103 mm., 2 5/8 x 4 in.
The present sheet bears an attribution to Herman van Swanevelt (1603–1655), who lived and worked in Rome between 1629 and 1641.
c. Studies of Four Figures, a Child and a Horse Pen and brown ink 101 x 82 mm., 4 x 3 1/4 in. 6
5 FRANCESCO BRIZIO Bologna c.1575–1623 Bologna
Carracci, and developed into a talented printmaker. With Agostino’s departure for Rome in 1597, Brizio began to work closely with Ludovico Carracci, assisting him with several large-scale religious commissions, and eventually running the Carracci studio on his behalf when the elder artist went to Rome in 1602. As an independent artist, Brizio painted decorative frescoes for villas and palaces in Bologna and the surrounding area. While many of Brizio’s mature drawings are very close in style to those of Ludovico, in its technique and handling the present sheet displays the particular influence of the pen drawings of Agostino Carracci.
The Head of a Boy Pen and brown ink 124 x 111 mm., 4 7/8 x 4 3/8 in. Provenance: An unidentified armorial collector’s mark stamped at the lower right Said to have come from an album assembled by Giovanni Piancastelli, Rome, in the late 19th century
The present sheet is thought to have been part of the large collection of drawings, numbering around 15,000 sheets, assembled in the last quarter of the 19th century by the Italian painter and engraver Giovanni Piancastelli (1845–1926), the curator of the Borghese collection in Rome.
The attribution of this drawing is due to Babette Bohn. Francesco Brizio trained in the Bolognese studio of Bartolomeo Passarotti before enrolling in the Carracci academy. He learned the art of engraving from Agostino 7
6 STEFANO DELLA BELLA Florence 1610â€“1664 Florence
Only a handful of paintings by Stefano della Bella survive to this day, and it is as a graphic artist that he is best known. A hugely talented and prolific printmaker and draughtsman, he produced works of considerable energy and inventive ness, with an oeuvre numbering over a thousand etchings, and many times more drawings. Succeeding Jacques Callot as Medici court designer and printmaker in Florence, della Bella also worked in France between 1639 and 1650, establishing a flourishing career in Paris and publishing numerous prints. After his return to Florence in 1650, he continued to enjoy Medici patronage. Della Bellaâ€™s lively drawings display a keen observation of country life and pursuits, and he seems to have often worked outdoors, filling several sketchbooks with scenes of people, buildings and festivities; all drawn on the spot and used as a stock of images and motifs for both his etchings and more finished drawings.
Landscape with a Farmhouse Pen and brown ink Inscribed Stef o: della Bella at the lower right Further inscribed viene del cantagallina on the verso 151 x 210 mm., 5 7/8 x 8 1/4 in.
7 Circle of HENDRICK GOLTZIUS Muhlbracht 1558â€“1617 Haarlem Study of a Left Foot Pen and brown ink, with touches of red chalk 170 x 233 mm., 6 3/4 x 9 1/8 in.
8 RICHARD PHELPS Porlock 1710–1785 Porlock
Provenance: Iolo Williams Alan Hobson (1942–2002)
Portrait of a Young Boy
This is a rare signed drawing by the Somerset artist Richard Phelps. He painted portraits, of which several are at Dunster Castle, horses and inn signs. He also collaborated with the amateur artist and collector Coplestone Warre Bampfylde (1720–1791) of Hestercombe.
Half-length, in Van Dyck costume Signed verso: Rd Phelps Fecit/Augt 7 1780 pencil on laid paper watermarked with a castle, oval 173 x 146 mm., 6 3/4 x 5 3/4 in. 10
9 WILLIAM HOARE OF BATH, R.A. Eye, Suffolk 1707â€“1792 Bath
Provenance: With Agnewâ€™s, London Hoare was a portrait painter in oil and pastel who was in Bath by 1739 and was the first fashionable and successful portrait painter to settle there. He produced a number of these chalk portrait drawings, which are mainly of his family and friends, as well the large scale portraits for which he is known.
Portrait of a Gentleman Half-length, in profile Black and red chalk on laid paper 194 x 160 mm., 7 1/2 x 6 1/4 in. 11
10 VICTOR-JEAN NICOLLE Paris 1754–1826 Paris
while full of anecdotal detail, were also topographically accurate. They are, as such, important historical records of the appearance of the city in the late 18th and early 19th centuries.
The Palazzo Barberini, Rome
Nicolle would make drawings sur le motif in pen and ink, which he would then finish with watercolour in his studio. Although best known for his Roman views, Nicolle also produced drawings of other cities in Italy (including Bologna, Venice, Verona, Naples and Florence), while in France he made numerous studies of Paris and its environs. Although he never exhibited at the Salons, his reputation as a topographical artist was such that in 1810 he received a commission from Napoleon for fifty watercolours of views of the principal monuments of Paris, intended as a wedding present for the Empress Marie-Louise and now at Malmaison. Other significant groups of drawings by Nicolle are today in the Louvre, the Musée Carnavalet and the Bibliothèque Nationale in Paris, as well as the museums of Rouen and Lille.
Pen and brown ink, with framing lines in brown ink Inscribed Veduta dell Palazzo Barberini à Rome. in the lower margin 59 x 89 mm., 3 1/2 x 4 3/8 in. [sheet] Like many French artists of his day, Victor-Jean Nicolle was captivated by the sights and buildings of Rome. However, he surpassed most of his contemporaries in devoting much of his long career to watercolour views of the Eternal City. After receiving his initial artistic training at the Ecole royale gratuite de dessin in Paris, Nicolle entered the studio of the architect Louis Charles Petit-Radel. Judging by the dates on some of his drawings, Nicolle spent long periods in Italy between 1787 and 1798, and again between 1806 and 1811. His charming, picturesque drawings of Rome, 12
11 RICHARD COOPER JNR. Edinburgh 1740–1820
Cooper was born in Edinburgh, the son of an engraver and studied in London and Paris. He exhibited at the Society of Artists from 1761 before going to Italy in 1770. He stayed in Italy until at least 1776 and had returned by 1778 when he exhibited Italian views at the Royal Academy. He was drawing master at Eton in the 1780s and taught Princess Charlotte. Surviving works by him are rare and are usually Italian or Italianate subject matter.
Italianate Landscape Signed lower right: R Cooper Pen and brown ink and wash over pencil on laid paper 239 x 369 mm., 9 1/4 x 14 1/4 in.
This work is typical of Cooper’s impressionistic drawing style which the artist William Marshall Craig (c.1765-c.1834) described as ‘shorthand kinds of representation – a twirl, a flourish or a zig-zag’ (see W.M. Craig, Instructions in Drawing Landscape, 1814–15). 13
12 DANIEL GARDNER Kendal c.1750â€“1805 London
Provenance: With Spink, London Born in Kendal, Gardner was taught by George Romney before going to London in the late 1760s. He established a fashionable practice as a portraitist in pastels and gouache, and occasionally oil, often on a small scale. His combination of pastel and gouache makes his works distinctive.
Portrait of a Gentleman Half-length, wearing a blue coat with gold braid and buttons Pastel and gouache on laid paper, oval 265 x 214 mm., 10 1/4 x 8 1/4 in. 14
13 OZIAS HUMPHRY, R.A. Honiton 1742–1810 London
‘Portrait Painter in Crayons to the King’. Most of his portraits of the Royal Family are still in the Royal Collection. Born in Devon, he studied art in Bath and London where he was encouraged as a young artist by both Gainsborough and Reynolds. He started out as a miniaturist but problems with his eyesight in the early 1770s, which eventually led to blindness, forced him to paint larger scale works in oil and pastel. In 1773 he travelled to Italy with George Romney where he remained until 1777 and from 1785 until 1787 he was in India. This is a typical work of the late 1780s when he was at the height of his powers. The loosely applied or flicked brush strokes are characteristic of his style at this period when his failing eyesight influenced his drawing technique.
Portrait of a Gentleman Half-length, wearing a dark coat and white stock with a landscape beyond Pastel on paper, on the original canvas support and stretcher 605 x 505 mm., 23 3/4 by 20 in. Provenance: Private collection, Buckinghamshire
We are grateful to Neil Jeffares for confirming the attribution to Ozias Humphry.
Humphry was a leading portraitist in miniatures, oils and pastels of the late eighteenth century. He was elected to the Royal Academy in 1791 and in 1792 he was appointed 15
14 JEAN-BAPTISTE PILLEMENT Lyon 1728–1808 Lyon
reproduced as prints, with several included among a large number of landscape, ornament and chinoiserie designs by Pillement engraved and published in London in the late 1750s and early 1760s.
Ornamental Design with Flowers and Ribbons
One recent scholar has noted of Pillement that ‘his flowers could be realistically drawn or painted with his usual finesse and delicacy, but many, if not most, are the creations of his irreverent imagination…In these multiform creations one can see the full scope of the artist’s extravagant fancy. The viewer is baffled at first: the flowers seem to be flowers, but they are not, although they could be . . . However, most of his quaint flowers are innocently lovely whether single or gathered in a composition sometimes interwoven with bows of ribbons, and they are never ordinary or dull.’ As another scholar has written, ‘Of all the many men who specialized in the minor arts of decoration during the eighteenth century, Pillement stands out because of the sheer delight which lies in his completely nonsensical work. Groups of flowers or seed-pods are arranged in marvellous patterns, which are the more entrancing because they have no apparent rhyme or reason.’
Black chalk, with stumping Signed j. Pillement at the lower left 173 x 277 mm., 6 7/8 x 10 7/8 in. One of the most influential decorative and ornamental draughtsmen of the second half of the 18th century, JeanBaptiste Pillement worked throughout Europe over his long and productive career. This charming, whimsical drawing of stylized flowers is a study for one of eight etchings published in London in 1760 as Recueil de differentes Fleurs de Fantasie dans le goût chinois, Propres aux Manufactures d’etoffes de Soie et d’Indienne, inventées et dessinées par Jean Pillement. The artist created numerous designs of such fleurs de fantasie throughout his career, intended as designs for silk embroidery, textiles or wallpaper. Many of these were 16
15 FRANCESCO BARTOLOZZI Florence 1725â€“1815 Lisbon
1764. Bartolozzi was to live and work in England for nearly forty years, establishing a highly successful career as a reproductive engraver. He was appointed Engraver to the King, and was a founding member of the Royal Academy in 1768. As a printmaker, Bartolozzi worked in a variety of techniques, and made a particular specialty of a stipple technique of colour engraving. In 1802 he became the first president of the Society of Engravers, and later that same year was appointed director of the Academy of Fine Arts in Lisbon. He remained in Lisbon, working productively and with his artistic skills remaining largely undiminished, until his death in 1815. Significant groups of drawings by Bartolozzi are today in the collections of the Museu Nacional de Arte Antiga in Lisbon, the Albertina in Vienna, the British Museum in London and the Royal Collection at Windsor Castle.
The Head of a Bearded Man Black and red chalk Signed with initials FB at the lower left centre 306 x 230 mm., 12 x 9 in. Best known as a printmaker, with an oeuvre of more than 2,500 engravings, Francesco Bartolozzi trained at the Accademia di Belle Arti in his native Florence. At the age of twenty he moved to Venice, and by 1760 was in Rome, where that he met Richard Dalton, Librarian to King George III, who persuaded the artist to come to England in 17
16 THOMAS ROWLANDSON London 1756â€“1827 London A Bridge over a River, Cornwall Pen and grey ink and watercolour 143 x 296 mm., 5 7/8 x 11 7/8 in. Rowlandson regularly visited Cornwall to see his friend and patron the banker Matthew Michell from the 1790s until Michellâ€™s death in 1819. Michell owned over 550 watercolours by Rowlandson and his country house, Hengar House, was six miles north of Bodmin. Rowlandson enjoyed sketching in the surrounding countryside and also visited Michell at his home, Grove House near Enfield. 18
17 GIUSEPPE BERNARDINO BISON Palmanova 1762–1844 Milan
lasted well into the 19th century, his style invariably retains something of the flavour of the previous century. Bison was an accomplished and prolific draughtsman, whose preferred medium was pen and ink. His drawings encompass a wide and varied range of subjects, from religious narratives to genre scenes and capricci, as well as stage and ornament designs. Most of Bison’s drawings seem to have been produced as autonomous works of art for sale, and significant groups of his drawings are today in the collections of the Castello Sforzesco in Milan, the Musei Civici in Trieste and the Cooper-Hewitt Museum in New York.
