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CAPTAIN JAMES WALLIS, 46TH REGIMENT; HIS 1821 AUSTRALIAN VOLUME, INDIA SKETCH BOOK AND 1847 WATERCOLOUR BY AUCTION SUNDAY, OCTOBER 16TH, 2011 TWELVE NOON INFORMATION FOR PERSPECTIVE BIDDERS: For those unable to attend the auction in person Gardner’s will execute absentee bids without charge. Telephone bidding may also be arranged on the understanding this method is not infallible. Gardner’s will not be held responsible for failure to execute absentee or telephone bids. In all cases arrangements should be made as early as possible. Potential bidders unknown to Gardner’s may be required to furnish credit information or other suitable references. The purchaser acknowledges that certain property may be subject to the provisions of the Canadian Cultural Property Export and Import Act, and that compliance with the provisions of the act is the sole responsibility of the purchaser. In addition to the hammer price all sales are subject to a 15% buyer premium. Canadian HST (Harmonized Sales Tax) of 13% is also charged unless the purchaser can demonstrate to Gardner’s satisfaction that they are exempt. Shipments to outside the HST jurisdiction must be made directly from Gardner’s with documentation. Gardner’s will not refund HST once the lot has been released. Bidding is in Canadian dollars. At the time of printing, one Canadian dollar was equal to .95 AUD, .62 GBP and 1.01 USD. Payment to be made by either bank wire to our account, certified cheque or bank draft. Gardner’s accept Visa or MasterCard to a maximum of $20,000.

GARDNER GALLERIES Estate & Fine Art Auctioneers

186 YORK STREET, LONDON, ONTARIO, CANADA N6A 1B5 Telephone 519-439-3333 Facsimile 519-439-8873 Bid Line: 519-439-4592 E-Mail: info@gardart.com www.gardnergalleries.com The Gardner Galleries | i


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LOT 80 VOLUME: “An Historical Account of The Colony of New South Wales and its Dependent Settlements; in Illustration of Twelve Views Engraved By W. Preston, A Convict; From Drawings taken on the Spot, by Captain Wallis, of the Forty-Sixth Regiment, To Which is Subjoined An Accurate Map of Port Macquarie, and the Newly Discovered River Hastings, By J. Oxley, Esq., Surveyor General To The Territory. London: Printed For R. Ackermann, Repository Of Arts, Strand, by J. Moyes, Greville Street. 1821” Black leather spine with gilt decoration and lettering “New South Wales”; marbleized boards 18 17/16 in high, 13 1/4 in (48.0 x 33.7cm) wide with angled leather at corners and four engravings hand coloured and pasted down - on front board three panels with top one “Kangaroos”, middle “Black Swans”, bottom a platypus; on back board “Vaucluse Bay. Port Jackson”. There is some wear along the boards’ edges and on spine. Interior pages do have some foxing. Foxing on the twelve engravings is primarily on the margins.

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James Wallis, c.1785-1858 was appointed an Ensign in the 46th Regiment in December, 1803; Lieutenant April, 1804; Captain December 1811 and later Major. He arrived in Sydney, Australia with the regiment on 7 February 1814 along with convict Joseph Lycett. On 1 June 1816 he was appointed commandant of Newcastle including prisoners. Assisted by Lycett he built the brick and stone “Christ Church”. He also built a convict hospital, gaol, barracks, boat house and others. Wallis was also an artist, and a very limited number of his drawings and watercolours have appeared for sale. These works are very rarely signed and are treasured as rare views of early Australia at the time of English colonization. Max and Thea Rients wrote in their 1963 book “Early Artists of Australia” that “the arrival in Sydney of Captain James Wallis, of the 46th Regiment, may be regarded as the beginning of a new phase in the story of Australian’s early art......in addition to being first, Wallis was perhaps artistically the most important”. Wallis left Australia in 1819, and after arriving in England he supervised publication of this book. In March 1821 he was promoted to Major and served in India (see following lot) until retirement from the army in 1826. In December 1836 he married Mary Ann Breach and died at Prestbury, Gloucestershire in 1858. There is no record of them having children. There are two hand written inscriptions in black ink on the title page irrevocably showing this book was James Wallis’ personal copy:

Upper left corner “This book presented to her nephew Lt. Colonel A. Taylor by his Aunt Mary Ann Wallis 10th Feb. 1866”.

