One Hundred Drawings & Watercolors from the 18th to the 21st Centuries

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ONE HUNDRED D R AW I N G S A N D W AT E R C O L O U R S Fr om the 18th to the 21st Centuries FREYA MITTON | GUY PEPPIATT | HARRY MO ORE - GWYN


ONE HUNDRED D R AW I N G S A N D W AT E R C O L O U R S Fr om the 18th to the 21st Centuries To be exhibited at Ground Floor, 6 Mason’s Yard, Duke Street, St James’s, London SW1Y 6BU

FREYA MITTON 20 T H CENTURY BRITISH ART Tel: +44 (0)7968 562 499

Front cover: John Nash, RA (1893-1977)

Woodland Design, Buckinghamshire [cat.68]

Opposite page: Joseph Geldart (1808-1882)

Portrait of the artist Miles Edmund Cotman [cat.10]

GUY PEPPIATT FINE ART Tel: +44 (0) 20 7930 3839 or +44 (0) 7956 968 284

HARRY MOORE-GWYN BRITISH ART Tel: +44 (0)7765 966 256

Back cover: Charles Rennie Mackintosh (1868-1928)

Campanula Rotundifolia [cat.41]



Introduction Freya Mitton, Harry Moore-Gwyn and Guy Peppiatt, are very pleased to present our first combined Winter catalogue of British Drawings and Watercolours since Freya joined 6 Mason’s Yard earlier this year. The exhibition will run from the end of November 2023 with remaining works being on show in the gallery until the middle of January 2024. By focusing again on works on paper (and watercolour in particular), our exhibition attempts to highlight the depth and variety of this distinctively British of mediums, presenting a wide selection of pictures by artists from some four centuries. Guy’s section includes a fine collection of works by members of the Cotman family, including John Sell Cotman, his sons Miles Edmund and John Joseph and a remarkable portrait of Miles Edmund Cotman by his friend Joseph Geldart, as well as an interesting group of Bristol School works. Harry’s section links the late Victorian era with work by artists of the early modern British period, amongst them Vanessa Bell, Robert Bevan, Charles Ginner, Wyndham Lewis and Eric Kennington. Of particular note are two rare drawings by the great Scottish designer Charles Rennie Mackintosh, acquired by a supporter of the artist at his memorial exhibition. Freya’s section takes us from middle of the twentieth to the early years of the twenty-first century, with groups of works by several artists, amongst them John Nash (a highlight being an exquisite watercolour painted in Buckinghamshire a year after the end of World War One). In addition are pencil drawings by Tristram Hillier, watercolours by John Piper and Mary Fedden and a pair of pastels of Venice by Diana Armfield. With prices starting at only a few hundred pounds, our catalogue is, we also hope, a testament to the astonishing value for money that British drawings and watercolours still represent in today’s market. We very much hope there is something that appeals to you from the catalogue and we look forward to welcoming you at 6 Mason’s Yard over the next few months. Freya Mitton Harry Moore-Gwyn Guy Peppiatt

Opposite page: William Henry Margetson, RI (1861-1940)

Woman in White [cat.36]


Robert Hills (1769-1844)

Fallow Deer in a Wooded Landscape [cat.18] 4





John Rubens Smith (1775-1849) The Outer Harbour, Margate; The Inner Harbour Margate A pair, each signed and dated: J.R. Smith Junr/1803 Watercolour over pencil, each 26.5 by 60.8 cm, 10 ½ by 23 ¾ in. Provenance: With Martyn Gregory, London, before 1979; With Berry-Hill Galleries, New York Literature: H.L. Mallalieu, The Dictionary of British Watercolour Artists up to 1920, 1979, Vol. II, p. 512, ill. (inner view) Exhibited: London, Royal Academy, 1803, no.422 (inner view); Philadelphia, Schwartz Gallery, Philadelphia Collection, November 1976, nos. 6 and 7 Engraved: By Thomas Sutherland and published by Charles Richards, London, 1st June 1805

The precarious looking constructions on the edge of the harbour walls, with steps leading down to the sea, were the bathing rooms, where fashionable residents and tourists would wait before being taken into the sea. They were transported in the four-wheeled horse-drawn bathing machines that Smith has taken such evident delight in depicting. These ‘carriages [were] covered with canvas, and having at one end of them an umbrella of the same materials; which is let down to the surface of the water, so that the bather descending from the machine by a few steps is concealed from the public view.’ (W. C. Oulton, The Travellers Guide, or English Itinerary, London, 1805, p. 245.). The bathing rooms depicted here, were destroyed by a storm in 1808, although their popularity meant that they were quickly rebuilt. Margate became a fashionable seaside resort during the 18th century and the small town underwent a rapid building programme to accommodate its newfound status. The present watercolours show the seafront of Margate following the 1787 Act of Parliament, which allowed the rebuilding of the harbour walls in stone, but before the rapid development of the town during the 19th century and before the 1120ft Jarvis' Jetty was built between 1823-4.






John Pearson (1777-1813) Coverham Abbey, Yorkshire Inscribed lower right: Coverham Abbey – Oct. 1st 1800 N.o 14 Pen and grey ink and brown wash over pencil, 36 by 41.1 cm, 14 by 16 in. Provenance: By descent to the artist’s great-great-niece, Mrs E. Sanford, 1948; By descent until 2020

John Pearson was born in Ripon, Yorkshire, the eldest son of wealthy local banker Alderman John Pearson. Little is known of his life and work but it is thought he was a pupil of the Yorkshire artist Francis Nicholson (1753-1844) who lived in Ripon between 1795 and about 1802. Pearson set himself up as a drawing master in Ripon and in 1798 he was giving drawing lessons to the children of the Cholmeley family of Brandsby Hall. Pearson died on 28th June 1813 and is buried in Ripon Cathedral. A small sketchbook of 68 pages of drawings by Pearson of the Wye Valley, Shropshire and the Lake District was given to the Victoria and Albert Museum by the artist’s great-great-niece Mrs E. Sanford in 1948. She also owned the present group. Coverham Abbey was founded on its present site two miles west of Middleham in the early 13th Century. It suffered a turbulent history being partially destroyed in a raid by the Scots before being rebuilt and then dissolved during the 16th century Reformation after which it fell into ruin. 8



