One Hundred Drawings and Catalogues - Winter Catalogue 2011–2012

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


Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd.


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ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th century to the present day


to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU

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

Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 1

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We are delighted to present our fourth annual Winter catalogue of One Hundred Drawings and Watercolours. By tradition the areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th century drawings, have been regarded as separate fields, each with their own enthusiasts and collectors, as well as auctions and exhibitions. Part of the purpose of this catalogue, and indeed the aim of our shared gallery, is to blur the distinction between these collecting areas. A glance at the works included in this catalogue will, we hope, show that a good drawing or watercolour is always worthy of attention, 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 March and May 2012, and will 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 Lara Smith-Bosanquet

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 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. 2

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1 Attributed to FEDERICO ZUCCARO Sant’Angelo in Vado 1543–1609 Ancona

recorded in the inventory of Zuccaro’s studio after his death. The contents of these albums comprised, for the most part, copies after the work of earlier artists that Zuccaro saw on his extensive travels throughout Italy. The albums also included, however, a number of other types of drawings – landscapes, studies of animals, genre subjects, head studies and informal portraits – all in red and black chalk and usually of small dimensions. Most of these drawings cannot be specifically related to finished paintings by the artist, and seem to have been done for his own pleasure.

Two Studies of a Baby Red and black chalk 175 x 119 mm., 6 7/ 8 x 4 5/ 8 in. This charming drawing is close in style to a handful of intimate studies of babies and young children, drawn in both black and red chalk, by Federico Zuccaro. These studies may in turn be grouped with a large number of drawings, generally executed in a combination of black and red chalks, which were pasted into albums and are

Attributions to Francesco Vanni (1563–1610) and Cristofano Allori (1577–1621) have also been suggested for the present sheet. 3

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2 Attributed to STEFANO DELLA BELLA Florence 1610–1664 Florence

seems to have often worked outdoors, and his lively drawings display a keen observation of country life and pursuits. The artist filled several sketchbooks with scenes of people, buildings and landscapes; all drawn on the spot and used as a stock of images and motifs for both his etchings and more finished drawings.

Landscape with the Ruins of the Grotto of Egeria, Rome Pen and brown ink and grey wash, laid down and mounted onto a large album page, with a grey wash border A sketch of a fountain in front of two arches and with temples beyond in pen and brown ink on the verso Inscribed Fontaine de la Nymphe Egerie. at the upper left and numbered 49 on the album sheet Further inscribed Bartolomeus on the verso 138 x 185 mm., 5 3/ 8 x 7 1/ 4 in.

Under the patronage of the Medici, Della Bella was sent to Rome in 1633. The young artist was to spend a total of six years living and working in the city, living in the Medici palace and making drawings after antiquities and Renaissance masters, as well as numerous landscapes, vedute and scenes of everyday life and festivities. This is a view of the so-called grotto of the nymph Egeria (in actual fact part of the estate of the suburban villa of Herodus Atticus), near the Via Appia to the southeast of Rome. The natural grotto was developed into a man-made arched interior, with a statue of Egeria set in a niche in the apse, and the walls faced with mosaics and marble.

A talented and prolific printmaker and draughtsman, Stefano della Bella produced countless works of considerable energy and inventiveness, with an oeuvre numbering over a thousand etchings, and many times more drawings. He 4

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3 JACOB VAN DER ULFT Gorkum (Gorinchem) 1627–1689 Noordwijk

Houbraken states definitively that he did not, and claims that his Roman views were based on the work of other artists. Certainly, van der Ulft was profoundly influenced by the work of another amateur artist, Jan de Bisschop (16281671), whose drawings approach his own in both style and handling. An album of forty-three landscape drawings by both Jacob van der Ulft and Jan de Bisschop, mostly views in or around Rome, is in the collection of the Dukes of Devonshire at Chatsworth. Another album of Roman views by van der Ulft is in the Institut Néerlandais in Paris.

Figures in an Italianate Landscape Pen and brown ink and brown wash, within a drawn circle Signed and dated Jac: vander Ulft Fe: 1686. in the lower left and lower right margins 172 x 170 mm., 6 3/ 4 x 6 5/ 8 in.

The present sheet belongs with a small and distinctive group of circular landscape drawings by Jacob van der Ulft, all of approximately the same dimensions. Examples are in the collections of the British Museum, the Musées Royaux des Beaux-Arts in Brussels, the Saint Louis Art Museum, the Fogg Art Museum in Cambridge, MA, and elsewhere. With its fluid, bold use of brown wash punctuated by white highlights where the paper has been left to show through, the drawing displays the strong influence of Jan de Bisschop on van der Ulft.

Much of Jacob van der Ulft’s surviving painted and drawn oeuvre is made up of Italianate landscapes, or antique Roman cityscapes and port scenes crowded with figures. He seems to have been an amateur artist and was quite possibly self-taught, as no guild membership is recorded. Although there are many quite specific views of Rome by the hand of the artist, many of which are inscribed and dated, it remains unclear whether van der Ulft ever actually visited Italy. The contemporary biographer Arnold 5

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4 WILLIAM HOARE OF BATH, R.A. Eye, Suffolk 1707–1792 Bath

Provenance: Sir Henry Duff Gordon (1866–1953) 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.

a. Study of a Woman writing Black chalk on laid paper with a Pro Patria watermark 150 x 163 mm., 5 3/ 4 x 6 1/ 4 in. 6

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b. Study of a Woman seated in a Chair Black and white chalk on buff paper Maximum size 267 x 225 mm., 10 1/ 2 x 8 3/ 4 in. Provenance: Sir Henry Duff Gordon (1866–1953) 7

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5 RICHARD COSWAY, R.A. Oakford, Devon 1740–1821 Edgware

Provenance: Maria Cosway (1760–1838), Lodi, Italy By descent until bought by an Italian dealer, his sale, Christie’s, 1st June 1896, sold for £10.10s Private Collection, France

Cupid unmasking False Love Signed on original washline mount: Rich.d Cosway R.A. Primarius Pictor Wallia Princip.. Del.t 1779 Pen and brown ink on laid paper Sheet 233 x 194 mm., 9 x 7 1/ 2 in.

Literature: George C. Williamson, Richard Cosway R.A., 1897, ill. opp. p.30 and p.87


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6 GEORGE ROMNEY Dalton-in-Furness 1734–1802 Kendal

This belongs to a group of drawings of this subject by Romney datable stylistically to circa 1792–3. Others from the group are in the Fitzwilliam Museum (M.D. 38a), the Montreal Museum of Fine Arts (see George Romney in Canada, exhibition catalogue, 1986, no. 38, ill.), in an album in the Chicago Art Institute and recorded in the collection of Mr and Mrs J.D. Dilworth Jr (see Patricia Milne-Henderson, The Drawings of George Romney, 1962, pl. XXXIII).

The Descent from the Cross Pencil on buff paper 164 x 196 mm., 6 1/ 4 x 7 3/ 4 in. 9

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a. Above: 7 FRENCH SCHOOL (‘J. N. d. B.’) 1791 a. Classical Ruins with Men Demolishing a Wall

Facing page: b. Classical Ruins with Men Excavating a Statue

Watercolour and gouache, over an underdrawing in pencil, within framing lines in black ink Signed and dated J.N.d.B. 1791 in white gouache at the lower right 244 x 184 mm., 9 5/ 8 x 7 1/ 4 in. [image] 265 x 204 mm., 10 3/ 8 x 8 in. [sheet]

Watercolour and gouache, over an underdrawing in pencil, within framing lines in black ink Signed and dated J.N.d.B. 1791 in white gouache at the lower right 246 x 196 mm., 9 3/ 4 x 7 3/ 4 in. [image] 267 x 218 mm., 10 1/ 2 x 8 5/ 8 in. [sheet] 10

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8 LADY DIANA BEAUCLERK Blenheim 1734–1808

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.

Children Playing with a Dove

After her husband’s death, she moved into Devonshire Cottage in Richmond. 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. Horace 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. & A., the Royal Collection and the British Museum. For a similar drawing entitled ‘Cupids with Doves’, see Beatrice Erskine, Lady Diana Beauclerk, her Life and Work, 1903, p.xii.

Watercolour over traces of pencil 148 x 189 mm., 5 3/ 4 x 7 1/ 4 in. Lady Beauclerk was born Lady Diana Spencer and was the eldest daughter of Charles Spencer, 3rd Duke of Marlborough. She grew up at Blenheim Palace and made copies of the pictures there from a young age. In 1757 she married the 2nd Viscount Bolingbroke but divorced him in 1768 and married Topham Beauclerk (1739–1780) two 12

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9 GIUSEPPE BERNARDINO BISON Palmanova 1762–1844 Milan

Scala and other theatres. Although his career lasted well into the 19th century, his style invariably retains something of the flavour of the previous century; indeed, his work has been aptly described by one recent scholar as ‘a last late flowering of the Venetian Settecento’.

Two Heads of Young Women Pen and brown ink and brown wash A small sketch of the head of a young woman in pen on the verso Signed Bison at the lower left, and initialled B on the verso 144 x 174 mm., 5 5/ 8 x 6 7/ 8 in.

Bison was an accomplished draughtsman, whose earliest works show the Venetian influence of Giambattista Tiepolo and Francesco Guardi, while his later drawings tend towards Neoclassicism. His drawings encompass a wide and varied range of subjects, from religious narratives to genre scenes, landscape capricci, and stage and ornament designs. Few of Bison’s drawings, however, were intended as preparatory studies for paintings, and he produced a large number of drawings as independent works of art for sale. Bison’s preferred medium was pen and ink, applied in a fluid manner and usually combined with rich tonal washes, of which this drawing is a fine example. Similar studies of heads appear throughout the artist’s oeuvre.

Giuseppe Bernardino Bison received his artistic training in Venice, and spent the early part of his career working as a fresco painter in villas and palaces around the Veneto. In the latter half of his career he lived and worked in Trieste and Milan, active as both a decorative fresco painter and a scenographer, producing stage designs for the Teatro alla 13

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10 HUGH DOUGLAS HAMILTON Dublin 1740–1808 Dublin

Charlotte Musgrave (1751–1818) was the daughter of Sir Philip Musgrave, 6th Bt., and his wife Jane Turton. She married the Reverend Charles Mordaunt, Rector of Massingham, the son of Sir Charles Mordaunt, 6th Bt., in 1774. She was painted by Sir Joshua Reynolds in 1774–75 (see David Mannings, Sir Joshua Reynolds – A Complete Catalogue of his Paintings, 2000, no.1290, p.342).

Portrait of Miss Charlotte Musgrave Head and shoulders Signed lower right: Hamilton/delin.t 1772 Pastel over pencil on laid paper, oval 230 x 190 mm., 9 x 7 1/ 4 in.

Hugh Douglas Hamilton was born in Dublin and studied at the Royal Dublin Society from 1750 until 1756 until moving to London and finding success as a portrait painter in pastel and oil. In 1778 he went to Rome returning to Dublin in 1792. 14

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11 JOHN DOWNMAN, A.R.A. Ruabon, Wales 1750–1824 Wrexham

which was turned into a film The Duchess, starring Keira Knightley. This previously unrecorded portrait study of Georgiana relates to Downman’s 1784 portrait of the Duchess with Lady Elizabeth Foster, drawn when she was twenty-seven, the original of which is at Ickworth House.

Portrait of Georgiana, Duchess of Devonshire Half-length Watercolour, oval 200 x 151 mm., 7 3/ 4 x 6 in.

For a print of the picture, see G.C. Williamson, John Downman, A.R.A., 1907, ill. p.19. Another study of the Duchess relating to this portrait was sold at the Coates sale at Sotheby’s on 15th February 1922, lot 1.

Georgiana, Duchess of Devonshire (1757-1806) was a celebrated beauty, fashion icon and socialite and the wife of the 5th Duke of Devonshire. For more on her life, see Amanda Foreman, Georgiana, Duchess of Devonshire, 1998

We are grateful to Charles Noble, the Curator at Chatsworth House, for confirming the identity of the sitter.


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12 NICOLAS II HUET Paris c.1770–1828 Paris

draughtsman, and in 1804 was appointed painter to the Muséum d’Histore Naturelle and to the Ménagerie of the Empress Josephine, who was an avid collector of animal, bird and plant specimens. He also took part in Napoleon’s scientific and artistic expedition to Egypt between 1798 and 1801. Huet continued to exhibit at the Salons until 1827, showing mainly drawings and watercolours of animals. He also painted a series of 246 elaborate drawings on vellum – studies of mammals, reptiles, birds, insects and sea life – for the library of the Muséum d’Histore Naturelle.

A Kudu Watercolour, with touches of white heightening 118 x 163 mm., 4 5/ 8 x 6 3/ 8 in. Born into a family of artists, Nicolas Huet was the eldest son and pupil of Jean-Baptiste Huet and the grandson of the animalier Nicolas Huet the Elder, and like both of them specialized in depictions of animals. The young Nicolas first exhibited in 1788 at the Exposition de la Jeunesse, showing a still life, and made his Salon debut in 1802 with several animal pictures. A gifted watercolourist and engraver, Huet developed a particular reputation as a natural history

The present sheet would appear to depict a male kudu, a species of antelope native to Southern and Eastern Africa. Huet may have either studied the animal at the Empress’s Ménagerie, or worked from a stuffed specimen in the collections of the Muséum d’Histore Naturelle.


