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ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

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

2012-2013

Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd.

ONE HUNDRED DRAWINGS AND WATERCOLOURS


GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

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

WINTER CATALOGUE 2012–2013

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

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

Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 guy@peppiattfineart.co.uk www.peppiattfineart.co.uk 1


We are delighted to present our fifth annual Winter catalogue of One Hundred Drawings and Watercolours, to be accompanied by a Christmas exhibition in our gallery in London. The areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th century drawings, have long been regarded as separate fields, each with their own enthusiasts and collectors, 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, watercolours and oil sketches, placed more or less in chronological order, ranging in date from the early 17th 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. The catalogue aims to show that drawings and watercolours by wellestablished artists can be very affordable, and interesting works by minor or lesser-known artists especially so. There is, we believe, 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 January and May 2013, and will 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 year.

Guy Peppiatt Stephen Ongpin Lara Smith-Bosanquet

The following catalogue contains a combination of drawings and watercolours from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA at the top of each page; please therefore direct any enquiries as appropriate. Only a brief account of each drawing is given in the catalogue. Further information and references, as well as high-resolution digital images of each of the works, are available on request. The drawings are available for viewing from receipt of the catalogue. Most of the works are sold framed. A price list is included. 2


SOFA

1 BOLOGNESE SCHOOL 17th Century

Formerly attributed to Annibale Carracci, this drawing would certainly appear to be Bolognese in origin. The small sketch of a struggling man at the upper left may be a study for the figure of Antaeus in a painting or fresco of Hercules and Antaeus.

Studies of a Reclining Male Nude, Seen from Behind with One Arm Raised, and a Man Grimacing in Pain

The drawing bears the distinctive collector’s mark of the classical archaeologist, scholar and collector Ludwig Pollak (1868-c.1943), who lived and worked in Rome for the most of his career. Pollak was deported from Rome by the Gestapo in October 1943 and is presumed to have died in a concentration camp. His collection of drawings, now widely dispersed, numbered around three thousand sheets.

Red chalk, with stumping 326 x 218 mm., 12 7/8 x 8 ½ in. Provenance: Dr. Ludwig Pollak, Rome (Lugt 788b)

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SOFA

2 LOUIS DE CAULLERY Caulery c.1580-1621 Antwerp

the Flemish town of Caulery, on the Scheldt river, he was trained in the studio of Joos de Momper. By 1602 he is recorded as a master at the Antwerp painter’s guild. He died in 1621, at the age of thirty-seven. While De Caullery is best known for his paintings, which are characterized by multifigural compositions and set in elaborate architectural surroundings, his draughtsmanship has remained less studied until recently. His drawings have often been confused with those of the so-called ‘Master of the Hermitage Sketchbook’, an as-yet unidentified artist who may have worked in Antwerp at the same time.

Elegant Couples in a Landscape Pen and point of the brush and blue ink, with blue wash 176 x 281 mm., 6 7/8 x 11 1/8 in. Provenance: Prof. Einar Perman, Stockholm

The present sheet may be added to a group of three closely comparable drawings in blue ink and blue wash by Louis de Caullery, also from the collection of the Swedish physician Einar Perman (1893-1976), which were sold at auction in Amsterdam in 1975 with an attribution to the ‘Master of the Hermitage Sketchbook’. De Caullery has recently been identified as the artist responsible for the four drawings formerly in the Perman collection, as well as a number of other stylistically related sheets.

Exhibited: Laren, Singer Museum, Oude Tekeningen uit de Nederlanden: Verzameling Prof E. Perman, Stockholm, 1962, no.69 Active for a relatively brief career of less than twenty years, Louis de Caullery remains relatively little known among Flemish painters of the 17th century. Born around 1580 in

4


GPFA

3 SIR JAMES THORNHILL, R.A. Melcombe Regis, Dorset 1675-1734 Thornhill, Dorset Study of a Family Group Pen and brown ink and wash Image 69 x 55 mm., 2 ž x 2 in. Thornhill was the most important decorative painter of the early eighteenth century. His most famous works are the interior of the dome of St. Paul’s Cathedral and the Great Hall at Greenwich. He also worked on interior decoration at Blenheim, Moor Park, Hampton Court, Easton Neston and Wimpole. The present drawing is likely to relate to one of his decorative schemes. The distinctive use of crosses in the place of faces is typical of his pen and ink preparatory drawings. 5


SOFA

4 CONTINENTAL SCHOOL Circa 1700

Two other versions of this view, also dated 1772, are in the Lambert collection at Barbican House, Lewes.

b. Lewes Castle from the south-west, Sussex

Studies of Plums, Strawberries, Cherries, Raspberries and Gooseberries Oil on paper 283 x 386 mm., 11 1/8 x 15 1/8 in.

Signed lower left: Ja.s Lambert junr Lewes 1792 Pen and grey ink and watercolour with original wash border 329 x 453 mm., 13 x 17 ¾ in.

5 JAMES LAMBERT, JNR. Lewes, Sussex 1742-1799

Lambert Junior was the nephew and pupil of the landscape artist and musician James Lambert Senior (1735-1788). His trade card described himself as a ‘Coach and Sign Painter’ but he also produced landscape watercolours and oils of Sussex and many of Lewes, where he lived.

a. Castle Gateway from the South, Lewes, Sussex Signed lower left: DRAWN/1772/Jas Lambert junr/Lewes Delt Watercolour on laid paper, oval 437 x 361 mm., 17 ¼ x 14 ¼ in. 6


GPFA

a.

b. 7


GPFA

6 PAUL SANDBY, R.A. Nottingham 1731-1809 London

This is a view of the boatmen of the River Thames known as Watermen ferrying their passengers and goods across the river in a small boat called a wherry or skiff. They were an essential part of early London, transporting people and goods across the river via a series of public steps or stairs that gave access to the river. These public stairs became common in the 16th century when much of the Thames foreshore became enclosed behind private walls. These passengers are alighting at the Westminster Stairs, situated near Old Westminster Bridge which can be seen in the background. It was constructed in 1750, only the second permanent bridge to be built across the Thames.

A Wherry unloading at Westminster Stairs on the Thames, London Grey washes over pencil 135 x 191 mm., 5 Ÿ x 7 ½ in.

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GPFA

7 JOHN AUGUSTUS ATKINSON London 1775-c.1833

Provenance: Anonymous sale, Christie’s, 14th June 1977, lot 78 With Thos Agnew & Sons, London Private Collection until 2012

Soldiers on the March

Atkinson went to St Petersburg with his uncle aged nine where he studied the paintings in the Hermitage and gained the patronage of the Empress Catherine. Aged 21, he returned to London and specialised in Russian views and battle scenes. He exhibited at the Royal Academy and elsewhere and a number of his Peninsular War battle scenes were bought by the Duke of Wellington.

Pen and brown ink and watercolour 208 x 264 mm., 8 x 10 Âź in.

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GPFA

8 ANTHONY DEVIS Preston 1729-1817 Albury

9 JOHN CLAUDE NATTES c.1765-1839 Dover

A Distant view of London

a. The Mall, Hammersmith

Pen and grey ink and watercolour over pencil on laid paper, with original pen and ink border 306 x 432 mm., 12 x 17 in.

Inscribed with title lower left, dated October 1812 and numbered 30 Pen and black and brown ink over pencil 240 x 335 mm., 9 ½ x 13 in.

Provenance: With Spinks, London, 1980s Private Collection, UK, until 2011

This shows Hammersmith Mall, the south facing riverside embankment at Hammersmith. A number of substantial houses were built here in the second half of the 18th century, including Kelmscott House which was most famously taken by William Morris as his studio in 1878. The south facing river bend and rural setting were regarded as healthy, and also attracted educational establishments for the same reason. Hammersmith Bridge was not built until 1827, however, the building in the middle distance is possibly the ‘Doves’ coffee house, still a popular riverside pub today.

This is a view of London looking towards St Paul’s from the north-west taken from near Primrose Hill. At this date, the northern edge of London did not extend much further than Holborn and north of that would still have been farmland. The distinctive wedding cake spire of St Bride’s can be seen to the right of St Paul’s, and Monument is also visible to the left. 10


GPFA

a.

b.

Suttons stands on the edge of the parish of Stapleford Tawney, five miles south-east of Epping. The house was originally 17th century and was bought by Charles Smith (1757-1814) of Mile End, Middlesex for ÂŁ15,725 in 1787. The house was inherited by Sir Charles Cunliffe Smith, Bt., in 1838 and descended with the baronetcy until it was sold in 1959 on the death of Sir Thomas Hamilton-Spencer-Smith.

b. The Farmhouse at Suttons, Essex Inscribed lower left: Farm House & c, at Suttons/August 3.d 1811 Pen and black and brown ink over pencil 234 x 329 mm., 9 x 13 in. 11


GPFA

10 JOSEPH FARINGTON, R.A. Leigh 1747-1821 Disbury

11 SIR THOMAS LAWRENCE, P.R.A. Bristol 1769-1830 London

A Farmhouse in a Clearing

Portrait of a Young Boy

Signed lower left: Jos. Farington Pen and brown ink and grey wash with original washline mount 310 x 454 mm., 12 x 17 他 in.

Pencil, with traces of an oval framing line in pencil, on buff paper laid down on board, oval Signed with initials and dated TL / [1]791 at the lower left 204 x 161 mm., 8 x 6 3/8 in.

Provenance: Michael Ingram

Provenance: Col. and Mrs. Thomas Bazley-Green, Dorking, Surrey before 1965 12


SOFA

13


GPFA

12 JOHN CANTILOE JOY Great Yarmouth 1806-1866 London

John Cantiloe Joy more commonly collaborated with his brother William in producing carefully drawn, highly coloured, marine watercolours. This is a rarer view of J.C. Joy alone – a similar watercolour by him was sold at Christie’s from the Bauer collection on 22nd January 2002, lot 62.

Shipping off the Round Tower, Portsmouth Watercolour and bodycolour 148 x 221 mm., 5 ¾ x 8 ½ in.

The stone Round Tower was built in the 1490s during the reign of Henry VII and was the first stone structure built to defend the entrance to Portsmouth Harbour. During Elizabethan times it was rebuilt with six gun ports for cannons, three of which can be seen in the picture. It was extended in height around the time of the Napoleonic Wars and still exists today.

Provenance: By descent in the family of the present owner since the 1960s

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SOFA

13 JACOB CATS Altona 1741-1799 Amsterdam

He made sketching tours throughout the countryside but, since he often suffered from arthritis, he seems to have only rarely actually worked outdoors. Gifted with a photographic memory, he would be able to integrate the views he saw in nature into realistic landscape drawings once he was back in the studio; indeed, he often noted, in an inscription on the reverse of a drawing, when it was done from memory. Cats numbered most of his drawings done in this way, so as to be able to refer to them in his studio when producing highly finished versions in pen and ink and watercolour. One 19th century scholar noted, however, that some collectors preferred the artist’s less finished drawings. As Adriaan van der Willigen wrote of Cats, ‘many of his Drawings are worked over quite extensively, indeed in the opinion of some this detailing is seen as excessive, working to the detriment of the Masterly treatment, while the work has been termed ‘sombre’ by some. This is the case in many of his coloured Drawings, for which reason his sketchy and less worked-up drawings are generally preferred by the true connoisseurs.’