Upper right corner “Mary Ann Wallis, the gift of her dear husband Major James Wallis, late of H.M. 46th Regt., Prestbury, May, 1857”

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To this volume, complete except for the map of Port Macquarie, Wallis has added sketches and original watercolours by both himself and others making a permanent artistic record of his time spent in Australia. W. Preston, a convict, produced the twelve engravings according to the title page after originals painted by Wallis. Interestingly, for many years there were suspicions that Wallis stole paintings done by powerless prisoners and called them his own. Sotheby’s sold a watercolour by Wallis at auction in 1987, and this painting caused some scholars to use it as proof that Wallis truly was the artist for the engravings. In this volume are six original watercolours attributed to Joseph Lycett, five of which are unarguably the originals used to make the engravings. While not signed, four are inscribed “Drawn by a Convict” with the obvious conclusion Wallis was not the artist. Works of art known to be by Wallis are very rare. Up to the discovery of this book surviving works from his years in Australia may have been limited to a signed watercolour, unsigned drawing and depending on attribution one to four unsigned oil paintings. Notes written by Wallis mentioned portraits of Burigon and Jack, and also missing were most of the original drawings used by Preston for the engravings in the Views. This book contains one signed and at minimum three unsigned Wallis watercolours, several original watercolours of the Views, nine unsigned Wallis drawings and portraits of Burigon and Jack. The following descriptions and illustrations are arranged in three parts as they appear. First are Wallis’ additions on the inside of the cover, front endpaper and flyleaves. Secondly, the 1821 publication by Ackermann with title page, text and twelve engravings. Lastly, endpapers with Wallis’ additions highlighted by six original watercolours attributed to Joseph Lycett and four watercolours of Aborigines by or attributed to James Wallis. The majority of the original paintings have been pasted to sheets, and in some cases these have additional overlaid cut out paintings.

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PART ONE - COVER, FRONT ENDPAPER AND FLYLEAVES Inside front cover are two ink drawings attributed to Wallis – (1) upper 7 ¼ x 11 ¾ in (18.4 x 29.8 cm), not titled, dated “25th July 1818” of twin waterfalls in a wooded landscape; (2) lower 7 ¼ x 10 ½ in (18 x 26.7 cm) titled “West Prospect from View Hill, Interior N. Holland” dated “August 27th, 1818”

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First front endpaper are two ink drawings attributed to Wallis – (3) upper 7 1/8 x 10 ½ in (18.1 x 26.7 cm) titled “East View of Arbuthnots Range, Interior N. Holland” and dated “July 16th, 1818”; (4) lower 7 x 10 5/8 in (17.8 x 27 cm) titled “North West Prospect from View Hill, Interior New South Wales” dated “August 28th, 1818”

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First flyleaf are two ink drawings – (5) upper titled “Cascade interior N. Holland”; (6) lower titled “Port Macquarie, New South Wales” dated “October 11th, 1818”

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Second flyleaf is an engraving and drawing – (7) upper engraving 5 ½ x 8 1/4 in (14 x 21 cm) “View of Newcastle, New South Wales, Engraved by W. Preston from a drawing by Captn Wallis, 46th Regt”; (8) lower ink drawing 7 ¼ x 10 3/4 in (18.4 x 27.3 cm) titled “Wallis Lake near Cape Hawke, N. Holland” dated “October 27th, 1818”