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13 FRENCH SCHOOL Circa 1800 The Card Players Pencil, pen and brown ink and brown wash Inscribed joueur(?) amis(?) / 4 croupier(?) de cadre rachiel(?) / Cadre Rachiel(?)/ thermometre on the verso Further inscribed, in a different hand, attribué à Isabey père on the verso 136 x 173 mm., 5 3/ 8 x 6 3/ 4 in. 17

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14 RICHARD WESTALL, R.A. Hertford 1765–1836 London

Exhibited: London, Appleby Brothers, Early English Watercolours, Oct. – Nov. 1961, no.105 New York, The Drawing Shop, English Drawings and Watercolours, Oct. – Nov. 1962, no.32

The Three Witches appearing to Macbeth and Banquo

This shows the Three Witches appearing to Macbeth and Banquo on the heath in Act I, Scene 3 of Shakespeare’s play. It may be an unused design for Boydell’s illustrated edition of Shakespeare’s plays, for which Westall produced a number of illustrations, including two subjects from Macbeth in the late 1790s.

Watercolour heightened with bodycolour and scratching out 269 x 202 mm., 10 1/ 2 x 8 in. Provenance (as Fuseli): Canon Smythe, Sussex Appleby Brothers, London, November 1961 Bernard Black Gallery Castellane Gallery 18

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15 SIR ROBERT KERR PORTER Durham 1777–1842 St Petersburg

Porter was the son of an Army surgeon and brought up in Edinburgh. In 1790 he entered the Royal Academy schools and quickly achieved success as a painter of large scale battle scenes. In 1804 he went to Russia as Historical Painter to the Tsar where he fell in love with a Russian princess, the daughter of Prince Theodor von Scherbatoff whom he eventually married in 1812. He travelled extensively through Scandinavia, the Middle East and accompanied Sir John Moore on his Corunna campaign during the Peninsular War. He published various books and was British Consul to Venezuela from 1826 until 1841.

Russian Cavalry Signed lower right with initials and dated 1810 Pen and black ink and watercolour 248 x 304 mm., 9 3/ 4 x 12 in. Provenance: By descent in the Burney Family until 2011 19

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16 CIRCLE OF PAUL SANDBY, R.A. Nottingham 1731–1809 London

Exhibited: On loan to Laing Art Gallery, Newcastle, 1982 Previously fully attributed to Sandby, this is by a close follower. It may be by one of his many military pupils at the Royal Military Academy, Woolwich where he taught from 1768 until 1796.

On the Road to Dover Pen and grey ink and watercolour on Whatman laid paper 365 x 523 mm., 14 1/ 4 x 20 1/ 2 in. Provenance: Mr and Mrs John Fenwick 20

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17 JOSEPH FARINGTON, R.A. Leigh 1747–1821 Disbury

This drawing dates from Farington’s tour of north-west England in the summer of 1786. A view of the same house, also dated 10th September is in the Whitworth Art Gallery, University of Manchester (see Joseph Farington – Watercolours and Drawings, exhibition catalogue, 1977, p.43, no.30, ill. p.85). A view of Lancaster from this tour, dated August 1786, is in the Fitzwilliam Museum, Cambridge (op. cit., no.23) and a view ‘At Nunnery in Cumberland’, dated 20th August, was sold at Sotheby’s on 6th June 2007, lot 179 for £6,240.

Study of a Manor House Signed lower left: Joseph Farington/Sept.r 10th 1786 Pen and brown ink and watercolour with original pen and ink mount 192 x 246 mm., 9 x 14 3/ 4 in. Provenance: Ruskin Gallery, Stratford-upon-Avon 21

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18 JOHN NIXON 1760–1818 Ryde

The George Inn, visible to the left, is the original pilgrim’s Inn of Glastonbury Abbey. Pevsner described it as ‘one of the most sumptuous of the small number of surviving inns before the Reformation.’ Beyond is the Parish church of St. John’s dating from the fifteenth century with its tall west tower.

The High St, Glastonbury Inscribed lower left: A Bath Parson/Mother Nash Pen and grey and brown ink and watercolour over pencil, squared 303 x 460 mm., 113/ 4 x 18 in.

Nixon was an amateur artist who was in business in London with his brother Richard as an Irish merchant. He travelled extensively on sketching tours including several trips to Ireland in the 1780s and 1790s often in the company of other artists such as Francis Grose or Thomas Rowlandson. This is a later work and clearly show the influence of Rowlandson under whose tutelage he became ‘a very professional amateur indeed’ (Huon Mallalieu, Dictionary of British Watercolour Artists, 2002, vol. II, p.77).

Exhibited: Probably London, Royal Academy, 1812, no.546 as ‘The High St at Glastonbury, with a view of the Abbot’s inn, the Conduit, etc.’


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19 ENGLISH SCHOOL Circa 1790

Provenance: Dover Street Arts Club, London Traditionally attributed to Robert Dighton (1751–1814), this may be attributable to William Mason (1724–1797) who produced a number of horse-racing scenes in the late 18th century, several of which were engraved.

At the Races Pen and grey ink and watercolour on laid paper with Whatman watermark 414 x 726 mm., 16 1/ 4 x 28 1/ 2 in. 23

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20 MOSES GRIFFITH Caernarvonshire 1747–1819

21 THOMAS TUDOR Monmouth 1785–1855 Wyesham

Llandegai Church and Bridge, Carnarvonshire, North Wales

a. Portland Island from the Chesil Bank Inscribed with title lower right: Clifton and numbered 24 Pen and brown ink and brown wash heightened with scratching out 149 x 242 mm., 5 3/ 4 x 9 1/ 2 in.

Inscribed verso: Llandegai Church & Bridge Pen and brown ink and watercolour over pencil on laid paper 228 x 298 mm., 9 x 113/ 4 in.

Provenance: By descent from the artist until with Walker Galleries, 1961

Llandegai lies 13/ 4 miles south-east of Bangor. In the far right distance Penrhyn Castle is just visible in the trees. At this date it was still a medieval manor house before being transformed into a 19th century neo-Norman fantasy castle by the architect Thomas Hopper in 1827 by another member of the Pennant family, George Dawkins Pennant.

Tudor was born in Monmouth, the son of Owen Tudor, a bookseller. He started drawing at a young age providing plans and drawings of local houses and first exhibited at the 24

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b. Royal Academy in 1809. He continued exhibiting until 1819 but became a land agent, building Tudor House at Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings and owned works by Reynolds, Van Dyck and Turner whose studio his diary records he visited in June 1847.

b. A Pass in the Barmouth Road, Cader Idris in the distance

Inscribed with title lower left Brown washes and black chalk heightened with scratching out 247 x 313 mm., 9 3/ 4 x 12 1/ 4 in. 25

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22 THOMAS LEESON ROWBOTHAM Bath 1782–1853 Camberwell

23 PANCRACE BESSA Paris 1772–1846 Ecouen

Harlech Castle, Wales

Drawing for the Herbier général de l’amateur: A Roseleaf Bramble (Rubus Rosifolius)

Inscribed lower right: Harlech Watercolour over pencil heightened with white on buff paper 228 x 300 mm., 9 x 113/ 4 in.

Watercolour and gouache, over a pencil underdrawing, heightened with gum arabic on vellum Signed P. Bessa in the lower left margin 268 x 193 mm., 10 1/ 2 x 7 5/ 8 in. [sheet]

Rowbotham was born in Bath and was working there as a drawing master in 1811 before moving to Dublin. By 1825 he was in Bristol where he remained for a decade and many of his topographical views of the city are in Bristol City Art Gallery. In 1835 he moved to London where he was appointed drawing master at the Royal Naval School in New Cross.

Provenance: Commissioned by Charles X, King of France His daughter-in-law, the Duchesse de Berri, by 1826 Her sister, Teresa Cristina, later Empress Consort of Brazil, Rio de Janeiro Given to João Barbosa Rodrigues, Rio de Janeiro Thence by descent, until sold at auction in Brazil c.1922 Paulo Campos-Porto, Rio de Janeiro His sale, Beverly Hills, Lewis S. Hart Gallery, 17 November 1947 26

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artist worked on the series until 1827. Bessa’s beautiful watercolours were superbly reproduced for the book, in the form of hand-coloured engravings by various printmakers. The artist’s original watercolours for the Herbier général de l’amateur remained together for over 120 years, and were shown as a group in exhibitions held in Rio de Janeiro, Boston, San Francisco and New York, before finally being dispersed at auction in 1947.

Literature: Jean-Claude-Michel Mordant de Launay and Jean-LouisAuguste Loiseleur-Deslongchamps, Herbier général de l’amateur, contenant la description, l’histoire, les propriétés et la culture des végétaux utiles et agréables, Vol.V, Paris, 1821, pl.352 One the leading painters of flowers and fruit in the first half of the 19th century, Pancrace Bessa’s most important commission was for a series of 572 watercolours on vellum for Mordant de Launay’s Herbier général de l’amateur, commissioned by Charles X, King of France. The most significant French flower periodical of the day and published in eight volumes, the project was begun in 1816 and the

Only rarely cultivated, the Roseleaf bramble (Rubus Rosifolius) is a tropical plant with a white flower and edible fruit. It is found abundantly in the Brazilian rainforest and also in the Himalayas, East Asia and Australia.


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24 JEAN-MICHEL CELS The Hague 1819–1894 Brussels

The 19th century Belgian artist Jean-Michel Cels remains little known today. He was the son and pupil of the Neoclassical painter Cornelis Cels, director of the Académie de Tournai, and also studied with the landscape painter Pierre Jean Hellemans. The younger Cels must have learned the practice of making plein-air oil sketches from his father, who is known to have made such studies during the seven years he spent living and working in Italy early in his career.

a. Fallen Tree Trunks on a Forest Floor Oil on paper Signed, dated and inscribed Etude d’après na[ture] JM Cels 1840 – environs de Bruxelles on the verso 192 x 362 mm., 7 5/ 8 x 14 1/ 4 in.

These two landscape sketches are part of a group of drawings and oil sketches by Jean-Michel Cels that appeared on the art market in London in 1997. Two oil sketches by Cels, executed in oils on paper and sharing the same provenance as the present sheet, are in the collection of the National Gallery in London; one depicts a study of clouds and the other a study of trees in a ravine. Another oil sketch study of clouds and sky by Cels is in the Thaw Collection at the Pierpont Morgan Library in New York.

b. A Clearing at the Edge of a Wood Oil on paper, laid down on canvas Signed, dated and inscribed Chateau de Meisse près Bruxelles / JM Cels 7bre 1840 on the verso 237 x 182 mm., 9 5/ 8 x 7 1/ 8 in. Provenance: Private collection, Belgium, c.1950 Sale, London, Christie’s, 16 April 1997, lot 311 Kate de Rothschild, London.

According to the inscription on the verso of Fallen Tree Trunks on a Forest Floor, this vibrant oil sketch was painted in 28

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b. 1840 on the outskirts of Brussels. In painting works such as this, Cels may have been aware of the pioneering plein-air painter Pierre-Henri de Valenciennes’s statement that artists should make oil sketches of trees, to study the bark and the form of the tree closely. The artist’s inscription on the

reverse of A Clearing at the Edge of a Wood notes that the work was painted in September 1840 at Meise, on the northern of Brussels; the town is now home to the National Botanic Garden of Belgium.


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25 JOHN RUBENS SMITH London 1775–1849 New York

the Royal Academy between 1796 and 1811, mainly portraits but also views of Reculver, Margate Pier and Brighton. In 1806 he emigrated to the USA and set up successful drawing schools in Boston, New York and Philadelphia.

East View of Margate Pier from Cliff Inscribed with the title on part of original mount Watercolour over pencil on two sheets of paper joined 213 x 321 mm., 8 1/ 4 x 12 1/ 2 in.

Topographical watercolours by him are in the Library of Congress, the Metropolitan Museum, New York and the National Gallery of Art, Washington. A panorama of Margate Harbour by Smith dated 1803 was with Martyn Gregory (see Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, 1979, vol. II, p.512, ill.) and a panorama of Ramsgate was with Guy Peppiatt Fine Art (summer catalogue 2011, no.26).

This is a view looking west across Margate Harbour from the site of the new Turner Contemporary Museum. The towers of Reculver church are visible in the distance. Smith was born in London, the son of the portraitist and engraver John Raphael Smith (1752–1812). He exhibited at 30

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26 PAUL SANDBY, R.A. Nottingham 1731–1809 London

Keeper’s Lodge, Easton Park are in the Victoria and Albert Musem (Dyce 746) and the British Museum (1904,0819.23), which also has a ‘design for a window blind, Easton Park’, dated 1809.

Page’s Farm, Easton Park, Essex

The manor and estates of Little Easton, later Easton Park, were granted to Henry Maynard, Lord Burleigh’s private secretary in 1590. He was knighted in 1603. The house, Easton Park, was built in 1597 and burnt down in 1847 when it was rebuilt by Hopper. At the date of the present work, Easton Lodge was in the possession of Charles, Viscount Maynard (1752–1824) who inherited the peerage in 1775 and succeeded his father as 5th Baronet in 1792. He married but had no children so the estate was inherited by his nephew.

Watercolour and bodycolour over pencil 200 x 274 mm., 7 3/ 4 x 10 3/ 4 in. 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. This is one of two pictures of this size exhibited by Sandby at the British Institution in 1808 entitled ‘Part of Page’s Farm, near Easton Park, Essex’ (no.271) or ‘Page’s Farm, Easton Park, Essex, from the West.’ Views of the 31

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27 FRANÇOIS BONVIN Vaugirard 1817–1887 Saint Germain-en-Laye

François Bonvin rose to become one of the leaders of a group of Realist painters in 19th century France who found inspiration in subjects and scenes taken from contemporary urban life. He earned a particular reputation as a painter of genre and interior scenes and still-life subjects, although his modern reputation rests largely on his drawings. Signed and dated 1850, this is a fine and typical example of the sort of finished drawing that Bonvin would have intended for sale. Intimate studies of women sewing appear occasionally in Bonvin’s oeuvre, and it may be noted that the artist’s mother, who died when he was just four years old, was a seamstress, while his stepmother ran a sewing workshop in his native town of Vaugirard.

A Woman Sewing Pen and brown ink and brown wash, with some watercolour and heightened with touches of white, on light brown paper Signed and dated f. Bonvin 50 at the lower left 317 x 239 mm., 12 1/ 2 x 9 3/ 8 in.