Winter Landscape with Woodcutters Felling a Tree Pen and grey and brown ink and brown and grey wash, with framing lines in brown ink Signed and dated J. Cats inv. et fec. / 1792 on the verso Inscribed J. CATS on the mount 144 x 220 mm., 5 5/8 x 8 5/8 in. Provenance With W. A. van der Grient, Brussels One of the finest draughtsmen working in Holland in the second half of the 18th century, Jacob Cats is best known for the highly finished, atmospheric landscape drawings he produced as independent works of art for sale to collectors. 15


GPFA

14 THOMAS ROWLANDSON London 1756-1827 London Soldiers and a Cart on a Road Pen and grey ink and watercolour over pencil 147 x 218 mm., 5 ž x 8 ½ in. Provenance: Van Millingen family, Melville Hall, late nineteenth century By descent until 2012 16


GPFA

15 THOMAS ROWLANDSON London 1756-1827 London

Provenance: Lord Farnham Dyson Perrin Mr and Mrs William Spooner, Ashbrook, Ilkley, Yorkshire Anonymous sale, Sotheby’s, 20th November 1986, lot 50

Study on the Banks of a River Pen and grey ink and watercolour over traces of pencil 214 x 279 mm., 8 Âź x 11 in.

This may be a view on the river Camel in Cornwall where Rowlandson often sketched when staying with his patron Matthew Michell in Cornwall. 17


GPFA

16 THOMAS ROWLANDSON London 1756-1827 London The Sculptor Pen and grey ink and watercolour over pencil 169 x 132 mm., 6 ½ x 5 in. Provenance: Van Millingen family, Melville Hall, late nineteenth century By descent until 2012 18


GPFA

17 THOMAS ROWLANDSON London 1756-1827 London The Captain’s Request Pen and grey ink and watercolour 142 x 93 mm., 5 ½ x 3 ½ in. Provenance: Private Collection, Scotland 19


GPFA

18 THOMAS ROWLANDSON London 1756-1827 London

19 THOMAS ROWLANDSON London 1756-1827 London

Nymphs and Satyrs cavorting

a. Changing Horses at the Swan Inn, Brixton

Pen and grey ink and watercolour 341 x 459 mm., 13 ¼ x 18 in.

Pen and grey and brown ink and watercolour over traces of pencil 139 x 234 mm., 5 ½ x 9 ¼ in.

Provenance: Dr John Percy (1817-1889) (Lugt 1504), collector’s mark verso, bought from Parker of Spur St, 1875 Charles Seale Hayne (1833-1903), his sale 18th April 1904 Louis Deglatigny (1854-1936) (Lugt 1768a), collector’s mark lower left, his sale, Sotheby’s 11th May 1938, lot 170 Anonymous sale, Christie’s, 22nd November 1963, lot 6

Provenance: With Spinks, London, circa 1990 Private Collection, UK, until 2011

b. Outside a West Country Coaching Inn Pen and grey and brown ink and watercolour over traces of pencil 137 x 236 mm., 5 ¼ x 9 ¼ in. Provenance: With Spinks, London, circa 1990 Private collection, UK until 2011 20


GPFA

a.

b.

21


GPFA

20 THE REV WILLIAM HENRY BARNARD Ireland 1767-1818 Stowe

21 PAUL SANDBY, R.A. Nottingham 1731-1809 London

A street in Fairford, Gloucestershire

a. Members of the Sandby Family near the Deputy Ranger’s Lodge, Windsor Great Park

Inscribed on part of old mount: Street in Fairford Aug 31 1797 Grey washes on laid paper 140 x 190 mm., 5 ½ x 7½ in.

Signed with initials on a tree: PS./Wr Park/1789 Pen and grey ink and watercolour over pencil on laid paper 111 x 132 mm., 4 ¼ x 5 in.

Barnard was the grandson of the Bishop of Derry who graduated from Pembroke College, Oxford in 1797 where his art was greatly influenced by the Oxford drawing master and musician John Baptist Malchair (1731-1812). Later he travelled widely in Europe and was Rector of Marsh Gibbon and Water Stratford, Buckinghamshire.

Sandby’s brother Thomas occupied the Deputy Ranger’s Lodge in the heart of Windsor Great Park during his tenure as Deputy Ranger from 1746 until 1798. The original building was remodelled in 1811-13 and then pulled down in 1830. It is now the site of Royal Lodge. A more finished view of the Lodge, also including Sandby family members, was sold at Christie’s on 14th July 1987, lot 139. 22


GPFA

a.

b.

b. A Carriage outside a Country Inn

118 x 136 mm., 4 ½ x 5 Ÿ in.

Signed with initials lower right and dated 1789 Pen and grey ink and watercolour and bodycolour over pencil on laid paper

Provenance: By descent in the family of the present owner since the 1960s 23


GPFA

22 EDWARD DAYES London 1763-1804 London

23 PAUL SANDBY, R.A. Nottingham 1731-1809 London

Pont Aberglaslyn, North Wales

a. Travellers in a Mountainous Landscape

Watercolour over traces of pencil 256 x 391 mm., 10 x 15 ¼ in.

Watercolour and bodycolour with original border 91 x 139 mm., 3 ½ x 5 ½ in.

Provenance: With Andrew Wyld, 2005 Private Collection, UK, until 2011

b. A Horse and Cart by a Castle Watercolour and bodycolour 88 x 135 mm., 3 ½ x 5 ¼ in.

Exhibited: London, Manning Gallery, November 1967, no. 3

Provenance: By descent in the family of the present owner since the 1960s

Pont Aberglaslyn, the bridge spanning the beautiful narrow Aberglaslyn gorge in North Wales, is one mile south of Beddgelert, a popular base for watercolour artists in the late eighteenth and nineteenth centuries. 24


GPFA

a.

b.

25


GPFA

24 HENRY EDRIDGE, A.R.A. Paddington 1769-1821 London

Provenance: By descent in the Burney Family until 2011 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 portraitist in the late eighteenth and early nineteenth centuries – his portraits are executed in pencil with subtle tints of colour. He also drew landscapes in a similar style to Hearne and Girtin, his friends and fellow artists.

Houses by a Bridge Watercolour and black and white chalk and pencil on blue-grey paper 238 x 352 mm., 9 ¼ x 13 ¾ in.

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SOFA

25 JEAN-BAPTISTE PILLEMENT Lyon 1728-1808 Lyon

century, Pillement was an equally gifted painter, producing pastoral landscapes, marines, flowerpieces, animal subjects and chinoiseries. Landscapes such as this are typical of Pillement’s approach to the depiction of nature, filtered through his study of such Dutch masters as Jan Both, Aelbert Cuyp and Nicolaes Berchem. In general, however, Pillement’s landscapes are not topographical views of a particular location, but rather tend to depict bucolic scenes of man and nature in harmony.

River Landscape with a Ruined Tower Black and white chalk, with stumping, on canvas Signed and dated jean Pillement 1804 at the lower left 308 x 393 mm., 12 1/8 x 15 ½ in.

This finished grisaille landscape – signed in full and dated 1804, and undoubtedly intended as an independent work of art – was drawn when the artist was living and working in his native Lyon, near the end of his long career. It may also be noted in passing that, in keeping with many of the artist’s river landscapes, the composition depicts a number of wooden stakes or pilings (pillements in French) set into the water’s edge; it has been suggested that this may have been intended as a sort of whimsical signature on the part of the artist.

Provenance With Georges Meyer, Paris Exhibited New York, Luxembourg & Dayan, Grisaille, 2011-2012 One of the most influential decorative and ornamental draughtsmen working in Europe in the second half of the 18th 27


GPFA

26 THOMAS GOOCH c.1750-1805 Lyndhurst

Provenance: With Lowell Libson, 2005 Private Collection, UK until 2011

A Coach in the Yard of a large House

Gooch was an animal painter who worked mainly in oil and exhibited at the Royal Academy and elsewhere between 1778 and 1802. In 1796 Farington records that a stroke affected his right hand and he retired to Lyndhurst, Hampshire in 1800.

Signed lower left: T. Gooch Watercolour over pencil heightened with bodycolour 252 x 366 mm., 9 ž x 14 Ÿ in. 28


GPFA

b.

a.

27 JOHN RAPHAEL SMITH Derby 1752-1812 Doncaster

Provenance: Private Collection, Dorchester John Raphael Smith was a highly skilled mezzotint engraver and print publisher as well as a portraitist in chalks. He produced many mezzotints and was ‘mezzotint engraver to the Prince of Wales’ from 1784 but gave up engraving in 1802 to concentrate on portraits. He exhibited portraits at the Royal Academy from 1779 until 1805. He specialised in portrait drawings and later in his life much of his work was produced in the northern cities of York, Sheffield and Doncaster where he died.

a. Study of a Sportsman and his dog in Parkland Black chalk on prepared paper 390 x 259 mm., 15 ¼ x 10 in. Provenance: With Spinks, London, circa 1985 Private Collection until 2011

b. Portrait of a Girl Half-length, in a landscape Coloured chalks over pencil 210 x 187 mm., 8 ¼ x 7 ¼ in. 29


GPFA

28 PETER DE WINT Stone 1784-1849 London

29 HENRY THOMAS ALKEN London 1785-1851 London

Study of a Pheasant

a. A Greyhound

Watercolour over pencil 105 x 233 mm., 4 x 9 in.

Watercolour over pencil 286 x 384 mm., 11 ¼ x 15 in.

Provenance: Robert Witt Sir John and Lady Witt, their sale, Sotheby’s, 19th February 1987, lot 108 Private Collection until 2011

Provenance: With Andrew Wyld, 2005 Private collection, UK, until 2011 Alken used this on-the-spot sketch in his 1824 ‘oil ‘Greyhounds with a dead hare’ which was sold at Sotheby’s on 20th November 1981, lot 12.

b. Jumping a Fence Watercolour over pencil heightened with bodycolour 242 x 343 mm., 9 ½ x 13 ½ in. 30


GPFA

a.

b. 31


SOFA

30 THOMAS HARTLEY CROMEK London 1809-1873 Wakefield

met and befriended several English artists, including Clarkson Stanfield and John Frederick Lewis, and gave drawing lessons to several distinguished English visitors, including, in 1837, Edward Lear. In 1849 he was forced to leave Rome by the outbreak of the First Italian War of Independence, and returned to England for good. Cromek seems to have produced almost no paintings after 1860, as his health gradually failed.

Study of Plants, Ariccia Watercolour, over traces of a pencil underdrawing Signed, inscribed and dated T.H. CROMEK / Ariccia / 11 Augt. 1845. at the bottom centre 183 x 208 mm., 7 Âź x 8 1/8 in.

This watercolour was drawn during the summer of 1845 at Ariccia, a town near Lake Nemi in the Roman Campagna, south of the city. The plant depicted in this watercolour is a flowering plant known as a Verbascum or Mullein. Among comparable nature studies by Cromek is a drawing of A Branch with Leaves, among the many watercolours by the artist today in the possession of his descendants, the Warrington family.

Much of what is known today of Thomas Hartley Cromek’s life and career is based on a journal he wrote, entitled Reminiscences at Home and Abroad, 1812-1855, which only came to light in the latter half of the 20th century. The son of an engraver and editor, Cromek first travelled to Italy in 1830. He was to spend much of the next twenty years living and working in the country, mainly in Florence and Rome. He 32


SOFA

31 EUGÈNE FROMENTIN La Rochelle 1820-1876 Saint-Maurice

many travellers with neither poetry nor soul, and his soul is one of the rarest and most poetic I know.’ Thus did Charles Baudelaire, writing in 1859, give an appraisal of the work of Eugène Fromentin that underscores the artist’s lifelong fascination with exotic scenes. Particularly interested in the people, culture and landscapes of North Africa, Fromentin made his first visit to Algeria in 1846, returning home after six weeks in the country with numerous drawings and sketches. Later trips to Algeria in 1847 and 1852 resulted in the publication of an account of his travels, entitled Un eté dans le Sahara and published in 1857.