John Pearson (1777-1813) A Temple at Hackfall, Yorkshire Inscribed lower centre: Hackfall Oct.r 2.nd 1800 N.o 16 Pen and grey ink over pencil, 36 by 41.2 cm, 14 by 16 ¼ in. Provenance: By descent to the artist’s great-great-niece, Mrs E. Sanford, 1948; By descent until 2020

Hackfall was purchased by John Aislabie in 1731, probably initially to extract timber and stone for his nearby Studeley estate. However, following his death, his son William began to transform Hackfall into a dramatic and ornamental landscape populated with various follies, including the octagonal Fisher’s Hall, depicted in the present drawing. Built in 1750, the building was named after William Aislabie’s head gardener. See note to cat.2a for more on Pearson.




John Pearson (1777-1813) Chepstow Bridge and Castle Inscribed lower right: Chepstow. Aug.t…/1803 Pen and grey ink over pencil, 38.5 by 50 cm, 15 by 19 ½ in. Provenance: By descent to the artist’s great-great-niece, Mrs E. Sanford, 1948; By descent until 2020

The wooden bridge depicted in the present drawing was one of several that spanned the River Wye from the Norman period. It was replaced just thirteen years after the present drawing, in 1816 by a cast iron bridge, which still stands. Chepstow Castle, in South Wales near the English border, was one of the first Norman strongholds in Wales. It was begun in 1067 by Earl William Fitz Osbern, a close friend of William the Conqueror. It was subsequently altered and expanded by subsequent inhabitants including the Earls of Pembroke, Norfolk and Worcester, before the castle declined following the Civil War. See note to cat.2a for more on Pearson. 10



John Pearson (1777-1813) Liverpool from Low Hill Inscribed lower right: Liverpool from Low hill/July 31st 1802 Pen and grey ink and washes over pencil, 35.4 by 41.8 cm, 13 ¾ by 16 ¼ in. Provenance: By descent to the artist’s great-great-niece, Mrs E. Sanford, 1948; By descent until 2020

Low Hill lies in the Everton area of Liverpool. In 1825 a vast necropolis was established at Low Hill and between 1829 and 1892, 70,000 people were interred there. Following its closure, the area was subsequently cleared of monuments and turned into a park. See note to cat.2a for more on Pearson.




Attributed to Bernard Lens III (1682-1740) The Holbein Gate, Whitehall Pen and black ink and grey washes, 27 by 22 cm, 10 ½ by 8 ½ in. Provenance: Stanhope Shelton; Private collection, London

Holbein Gate was a monumental gateway that spanned Whitehall thoroughfare. It was built between 1531 and 1532 to link parts of Whitehall Palace that were otherwise separated by the road. Also known as the Kings Gate or the Cockpit Gate, it appears that the painter Hans Holbein had his lodgings in the gate. The gate and the Banqueting House were the only parts of the palace to survive the catastrophic fire of 1698. However, it was demolished in 1759 to allow for better access for traffic, as the central arch was only 12 feet wide with a second small pedestrian access in the base of the east tower. It was supposed to be rebuilt in Windsor Great Park, but its materials were dispersed. Lens followed his father and grandfather in becoming an artist. He established a reputation as a miniaturist and watercolourist, as well as drawing master of note, numbering the Duke of Cumberland, Princesses Mary and Louisa and Horace Walpole amongst his clients. He was appointed Limner to both George I and II. 12



Cornelius Varley (1781-1873) A Thorn Tree, Ireland Signed, dated and inscribed lower centre: Thorn tree Ireland C Varley 1808 Pencil, 23.2 by 31.6 cm, 9 ¼ by 12 ½ in.

The artist undertook a sketching tour to Ireland in 1808 and there are several drawings and watercolours from this trip, including in the Victoria and Albert Museum, London, the Metropolitan Museum, New York and the Yale Center for British Art, New Haven. The present drawing illustrates Varley’s ability to look at a subject both with a scientific eye, recording the characteristics of the different trees in great detail, as well as with an artist’s eye for the forms and composition inherent in the subject.




Paul Sandby Munn (1773-1845) Looking towards Manchester and the River Irwell seen from Kersal Moor Inscribed lower left: Manchester/from Kersall Moor Watercolour over pencil, 26.4 by 21.9 cm, 10 ¾ by 8 ½ in. Provenance: With Spink and Son, London, autumn 1979, where bought by the present owner

The present watercolour is looking south from Kersal Moor towards the rapidly expanding city of Manchester. Kersal Moor is a large area of moorland to the north-west of the city and is now a nature reserve. Over the centuries, it has been used for public gatherings and military manoeuvres as well as a racecourse and an early golf course. Munn was fascinated by the growth of industry, both the drama inherent in the new industrial processes, with their factories, furnaces, fire and smoke and also in the stark contrast between the rapidly changing industrial landscape and the natural world which was so familiar to the artist and his contemporaries. 14



Joshua Cristall (1768-1847) Goats by a Waterfall in a Classical Landscape Watercolour heightened with white, 28.5 by 21.8 cm, 11 ¼ by 8 ½ in.

The present classically inspired watercolour is typical of Cristall’s work in the early part of his career. His mother used part of her inheritance to help foster Cristall’s interest in music and classical literature and it was this early education that influenced his watercolours.