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Third flyleaf has four botanical watercolours, in pencil lower right “The flowers by Lycatt a Cauaut”. First 8 x 4 in (20.3 x 10.2cm) titled “Patersonia Species”’; second has been cut out and applied to a 4 ¼ x 8 5/16 in (10.8 x 14.3 cm) sheet inscribed in small black letters “Philedia Glasilis, N. South Wales” and underneath in very small black lettering on a gold cartouche “Simply to be with those whom we love is sufficient. for whether...... we may be wandering from them or whether we are talking ........ or not talking to them thinking of them .....as we are with them we are satisfied”; third 8 ¼ x 4 1/2 in (21 x 11.4 cm) titled “Baurea Species”; fourth 7 x 4 3/8 (17.8 x 11.1 cm), not titled

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Fourth flyleaf has three cut out watercolours comprising two botanical pasted onto sheets and other a bird of prey perched on a branch overtop the other two. The first measures 11 x 8 in (27.9 x 29.3 cm) and is titled “Native Cherry” with a partially hidden inscription ending in “N. S. Wales”; second measures 11 x 8 1/4 in (27.9 x 21 cm) signed “Lycett” and titled “Native Rose New South Wales Borronea Serrulata”; third a bird approximately 7 in (17.8 cm) high and 8in (20.3 cm) long

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Fifth flyleaf has eight botanical watercolours, one is cut out, upper right has a tear and two are titled – “Hypericum Species” and “Polygala Species”

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Sixth flyleaf has a watercolour of a black and white bird (possibly a Magpie Goose), sheet approximately 10 ¾ x 15 in (27.3 x 38.1 cm)

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Seventh flyleaf has a sheet approximately 9 x 6 3/4 in (22.9 x 17.1 cm) pasted onto the page, on it also pasted are three cut out watercolours and an ink drawing; at the centre a watercolour of an aborigine titled “Dick” with above a portrait drawing in profile titled “Burigon or Jack” flanked by two botanical watercolours both of which are inscribed with Latin names. At the bottom is written in black ink “Nature in a sportive humour or a contrast between Animal and vegetable Life in New South Wales. The former hideous disgusting and barbarous, the latter graceful modest and gratifying to the senses, the Aborigines of New South Wales are the most perfect savages in existence. The world of flowers exceed beauty and variety those of any other parts of the world, from the gigantic Lilly, towering twelve feet from it’s root, to the modest violet”. Written underneath is “2 Natives of New South Wales. Dick killed Burigon one day with one blow.” Burigon (Jack) was Chieftain of the Newcastle tribe and Dick’s brother. He was referred to by Lachlan Macquarie in his Australian journals as “King of the Newcastle Native Tribe”. Burigon developed a special relationship with Wallis, the two embarking on hunting expeditions together.

Eighth flyleaf has a watercolour of a giant lily, 17 1/2 in (44.5 cm) high painted on the page.

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Ninth flyleaf has an 11 ¾ x 18 in (29.8 x 45.7 cm) sheet pasted down, on it are nine cut out watercolours of ten fish. Seven are titled in black ink and above inscribed “The Fish of New South Wales”

Tenth flyleaf has a watercolour of a flower painted directly on the paper titled at top “Blandfordia Nobilis”, height 17 1/2 in (44.5 cm)

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PART TWO - 1821 PUBLICATION WITH TWELVE ENGRAVINGS TITLE PAGE With two handwritten notes by Mary Ann Wallis as described and illustrated earlier. FOLLOWING PAGES Third page is printed with a paragraph “TO THE PUBLIC” from “R. Ackermann, 11th Dec. 1820”. Above and below the printed text have been pasted two ink sketches each approximately 5 ¼ x 8 1/2 in (13.3 x 21.6 cm) and titled along the top margins. The upper one is “View of Port of Newcastle, N.S. Wales” and lower “View on Throsby’s Creek near Newcastle, N.S. Wales”.

This is followed by text to page 42, and then the twelve engravings listed on the next three pages. The first six are doublepage in size; last six are single page.