An Arab Caravan Pen and grey ink and grey wash, with white heightening, over a pencil underdrawing on buff paper Signed and dated Eug. Fromentin 1845, over an earlier signature in pencil, at the lower right 270 mm., 10 5/8 in. diameter

Dated 1845, this drawing just predates Fromentin’s first visit to Algeria, and is thus unlikely to have been based on something he would have seen at first hand. The subject may instead have been inspired by another, perhaps literary, source.

‘M. Fromentin...is neither precisely a landscape nor a genre painter; these two territories are too restricted to contain his free and supple fancy. If I said of him that he is a teller of travellers’ tales, I should not be saying enough, for there are

33


SOFA

32 GIOVANNI (NINO) COSTA Rome 1826-1903 Rome

acquired by a circle of English artists, collectors and connoisseurs. He was the leader of an informal group of English landscape painters working in Italy, including Richmond, Howard and Matthew Ridley Corbet, who called themselves ‘The Etruscans’, and who found inspiration in sketching trips into the Roman Campagna, guided and encouraged by Costa.

Study of a Tree Watercolour, over an underdrawing in pencil 405 x 271 mm., 15 7/8 x 10 5/8 in.

Many of Costa’s earliest drawings are studies of trees and plants, and he seems to have drawn from nature from a young age. As he once described his approach to landscape painting to the painter Giovanni Fattori: ‘First do a bozzetto di impressione from nature as rapidly as possible; then do studies of details from nature. Finally, sketch out the picture, remaining attached to the conception of the bozzetto...’

Provenance By descent in the family of the artist An Italian landscape painter, Giovanni (known as ‘Nino’) Costa was friendly with several English artists – including Frederic Leighton, William Blake Richmond, Edward BurneJones and George Howard – and much of his work was 34


SOFA

33 LOUIS-AMABLE CRAPELET Auxerre 1822-1867 Marseilles

Cataract, and this journey provided him with material for much of his later career. In 1859 he visited Tunis, and his drawings from this journey later served to illustrate an account of the voyage for the magazine Le Tour du Monde in 1865. In the same year he showed a View of Luxor at the Exposition Universelle in Paris. Crapelet exhibited mainly views of Egypt at the Salons between 1849 and 1866, as well as the occasional Italian and Provençal landscape. Towards the end of his career he also worked on the mural decoration of theatres and other buildings in Lyon and Marseilles.

Sunset in Egypt, with Two Bedouin on Camels Watercolour Signed Am. Crapelet at the lower left 206 x 291 mm., 8 1/8 x 11 ½ in. A pupil of Jean-Baptiste-Camille Corot, Louis-Amable Crapelet made his debut at the Paris Salon in 1846. After spending some time in Algeria, he went to Egypt between 1852 and 1854, travelling down the Nile as far as the Third

Crapelet was particularly admired for his atmospheric watercolours of Oriental subjects, of which the present sheet is a fine example. 35


GPFA

34 ATTRIBUTED TO JOHN ALEFOUNDER 1757-1795 Calcutta

It has been suggested that these beautiful and highly skilled drawings are the work of John Alefounder. He studied architecture at the Royal Academy schools and in 1784 went to India to make his living as a portrait artist. He exhibited at the R.A. but had little success and eventually killed himself.

Study of a Fakir; Study of a Boy Two, one inscribed verso: Ban Wáh Faquier Watercolour over pencil on laid paper watermarked with a fleur de lys Each 242 x 158 mm, 9 ½ x 6 ¼ in.

These drawings may relate to a series of thirty-six pictures he drew in 1788 with the intention of having them engraved. The pictures included portraits of nawabs and ‘remarkable characters’ as well as portraits of local people, customs and ceremonies. The scheme failed however and the engravings were never produced. 36


GPFA

a.

b. 35 PETER DE WINT Stone 1784-1849 London

This is drawn on the back of part of a letter to de Wint which accompanied payment for rent. It relates closely to the watercolour of Nottingham in the Victoria and Albert Museum which is dated to 1847/8.

a. View of Nottingham from the Trent, with the Castle and St. Mary’s Church

b. Nottingham Castle from the West

Grey wash and pencil 50 x 181 mm., 2 x 7 in.

Pen and brown ink 64 x 182 mm., 2 ¼ x 7 in.

Provenance: Removed from an album of de Wint sketches compiled in the 1870s by Sarah Brooks, whose granddaughter, Mrs Boover Brooks, was the artist’s aunt By descent to Mrs A.G. Dawes With Andrew Wyld 1979 Private Collection until 2012

Provenance: By descent from the artist to Miss H.H. Tatlock Miss G.M. Bostock With Andrew Wyld 1979 Exhibited: Andrew Wyld, 3 Cork St., Exhibition of Works by Peter de Wint, September/October 1979, no. 36

Exhibited: Andrew Wyld, 3 Cork St., Exhibition of Works by Peter de Wint, September/October 1979, no. 33

This is drawn on the back of part of a letter to de Wint which accompanied payment for rent. 37


GPFA

36 JOHN VARLEY Hackney 1778-1842 London Cader Idris from near Dolgelly, North Wales Signed lower left: J. Varley. 1812. Watercolour over pencil 226 x 476 mm., 8 ¾ x 18 ¾ in. This is a view of the north face of Cader Idris from across the River Mawddach estuary which can be seen in the foreground. Cader Idris, meaning ‘Chair of Idris’ from the giant warrior poet of Welsh legend consists of a seven mile craggy and precipitous ridge situated at the southern end of Snowdonia National Park. This is likely to be one of the four views of Cader Idris by Varley exhibited at the Society of Painters in Water-colours in 1812 and 1813. Provenance: Acquired by Bolton Museum and Art Gallery in 1965 De-accessioned in 2011 38


GPFA

37 JOHN VARLEY Hackney 1778-1842 London A Cottage near Conway, North Wales Signed in pencil verso: Cottage......./Varley 1812 and in ink in another hand: Varley 47 Edgware Road Watercolour over pencil 247 x 344 mm., 9 ž x 13 ½ in. This shows a cottage across the estuary from Conway Castle. 39


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38 JOHN VARLEY Hackney 1778-1842 London Beddgelert Bridge, North Wales Signed lower right and dated 1824 Watercolour over pencil 180 x 244 mm., 7 x 9 ½ in. This is a view of Beddgelert Bridge where it crosses the River Colwyn just upstream of its confluence with the River Glaslyn. The mountain Moel Hebog is looking over the bridge on the left, with a range of Snowdonian peaks that make up the Nantlle Ridge in the distance. 40


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39 JOHN VARLEY Hackney 1778-1842 London

Byland Abbey is six miles east of Thirk, just south of the Yorkshire Moors. Once one of England’s greatest monasteries, the abbey was dissolved in 1538. Its ruins still look much as they did during Varley’s time, with the same arched entrance. The stained glass formerly in the abbey’s beautiful west front inspired the design of York Minster’s famous rose window.

Byland Abbey, Yorkshire Signed lower right: J. Varley. 1824 and inscribed with title verso Watercolour over pencil heightened with gum arabic on laid paper 217 x 302 mm., 8 ½ x 11 ¾ in.

Another view of Byland Abbey by Varley, dated 1808, is in the Yale Center for British Art and a further was sold at Sotheby’s on 12th April 1995, lot 95. 41


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40 JOHN VARLEY Hackney 1778-1842 London Travellers on a Country Road near a Castle Signed lower left: J. Varley Watercolour over pencil heightened with stopping out 91 x 131 mm., 3 ½ x 5 in. Provenance: Cyril Fry Gallery 42


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41 ARTHUR GARDINER BUTLER Beckenham 1844-1925 Beckenham

taxonomy of birds, insects and spiders. He also published several books on these subjects, such as British Birds with Their Nests and Eggs (1896-1898), and published articles on exotic spiders from Australia, the Galapagos and elsewhere. Butler published a number of works on lepidoptery, including Tropical Butterflies and Moths (1873), Catalogue of the Lepidoptera of New Zealand (1874) and The Butterflies of Malacca (1879), as well as two catalogues of the lepidoptera collections of the British Museum, from which he retired in 1901 due to ill health. Butler was a Fellow of the Royal Entomological Society, the Linnean Society of London and the Zoological Society of London.

Studies of Five Butterflies Watercolour, over traces of an underdrawing in pencil Signed with initials and dated A.G.B. / 1861 at the lower right Inscribed Watercolour by A. G. Butler. / Artist & Engraver 1861 on a label pasted onto the old backing board 156 x 163 mm., 6 1/8 x 6 3/8 in.

The butterflies depicted in this drawing include, at the upper centre, a Red Admiral (Vanessa atalanta), flanked by two male Silver-studded blue butterflies (Plebeius argus). The two butterflies at the bottom of the sheet are both Painted Lady butterflies (Vanessa cardui).

Arthur Gardiner Butler was an English entomologist and ornithologist who worked at the British Museum on the 43


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42 MOSÉ BIANCHI Monza 1840-1904 Monza

Mosé Bianchi’s earliest works already reveal the lightness of touch and fluidity of handling that is characteristic of his mature style. A successful fresco painter, he continued to develop his distinctive painterly manner in his views of Venice of the 1880’s and of Milan in the following decade.

Along the Promenade, Naples (Ricordo di Napoli) Pencil and gouache on thick buff paper Signed with initials MB at the lower right 416 x 288 mm., 16 3/8 x 11 3/8 in. [sheet]

Datable to 1886, this is a study for a small painting by Bianchi which is now lost, in which the artist delights in the contrast between the group of elegant women walking on the quayside at the right with the peasant folk in the foreground. Stylistically and thematically, the drawing may also be related to a number of works showing figures along the promenade in Chioggia, a fishing town at the southern end of the Venetian lagoon, that Bianchi produced in the 1880’s.

Provenance Acquired from the artist by Juan and Felix Bernasconi, Milan Thence by descent in the Bernasconi family until 1987 Literature Paolo Biscottini, Mosè Bianchi: Catalogo ragionato, Milan 1996, p.310, no.445. 44


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43 ANTOINE CALBET Engayrac 1860-1944 Paris

A pupil of Alexandre Cabanel, Antoine Calbet made his debut at the Salon de la Société des Artistes Français in 1880, and he continued to take part in the Paris Salons until 1940. A gifted watercolourist as well as a portrait and genre painter, Calbet had a particular penchant for studies of languid female nudes. He also worked as a decorative painter, counting among his public commissions the decoration of several theatres and restaurants. He is perhaps known today, however, for his book illustrations. Among the works illustrated by Calbet were Emile Zola’s Madame Neigeon, Guy de Maupaussant’s Bel ami, Jean-Jacques Rousseau’s Confessions and Paul Verlaine’s Fêtes galantes.

Two Women on a Balcony Black and white chalk, with touches of red, green, yellow and blue chalk, on buff paper Signed A Calbet at the lower left 499 x 324 mm., 19 5/8 x 12 ¾ in.

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44 DAVID COX Birmingham 1783-1859 Birmingham

45 DAVID COX Birmingham 1783-1859 Birmingham

Lliwedd and the Llanberis Road from Pen y Gwryd, North Wales

a. Fors Nevin on the Conway, North Wales Inscribed lower right: Fors Nevin Black chalk 266 x 181 mm., 10 ½ x 7 in.

Watercolour and black chalk 183 x 236 mm., 7 x 9 ¼ in. Provenance: By descent to David Cox Junior (1809-1885) Given by him to Miss E. Cox, January 9th 1867 Given by her to John Hills, 1922 Private Collection, UK until 2010

Provenance: By descent from the artist to his grand-daughter in 1904 Bought at Walker Galleries, London, between 1960 and 1967 By descent from the buyer until sold at Sotheby’s, 25th November 1999, lot 80, where bought by the present owner

Another watercolour of this same view was with Spink-Leger, London, in 1999 (see ‘Air and distance, storm and sunshine’ – Paintings, watercolours and drawings by David Cox, exhibition catalogue, 1999, no.27, ill.).

b. A Hillside, Derbyshire Inscribed lower left: Derbyshire Pencil on wove paper watermarked: J WHATMAN/TURKEY MILL/1830 188 x 236 mm., 7 ¼ x 9 ¼ in.