John Martin (1789-1854) Portrait of a Girl resting a Book on a Table Signed and dated 1829 Watercolour over traces pencil heightened with bodycolour, 18.5 by 13 cm, 7 ¼ by 5 in. Provenance: With the Christopher Wood Gallery, London; Anonymous sale, Christie's, 9th July 1985, lot 107, where bought by the present owner

This is a rare figure study or portrait by Martin who is best known for his large paintings and watercolours of biblical or historical subjects. It was likely to have used or intended for a book illustration. William Feaver writes: ‘Between 1827 and 1834 Martin provided many illustrations for Keepsakes, Amulets, Gems and Literary Souvenirs (see William Feaver, The Art of John Martin, 1975, p.110). 16



John Sell Cotman (1782-1842) An Old Cottage by a Pond Signed lower right: J.S. Cotman and numbered 655 lower left Grey washes over pencil, 19.6 by 26.2 cm, 7 ¾ by 10 ¼ in. Provenance: Alec Cotman (b.1907); By descent until 2023

The numbering on this work indicates that it was part of Cotman’s Circulating Library of drawings which he would hire out to amateur artists and pupils to copy. ‘The Circulating Portfolio’ was launched in July 1809 with 600 items so the number 655 on this drawing suggests it dates from 1809-10. He used the numbering system while in Norwich and again when he became Professor Drawing at King’s College, London from 1833. We are grateful to Tim Wilcox for his comments on this drawing.




Miles Edmund Cotman (1810-1858) The North Doorway, Framlingham Earl Church, Norfolk Signed lower right: ME Cotman 1840 and inscribed with title verso 16.7 by 12.4 cm, 6 ½ by 4 ¾ in. Provenance: The Rev. James Bulwer (1794-1879); With Walker Galleries, London, 1927; With Cyril Fry, where bought by Alec Cotman, November 1966; By descent until 2023 Literature: C.F. Bell, Miles Edmund Cotman, Walker's Quarterly, no.21, 1927, no.63

Miles Edmund was the eldest son of John Sell Cotman (see cat. no. 8). He and his brother John Joseph (see cat. no. 11) trained under their father and Miles first exhibited at the Norwich Society at the age of 13. In 1834, when Cotman senior was appointed drawing master at King’s College, London, Miles took over his father’s practice in Norwich. However, two years later, he swapped places with his brother John Joseph and moved to London to assist his father. On his father’s death in 1842, Miles took over his father’s professorship and remained in London until a couple of years before his death, when he returned to Norwich. The Church of St Andrew, Framlingham Earl, is one of the few remaining Anglo-Saxon round tower churches. The tower dates from the 11th Century and the north doorway is Norman. It still exists but is hidden by a 19th Century brick porch. 18



Miles Edmund Cotman (1810-1858) Seapiece - Moonlight Signed lower right: M.E. Cotman./1856 Watercolour heightened with bodycolour, stopping out and scratching out, 36 by 46 cm, 14 by 18 in. Provenance: By descent in the Cotman family until 2023 Exhibited: Norwich Castle Museum, Exhibition of “Norwich School” Pictures, 6th October to 5th November 1927

Like his father, and other members of the Norwich School, Miles believed that studying directly from the natural world was crucial to furthering his artistic prowess. In the present work, Miles’s interest in the formation of the waves and the play of clouds and moonlight is evident. The subject matter clearly demonstrates the influence of Miles’ father, John Sell Cotman.




Joseph Geldart (1808-1882) Portrait of the artist Miles Edmund Cotman Inscribed by a later hand verso: Miles Edmund Cotman/by Geldart Black and white chalk on brown paper, 32.3 by 23.5 cm, 12 ¾ by 9 ¼ in. Provenance: By descent in the Cotman family until 2023 Literature: Illustrated London News, 1st August 1942, p.136.

Geldart was a close friend and sketching companion of Miles’ brother John Joseph Cotman (see cat. no. 11). He abandoned a career in the law in favour of being an artist and became a pupil of John Sell Cotman (see cat. no. 8). Geldart also sketched his friend John Joseph, also a chalk drawing which was later engraved. See cat. no. 9 for more on the sitter. 20



John Joseph Cotman (1814-1878) A River Scene in Autumn 29.1 by 36.3 cm, 11 ½ by 14 ¼ in. Provenance: Monsignor J. O'Connor; Father Brown; Miss Gardner; With Spink, London, where bought by the present owner, 1977

John Joseph was the third of Cotman’s five children. He was influenced by his father, but adopted a much hotter, brighter palette, more reminiscent of Samuel Palmer. He moved to London briefly, with his father to act as his assistant when the latter took up his appointment at King’s College. However he clearly preferred his native East Anglia and remained in London for less than two years.




Charles Branwhite (1817-1880) Study of Trees Signed with initials lower left: C.B. Watercolour over touches of pencil on buff paper, 33.7 x 24 cm, 13 ¼ by 9 ½ in.

Branwhite was a pupil and friend of fellow Bristol born artist William Müller (see cat. no. 14). There was also a familial connection when Branwhite’s younger sister, Rose, also a painter, married Müller’s younger brother Edmund. Branwhite initially embarked on a career as a sculptor, winning medals at the Society of Arts in London and critical acclaim for his exhibited works, before coming under Müller’s orbit and abandoning sculpture in favour of painting. 22



The Rev. John Eagles (1783-1855) Figures by a Pond in a Wooded Landscape, probably Leigh Woods Inscribed lower centre: Mr Eagles 1812 and again lower right: Mr Eagles Watercolour over traces of pencil heightened with stopping out on two sheets of wove paper joined, 20.1 by 31.7 cm, 8 by 11 ½ in. Provenance: L.G. Duke, C.B.E., his sale, Sotheby’s, 16th July 1970, lot 61, bt. Eames; With Guy Peppiatt Fine Art, 2006; Private collection until 2023

Eagles was born in Bristol and educated at Winchester and Wadham College, Oxford. After a tour of Italy, he returned to Bristol to be Curate of St. Nicholas Church. The present watercolour dates from that period and is probably a view in Leigh Woods, Bristol, a popular sketching area for the Bristol School artists. A signed watercolour by Eagles inscribed ‘Leigh Wood June 14 1812’ is recorded in the collection of Dr and Mrs John Eagles (see Bristol City Art Gallery, The Bristol School of Artists, exhibition catalogue 1973, no.295). This watercolour shows the influence Eagles’s work later had on William James Müller, a fellow Bristol artist (see cat no. 14). N.N. Solly reports Müller as saying ‘I have derived immense advantage from Mr Eagles’ excellent judgement in line and composition’ (see N.N. Solly, Life of W.J. Müller, 1875). 23