A Ship in a Storm Pen and brown ink and two shades of brown wash, over an underdrawing in black chalk Signed Bison at the lower right 162 x 194 mm., 6 3/8 x 7 5/8 in. Provenance: Sir Bruce Ingram, Chesham (Lugt 1405a) Carl Winter, Cambridge (his mark CW on the verso)
The present work belonged to Sir Bruce Ingram (1877–1963), one-time editor of the Illustrated London News and among the most enthusiastic collectors of drawings of his day. Ingram had a particular penchant for maritime and shipping scenes, as was noted in the introduction to an exhibition catalogue of drawings and paintings of such subjects in 1938: ‘Captain Bruce Ingram has assembled a collection of maritime drawings which, at a modest computation, may be said to stand among the finest in the world.’
Giuseppe Bernardino Bison received his artistic training in the studio of Anton Maria Zanetti in Venice, and spent the early part of his career working as a fresco painter in villas and palaces around the Veneto. The latter half of his career found Bison living and working in Trieste and Milan as both a frescante and scenographer, producing stage designs for the Teatro alla Scala and other theatres. Although his career 19
18 EDMUND BECKER 1746–1800
19 LADY DIANA BEAUCLERK Langley Park, Bucks 1734–1808 Petersham
View of Borrowdale, Cumberland
A Nymph and dancing Satyrs
Inscribed with title lower right Pen and grey ink and wash, with a watercolour sketch verso 151 x 188 mm., 6 x7 1/4 in.
Watercolour over traces of pencil 304 x 277 mm., 12 x 10 3/4 in.
Provenance: Alan Hobson (1942–2002)
Lady Beauclerk was born Lady Diana Spencer and was the eldest daughter of Charles Spencer, 3rd Duke of Marlborough. Lady Di, as she was known, grew up at Langley Park and Blenheim Palace and made copies of the pictures there from a young age. In 1757 she married the 2nd Viscount Bolingbroke but was divorced by him in 1768 due to her adultery with Topham Beauclerk (1739–1780), whom she married two days later. They moved in court circles and Lady Diana’s closest friends were the countesses of Pembroke and Spencer and the Duchess of Devonshire.
Provenance: Anonymous sale, Sotheby’s, 12th May 1986, lot 208
Little is known about Becker but he was probably a pupil of Richard Cooper, Jnr. (see no.11) and seems to have been in Rome circa 1780. This drawing belongs to a group of Lake District views by him which seem to date from the late 1790s. For another Lake District view by Becker, with a similar inscription, see a view of Windermere in the British Museum (BM1948,0519.1). 20
Horace Walpole, Lord Orford, was also a close friend of the couple and the diarist Joseph Farington recalls his views of them: ‘Lord Orford mentioned many particulars relative to the late Mr. Topham Beauclerc [the celebrated wit]. He said He was the worst tempered man He ever knew. Lady Di passed a most miserable life with him. Lord 0, out of regard to her invited them occasionally to pass a few days at Strawberry Hill. They slept in separate beds. Beauclerc was remarkably filthy in his person which generated vermin. He took Laudanum regularly in vast quantities. He seldom rose before one or two o’clock.’
She was well known for her drawings of children and infant cupids and bacchantes, some of which were engraved by Bartolozzi, and she also produced designs for Wedgwood pottery. Walpole was a great admirer of her work and built a room at Strawberry Hill to house her drawings. Examples of her work are in the V and A, the Royal Collection and the British Museum. For more on the artist, see B. C. Erskine, Lady Diana Beauclerk: her life and work, 1903.
20 PANCRACE BESSA Paris 1772–1846 Ecouen
Among the leading painters of flowers and fruit in the first half of the 19th century in France, Pancrace Bessa was a pupil of Gerard van Spaendonck and Pierre-Joseph Redouté. In his day as highly regarded as both van Spaendonck and Redouté, he was, however, less prolific than either. Bessa exhibited at the Salons between 1806 and 1831, and enjoyed the patronage of both the Duchesse de Berri, to whom he was appointed flower painter and drawing master in 1820, and the Empress Joséphine. In 1823 he was commissioned by the Muséum d’Histoire Naturelle to produce studies of flowers on vellum, succeeding Redouté in this role. Bessa’s most important commission was for a series of 572 watercolours on vellum for the Herbier général de l’amateur, commissioned by Charles X. Published in eight volumes, the project was begun in 1816 and the artist worked on the series until 1827.
a. A Black-veined White butterfly (Aporia crataegi) and a Silver-washed Fritillary butterfly (Argynnis paphia) b. A Labrador Sulphur butterfly (Colias nastes) and a Brown Brush-footed butterfly (Nymphalidae satyrnae) c. A Large White butterfly (Pierris brassicae) and a Peacock butterfly (Inachis io) Each watercolour and pen and brown ink, over an underdrawing in pencil or pencil and red chalk Each signed P Bessa in the lower right margin Each 188 x 148 mm., 7 3/8 x 5 3/4 in.
These three drawings are among a group of drawings and oil sketches by Pancrace Bessa only recently rediscovered in the possession of the artist’s heirs. A comparable, albeit larger, watercolour study of butterflies and other insects by the artist is in the Goldyne collection in California.
Provenance: The artist’s studio, and by family descent at the Château de Castelnau in the Roussillon, France 22
b. 21 THE HON. MRS HENRIETTA ANNE FORTESCUE Barnes 1763â€“1841
b. Craigleith Quarry, Edinburgh Inscribed lower centre: Craig Leith Quarry (n.r Edinburgh)), signed and dated Aug:st 6th 1823 lower right and numbered 110 upper left Pen and grey ink and grey wash over pencil 270 x 377 mm., 10 1/2 x 14 3/4 in.
a. Edinburgh Castle from Calton Hill Inscribed lower centre: Edinburgh Castle., signed and dated Aug:t 5th 1823 lower right and numbered 107 upper left Pen and grey ink and grey wash over pencil 238 x 377 mm., 9 1/4 x 14 3/4 in. 24
22 THE REV. JOHN SWETE Ashburton, Devon 1752–1821 Oxton House, Devon
Craigleith Quarry was the largest and best known of Edinburgh’s quarries and provided most of the stone for Edinburgh New Town. It was in use for over three hundred years and the face of the quarry was eventually 360 feet high. Its stone was used on Edinburgh buildings such as Register House, the entrance to Adam’s Edinburgh University Old College and the National Monument on Calton Hill. It was first recorded in 1615 and was eventually closed in 1942 after which it was slowly filled in, although 100 tons of loose stone was removed in 1995 for use in the making of the Chinese Garden in Edinburgh’s Botanic Gardens. What is left of the quarry is now part of the Criaigleith Retail Park opened in 1993.
Duvale Quarry near Bampton, Devon Inscribed twice upper right: Quarry Duvale and dated 1796 Watercolour over pencil 170 x 251 mm., 6 1/2 x 9 3/4 in. Provenance: Alan Hobson (1942–2002)
The artist was the daughter of the banker Sir Richard Hoare, 1st Bt and brother of the antiquary and author Sir Richard Colt Hoare, who inherited Stourhead. She married firstly Sir T.D. Acland, 9th Bt. and secondly in 1795, Captain the Hon. Mathew Fortescue, R.N., brother of the first Earl Fortescue. She was an enthusiastic and talented amateur artist who painted in Italy, the Pyrenees, Scotland and the Lake District.
Swete was the son of a surgeon who became an antiquarian, poet and amateur artist and lived at Oxton House near Exeter, where he was a prebendary. Most of his drawings are of Devon views although he visited the continent in 1816. Duvale Quarry is one of a series of old stone quarries just south of Bampton near the road to Tiverton in Devon. 25
23 SAMUEL ATKINS fl.1787â€“1808
Atkins specialised in marine pictures but little is known about his life. He exhibited at the Royal Academy between 1787 and 1808 and was at sea visiting the East Indies and the coast of China from 1796 to 1804. Examples of his work are in the British Museum, Victoria and Albert Museum, Ashmolean Museum, Oxford and elsewhere.
a. Shipping off Gibraltar Signed lower left Pen and grey ink and watercolour 100 x 301 mm., 4 x 11 3/4 in. b. Shipping off the Coast Signed lower right Pen and grey ink and watercolour heightened with touches of bodycolour 102 x 302 mm., 4 x 11 3/4 in. 26
24 PAUL SANDBY, R.A. Nottingham 1730–1809 London
This watercolour dates from 1769, the year that Sandby was a foundation member of the Royal Academy. In the 1750s, Sandby had joined his brother Thomas at Windsor helping landscape the gardens and working on his first watercolours of the Castle and grounds. In 1768, he was appointed drawing master at the Royal Military Academy at Woolwich. Traditionally described as view of Pembroke Castle, South Wales, this is unlikely as his first visit to Wales was not until 1772. Sandby is often described as ‘the Father of English watercolour painting’ as he was probably the first British artist in the eighteenth century to work commercially in the medium. For more on the artist, see Paul Sandby – Picturing Britain, Royal Academy exhibition catalogue, 2009.
Travellers on a country road, a Castle on a promontory beyond Signed and dated 1769 lower right Watercolour and bodycolour 473 x 603 mm., 18 1/2 x 23 3/4 in. Provenance: William Hawker By descent to Roger Helyer With Guy Peppiatt Fine Art, 2005 Private collection, Bath 27
a. 25 THÉODORE GÉRICAULT Rouen 1791–1824 Paris
Literature: Germain Bazin, Théodore Géricault: Étude critique, documents et catalogue raisonné, Vol.VII, Paris, 1997, p.31 and pp.149–150, no.2343A Bruno Chenique, Catalogue raisonné des dessins inédits et retrouvés de Théodore Géricault (forthcoming)
a. A Snarling Lion Pencil on papier calque, laid down on card 160 x 212 mm., 6 1/4 x 8 3/8 in.
Théodore Géricault seems to have been interested in lions from early in his career, as his student sketchbooks include copies after Rubens’ paintings of lion hunts. (One such sketchbook is today in the collection of the J. Paul Getty Museum in Los Angeles). While in London between 1820 and 1821 he made several drawings after wild animals in the zoo, with a particular emphasis on lions. The subject of a horse being attacked by a lion was also one that held a particular fascination for the artist, as it had for George Stubbs before him. Géricault would have known of Stubbs’s paintings of lions and horses in combat even before his stay in England in 1820–1821, as prints of these subjects were available in France and he copied some of them. Géricault produced several pencil drawings and watercolours of lions attacking horses, culminating in one of his most dramatic
b. A Lion Attacking a Horse Pencil on papier calque, laid down on card 128 x 214 mm., 5 x 8 3/8 in. Provenance: Douglas Huntly Gordon, Baltimore, Maryland (Lugt 1130a) Loaned by him to the Baltimore Museum of Art, Baltimore, Maryland Anonymous sale, New York, Christie’s, 24 May 1989, lot 335
A facsimile of the Snarling Lion is in the Bibliothèque Nationale in Paris, while two copies of the sheet, attributed to the collector Alexandre Colin, are among a group of traced copies after drawings by Géricault in the Nathan collection in Zurich. A variant of the composition of the Lion Attacking a Horse, with the head of the horse not raised, appears in a sheet of pencil studies by Géricault in a private collection, while a copy of the drawing, attributed to Colin, is in another private collection.
depictions of the theme; a drawing of A Horse Attacked by a Lion now in the Museum Boijmans-van Beuningen in Rotterdam. He also produced two lithographs of the subject. The attribution of these drawings to Géricault has been confirmed by both Lorenz Eitner and Bruno Chenique, who will include both drawings in his forthcoming Catalogue raisonné des dessins inédits de Théodore Géricault. As M. Chenique has noted of these drawings, ‘A close examination of the two drawings on calque has allowed us to recognize the nervous graphic manner of Theodore Géricault, and to reveal the very particular manner he employed to ceaselessly vary the pressure of his hand and fingers on the pencil. Some lines are therefore darker and stronger than others and seem almost to have been incised onto the paper. This is an important detail and allows one to differentiate Géricault’s original drawings on papier calque from those of the numerous imitators who made tracings of his drawings to keep as souvenirs.’
Both of these drawings, which were at one time mounted together, belonged to the collector, scholar and bibliophile Douglas H. Gordon, Jr. (1902–1986), a Baltimore attorney. Gordon’s collection of drawings included works by Italian, Dutch, American, English and, above all, French artists. Over two hundred drawings from the collection were bequeathed to the Virginia Museum of Fine Arts in 1986.