Lliwedd is a mountain in North Wales situated next to Snowdon, with its eastern flanks rising up from the Glaslyn valley

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a.

b.

Bought by T.H. Simms from Meatyard, London, 1963 Private Collection, UK

Provenance: By descent from the artist to Hannah Cox 47


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46 DAVID COX Birmingham 1783-1859 Birmingham

This important early watercolour dates from circa 1814/15 after Cox had moved to Hereford to teach at Miss Croucher’s Drawing School. It relates to a more finished version of this view painted in 1815 for Samuel Cane, a Hereford Surgeon, and now in Hereford City Art Gallery.

Butcher’s Row, Hereford Watercolour over pencil on two sheets of joined paper 216 x 301mm., 8 ½ x 11 ¾ in.

In 1837, Butcher’s Row on Hereford High St was torn down during redevelopment of the city. Only the large twin gabled house on the right house of the picture still remains.

Provenance: With Spinks, London Private Collection until 2011 48


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47 DAVID COX, JUNIOR Dulwich 1809-1885 Streatham

Pevsner called Ightham Mote “the most complete small medieval manor house in the country”, and it remains today as an example of how such houses would have looked in the Middle Ages. Originally dating from around 1340, it was bought by the Selby family in 1591 and remained in their ownership until 1889.

View of Ightham Mote, Kent Inscribed in another hand verso: by David Cox Junr/The Moat House/Ightham/Kent – 1849 Watercolour over black chalk heightened with touches of bodycolour on oatmeal paper 363 x 541 mm., 14 ¼ x 21 ¼ in. 49


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a.

48 EDWARD LEAR Highgate 1812-1888 San Remo

c. A Hunting Dog in long Grass

a. A Woman outside a Country House

Signed lower left: E. Lear Watercolour and pencil heightened with bodycolour 153 x 203 mm., 6 x 8 in.

Watercolour and pencil heightened with bodycolour 161 x 216 mm., 6 ¼ x 8 ½ in.

Provenance: By descent in the family of the owner since at least the 1960s

b. Two Wolves in a Mountainous Landscape

These rare early drawings by Lear have recently been rediscovered having been in a family collection for at least fifty years. They date from the late 1820s when Lear was establishing himself as an artist. Other drawings from this period are included in two albums by Lear in the Houghton Library, Harvard University (Ms Type 55.4 and 55.27). For others from the same family collection, see Guy Peppiatt Fine Art, summer catalogue 2012, nos. 40-44.

Signed lower left: E. Lear Watercolour and pencil heightened with bodycolour 123 x 17 mm., 4 ¾ x 6 ½ in.

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b.

c. 51


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49 EDWARD LEAR Highgate 1812-1888 San Remo

50 ENGLISH SCHOOL, 1850S

The Mount of Olives, Jerusalem

a. Moulmein looking North from near the Talien Barracks, Burma

Inscribed lower right and dated: M.t of Olives./21 April 1858. 120) and variously inscribed with notes Pen and brown ink and watercolour heightened with touches of white 83 x 250 mm., 3 ¼ x 9 ¾ in.

Signed on part of old mount, dated 10th October 1855 and inscribed with title Watercolour over pencil 228 x 364 mm., 9 x 14 ¼ in. Moulmein (or Mawlamyine) was the first capital of British Burma between 1826 and 1852 after the area was ceded to Britain under the Treaty of Yandabo. It is situated in the Salween river delta and is flanked by low hills dotted with ancient pagodas.

Lear arrived in Jerusalem on 27th March1858 but the city was crowded as it was Easter so he carried on to Petra returning on 20th April. The present drawing dates from the next day, 21st April. Lear describes in a letter, dated 27th May, to his patron Lady Waldegrave who had commissioned a view of Jerusalem from him, that ‘My stay in Jerusalem or rather opposite the City, – for I pitched my tents on the Mount of Olives when I had ascertained the point I thought you would like best for your picture, was the most complete portion of my tour….’ This shows a view looking east from the Mount of Olives towards the Dead Sea and Masada.

It is mentioned in the opening line of Kipling’s poem ‘Mandalay’: “By the old Moulmein pagoda Lookin’ lazy at the sea There’s a Burma girl a-settin’ and I know she thinks o’ me”.

A watercolour of Jerusalem drawn from the Mount of Olives drawn between 24th and 28th April and numbered 116, was sold at Sotheby’s on 15th July 1999, lot 103.

b. Pa-an on the Salween river, Burma Signed on part of old mount, dated 4th October 1854 and inscribed with title Watercolour over pencil 249 x 364 mm., 9 x 14 ¼ in. Pa-an or Hpa-An is the capital of Kayin state in south-east Burma. 52


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b. 53


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51 HELEN ALLINGHAM, R.W.S. Swadlincote 1848-1926 Haslemere

In its freedom of handling and vibrant colour, this watercolour is unusual among Helen Allingham’s works. The Allingham family spent the summer of 1878 in the picturesque village of Shere in Surrey, where they rented a cottage. During her stay in Shere the artist painted views of several cottages and farmhouses in the village, as well as the White Horse Inn and the surrounding countryside. She also worked in nearby Albury, Gomshall and Abinger Hammer.

Just Before Moonrise, Shere Watercolour Signed and inscribed H. Allingham / just before moonrise. Shere at the lower right 132 x 141 mm., 5 ¼ x 5 5/8 in.

The present sheet was once owned by Allingham’s close friend, the painter Briton Rivière, R.A. (1840-1920).

Provenance Briton Rivière, London 54


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52 LOUIS APPIAN Lyon 1862-1896 Lyon

winning a scholarship in 1885 to study in Paris, where he completed his training with Alexandre Cabanel. Although he failed to win the Prix de Rome in 1887, Appian enjoyed a measure of success as a painter, although not on a par with the reputation enjoyed by his father, alongside whom he sometimes painted landscapes and seascapes. He first exhibited his work at the Salon in his native Lyon in 1886, showing portraits, nudes and still life subjects, and began showing at the Paris Salon two years later. Appian’s health was weak, and was already the object of concern to his parents as early as 1892. A brief trip to Algeria at the end of 1895 seems to have aggravated his poor health, and Appian died of tuberculosis in December 1896, at the age of only thirtyfour.

Paris in the Rain Pen and violet ink Stamped with the atelier stamp at the lower right 162 x 184 mm., 6 3/8 x 7 Âź in. The only son and pupil of the landscape painter Adolphe Appian, Louis Appian was active as a genre, still life and landscape painter, as well as a portraitist and etcher. He entered the Ecole des Beaux-Arts in Lyon in 1879, before 55


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53 WILLIAM ROXBY BEVERLY Richmond 1811-1889 Hampstead Fishermen on Newhaven Beach, Sussex, at Sunrise Signed lower right Watercolour heightened with bodycolour 233 x 340 mm., 9 x 13 Âź in. This is a view of the old wooden pier at Newhaven, one of two on either side of the River Ouse. They created what was once considered one of the safest harbours on the south coast of England during the eighteenth century. 56


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54 HENRY BRIGHT Saxmundham 1810-1873 Ipswich Tal y Llyn, Wales Coloured chalks 262 x 369 mm., 10 Ÿ x 14 ½ in. Tal y Llyn or Llyn Mwyngil, is a large glacial ribbon lake at the southern end of the Snowdonia mountain range. The lake is situated at the foot of Cader Idris, whose slopes can be clearly seen flooded with the light of the setting sun. See note to artist under no.55 57


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55 HENRY BRIGHT Saxmundham 1810-1873 Ipswich

56 WALLER HUGH PATON, R.S.A., R.S.W. Dunfermline 1828-1895 Edinburgh

Sunrise off the Norfolk coast in Winter

A Willow Tree at Hermitage

Signed lower left: H. Bright Coloured chalks 660 x 1220 mm., 26 x 48 in.

Signed lower left: W.H. Paton and inscribed lower right: Hermitage/2d May 1861 Watercolour over black chalk heightened with bodycolour on brown paper 347 x 237 mm., 13 ½ x 9 ¼ in.

Provenance: Anonymous sale, Sotheby’s, 14th November 1996, lot 232, bought by the present owner

Provenance: J.S. Maas & Co., London Bought by Sir David Scott (1887-1986), 23rd June 1969 for £126 By family descent until 2008

Bright was born in Saxmundham, Suffolk, the son of a clockmaker and was apprenticed to a chemist in Norwich before turning to drawing. He learnt under Alfred Stannard and took lessons from John Sell Cotman. In 1836 he moved to Paddington and built up a successful drawing practice in London until 1858 when he returned to Saxmundham. He lived the last years of his life in Ipswich. This is a typical chalk drawing by him.

Exhibited: London, J.S. Maas & Co., High Art and Homely Scenes, 1969, no.87 This is probably a view on the Hermitage of Braid, an area of natural beauty just south of the city of Edinburgh as Paton was living there at this date. It was designated a nature reserve in 1993. 58


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57 EDMUND BERNINGER Arnstadt 1843-c.1910 Munich(?)

Oil on paper, laid down on panel Signed E. Berninger at the lower right 170 x 251 mm., 6 ¾ x 9 7/8 in.

watercolours of sites in England, France, Italy, the Netherlands, Greece, Constantinople, Egypt (where he is thought to have lived for several years), Palestine, Algeria and Tunisia. He painted views of Jerusalem and Cairo, as well as richly coloured landscapes and scenes of Oriental markets and caravans. Berninger also worked as an illustrator, and painted a number of large-scale public works in the form of panoramas (including Egyptian landscapes and battle scenes) and dioramas.

A landscape painter and watercolourist, Edmund Berninger was born in Thüringia and abandoned an early career as a pharmacist in favour of training as an artist in Weimar under Theodor Hagen. Settling in Munich in 1874, he then spent several years travelling around Europe, North Africa and the Near East. He produced paintings, oil sketches and

Many of Berninger’s landscapes are of Mediterranean scenes, particularly in Italy. He was particularly drawn to the area around the bay of Naples, Sorrento and the Amalfi coast, producing a number of paintings of coastal views; one such example is a large View of Capri in the Philadelphia Museum of Art, datable to around 1877.

Landscape in Capri

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58 FRENCH SCHOOL 19th Century

Black chalk on blue-grey paper 342 x 261 mm., 13 ½ x 10 ¼ in.

Study of a Standing Man Wearing a Tricorne Hat, with a Separate Study of a Hand Holding a Rod

An attribution to Philibert d’Amiens de Ranchicourt (17811825) may be suggested. 61


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59 FRANZ VON STUCK Tettenweis 1863-1928 Munich

mythological paintings, characterized by Symbolist overtones, won medals and prizes at exhibitions in Germany, Europe and America over the next three decades. In 1905 he was awarded a Knight’s Cross of the Order of the Bavarian Throne, which raised him to the nobility, and from this point onwards he signed his works as ‘Franz von Stuck’. The artist was recognized by many of his contemporaries as a gifted draughtsman, and his drawings of male and female nudes were particularly admired. While the present sheet cannot be definitively related to any work by the artist, the pose of the figure is quite close to that of one of the souls seen in shadow in the left foreground of Stuck’s painting The Angel of Judgement of c.1922, today in the Künstlerhaus am Lenbachplatz in Munich.