William James Müller (1812-1845) The Burning of Bristol New Gaol with St Paul’s Church, Bedminster Oil on paper laid on panel, 10.5 by 20.1 cm, 4 by 7 ¾ in. Provenance: Dr Robert Hemphill, Bristol; Anonymous sale, Christie's, 25th May 1984, lot 75 Exhibited: Cape Town, South African National Gallery, Old Masters from a Private Collection, December 1971, lent by Dr Hemphill

The Burning of Bristol Gaol took place during the Bristol Riots of October 1831. They were caused by the voting down of the second Reform Bill in the House of Lords which was intended to lead to electoral reform. The arrival of the anti-reform judge Charles Wetherell in Bristol on 29th October lead to three days of riots and protests during which much of the city centre was burnt down and up to 250 citizens were killed. The New Gaol was commissioned in 1816 and opened in 1820. During the riots which started on Sunday 30th October, the mob used sledgehammers and crowbars taken from a local ironworks to smash their way into the gaol, 170 prisoners were released and the prison burned down. Müller and James Baker Pyne both witnessed the riots and drew small oil sketches and watercolours of what they saw. Many are in Bristol Museum and Art Gallery and include a watercolour version of this view by Müller, with added figures outside the gaol (see Francis Greenacre and Sheena Stoddard, W.J. Müller, 1991, p.74, no.26, ill.). 24



William James Müller (1812-1845) Still life of Plunder taken during the Bristol Riots of 1832 Signed with initials and dated lower left 1832 Watercolour over pencil, 23 by 18.2 cm, 9 by 7 ¼ in. Provenance: With the Albany Gallery, London; Private collection Literature: Lowell Libson Ltd, Watercolour and Drawings, 2007, cat no 29, illus. Exhibited: London, Lowell Libson Ltd, Watercolours and Drawings, 28 November – 14th December 2007, no. 29

See note to cat.14a for more on the Bristol Riots of October 1831. All accounts of the riots mention the quantity of plunder mostly taken from the houses in Queen Square. Another watercolour by the artist, also signed and dated 1832, showing stolen goods in a house on St Augustine’s Back is in Bristol Museum and Art Gallery (see Francis Greenacre and Sheena Stoddard, W.J. Müller, 1991, p.80-81, no.45, ill.). 25



John Varley (1778-1842) Study of Trees Grey washes, 11.1 by 18.3 cm, 4 ¼ by 7 ¼ in. Provenance: Stanhope Shelton; Private collection, UK

This quick sketch is typical of Varley’s late work.




John Varley (1778-1842) Old Cottages at Watford Signed lower right: J. Varley and inscribed with title verso Watercolour over pencil heightened with touches of bodycolour and stopping out, 22.7 by 18 cm, 9 by 7 in. Provenance:With the Fine Art Society, London, March 1956 as ‘Inn near Oxford’; By descent to the present owner

Varley knew the Watford area well as he was a frequent visitor to his patron Dr Thomas Monro who lived at nearby Bushey. 27



John Wilson Carmichael (1799-1868) Whitehall Gardens, London Signed lower right with artist’s monogram and dated 1849 Watercolour over pencil heightened with scratching out, 29.5 by 44.2 cm, 11 ½ by 17 ¼ in. Provenance: With The Fine Art Society, London, May 1964; By descent to the present owner

In 1808 a row of houses was constructed on the site of the old privy gardens for Whitehall Palace. Until the Victoria Embankment was constructed between 1865 and 1870, the houses had long tree filled gardens which ran down to the Thames. Carmichael was initially apprenticed to a ship builder and it was in part this early training, along with this association with the artist and architect John Dobson, for whose plans he provided figures and often the colour, that provided the basis of Carmichael’s clear, careful style. 28



John Wilson Carmichael (1799-1868) Below Waterloo Bridge, looking towards St Paul's Cathedral, London Signed lower left with artist's monogram, dated 1849 and indistinctly inscribed Watercolour over pencil, 29.5 by 44.5 cm, 11 ½ by 17 ½ in Provenance: With The Fine Art Society, London, May 1964; By descent to the present owner

The present view looks across the Thames towards St Paul’s Cathedral and Blackfriars’s Bridge. The tall, squared tower on the south bank was the Shot Tower, built in 1826 for Thomas Maltby & Co. Gravity was used in the manufacture of lead shot; with liquid lead dropped from the top of the tower and as it fell, the lead formed into tiny perfectly spherical drops, these were then captured in a vat of water, cooling the shot instantly. The tower was only demolished in 1962 to make way for the Queen Elizabeth Hall.




Robert Hills (1769-1844) Fallow Deer in a Wooded Landscape Signed lower right: R Hills 1841, inscribed verso: RHills no 2/For Ex.n 1842 and further inscribed with engraving notes Watercolour heightened with touches of bodycolour and gum arabic, 32.2 by 43.3 cm, 12 ½ by 17 in.

The inscription verso suggests that Hills exhibited this watercolour in 1842 and that it was intended for engraving. He showed a number of works entitled ‘Fallow Deer’ or ‘Forest Scene, with Fallow Deer’ at the Society of Painters in Water-colours in 1841 and 1842.




Newton Smith Limbird Fielding (1799-1856) A Dog chasing a Snipe Inscribed lower centre: Newton Fielding 1839. Watercolour over pencil heightened with bodycolour, 10.1 by 16 cm, 4 by 6 ¼ in. Provenance: With Lowell Libson Ltd; Private collection, UK Literature: Lowell Libson Ltd, Watercolours and Drawings, London, 2006, cat. no. 41, illus. Exhibited: London, Lowell Libson Ltd, Watercolours and Drawings, 15th November – 8th December 2006, no. 41

Newton Fielding came from a family of artists: his four brothers and a sister, all became painters and trained under their father Nathan Theodore. Several Fieldings worked in Paris at some stage, although Newton, whose wife was French, divided his time between Paris and London. He established a reputation on both sides of the Channel for producing small-scale watercolours of animals and birds in landscape settings, delicately worked with a bold palette.