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28 DANIEL GEVRIL Carouge 1794–1875 Carouge

A gifted portrait painter and draughtsman. Daniel Gevril received his artistic training at the Ecole de Dessin in Geneva. His earliest exhibited works were portrait drawings, shown in 1820 and 1826. From 1830 onwards, however, he concentrated mainly on painted portraits, which he exhibited regularly. Gevril was appointed a professor of drawing at the Collège in his native Carouge in 1847. Writing shortly after the artist’s death, one critic noted of him that ‘Ses portraits, peints finement et largement, sont toujours d’une parfaite ressemblance, grâce à son habilité comme dessinateur. Ils ont, en général, beaucoup de vie et de relief; ils donnent à Gevril, dans l’école genevoise, une place distinguée.’

A Young Girl Asleep Pencil Inscribed Souvenir from Mr. A to Mrs. A at the bottom of the sheet Further inscribed Gevril de Carouge and, in a different hand, Gevril a Swiss Artist, on the verso 192 x 155 mm. (7 1/ 2 x 6 1/ 8 in.)


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Facing page: 29 THOMAS RICHARD UNDERWOOD 1772–1836 Chamarande, near Paris

Above: 30 WILLIAM HENRY PYNE London 1769–1843 London

A Group of views of Druids Lodge

Black Lion Lane, Canterbury

Three, one signed and inscribed verso: the ...... ....../From the Book Room Window at/Druids Lodge/T R Underwood Watercolour over pencil on wove Whatman paper Each approx 127 x 212 mm., 5 x 8 1/ 4 in.

Inscribed with title verso Watercolour heightened with stopping out and touches of bodycolour 124 x 173 mm., 4 3/ 4 x 6 3/ 4 in. Provenance: L.G. Duke (D4128) With Spink & Sons, London Private collection, London, until 2010

This may be a view of Druids Lodge, a house on the Plas Newydd Estate, Anglesey. The house was recorded in the 1810s and 1820s as the house of John Sanderson, the agent of the 1st Marquess Anglesey who owned Plas Newydd. 35

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31 ALFRED EDWARD CHALON, R.A. Geneva 1780–1860 London

Lady Clementina Augusta Wellington Villiers (1824–1858) was one of the seven children of the 5th Earl of Jersey and the goddaughter of the Duke of Wellington. Her mother Lady Jersey was one of the Grandes Dames of London Society at the time and Clementina was a famous beauty. Many men asked for her hand in marriage, the most persistent being the Duke of Osasuna. She was taken ill with a fever however while in Germany in 1858 and returned to the family home at Middleton Park, Oxfordshire where she died.

Portrait of Lady Clementina Villiers aged eight Full-length in a garden, holding a hat Signed in gold lower right: A.E. Chalon R.A. 1832. Watercolour heightened with stopping out 404 x 267 mm., 15 3/ 4 x 10 1/ 2 in. Engraved: By H.T. Ryall for Heath’s Gallery, 1834 36

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32 MARY SMIRKE London 1779–1853 Eton

The artist was the daughter of the painter Robert Smirke, R.A. (1752–1845) and the brother of the architect of the same name. Mary used to accompany her father and his friend Joseph Farington (see no.17) on sketching tours. She exhibited at the Royal Academy from 1809 until 1814 and gave drawing lessons. These may originally have been part of the group of twelve views in a leatherbound album which were with the dealer Cyril Fry in the 1970s. Two views from this group were also of The Grove and are now in the British Museum (see Kim Sloan, ‘A Noble Art’ – Amateur Artists and Drawing Masters c.1600–1800, 2000, p.204–5, no.147, ill.).

The Grove at Stanmore, Middlesex A pair, one signed with initials lower right and inscribed on border: The Grove – St Albans in distance Watercolour over pencil Each 140 x 228 mm., 5 1/ 2 x 9 in. Provenance: Bought by J.A. Dormer from Cork Street Gallery, London, March 1972 37

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33 ROBERT HILLS Islington 1769–1844 London a. Deer in a Wooded Landscape Watercolour over pencil 504 x 380 mm., 19 3/ 4 x 15 in. 38

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b. Deer and Horses in a Wooded Landscape Watercolour over pencil 532 x 415 mm., 21 x 16 1/ 4 in. 39

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c. The High Street, Oxford Signed on washline border lower right: Drawn by J.C. Buckler 1812. Watercolour over traces of pencil 418 x 622 mm., 16 1/ 4 x 24 1/ 2 in.

a. The Interior of the Sheldonian Theatre, Oxford Signed lower right: Drawn by J. Buckler. A.D. 1815, with a dedication to Lord Grenville, Chancellor of the University of Oxford underneath Watercolour over pencil heightened with traces of bodycolour Image 435 x 613 mm., 17 x 24 in.

Provenance: Private Collection, Suffolk John Chessell Buckler was the eldest son of John Buckler (1770–1851), the architect and architectural draughtsman and, having worked with his father from 1810, took over his architectural practice in 1826. He produced architectural views of towns, villages and country houses and died aged 100.

b. Tom Tower, Christ Church, Oxford Signed on washline border lower right: J. Buckler 1830.. Watercolour over traces of pencil 354 x 267 mm., 13 3/ 4 x 10 1/ 2 in. 40

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c. 41

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35 ANTHONY VANDYKE COPLEY FIELDING Sowerby Bridge 1787–1855 Worthing

36 JOHN MARTIN Hexham 1789–1854 Douglas, Isle of Man

View of Snowdon from the Head of the Valley, above Capel Curig, Caernarvonshire

Figures by a Waterfall, a Town on a hill beyond Watercolour heightened with scratching out and gum arabic 212 x 160 mm., 8 1/ 2 x 6 1/ 4 in.

Signed lower left: Copley Fielding/1844 Watercolour over pencil heightened with bodycolour, scratching out and stopping out 589 x 878 mm., 23 x 34 1/ 2 in.

Provenance: Anonymous sale, Christie’s, 8th April 1997, lot 56 Private Collection

Provenance: John Martin, 14 Berkeley Square, London, bought for 12 gns, 1845 With Frost and Reed, London Anonymous sale, Christie’s 14th June 1983, lot 93 Allan Jacobs Gallery, London Private Collection

John Martin was one of the best known and most original artists of the first half of the nineteenth century, often depicting cataclysmic events on a large scale. The depiction of humanity dwarved by nature as seen in the present work is typical. He is currently the subject of an exhibition at Tate Britain.

Exhibited: London, Society of Painters in Water-colours, 1845, no.157

Michael Campbell dates this drawing to circa 1811–12 42

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which would make it an early work. At the time Martin was training as a glass and china painter at William Collins’s workshop on the Strand and in the evenings he studied as a painter. In 1811, he exhibited his first picture at the Royal Academy, ‘Landscape Composition’ and left Collins’s workshop the following year. In 1812, he painted one of his first major paintings, ‘Sadak in search of the Waters of

Oblivion’ which was accepted by the Royal Academy and he was beginning to establish himself as a drawing master. In the present work, although Martin has clearly drawn on the many eighteenth century views of the town and waterfall at Tivoli near Rome which he would have known, the topographical details are incorrect for Tivoli. 43

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37 GIACINTO GIGANTE Naples 1806–1876 Naples

Watercolour, heightened with touches of gouache, on buff paper Signed and dated Gia Gigante 1850 at the lower left 276 x 379 mm., 10 7/ 8 x 14 7/ 8 in.

region, where fertility and wildness meet, . . . where at every turn some feature, soft or savage, forms a seductive or striking frame to the distant landscape, Sig. Gigante finds the subjects of those studies, which, for freedom of handling, fidelity of colour, transparency, perspective, and effect, have no parallel on his own more ambitious canvass, or on the canvass of any living painter of his country.’ Significant groups of drawings and watercolours by Gigante are today in the Museo Nazionale di Capodimonte and the Museo Nazionale di San Martino, both in Naples.

Giacinto Gigante was trained in the Neapolitan studio of the Dutch artist Antoon Sminck Pitloo, who encouraged his students to paint all’aperto, or out of doors. He was soon established as a successful landscape painter and draughtsman, with a particular penchant for views of Naples and the surrounding region, and became the acknowledged leader of a group of Neapolitan landscape artists later known as the Scuola di Posillipo. Writing in 1853, one contemporary English critic noted of Gigante that, ‘There is no portion of the Neapolitan scenery, to which he has not been a frequent, patient, enthusiastic visitant . . . In this tempered

This watercolour depicts a view near the forested mountain village of Casarlano, above the town of Sorrento, overlooking the Tyrrhenian Sea. Gigante spent much of 1848 and 1849 living and working in Sorrento, and the view from Casarlano and the woods surrounding it appears in a number of drawings and watercolours of this period. A larger variant of this composition, also dated 1850 but with different staffage, is in a private Neapolitan collection. Another, smaller gouache of the same view by Gigante, again dated 1850, was in the Statella collection in Naples in 1930.

Casarlano, near Sorrento


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38 WILLIAM WYLD London 1806–1889 Paris

A diplomat and later wine-merchant who spent most of his life in France, Wyld began his career in 1826 as Secretary to the British Consul in Calais, where he was a pupil of Francia. Strongly influenced by Bonington whose work he knew, Wyld visited Algeria in 1833 in the company of the French artist Horace Vernet. He travelled extensively in Europe and this may be a view on the Rhine.

A Bridge over a Continental River Signed lower right Watercolour over pencil heightened with bodycolour 104 x 156 mm., 4 x 6 in. 45

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39 WILLIAM WYLD London 1806–1889 Paris

40 JAMES HOLLAND, O.W.S. Burslem 1799-1870 London


a. View of San Giorgio Maggiore, Venice

Signed lower left Watercolour over pencil 57 x 180 mm., 2 1/ 4 x 7 in.

Pencil on paper; a page from a sketchbook Signed with initials, inscribed and dated JH Venice 57 at the lower right 131 x 197 mm., 5 1/ 8 x 7 3/ 4 in.

See no.38 for a note on the artist.

b. A Sheet of Studies of Gondolas and Figures Pencil and watercolour on paper; a page from a sketchbook Signed with initials, inscribed and dated JH Melons .26.Sept.57 at the lower right 131 x 198 mm., 5 1/ 8 x 7 3/ 4 in. Provenance: Probably the Holland studio sale, London, Christie’s, 26 May 1870 John Appleby, Jersey James Holland made his first visit to Venice in 1835, and displayed a lifelong fascination with the architecture of the city. He first exhibited a watercolour view of Venice at the Old Water-Colour Society in 1836, and continued to show Venetian subjects throughout his later career. A photograph of another page from the same 1857 Venice sketchbook, depicting fishing boats moored on a quayside and dated October 3rd, 1857, is in the Witt Library, London. 46

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b. 47

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41 EDUARD BENDEMANN Berlin 1811–1889 Düsseldorf

Provenance: Possibly Richard Schöne, Berlin Friedrich Schöne, Essen and Berlin (Lugt 3622), his stamp on the verso

In 1834 he received a commission from the Prussian crown prince for a painting of Jeremiah on the Ruins of Jerusalem, and three years later painted an allegorical fresco for the house of the sculptor Johann Gottfried Schadow in Berlin. In 1838 Bendemann was appointed a professor at the Dresden Akademie, and soon afterwards received a commission for the fresco decoration of three large rooms in the royal palace in Dresden, a project that was to occupy the artist for the better part of fifteen years. In 1859 he was appointed Director of the Akademie in Düsseldorf, and was established as a leading figure among the cultured elite of the city. The year after Bendemann’s death in 1889, a large retrospective exhibition of his work was held at the Nationalgalerie in Berlin. A sizeable group of drawings by the artist is today in the collection of the Kupferstichkabinett in Berlin.

Eduard Julius Friedrich Bendemann received his training in the studio of Wilhelm Schadow. Between 1830 and 1831 he visited Italy, and on his return to Düsseldorf painted his first major work, a canvas of Captive Jews in Babylon, which was exhibited with considerable success in Berlin in 1832.

This charming, informal drawing bears the collector’s mark of the lawyer Friedrich Schöne (1882-1963), part of whose collection of 19th century German drawings may have been inherited from his father, the archaeologist and museum director Richard Schöne (1840–1922).

A Young Boy Reading at a Table Pencil on paper A sketch of the head of the same boy in pencil on the verso Inscribed and dated Df. July 68 at the lower left 191 x 227 mm., 7 1/ 2 x 8 7/ 8 in.


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42 JAMES THOMAS LINNELL Hampstead 1823–1905

The second son of the landscape painter John Linnell, James Thomas Linnell studied at the Royal Academy Schools alongside his two brothers John and William. He exhibited almost annually at the Royal Academy between 1850 and 1888, showing at first religious subjects in which the landscape predominated. By the middle of the decade, however, he was exhibiting mainly landscapes with peasants and farm labourers and it is for these pastoral landscapes that he is best known today. Writing in 1872, one critic noted that ‘James Thomas Linnell . . . is entitled to share with his brother William the estimation in which their pictures are held by the amateur and collector, sometimes rivalling even those of his father.’

A Log Stack Black chalk, with touches of white chalk on blue paper; a page from a large sketchbook Signed and dated J. Linnell 1865 at the lower right 430 x 289 mm., 16 7/ 8 x 11 3/ 8 in. [sheet] Provenance: By descent in the family of the artist Stephen Somerville, London, in 1980 Charles Ryskamp, New York 49

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43 HENRY EDRIDGE, A.R.A. Paddington 1769–1821 London

portraitist in the late eighteenth and early nineteenth centuries – his portraits are executed in pencil with subtle tints of colour. These are examples of his landscapes drawn in a similar style to Hearne and Girtin, his friends and fellow artists.

a. The Inauguration of the Equestrian Statue of Henry IV on the Pont Neuf, Paris

The statue of Henry IV which stands on the Pont Neuf where it crosses the Ile de la Cité was originally commissioned from Giambologna by the King’s widow, Marie de Medici in 1614. However Giambologna died and it was completed by his assistant Pietro Tacca and erected in 1618. It was destroyed in 1792, during the French Revolution, but was rebuilt on the restoration of the Bourbon monarchy in 1818. This shows its inauguration on 25th August 1818 which Edridge witnessed.