26 EDWARD DAYES London 1763â€“1804 London
Dayes is one of the most important British topographical artists of the late eighteenth century whose work was very influential on the young artists, Turner and Girtin. He worked in the eighteenth century manner with a restricted palate mainly of greens and blues.
Freston Tower, Suffolk Watercolour over pencil 166 x 217 mm., 6 1/2 x 8 1/2 in.
Freston Tower is a six storey building looking over the River Orwell near Ipswich. It was supposedly built by the Ipswich merchant Thomas Gooding in 1578 and is one of the oldest follies in the country. It is now a Landmark Trust property.
Provenance: With Thomas Agnew & Son Anonymous Sale, Christieâ€™s, 14th November 1989, lot 82 Private collection, UK 30
27 GIDEON YATES 1790–1837
This shows the newly built London Bridge which was opened on 1st August 1831 by William IV and Queen Adelaide. This watercolour is dated 1830 before the official opening. It was built by Sir John Rennie to the design of his father and was positioned upstream from the old bridge, which is visible in the present watercolour, but was taken down in 1832–33. A watercolour by Yates dated 1832 which shows the old bridge being dismantled was with Guy Peppiatt Fine Art in 2008 (now private collection). Rennie’s bridge was sold in the 1970s and re-erected in Lake Havasu City, Arizona.
View on the Thames from Southwark Bridge looking towards London Bridge Signed lower left: G. Yates 1830 Watercolour over pencil with original pen and ink border 310 x 557 mm., 12 x 21 3/4 in.
On the south bank stands Southwark Cathedral with, on the north bank, the Monument to the Great Fire of 1666 built in 1671–77, and the spire of the Church of St Magnus Martyr behind the Fishmongers’ Hall. Beyond is the distinctive spire of the Church of St Dunstan in the East with the Tower of London in the distance. 31
28 JOHN LINNELL Bloomsbury 1792–1882 Redhill
29 FRENCH SCHOOL 19th Century
Haymaking among Trees
Ground Plan of an Amphitheatre in a Garden
Signed lower right: J. Linnell/15 Black and white chalk on buff paper 278 x 420 mm., 10 3/4 x 16 1/2 in.
Watercolour over an underdrawing in pencil 619 x 473 mm., 24 3/8 x 18 5/8 in.
Provenance: Anonymous sale, Sotheby’s 8th April 1998, lot 141 Private Collection, U.K. This is probably a view taken in Windsor Forest. Linnell spent a month at Winkfield, near Windsor, in May 1815 with his fiancée Mary Ann Palmer and spent a lot of that time sketching in Windsor Park and Forest. He also visited the Isle of Wight in September 1815. 32
30 PETER DE WINT Stone 1784–1849 London
Provenance: By descent from the artist Tatlock family Bostock family With Spink and Son
A Ploughman and Horsemen by a Castle Inscribed verso: Peter . . . /10 Pen and black ink 102 x 127 mm., 4 x 5 in.
Literature: Hammond Smith, Peter de Wint, 1982, p.44, ill. Fig.37 Hammond Smith (op. cit.) suggests that de Wint’s pen and ink drawings were produced in the studio as ‘the pen is quite unsuited to field work.’ He also points out that ‘many of them are executed on the backs of envelopes, letters, advertisements etc.’ The inscription on the verso suggests de Wint drew the present work on the back of an envelope. 34
31 PETER DE WINT Stone 1784–1849 London
Provenance: With Thos. Agnew and Sons, London This drawing dates from de Wint’s only trip abroad, to Normandy in 1828. This is the west front of the church. John Sell Cotman visited Lisieux in July 1818 and drew the church from a similar viewpoint. The drawing was engraved for Cotman’s Normandy published in 1822 so it may have been known by de Wint.
The Church of St. Peter, Lisieux, Normandy pencil 155 x 129 mm., 6 x 5 in.
32 ALEXANDRE DESGOFFE Paris 1805–1882 Paris
Alexandre Desgoffe was already a talented amateur landscape draughtsman when in 1827 he entered the studio of Ingres as one of the master’s first pupils. Nicknamed ‘Le Père la Nature’, because he painted numerous plein-air studies from nature, Desgoffe exhibited his work at the Salons between 1834 and 1868. He produced mural decorations for several Parisian churches as well as for the Hôtel de Ville, the Bibliothèque Nationale and the Palais de Luxembourg. He was best known as a painter of historical landscapes, and together with Paul Flandrin, may be regarded as a master of the paysage ingresque. An inveterate traveller, Desgoffe worked extensively in the Auvergne, and at Barbizon (one of the first artists to do so) and Fontainebleau, the Midi and, in the final years of his career, at Pornic on the Atlantic coast.
Coastal Landscape at Marseilles Watercolour, over an underdrawing in pencil Inscribed and dated M. le 26. 7 bre 1838 at the lower right 155 x 235 mm., 6 1/8 x 9 1/4 in. Provenance: The artist’s studio, with the atelier stamp (Lugt 3161) Marie-Madeleine Aubrun, Paris (Lugt 3508) Her posthumous sale, Paris, Hôtel Drouot, 8–9 February 1999, lot 178
This vibrant watercolour was drawn on a visit to the Mediterranean coast near Marseilles in September 1838. Desgoffe was in Marseilles between the 22nd and the 29th of September 1838, on a trip to the south of France that also included visits to Avignon, Nîmes, Arles, Toulon, Hyères and elsewhere.
Literature: Marie-Madeleine Aubrun, ‘Un grand méconnu, pionnier du naturalisme: Alexandre Desgoffe (1805-1882)’, Bulletin de la Société de l’Histoire de l’Art français, 1983 (published 1985), pp.154–155, no.D2, fig.56 36
33 HENRY BRIGHT Saxmundham 1810â€“1873 Ipswich
Bright was born in Saxmundham, Suffolk, the son of a clockmaker and was apprenticed to a chemist in Norwich before turning to drawing. He learnt drawing under Alfred Stannard and took lessons from John Sell Cotman. In 1836 he moved to Paddington and built up a successful drawing practice in London until 1858 when he returned to Saxmundham. He lived the last years of his life in Ipswich. This is typical of his drawings in its use of black chalk and stump.
Near Dorking, Surrey Signed lower left: HBright and inscribed with the title lower right Black chalk and stump 259 x 361 mm., 10 x 14 in. 37
34 JOSEPH BARBER Newcastle 1757–1811 Birmingham
35 DR WILLIAM CROTCH Norwich 1775–1847 Taunton
The Entrance to a Cave
a. The East End of Westminster Abbey and Hall
Watercolour over pencil 263 x 377 mm., 10 1/4 ¼ x 14 3/4 in.
Inscribed verso: E end of Westminster Abbey & Hall/June 27 Watercolour and black chalk 129 x 217 mm., 5 x 8 1/2 in.
Barber was the son of a Newcastle bookseller who settled in Birmingham and taught drawing at the Grammar School and elsewhere. His best known pupil was David Cox (see nos. 40–43). This may be one of the many caves in the Peak District.
This shows Westminster Abbey and Hall taken from the south bank of the Thames. In 1834 the old Houses of Parliament were destroyed by fire – in the foreground of the present drawing is the garden which lay between the old buildings and the river and which disappeared when work began on the new building began in 1836. The drawing must date to pre-1836 therefore and probably after the fire of 1834.
b. The West End of St George’s Chapel, Windsor Castle Extensively inscribed verso and dated July 14 1832 Watercolour and black chalk 128 x 211 mm., 5 x 8 1/2 in. 38
b. Crotch was the organist of Christ Church College, Oxford and became a Professor of Music in 1797. He returned to London and was the first Principal of the Royal Academy of Music from 1822 until 1832 – many of his known drawings date from 1832 onwards. He was a talented artist and draughtsman and usually inscribed the reverse of each drawing with a place, date and often the precise time. For more on Crotch, see Jonathan Rennert, William Crotch (1775–1847) Composer, Artist, Teacher, 1975.
This is a view looking south with the west end of St George’s Chapel to the left and the gateway through to the Lower Ward to the right with the Military Knights’ houses beyond. This is one of a group of Eton and Windsor views drawn by Crotch in the summer of 1832. Crotch was born in Norwich and achieved early fame as a musician. At the age of four, he was giving daily organ recitals in London and composed his first oratorio aged 11 when studying music in Cambridge. In 1790 at the age of 15 39
36 NEWTON SMITH LIMBIRD FIELDING London 1799–1856 Paris
37 SAMUEL HENRY GORDON ALKEN Ipswich 1810–1894 London
Woodcock feeding by a Stream
a. A pair of Pointers
Signed with initials lower left Watercolour over pencil heightened with gum arabic and scratching out 159 x 248 mm., 6 1/4 x 9 3/4 in.
Signed lower right: H Alken 1832. Watercolour and pencil on Whatman laid paper 152 x 217 mm., 6 x 8 1/2 in. b. A pair of Irish Setters
Provenance: Michael Ingram With Guy Peppiatt Fine Art, 2007 Private collection, UK
Signed lower centre: H Alken 1832. Watercolour and pencil 131 x 184mm., 5 x 7 1/4 in. Samuel Alken was the son of the well known sporting painter Henry Thomas Alken (1785–1851). His subject matter is similar and he usually signed his work ‘H. Alken’.
Newton Fielding was the younger brother of Anthony Vandyke Copley Fielding (1787–1855) and ran the family engraving business in Paris from 1827 with William Callow (see no.53) working for him. He is best known for his animal studies. 40
38 BRITISH OR CONTINENTAL SCHOOL 19th Century
39 FREDERICK HENRY HENSHAW Birmingham 1807–1891
Study of Trees
Study of a Scot’s Pine
Pencil and watercolour on blue paper. 296 x 463 mm., 11 5/8 x 18 1/4 in.
Oil on paper 339 x 239 mm., 13 1/4 x 9 1/4 in. Provenance: The Artist’s studio sale, 12th May 1892, lot 62 Henshaw was born in Birmingham and educated at King Edward’s before transferring to the Grammar School on New St. There he was taught to draw by the artist Joseph Vincent Barber (1788–1838) to whom he was articled from the age of fourteen. In 1826 he went to London to study the works of English landscape artists and Turner in particular. He exhibited at the Royal Academy in 1828 and soon established himself as a successful artist. He lived at The Cottage, Green Lanes, Small Heath, Birmingham from 1833 until his death in 1891, although from 1837 until 1840, he sketched on the Continent, mainly in France, Switzerland and Italy. 42
40 DAVID COX Birmingham 1783–1859 Birmingham
This drawing dates from Cox’s trip to Derbyshire in May 1845 in the company of his friend and patron William Ellis. He frequently visited Haddon Hall from 1831 onwards and the area was a favourite sketching ground. He normally stayed at the Peacock Inn at Rowsley. Cox’s friend N.N. Solly recalls: ‘These views at Rowsley were generally sketched before breakfast. Cox made sometimes two drawings before breakfast, and began a third, and then spent the day afterwards sketching at Haddon Hall; this was in the month of May, 1845, when he was still in his full vigour’ (N.Neal Solly, Memoir of the Life of David Cox, 1873, p.269).
Near Rowsley, Derbyshire Inscribed with title lower left Black chalk, with another chalk sketch verso 195 x 267 mm., 7 3/4 x 10 1/2 in. Provenance: William Ellis, 1845 Private collection, Canterbury Michael Bryan, 1998 With Martyn Gregory, 2005 Private collection, UK until 2010 44
41 DAVID COX Birmingham 1783â€“1859 Birmingham
This has traditionally been called a view of Basford House, Nottingham, the home of the historian and newspaper editor Thomas Bailey (1785â€“1856) but Basford was built in 1739 whereas the present house dates from the early nineteenth century.
View of a Country Villa Watercolour over pencil with black ink and pencil 250 x 387 mm., 9 3/4 x 15 1/4 in.
Stylistically this work dates from the mid 1830s when Cox was living in Hereford and presumably it was drawn as a commission. 45
42 DAVID COX Birmingham 1783â€“1859 Birmingham
Provenance: Private collection, UK This is one of series of drawings by Cox of figures in seventeenth century costume on a terrace which date from the 1830s. They are sometimes based on the terraces at Haddon Hall or Powis Castle. For another example, see Scott Wilcox, Sun, Wind, and Rain â€“ The Art of David Cox, 2008, p.187, no.59.