William Callow, R.W.S. (1812-1908) View of Servoz in the French Alps Signed dated and inscribed lower left: W Callow/Servoz/aout 14 1838 Watercolour over pencil, 26.1 by 37 cm, 10 ¼ by 14 ½ in. Provenance: With Walker Galleries, London, by July 1957; Arnold Fellows

Callow undertook his first visit to Switzerland in the autumn of 1838. He describes his trip in his diary, noting that he travelled by diligence through France over the Jura mountains to Switzerland. Journeying through Switzerland. He wrote: ‘We then proceeded through the vallery of Servoz and a beautiful gorge to the valley of Chamouny, surrounded by Mount Blanc and other mountains.’ (H.M Cundall, ed. William Callow, R.W.S. F.R.G.S. An Autobiography, London, 1908, p. 67). Servoz lies about 26 km to the north-west of Mont Blanc at one end of the Chamonix-Mont Blanc valley. The Church of Saint Loup which can be seen behind the houses on the left was consecrated in 1702 and is the oldest extant church in the valley.




William Callow, R.W.S. (1812-1908) The Belfry, Market Square, Bruges Signed lower right: W. Callow/1854. Watercolour over pencil heightened with touches of bodycolour 27.3 by 37.4 cm, 10 ¾ by 14 ½ in. Provenance: Anonymous sale, Bonham’s, 6th February 2007, lot 112; Private Collection, UK

The Belfry, the tallest in Belgium, was initially constructed, circa 1240, but was devastated by fire in 1280 and subsequently rebuilt. It was further added to between 1483-7, with the addition of the octagonal upper stage. Dominating its surroundings, the Belfry became symbolic of the freedom and wealth of the city. This studio work is probably based on sketches drawn on Callow’s 1850 trip to Belgium when he visited Lille, Courtrai, Tournai, Bruges, Ghent and Antwerp. He records ‘At all these towns I had little time for seeing the sights, as I found so many architectural subjects admirably suited for my pencil’ (see William Callow – an Autobiography, 1908, p.105). Another watercolour of the same view but depicting the bustle of Market Day was executed in 1891. 33



John Callow (1822-1878) Drake's Island, Plymouth Sound, Devon Inscribed and dated lower right: Drake's Island/June 24. 52 Watercolour over pencil on buff paper, 25.4 by 35.5 cm, 10 by 14 in.

John Callow trained under his elder brother William (see cat. no. 20) and accompanied him to Paris in 1835. Eventually he took over his Paris studio, only returning to England in 1844. He ran a highly successful drawing practice, teaching at the military arsenals at Addiscombe and Woolwich and also became Professor at Queen’s College, London. Coastal subjects such as the present watercolour, with its use of pure watercolour washes, are particularly characteristic of the artist’s work. This view depicts the small island which lies in Plymouth Sound, between the city and the Cornish coast. Fron the reign of Henry VIII, it was regarded as strategically important in the defence of the English coast. During the Civil War, it played a key role in supporting Plymouth in withstanding the four year long siege by the Royalists. It is now privately owned, having been sold in the mid 1990s.




Nicholas Condy (1793-1857) Plymouth Harbour and Drake's Island, Devon Watercolour and bodycolour on blue paper, 10.9 by 15.3 cm, 4 ¼ by 6 in.

The present watercolour depicts the busy water of Plymouth Sound and the small island, which from the reign of Henry VIII served as a military defence for the English coast (see cat. no. 21 for further details of the island). Condy retired from the army in 1818 and became a professional artist based in Plymouth. He exhibited at the Royal Academy and elsewhere between 1830 and 1845. His work is typically small scale and he uses strong colours often on coloured paper.




Samuel Prout (1783-1852) Beached Boats on the South Coast, probably Hastings Watercolour over pencil heightened with bodycolour heightened with stopping out, 28.6 by 37.8 cm, 11 ¼ by 14 ¾ in. Provenance: With Thos Agnew & Sons, 1989 Exhibited; London, Thos. Agnew & Sons, 11th Exhibition of Watercolours and Drawings, 20th February to 17th March 1989, no.152

Prout’s first recorded visit to Hastings was in August 1815 and he lived there between 1837 and 1844. As there is no natural harbour at Hastings, fishing boats have to be pulled up onto the beach – a practice that continues today. The present work is in his intermediary style and dates from circa 1820. A related work of boats on the beach at Hastings was with Guy Peppiatt Fine Art in 2016 (summer catalogue no.15). 36



Samuel Gillespie Prout (1822-1911) On the Beach at Dover Signed lower right: Gillespie Prout Watercolour over pencil heightened with bodycolour and stopping out 44.1 by 32.6 cm, 17 ¼ by 12 ¾ in.

The youngest of four, Samuel Gillespie’s style was heavily influenced by that of his father, also Samuel (see cat. no. 23). Following his father’s death in 1852, Samuel moved with his mother to Devon, where he remained for much of the rest of his life. He became well known for his religious writings and for his charitable works both at home and abroad, including organising vital food supplies to the citizens of Paris after the 1871 siege, as well as to Spain during the civil war of 1874 and Egypt during the famine of 1884. 37



Thomas Miles Richardson, Senior (1784-1848) A wooded Riverbank with Steps and Figures by a Boat 24.7 by 25 cm, 9 ½ by 9 ¾ in. Provenance: With Guy Peppiatt Fine Art, 2012; Private collection until 2023 Exhibited: Guy Peppiatt and Charles Nugent, Watercolours and Drawings by Thomas Miles Richardson Senior (1784-1848), 16th to 30th January 2012, no.1

This is probably a view of the Hermitage on the river Coquet below Warkworth Castle, Northumberland.