Inscribed with title lower left and dated 25th August 1818 Pencil 285 x 492 mm., 111/ 4 x 19 1/ 4 in. Edridge was born in Paddington, London, and studied at the Royal Academy where he began to exhibit portrait miniatures from 1786 (he exhibited 260 pictures there during his lifetime). He achieved considerable success as a 50

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b. Notre Dame from the Quai de la Tournelle, Paris

These drawings date from the first of Edridge’s three trips to Paris and Northern France in the summers of 1818, 1819 and 1820. He exhibited nine French views at the Royal Academy in 1820 and 1821, the year of his death. A sketchbook of his French tour of 1819 is in the British Museum and other French views by him are in the Royal Collection, Courtauld Institute, the Yale Center for British Art and Birmingham City Art Gallery.

Inscribed lower left: Pont au Double Notre Dame/& the Pont de la Cite, from the/Quai de la Tournelle, Aug.t/ 1818. Pen and brown ink over pencil on buff paper 285 x 489 mm., 111/ 4 x 19 1/ 4 in. 51

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44 HENRY EDRIDGE, A.R.A. Paddington 1769–1821 London a. The Cathedral at Evreux from the Rue de L’Eveche Inscribed with title lower left Pen and grey and brown ink over pencil 425 x 344 mm., 16 3/ 4 x 13 1/ 2 in. 52

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b. The Entrance to the Palais de Justice from the Rue aux Juifs, Rouen Inscribed with title lower left and dated July 1819 Pencil 466 x 326 mm., 18 1/ 4 x 12 3/ 4 in. For more information on these drawings, see no.43. 53

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b. 45 JOHN VARLEY Hackney 1778–1842 London

b. A Boat on a River

a. A Castle by a Lake in a Mountainous Landscape

Watercolour over pencil heightened with bodycolour and gum arabic 95 x 135 mm., 3 3/ 4 x 5 1/ 4 in.

Signed lower right Watercolour over pencil 126 x 193 mm., 5 x 7 1/ 2 in.

Provenance: With Thos. Agnew & Sons Ltd (no.28531) Dr W. Gordon, Birmingham 54

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46 LAZARE MEYER Fegersheim 1847–1896 Paris

Very little is known of the artist Lazare Meyer. Born in Germany, he settled in France, studying in Paris with the painters Alexandre Cabanel, Emile Lévy and Alexandre Laemlein. He exhibited genre paintings and portraits at the Salons between 1870 and 1882. He also contributed to the decoration of the Maison Pichenot ceramic factory, built between 1880 and 1884 on the rue de la Pierre Levée in Paris. For the facade of the building, Meyer painted a series of large ceramic panels depicting various arts and crafts, based on designs by his teacher Emile Lévy, which are still in situ today.

Head of a Man Oil on canvas Signed and dated LAZAR-MEYER / 1868 at the lower left 203 x 186 mm., 8 x 7 3/ 8 in. Provenance: W. M. Brady & Co., New York, in 1994 Charles Ryskamp, New York

This small oil sketch may be a self-portrait, depicting the young artist in his student days. 55

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47 PAUL JACOB NAFTEL, R.W.S. St. Peter Port 1817–1891 Twickenham

In 1870 Naftel decided to leave Guernsey and settle in London, where he lived and worked for the remainder of his career. He traveled extensively around Scotland, North Wales and Ireland, and also made several visits to Italy. In 1889 a one-man exhibition of his work, comprising sixty-six watercolours, was held at the Fine Art Society in London, marking the high point of the artist’s career. One review of the exhibition noted that ‘There is a delicious quality about Mr. Paul Naftel’s best work, which it would be hard to convey in words. Something in the delicacy and skill of his handling and something in his choice of projects and accentuation of parts produces an aerial quality quite delightful to behold.’ Naftel died two years later, at the age of seventy-five. The remaining contents of his studio, amounting to some four hundred works, were dispersed at auction at Christie’s in London in April 1892.

A Moorland Scene, possibly near Killin, Perthshire Watercolour, heightened with gouache, on paper laid down on board Signed and dated Paul Naftel 1873 at the lower left Inscribed (by Cochrane) J.P.C. No 179.B. / PAUL NAFTEL on the verso 227 x 458 mm., 8 7/ 8 x 18 in. Provenance: J. P. W. Cochrane, London Thence by descent until 2010

During the early and mid-1870s Naftel made several visits to Scotland, and the present sheet may depict a Scottish view. Indeed, it may tentatively be identified as one of several views of the moor near Killin in Perthshire, sent by Naftel to the 1873 and 1874 exhibitions of the Old Watercolour Society.

Born on the island of Guernsey, Paul Naftel was from an early age devoted to painting and drawing, in which he was self-taught. His earliest works are views of Guernsey, which were reproduced as lithographs and sold to tourists visiting the island. In 1850 he exhibited for the first time at the Old Watercolour Society in London, showing five views of Guernsey and one of North Wales. Naftel continued to send finished watercolours to the annual exhibitions of the O.W.S., often previewing the works in his studio in St. Peter Port before they were dispatched to London. 56

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48 WILLIAM HAMILTON YATMAN London 1819–1913 Bournemouth

A barrister by profession, William Hamilton Yatman was also an amateur artist. 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, today the country home of the Prince of Wales. An amateur draughtsman, Yatman had a preference for natural history subjects, and drawings such as the present sheet, executed with a refined and delicate watercolour technique, reflect his interest in the world around him.

Two Star Corals Watercolour, over a pencil underdrawing, within a drawn border in black ink 220 x 318 mm. (8 5/ 8 x 12 1/ 2 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.2 57

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49 ALEXANDRE THOMAS FRANCIA Calais 1815–1884 Brussels

Exhibited: London, Anthony Reed Gallery, Louis Francia and his son Alexandre, 1985, p.87, no.56, illustrated p.32.

A Still Life of Letters, Cards, an Envelope, a Pencil, a Match and a Cigar Stub

The son and pupil of the emigré French watercolourist François Louis Francia, Alexandre Francia travelled extensively throughout Europe, particularly in Scotland and the Low Countries, and eventually settled in Brussels. He specialized in marine subjects, notably views of ports, fishing scenes and storms. Francia made his Salon debut in Paris in 1835, and exhibited in Paris, London, Antwerp and Brussels throughout his career, receiving numerous honours and prizes.

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

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

Provenance: Nicholas Meinertzhagen, London King Street Galleries, London, in 1987 Mr. and Mrs. Jerrold Ziff, Urbana, Illinois


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50 EMILE DE SPECHT Born Saint-Denis 1843

Wilhelm Émile Charles Adolphe de Specht was a pupil of Léon Cogniet and Félix-Joseph Barrias at the Ecole des Beaux-Arts in Paris, which he entered in 1861. He exhibited at the Salon des Artistes Français from 1865 to 1897, showing mainly views of Paris, genre scenes and portraits. He also exhibited one work at the Salon des Refusés in 1873 and at the Salon des Indépendants in 1888.

A Presumed Portrait of Edgar Degas Black chalk, with stumping Signed and dated Le 22 Novembre 1878 / Émile de Specht / Paris at the lower right 305 x 232 mm., 12 x 9 1/ 8 in.

The present sheet would appear to be a casual portrait of the artist Edgar Degas (1834–1917) at the age of forty-four. A similar portrait drawing in black chalk by Émile de Specht, depicting Dr. Paul Gachet and dated the 19th of December 1895, is now lost, but is known from an engraving by Gachet himself, under the name Paul van Ryssel. 59

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51 SAMUEL PROUT Diss 1783–1852 London

This is a fine example of Prout’s early style before he visited the Continent in 1819. It is likely to be the picture of this title exhibited at the Society of Painters in Water-Colours in 1815, no. 349 which was bought by Lord Buckinghamshire for 4 guineas.

Near Plymouth Signed on prow of boat lower centre and inscribed verso: near Plymouth Watercolour over traces of pencil heightened with touches of bodycolour 247 x 227 mm., 9 3/ 4 x 9 in. Provenance: Private collection, London, until 2010 60

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52 SAMUEL JACKSON Bristol 1794–1869 Clifton

the left of Mont Blanc. Jackson visited Switzerland twice, in 1854 and 1858, when Chamonix was still a small village. Although the first luxury hotel was built in 1816, it only gained proper road access in 1866 under the reign of Napoleon III, when the first horse-drawn coaches alighted in the village square.

Mont Blanc and the Valley of Chamonix Signed lower right: S Jackson and inscribed in an old hand verso: Mont Blanc and Valley of Chamounix/by Sam.l Jackson Watercolour heightened with bodycolour 338 x 518 mm., 13 1/ 4 x 20 1/ 4 in.

Jackson was one of the best known artists of the Bristol School. He was born in Bristol, the son of a merchant and worked for his father until 1820 when he became a professional artist. He became a well known drawing teacher in Bristol and travelled extensively in Britain. Mallalieu described him as ‘the father figure and mainstay of the Bristol school’ (Huon Mallalieu, Dictionary of British Watercolour Artists, 2002, p.330).

Jackson painted this view of Mont Blanc from the top of the Chamonix valley above Argentière. The Aiguilles de Chamonix, or Needles of Chamonix can be clearly seen to 61

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Provenance: Lord Courthope, Whiligh, Wadhurst, East Sussex; By descent until 2011

a. Portrait of Anna Deacon

Anna Deacon married George Courthope Esq. Of Whiligh in January 1841. She was the eldest daughter of John Deacon of Mabledon, Tonbridge. Deacon made his fortune in Deacon’s Bank and bought Mabledon from the Burton family in 1828.

Full-length in a doorway Signed lower right: Edwin D. Smith pin.t 1839 Watercolour heightened with bodycolour, with corners cut 301 x 243 mm., 113/ 4 x 9 1/ 2 in. 62

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b. Portrait of Frances Deacon Three-quarter length seated at a table holding a guitar Signed lower right: Edwin D. Smith pin.t 1839 Watercolour heightened with bodycolour, with corners cut 330 x 246 mm., 13 x 9 1/ 2 in. Frances Deacon later married Col. Arthur Ramsden of Steneness, Ashurst. 63

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Provenance: Lord Courthope, Whiligh, Wadhurst, East Sussex; By descent until 2011

a. Portrait of Lady Sophia Deacon aged seven

Lady Sophia Deacon died, aged twenty-one, in 1852.

Full-length in a garden carrying a basket Signed lower left: Edwin D. Smith pin.t 1838 Watercolour heightened with bodycolour, with corners cut 335 x 257 mm., 13 x 10 in. 64

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b. Portrait of William Samuel Deacon Three-quarter length, holding a fishing rod Signed lower left: Edwin D. Smith pin.t 1838 Watercolour heightened with bodycolour, with corners cut 335 x 257 mm., 13 x 10 in. William Deacon married Miss Mary Sophia Currie. 65

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55 HENRI ZUBER Rixheim 1844–1909 Paris

Provenance: Pierre Miquel, Paris Private collection, Paris

a. Landscape with a Stormy Sky

Born in Alsace, Jean Henri Zuber spent most of the 1860s serving in the French navy, and it was during this time that he began producing watercolour sketches. When he left the navy in 1868, he decided to embark on a career as an artist, and entered the atelier of the painter Charles Gleyre. In 1869 he exhibited at the Salon des Artistes Français for the first time and, apart from 1871 and 1872, showed there every year thereafter until his death in 1909. Working from a studio on the rue de Vaugirard in Paris, Zuber came to specialize in views of the city – in both oil and watercolour – as well as scenes elsewhere in France. He exhibited at the Salons from 1869 onwards, and from 1884 also showed with the Société des Aquarellistes Français. He would sometimes go on sketching tours in the company of his fellow painter Paul Lecomte, and would spend each summer in the town of Ferrette in Alsace. In 1910, the year after his death, a large retrospective exhibition of Zuber’s

Watercolour, over a pencil underdrawing Stamped with the Zuber atelier stamp (not in Lugt) on the verso 122 x 190 mm., 4 3/ 4 x 7 1/ 2 in. b. Study of Sky and Clouds Watercolour, over a pencil underdrawing Signed with initials H.Z. at the lower right Inscribed Claude and Marc on the verso Stamped with the Oeuvre Henri Zuber / catalogue général stamp (not in Lugt) on the verso, as Serie f, No.123 and entitled prairie 91 x 150 mm., 3 5/ 8 x 5 7/ 8 in. 66

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As one contemporary critic wrote, shortly after Henri Zuber’s death, ‘For twenty years he contributed largely to the success of the Société des Aquerellistes Français. He understood thoroughly the fundamental principles of aquarelle, and his trained vision enabled him to endow each of his drawings with the atmosphere and character peculiar to the subject. He was equally successful with diverse subjects, whether it was Venice, the shores of the Lake of Como, Antibes, Versailles, among the Jura Mountains, or simply an evening effect in the Luxembourg Gardens, at the Pont Royal, or the Place de la Concorde . . . Henri Zuber’s art, at once so delicate, so subtle, and so personal, places this painter among the masters, such as Corot, Daubigny, and Cazin, who infused into their art something of their own very soul, that indefinable quality, call it genius or what you will, that makes of a simple picture a masterpiece.’

work was held at the Ecole des Beaux-Arts in Paris. Works by the artist are today in the Louvre and the Musée d’Orsay, as well as in many provincial museums in France. Zuber is noted to have often said that, “The language of the sky, the earth, and the sea is eternal!”, and this is particularly evident in many of his watercolours. As a watercolourist, Zuber’s work at times comes close to that of his older contemporary, Henri-Joseph Harpignies, and like him was greatly admired by English collectors. (In a review of an exhibition of Zuber’s watercolours held at the Goupil galleries in London in 1883, a critic in the Pall Mall Gazette noted of the artist that ‘His treatment of water-colour is much more English than French . . . It is evident that his sympathies are with the younger English school, to whom, however, the purity and freshness of his tones might often be objects of envy.’) 67

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56 FRANÇOIS CLÉMENT SOMMIER, called HENRY SOMM Rouen 1844–1907 Paris

group of artists associated with the cabaret Le Chat Noir, for whose eponymous journal he published reviews and articles. In the latter part of his career, Somm’s draughtsmanship became both more economical in line and more self-assured.