Two Studies of a Male Nude Red chalk, heightened with white, on blue paper faded to brown Signed STUCK at the lower right centre 337 x 273 mm., 13 ¼ x 10 ¾ in. [sheet] Active as a painter, sculptor, printmaker and architect, Franz Stuck was one of the founders of the Munich Secession in 1892, and soon became among the most successful and renowned artists in the city. His large and boldly coloured 62


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60 CESARE CIANI Florence 1854-1925 Florence

studied. Fattori’s guidance is readily evident in Ciani’s landscapes, city scenes and portraits, confidently painted with broad, sketchy brushstrokes. Much of his work was devoted to scenes of daily life in his native city of Florence, and in particular the ‘oltr’Arno’ neighborhood of Borgo San Frediano, where the artist had his studio on the Via dei Serragli. Ciani exhibited his work regularly in Florence, and also exhibited in Paris in 1899, gaining an honourable mention. Two years after Ciani’s death a large retrospective exhibition of over 180 of his works was held at the Galleria dell’Accademia in Florence. Several paintings by Ciani are today in the collection of the Galleria d’Arte Moderna at the Palazzo Pitti in Florence, while two self-portraits by the artist, one dating from the 1890’s and another painted shortly before his death, are in the Uffizi.

The Head of a Man Charcoal and stumped black chalk, heightened with white, on brown paper Signed Ciani at the lower left 431 x 318 mm., 17 x 12 ½ in. A student of Giuseppe Ciaranfi at the Accademia di Belle Arti in Florence in 1878, where he won a prize for painting, Cesare Ciani was also strongly influenced by the work of the Macchiaioli painter Giovanni Fattori, with whom he also 63


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61 WILLIAM LEIGHTON LEITCH Glasgow 1804-1883 London

62 JEAN-LOUIS-ERNEST MEISSONIER Lyon 1815-1891 Paris

A Sailing Boat on a River

A Mounted Dragoon

Watercolour over pencil heightened with touches of bodycolour 202 x 330 mm., 8 x 13 in.

Pen and grey ink and grey wash, with touches of waterolour, heightened with white, on blue paper partly faded to brown Signed with the artist’s monogram at the lower right centre 296 x 171 mm., 11 5/8 x 6 ¾ in. [sheet]

Provenance: With Colnaghi, London, circa 1950 (A15760)

Provenance The artist’s studio sale, Paris, Galerie Georges Petit, 12-20 May 1893, lot 445 Charles Meissonier His sale, Paris, Hôtel Drouot, 24 April 1901, lot 21 Mrs. John (Dodie) Rosekrans, San Francisco 64


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‘The incontestible master of our epoch’, as Eugène Delacroix described him, gives some indication of the esteem in which Ernest Meisonnier was held by his contemporaries, critics and the public. Enjoying a career of more than fifty years, he was one of the most famous painters of the 19th century, renowned both in France and abroad. His subject matter included scenes of 17th and 18th century life, as well as more contemporary depictions of men at leisure, painted on small panels and executed with a meticulous attention to detail.

From the late 1840’s onwards Meissonier devoted much of his time to military subjects, basing his paintings on drawings and oil sketches of soldiers, their horses, uniforms and equipment, mostly taken from life. This drawing may be a first idea for one of the leading dragoons in Meisonnier’s painting The Guide of 1883 and exhibited in Paris that year.

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63 WILLIAM FRASER GARDEN Gillingham 1856-1921 Huntingdon

his watercolours were views of the fen villages along the river Ouse, such as Holywell, Hemingford Grey and St. Ives, each characterized by a remarkable attention to detail and crisp, cool lighting.

River Landscape near St. Ives, Huntingdonshire

Throughout the 1880’s Garden was represented by the Dowdeswell Gallery in New Bond Street in London, who sold a number of his works. By 1890, however, he seems to have given up exhibiting in London, and from then on relied on a small number of local collectors in Huntingdonshire. He was never, however, a very prolific artist. As has been noted of Garden, ‘His apparent lack of ambition and the consequently few watercolours which he painted each year, even when at his busiest, resulted naturally enough in his failing to come to the notice of all but a local audience.’ Although he was the most successful of the Fraser brothers, Garden was very poor for most of his life, and was declared bankrupt in 1899. He lived in the village of Hemingford Abbots and later at Holywell, and in his old age is said to have paid his bills with drawings instead of bank notes. Long unknown to scholars and collectors, Garden’s body of work has only fairly recently been rediscovered, and his reputation as among the finest Victorian landscape watercolourists firmly established.

Watercolour Signed and dated W. F. GARDEN: / ‘97. at the lower left Faintly inscribed Near S. Ives, Hunts. and 30/ on the verso 195 x 285 mm., 7 5/8 x 11 ¼ in. Provenance The Broderick family, Lytham St. Annes, Lancashire. Born into a family of artists, Garden William Fraser changed his name to William Fraser Garden so as to distinguish himself from his six brothers, all but one of whom were also active as landscape artists. Arguably the best of the so-called ‘Fraser Brotherhood’, Fraser Garden exhibited his watercolours at the Royal Academy, the Royal Scottish Academy and the Royal Institute of Painters in Water-Colours. The subjects of 66


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The Broderick family, Lytham St. Annes, Lancashire.

64 WILLIAM FRASER GARDEN Gillingham 1856-1921 Huntingdon

Fraser Garden’s watercolour views of his native Huntingdonshire and along the river Ouse in Bedfordshire are masterpieces of clarity and detail. As Christopher Newall has written, ‘Garden’s watercolors are a manifestation of the late-century revival of interest in the representation of landscape subjects in minute and painstaking detail. He chose picturesque but unremarkable subjects in his immediate locality – decrepit mill buildings and riverside inns along the banks of the Great Ouse, as well as pure landscapes…His works of the late 1880s and early 1890s are extraordinary in their pellucid clarity of light and their exact delineation of architectural and landscape detail.’ Another writer has noted of the artist that ‘Despite [his] almost too detailed approach his work lives, though he seldom populated his drawings except with a few high-flying

River Landscape near St. Ives, Huntingdonshire Watercolour Signed and dated W. F. GARDEN: ‘97. at the bottom centre Inscribed Near S. Ives, Hunts. - 30/- on the verso. 195 x 285 mm., 7 5/8 x 11 ¼ in. Provenance

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65 THOMAS MILES RICHARDSON, SENIOR Newcastle 1784-1848 Newcastle

66 GIOVANNI BOLDINI Ferrara 1842-1931 Paris

On the Beach at Cullercoats, Northumberland

A Parisian Theatre Audience

Watercolour over pencil heightened with touches of bodycolour 168 x 283 mm., 6 ½ x 11 in.

Pencil 151 x 93 mm., 5 7/8 x 3 5/8 in. Provenance Among the contents of Boldini’s Paris studio at the time of his death The artist’s widow, Emilia Cardona Boldini, Ferrara By descent to her nephew, Mario Murari Private collection, Italy. 68


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are three pages from a similar small sketchbook, each depicting the composer Giuseppe Verdi in the audience at the Théâtre du Vaudeville in Paris.) As one recent scholar has noted, ‘The subject of spectators clearly fascinated Boldini, as the large number of pencil and painted sketches suggest.’

Literature Tiziano Panconi, ed., Boldini Mon Amour: opere note e mai viste, nuove scoperte, fotografie e documenti inediti, Montecatini Terme, 2008, illustrated p.434. Giovanni Boldini produced a large number of pencil drawings and sketches of audiences at Parisian theatres, and several examples of these are today in the Museo Boldini in Ferrara and elsewhere. (Among comparable drawings by the artist

A page from the artist’s sketchbook, this drawing is a preparatory study for a large, unfinished pastel painting by Boldini, today in the collection of the Museo Boldini. 69


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67 WILLIAM COLLINGWOOD, R.W.S. Greenwich 1819-1903 Bristol

b. A Fishing Boat by the Sea, Hastings Signed with initials lower right and inscribed: Hastings/June 11/38 Coloured chalks on buff paper 271 x 186 mm., 10 ½ x 7 ¼ in.

a. Fishermen by their Boats on the Beach at Hastings Inscribed lower right: Hastings/Nov.2/38 Watercolour and pencil heightened with touches of white on grey paper 183 x 256 mm., 7 x 10 in.

c. A Beached Boat, Hastings Signed with initials lower left and inscribed: Hastings/June 14/38 Coloured chalks on buff paper 250 x 115 mm., 9 ¾ x 4 ½ in. 70


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c.

b.

Collingwood was born in Greenwich, the son of an architect. He studied under James Duffield Harding who taught so many artists in the 1820s and 1830s and his influence can be seen in these early drawings drawn in Hastings between June and November 1838. Collingwood became known for his alpine views and exhibited widely. He also established a reputation as a drawing master, teaching at his home at 13 Brixton Hill, London. His cousin William Collingwood Smith was also an artist and his son William Gersham Collingwood was a friend and pupil of John Ruskin. 71


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68 JAMES BAKER PYNE Bristol 1800-1870 London View of Heidelberg Castle and the River Neckar, Germany Watercolour over pencil heightened with bodycolour and gum arabic 317 x 472 mm., 12 ½ x 18 ½ in. Provenance: With the St Helier Galleries, Jersey This probably dates from Pyne’s visit to Germany in 1846 shortly after Turner had been there and painted the same view. 72


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69 JAMES BAKER PYNE Bristol 1800-1870 London Fishermen by a Harbour Signed lower right: PYNE. 34 Watercolour over pencil heightened with bodycolour and gum arabic 443 x 595 mm., 17 Âź x 23 Âź in. This early work by Pyne was drawn while he was still living in Bristol and is likely to be a view on the south coast of England. 73


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70 HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Sussex The Palazzo del Podesta, Teramo, Italy Signed with initials lower left and inscribed with title verso Watercolour and bodycolour over pencil on grey paper 120 x 166 mm., 4 ž x 6 ½ in. Exhibited: With the Leger Galleries, London, December 1961 Private Collection until 2012 Teramo is in the Abruzzi region between the Apennines and the east coast of Italy, approximately 93 miles from Rome. 74


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71 WILLIAM HENRY HUNT London 1790-1864 London

room. He often used members of his family as sitters and the present watercolour may show his daughter Emma, which would date it to circa 1845.

‘The Book of Omens’

Hunt was born in Covent Garden, London and, showing promise as a draughtsman, his father apprenticed him to John Varley in about 1804. He entered the Royal Academy Schools in 1808 and soon afterwards he earned commissioned from the Duke of Devonshire and the Earl of Essex to drawing interiors at Chatsworth and Cassiobury Park respectively. From birth, he had deformed legs and walking was difficult so interiors, still-lives and portraits were obvious subject matters. From the late 1820s he started exhibiting stilllives and soon achieved great success with collectors.

Indistinctly signed lower right Watercolour heightened with bodycolour, gum arabic, stopping out and scratching out 262 x 282 mm., 10 ¼ x 11 in. Hunt depicts an impressionable young woman who has been reading a book of omens and is consequently startled by a real or imaginary noise she has heard in a dark corner of the 75


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72a EUGÈNE GRASSET Lausanne 1845-1917 Paris

particular jewellery, stained glass and furniture. He also produced designs for theatrical and advertising posters, magazine covers and book illustrations.

Design for a Brooch

The present sheet is a design for the ‘Marguerite’ daisy brooch – in gold, ivory, enamel, sapphire and topaz – created by the jewelers Henri and Paul Vever in 1900 and today in the collection of the Musée des Arts Decoratifs in Paris. Half hidden by the woman’s flowing hair, the inscription reads ‘Un peau, beaucoup, passionément, pas du tout’ (‘I love you a little, a lot, passionately, not at all’), which may better be freely translated into English as ‘She loves me, she loves me not.’ The ‘Marguerite’ brooch was one of the most admired of some twenty pieces of jewellery, each designed by Grasset and made by Vever, which were shown at the Exposition Universelle in Paris in 1900 to much acclaim, winning several prizes. Of the jewellery designed by Grasset for Vever, twelve examples survive today (eleven in museum collections) while the appearance of a further five pieces are known through old photographs or preparatory drawings by Grasset.