Anthony Vandyke Copley Fielding (1787-1855) Caistor Castle, near Yarmouth, Norfolk Signed lower right: Copley Fielding 1846 Watercolour over pencil heightened with bodycolour and gum arabic 25.6 by 35.7 cm, 10 by 14 in. Provenance: Henry Wilkinson of Clapham Common, 1846 Exhibited: London, Society of Painters in Water-colours, 1846, no.139, bought Wilkinson for £1.18.0

Caister Castle lies about five miles to the north of Yarmouth and was built for the distinguished soldier and diplomat Sir John Fastolf between 1433 and 1446. It was one of the earliest brick houses in England and despite being largely ruined is still well preserved with its 90 ft tower still standing.




John Frederick Lewis, R.A. (1804-1876) A woman in the interior of a Croft, Isle of Arran Inscribed lower right: Arran Watercolour heightened with white and gum arabic over traces of pencil 17.2 by 26.3 cm, 6 ¾ by 10 ¼ in.

Lewis made an extended tour of the Scotland during 1830 and the landscapes he saw and the people he met clearly provided a rich source of material for the young artist. He exhibited seven Scottish subjects at the Old Watercolour Society in 1831, of which three were views depicting Scottish cottage interiors (nos. 17, 142 and 291).




Andrew Nicholl R.H.S. (1804-1886) Dunluce Castle, Co. Antrim, Northern Ireland Signed lower left: A. Nicholl R.H.A. Watercolour over pencil heightened with touches of bodycolour, scratching out and stopping out, 35.9 by 54.1 cm, 14 by 21 ¼ in.

Dunluce Castle lies perched dramatically on a small outcrop of cliffs, with sheer drops down to the sea and attached to the mainland by a bridge. The present castle was begun circa 1500 by the McQuillan family and added to and altered through the 16th and 17th centuries by the MacDonnall family who seized control of the castle in the mid 16th Century. It is thought that the castle served as the inspiration for C. S. Lewis’s ‘Cair Paravel’ in his Narnia stories.




Thomas Shotter Boys (1803-1874) The Church of our Lady, Nuremberg Signed and inscribed lower left, T Boys Nuremberg Watercolour over pencil heightened with white, 52 by 41.3 cm, 20 ½ by 16 ¼ in. Provenance: Marcus Ford, his sale, Christie's 29th March 1983, lot 152; Anonymous sale, Sotheby's 28th November 2002, lot 323; Private collection

The Frauenkirke, or the Church of our Lady, stands on the east side of the main market square in Nuremberg. It was built between 1352 and 1362 on the orders of Emperor Charles IV, who intended that the church also be used for important ceremonial purposes, which accounts for the balcony on top of the large entrance porch. The church was almost completely destroyed by Allied bombing in the Second World War with only the nave and the facade (visible in this watercolour) remaining. The church was rebuilt by 1953. Boys undertook an extended tour of Germany during 1842 and 1843, when his sister Mary and brother-inlaw William John Cooke moved there. The visit proved of lasting inspiration to Boys, who continued to produce watercolours based on this visit throughout the rest of his career; he exhibited a watercolour entitled Nuremberg, at the New Watercolour Society in 1864. 42



Harry John Johnson (1826-1884) The Parthenon from Phalerum Bay, Athens Signed lower left and dated 1861 and inscribed lower right: PARTHENON FROM PHALERUM BAY. 1861, further inscribed on part of old mount: The Acropolis & Pentelius from Phalerum Bay -/seen acrofs the Marsh – with the Parthenon rising/behind the Hill of the Museum Watercolour heightened with touches of bodycolour and scratching out 27.4 by 51.5 cm, 10 ¾ by 20 ¼ in.

Johnson was born in Birmingham and was taught by William James Müller (see cat. no. 14a and cat. no. 14b) on his arrival in London, In 1843 he accompanied Müller on a four month trip to Lycia (now Turkey). He also visited North Wales with David Cox in 1844. He travelled extensively in Europe and appears to have visited Greece in the late 1850s and subsequently exhibited a number of views of Athens.




John Mogford (1821-1886) Storm on a Cornish Moor Signed and dated lower left: John Mogford 1871 Watercolour heightened with scratching out and gum arabic, with pinholes at corners, 24.8 by 45.5 cm, 9 ¾ by 18 in.

Born in Devon, Mogford spent much of his professional career in London, living in Hampstead. His father-in-law was Francis Danby A.R.A. (1793-1861), whose work proved highly influential on the younger artist. He exhibited regularly at the Royal Academy, The Royal Institute and the Suffolk Street Gallery and was elected to the Institute of Painters in Watercolour. At his studio sale, held at Christie’s in February 1886, an entire section was devoted to Cornish subjects.




Hercules Brabazon Brabazon N.E.A.C. (1821-1906) Santa Maria Della Salute, Venice Watercolour and bodycolour, 26.6 by 44.4 cm, 10 ½ by 17 ½ in. Provenance: With Chris Beetles, 2005, where bought by the present owner Exhibited:London, Chris Beetles Ltd, The Chris Beetles Summer Show 2005, no. 38

This view of Santa Maria della Salute is taken across the Grand Canal from near the Giardini Reali which are to the west of Piazza San Marco.






Charles Frederick Tunnicliffe, R.A. (1901-1979) A Flock of Red-breasted Geese Signed lower right: C.F. Tunnicliffe Watercolour and bodycolour over pencil, 31.5 by 66 cm, 12 ¼ by 26 in.