Study of a Young Woman

The subject matter of Henry Somm’s watercolours tend towards elegant, often wistful young women, depicted with a particular delicacy of touch. The critic Louis Morin, writing in 1893, noted of the artist that ‘His pastels and water colors are much sought after; he has the painter’s eye to the highest degree imaginable...More than any other artist Somm is the painter of the Parisienne; not the society woman, but the prettily dressed girl who runs about the streets, her nose in the air, laughing unceremoniously at the compliments of the passers-by, and who sometimes enters the Moulin Rouge or the Elysée-Montmarte. It is by Somm’s works that she will live, this masterpiece of roguish grace, the grisette of Paris.’

Watercolour, with pen and black ink 106 x 163 mm., 4 1/ 4 x 6 3/ 8 in. Henry Somm settled in Paris in the late 1860s, and enjoyed a successful career as an illustrator and draughtsman, contributing to such popular journals as Le Monde Parisien and L’Illustration Nouvelle. He was also active as a graphic designer, providing designs for menus, theatre programs, invitations and announcements for the many fashionable events of Belle Epoque Paris. At the invitation of Edgar Degas, Somm took part in the fourth Impressionist exhibition of 1879. The 1880s found him linked with a 68

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57 PAUL-ALBERT BESNARD Paris 1849–1936 Paris

important portrait commissions. By the 1880s Besnard was one of the most highly regarded and fashionable society portrait painters in Paris. He developed a particularly evocative manner of depicting his sitters that relied on luminous, vibrant colours, dramatic (and at times artificial) lighting and bold brushwork. These elements also found their way into the artist’s other main activity; his work as a decorative mural painter. Besnard painted large decorative schemes for several public buildings, including the Sorbonne and the Pavillion des Arts Décoratifs at the Exposition Universelle of 1900, as well as ceiling decorations for the Hôtel de Ville, the Comédie Francaise and the Petit Palais. Besnard exhibited regularly at the Salons, and at the Societé Nationale des Beaux-Arts from 1890 onwards.

Portrait of a Young Man in Profile Oil on board Signed with the artist’s monogram and dated AB 77 at the lower left. 113 x 101 mm., 4 1/ 2 x 4 in. Provenance: David and Constance Yates, New York, in 1992 Charles Ryskamp, New York Albert Besnard entered the École des Beaux-Arts in 1866 and two years later made his debut at the Salon. In 1874 he won the Prix de Rome. His five years at the Villa Medici in Rome were followed by three years in London, between 1879 and 1881, during which he obtained several

Painted in 1877 during Besnard’s stay at the French Academy in Rome, this small portrait may depict a fellow pensionnaire at the Villa Medici.


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58 EDWARD LEAR Highgate 1812–1888 San Remo

These drawings date from Lear’s first tour of Europe in the summer of 1837. Having spent the early summer of 1837 in Devon, Lear returned to London in early July. From there he set off for the Continent on the Antwerp packet boat on 10th July in the company of his sister Ann, with whom he travelled as far as Brussels. He then passed through Luxembourg, Germany and Switzerland before spending September and October in the Italian Lakes, reaching Florence in November and Rome in early December. For most of the next ten years, Lear spent the winter in Rome and visited the rest of Italy in the summer.

a. A market, Koblenz Inscribed upper left: ..blenz. 1837./August 12. Pencil heightened with white on grey paper, with corners cut 169 x 258 mm., 6 1/ 2 x 10 in.

Koblenz is a large town sitting at the confluence of the Mosel and the Rhine. Lear travelled north-east up the Mosel from Luxembourg to Koblenz then south down the Rhine. He was at Schloss Eltz on the 7th and 8th August, then Koblenz on the 12th and Kaub on the 22nd. 70

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b. View of Sion, Switzerland

The town of Sion is the capital of the Swiss canton of Valais and is approximately fifty miles east of Geneva. Above the sixteenth century buildings of the town stands the Basilique de Valère, a fortified church dating from the twelfth and thirteenth centuries and on the hill beyond is the ruined Château de Tourbillon. In the foreground the church with the spire is the Cathedral Nôtre-Dame du Glarier with, to its right the small church of St Théodule. Lear was in Geneva on 8th September, reached Sion by the 17th and Lake Maggiore in the Italian Lakes by the 28th.

Inscribed lower right: Sion. 17. Sept. 1837 Pencil heightened with touches of white on grey paper, with cut corners 250 x 346 mm., 9 3/ 4 x 13 1/ 2 in.


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Above: 59 WILLIAM ROXBY BEVERLY Richmond, Yorkshire 1811-1889 Hampstead

Provenance: Appleby Bros., London 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.

Fishermen on the Beach, Hastings Watercolour heightened with bodycolour, stopping out and scratching out 657 x 927 mm., 25 3/ 4 x 36 1/ 2 in.

b. Moonrise over Moorland Facing page: 60 WILLIAM ROXBY BEVERLY Richmond, Yorkshire 1811–1889 Hampstead

Inscribed verso: Moonrise and in another hand: by W Beverly Watercolour heightened with stopping out 146 x 255 mm., 5 3/ 4 x 10 in.

a. Study of a Sky Watercolour over traces of pencil 162 x 257 mm., 6 1/ 4 x 10 in. 72

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61 JAMES BAKER PYNE Bristol 1800–1870 London

The size of the river depicted suggests this is likely to be a view on the Thames. The church tower looks like the church of St. Nicholas, Chiswick but there was no bridge over the Thames at Chiswick until 1933.

a. A View on the Thames Signed lower left: JBPyne/1833 Watercolour over pencil heightened with scratching out and gum arabic 210 x 284 mm., 8 1/ 4 x 11 in. 74

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b. A View in the Lake District, possibly the Banks of the Derwent, Borrowdale Signed lower left: PYNE/1833 Watercolour over pencil heightened with bodycolour 180 x 255 mm., 7 x 10 in. 75

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62 GEORGES ANTOINE ROCHEGROSSE Versailles 1859–1938 El-Biar, Algiers

This radiant watercolour is a preparatory study for the nymph at the lower left of Rochegrosse’s monumental canvas Le Chevalier aux Fleurs (The Knight of the Flowers), painted in 1892. The painting was first exhibited in Munich in 1892 and, two years later, in Paris, where it was acquired by the State; it is today in the Musée d’Orsay. The subject of the painting is taken from Wagner’s opera Parsifal, and depicts the chaste hero Parsifal who walks through the enchanted garden of the castle of the magician Klingsor, deaf to the entreaties of the beautiful and seductive flower maidens, bodies barely covered with flowers, who call to him (‘Komm, komm, holder Knabe!’). Rochegrosse’s large painting was much praised by critics, one of whom described it as a ‘bouquet of fireworks.’

A Woman Reclining in a Field of Flowers: Study for Le Chevalier aux Fleurs Watercolour Signed G Rochegrosse at the lower right 237 x 241 mm., 9 3/ 8 x 9 1/ 2 in. [sheet] One of leading exponents of Orientalism in France, Georges Rochegrosse made his debut at the Salon de la Société des Artistes Français in 1882. His earliest exhibited works tended towards scenes from literature, legend and history, often tinged with violence, but the 1890s found the artist working in a more Symbolist vein, exemplified by his large painting The Knight of the Flowers of 1892. He also received several commissions for public decorations. By the turn of the century, however, Rochegrosse had come to be best known as a fashionable painter of Orientalist and exotic subjects.

Many of Rochegrosse’s paintings of the period between 1890 and 1920 feature his favourite model; his wife Marie Leblond, who is likely to have posed for the present sheet. Another watercolour study of the same figure is illustrated in a deluxe edition of Octave Charpentier’s poem Le chevalier aux fleurs, inspired by Rochegrosse’s painting, published in 1941. 76

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63 PAUL LECOMTE Paris 1842–1920 Paris

A landscape painter and watercolourist, Paul Lecomte made his debut at the Salon in 1868, gaining an honourable mention two years later and thereafter exhibiting yearly until 1912. Lecomte worked mainly in Paris, where he produced numerous urban views of the city, and in Normandy and Brittany, as well as the South of France, the Basque region and England.

The Beach at Brighton Watercolour Signed and inscribed Paul Lecomte / (Brighton) at the lower left 237 x 233 mm., 9 3/ 8 x 9 1/ 8 in.

This view of Brighton beach may be dated to 1887, the date of two other views of the town by the artist. Another watercolour of the beach at Brighton by Lecomte appeared at auction in England in 1992, while a watercolour titled ‘Souvenir de Brighton’ and dated ‘30 Mai 1887’ was sold in New York in 1984. 77

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Facing page: 64 HENRY JUTSUM London 1816–1869 London

Above: 65 WILLIAM LEIGHTON LEITCH Glasgow 1804–1883 London

Trees by a River

A Windmill by a Country Road

Signed lower right: Henry Jutsum Watercolour heightened with touches of bodycolour 375 x 282 mm., 14 3/ 4 x 11 in.

Signed and dated 1856 lower left Watercolour over pencil heightened with bodycolour 225 x 356 mm., 8 3/ 4 x 14 in.

Jutsum was born in London and having gone to school in Devon, he returned to London where he began to sketch in Kensington Gardens. In 1839, he took lessons from the Norwich School artist James Stark. Through Stark, Jutsum absorbed the influence of Norwich School artists such as his friend Henry Bright and John Middleton. 79

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66 EDWARD DUNCAN, R.W.S. London 1803–1882 London

Duncan trained as an aquatint engraver under the Havells and was introduced to marine painting, which became his speciality, by William Huggins whose pictures he engraved and whose daughter he married. His marine scenes usually depict south coast views often in rough seas. He exhibited at the Royal Academy and prinicipally the Old and New Watercolour Societies from 1830 until 1882.

A Wreck off the Gower Coast Signed lower left and dated 1869 Watercolour over pencil heightened with scratching out 213 x 517 mm., 8 1/ 4 x 20 1/ 4 in. Provenance: Anonymous sale, Christie’s, 25th November 1969, lot 139 Anonymous sale, Sotheby’s, 28th April 1983, lot 130 80

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67 HENRY BARLOW CARTER Scarborough 1804–1868 Torquay The Dovecote Rock, Flamborough, Yorkshire Signed lower right: H.B. CARTER Watercolour over pencil heightened with scratching out and gum arabic 312 x 468 mm., 12 1/ 4 x 18 1/ 4 in. Provenance: Private collection since the 1970s 81

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68 WILLIAM LIONEL WYLLIE, R.A. London 1851–1931 London

Wyllie is known for his elaborate shipping scenes in watercolour and oil, often of Thames views. This on-thespot sketch shows his more spontaneous side.

A Three-Masted Ship moored off the Coast Watercolour 144 x 238 mm., 5 1/ 2 x 9 1/ 4 in. Provenance: Given by the artist to his daughter By family descent Private collection, London, until 2010 82

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69 ALFRED WILLIAM HUNT Liverpool 1830–1896 London

This is a view taken from the north-west across the mouth of the River Esk towards Whitby Abbey and it is a subject which Hunt drew on a number of occasions. Hunt first visited Whitby in about 1874 and returned repeatedly. A finished view taken from the same point dates from 1881 and is entitled ‘A Fine Evening at Whitby’ (see Christopher Newall, The Poetry of Truth – Alfred William Hunt and the Art of Landscape, 2004, no.55, ill.). A similarly sketchy version of this view, signed and dated 1874, was sold at Christie’s in the Dawson sale, 3rd June 2004, lot 6. This on-the-spot sketch shows the influence of J.M.W. Turner.

View of the Town and Abbey of Whitby, Yorkshire Watercolour heightened with bodycolour Sheet 246 x 310 mm., 9 1/ 2 x 12 in.


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70 WILLIAM FRASER GARDEN Gillingham 1856–1921 Huntingdon

Provenance: The Broderick family, Lytham St. Annes, Lancashire Born into a family of landscape artists, William Fraser Garden painted watercolour views of his native Huntingdonshire and the fen villages along the Great Ouse river in Bedfordshire which are masterpieces of clarity and detail. The manor house at Hemingford Grey, situated close to the 12th century church of Saint James, is noted by Pevsner as being ‘of very special interest’ for its central hall, which also dates from the 12th century. The gardens of the house extend down to the Ouse, with a moat enclosing the grounds on the other three sides.

The Manor House by the River Ouse at Hemingford Grey, Huntingdonshire Watercolour Signed and dated W. F. GARDEN: ‘95. at the lower left Inscribed Manor-house, Hemingford Grey. on the verso 229 x 181 mm., 9 x 7 1/ 8 in. 84

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71 SIR WILLIAM ORPEN, R.H.A., R.A. Stillorgan, Co. Dublin 1878–1931 London

Another critic, writing at the same time in The Ladies’ Field, noted that ‘Mr. Orpen may be described as a tender draughtsman, tender in his care of and love for his materials. His hand is so marvellously delicate. His pencil hovers over the paper with the grace of a butterfly…He does not strive for the beauty of feature, as the French draughtsmen of the eighteenth century tried to capture those qualities. At times he is almost ugly and brutal; but he never loses the beauty of form.’