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FIRST ENGRAVING

SECOND ENGRAVING

“A View of the Cove and Part of Sydney. New South Wales. Taken From Dawe’s Battery”

“A View of Hawkesbury and the Blue Mountains. New South Wales”

THIRD ENGRAVING

FOURTH ENGRAVING

“Sydney. From the North Shore. New South Wales”

“Sydney. From Bennelongs Point. New South Wales”

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FIFTH ENGRAVING “Newcastle. Hunter’s River. New South Wales”. Underneath are two hand written notes, one “X - this church was built by Major James Wallis, 46th Regt.” and other “X - the Godess Tree” with corresponding “X” marks on the engraving.

SIXTH ENGRAVING “Corrobborree, Dance of the Natives of New South Wales. New Holland”

SEVENTH ENGRAVING “Black Swans. New South Wales”

EIGHTH ENGRAVING “Kangaroos. of New South Wales”

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NINTH ENGRAVING “View of Hunter’s River. Newcastle. New South Wales”

ELEVENTH ENGRAVING “Vaucluse Bay. Port Jackson. New South Wales”

TENTH ENGRAVING “North and South Head’s in Port Jackson. New South Wales”

TWELVTH ENGRAVING “A View of Dawes Battery at the Entrance of Sydney Cove. New South Wales”

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PART THREE - ENDPAPERS Twelfth endpaper has a watercolour pasted down approximately 9 x 13 in (22 x 33 cm) of three Europeans standing by a stone rampart with cannons overlooking barracks, harbour and village. This is, with a few minor variations such as the number of figures in the foreground, the same as the first engraving “A View of the Cove and Part of Sydney”. Underneath is written in black ink “Drawn by a Convict”. This is one of six watercolours (five others following) attributed to be by Joseph Lycett, 1774-c.1825. Lycett came to Australia in 1814 as a convict where his artistic talents were recognized by Wallis. He became one of the colony’s most successful artists painting Aborigines, towns and landscapes. The Governor of the colony employed Lycett to illustrate his official reports. The Museum of Sydney held an exhibition “Joseph Lycett: Convict Artist” from April 1st to June 18th, 2006.

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(Eleventh endpaper is blank.) Tenth endpaper has a watercolour pasted down approximately 8 ¾ x 13 in (22.2 x 33 cm). This is, with the exception of a few minor differences such as the position of a British naval ship under sail, the same as the eleventh engraving “Vanclose Bay. Port Jackson”. Underneath is written in black ink “Drawn by a Convict”; attributed to Joseph Lycett

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Ninth endpaper has a watercolour pasted down approximately 9 x 13 1/4 in (22 x 33.7 cm) of an extensive landscape, five Aborigines in right foreground by a fire, village in distance with barracks, church and houses by a cove. This is very similar to the third engraving “Sydney From the North Shore” but has been painted from a more distant vantage point. Written underneath “Drawn by a Convict” – attributed to Joseph Lycett

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Eighth endpaper with a watercolour approximately 12 ½ x 18 in (31.84 x 45.7 cm) pasted down, on it are four cut out watercolours of sitting Aborigines – on left a man and woman holding a short spear; then a man wearing a red British military officer’s coat; next a woman wearing a necklace; lastly a man – attributed to James Wallis

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Seventh endpaper has a watercolour pasted down 9 x 13 in (22 x 33 cm). With the exception of minor variations, this is the same as the ninth engraving “North and South Head’s in Port Jackson” – attributed to Joseph Lycett

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Sixth endpaper has a watercolour pasted down 12 ž x 18 in (32.4 x 45.7 cm) of two Aborigines dancing on a hill in distance, in foreground are five cut out watercolours of six Aborigines – attributed to James Wallis

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Fifth endpaper has a watercolour pasted down approximately 9 x 12 ¾ in (22 x 32.4 cm) with in foreground two male Aborigines carrying spears, woman and child and in distance a village with several barracks. Underneath is written in black ink “Drawn by a Convict” – attributed to Joseph Lycett

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Fourth endpaper has a watercolour pasted down 13 x 18 in (33 x 45.7 cm) of a group of Aborigines on a sandy beach with lake behind, in foreground are two cut out watercolours of five sitting Aborigines – attributed to James Wallis