Figures in Van Dyck costume on a Terrace Watercolour over pencil heightened with bodycolour and stopping out 190 x 265 mm., 7 1/2 x 10 1/4 in. 46
43 DAVID COX Birmingham 1783–1859 Birmingham
Provenance: With Messrs Gooden & Fox, London Private collection, UK until 2010
A Woman by a Country Cottage
Drawings in wash and black chalk of this type by Cox date from the mid 1840s (see Scott Wilcox, Sun, Wind, and Rain – The Art of David Cox, 2008, p.200–1, nos.74 and 75).
Brown washes and black chalk 184 x 256 mm., 7 1/4 x 10in. 47
b. 44 THOMAS BRABAZON AYLMER Limerick 1734–1808 Worthing
b. View of Terni, Italy, from the East Inscribed lower right: Terni April 19/1836 Pencil heightened with white bodycolour on grey paper 148 x 266 mm., 5 3/4 x 10 1/2 in.
a. View of the Port of Marsala, Italy Inscribed lower right: Marsala. Nov. 3.. 1836 Pencil heightened with white bodycolour on grey paper Whole sheet 181 x 265 mm., 7 x 10 1/4 in.
Terni is in southern Umbria, sixty-five miles north of Rome. To the left is the Cathedral of Santa Maria Assunta with, in the centre the Palazzo Spada which is now the town hall.
Marsala is on the east coast of Sicily and was an important port in Roman times. In the foreground is the Chiesa dell’Addolorata with the Porta di Mare (now Porta Garibaldi) in front. The dome of the Cathedral or Chiesa Madre is prominent beyond.
The son of a general, Aylmer travelled in Italy in the 1830s and exhibited from 1838 until 1855. His drawing style shows the influence of James Duffield Harding (1797–1863) – Edward Lear’s early Italian drawings from the late 1830s show the same influence. These drawings date from Aylmer’s extensive tour of Italy in 1836. 48
45 JAMES HOLLAND Burslem 1800â€“1870 London
This dates from Hollandâ€™s first trip to Italy. He left London in July 1835 and reached Geneva in late October. On 29th October he reached Milan and stopped at Verona on his way to Venice. The Scaligeri family were a dynasty who ruled Verona in the 13th and 14th century and their family tombs are just off the Piazza dei Signori in Verona. Holland may have been influenced in his choice of subject by Richard Parkes Bonington, an artist he much admired, who visited the city in 1826 and also drew the tombs.
The Tombs of the Scaligeri, Verona Signed, inscribed with title and dated 1835 three times Watercolour over pencil heightened with bodycolour 288 x 213 mm., 11 1/4 x 8 1/4 in.
This may be the watercolour of this title exhibited at the Society of Painters in Water-colours in 1837, no.55. 49
46 FRANÇOIS-AUGUSTE RAVIER Lyon 1814–1895 Morestel
work. Ravier worked for his entire career in and around Lyon and the Dauphiné, taking his subjects from the surrounding countryside around the towns of Crémieu and Morestel. He seems to have been something of a recluse, avoiding visits to town and living a life of country solitude. He was particularly adept as a watercolourist, and in the 1850s and 1860s worked in a manner indebted to that of Corot and Daubigny, both of whom were close friends. He was especially fond of scenes at dawn and dusk, often making studies in oil or watercolour on the spot that would later be worked up into finished, atmospheric watercolours in his studio. Ravier only rarely exhibited his work and almost never visited Paris, and it was not until 1884 that several of his watercolours were shown at the Salon. In the same year he lost the sight in one eye, forcing him to give up painting, and by 1889 he had become totally blind. The present sheet, one of three drawings by Ravier lent by a M. Ribert to a seminal 1925 exhibition of the work of Lyonnais artists and craftsmen, is a typical example of the artist’s poetic landscapes.
Landscape with a Pond near Crémieu Brush and brown and grey wash, over an underdrawing in pencil Signed Ravier at the lower right 261 x 308 mm., 10 1/4 x 12 3/8 in. Provenance: M. Ribert (according to a label on the old backing board) Exhibited: Lyon, L’art lyonnais, 1925, no.328, as Crémieux. A native of Lyon, Auguste Ravier abandoned his studies as a notary to become an artist. Early in his career he met Camille Corot, who was to be a lifelong influence on his 50
47 FRENCH SCHOOL 19th Century Study of a Man in Albanian or Greek Costume Pencil and watercolour 244 x 121 mm., 9 5/8 x 4 3/4 in. 51
48 LIEUTENANT-GENERAL EZEKIAL BARTON 1781â€“1855 Irthlingborough House, Northants
Barton was a good amateur artist who served in the British army in India from 1799, eventually becoming Colonel of the 46th Bengal Regiment. This is one of a group of works by Barton one of which is signed with initials and dated January 1828. Examples of his work are in the British Museum.
Pair of Indian Landscapes Two, pen and ink on wove paper, one watermarked: . . . . & Turner/1826 Each 179 x 229 mm., 7 x 9 in. 52
49 ABRAM LOUIS BUVELOT Morges, Switzerland 1814â€“1888 Melbourne, Australia
Buvelot travelled to Calcutta in December 1854 with the Austrian artist Ferdinand Krumholz hoping to establish a studio of photography and painting. The venture failed however and Buvelot returned to Switzerland in the summer of 1855. In 1840 he had left Lausanne for Brazil where he spent the best part of fifteen years. He returned to Brazil in the 1860s and died in Australia.
The Kalighat Kali Temple on the Hoogly, Calcutta Signed lower left: Ls Buvelot. 1855. Watercolour over pencil heightened with bodycolour and gum arabic 245 x 310 mm., 9 1/2 x 12 in.
The Hindu temple of Kalighat Kali stands on the banks of the Hoogly river in Calcutta and is dedicated to the goddess Maa Kali. It was originally a small hut until the present temple was erected in 1809 and it still stands today. 53
50 SIR FREDERICK POLLOCK, 2ND BT. India 1815–1874
The artist was the son of Field-Marshall Sir George Pollock, 1st Bt. who served in the Bengal Infantry. Frederick Pollock served in the Royal Engineers in India in 1841–2, St Helena in 1842, Aden in 1844 and Germany in 1843. He succeeded to the Baronetcy in 1872. His work is described as being in the tradition of William Callow. A Fakir is a Muslim Sufi who teaches Islam and survives on alms. Pollock depicts this Fakir on the banks of the river Jumna with the Taj Mahal beyond.
A Fakir at Agra, India Signed with initials lower right: FAKEER/AT AGRA/F.P. 1841 Watercolour over traces of pencil 255 x 176 mm., 10 x 6 3/4 in. 54
51 JOHN VARLEY Hackney 1778-1842 London
Valle Crucis Abbey was founded in 1201 just to the west of Llangollen and was an active Cistercian monastery until it was dissolved in 1537, and subsequently fell into disrepair. Varley was a frequent visitor to North Wales from 1798 and he exhibited many Welsh views at the Society of Painters in Water-colours.
Valle Crucis Abbey, North Wales Signed lower right: J. Varley/1835 Watercolour over pencil, with cut corners 128 x 171 mm., 5 x 6 3/4 in. 55
52 HARRY JOHN JOHNSON Birmingham 1826â€“1884 London
Provenance: With Spinks, London Property of a Company, London until 2010
Ben Lui near Tyndrum, Scotland With artistâ€™s studio stamp lower right and inscribed lower left: Ben Lui Watercolour over pencil heightened with touches of bodycolour on oatmeal paper 254 x 441 mm., 10 x 17 1/4 in. 56
53 WILLIAM CALLOW, R.W.S. Greenwich 1812-1908 Great Missenden
Provenance: Anonymous sale, Sotheby’s, 17th November 1988, lot 125, sold for £1,900
Figures by a Lake, a Cottage beyond Watercolour over pencil heightened with touches of bodycolour 220 x 320 mm., 8 1/2 x 11 1/2 in. 57
54 PIERRE-JUSTIN OUVRIÉ Paris 1806–1879 Rouen
Literature Eric M. Zafran, Master Drawings from Titian to Picasso: The Curtis O. Baer Collection, exhibition catalogue, Washington and elsewhere, 1985–1987, p.191, no.161.
A View of the Saint-Louis Hospital from the Canal Saint Martin, Paris
A student of Abel de Pujol and Chatillon, Justin Ouvrié exhibited both landscape paintings and town views at the Salon between 1831 and 1873. His exhibited work was made up primarily of paintings, drawings and lithographs of landscapes and city views, produced during his extensive travels throughout France and elsewhere in Europe; notably in Germany, Holland, Belgium and Italy, as well as in England and Scotland. He also provided illustrations for his uncle Baron Taylor’s monumental series of Voyages pittoresques et romantiques dans l’ancienne France, published between 1820 and 1878. Ouvrié was particularly admired for his watercolours, some of which sold for higher prices than his paintings. Among his important patrons was Louis-Philippe, who acquired a large number of his works.
Pencil and watercolour Signed with initials J.O. and inscribed Vue de l’hopital St. Louis près des bords du canal St. Martin at the lower left 169 x 265 mm., 6 5/8 x 10 3/8 in. Provenance: The Ouvrié atelier, with the vente stamp (Lugt 2002a) Paul Prouté, Paris Curtis Otto Baer, New Rochelle (Lugt 3366) By descent to his son, George M. Baer, Atlanta Thence by descent until 2010
55 JOHN GENDALL Exeter 1790–1865 Exeter
Gendall was born in Exeter and started life as a servant to a barrister James White, the uncle of the artist John White Abbott. Perhaps encouraged by White, Gendall was in London by 1811 working for Ackermann’s in London where he produced drawings to be engraved. He was probably best known for his French views which were engraved for Picturesque Views of the River Seine published in 1821. He returned to Exeter in the late 1820s where he set himself up as a drawing teacher, carriage painter, carver and gilder.
On the River Exe near Exeter Watercolour and bodycolour over pencil 271 x 379 mm., 10 1/2 x 14 3/4 in. Provenance: Anonymous sale, Sotheby’s, 9th May 1962, lot 60 Private collection, London until 2010 59
56 ROBERT LEMAN Norwich? 1799â€“1863 Norwich
Leman was a talented landscape artist who was a follower of John Sell Cotman in Norwich. He was a member of the Norwich Amateur Club in the 1830s, exhibiting at the Norwich Society and was a friend of many of the later generation of Norwich School artists. Another watercolour by Leman taken from this viewpoint is in the Castle Museum, Norwich.
Trowse Bridge on the river Wensum near Norwich Watercolour heightened with scratching out and touches of bodycolour 240 x 333 mm., 9 1/2 x 13 in.
Provenance: Harold Day
57 ROBERT LEMAN Norwich? 1799–1863 Norwich
This is a copy of a John Sell Cotman watercolour in the Tate Gallery (T08836, formerly Oppé collection) which dates from Cotman’s tour of Yorkshire in 1805. Leman was a second generation Norwich School artist who was much influenced by Cotman and owned a large collection of his work. The existence of this copy suggests that Cotman’s ‘View on the Greta or the Tees’ is likely to have been in Leman’s collection which was sold at the Exhibition Rooms, Norwich on 23rd April 1863.
A View on the Greta or the Tees Inscribed Leman on old backboard Watercolour over pencil heightened with touches of bodycolour 322 x 477 mm., 12 1/2 x 18 3/4 in. 61
58 WILLIAM HAMILTON YATMAN London 1819â€“1913 Bournemouth
By profession a barrister, William Hamilton Yatman was an amateur artist about whom relatively little is known. He was educated at Winchester College and at Caius College, Cambridge, for whom he rowed in the Boat Race in 1839. Yatman was admitted to the Inner Temple in 1840 and called to the bar four years later. He served as a Justice of the Peace in Gloucestershire, Wiltshire and Warwickshire, and in 1864 acquired Highgrove House, near Tetbury, now the country home of the Prince of Wales. As an amateur draughtsman, Yatman had a preference for natural history subjects. Drawings such as the present sheet, executed with a refined and delicate watercolour technique, reflect his interest in the world around him. Several comparable studies by Yatman are today in the Goldyne collection in California.
Cones: A Still Life of Seashells Watercolour, over a pencil underdrawing 235 x 325 mm., 9 1/4 1/4 x 12 3/4 in. Provenance: Albany Gallery, London, in 1983 Exhibited: London, Albany Gallery, An Exhibition of 19th Century Watercolour Drawings of Sea Shells from the Indian, Pacific and Mediterranean Oceans, December 1983, no.35. 62
59 HENRY BONAVENTURE MONNIER Paris 1799–1877 Paris
A painter, draughtsman, illustrator and lithographer, as well as a writer, playwright and actor, Henry Monnier is best known for his depictions of bourgeois life in 19th century Paris. An amateur thespian himself, he produced several drawings of actors in various roles. Léopold-Émile-Edmond Delannoy (1817–1888) was a popular stage performer at the Théâtre du Vaudeville in Paris, where he performed for some thirty-five years. Another watercolour of Delannoy, dated 1856, was part of the extensive collection of drawings by Monnier assembled by the art historian Gustave Cahen and dispersed at auction in 1923.