Study of a Sleeping Baby Girl Pencil Signed and dated William Orpen ‘03 at the lower left 205 x 318 mm., 8 x 12 1/ 2 in. Throughout his career, William Orpen was admired as one of the finest draughtsmen of his day. He drew for long hours every day, and left behind a large corpus of drawings and sketches. As the critic of The Art News commented of a publication of a portfolio of ten photogravure reproductions of his drawings in 1915, ‘These drawings are remarkable not only for their delicacy of handling, but for the loving care with which the pencil has revelled in beauty of form. Mr. William Orpen is thoroughly modern, yet he continues a tradition which has been handed down from the great draughtsmen of the past. His work does not suffer when placed by the side of the work of the Old Masters, a supreme but dangerous test.’

The present sheet is likely to depict the artist’s eldest daughter Mary, born in September 1902 and known in the family as ‘Bunnie’. Between 1902 and 1904 Orpen produced a series of drawings of his wife Grace and Mary, based around the baby in her crib or at bath time. These studies culminated in the painting Bath Hour, exhibited at the New English Art Club in 1904 and today in the William Humphries Art Gallery in Kimberley, South Africa.


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72 ALCESTE CAMPRIANI Terni 1848–1933 Lucca

b. A Fisherman in his Boat Oil on panel Inscribed Dipinto autentico di Alceste / Campriani Gli eredi / Marzia Mattioli Borckeky(?) and numbered (2) on the reverse Stamped with the panel-maker’s stamp Giosi Napoli on the reverse. 131 x 222 mm., 5 1/ 8 x 8 3/ 4 in.

a. A Fishing Boat Oil on panel Inscribed Dipinto autentico di Alceste / Campriani Gli eredi / Marzia Mattioli / Borckeky(?) / (2) velluto rosso mattone / scodellina a lato on the reverse Stamped with the panel-maker’s stamp Giosi Napoli on the reverse. 101 x 227 mm., 4 x 8 7/ 8 in.

Provenance: The artist’s studio, Naples Thence by descent in the family of the artist 86

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occasional still life subject, and also produced a number of views of Paris. Around the turn of the century he worked on decorations for the Caffe Gambrinus and the Stock Exchange in Naples. He was employed as a teacher at the Accademia di Belle Arti in Lucca between 1891 and 1921, eventually rising to the post of director in 1911. His son and pupil Giovanni was also a landscape artist, and also worked for some time in Paris. Paintings by Alceste Campriani are in the Galleria d’Arte Moderna in Rome and elsewhere.

Alceste Campriani studied at the Accademia di Belle Arti in Naples from 1862 to 1869. There he befriended the painter Giuseppe de Nittis, with whom he painted landscapes in the open air as part of a group of artists known as the Scuola di Resina, regarded as the successors to the Neapolitan landscape artists of the previous generation, led by Giacinto Gigante, who had been known as the Scuola di Posillipo. Through de Nittis, Campriani gained an introduction to the influential Parisian art dealer Adolphe Goupil, who in 1871 signed a contract with the artist that lasted until 1884. This allowed his work to be better known elsewhere in Europe and also in America, although he was never to achieve the same international reputation and commercial success as such contemporary Italian artists as de Nittis, Giovanni Boldini and Federico Zandomeneghi. Campriani worked for several years in Paris, and also participated in the annual exhibitions organized by the Società Promotrice di Belle Arti in Naples, becoming a member of the jury in 1885. He painted seascapes, Neapolitan landscapes and genre scenes, as well as the

This pair of oil sketches were among the contents of the artist’s studio at the time of his death and have remained in the possession of his descendants until recently. Scenes of fishermen and fishing boats appear throughout Campriani’s oeuvre. Similar boats appear, for example, in a large painting, signed and dated 1900, which appeared on the art market in London in 1984, while a comparable small oil sketch of a Neapolitan fishing boat appeared at auction in Rome in 2007.


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and characterized by a heightened sense of colour. Paintings by Perepletchikov were often illustrated in the leading art magazine Mir iskusstva and were owned by artists such as Isaak Levitan and Sergei Vinogradov. Perepletchikov’s diaries record much of interest in the artistic life of Moscow around the turn of the century, including visits to the homes of the collectors Ivan Morozov and Sergei Shchukin, all recorded in a highly opinionated and at times somewhat acidic tone. When the First World War broke out in August 1914 and Russian men faced compulsory conscription into the army, like many artists and intellectuals Perepletchikov found the situation almost intolerable; as he wrote during this period of crisis, ‘I am no longer a painter. I have almost forgotten how to paint.’ The artist was to spend the last years of his career unable to practice his profession, and died in Moscow shortly before the war ended. Paintings by Vasily Perepletchikov, whose appearance is recorded in a 1912 pastel portrait by Sergei Malyutin, are today in the collection of the State Tretyakov Gallery in Moscow, and elsewhere.

Sunset over a River Pastel and gouache on paper Signed in Russian at the lower right and numbered or dated 3/4 VII. in the lower right margin Further signed in Russian and dated 1909. on the backing sheet Numbered N49 – 1940 on the backing sheet Stamped with a Russian stamp on the verso 247 x 373 mm. (9 3/ 4 x 14 5/ 8 in.) A landscape painter and draughtsman, Vasily Perepletchikov was a pupil of Alexander Kiselev at the School of Fine Arts in Moscow and Vasily Polenov at the Moscow School of Painting, Sculpture and Architecture. A founding member of the conservative Union of Russian Artists in 1903, Perepletchikov exhibited with the group in Moscow, St. Petersburg and elsewhere, and his work was dominated by lyrical Russian landscapes painted in an Impressionist vein

A stylistically related watercolour view of the river Dvina by Perepletchikov recently appeared at auction in England.


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74 ORESTE CORTAZZO Rome 1836–1910 Paris

among the books he illustrated were Eugène Muller’s La Mionette, published in 1885, and Guy de Maupassant’s Yvette, published in 1902. Together with Lodovico Marchetti and Lucio Rossi, Cortazzo also provided drawings for a lavish illustrated edition of Shakespeare’s Romeo and Juliet, published in London around 1900.

A Parisian Boulevard at Night, with a Newspaper Vendor Engraved wood block 102 x 82 x 23 mm., 4 x 3 1/ 4 x 7/ 8 in.

This engraved wood block was used for an illustrated edition of Guy de Maupassant’s Yvette, a collection of short stories published in Paris in 1902, with illustrations by Cortazzo. Maupassant’s story Yvette was first published in Le Figaro in 1884, and was reprinted as a book the following year. Cortazzo’s image was used to illustrate the beginning of the story, in which the two friends Jean de Servigny and Léon Saval leave the Café Riche and walk along the streets of Paris: ‘A restless crowd was moving along the boulevard, that throng peculiar to summer nights, drinking, chatting, and flowing like a river, filled with a sense of comfort and joy. Here and there a cafe threw a flood of light upon a knot of patrons drinking at little tables on the sidewalk, which were covered with bottles and glasses, hindering the passing of the hurrying multitude.’

Literature: Guy de Maupassant, Yvette, Paris, 1902, p.9 Born in Italy, Oreste Cortazzo spent most of his career in France as a painter of historical and genre scenes, many of which were produced on commission for the art dealer Adolphe Goupil. He exhibited infrequently at the Salons between 1874 and 1885, and also at the Exposition Universelle in 1878 and 1889. His sentimental narrative compositions were likely influenced by the rise of photography in the second half of the 19th century. Cortazzo also worked as a printmaker and book illustrator; 89

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75 ALETHEA GARSTIN Penzance 1894–1978 Zennor

by the Royal Academy Summer exhibition; at the time the youngest artist ever to be so honoured. She accompanied her father when he undertook the summer schools of painting which he held almost every year in Brittany and Northern France between 1899 and 1927, and in which she also participated. She continued to exhibit widely; at group shows in galleries and at open exhibitions in England and elsewhere until just before her death. Her first gallery exhibitions were joint shows with her father, held in London in 1921 and 1924, and she did not have her first solo exhibition until 1940. Garstin lived for most of her life in Penzance, but travelled widely throughout England, Ireland, and Scotland, often using her small red Morris Eight car as a mobile studio and producing small paintings of the sites she visited. She remained active well into old age, with her final painting trip abroad – a journey around Brittany – undertaken at the age of eighty-two.

A Breton Girl Black chalk on paper; a page from a sketchbook A slight sketch of a standing youth on the verso 300 x 229 mm., 11 3/ 4 x 9 in. Provenance: From one of the artist’s sketchbooks, and thence by descent in the family of the artist. The daughter and pupil of the painter Norman Garstin, Mary Dochie Alethea Garstin began painting seriously at the age of sixteen, and two years later she had a work accepted 90

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76 GIUSEPPE CASCIARO Ortelle 1863–1941 Naples

have first been inspired to take up the medium of pastel in 1885, when a series of pastel drawings by the artist Francesco Paolo Michetti was shown in Naples. Two years later, in 1887, Casciaro exhibited a series of eleven pastel landscapes of his own, and he remained devoted to the medium throughout his career. Indeed, he may be regarded as one of the finest practitioners of the art of the pastel landscape working in Italy during this period.

A Coastal Landscape Pastel, over an underdrawing in pencil, on brown paper Faintly signed and dated GCasciaro / 6 08(?) 07 at the lower left Signed, dated and inscribed a Paride / De Marco(?) / l’amico / GCasciaro. / 1 luglio 1916 napoli at the lower right Stamped G. CASCIARO / NAPOLI in a circle in blue ink on the verso 168 x 331 mm., 6 5/ 8 x 13 in.

Casciaro settled on the hillside quarter of Naples known as the Vomero, sharing a studio with the painter Attilio Pratella, and for much of his life his preferred subject matter were views in and around Naples and the islands of Capri and Ischia. Between 1892 and 1896 he travelled regularly to Paris, where he had a one-man exhibition and received commissions from the dealer Adolphe Goupil. Appointed a professor at the Accademia in Naples in 1902, by 1906 he was engaged as a tutor in pastel drawing to the Queen of Italy, Elena di Savoia. Casciaro exhibited frequently in Naples and at the Biennale in Venice, and won a bronze medal at the Exposition Universelle in Paris in 1900. His work was also exhibited throughout Europe; in Munich, Barcelona, Prague, Athens and St. Petersburg, as well as in San Francisco, Tokyo and in South America.

Born in the province of Lecce, Giuseppe Casciaro enjoyed a long and successful career of some sixty years. He was a pupil of Filippo Palizzi, Gioacchino Toma, Stanislao Lista and Domenico Morelli at the Accademia di Belle Arti in Naples, where he won numerous prizes. Casciaro developed a particular proficiency for landscape drawings in pastel, although he also painted a handful of oil paintings. He may 91

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77 JOHN DUNCAN FERGUSSON Leith 1874–1961 Edinburgh

were particularly influenced by French art of that period. Their work has had a lasting influence on Scottish contemporary art.

Boats in the Harbour, Cassis

This is likely to date from Fergusson’s first stay in Paris from 1907 until 1914 when he spent a lot of time in the south of France. In 1913, he persuaded his fellow Colourist Samuel John Peploe (1871–1935) to accompany him to Cassis. He recalled: ‘I had grown tired of the north of France; I wanted more sun, more colour; I wanted to go south to Cassis . . . we had his [Peploe’s] birthday party there and, after a lot of consideration, chose a bottle of Château Lafitte instead of champagne. Château Lafitte to me now means that happy lunch on the veranda overlooking Cassis bay sparkling in the sunshine’ (see Roger Billcliffe, The Scottish Colourists, 1990, p.37).

Black chalk 112 x 200 mm., 4 1/ 4 x 7 3/ 4 in. Provenance: The Artist’s partner, Margaret Morris (1891–1980) Private Collection Fergusson is one of the best known of the Scottish Colourists along with Peploe, Cadell and Hunter. They were active in the first half of the twentieth century and 92

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78 SIR GEORGE CLAUSEN, R.A., R.W.S. London 1852–1944 Cold Ash Study of Trees Coloured chalks on brown paper 298 x 233 mm., 11 3/ 4 x 9 in. Provenance: By descent from the artist to his daughter-in-law Mrs Hugh Clausen Anonymous sale, Sotheby’s, 30th September 1992, lot 7 93

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a. 79 ANNA AIRY Greenwich 1882-1964 Playford, nr. Ipswich

b. Blue Tit’s Breakfast Pen and black ink and watercolour, on paper washed a pale grey Signed with the artist’s monogram at the lower centre Numbered 15 and inscribed and titled sight 12 1/2 x 8 / “Blue tit’s breakfast” / (to fit frame) on the verso. 330 x 212 mm., 13 x 8 3/ 8 in. [sheet]

a. Land of Plenty Pen and black ink and watercolour, on paper washed a pale grey Signed with the artist’s monogram at the lower centre Numbered 11 and inscribed and titled sight 12 x 9 “Land of Plenty” / (to fit frame) at the bottom of the sheet 338 x 257 mm., 13 1/ 4 x 10 1/ 8 in. [sheet]

Exhibited: London, The Fine Art Society, Exhibition of Paintings and Pen and Colour Drawings by Anna Airy, R.E., R.I., R.O.I., November 1920, nos.31 and 32. 94

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b. A student at the Slade School of Art in London between 1899 and 1903, Anna Airy was a gifted and prolific artist, adept in a variety of media and techniques. She first exhibited at the Royal Academy in 1905, and continued to do so almost every year until 1956, showing a total of around eighty works. By the time of her first one-man show at the Carfax Gallery in London in 1907 was regarded as one of the most promising young female painters of her generation. Airy also exhibited her work at the New English Art Club, the Royal Institute of Painters in Water-Colours and the Royal Society of Portrait Painters. In 1952 a retrospective exhibition of Airy’s paintings, drawings and prints was held in London, and in the preface to the catalogue the critic Martin Hardie praised her ‘untiring patience, a Durer-like analysis, an almost Pre-raphaelite precision, in recording the minutest detail and the material structure and anatomy of living organism in pendant fruit,

sprays of blossom, bees, birds, butterflies, struggling twigs or insect-eaten leaves.’ Anna Airy was particularly admired as a draughtsman, and her interest in botanical studies was manifest from the earliest years of her career. On the occasion of an exhibition of her work in 1915, one critic noted that ‘We have then in these drawings the expression of passionate sympathy with the refinements of leaf and stem-forms. We have here the realism that alone can satisfy an eager love of Nature for herself. What is novel is the careful art, almost Japanese in spirit, with which naturalism is controlled and exploited on behalf of decoration…An artist has not such a conscience for truth to nature as Miss Airy’s for nothing; not a line is drawn by her except in the presence of nature. The pen-work is done out of doors direct from the “model” branch as it grows on a tree, and the colouring is done in the same circumstances.’ 95

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80 HENRI ROYER Nancy 1869–1938 Neuilly-sur-Seine

the same year in which he was admitted into the Légion d’Honneur. He travelled extensively throughout Europe, as well as in North and South America.