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Third endpaper has a watercolour glued down approximately 9 x 12 3/4 in (22.9 x 32.4 cm) with seven Aborigines in foreground by a fire, in distance a river with moored ship, and on a hill an outpost flying the Union Jack; with the exception of minor variations, this is the same as the twelfth engraving “A View of Dawes Battery at the Entrance to Sydney Cove” – attributed to Joseph Lycett

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Second endpaper has a watercolour pasted down approximately 12 ½ x 18 in (31.8 x 45.7 cm) of a river landscape with five cut out watercolours of standing Aborigines each named underneath starting on left: “Burigon or Jack”, “Nerang Doll”, “Trimmer in Warriors full Drefs(sic)”, “Walker” and “Nerang Wogec Playing on Shield” – along bottom margin in written black script “These figures of the Natives are all drawn by Major Wallis 46th Regt. These Natives all sat for their Pictures”

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LOT 81 – WALLIS IN INDIA SKETCHBOOK CONTAINING 75 ORIGINAL WALLIS DRAWINGS AND WATERCOLOURS James Wallis, after serving in Australia and returning to England, was posted with the 46th Regiment to India from 1821 to 1826. Unless otherwise noted, each artwork has been pasted onto a sheet (book page), titled, and each sheet is hand signed “Major James Wallis, 46th Regt.” Additional inscriptions on the images themselves (titles, dates, signatures, etc.) are included in the descriptions. All sizes are approximate. Imperfections have not been noted. Descriptions endeavour to show the spelling Wallis employed for each sketch. Ink drawing “Table Bay. Cape of Good Hope”, 10 x 16 in (25.4 x 40.6 cm); inscribed lower right “James Wallis, Cape Town, 1826”

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Ink drawing “Calcutta”, 4 ¼ x 17 in (10.8 x 43.2 cm), inscribed lower right “Calcutta by Major Palmer” – this sketch has been cropped along the top with additional drawing on the sheet.

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Ink and wash “Port St. George, Madras”, 9 x 17 ½ in (22.9 x 44.5 cm)

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Ink drawing “View Near Madras, the Mount in the distance”, 6 ¼ x 12 ½ in (15.9 x 31.8 cm); inscribed lower right “James Wallis, Oct. 1822”

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Ink drawing “Doonamallee near Madras”, 7 ½ x 12 ½ in (12.7 x 31.8 cm); inscribed upper right “Sept. 1826”

Ink drawing “View on the Cortillaur River near Ramunjairy.”, 6 ¾ x 12 ¼ in (17.1 x 31.1 cm) – inscribed lower right “James Wallis, 11 Oct. 1822” (sheet not signed)

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Ink drawing “View near Connica Chaltram.”, 7 ½ x 13 ¼ in (19.1 x 33.7 cm); inscribed upper right “Oct. 13th, 1822, J. Wallis”

Ink drawing “Circumbaddy Fort Madras 1822”, 6 ¾ x 13 ¾ in (17.1 x 34.9 cm); inscribed upper right “Circumbaddy Fort, James Wallis, 1822”

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Ink drawing “View of Tripoti Pagoda & Hills from Circumbaddy Fort”, 7 ¾ x 13 ½ in (19.7 x 34.3 cm); inscribed lower right “Oct. 18. 1822, James Wallis, Sunset Sketch on a brick in the old fort”

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Ink drawing “View of Naggery Nose”, 6 x 12 in (15.2 x 30.5 cm); inscribed lower right “1822 15/Oct”


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Ink drawing, 7 ½ x 13 ¾ in (19.1 x 34.9 cm); inscribed bottom margin “From Encampment at Naggery Oct. 15th 1822 Wallis”

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Ink drawing “View of Camp at Pootoor of the Western Side of Naggery Nose”, 8 ¼ x 14 in (21.0 x 35.6 cm); inscribed upper right “16th Oct. 1822, James Wallis, Major, 46th Regt.” (sheet not signed), loose from page, also titled verso

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Ink drawing “Camp at Wooromallypett”, 8 ½ x 13 ½ in (21.6 x 34.3 cm); inscribed upper right “Wooromallypett Sketch, 17th Oct. 1822, James Wallis”