Gouache and watercolour over a pencil underdrawing, on buff paper A number of pencil sketches for various elements of the brooch drawn near the centre right edge of the sheet Signed with the artist’s monogram EG at the lower right Inscribed Eugene Grasset (?) Vever expo 1900 at the lower left edge of the sheet. 320 x 250 mm., 12 5/8 x 9 7/8 in. [sheet] Trained as an architect in his native Switzerland, Eugène Grasset settled in Paris in 1871. He was active mainly as a specialist designer in the applied and decorative arts, in 76


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72b EUGÈNE GRASSET Lausanne 1845-1917 Paris

around 1900. The piece was exhibited at the Exposition Universelle in Paris that year but is now lost, and its appearance is known only through this drawing for it.

Design for a Comb in the Form of a Hydrangea Flower

A stylistically similar drawing by Grasset for a different comb, in the form of a sea nymph, is in the Cooper-Hewitt National Design Museum in New York. Three combs designed by Grasset for Vever are today in the collection of the Musée des Beaux-Arts de la Ville de Paris at the Petit Palais in Paris. A similar depiction of hydrangeas is found in an earthenware and cloisonné enamel tile designed by Grasset for the ceramic factory of Emile Muller & Co. in Ivry in 1894.

Gouache, watercolour and gold over a pencil underdrawing, on light brown paper 313 x 239 mm., 12 ¼ x 9 3/8 in. [sheet] This drawing, which includes a sketch of the comb in profile, drawn in pencil near the right edge of the paper, is a design for a ‘Hortensia’ comb made by the jeweller Henri Vever 77


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73 GEORGES DE FEURE Paris 1868-1943 Paris

the facade and designing two suites of furniture for Bing’s Pavillon de l’Art Nouveau at the Exposition Universelle of 1900; a project that earned extravagant praise from critics. Thereafter he worked closely with Bing as an artistedécorateur, providing numerous designs for furniture, stained glass, wallpaper, ceramics and lamps. In 1903 a large exhibition of De Feure’s decorative work for Bing’s Galerie de l’Art Nouveau was held in Paris. Among his significant later projects was the decoration of the Parisian studio of the couturier Madeleine Vionnet in 1922, and interiors and pavilions for various expositions.

An Oriental Palace by the Sea Gouache, over a pencil underdrawing, on pale grey paper Signed G de Feure at the lower right 214 x 267 mm., 8 3/8 x 10 ½ in. [sheet] Of Belgian and Dutch origins, Georges de Feure was largely self-taught as an artist and illustrator, and, like such contemporaries as Alphonse Mucha and Eugène Grasset, was equally skilled in the field of applied or decorative arts. He embarked on an association with the Art Nouveau pioneer Siegfried Bing that was to establish his reputation, decorating

The present sheet would appear to be a design for a stage set. A compositionally similar gouache drawing, with a castle in the distance framed by a proscenium-like arrangement of trees and branches in the foreground, is in a private collection.

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74 FRENCH SCHOOL 20th Century

lines in black and red ink Signed with a device or symbol at the lower right 557 x 441 mm., 21 7/8 x 17 3/8 in.

A Woman with a Pearl Necklace Provenance Ralph Esmerian, New York.

Pen and black ink, gouache and watercolour, over a pencil underdrawing on buff paper, with framing 79


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75 MATHURIN MEHEUT Lamballe 1882-1958 Paris

Douarnenez, Quimper, Roscoff, Paimpol and elsewhere. Between 1910 and 1912 Méheut worked at the marine biology station in Roscoff, and his drawings resulted in the publication of a book, Etude de la mer, flore et faune de la Manche et de l’Océan, and the exhibition of some 450 of his drawings at the Musée des Arts Décoratifs in Paris in 1913. Throughout his travels, Méheut recorded the appearance of the peoples, sites, animals and plants of the places he visited. A member of the Académie de la Marine, he was appointed official painter to the Marine Department in 1921. In 1925 Méheut began to decorate commercial passenger ships and ocean liners such as the SS Normandie. He was also active as a decorative mural painter, book illustrator, and ceramic painter. The largest collection of the artist’s work is today in the Musée Mathurin Méheut in Lamballe, established with works donated by the painter’s daughter.

A Holly Branch Gouache and black chalk Signed with the artist’s monogram at the lower right 306 x 203 mm., 12 x 8 in. Provenance The artist’s estate By descent to his daughter, Maryvonne Méheut The Musée Mathurin Meheut, Lamballe, until 2012 A Breton painter, Mathurin Méheut established his career in Paris, although he returned frequently to Brittany, working at 80


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76 GIUSEPPE (BEPPE) CIARDI Venice 1875-1932 Quinto di Treviso

completed his training at the Accademia in Venice, where he studied under Ettore Tito until 1899, when he exhibited two paintings in Venice. In 1894 an exhibition of sixty of the young painter’s works were shown at the Castello Sforzesco in Milan. In 1900 Ciardi won a prize at an exhibition at the Brera in Milan, and the following year earned a gold medal at an exhibition in Munich. Ciardi worked prolifically and achieved much success with his landscape paintings, executed with a confident handling of paint and a particular interest in effects of light.

Santa Marta, Venice Oil on panel Numbered 9 and inscribed Santa Marta on the reverse Inscribed Santa Marta – Venezia / l’impressione di Beppe / Ciardi. / per l’autenticità / Emilia Ciardi on the reverse 117 x 192 mm., 4 5/8 x 7 5/8 in.

The area of Santa Marta, at the extreme southwestern tip of Venice on the Canale della Giudecca, is today the home of the city’s port. Long a poor, working class neighborhood of fishermen, the area was centred around the church and convent of Santa Marta, founded in 1315 and rebuilt in 1468. The church was deconsecrated in 1805 and was later used as a warehouse. Ciardi’s spirited oil sketch shows Santa Marta before the construction of the port buildings and low income housing around the abandoned church.

Provenance The artist’s wife, Emilia Ciardi, Quinto di Treviso Thence by family descent, until 2011 Beppe Ciardi was, together with his younger sister Emma, a student of his father, the painter Guglielmo Ciardi. He 81


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77 ‘GUNNER’ F. J. MEARS c.1890-1929

as experienced by a soldier in the trenches. Thirty of his smallscale works were exhibited at 20 Old Bond Street in London in May 1920, and among the purchasors of his work were Lady Astor, the Duchess of Norfolk and Lieutenant General Hubert Gough, commander of British Fifth Army during the Great War. An article about the exhibition in the Daily News of 7 May 1920 bore the headlines ‘Art genius who paints in a garret. Lowly man’s pictures bought by aristocracy. Dukes as customers.’, and the success of the exhibition is said to have saved Mears and his wife from abject poverty.

Soldiers with Gasmasks Advancing on the Western Front at Night Watercolour and silver paint over an underdrawing in pencil Signed, dated and inscribed Gnr F J Mears BEF 1916 upside down at the lower left 114 x 181 mm., 4 ½ x 7 1/8 in.

Mear’s work is usually signed upside down. When asked why this was so, Mears is said to have replied, “The whole world is upside down. Why should my signature be the right way up?” Paintings by Gunner Mears are in the collections of the Imperial War Museum in London, the World War History and Art Museum in Alliance, Ohio, and elsewhere.

Very little is known of the soldier and artist F. J. Mears, who served with the Royal Garrison Artillery in France and Belgium during the First World War, as part of the British Expeditionary Force. In a newspaper interview after the war, Mears noted that his watercolours tried to express the horror of warfare 82


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78 ERICH WOLFSFELD Krojanke 1884-1956 London

North Africa and the Middle East. A popular and respected teacher at the Akademie in Berlin, as a German Jew Wolfsfeld was forced to resign from the school in 1935. Three years later he settled in England, bringing much of his work with him. A large and comprehensive exhibition of his work was held at the Derby Art Gallery in 1953.

The Head of a Soldier Pen, brush and brown ink and brown wash Signed Erich Wolfsfeld at the lower left 373 x 266 mm., 14 5/8 x 10 ½ in.

The present sheet was drawn during the First World War, when Wolfsfeld served in the German army as an officer and a trainer of military police dogs. The artist produced a number of drawings and sketches of military subjects, including several studies of wounded soldiers. These were usually drawn in a combination of pencil, chalk, brown ink and brown or grey wash, and the artist sometimes even used boot polish, which may be the case here. A related drawing of the same soldier seen from the front, of identical technique and dimensions, was exhibited in London in 1986.

Provenance By descent in the family of the artist Erich Wolfsfeld’s early career was largely devoted to printmaking, but by 1912 he had begun painting in oils, although he always preferred to work on treated paper, rather than canvas. He travelled widely, and in particular to 83


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79 A. MORAEL 20th Century

me fut donnée par son mari quelque temps après le décès de Madame Dehouck en Janvier 1930 en reconnaissance de services rendus en cette circonstance. M. Maertens.’ pasted onto the old backing board 300 x 232 mm., 11 7/8 x 9 1/8 in.

A Young Moroccan Girl Watercolour Signed and dated A. Morael / Rabat 1921 at the lower right A typed label reading ‘Cette aquarelle, oeuvre originale de Mademoiselle MORAEL, elève de Mr. DEBAENE, présente une jeune marocaine faite au course de son sejour au Maroc. Offerte par l’artiste à Madame DEHOUCK, Postière à DUNKERQUE, elle

Nothing is known of the female artist responsible for this charming watercolour portrait. It is interesting to note, however, that the artist was visiting Morocco less than a decade after the country had been opened up to foreign visitors. Unlike Tunisia or Algeria, Morocco remained largely closed to foreigners throughout the 19th century, until it was declared a French protectorate in 1912. 84


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80 EDWARD GORDON CRAIG Stevenage 1872-1966 Vence

of stage design and scenography. In 1904 he was invited to Berlin to work with the Lessing Theatre, and there wrote a book entitled The Art of the Theatre. In Berlin Craig worked with Max Reinhardt on productions of The Oresteia, The Tempest, Macbeth, Oedipus and King Lear. It was also in Berlin that he met Isadora Duncan, whose manager and lover he became. He also worked in Florence, Copenhagen and Moscow, where he designed a famous production of Hamlet in 1912. Between 1908 and 1929, Craig published The Mask, the most influential theatrical magazine of the day, as well as several books on the theatre. His activity as a stage designer lessened considerably after the First World War, and his last production was mounted in 1929. On his death he left much of his collection of theatrical material to the Bibliothèque Nationale in Paris.

Costume Design for a Young Boy Watercolour, over traces of an underdrawing in pencil, with touches of white heightening, on light brown paper Signed with the artist’s monogram at the left centre Inscribed Francis on the verso 244 x 126 mm., 9 5/8 x 5 in. The illegitimate son of the actress Ellen Terry and the architect Edward William Godwin, Edward Gordon Craig abandoned his career as an actor in 1899 in favour of working in the field 85


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81 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S. Edinburgh 1880-1969 London

greater pleasure...We once spent a glorious autumn in the Highlands, six weeks of perfect painting weather from the start of October to mid-November. The trees, rowan, beech, birch and oak, became more and more autumnal till all was a blaze of vermilion and gold...A lot of work was done there: I think I painted forty water-colours.’ Flint first exhibited a number of Highland watercolours in his second one-man show, at the Fine Art Society in London in 1911.

Perthshire Hillside in Autumn Watercolour Signed and dated W. RUSSELL FLINT 1913 at the lower right Titled and inscribed Perthshire Hillside in Autumn / W Russell Flint / 12 Bedford Road / Bedford Park on the old backing board 276 x 384 mm., 10 7/8 x 15 1/8 in.