A Sheet of Studies of Women

At the time of an exhibition of Royer’s work at the Galerie Jean Charpentier in Paris in 1928, the critic Roger Dardenne noted that, ‘It is perhaps with the female portrait, however, that M. Henri Royer shows the fullest measure of his mastery. The delicacy of temperament, a natural elegance, combined with a great confidence in his profession, allow him to render, with a truth full of charm, the faces of women and young girls.’ This sheet of studies may be regarded as preparatory exercises for the sort of finished drawing in coloured chalks exemplified by a portrait of a woman reproduced as a full-page illustration in colour in the Christmas 1923 issue of the magazine L’Illustration. In comments which may equally be said to be relevant to the present sheet, the text accompanying the drawing in L’Illustration noted that ‘This is one of the pastels in which Henri Royer excels, to whom we owe, in addition to his fine work as a painter, some admirabe drawings in coloured chalks. A portrait of a young woman, treated with astonishing descriptive confidence, light fabrics, intangible, veiling and revealing the body, the face lit by a smile . . . A work of expressive grace and luminous harmony.’

Black and red chalk, with touches of white heightening, on paper laid down on a thin board Signed Henri Royer. at the lower right centre 476 x 629 mm., 18 3/ 4 x 24 3/ 4 in. Exhibited: Mulhouse, Exposition de Mulhouse, 1914 Henri Paul Royer was active as a portraitist and genre painter, as well as a draughtsman and book illustrator, and exhibited frequently at the Salon des Artistes Français from 1890 onwards. In 1896 he made his first of many visits to Brittany, where he produced genre paintings of the life and customs of the people of Cap-Sizun, south of Finistère, and the Ile de Sein, a small island off the western tip of Brittany. He became particularly known for his views of Brittany and scenes of Breton life, which he showed at the Salons. Royer won a gold medal at the Exposition Universelle in 1900, 96

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81 EDWARD JOHN BURROW Wellington 1869–1935 Cheltenham

Originally trained as a chemist and pharmacist, Edward John Burrow was born in Somerset and studied at Cheltenham College, later settling in the spa town. Active as a topographical etcher and draughtsman, he established a cooperative publishing business in Cheltenham in 1900, through which he wrote and published several books of local interest, such as The Ancient Entrenchments and Camps of Gloucestershire, first published in 1919, and Around and About Cheltenham, published in 1921. Many of Burrow’s etchings are commissioned views of public schools and colleges such as Marlborough, Rugby, Eton and Haileybury.

A London Nocturne Watercolour, heightened with touches of bodycolour Signed and dated Ed J Burrow / 1918 and titled A London Nocturne in at the lower left and centre. 238 x 164 mm., 9 3/ 8 x 6 1/ 2 in. 97

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82 TAMARA DE LEMPICKA Warsaw 1898-1980 Cuernavaca

Literature: Alain Blondel, Tamara de Lempicka: Catalogue raisonné 1921-1979, Lausanne, 1999, p.433, no. A.23

A Seated Female Nude

Recognized today as an iconic painter of the Art Deco era, Tamara de Lempicka exhibited for the first time at the Salon d’Automne in 1922. Her work as a portraitist was greatly admired, and the late 1920’s and early 1930’s found the artist at the height of her career, enjoying an exalted position in Parisian society. De Lempicka’s studies of female nudes were strongly influenced by the figure style of her teacher André Lhote. Datable to around 1923, the present sheet may have been drawn from a posed model in Lhote’s studio on the rue de Départ in Paris. This drawing may tentatively be related to a small painting of a similarly posed female nude, also seen from below and wearing a necklace, in a private collection.

Pencil Signed de Lempicka at the lower left 236 x 142 mm., 9 1/ 4 x 5 5/ 8 in. Provenance: Private collection, in 1972 Barry Friedman Ltd., New York Private collection, Spain


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83 GUSTAVE LOISEAU Paris 1865–1935 Paris

such as Maxime Maufra and Henry Moret. He joined the Société des Artists Indépendants in 1893 and exhibited six paintings at the group’s annual exhibition; he continued to exhibit at the Salon des Indépendants nearly every year thereafter. In Pont-Aven in 1894 Loiseau met Paul Gauguin, who, impressed with the young artist’s work, gave him a still life of fruit and flowers. In 1897 he entered into a contract with the Galerie Durand-Ruel, which allowed the artist a measure of financial freedom. For the remainder of his career, Loiseau travelled tirelessly in Brittany, Normandy and the Ile-de-France, painting numerous landscapes along the Seine and elsewhere.

Still Life with a Dish of Fried Eggs Pencil, watercolour and gouache on buff paper A sketch of a church and surrounding buildings on the verso Dated 1923 at the upper left The verso inscribed and dated cour de la / ??? / Pontoise / 1922 206 x 273 mm., 8 1/ 8 x 10 3/ 4 in.

Loiseau produced several paintings of still-life compositions, many of which were done at Pont-Aven between 1922 and 1928. The present sheet is dated 1923, while the sketch of a church in Pontoise on the verso bears a date of the previous year. The ceramic dish in which the eggs are placed is found in several still life compositions by Loiseau of the 1920s and early 1930s.

Abandoning a career as a house painter, Gustave Loiseau took up painting around 1884 and had devoted himself to it entirely by 1887. Apart from a year at the Ecole des Arts Décoratifs, he was mostly self-taught. In 1890 he stayed for some months in the town of Pont-Aven in Brittany, joining the little artistic community there and befriending painters 99

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84 RUSKIN SPEAR, R.A. Hammersmith 1911–1990 London

Drawn in 1932, the present sheet is a portrait of the artist’s father Augustus Spear. The drawing was singled out for praise by Ruskin Spear’s biographer Mervyn Levy: ‘It is in his portraits of his family and his friends that his essential humanity is most apparent, although his empathy with his subject is always conveyed with restraint. This applies in particular to his portrayals of old age. The emotive content is always tightly controlled – concise and contained . . . There is compassion without sentimentality. Even in the study of the painter’s father, drawn in 1932 when the artist was only twenty-one, there is no excess of feeling, no self-indulgence. It is a statement about old age, brilliantly drawn and strikingly objective. I know of no better example of the artist’s powers of draughtsmanship. The opposition of tension and relaxation is superbly realized in the relaxed, bowed head, the tension in the resting arm and left leg, and the relaxation of the left arm and the right leg.’

The Artist’s Father Seated in an Interior Pencil and black chalk, with stumping, with touches of orange and white chalk, on buff paper 307 x 366 mm., 12 1/ 8 x 14 3/ 8 in. Provenance: Lady Gwendolen Herbert Literature: Mervyn Levy, Ruskin Spear, London, 1985, p.31, illustrated p.12, fig.4 Exhibited: London, Royal Academy of Arts, Ruskin Spear R.A.: A Retrospective Exhibition, 1980, no.79 100

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85 ODILON ROCHE Châteauneuf-sur-Loire 1868–1947 Six-Fours

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

Study of a Standing Draped Woman, Seen from Behind

The decade Roche sent on this immense project gave him ample opportunity to study Rodin’s distinctive style and technique as a draughtsman. As a result Roche’s own drawings and watercolours, especially of female nudes, display the profound influence of those of the great sculptor. (He also assembled a large number of drawings by Rodin for his own collection; most of these were dispersed at auction in 1933.) On his retirement in 1931, Roche settled in Six-Fours-les Plages in the Var, southwest of Toulon, where he continued to paint his watercolours, now including coastal scenes and landscapes. He does not seem to have ever sold or exhibited his work, and it was not until the early 1970’s, some twenty-five years after his death, that a group of Roche’s drawings was discovered at a framer’s shop in Saint-Tropez.

Pencil and watercolour Inscribed A Rodin at the lower right Stamped with a variant of the Roche mark (Lugt 2007e) at the lower right 337 x 274 mm., 13 1/ 4 x 10 3/ 4 in. An amateur artist and a disciple of Auguste Rodin, Odilon Roche was one of the more fascinating characters in Paris in the first quarter of the 20th century. In 1902 he opened a shop in Montmartre selling artists’ supplies, counting among his customers Pissarro and Renoir. A second shop selling Persian and Chinese antiques soon became a fashionable rendezvous for cultured Parisians, among them the novelist Colette, who described Roche as ‘un homme fastueux dans 101

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86 RAYMOND 1933 Philips Radio: Design for a Poster Watercolour Signed and dated RAYMOND. 1933 at the upper right 490 x 340 mm., 19 1/ 4 x 13 3/ 8 in. 102

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87 RICHARD BARRETT TALBOT KELLY 1896–1971 A Hovering Kingfisher Signed with monogram centre left Pen and brown ink and watercolour on oatmeal paper 194 x 143 mm., 7 1/ 2 x 5 1/ 2 in. Kelly served in the Artillery until 1929 and concentrated on drawing birds in watercolour from the 1920s. He was art master at Rugby School. 103

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City Hall in Norwich, designed with James and completed in 1938. In the same year Pierce was elected a Fellow of the Royal Institute of British Architects, and later served as its Vice-President between 1951 and 1955. He also worked in the field of town planning, and published Planning: The Architect’s Handbook, which was issued in several editions. Pierce served as a planning consultant in Norwich, Southampton, Malta and elsewhere, and taught at the British School in Rome. Pierce owned a large collection of early English drawings and watercolours, dispersed at auction after his death.

The Bombed House Watercolour on thick card Signed and dated S. Rowland Pierce 1941 at the lower right 345 x 271 mm., 13 5/ 8 x 10 5/ 8 in. An architect and town planning consultant, Stephen Rowland Pierce was awarded the Rome Scholarship in Architecture in 1921 and studied at the British School at Rome. Much of his architectural work was in the form of civic buildings, often in partnership with the architect Charles Holloway James, such as the town hall of Slough, constructed in 1936, and the Hertford County Hall, built in 1940. His best-known work as an architect, however, is the

The present sheet was probably drawn during the Blitz in London. At the time Rowland Pierce made the drawing, he was serving as Director of Architectural Studies at the Hastings School of Art, a post he held between 1936 and 1942. Between 1941 and 1942 he was also a lecturer at the School of Architecture at Manchester University.


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89 ERICH WOLFSFELD Krojanke 1884–1956 London

devoted to printmaking, but by 1912 had begun painting in oils, although he seems to have always preferred to work on treated paper, rather than canvas. He travelled widely, and was drawn in particular to North Africa and the Middle East. Although he was a popular and respected teacher at the Akademie in Berlin, as a German Jew Wolfsfeld was forced to resign from the school in 1935, and three years later settled in England, bringing much of his work with him.

Study of an Arab Girl Oil, black chalk and coloured chalks, with traces of squaring in pencil, on buff paper Signed Erich Wolfsfeld at the lower right 359 x 286 mm., 14 1/ 8 x 11 1/ 8 in.

The present sheet was included in the seminal retrospective exhibition of Wolfsfeld’s work held at the Derby Art Gallery in 1953, three years before the artist’s death. The exhibition included a total of 163 paintings, drawings and etchings, dating from as early as 1913. As one modern critic has noted of Wolfsfeld, ‘The simple reality of what he saw on his travels did not move him either to exaggerate or caricature his subject matter . . . His compassionate vision records the dignity of peoples thoroughly accustomed to adversity . . . In [oil paint] and other media, such as chalk or pen and wash, Wolfsfeld demonstrated a wonderful certainty yet fluency in his drawing.’

Provenance: Among the contents of the artist’s studio at his death Thence by descent to his stepson, Dr. Max Block, Mossley Hill, Liverpool, until 2009 Exhibited: Derby, Derby Art Gallery, Erich Wolfsfeld, 1953 Erich Wolfsfeld studied at the Berlin Academy of Arts and the Académie Julien in Paris. His early career was largely 105

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90 STANLEY ROY BADMIN, R.W.S. Sydenham 1906–1989 Bignor

contrives, with the aid of washes of tender colour, to preserve a seemly order in all his drawings.’ Badmin is today best known for his watercolour landscapes; charming and affectionate depictions of the English countryside. In the 1940s and 1950s he illustrated a number of books on pastoral or topographical themes, notably Village and Town, Trees in Britain and The British Countryside in Colour. Among his other commercial projects were designs for Shell posters depicting the various counties of England, as well as covers and illustrations for Reader’s Digest and Radio Times magazines, advertising images, calendars and greeting cards. As one recent author has noted of Badmin, ‘his craft has been based on hard work and experience, and his talent on a love for and deep knowledge of the British countryside.’