Portrait of the Actor Edmond Delannoy Pen and brown ink and watercolour, over an underdrawing in pencil Signed and dated Henry Monnier / fevrier 1858 at the lower left Inscribed Henri Monnier / Delannoy (rôle de Berluber(?) / dans Trioler(?)) on the old backing board 354 x 218 mm., 13 7/8 x 8 5/8 in. 63
60 EDWARD LEAR Highgate 1812â€“1888 San Remo Italian Landscape Inscribed lower right: Ital Pen and brown ink over pencil on buff paper 144 x 367 mm., 5 1/2 x 14 1/2 in. Learâ€™s pen and ink Italian drawings tend to date from the 1870s and 1880s when he was living in San Remo. 64
61 EDWARD LEAR Highgate 1812–1888 San Remo
does its western side . . . it is only when you begin the descent through Valdoniello that you perceive how widely in each direction the limits of this grand forest stretch out, and that the trees here are of the greatest size, though dwarfed by the huge mountain forms above them into apparently less importance’ (Edward Lear, Journal of a Landscape Painter in Corsica, 1966 edition, p.148).
The Forest of Valdoniello, Corsica Pen and brown ink and watercolour 91 x 103 mm., 3 1/2 x 4 in.
This is one of a group of preparatory sketches produced by Lear for the illustrations to his Journal of a Landscape Painter in Corsica which was published in 1870, although this particular watercolour does not directly relate to an illustration in the journal. For two others, see Guy Peppiatt Fine Art, 18th and 19th Century Drawings and Watercolours, Exhibition Catalogue, 2007, nos.50 and 51.
Lear spent the winter of 1867–68 in Cannes and left for Corsica on 8th April 1868 in the company of the writer John Addington Symonds and his family, but set out to explore the island alone. He reached the Forest of Valdoniello on 11th May: ‘The great forest of Valdoniello, commencing immediately from the bocca or ridge I have crossed, clothes the slopes of the mountains on its eastern, as that if Aitone 65
62 JOHAN BARTHOLD JONGKIND Lattrop 1819–1891 La Côte-Saint-André
Drawn in September 1849, when Johan Barthold Jongkind was living in Paris and working in a studio on the Place Pigalle, this drawing depicts a windmill known as the Moulin des Prés on the Butte-aux-Cailles; a small hill on the southern outskirts of Paris which was covered with windmills until the late 19th century. Jongkind had arrived in Paris in 1846, and spent a considerable amount of time painting and sketching views of the city, particularly in the year 1849. It is perhaps not surprising that he would have been drawn to the windmills of the Butte-aux-Cailles, given his fondness for the same motif in his Dutch views. An early sketchbook of 1849 in the Louvre contains a number of views of Montmartre and its windmills, while a similar study of another windmill, drawn in 1852 at Sannois on the outskirts of Paris, is also in the Louvre. The Butte-aux-Cailles remained a working-class village until it was incorporated into Paris in the late 19th century, and is today part of the 13th arrondissement of the city.
A Windmill on the Butte-aux-Cailles, Paris Pen and brown ink and brown wash Dated and inscribed butte aux cailles / 17 7bre 1849 at the lower right centre Further inscribed Moulin des prés at the lower left and with colour notes moulin gris / [?] jaun[e] / terrain rouge at the lower right corner 204 x 292 mm., 8 x 11 1/2 in. Provenance: An unidentified collector’s mark on the verso John Rewald, New York (Lugt 1514a) Given by him to Frances R. Weitzenhoffer, New York, in December 1984 John Rewald, New York, after March 1991 His posthumous sale, New York, Christie’s, 22 May 1997, lot 198
The attribution of the present sheet, which once belonged to the eminent scholar of Impressionist art John Rewald (1912–1994), was confirmed by the late Adolphe Stein. 66
63 HENRY BARLOW CARTER Scarborough 1795â€“1867 Torquay York Minster from Swinegate Watercolour over pencil heightened with touches of bodycolour 172 x 122 mm., 6 3/4 x 4 3/4 in. 67
64 WILLIAM ROXBY BEVERLY Richmond 1811â€“1889 Hampstead
This shows the lighthouse at Scarborough which was built in 1806 by a surveyor called Nixon on Vincent pier built 1752. Unusually for a busy port, there is a no record of a lighthouse at Scarborough prior to this date. In December 1914, the town of Scarborough came under fire from two German battlecruisers and the last shell they fired landed directly on the lighthouse destroying it. The replacement and present lighthouse was officially opened in 1931.
Fishing Boats off Scarborough, North Yorkshire Watercolour over traces of pencil heightened with bodycolour 174 x 479 mm., 6 3/4 x 18 3/4 in.
Beverly was a son of a family of northern actors and began his career as a scene painter, and actor, for his father. Typically he produced beach scenes with beached boats and sunsets with strong colours often depicting the north-east coast of England. 68
65 WILLIAM ROXBY BEVERLY Richmond 1811–1889 Hampstead Beached Boats on an Estuary Watercolour over traces of pencil heightened with scratching out 267 x 445 mm., 10 1/2 x 17 1/2 in. Provenance: With Ackermann & Johnson, London; Anonymous sale, Sotheby’s 12th April 1995, lot 143 69
66 LUDEK MAROLD Prague 1865–1898 Prague
reputation for his scenes of fashionable and aristocratic society, seen in the subjects of his relatively few paintings and as drawings reproduced in such popular publications as L’Illustration and Le Monde Illustré. (As one modern scholar has noted, Marold ‘very quickly achieved considerable success as an illustrator who could add lightness and charm to illusionistic naturalism. His younger compatriots admired his technique.’) By 1891 the artist was earning a monthly income of up to 1,300 francs for his illustrations. Marold also enjoyed a successful career as a book illustrator, providing images for over fifty books, and also designing a large number of advertising posters. His death, at the age of just 33, was greatly mourned in Prague and Paris, and no less an artist that Gustav Klimt is said to have described Marold as one of the finest artists of the day.
Study of a Reclining Woman Pencil, brush and grey wash, heightened with white gouache, on board Signed with initials L.M. at the lower left 298 x 196 mm., 11 3/4 x 7 3/4 in. Ludek Marold studied in his native Prague and in Munich, where he began providing illustrations for magazines, and in 1889 received a grant to study in Paris, remaining there until 1897. It was in Paris that he earned a particular 70
67 ALPHONSE DE NEUVILLE Saint-Omer 1835â€“1885 Paris
own. During the siege of Paris, he was attached to a unit defending the outskirts of the city at Le Bourget, and saw the effects of the war at close hand. For the rest of his career de Neuville made a particular specialty of scenes from the Franco-Prussian war of 1870â€“1871, in which the emphasis was not on the battles themselves but on the human drama expressed in the individual actions and courage of the French soldiers, often battling against overwhelming odds. This anecdotal quality proved immensely popular with the public, who found his portrayal of French troops bravely engaged on a desperate and ultimately futile cause intensely moving. De Neuville was exacting in the details of uniforms and equipment depicted in his paintings, and made numerous sketches from life on the battlefields in Eastern France.
A Soldier on Guard Duty Watercolour Signed A. de Neuville at the lower right 388 x 282 mm., 15 1/4 x 11 1/8 in. Alphonse-Marie de Neuville was, along with Ernest Meissonier and Edouard Detaille, one of the leading military painters in France in the second half of the 19th century. He made his Salon debut in 1859 with two paintings of The Siege of Sebastopol, but it was not until the outbreak of the Franco-Prussian war in 1870 that the artist came fully into his 71
68 PAUL JACOB NAFTEL, R.W.S. St Peter Port, Guernsey 1817–1891 Twickenham
Channel Island views until a visit to Wales in the late 1840s broadened his horizons. From 1847 until 1870 he was the drawing master at Elizabeth College, the main school in Guernsey. He exhibited almost seven hundred pictures at the Society of Painters in Water-colours from 1850 onwards. In 1870 he moved to London where he continued to exhibit and built a successful practice as a drawing teacher. He travelled widely in Britain as well as visiting Switzerland in 1851, Italy between 1860 and 1866 and Spain in 1870 to paint the total solar eclipse in December of that year. His work is characterised by bright, strong colours and a lavish use of bodycolour.
A Bridge over a Rocky Stream Signed lower left: Paul J Naftel 1873. Watercolour over pencil heightened with touches of bodycolour 228 x 457 mm., 9 x 18 in. Provenance: J.P.W. Cochrane
His second wife was Isabel Naftel (c.1832–1912), the daughter of the artist Octavius Oakley, and she was also a successful artist, as was their daughter Maud Naftel (1856–1890) who was well known as a flower painter.
Born in Guernsey, Naftel was the son of a clock and watch maker who also kept a shop selling artists’ materials and prints. He showed an early aptitude for art and appears to have been largely self-taught. His early subject matter was 72
69 PAUL JACOB NAFTEL, R.W.S. St Peter Port, Guernsey 1817â€“1891 Twickenham Cows by a track in a mountainous Landscape Signed with a monogram and dated 1869 lower right Watercolour over pencil heightened with touches of bodycolour 258 x 356 mm., 10 x 14 in. Provenance: J.P.W. Cochrane 73
70 HERMANN HIRZEL Buenos Aires 1864â€“1939 Berlin
as both a painter and etcher. In the 1890s he made study trips to Sicily and Rome, and in 1893 won a silver medal for a landscape etching at an exhibition in Rome. Apart from a period in Russia between 1904 and 1910, Hirzel worked for most of his career in Berlin, occasionally exhibiting with the association of artists known as the Berlin Secession. While he produced a number of landscapes, much of his work took the form of commercial projects as a graphic designer, producing bookplates, sheet music covers, advertisements and book illustrations.
Steps in the Garden of the Casa Baldi, Olevano Pencil Signed, dated and inscribed Olevano 93 / Casa Baldi. Hzl. at the lower right 244 x 325 mm., 9 5/8 x 12 3/4 in.
A youthful work by the artist, the present sheet was drawn in 1893 on the grounds of the Casa Baldi in the hill town of Olevano, about fifty kilometres east of Rome. In the 19th century the Casa Baldi was a country inn popular with artists painting and sketching the mountainous landscape around Olevano. In the 1930s the house was acquired by the German state, and today houses an extension of the German Academy in Rome.
Provenance: Walther Unus [Heinrich], Berlin Born in Argentina of Swiss parents, Hermann Robert Catumby Hirzel was active as a painter, engraver, graphic designer and illustrator. He began his career as a pharmacist but in the late 1880s decided to give up his studies to become a painter. Although he took classes at the Berlin Kunstakademie, he seems to have been largely self-taught 74
71 HERMANN HIRZEL Buenos Aires 1864–1939 Berlin
Much of Hirzel’s graphic work is characterized by stylized ornamental elements in the form of plants, flowers and other organic motifs; evidence of the artist’s contribution to the Jugendstil, or Art Nouveau, aesthetic. The present sheet may be dated to c.1902, by a stylistic comparison with Hirzel’s landscape illustrations for the magazine Teuerdank, published between 1901 and 1903 in Berlin and Düsseldorf. Hirzel’s landscapes for the magazine, entitled ‘Stimmungen’ (‘Moods’), are characterized by a sense of stillness and calm, tinged with melancholy.
A Winter Landscape, within a Decorative Border Pen and black ink, with touches of white heightening, on two joined sheets of card Signed Hirzel at the lower right and Hzl. at the lower right of the decorative border 247 x 301 mm., 9 3/4 x 11 7/8 in. [image, with border] 320 x 364 mm., 12 5/8 x 14 3/8 in. [sheet]
Both this and the previous drawing belonged to the writer and art collector Walther Heinrich (1872–1939), who wrote under the pseudonym Walther Unus.