82 E. ADELBRECHT 1921

Provenance The Fine Art Society, London, in 1914 Erwin H. Furman, Los Angeles

Two Men Observing an Elegant Woman Carrying Several Hatboxes

William Russell Flint was always particularly fond of the scenery of his native Scotland. As his friend and biographer Arnold Palmer has noted of the artist, ‘The dark, rich landscape of Scotland is what he likes best to render; and after Scotland, Spain, and next in order Southern France.’ The artist himself once noted that, ‘I suppose I have painted more Scottish landscapes than anything else; and I never paint anything with

Black ink, watercolour and gouache, over an underdrawing in pencil and traces of red chalk, on buff paper, with framing lines in black ink Signed and dated E. ADELBRECHT. 5.21. at the lower right 321 x 244 mm., 12 5/8 x 9 5/8 in. 86


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83 BERNARD BOUTET DE MONVEL Paris 1881-1949 near the Azores

urban views, Boutet de Monvel also produced numerous book illustrations, as well as fashion drawings. He provided drawings for Harper’s Bazaar in the 1920’s and 1930’s, and contributed illustrations to the first French edition of Vogue, published in June 1920, for which he continued to illustrate the latest fashions for several years. He died in a plane crash in 1949.

A Gentleman Smoking Ink and gouache Signed BERNARD / B. DE MONVEL at the lower left. 192 x 101 mm., 7 5/8 x 4 in. [sheet]

This drawing may be dated to the first half of the 1920’s. Boutet de Monvel was himself a well-known dandy, known for his innate style and elegant dress sense. As the illustrator Georges Lepape wrote, in a letter written in November 1926 from New York: ‘Since we arrived a week ago we’ve seen a lot of Bernard Boutet de Monvel and his brother Roger. We often go out or go to receptions together, and the other night at midnight Bernard and I were in topper and tails on a bus in Fifth Avenue; it was hilarious.’

Provenance Ralph Esmerian, New York. Bernard Boutet de Monvel is regarded as one of the finest illustrators of the Art Deco era. He began to study painting in 1900, with the painter Luc-Olivier Merson. Although he is perhaps best known as a portrait painter and a painter of 88


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84 LAWRENCE EDWIN BLAZEY Cleveland(?) 1902-1999 Cleveland(?)

Lawrence Edwin Blazey was trained under the painter Frank Wilcox at the Cleveland School of Art, and also studied at the Cranbrook Academy of Art in Michigan and the Slade School of Art in London. He is best known as a draughtsman and illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, designer, ceramicist and product development engineer. In later years he taught at the Cleveland School of Art, and gave lectures on industrial design. Works by Blazey are in the collection of the Cleveland Museum of Art and elsewhere.

Skyscaper at Night Pen and brown ink and brown wash, pencil and gouache, within a fictive drawn mount Signed le. blazey and inscribed with a monogram device MG (for Manning & Greene Inc.) at the lower right 542 x 394 mm., 21 3/8 x 15 ½ in.

The present sheet was probably drawn for the commercial advertising firm Manning & Greene Inc., of Cleveland, Ohio. 89


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85 ALGERNON NEWTON, R.A. London 1880-1968 London

always seemed to be a warm haze enveloping everything including the sky and the clouds floating behind the roofs and chimney pots looked even more majestic than they had appeared in Cornwall. I was chiefly attracted to the poorer districts and the slums. They seemed to me so much more beautiful than the West End of London, there was more of the individual character of London there, far more mental atmosphere and a certain sadness made up of human associations hung over the sordid streets and backwaters of London.’

St. Paul’s Cathedral from the South Bank of the Thames Pen and black ink and watercolour Signed with initials and dated AN / 23 at the lower right 338 x 470 mm., 13 ¼ x 18 ½ in. Much of Algernon Newton’s work was made up of urban views of London, often depicted without figures and imbued with a sense of profound stillness and calm. He tended to avoid the more famous parts of the city, preferring instead the run-down areas of Bayswater, Paddington and the industrial landscapes along the Regent’s Canal in North London. As Newton recalled in his memoirs, ‘When I first came to London from Cornwall, I could not see anything I wanted to paint but after a few weeks of wandering around the streets in all parts of London, I came to the conclusion that there was much worth painting and that London held a very individual beauty of its own, a beauty that was London. There

86 PAUL MULLER 20th Century Lucky Strike Gouache, gold and watercolour on paper laid down on board Signed and dated PMuller / 1928 at the upper left 377 x 281 mm., 14 7/8 x 11 1/8 in. [image] 90


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91


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87 ROSALIE BRILL Grantham 1903-1992

Active mainly between 1920 and 1940, Rosalie Brill (née Clarke) was the wife of the painter Reginald Brill (19021974), whom she met in 1923 and married two years later. Rosalie served as her husband’s chief model throughout the early years of their marriage. When Reginald Brill was awarded a scholarship to the British School in Rome in 1927 Rosalie accompanied him there and continued to work as an artist. She displayed a particular penchant for flower subjects, and exhibited occasionally at the Royal Academy later in her career.

Lillies in a Pot Watercolour over pencil 555 x 369 mm., 21 7/8 x 14 ½ in.

92


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88 UBALDO COSIMO VENEZIANI Bologna 1894-1958 Milan

After completing his studies at the Accademia di Brera in Milan, Ubaldo Veneziani worked as a fashion illustrator, with his drawings appearing in several fashion magazines. Also active as a painter, illustrator and poster designer in the 1930’s and 1940’s, Veneziani eventually gave up a career in the advertising business to devote himself solely to art and design. Datable to the first half of the 1920’s, this drawing appears to have been used as an illustration for the Italian monthly review Novella, Rivista letteraria. The content of the magazine – launched in 1919 by the publisher Italia but later taken over by the Mondadori publishing house – was largely devoted to short stories by Italian writers.

In the Rain Pen and black ink. over a pencil underdrawing Signed VENE / ZIANI at the lower left Inscribed testata / piccola at the lower left Further inscribed Novella 4, base cm. 7.= and 766 / Mondadori on the verso. 324 x 251 mm., 12 ¾ x 9 7/8 in. 93


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89 CECIL ARTHUR HUNT, R.W.S. Torquay 1873-1965 Burnham The Blue Moor Signed lower right Watercolour and bodycolour 298 x 370 mm., 11 ¾ x 14 ½ in. Provenance: With the Fine Art Society, 1919 Given as a wedding present to Seymour and Joan Whidborne, December 1919 94


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90 ARTHUR CHARLES KEMP Kings Heath, nr. Birmingham 1906-1968 Birmingham(?)

entered the Birmingham School of Art, winning an award for excellence in arts and crafts at his graduation in 1936. He was also qualified as an art teacher, and was thus employed for the next few years, while continuing to work as both aa painter and silversmith. In the early 1940’s the Kemp family moved from Kings Norton in Worcestershire to the town of Rugby in Warwickshire. Kemp also spent much time travelling around Wales, where he would often find subjects to paint, and he had a second home at Llanystumdwy, on the river Dwyfach. One of his few public commissions was a very large mosaic for the Rugby College of Technology, while a second mosaic of The Virgin and Child, proposed for the rebuilt Coventry cathedral. never progressed beyond preparatory drawings. In 1960 Kemp suffered a stroke, which left him without the full use of his left arm, though he continued to draw and sketch as often as possible.

The Barn, Cawston Lane Farm Brown ink and brown wash over a pencil underdrawing, on oatmeal paper Inscribed AK 88 and 39 on the verso. 390 x 574 mm., 15 3/8 x 22 5/8 in. [sheet] Provenance By descent to the artist’s son, Jeremy Raynham-Kemp Born into a Quaker family, Arthur Kemp had wished to study art but, facing the disapproval of his father, was instead trained as a musician. In the mid-1920’s he joined the City of Birmingham Orchestra, but following his marriage in 1934, he

Datable to c.1939-1940, this drawing depicts the barn at Cawston Lane Farm at Rugby in Warwickshire. 95


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91 ARTHUR CHARLES KEMP Kings Heath, nr. Birmingham 1906-1968 Birmingham(?)

artist, his wife and son were staying in a cottage in Skeabrae in the Orkney Islands, and father and son rowed across the Loch of Harray. As his son recalled many years later, ‘1961 saw more improvement in Dad and for the first time ever the three of us went away for a holiday to the Orkney Islands. I had hired a rowing boat and Dad and I would go off together where he would be quite content to sit and sketch while I did a spot of fishing. Other days we would go off around the headlands and find a suitable subject to paint. I remember one day the wind was so strong that I had to hold the paper down on his board for him to paint or the lot would have been blown away to sea.’

Red Sky over Loch Harray, Orkney Watercolour Numbered AK 192 on the verso 191 x 279 mm., 7 ½ x 11 in. Provenance By descent to the artist’s son, Jeremy Raynham-Kemp

A related, albeit more finished, sky study is in the collection of the Museum of Modern Art of Wales in Machynlleth in Powys, which houses a large number of paintings by Arthur Kemp.

This watercolour was one of a series of sky studies painted during the Kemp family’s summer holidays in 1961. The 96


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a. Baptism 92 TRISTRAM HILLIER, R.A. Peking 1905-1983 Bristol

Provenance The Revd. O. I. Waring, and by descent in the family of the artist until 2010

The Seven Sacraments: Baptism, Penance, Eucharist, Confirmation, Marriage, Ordination and Extreme Unction

Literature Ina Oppenheimer, ed., The Mass and Redemption in Pictures, London, 1958, pp. 403-411 Jenny Pery, Painter Pilgrim: The Art and Life of Tristram Hillier, London, 2008, pp.125-127, figs.104.1-104.7

Each pencil or pencil and coloured pencil Each (except Extreme Unction) signed Hillier, and each titled and inscribed in the margins Each approximately 179 x 158 mm., 7 x 6 1/8 in. [image]

Exhibited Bradford, Cartwright Hall, and elsewhere, A Timeless Journey: Tristram Hillier R.A. 1905-1983, 1983-1984, no.99 97


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b. Penance

c. Eucharist

Tristram Hillier’s return to the Catholic faith of his childhood ensured that he remained deeply religious in his mature years, and his religious convictions and deep spirituality was at times vividly expressed in his work. This series of drawings representing the seven sacraments of the Catholic faith were drawn between 1956 and 1957, and were used to illustrate a book entitled The Mass and Redemption in Pictures, published in 1958. As was noted of these drawings when they were exhibited in the Hillier exhibition of 1983-1984, ‘This unusual and unique sequence of seven drawings representing the position of hands in the Seven Sacraments of the Catholic Church were drawn before the Second Vatican Council made changes in the manner of the administering of the Sacrament. They were produced for an edition of the Bible published by his friend George Rainbird. Papal approval was sought and gained for this in the course of a journey to Rome with both George Rainbird and his friend and advisor Fr Philip Caraman, S.J..’ In her review of the exhibition, Frances Spalding singled out these seven drawings, ‘which mesmerize with their combination of accuracy and sensitivity.’