St. Ives, Cornwall Watercolour, heightened with touches of gouache Signed and inscribed St. Ives. / S.R. Badmin at the lower right 287 x 386 mm., 11 3/ 8 x 15 1/ 4 in. [sheet] A gifted watercolourist and printmaker, S. R. Badmin became, at the age of twenty-six, one of the youngest Associate members of the Royal Society of Painters in Watercolours. At the exhibition of the Society in 1932, the first to which he contributed, his work was singled out for particular praise by several reviewers, one of whom wrote that ‘The most interesting drawings in this show are provided by S.R. Badmin, a young etcher who uses line with almost an etcher’s delicacy and precision. Badmin is almost miniaturist in the fineness of his work he packs into a small picture area, but in spite of all this wealth of beautifully designed detail, he

Badmin produced a handful of views of the picturesque fishing port of St. Ives in Cornwall. Another view of the town, inscribed by the artist ‘A Corner of St. Ives’ and ‘The Room with the View’, was on the London art market in 1985, while a watercolour of St. Ives from Porthminster was included at the Autumn 1953 exhibition of the Royal Watercolour Society. 106

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91 JOHN NORTHCOTE NASH, R.A. Kensington 1893–1977 Colchester Olive Trees near Clavier, Grasse, France Inscribed with colour notes Watercolour over pencil on laid paper, squared for transfer 224 x 171 mm., 8 3/ 4 x 6 3/ 4 in. Provenance: New Grafton Gallery 107

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92 MAXWELL ASHBY ARMFIELD, R.W.S. Ringwood 1881–1972 Dorset

He was also a prolific and accomplished illustrator and decorative artist, and found the time to publish a number of books of poetry, travel accounts and technical guides to tempera painting. Although his work was largely forgotten after the Second World War, Armfield lived to see a reassessment of his oeuvre take place in the 1970s.

Three Feathers Tempera on board Signed with the artist’s monogram and numbered OP / 253 at the upper right 253 x 305 mm., 10 x 12 in.

The present work is numbered by the artist as Opus 253, which would suggest an approximate date of 1948; it was first exhibited the following year. Writing a few years later, Armfield described the particular appeal of tempera, noting that ‘only in this apparently most material and restricted medium could I learn to express in this age, those fundamental things which could not at the present time find acceptance in a direct or ostensible way.’ In another publication, Armfield wrote, ‘Tempera because of the exigencies of material is specially suitable for smallish pictures, gay and rich in colour . . . the peculiarities of the medium itself render it most suitable for the presentation of flowers, fruit, and the small beasts naturally associated with them: for sky, pebbles, and generally, the smaller details of nature . . .’

Provenance: Kensington Art Gallery, London, in 1949 Purchased from them by Mrs. Carrow, London Mrs. Gladys Lilian Grant and thence by descent until 2006 Maxwell Armfield began experimenting with painting in tempera while a student in Birmingham, although he only began taking up the medium more seriously around 1910. Best known for his portraits, landscapes and still life paintings in tempera, Armfield exhibited at the Royal Academy, the New English Art Club and the Royal Watercolour Society. 108

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93 CHARLES FREDERICK TUNNICLIFFE, R.A. Langley 1901–1979 Anglesey

Literature: Robert Gillmor, Charles F. Tunnicliffe. RA: The Composition Drawings, London, 1986, p.48, no.269

a. Spider Monkeys b. De Brazza’s Guenon c. Spider Monkeys

Charles Tunnicliffe was arguably the most important British wildlife artist of the second half of the 20th century. As his close friend and fellow artist Kyffin Williams noted of him, ‘The whole of nature absorbed him and he was more sensitive to it than any man I have ever met; but it was nature in the particular that motivated his probing eye and forced him to live a life of obsession that produced a body of work that has hardly been equalled by any British artist.’

Watercolour, heightened with gouache, over an underdrawing in pencil a. 102 x 50 mm., 4 x 2 in. [sheet] b. 163 x 73 mm., 6 3/ 8 x 2 7/ 8 in. [image] c. 102 x 50 mm., 4 x 2 in. [sheet]

The largest of these three drawings is a preparatory study for Tunnicliffe’s painting De Brazza’s Guenon, exhibited at the Royal Academy in 1967. The two studies of spider monkeys are related to a finished watercolour of Spider Monkeys shown at the Royal Academy in 1973.

Provenance: Bunny Bird Fine Art, London


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b. 94 CHARLES FREDERICK TUNNICLIFFE, R.A. Langley 1901–1979 Anglesey

These two drawings date from the mid 1960s. The drawings in nos. 94 and 95 were in the artist’s studio on his death in 1979 and were subsequently exhibited in `Charles F. Tunnicliffe, RA – The Composition Drawings’ at the Tryon and Moorland Gallery, Cork St., London from 5th to 26th March 1986. Since then they have been in a private European collection.

a. Red-Breasted Mergansers Watercolour and bodycolour over pencil 97 x 171 mm., 3 3/ 4 x 6 3/ 4 in. b. Black-headed and Common Gulls Watercolour and bodycolour over pencil 85 x 149 mm., 3 1/ 4 x 5 3/ 4 in. 110

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b. 95 CHARLES FREDERICK TUNNICLIFFE, R.A. Langley 1901–1979 Anglesey

This dates from the 1960s.

a. Black-headed Gulls asleep

b. Roseate Terns displaying Watercolour and bodycolour over pencil 92 x 111 mm., 3 1/ 2 x 4 1/ 4 in.

Watercolour and bodycolour over pencil 63 x 105 mm., 2 1/ 2 x 4 in.

This is a sketch for a watercolour exhibited at the Tryon Gallery, Bird Artists of the World, 1963. 111

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96 JOHN LANGLEY HOWARD Montclair 1902–1999 San Francisco

b. Apples on Earth

a. Succulent

Watercolour on paper, laid down on board Signed and dated JOHN LANGLEY HOWARD ’67 at the lower right 214 x 285 mm., 8 3/ 8 x 11 1/ 4 in. [sheet]

Grey ink and wash on paper Signed with initials and dated JLH ’49 at the lower right centre Further inscribed PW 700 / 1949 / Mill Valley / 300on the verso 203 x 230 mm., 8 x 9 in. [sheet]

Provenance: Garzoli Gallery, San Rafael, California, in 1996 Charles Ryskamp, Princeton.


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California’s achievements in industry and agriculture, and the artist’s decision to devote his Industry mural to the depiction of a group of unemployed workers, combined with the subjects chosen by some of the other equally politicized artists working on the same project, led to considerable controversy. After the outbreak of World War II, however, Howard’s work began to move away from social commentary and towards a renewed focus on landscapes, devoid of human figures, as well as still life and natural history subjects. Between 1953 and 1965 he worked as an illustrator for Scientific American magazine, creating many covers that emphasized the delicacy and beauty of objects found in the natural world. He lived for some time in Mexico, Greece and London before settling in California for good in 1970.

Born into a family of artists and architects, John Langley Howard was raised in California and studied at the California Guild of Arts and Crafts in Oakland before completing his training at the Art Students League in New York in 1924. He worked mainly in tempera, watercolour and oil, and also took up etching. Howard held his first one-man exhibition at the Modern Gallery in San Francisco in 1927, and the following year shared a joint exhibition with his older brothers Charles and Robert; in a review of the show one critic noted that, of the three Howard brothers, ‘John Langley is the poet, the mystic and the most complex...there predominates in his work a certain quality, an element of sentiment that escapes definition but is the unmistakable trait by which one recognizes deeper art.’ With the onset of the Depression, Howard began to engage in political discourse and incorporate Marxist themes in his work, which often emphasized the plight of the working classes. This was perhaps most explicit in a commission he received in 1934 for a mural to decorate part the interior of the Coit Tower on Telegraph Hill in San Francisco. The frescoes were intended as a celebration of

The artist once noted that ‘I think of painting as poetry and I think of myself as a representational poet. I want to describe my subject minutely, but I also want to describe my emotional response to it . . . what I’m doing is making a self-portrait in a peculiar kind of way.’


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97 RENÉ GRUAU Covignano 1909–2004 Rome

drawings of the latest fashions for the newspaper Le Figaro and the fashion magazine Femina. He also recorded the collections of such designers as Pierre Balmain, Jacques Fath, Jeanne Lanvin, Jean Patou and, in particular, Christian Dior. By the end of the Second World War his reputation was firmly established, and had spread beyond France and Italy. Gruau produced numerous designs for the covers of fashion magazines, notably Vogue, International Textiles, L’Officiel de la Couture et de la Mode de Paris and Club.

Design for the Cover of Sir Magazine (No.4, 1964) Brush and black ink, gouache, and green film, over a pencil underdrawing, on paper Signed with the initial *G at the lower right 410 x 287 mm., 16 1/ 8 x 11 1/ 4 in.

This drawing is a design for the cover of a 1964 issue of the magazine Sir, a quarterly publication devoted to male fashion. Between 1957 and 1972 Gruau produced many cover designs, as well as illustrations, for the magazine.

Arguably the most famous fashion illustrator of the 20th century, René Gruau was born in Italy and settled in Paris in the early 1930s, where he found employment providing 114

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98 PAUL HOGARTH, R.A. Kendal 1917–2001 Cirencester

The architectural historian Peter Blake has noted that ‘Paul Hogarth is not exactly a recorder of architecture, he is a lover of buildings. He idealises them, romanticizes them, makes fun of them, and ultimately identifies with them. His drawings and watercolour washes are like love letters to buildings; and, like love letters, they exaggerate. They make you smile. Not many artists know how to get a building to make you smile. Hogarth knows.’ A similar sentiment was expressed by the architect Sir Hugh Casson, who has said that ‘There’s nobody to touch Paul Hogarth for catching a building’s likeness – dead right without a trace of laborious correctness.’

Art Nouveau Apartment Building, Geneva Watercolour over an underdrawing in pencil, on thick white paper Signed, dated and inscribed Paul Hogarth ’87 Art Nouveau apartment house, Quai Wilson, Geneva at the lower left centre Further inscribed Constance’s flat / Sebastian at the lower left 572 x 463 mm., 22 1/ 2 x 18 1/ 4 in. [sheet] 115

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Born in upstate New York in 1962, P. Michael Kotasek received his degree in Fine Art from Syracuse University and works in and around the town of Sag Harbor on Long Island, New York. His landscapes and still life subjects are executed primarily in watercolour and tempera, although more recently he has been working in oils. The subject of much of his work, which has won several prizes, is devoted to the landscapes, farms and houses of the eastern end of Long Island.

Try Pots Watercolour, over an underdrawing in pencil Signed and dated PM KOTASEK 05 at the lower left 492 x 673 mm., 19 3/ 8 x 26 1/ 2 in. [sheet] Provenance: Grenning Gallery, Sag Harbor, New York

A try pot is a large cast iron vessel used to remove and render down the oil from whale blubber. Try pots were used extensively in the New England whaling industry in the 18th and 19th centuries. 116

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100 MARK ADLINGTON Born 1965

Based in London, Mark Adlington studied at the City and Guilds of London School of Art, and is best known as a painter and draughtsman of wild animals. This watercolour is part of a recent series of drawings and paintings of the animals of the Arabian peninsula. The artist has spent part of the last few years in the Middle East, studying animals in Oman, which has some of the last wild habitats of several endangered species native to the region, and at the Breeding Centre for Endangered Arabian Wildlife in Sharjah in the United Arab Emirates. The Arabian leopard, once found throughout the peninsula, now survives in the wild only in very small numbers – thought to be less than two hundred mature individuals – and remains in danger of extinction.

An Arabian Leopard Watercolour Signed with initials and dated MA/08 at the lower left 285 x 419 mm., 11 1/ 4 x 16 1/ 2 in.


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ADLINGTON, Mark AIRY, Anna ARMFIELD, Maxwell BADMIN, Stanley Roy BEAUCLERK, Lady Diana


no.100 no.79


ENGLISH SCHOOL, circa 1790




FERGUSSON, John Duncan


FIELDING, Anthony Vandyke Copley


no.9 no.90 no.8



FLORENTINE SCHOOL, 16th Century no.1



FRANCIA, Alexandre Thomas


BESSA, Pancrace




BEVERLY, William Roxby BISON, Giuseppe Bernardino


nos.59–60 no.9


FRENCH SHCOOL, circa 1800


BONVIN, François


BUCKLER, John Chessell


GARSTIN, Alethea


BURROW, Edward John


GEVRIL, Daniel


GIGANTE, Giacinto






CARTER, Henry Barlow




CASCIARO, Giuseppe


CELS, Jean-Michel


HAMILTON, Hugh Douglas


CHALON, Alfred Edward


HILLS, Robert


CLAUSEN, Sir George









HOWARD, John Langley


HUET, Nicolas II


HUNT, Alfred William




COSWAY, Richard DELLA BELLA, Stefano

no.5 no.2





DUNCAN, Edward

no.66 118


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ROMNEY, George


KELLY, Richard Barrett Talbot


KOTASEK, Michael



ROWBOTHAM, Thomas Leeson


ROYER, Henri



nos.16 & 26

LEAR, Edward






SMITH, John Rubens


LEITCH, William Leighton


SMITH, Edward Dalton

LEMPICKA, Tamara de


SOMM, Henry


LINNELL, James Thomas


SPEAR, Ruskin


LOISEAU, Gustave

no.83 TUDOR, Thomas




MEYER, Lazare



TUNNICLIFFE, Charles Frederick nos.93–95 UNDERWOOD, Thomas Richard


NAFTEL, Paul Jacob


NASH, John







ORPEN, Sir William


WESTALL, Richard







WYLD, William

PIERCE, Stephen Rowland


WYLLIE, William Lionel


PORTER, Sir Robert Kerr


PROUT, Samuel


YATMAN, William Hamilton


PYNE, James Baker


PYNE, William Henry


ZUBER, Henri




ROCHE, Odilon


ROCHEGROSSE, Georges Antoine

no.62 119


20634 GP & SO Catalogue_v5 03/11/2011 13:17 Page 120

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 and The European Fine Art Fair in Maastricht 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

Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 120

20634 SO_GP Cover 2011-2012 03/11/2011 15:33 Page 1


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


Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd.


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