Provenance: Walther Unus [Heinrich], Berlin 75
72 GIUSEPPE CASCIARO Ortella 1863â€“1941 Naples
1885, when a series of pastels by the artist Francesco Paolo Michetti was shown in Naples. Two years later, Casciaro exhibited a series of eleven pastel landscapes of his own. He settled on the hillside quarter of Naples known as the Vomero, and for much of his life his preferred subject matter were views in and around Naples, as well as the islands of Capri and Ischia. Between 1892 and 1896 he travelled regularly to Paris, where he received commissions from the dealer Adolphe Goupil. Appointed a professor at the Accademia in Naples, by 1906 he was engaged as a tutor in pastel drawing to Elena di Savoia, the Queen of Italy. Casciaro exhibited frequently in Naples and Venice, and also in Paris, Munich, Barcelona, Prague, Athens and St. Petersburg.
Capri Pastel Signed Casciaro at the lower left 208 x 303 mm., 8 1/8 x 11 7/8 in. Provenance: Private collection, Italy A graduate of the Accademia di Belle Arti in Naples, Giuseppe Casciaro enjoyed a long career of some sixty years, and made a particular specialty of landscapes in pastel. He may have first been inspired to take up the medium in
This view of the island of Capri is an especially fine and fresh example of Casciaroâ€™s mastery of the pastel medium. 76
73 ADOLF HIRÉMY-HIRSCHL Temesvár 1860–1933 Rome
two years. His experiences there were to have a profound effect on his work, notably in his preference for scenes from ancient Roman history. On his return to Vienna he soon established a successful career as a painter, receiving numerous commissions and producing grand, complex compositions of historical or allegorical subjects that were widely praised by critics and connoisseurs. One of the leading artists in fin-de-siècle Vienna, Hirémy-Hirschl produced a large number of preparatory studies, in charcoal or chalk, for his paintings. This drawing is a study for the drapery of a woman in the background of the artist’s painting of A Wedding Procession in Ancient Rome, completed in 1891. The painting depicts the moments before an ancient Roman wedding, when the bride is led to the house of the bridegroom, accompanied by bridesmaids singing hymns to the god Hymeneus.
A Standing Draped Figure Black and white chalk on blue-grey paper 480 x 315 mm., 18 7/8 x 12 3/8 in. Provenance: The artist’s studio, Rome By descent to his daughter Maud Galleria Carlo Virgilio, Rome Private collection, Hawaii Born in Hungary, Adolf Hirémy-Hirschl studied in Vienna, and in 1882 won a prize that allowed him to visit Rome for 77
74 MYLES BIRKET FOSTER, R.W.S. North Shields 1825â€“1899 Weybridge
Provenance: J. Noble, 1882 Exhibited: London, J. & W. Vokins, 14 and 16 Great Portland St., Birket Foster Loan Exhibition, 1882, no.25 (part)
Cliveden from Maidenhead Bridge, Berkshire Signed with initials lower right and inscribed with title under mount: Cliefden from Maidenhead Bridge Watercolour heightened with bodycolour Whole sheet 178 x 220 mm., 7 x 8 1/2 in.
This is a view looking north from Maidenhead Bridge with the island of Bridge Eyot in the foreground and Cliveden House on the hill in the distance. Cliveden is an Italianate mansion perched two hundred feet above the Thames. The present house, the third on the site, was built in 1851 by Charles Barry for the 2nd Duke of Sutherland and it is now a five star hotel. 78
75 JOHN SHERRIN, R.I. London 1819–1896 Ramsgate
One of the few known pupils of William Henry Hunt, from whom he adopted a lifelong interest in the depiction of bird’s nests as a still life subject, John Sherrin began exhibiting at the Royal Academy in 1859. He eventually exhibited some forty works at the R.A., up to 1894, as well as a further 150 drawings at the New Water-Colour Society, which he joined as an associate member in 1866. Sherrin worked mainly in watercolour, and specialized in still life and bird subjects. His technical abilities are readily evident in the present sheet, with its use of a stippling technique applied with minute brushstrokes. Watercolours like this owe much to the example of Hunt, who was popularly known as ‘Bird’s Nest’ Hunt. Such direct observation from nature is characteristic of Sherrin’s work, and reflects the particular influence of the ideas of John Ruskin, who was also taught by Hunt.
Still Life of a Bird’s Nest and Primroses Watercolour, with touches of white heightening Signed JSherrin at the lower left 165 x 207 mm., 6 1/2 x 8 1/8 in. Provenance: Richard Haworth, Blackburn Audrey Pearce, Surrey, in 1972
76 HERCULES BRABAZON BRABAZON Paris 1821â€“1906 Oaklands, Sussex
Brabazon was educated at Harrow and Trinity College, Cambridge and, on leaving Cambridge in 1844, spent three years in Rome where he learnt to draw. Following the death of his older brother in 1847, he inherited the Brabazon estates in Connaught, Ireland and on the death of his father in 1858, he took over the family estate at Oaklands near Sedlescombe, Sussex. He spent his summers in England and travelled in Europe, North Africa and India in the winter, sketching as much as he could. It was not until 1891 however, aged seventy, when he became a member of the New England Art Club and first exhibited his work there, that his work became widely known and he achieved great commercial and critical success.
A Castle near Dubrovnik Signed with initials lower right and inscribed verso: Dalmatia near Ragusa Watercolour and bodycolour over pencil on grey paper 116 x 155 mm., 4 1/2 x 6 in. Exhibited: With the Beaux Arts Gallery, London, 1928 80
77 THÉOPHILE-ALEXANDRE STEINLEN Lausanne 1859–1923 Paris
depicted all manner of Parisian society in his drawings and illustrations, with a particular emphasis on the life of the working class. Like his contemporaries Toulouse-Lautrec and Alphonse Mucha, he also designed theatrical and cabaret posters; an important means of disseminating his work and one that greatly added to his popularity. Steinlen enjoyed the first of many successful exhibitions of his paintings and drawings in 1894, and in 1909 gained the distinction of a room devoted solely to his work at the Salon d’Automne.
A Woman at her Dressing Table Black chalk, grey ink and grey wash, heightened with white and touches of red gouache, on board Signed Steinlen at the lower left 130 x 207 mm., 5 1/8 x 8 1/8 in.
As a draughtsman, Steinlen employed a wide variety of media, including black, blue and coloured chalks, ink, pencil, watercolour and charcoal. The present sheet is unusually refined in execution, and may be included among a handful of more finished drawings by the artist, such as a portrait of his daughter Colette, drawn in coloured chalks, in the Louvre, as well as a pair of interior scenes and a watercolour still-life of flowers and paintbrushes; these are also among the nearly 2,800 of the artist’s drawings in the collection of the Louvre.
A native of Lausanne, Théophile-Alexandre Steinlen moved to Paris in 1881, settling in Montmartre, and began to frequent the literary cabaret known as Le Chat Noir. It was there that he met and befriended the artists Forain, Toulouse-Lautrec, Somm, Anquetin, Valotton and Caran d’Ache, among others. The artists of Le Chat Noir established something of a private club of aesthetes, and Steinlen was soon contributing illustrations to the associated journal Le Chat Noir. The success of these led to his becoming one of the foremost illustrators in Paris by the turn of the century, with his work appearing regularly in Gil Blas illustré and more than thirty other periodicals. Steinlen 81
78 RUDOLF PICK Vienna 1865–1915 Vienna
A stylistically comparable series of thirteen coloured lithographs of comical hunting scenes by Pick, including one composition of a group of giraffes, served illustrate a largeformat portfolio entitled Lebel’s Sport-Collection. Jagden in Afrika und Asien: Skizzen zum Tagebuch des Lord John W. Humbug, published by Verlag S. Lebel in Vienna. Pick also produced a similar series of watercolours to illustrate The Stony Sinai, a humorous account of a British hunting expedition in the desert, as well as a volume entitled Black Sport: Sketches by R. Pick. Some two hundred watercolours by Rudolf Pick, including one other drawing of a giraffe, were included in the posthumous sale of the contents of the artist’s studio, held in Vienna in 1916.
The Giraffe Races Watercolour, pen and black ink, and gouache Signed and dated R. Pick 98 at the lower left 399 x 608 mm., 15 5/8 x 23 7/8 in. A pupil of the painters Eduard Gerisch and Imre Revesz, Rudolf (or Rudolph) Pick was active as a painter, illustrator and caricaturist of sporting, racing and hunting subjects. 82
79 VINCENZO GEMITO Naples 1852â€“1929 Naples
Vincenzo Gemito was perhaps the foremost Italian sculptor of the late 19th century. A precocious talent, the sixteenyear old Gemito exhibited a sculpture in Naples in 1868 that attracted the attention of the King of Italy, Vittorio Emmanuele II, who acquired a bronze cast of the work. 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. Around 1887, however, after he began to experience bouts of mental illness, Gemito gave up sculpture almost entirely, although he continued to produce a large number of drawings. It was not until around 1909 that he again took up sculpture full time, creating some of his finest work in bronze, executed with a delicacy and fineness of detail ultimately derived from his drawings. A gifted draughtsman, Gemito produced figure and portrait studies in pen, chalk, pastel and watercolour that were greatly admired and avidly collected by his contemporaries.
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 218 x 138 mm., 8 5/8 x 5 3/8 in. Provenance: Given by the artist to Vittoria Castelfranco in 1912 Heim Gallery, London Arthur M. Sackler, New York Thence by descent until 2010
80 JEAN-ADRIEN MERCIER Angers 1899–1995 Paris(?)
his life and for which he remains best known. Between 1925 and 1942 Mercier designed more than 120 cinema posters for films by such eminent directors as Jean Renoir, Abel Gance and Sacha Guitry. He also produced numerous commercial posters, notably for the Cointreau brand, for whom he worked for some forty years. At the end of the 1930s Mercier began producing illustrations for children’s books, and also undertook work as a designer of calendars, book covers and so forth.
Two Women in a Cemetery in Rabat, Morocco Gouache and watercolour, over an underdrawing in pencil Signed and dated Jean A. Mercier – 5 – 22 – at the upper right, and inscribed Rabat at the upper left Dedicated, signed and dated a Madame Lecocq bien(?) affecteusement / souvenir de Maroc - Jean A. Mercier / – 5 – 22 – on the old backing sheet 192 x 245 mm., 7 5/8 x 9 5/8 in.
This watercolour is dated May 1922, when Mercier was 23 years old. It is interesting to note that the young artist was visiting Morocco only a decade or so after the country had been opened up to foreign visitors. Unlike Tunisia or Algeria, Morocco remained largely closed to foreigners throughout the 19th century, until it was declared a French and Spanish protectorate in 1912. The French decided to move the capital from Fez to Rabat, a port dominated by Barbary pirates since the 17th century. This drawing depicts a small cemetery on the Atlantic coast of Rabat, just north of the Kasbah des Oudaïas and to the north and east of the larger Cimitière As-Shouhada.
Provenance: Given by the artist to a Mme. Lecocq A graphic designer and illustrator, Jean-Adrien Mercier began his career in 1924 as a designer of publicity and cinema posters, a field in which he was to remain active throughout 84
81 MARCELLE FRANรOISE KRIER-LAMBRETTE Born 1899
Born in Limoges in 1899, Marcelle Krier-Lambrette seems to have been mainly active as a flower painter, although very little is known of her career. She was pupil of Luc-Olivier Merson, with whom she later collaborated by painting flowers on the borders of his designs for tapestries, and won several prizes and medals at the exhibitions of the Salon des Artistes Franรงais.
Study of Seaweed Watercolour, over an underdrawing in pencil, on pale blue-green paper Signed with initials M.L at the lower right 452 x 325 mm., 17 3/4 x 12 3/4 in. 85
82 KARL GEISER Berne 1898–1957 Zurich
draughtsman and printmaker, Geiser’s subject matter was often inspired by children. As one contemporary writer noted, ‘The themes of this sculptor are characteristic. Geiser draws, above all, the adolescent. The body of the prepubescent youth, the man-child, all of whose proportions escape any fixed rules, is the dominant element of his art.’ Geiser received a number of public sculptural commissions in Zurich, Berne and Winterthur, notably two sculptural groups of boys and girls for a new school in Berne, completed in 1937 and installed in 1938. In 1941 an exhibition of 350 of his drawings was held at the Kunsthaus in Zurich, the same year that a large exhibition of his sculptures was mounted at the Kunstmuseum in Winterthur. Geiser suffered from depression throughout his life and died in his studio in 1957, apparently a suicide.