Watercolour “Moolooklade”, 9 ¼ x 14 ¼ in (23.5 x 36.2 cm); inscribed lower right “Moolooklade 12 Feb. 25th” (sheet not signed)

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Ink drawing “Banion Tree at Potoor, Madras, 10th October – from Nature by J. Wallis”, 9 x 13in (22.9 x 33.0 cm); inscribed upper right “19th & 20th October” (sheet not signed)

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Ink drawing “View of the Tank at Wurtimettah Near Cuddapah”, 7 ¼ x 12 ¾ in (18.4 32.4 cm); signed, titled and dated 1822 upper right

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Ink drawing “Bungalow & Pagoda at Wuntemettah”, 8 1/8 x 14in (20.7 x 35.6 cm); inscribed upper right “James Wallis”

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Ink drawing “Encampment at Wurtimettah”, 8 ¼ x 14 ¼ in (21.0 x 36.2 cm) (sheet not signed)


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Ink drawing “Oodgoor”, 8 ¼ x 12 ¾ in; signed, titled and dated “24th Oct. 1822” upper right

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Ink drawing “Collector’s House, Guddehah, Mr. Hanbury”, 8 ½ x 13 in (21.0 x 33.0 cm) – inscribed upper right “23rd Oct. 22” and signed lower right “James Wallis, Major, 46th Regt.” (sheet not signed)

Ink drawing “Oodgoor 23rd Oct. 1822”, 8 ¼ x 14 ¼ in (21.0 x 36.2 cm); inscribed lower right with title and date

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Ink drawing “Bellary & the Copper Mountain”, 8 x 13 ¾ in (20.3 x 34.9 cm); dated upper right “Nov. 28th 1822”

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Ink drawing “Bellary & North Rock”, 8 x 13 ¾ in (20.3 x 34.9 cm); inscribed upper right “As seen with a Camera Lucida Oct. 23rd 1834”

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Ink drawing “View from Bellary of the Bazar Copper Mountain”, 8 x 14 ¼ in (20.3 x 36.2 cm); inscribed upper right “Bellary Nov. 23rd.....1822”

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Ink drawing “Rocks near Bellary”, 10 ¼ x 14 ¼ in (26.0 x 36.2 cm)

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Watercolour and pencil, not titled, 7 ½ x 11 ¾ in (19.1 x 29.8 cm) (sheet not signed)


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Watercolour, indistinctly titled and signed, 10 ½ x 14 ¼ in (26.7 x 36.2 cm)

Ink drawing “The Upper Fort and Citadel of Bellary from the Cantonment”, 8 ½ x 13 3/4 in (21.0 x 34.9 cm); inscribed upper right “Bellary December 31st 1822”

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Ink drawing, 10 ¼ x 18 ¼ in (26.0 x 46.4 cm); inscribed on lower margin “Cote Angaddy, Jan 14 1826” (sheet not signed)

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Ink drawing “Dirige Tank”, 8 ½ x 13 ½ in (21.6 x 34.3 cm); dated upper right “3rd Jan 1823” (sheet not signed)

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Ink drawing on sheet (not pasted) “View of Bidjnagur & the Toomboodra” – full sheet measures 12 ½ x 19in (31.8 x 48.3 cm)

Ink drawing on sheet (not pasted) “Street at Bidjnagur” – 12 ½ x 19 in (31.8 x 48.3 cm)

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Watercolour “Elephant Stables at Bidjnagur”, 8 1/8 x 14 ¼ in (20.7 x 36.2 cm) – dated on right side “Jan 1823”

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Watercolour “A Piller copied from the Vittleroy Pagoda at Bidjnagur”, 14 ¾ x 10 ½ in (37.5 x 26.7 cm)

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Watercolour indistinctly titled, signed “...... from nature J. Wallis”, 6 ½ x 10 ¾ in (16.5 x 27.3 cm) (sheet not signed)