Jenny Pery, in her recent monograph on Hillier, describes the origins of this series of drawings in more detail: ‘Hillier’s delicate drawings, full of spirituality, made to illustrate the Seven Sacraments (1956-57) are all of hands engaged in the sacramental rites. The hand representing Baptism holds a jug, Confirmation is portrayed as an outstretched hand, Penance is a single upright hand, Eucharist a pair of hands holding a chalice, Extreme Unction a downward-pointing hand surrounded by an eye, ear, nose and mouth, Ordination a pair of hands knotted together and Marriage links two hands with a ring. Some of these were studies of the hands of Christopher Leyne, then art master at Downside, who in 1956 had suggested that his promising pupil Rob Stuart should take private lessons from Hillier. As Leyne wrote to Stuart: ‘Tristram, who has been up in the Attic quite a lot doing some drawings of my hands to help illustrate the Seven Sacraments, is very keen on the student having only one master.’ Hillier’s only pupil, Stuart was initially sent from Downside for weekly tutorials in Hillier’s studio, later confessing that these lessons terrified him. He did not become a ‘follower’, eventually abandoning painting in favour of picture dealing while remaining a friend and confidant. The exalted, prayerful quality of the Seven Sacraments drawings can hardly be missed. Perhaps they were an impossible act for a student to follow.’ 98


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d. Confirmation

e. Marriage

f. Ordination

g. Extreme Unction

99


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93 EDWARD ARDIZZONE, R.A. French Indo-China 1900-1979 Rodermersham Green The Watcher Watercolour over pencil 117 x 220 mm., 4 ½ by 8 ½ in. Provenance: Mrs E. Ardizzone With Chris Beetles Ltd Literature: Gabriel White, Edward Ardizzone, London, 1979, colour plate III, between pp.80 and 81 This is one of a series of sketches of the subject, originally on one sheet, recorded by Gabriel White as being in the artist’s collection, and dated by him to circa 1970. 100


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94 UNKNOWN ARTIST 20th Century Design for a Poster or Advertisement: A Girl Tasting Sugar from a Barrel Oil paint, pencil, black chalk and gouache on card 301 x 211 mm., 11 7/8 x 8 Âź in. 101


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95a INGRID GERHARDT Düsseldorf(?) 1925-2002

95b INGRID GERHARDT Düsseldorf(?) 1925-2002

Landscape with a Bridge over a Stream

A Study of Foliage with White Berries

Watercolour and gouache, with pen and brown ink and brown wash, on pale grey paper A study of a haystack in pencil on the verso. 192 x 292 mm., 7 5/8 x 11 ½ in.

Watercolour and gouache 221 x 167 mm., 8 ¾ x 6 5/8 in.

Almost nothing is known of the German artist Ingrid Gerhardt, who does not appear in any biographical dictionaries of 20th century artists. She studied at the free art school established by the painter Jo Strahn in Düsseldorf in the 1940’s. Gerhardt lived and worked for much of her later life in France, in the département of Ille-et-Vilaine in Brittany. That she was also active as a printmaker is evidenced by an illustration of a woodcut of a puppet-master, published in the newsletter of a German amateur theatrical society in 1955. 102


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103


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96a INGRID GERHARDT D端sseldorf(?) 1925-2002 A Study of Leaves, Berries and Fruit Watercolour and gouache 200 x 239 mm., 7 7/8 x 9 3/8 in. 104


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96b INGRID GERHARDT Düsseldorf(?) 1925-2002 A Derelict Farmhouse Watercolour and gouache, with pen and brown ink and brown wash Signed and dated I. Gerhardt / 1948 at the lower right 176 x 266 mm., 6 7/8 x 10 ½ in. 105


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97 CHARLES FREDERICK TUNNICLIFFE, R.A. Langley 1901-1979 Anglesey

income earned from selling his etchings, which so impressed his tutors at the Royal College that he was allowed an extra year to work on this aspect of his art. In 1932 Tunnicliffe was commissioned to produce wood engravings for an illustrated edition of Henry Williamson’s acclaimed novel Tarka the Otter, the success of which led to considerable demand for his work as an illustrator. The artist was to illustrate more than eighty books, including several other works by Williamson, as well as books by H. E. Bates, Mary Priestley, Ernest Hemingway, Richard Church and others. Best known for his depictions of birds, Tunnicliffe published several books of his bird illustrations. He also produced drawings as designs for other projects, such as calendars, advertisements and Brooke Bond tea cards. In 1944 he was admitted as an Associate member of the Royal Academy, rising to Academician ten years later. From 1947 until his death Tunnicliffe lived and worked on the island of Anglesey in North Wales.

A Lioness Watercolour, heightened with gouache, over an underdrawing in pencil 64 x 159 mm., 2 ½ x 6 ¼ in. Provenance Bunny Bird Fine Art, London, in 1986 Literature Robert Gillmor, Charles F. Tunnicliffe. RA: The Composition Drawings, London, 1986, p.48, no.272, illustrated p.49 Raised on a small farm in Cheshire, Charles Tunnicliffe drew avidly from an early age and won a scholarship to the Royal College of Art in London. He supported his scholarship with

The present sheet is study for the large finished watercolour Whistling Thorn, exhibited at the Royal Academy in 1972. 106


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98 CHARLES FREDERICK TUNNICLIFFE, R.A. Langley 1901-1979 Anglesey

As his close friend and fellow artist Kyffin Williams has written of Charles Tunnicliffe, ‘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...He had learned to master the art of the watercolour, the transparency of the wash and the subtle addition of gouache...He had filled his sketch books with information, both artistic and scientific, that will always be referred to by those who study our wild-life.’

A Prowling Tiger Watercolour, heightened with gouache, over an underdrawing in pencil, and with framing lines in pencil 163 x 247 mm., 6 3/8 x 9 ¾ in. Provenance Bunny Bird Fine Art, London, in 1986

This watercolour is a preparatory study for Tiger, which was included in the exhibition Birds, Beasts & Fishes at the Tryon Gallery in London in 1962. A very similar tiger appears on the cover of an album of a set of fifty Picture Cards entitled Asian Wild Life, illustrated by Tunnicliffe and produced by Brooke Bond Tea in September 1962.

Literature Robert Gillmor, Charles F. Tunnicliffe. RA: The Composition Drawings, London, 1986, p.47, no.267, illustrated p.49

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99 PAUL HOGARTH, R.A. Kendal 1917-2001 Cirencester

area extending a few miles inland from the lake and seven or eight miles along its shore contains a historic anthology of the most splendid architecture in America...But marvelous as certain buildings are, what makes Chicago so impressive is the placing of these buildings near the lake...Chicago is architecturally successful in setting up great vertical towers near the lake, contrasting with the texture of the water the horizontality of the plains. Although in one of the flattest parts of America, the buildings – just because there is such a concentrated battery – project elevation and suggest, when one is on the ground, views from high up. And if one does go high up, one sees by day the immense luminous shield of the lake laid against the shore of roads and parks and buildings, and by night the endless moving sparkling chains of lights of cars against the lakeside towered over by golden luminous skyscrapers.’

Chicago Skyline Watercolour, pen and black ink and grey wash, over an underdrawing in pencil, on thick white paper Signed and titled Paul Hogarth Chicago Skyline at the lower left 407 x 588 mm., 16 x 23 1/8 in. [sheet] Literature Paul Hogarth and Stephen Spender, America Observed, New York, 1979, illustrated pp.84-85

A vertical variant of this watercolour, showing just the left half of the composition, is in a private collection. This smaller drawing was used as one of Hogarth’s illustrations for Nigel Buxton’s guidebook America, published in 1979.

This large watercolour may be dated to 1978, and was used as a double-page illustration in Paul Hogarth’s book America Observed, with text by Stephen Spender, published in 1979. As Spender writes, in the text which accompanies the present drawing, ‘The real and lasting triumph of Chicago is that the 108


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100 ANNE CONNELL Born 1959

Drawn in 2012. Anne Connell lives and works in Portland, Oregon, and has exhibited widely in America over the past two decades. In November 2009 Stephen Ongpin Fine Art mounted the first exhibition of Connell’s paintings to be held in Europe. A new exhibition of paintings is scheduled for the fall of 2013.

Study with Juniper Gouache and sepia on handmade marbled paper, mounted on panel 305 x 305 mm., 12 x 12 in. 109


INDEX OF ARTISTS

ADELBRECHT, E.

no.82

CONTINENTAL SCHOOL, c.1700

ALEFOUNDER, John

no.34

COSTA, Giovanni (Nino)

ALKEN, Henry

no.29

COX, David

ALLINGHAM, Helen

no.51

COX JNR., David

no.47

APPIAN, Louis

no.52

CRAIG, Edward Gordon

no.80

ARDIZZONE, Edward

no.93

CRAPELET, Louis-Amable

no.33

CROMEK, Thomas Hartley

no.30 no.22

ATKINSON, John Augustus

no.7

no.4 no.32 nos.44-46

BERNINGER, Edmund

no.57

DAYES, Edward

BARNARD, William Henry

no.20

DE CAULLERY, Louis

no.2

BEVERLY, William Roxby

no.53

DE FEURE, Georges

no.73

BIANCHI, Mosé

no.42

DEVIS, Anthony

no.8

BLAZEY, Lawrence Edwin

no.84

DE WINT, Peter

nos.28, 35

BOLDINI, Giovanni

no.66

BOLOGNESE SCHOOL, 17th Century no.1 BOUTET DE MONVEL, Bernard

no.83

BRABAZON, Hercules Brabazon

no.70

BRIGHT, Henry

nos.54-55

EDRIDGE, Henry

no.24

FARINGTON, Joseph

no.10

FEURE, Georges de

no.73 no.81

BRILL, Rosalie

no.87

FLINT, William Russell

BUTLER, Arthur Gardiner

no.41

FRASER GARDEN, William

nos.63-64

FRENCH SCHOOL, 19th Century

no.58

CALBET, Antoine

no.43

FRENCH SCHOOL, 20th Century

no.74

CATS, Jacob

no.13

FROMENTIN, Eugène

no.31

CAULLERY, Louis de

no.2

CIANI, Cesare

no.60

GERHARDT, Ingrid

no.95-96

CIARDI, Beppe

no.76

GOOCH, Thomas

no.26

COLLINGWOOD, William

no.67

GORDON CRAIG, Edward

no.80

GRASSET, Eugène

no.72

CONNELL, Anne

no.100 110


HILLIER, Tristram

no.92

ROWLANDSON, Thomas

HOGARTH, Paul

no.99

RUSSELL FLINT, William

HUNT, Cecil Arthur

no.89

HUNT, William Henry

no.71

JOY, John Cantiloe KEMP, Arthur Charles

no.12

no.81 nos.6, 21, 23

SMITH, John Raphael

no.27

STUCK, Franz von

no.59

THORNHILL, Sir James

nos.90-91

LAMBERT JNR, James

no.3

TUNNICLIFFE, Charles Frederick

nos.97-98

VARLEY, John

nos.36-40

no.5

LAWRENCE, Sir Thomas LEAR, Edward

SANDBY, Paul

nos.14-19

no.11 nos.48-49

VENEZIANI, Ubaldo Cosimo

no.88

LEITCH, William Leighton

no.61

VON STUCK, Franz

no.59

MEARS, F. J. (‘Gunner’)

no.77

WOLFSFELD, Erich

no.78

MEHEUT, Mathurin

no.75

MEISSONIER, Jean-Louis-Ernest

no.62

MORAEL, A.

no.79

MULLER, Paul

no.86

NATTES, John Claude

no.9

NEWTON, Algernon

no.85

PATON, Waller Henry

no.56

PILLEMENT, Jean-Baptiste

no.25

PYNE, James Baker

nos.68-69

RICHARDSON Senior, Thomas Miles

no.65 111


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 Frieze Masters in London in October. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.

Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby's British Pictures department in 1993. He quickly specialised in early British drawings and watercolours and took over the running of Sotheby's Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby's in early 2004 and has worked as a dealer since then, first based at home, and now in a gallery in St James's, which he shares with Stephen Ongpin. Guy's main yearly exhibition of early drawings and watercolours is in May and June and he also exhibits at the 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 info@stephenongpinfineart.com www.stephenongpin.com

Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 3839 or +44 (0)7956 968 284 guy@peppiattfineart.co.uk www.peppiattfineart.co.uk 112


ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

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

2012-2013

Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd.

ONE HUNDRED DRAWINGS AND WATERCOLOURS

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Winter Catalogue 2012-2013  

Stephen Ongpin Fine Art

Winter Catalogue 2012-2013  

Stephen Ongpin Fine Art