Head of a Boy with a Cap Pen and black ink on paper, laid down on a white card Stamped with the artist’s initials KG at the lower right 97 x 82 mm., 3 7/8 x 3 1/4 in. Provenance: Curtis Otto Baer, New Rochelle (Lugt 3366) By descent to his son, George M. Baer, Atlanta Thence by descent until 2010 One of the most significant Swiss sculptors of the 20th century, Karl Geiser received his training in Berne, Munich and Berlin and, apart from brief visits to Paris, Rome and Genoa, worked mainly in Zurich. He enjoyed a successful career, and among his important patrons was the Winterthur collector Georg Reinhardt. As a sculptor,
The present sheet, a fine example of Geiser’s spare draughtsmanship, may be grouped with the artist’s drawings of the late 1920s and 1930s. As a draughtsman, Geiser worked mainly in pen, with a deceptively simple linear technique devoid of shading or hatching. 86
83 PIERRE EUGÈNE MONTEZIN Paris 1874–1946 Moëlan
Pierre Eugène Montézin was trained initially as a decorative mural painter, but began to devote himself to landscape painting around 1893. Although he first submitted his work to the Salon des Artistes Français in Paris in 1893, it was not until ten years later that his paintings were accepted. He continued to show there throughout the remainder of his career, winning several medals and prizes. Strongly influenced by the work of the first generation of Impressionist artists, Montézin enjoyed a long and successful career as a landscape and still life painter, equally adept in oils, pastels and gouache, with a technique much admired by his contemporaries for its facility. Montézin served on the jury of the Salon des Artistes Français in 1932, and in the same year a large retrospective exhibition of his work, numbering over two hundred works, was held in Paris. In 1940 he was elected to the Académie des Beaux-Arts, taking the place of Edouard Vuillard, who had died. Montézin continued working to the very end of his life, dying suddenly in 1946 while on a painting expedition to Brittany.
Landscape with Wheatsheaves Watercolour and gouache, over an underdrawing in pencil, laid down on board Signed PMontezin at the lower left 165 x 372 mm., 6 1/2 x 14 5/8 in. Provenance: Private collection, Naples, Florida
a. 84 ALFRED CHARLES CONRADE Leeds 1863–1955 Heywood
b. The Interior of the Great Mosque, Cordoba, Spain
a. A Rococo salon, Paris
Signed lower left and on column lower right Watercolour over pencil heightened with bodycolour 530 x 365 mm., 21 x 14 1/4 in.
Signed lower left and on pediment lower right and inscribed on pediment: Paris Watercolour over pencil heightened with bodycolour 530 x 375 mm., 20 3/4 x 14 3/4 in.
The Mosque at Cordoba has, at its centre, an early Christian church, before it was converted into a mosque in the eighth century by the Moors. In the fifteenth century, when Andalucia was recaptured, it was turned into a church again.
Conrade studied at the Düsseldorf Academy as well as in Paris and Madrid. He established a reputation as an architectural painter – his extensive use of pencil underdrawing is typical – and travelled extensively in Europe and Japan. He was chief artist at White City from 1911 to 1914, the site of the enormous Franco-British exhibition of 1908 and the London Olympic Games of the same year. 88
85 D. M. S. 20th Century
Stylistic affinities with such Art Deco artists, designers and draughtsmen as Paul Colin (1892–1985), Georges Lepape (1887–1971) and Jean Dupas (1882–1964) may be noted.
Art Deco Heads Coloured chalks and pencil on buff paper, laid down Signed with the artist’s initials and dated D.M.S. / 1932 at the lower right 303 x 229 mm., 11 7/8 x 9 in. 90
86 ALFRED AARON WOLMARK Warsaw 1877â€“1961 London
coloured paintings characterized by a bold application of paint and heavy impasto. Wolmark visited New York in 1919, and his paintings of the city were exhibited there the following year. A gifted portraitist, he also produced book illustrations and posters, as well as undertaking commissions for costume and stage designs, stained glass windows and decorative pottery. While Wolmark enjoyed a modest degree of success before and just after the Second World War, his reputation fell into decline long before his death and was only revived in the 1970s by a new scholarly and critical appreciation of his work. This gouache drawing is likely to be a design for a commercial poster or image; Wolmark worked on posters mainly between the end of the First World War and the late 1920s. Similar motifs of men carrying heavy loads are also found in his painting Work: The Temple Builders of 1919.
Porters: A Design for a Poster Gouache and ink Signed WOLMARK at the lower right, and with initials A.W at the centre 360 x 290 mm., 14 1/8 x 11 3/8 in. Born in Poland, Alfred Wolmark entered the Royal Academy Schools in London in 1894, and his early work comprised scenes of Jewish life in the East End of London and family portraits. By 1910, however, Wolmark had begun painting in a more robust Post-Impressionist manner, his vibrantly 91
87 FRANK WASLEY Peckham 1848–1934 Henley-on-Thames(?)
painting around 1875. Wasley exhibited at the Royal Academy and in various provincial galleries, and was particularly admired for his drawings. As one contemporary critic noted, ‘his work is distinguished by a verve and vigour that are truly remarkable . . . given to sudden and fleeting inspirations, our artist found paints and brushes slow of preparation and use compared to the handy sheet of paper and stick of charcoal. So that, although Mr. Wasley works with distinction in water-colours and other mediums, it is evident that charcoal is his favourite, and the one that gives the clearest reflection of the poetic and sentimental phases of his mind . . . an added interest is lent to his drawings by the evidently varied treatment of the medium in the rendering of the different textures and surfaces depicted.’
Night Scene, Venice Charcoal, pastel and gouache Signed, dated and inscribed Pastel / Night Scene Venice / FWasley 1927 on the backing board 359 x 190 mm., 14 1/8 x 7 1/2 in. A painter, watercolourist and draughtsman, Stephen Frank Wasley specialized in coastal landscapes, marine subjects and seascapes, with a particular penchant for atmospheric views of Venice. Trained as a musician, he only took up 92
88 CHARLES MAHONEY, A.R.A. London 1903–1968 London
botanist, his scientific approach can be detected in all of his plant sketches. According to the artist’s wife, ‘Charles delighted in plant life, its richness, strength, grandeur, colour, form and infinite textural qualities.’ Nature came to dominate all of Mahoney’s paintings, regardless of their subject matter. This confident and detailed sketch of an iris perfectly illustrates Mahoney’s in-depth knowledge and understanding of plants. As his friend and fellow painter Bernard Dunstan recalled, ‘I can think of very few recent artists who have drawn plants with the vigour and understanding that Mahoney brought to them . . . Anyone who watched him draw will remember the concentrated deliberation and thoughtfulness of his line. His eye absorbed in the growth and structure, his pencil would remain poised over the paper until the precisely ‘right’ line flowed from it . . . There is no gestural ‘freedom’, no flourish; the curvature of a leaf or a stem is too subtle and strong to be described by mere approximate curves. Every curve is different and changes subtly through its length . . . These studies seem to me to be drawing on the highest level.’
Iris Pen and black ink and watercolour, on a page from a large sketchbook. 321 x 305 mm., 12 5/8 x 12 in. Provenance: By descent to the artist’s daughter, Elizabeth Bulkeley Charles Mahoney defied his parent’s wishes to pursue a career as an artist, winning a scholarship to the Royal College of Art in 1922. By 1928 had returned to the Royal College as a tutor, and went on to devote his career to a combination of painting, drawing and teaching. In 1937 Mahoney bought a cottage in Kent, and began to grow and study a large variety of plants and flowers. An amateur 93
89 MICHAEL REILLY Born 1898
artist, Reilly received commissions from several railway companies, including the Great Western Railway, Southern Railway and the London Underground. He designed a number of railway posters, of which several examples are today in the collection of the National Railway Museum in York. These include a poster of Wells in Smiling Somerset, published by the Southern Railway in 1931 and Wales, Unsurpassed for Scenic Grandeur for the Great Western Railway, printed around 1930. Other posters designed by Reilly for the G.W.R. include scenes of Criccieth and Porthcawl in Wales, dating from 1935 and 1937 respectively, and Weston-super-Mare in Somerset, published in 1946. A watercolour view of Aberystwyth in Wales, drawn by Reilly in 1946 and today in the National Railway Museum, was also used for a G.W.R. poster.
Two Designs for Great Western Railway Menu Cards: a. Paignton, Devon Gouache on card Signed Michael Reilly at the lower right, and inscribed Paignton in the lower right margin 162 x 241 mm., 6 3/8 x 9 1/2 in. [sheet] Provenance: Malcolm Guest, Knaresborough, North Yorkshire
The harbour at Paignton, on the western shore of Tor Bay in Devon, was established in the 18th century, and remained for many years a thriving fishing port.
Born in 1898, Michael Reilly studied at the Central School of Arts and Crafts in Birmingham between 1923 and 1926. Very little is known of his life and career, which seems to have been spent living and working in the West Midlands; the artist lived in Birmingham in the 1930s and was in nearby Sutton Coldfield by 1946. As a commercial 94
b. Perranporth, Cornwall
On the Atlantic coast of Cornwall, southwest of Newquay, Perranporth is a small seaside resort noted for its cliffs, which overlook a wide, sandy beach, nearly two miles in length.
Gouache on card Signed with initials MR at the lower right and inscribed Perranporth in the lower right margin 158 x 241 mm., 6 1/4 x 9 1/2 in. [sheet]
Another design by Michael Reilly for a Great Western Railway menu card, depicting a view of Newquay in Cornwall and datable to c.1930, is today in the collection of the National Railway Museum in York.
Provenance: Malcolm Guest, Knaresborough, North Yorkshire
Both of these gouache drawings by Reilly were part of the extensive collection of railway memorabilia – including posters, artwork and archives, with a particular emphasis on the Great Western Railway – assembled by the late Malcolm Guest (1943–2009).
90 ERICH WOLFSFELD Krojanke 1884–1956 London
Erich Wolfsfeld’s early career was largely devoted to printmaking, but by around 1912 he had also begun painting in oils, though usually preferring to paint on paper rather than canvas. He travelled widely, and was drawn in particular to North Africa and the Middle East. Although a popular and highly regarded teacher at the Akademie in Berlin, Wolfsfeld, as a Jew, was forced to resign in 1935 due to Nazi pressure. Three years later he settled in Britain, bringing much of his work with him. Writing a few years after his death, one contemporary critic noted of Wolfsfeld that ‘He was an artist who loved drawing for its own sake – who could combine power and sensitivity – who enjoyed describing the human form either with brush or chalk or the etcher’s needle . . . [and] with an intensity of perception that is deeply moving particularly in his studies of old men and young children.’
Study of an Arab Girl Brush and brown ink, brown oil paint and chalk, on handmade paper Signed Erich Wolfsfeld at the lower right 636 x 468 mm., 25 x 18 3/8 in. Provenance: Lotte Laserstein, Stockholm and Kalmar
91 ANDRÉE LAVIEILLE Paris 1887–1960 Paris
Salons until 1939. As the years progressed, she began to concentrate on working in watercolours, which allowed her the greatest degree of spontaneity and freedom, at the expense of oil painting. In the years following the Second World War, however, Lavieille began to develop Parkinson’s disease, affecting the use of her right hand. Her final sketchbooks date from 1948 and 1949, and she appears to have produced almost nothing in the last decade of her life. Although she had exhibited regularly at the Salons, Lavieille does not seem to have had any gallery exhibitions in her lifetime, and as such her work remains little known today. The present sheet depicts a view in Brittany, where Lavieille and her family would spend most summer holidays beginning in the 1920s. A comparable watercolour of the headlands of Castelmeur and Brézellec on the Breton coast is illustrated in a recently published biography of the artist.
Coastal Cliffs, Brittany Watercolour, over an underdrawing in black chalk, on thick white paper Stamped with the Andrée Lavieille atelier stamp on the verso 380 x 264 mm., 15 x 10 3/8 in. [sheet] Born into a family of artists, Andrée Lavieille exhibited at the Salon des Artistes Français for the first time in 1910. She continued to paint after her marriage in 1912, raising three children while continuing to send works to the annual 97
92 RAY HOWARD-JONES Lambourn 1903â€“1996 Pembrokeshire
Exhibited: London, Leicester Galleries, Exhibition of Works by Ray Howard-Jones, May 1969, no.54, bt. L.P. Lee
Ayios Yeoryios, Greece Signed lower right: Ray 69 Watercolour and bodycolour and black chalk 394 x 567 mm., 15 1/2 x 22 1/4 in.