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Watercolour sketch “Near Belgaum Calinunundy (?)”, 8 ¾ x 14 in (22.2 x 35.6 cm)

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Ink drawing “Belgaum Fort from One Tree Hill”, 7 ¾ x 13 1/8 in (19.7 x 33.3 cm) (sheet not signed)

Ink drawing “View from Edghar Tope of Cantonment of Belgaum”, 7 ¾ x 11 ¼ in (19.7 x 28.6 cm)

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Ink drawing “Yelloor Ghur & Cantonment at Belgaum”, 9 x 13 ½ in (22.9 x 34.3 cm)

Watercolour “Colonel Nolle, Lieut. Skelton & Lawes Tomb near Belgaum Southerm Vellaliaratta Country”, 11 ¼ x 17 ¾ in (28.6 x 45.1 cm)

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Pencil drawing “Battle Abbey”, 5 ½ x 8 ¾ in (14.0 x 22.2 cm) (sheet not signed) 42

Ink drawing “Bowry at Rham-Ghaut”, 9 ¾ x 13 ¾ in (24.8 x 34.9 cm) – inscribed and dated Jan 22 182(?) upper right

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Ink drawing “Panjim Goa”, 8 ¼ x 13 ¼ in (21.0 x 33.7cm) – titled and dated April 18th, 1823 upper right

Watercolour “View of Goa from St. Pedro”, 7 ¾ x 13 1/2 in (19.7 x 34.3 cm)

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Ink drawing “View From Rio Bundo”, 7 ¼ x 13 ¾ in (18.4 x 34.9 cm) – inscribed lower right “James Wallis, Major 46 Regt., 1824”

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Ink drawing “View of the Entrance to Goa from Cabo”, 9 ½ x 13 ¾ in (27.3 x 33.0 cm) – inscribed and dated 1824 lower right

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Watercolour of temple ruins, not titled, 10 ¾ x 13 in (27.3 x 33.0 cm) (sheet not signed) – this and the following drawing are the same subject

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Ink drawing, not titled, 10 ¼ x 11 ¼ in (26.0 x 28.6 cm) – indistinctly titled and dated 22 June 24 lower right

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Watercolour and ink “Sankrakull near Bellary”, 7 ½ x 14 in (19.1 x 35.6 cm) – inscribed upper right “Sankrakull Dec. 28th 1824” (sheet not signed)

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Ink drawing “Anemediego Ceded Districts”, 9 ¼ x 14 in (23.5 x 35.6 cm) – dated “Jan. 15th 1825” upper left, inscribed and dated “Jan. 16th 1825” lower right

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Ink drawing “A Village at the Pass to Valley of Sundoor”, under title is a faded date possibly Jan. 18th, 1825, 9 x 14 ½ in (22.9 x 36.2 cm)

Ink drawing “Yettenhutty Pass into Valley of Sundoor”, 8 x 14 ½ in (20.3 x 36.8 cm) – dated lower right January 18th, 1825

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Ink drawing “Valley and Fort of Soondoor”, 8 x 13 ¼ in (20.3 x 33.7 cm), dated upper right Jan. 19th, 1825 (sheet not signed)

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Ink drawing “Obulgoondy Pass, Valley of Soondoor”, 10 1/8 x 14 ¼ in (25.7 x 36.2 cm); inscribed upper right “Obulgoondy Pass, (?) 20, 1825”

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Ink drawing “View of Obelgundy Pass”, 9 ½ x 14 in (24.1 x 35.6 cm) – inscribed upper right “Jan 21st 1825 Obelgundy Pass”

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Ink drawing, not titled, 15 ½ x 10 in (39.4 x 25.4 cm)

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Ink drawing “View of Obulgoondy Pass”, 8 ¾ x 15 ¼ in (22.2 x 38.7 cm) (page not signed)

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Ink drawing “Interior of Sundoor Valley, looking out of Yettenhutty Pafs.”, 8 ¼ x 14 ¼ in (21.0 x 36.2 cm) – dated upper right “19th Jan 1825” 38 | The Gardner Galleries