Tunnicliffe is probably the best known British wildlife artist of the second half of the 20th century. Born in Langley, east Cheshire, the son of a shoemaker, he was encouraged to draw by his parents and trained as an artist at Manchester School of Art. Later, in 1921, he was awarded a Royal Exhibition to the Royal College of Art where he specialised in engraving. He first exhibited at the Royal Academy in 1934 and became a Royal Academician in 1954. In 1929 Tunnicliffe married Winifred Wonnacott, a fellow student at the Royal College of Art who shared his passion for natural history. After their married they moved to Macclesfield and he began his record of the birds of Britain working in watercolour, gouache and ink. In the 1930s his reputation grew as an illustrator and engraver and he held his first one-man show in 1938, at the Arthur Greatorex Galleries in London. In 1942, he published his first book, ‘My Country Book’ and in 1947, he bought Shorelands, a house on the Cefni estuary at Malltraeth on the south coast of Anglesey, where he lived for the rest of his life. He exhibited continuously at the Royal Academy from 1938 until 1978, culminating in a major exhibition of his drawings and sketchbooks at the Royal Academy in 1974. In 1954, he was made vice-president of the RSPB and in 1968 of the Society of Wild Life Artists. In 1975 he was awarded the gold medal of the RSPB and in 1978 he was appointed OBE. 47

Robert Tavener, RE (1920-2004)

A Country Church near Lewes, East Sussex [cat.63] 48





Edward Lear (1812-1888) Late Afternoon on the Nile at Gezhir Eddomarih Inscribed indistinctly with title l.l. and dated: 25 January 1854/5 pm Watercolour over pen and ink, 6.5 by 15 cm, 2 ½ by 6 in.

Lear made his second expedition to Egypt in January 1854 and took a boat up the Nile taking in a number of ancient landmarks including Kom Ombos, Silsilis and Edfu. He arrived at Edfu in the morning following the execution of the present work (26th January) where he made a similar small watercolour study of the temple complex there. For some of this expedition he was accompanied by the Pre Raphaelite painter William Holman Hunt.




Edward Lear (1812-1888) A Distant View of Lake Lugano from Monte Generoso Inscribed and dated l.l.: Monte Generoso/9.AM. August 2.1878 Watercolour over pen and ink and traces of pencil 40.5 by 55.5 cm, 16 by 21 ¾ in.

Dating from one of Lear’s first visits to Monte Generoso in 1878, the present watercolour is from a group of spectacular large-scale drawings of the mountain on the Italian/Swiss border originating from several summer trips there over the following few years. Lear and his Suliot manservant Giorgio Kokali began their ascent on the previous day (1st August), allowing them to reach the summit early on the following morning. He notes in his diary for 2nd August: “Slept well. Fine Clear Morning. Rose before 5. Undecided to go… to the top of the mountain… At length was so lovely, decided to go. And having packed lunch and 2 ½ bottles (two half bottles) of wine… set off at 7. By 9, rather sooner, reached the summit where already were a Swiss and his wife. Drew twice until 10.30…” (Edward Lear Diary for 2nd August 1878, held by Houghton Library, Harvard University (MS Eng 797.3) (transcribed from microfiche of original manuscript)). 51



Sir Edward Coley Burne-Jones, Bt. ARA, RWS (1833-1898) Study for “The Passing of Venus” Silverpoint and white chalk on grey prepared paper, 19.5 by 23.5 cm, 7 ¾ by 9 ¼ in. Provenance: from the artist to his granddaughter Angela Margaret Thirkell (née Angela Margaret Mackail); by descent to Graham Campbell McInnes (Graham Thirkell) then given to his son Simon McInnes in 1969 Exhibited: London, Burlington Fine Arts Club, Sir Edward Burne-Jones, Bart., 1899, no. 204.; National Gallery of Canada, Ottawa NGC (Musée des Beaux-Arts du Canada, Ottawa MBAC) on loan in 1980 (Jones L-2.3)

The Passing of Venus was first conceived of by Burne-Jones as a design for a tile panel in 1861, but he returned to the subject on numerous occasions over the next four decades, culminating in a tapestry design for Morris & Co unfinished at his death in 1898 (the Metropolitan Museum of Art, New York hold a study for this (acc.62.167)). The present work is a direct study for the reclining figure of Venus in a version executed in c.1878 (offered for sale, Christie’s, 24 November 2004, lot 10). The drawing’s distinctive medium of silverpoint with white heightening on grey prepared-paper firmly attaches it to the artist’s so called Florentine period, when he was studying Italian drawings by artists of the Quattrocento, amongst them Filippino Lippi.



Fig 1.


Sir Edward Coley Burne-Jones, Bt. ARA, RWS (1833-1898) The Rubens Version of “Danae and The Brazen Tower” Inscribed (verso): King Acrisius having dreamed that/ he should be slain by the hand [of ] his daughter/ Danae built a ... tower to shut Danae there in/ as long as she lived, thinking so to/ undo the ... of the Gods On headed paper for 2 Mandeville Place W Pencil with pen and black ink on paper, 17.5 by 11 cm, 6 ¾ by 4 ¼ in. Provenance: from the artist to his granddaughter Angela Margaret Thirkell (née Angela Margaret Mackail); by descent to Graham Campbell McInnes (Graham Thirkell) then given to his son Simon McInnes in 1969

The artist’s daughter, Margaret Mackail, recollects in an inscription attached to this drawing that her father would often amuse himself by sketching a “Rubens version” of one of his major pictures when he had finished them. The present work is based on Burne-Jones’s paintings of Danae and the Brazen Tower (one version of which is in the collection of Glasgow Museums, acc.936 (see fig.1)). 53



William Henry Margetson, RI (1861-1940) Woman in White Coloured chalks, 62.5 by 36 cm, 24 ¼ by 14 ¼ in.

Margetson studied at the Royal College of Art and the Royal Academy Schools where he won the Armitage Medal in 1885. In the same year he exhibited for the first time at the Royal Academy. He specialised in highly decorative and commercial paintings of women, initially strongly influenced by the Aesthetic Movement. His work in pastel and chalk is rarer and seems to suggest the influence of James Abbott McNeill Whistler who had settled in London in the final decades of the nineteenth century. 54



Herbert Dalziel, ROI (1858-1941) Nocturne Inscribed and dated on artist’s business card for Harlbedown House, Herne Bay: Signed and dated 1911 on label Oil with pastel on card, 20 by 14 cm, 8 by 5 ½ in.