Ray Howard-Jones was born in Lambourn, Berkshire of Welsh parents. From 1920 to 1924, she studied at the Slade, but her career as an artist did not take off until she became one of the few accredited female war artist â€“ many of these works are now in the Imperial War Museum. She is best known for her views of the Island of Skomer off the Pembrokeshire coast where she spent long periods of time between 1949 and 1958. 98
93 ÉMILE MANGENOT Paris 1910–1991 Bagnoles-de-l’Orne
Mangenot’s brush is full of honesty and power, faithful to the rules of classicism, the artist strictly limits himself to truth and to harmonious colour. His sumptuous landscapes, marked by serenity, are often decorated by pleasant daubs, they shine by their picturesque views selected with exquisite taste.’ In 1960 the artist won first prize in the category of landscape painting, as well as another silver medal, at the Salon des Artistes Français. That year, another critic wrote of an exhibition of Mangenot’s work that, ‘The landscapes of France occupy a special place, and, consummate artist that he is, he knows how to express their beautiful light and their stillness. A variety of landscapes where his talent can practice in all its fullness, painted onto delicate canvases, hues, colours, form, are expressed with great art.’ Mangenot enjoyed several further solo exhibitions in the 1960s and 1970s, in Paris, Lille and his home town of Bagnoles-de-l’Orne, in northwestern France.
Marais en Bretagne Gouache on thick white paper, laid down Signed E. Mangenot at the lower left 502 x 650 mm., 19 3/4 x 25 5/8 in. A highly regarded landscape painter, Émile Mangenot painted views of the various regions of France, and in particular scenes in Brittany and Normandy. He exhibited at the Salon des Artistes Français, where he won a silver medal in 1957; in the same year a painting of his was acquired by the State. It was not until 1958, however, that he had his first one-man show, at the Galerie André Weil in Paris. The following year, one critic noted of the artist that ‘Émile 99
94 INGRID GERHARDT Düsseldorf(?) 1925–2002
95 ANDRÉ DERAIN Chatou 1880–1954 Garches
A Large Manor House
Recto: Costume Designs for a Musketeer and a Woman Verso: Still Life with a Plate of Fish on a Table
Watercolour and gouache, with pen and brown ink and brown wash Signed and dated Gerhardt 50 at the lower right 312 x 482 mm., 12 1/4 x 19 in.
Pen and brown ink and brown wash on light brown paper, the verso in pencil 270 x 417 mm., 10 5/8 x 16 3/8 in. Provenance: The studio of the artist, with the atelier stamp (Lugt 668a)
Almost nothing is known of the German artist Ingrid Gerhardt, who does not seem to appear in any biographical dictionaries of 20th century artists. She studied at the free art school established by the painter Jo Strahn in Düsseldorf in the 1940s, and lived and worked for much of her later life in France, in the département of Ille-et-Vilaine in Brittany.
Datable to the late 1940s, the recto of this drawing can be related to Derain’s work for the stage. In the last decade of his career Derain collaborated on several opera and ballet productions, eventually creating costumes and sets for thirteen ballets, two stage plays and two operas, while also providing designs for a number of unrealized projects. He worked with the Ballets Russes, Georges Balanchine’s Les
The present sheet is one of a group of watercolours by the artist in stock.
verso Ballets 1933 and the Sadler’s Wells Ballet, and with the choreographers Michel Fokine, Léonid Massine and Serge Lifar. As one modern scholar has written of Derain, ‘He was a born man of the theatre, gifted with an ability of rendering his designs lyrical and comprehensible . . . It is as if his need to transpose his sentiments into another medium acted as a liberating force, and his designs...spirited, witty, modern and
utterly charming, accorded perfectly with the mood of the moment.’ The still life composition on the verso of the sheet is close to that of such paintings of the latter half of the 1940s as the Still Life with Fish and Pitcher in the Musée d’Art Moderne in Troyes. 101
96 CHARLES FREDERICK TUNNICLIFFE Macclesfield 1901â€“1979 Afon Cefni, Anglesey
Tunnicliffe was born in Langley near Macclesfield and in 1947 he moved from Manchester to a cottage at Malltraeth on the south coast of Anglesey where he spent the rest of his life. Llyn Coron is a lake a mile from his home where Tunnicliffe frequently sketched birds. He was one of the best known post-War bird artists and specialised in drawing birds in their natural setting. He worked for the RSPB and illustrated over 250 books.
Shovellers on Llyn Coron, Anglesey Signed lower right: C.F. Tunnicliffe and inscribed lower centre: Llyn Coron. Dec. 30th Many Shovellers on the lake/Water so rough that often bill-tips were awash. Watercolour over pencil heightened with bodycolour on blue-grey paper 239 x 294 mm., 9 1/4 x 11 1/2 in. 102
97 NORMAN NEASOM, R.W.S. Tardebigge 1915–2010 Redditch
Working primarily in the medium of watercolour, Neasom painted landscapes in England and Wales that have been aptly described as reflecting ‘a benign, pastoral vision in a deeply English tradition.’ His work was exhibited at the Royal Academy, the Royal Watercolour Society (to which he was elected in 1978) and elsewhere. In an interview in 2003, Neasom noted that ‘I paint from my feelings, rather than being objective and copying what I see. I make a lot of initial drawings and have a lot of notebooks where I write down the facts about what I’m painting as well as my reactions to it . . . I like painting landscapes, I like painting people, and I like painting landscapes with people in them.’ Neasom’s watercolours were hugely popular with collectors, and examples are today in the collections of Her Majesty the Queen, the Birmingham Museum and Art Gallery, the Royal Watercolour Society and the West Midlands Arts Council, among others. The artist died earlier this year, at the age of ninety-four.
Canal at Hanbury, Worcestershire Watercolour Signed and dated N. NEASOM. 1976 at the lower right Inscribed Canal at Hanbury / Norman Neasom / 1976 on the verso 256 x 359 mm., 10 1/8 x 14 1/8 in. Born on a farm near Redditch in Worcestershire, where he was to live and work throughout his life, Norman Neasom studied at the Birmingham College of Arts and Crafts between 1931 and 1935. He went on to teach painting for over thirty years, first at the Birmingham College of Art and later at the Redditch School of Art, before retiring in 1979. 103
98 JULIENNE PAULINE ISIDORINE WALTER, called ZOUM WALTER Ixelles 1902–1974 Paris
A gifted painter and pastellist, Julienne (known as ‘Zoum’) Walter was the daughter of the Belgian artist Jean van den Eeckhoudt, and began to paint at a very young age. Her work was made up primarily of landscapes, executed in both oils and pastel, the latter a medium she was to become particularly adept. Following her marriage to François Walter in 1928, Zoum settled in Paris. Her first solo exhibitions were held in Paris and Brussels in 1929, and in the succeeding years she took part in the Salon d’Automne, the Salon des Tuileries and the Salon des Indépendants. A burst of creativity in the late 1960s and the early 1970s found Walter returning to particular landscape motifs; views of the coast of Normandy around Houlgate, the Alpilles of Provence, the Alpes Maritimes around Nice, Menton and Roquebrune, the North Sea town of Koksijde, and elsewhere. She had a special interest in studies of skies; depicting vast, atmospheric landscapes devoid of details and any trace of a human presence.
Sea and Sky Pastel on dark blue-grey paper Signed with initials and dated Z.W. / 71 at the lower right 285 x 322 mm., 11 1/4 x 12 3/4 in. [sheet]
99 KATHLEEN GUTHRIE Feltham 1906–1981 Shrewsbury
and after the Second World War. By the late 1950s, Guthrie had begun moving towards pure abstract compositions, while continuing to paint figurative subjects and landscapes. She began to travel around Britain, producing landscapes that often explore the abstract qualities of a particular view, and also painting gouache sketches as a means of developing ideas for her larger paintings in oil or acrylics. A retrospective exhibition of her paintings, in London in 1966, included both abstract and figurative compositions, and elicited a number of positive reviews. One critic noted ‘a sense of calm in many of her pictures, a quality which is reflected in her abstracts. This later work makes the most profound impression, with its regard for the subtle play of light and thoughtful colour combinations. It presents a sense of inevitable resolution, a gentle form of abstraction . . .’. Guthrie continued to paint both abstract and naturalistic subjects until her death, on a sketching holiday in Shropshire, at the age of 76.
Waves Gouache on board 348 x 254 mm., 13 5/8 x 10 in. Provenance: By descent in the family of the artist A student at the Slade School of Art and the Royal Academy Schools, Kathleen Guthrie was given her first one-man show in 1932, exhibiting landscapes and narrative scenes painted in a deliberately naïve manner. Although she exhibited at the Royal Academy and the New English Art Club, relatively few paintings survive from the period before 105
100 ANNE CONNELL Born 1959
Anne Connell lives and works in Portland, Oregon. She has exhibited widely in America over the past two decades, and in November 2009 Stephen Ongpin Fine Art mounted the first exhibition of her work to be held in Europe. Connellâ€™s small, exquisitely detailed paintings are characterized by a painstaking technique and display a rich vocabulary of motifs and influences that reflect her close study of medieval and Renaissance imagery. Sampling images and patterns from Quattrocento sources, the artist presents them in unfamiliar ways to create an expressive vocabulary with its own meanings and purposes.
Study with Pyramid Gouache over a pencil underdrawing on handmade marbled paper, mounted on Rives BFK paper and mounted on board 305 x 305 mm., 12 x 12 in. Drawn in 2010.
For other works by Anne Connell, please contact the gallery. 106
Stephen Ongpin has more than twenty years of experience as a dealer in Old Master and 19th century drawings. He began his career in 1986 at the long-established gallery of P. & D. Colnaghi, working at the firm's New York branch for ten years before moving to London in 1996. Working closely with Jean-Luc Baroni, Stephen was responsible for organizing the drawings exhibitions mounted by the gallery, and for researching, writing, and editing their annual catalogues of Master Drawings. In 2001 he joined Baroni in forming Jean-Luc Baroni Ltd. in London, with Stephen continuing to assume responsibility for the new firm's drawing department, organizing their successful drawings exhibitions and writing the accompanying catalogues. He has to date researched and written nearly thirty scholarly catalogues of drawings. Since 2006 Stephen has worked as an independent dealer and consultant in the field of Old Master, 19th century and Modern drawings, assisted by Lara Smith-Bosanquet, and sharing a gallery in St. James's in London with Guy Peppiatt. The gallery exhibits at several art fairs, including the Salon du Dessin in Paris in March and Art Antiques London in June. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.
Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby's British Pictures department in 1993. He quickly specialised in early British drawings and watercolours and took over the running of Sotheby's Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby's in early 2004 and has worked as a dealer since then, first based at home, and now in a gallery in St James's, which he shares with Stephen Ongpin. Guy's main yearly exhibition of early drawings and watercolours is in May and June and he also exhibits at the Watercolours and Works on Paper Fair in early February, the BADA Fair in March, the Art Antiques London Fair in June and the Winter Olympia Art and Antiques Fair in November. He also advises clients on their collections, buys and sells on their behalf and can provide insurance valuations.
Stephen Ongpin Fine Art Tel.+44 (0) 20 7930 8813 or + 44 (0)7710 328 627 email@example.com www.stephenongpin.com
Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 firstname.lastname@example.org www.peppiattfineart.co.uk 107
INDEX OF ARTISTS
ALKEN, Samuel Henry George
DELLA BELLA, Stefano
AYLMER, Thomas Brabazon
DE VOS, Marten
DE WINT, Peter
BEAUCLERK, Lady Diana
DUTCH SCHOOL, 17th Century
FIELDING, Newton Smith Limbird
FORTESCUE, Henrietta Anne
BEVERLY, William Roxby
BIRKET FOSTER, Myles
BISON, Giuseppe Bernardino
BRABAZON, Hercules Brabazon
FRENCH SCHOOL, 19th Century
nos.29 & 47
BRITISH or CONTINTENTAL SCHOOL, 19th Century no.38
GOLTZIUS, Hendrick [circle]
CARTER, Henry Barlow
CONRADE, Alfred Charles
HENSHAW, Frederick Henry
CONNELL, Anne COOPER JR., Richard COX, David CROTCH, Dr. William
HOARE OF BATH, William
nos.70–71 no.9 no.45
SWETE, Rev. John
JONGKIND, Johan Barthold
JOHNSON, Harry John
KRIER-LAMBRETTE, Marcelle François no.81 LAVIEILLE, Andrée
TUNICLIFFE, Charles Frederick
TUSCAN SCHOOL, 16th Century
MONNIER, Henry Bonaventure
MONTEZIN, Pierre Eugène
NAFTEL, Paul Jacob
NEUVILLE, Alphonse de
VARLEY, John VOS, Marten de
POLLOCK, Sir Frederick
WALTER, Julienne Pauline, called Zoum no.98
YATMAN, William Hamilton
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