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Ink drawing “Raidroog Hill Fort”, 9 x 14 in (22.9 x 35.6 cm)

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Ink drawing “Mahometan Tombs at Serah.”, 8 ¼ x 12 ½ in (21.0 x 31.1 cm) – dated lower middle right “18 Feb 1825”

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Watercolour “Vizaguhatam Bay of Bengal”, 11 x 18 ½ in (27.9 x 47.0 cm) – signed and dated “James Wallis 1819” – painted directly on sheet, not pasted

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Ink drawing “Camp at Serah”, 9 ¾ x 18 ¾ in (24.8 x 47.6 cm) – extensive hand written notations lower right “The Head Quarters of the 46th Regt. halted over this encamping ground on the 17th & 18th Feb. 1825 commanded by Major James Wallis – the Officers under his command were – Capt. J. Olivay – dead, Lt. Varlo – dead, Ensign Taylor, killed in action, Major Williams – dead, School Master Serf Dillon dead – Surgeon O. Flaherty – dead, Quarter M. Madigan dead, 18th Feb 25, James Wallis....... 46th Regt., Douglas ...... 15th Nov, 1852” The Gardner Galleries | 39


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Ink drawing indistinctly inscribed along lower margin and dated “25th Feb. 1825”, 8 x 14 ¼ in (20.3 x 36.2 cm)

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Pencil and ink drawing of an untitled encampment, drawn directly on sheet not pasted down, 12 ½ x 19 in (31.8 x 48.3 cm)

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Ink drawing not titled, 9 ¾ x 13 ¾ in (24.8 x 34.9 cm)

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Watercolour “View in Wynaud”, 8 x 12 ¼ in (20.0 x 31.1 cm) (sheet not signed)


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Ink drawing “Billihatam Christmas Day”, 9 ½ x 14 ¼ in (23.5 x 36.2 cm)

Ink drawing “Near Billihatam, Malabar Coast, 1825”, 10 ¾ x 17 ½ in (27.3 x 44.5 cm)

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Ink drawing “Goteperamla, Malabar Coast near Canonore”, 9 ¾ x 17 ½ in (24.8 x 44.5 cm); titled, dated “January 15th 1826” and signed “James Wallis, Major com 46th Regt” lower middle

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Ink drawing “From Gannonore”, 10 ¼ x 14 ½ in (26.0 x 36.2 cm) – signed on image (not on sheet) “Major Wallis, 46th Regt”

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71

Ink drawing “Gannonore”, 10 x 15 in (25.4 x 38.1 cm) – signed on image (not on sheet) “Major Wallis 46th Regt”

73

Ink drawing “Mangalore”, 10 ¾ x 17 ½ in (27.3 x 44.5 cm) – lower right is date “1825”, signed on image (not on sheet) “Major Wallis, 46th Regt.”

42 | The Gardner Galleries

72

Ink drawing “My Dwelling House at Ganmore I:Wallis”, 10 x 17 in (25.4 x 43.2 cm) – also note in pencil lower middle “My house at Ganmore”

74

Ink drawing not titled, 10 ½ x 17 ¾ in (26.7 x 45.1 cm) – dated lower right “Feb 1826”


75

Ink drawing “Tillecherry Bridge”, 9 ½ x 15 in (24.1 x 38.1 cm) – signed on image (not on sheet) “Major Wallis, 46th Regt.”

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LOT 82 – WATERCOLOUR BY WALLIS “CAPE OF GOOD HOPE FROM THE BRIDGE CAPT. MUNRO” Signed and dated lower right “James Wallis 1847” Titled and signed “Major Wallis 46th Regt” underneath image 9 ½ x 17 in (24.1 x 43.2 cm)

44 | The Gardner Galleries


On back of sheet is a watercolour that has been cropped along top edge and signed underneath “Major J. Wallis 46th Regt.”, approximately 3 ¾ x 17 ½ in (9.5 x 43.8 cm)

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46 | The Gardner Galleries


Captain James Wallis Book and Watercolur