William Lee Hankey, ROI (1869-1952) A Breton Dinner Signed l.r.: W.Lee Hankey Watercolour, 25 by 35.5 cm, 9 ¾ by 14 in. Provenance: acquired by the present owner from Abbott and Holder




Joseph Crawhall, RSW (1861-1913) Crowds on the Rialto Bridge, Venice Inscribed with colour notes Pencil, 27 by 21 cm, 10 ½ by 8 ¼ in. 57



Charles Rennie Mackintosh (1868-1928) Wall Decoration for 14 Kinsborough Gardens, Glasgow, 1901 Watercolour over pencil, 15.5 by 24 cm, 6 by 9 ½ in. Provenance: MacLellan Galleries, Glasgow, Charles Rennie Mackintosh, the Memorial Exhibition, 1933; William Meldrum thence by descent; subsequently gifted to The Glasgow Art Society Literature: Roger Billcliffe, Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis, 2009, pp.132-133, illus.1901.67.

14 Kinsborough Gardens was an important early Mackintosh scheme dating from a year before the commission for a building that is widely regarded as one of his masterpieces, Hill House in Helensburgh. The house was the home of Mr Robert J.Rowat White, Roger Billcliffe (op cit) referring to Mackintosh’s notably feminine interior for the building with “stylised flowers” decorating the walls. 58

Fig.2 Drawing Room, Fireplace and Fitted Seating at 14 Kinsborough Gardens (photograph from 1902)



Charles Rennie Mackintosh (1868-1928) Campanula Rotundifolia Watercolour, 27.5 by 23.5 cm, 10 ¾ by 9 ¼ in. Provenance: MacLellan Galleries, Glasgow, Charles Rennie Mackintosh, the Memorial Exhibition, 1933; William Meldrum thence by descent; subsequently gifted to The Glasgow Art Society

The introduction of colour to Mackintosh’s flower pictures dates from a visit to Lindisfarne off the Northumbrian coast in the summer of 1901. Previously his meticulous studies of flowers were limited to line drawings in pencil only, but increasingly after this date purer washes of colour became a central part of this body of work, his subject always set starkly against a white background. The present drawing is rare in being an example that is executed in pure watercolour, without the underlying pencil-work. In the following years, Mackintosh would keep returning to flower painting (including notably on trips to Walberswick in the following decade). Today they are regarded amongst the finest works he ever produced on paper. 59



Wilfred Gabriel de Glehn, RA (1870-1951) Studies of a Female Nude With the artist’s estate stamp (verso) Red chalk, 39.5 by 56.5 cm, 15 ½ by 22 ¼ in. Provenance: the artist’s estate; David Messum

De Glehn was a close friend and associate of John Singer Sargent, who hired him as an assistant for his work on the murals at the Boston Public Library in 1891. He also appears as a sitter in a number of significant Sargent paintings, amongst them The Fountain, Villa Torlonia, Frascati (Art Institute of Chicago, Friends of American Art Collection (now on loan to the Metropolitan Museum of Art, New York). That work shows De Glehn and his American-born artist wife Jane Emmet. His training in Britain, France and America adds an international style to De Glehn’s painting which generally falls under the strong influence of Impressionism. The example of the Impressionists and Sargent are also evident in fluid, confident, studies and drawings like the present work.




Sir William Orpen, RA, RHA (1878-1931) Self Portrait, 1911 Signed and dated c.l.: William Orpen/10th April 1911 Pen and sepia ink, 10 by 16 cm, 4 by 6 ¼ in. Provenance: with Colnaghi & Co Ltd

One of Orpen’s most celebrated self portrait drawings also dates from 1911 (Fitzwilliam Museum, Cambridge, acc.148-2015). The present work, whilst not a related study, displays the same intensity of gaze and steeliness so characteristic of this portrait artist who was by then at the height of his powers.




Percy Wyndham Lewis (1882-1957) A Portrait of David Low, 1932 Signed and dated l.l.: Wyndham Lewis/1932 and with further inscription Drawing of David Low Pencil, 27 by 19.5 cm, 10 ½ by 7 ¾ in. Provenance: Private collection from 1957; Christie's, London, 7th March 1997, lot 18 Literature: Michel Walter, Wyndham Lewis: Paintings and Drawings, Thames & Hudson, London, plate 103 no.773 Exhibited: Olympia, London, 1-6 March 2005, Wyndham Lewis,

This portrait of the celebrated cartoonist Sir David Low was reproduced as part of Wyndham Lewis’s 1932 portfolio Thirty Personalities and a Self-Portrait, 1932, which also included images of Augustus John, G. K. Chesterton, and James Joyce. Lewis admired Low’s work as a great satirist of his day, reproducing an example of it in his 1950 autobiography. Low for his part also represented Wyndham Lewis in a 1938 cartoon, reacting to the occasion of the Royal Academy’s rejection of his portrait of T. S. Eliot and the subsequent resignation of Augustus John. We are grateful to Paul Edwards, Chairman, The Wyndham Lewis Memorial Trust for his assistance. 62



Eric Kennington, RA (1880-1960) A Double Portrait of the Artist’s Nephew Signed l.r.: E.Kennington/20 Charcoal on joined sheets on light brown paper, 29.5 by 40 cm, 11 ¾ by 15 ¾ in.

Kennington’s nephew Ian Duncan Struthers became a highly distinguished War correspondent and cameraman for Paramount’s London studio, his work including records of the 9th Army in Italy in 1942 and some remarkable footage recording the Allied advance after D-Day. Before the First World War, Kennington had painted Struther’s father (and the artist’s brother-in-law) Kenneth, who later died serving with the London Scottish Regiment on the Somme in October 1916. This sensitive double portrait was taken in 1920 and is testament to Kennington’s position as one of the master portrait draughtsmen in Britain of his era. 63



Robert Bevan (1865-1925) Rosemary Lane, Clayhidon, c.1920 With the artist’s studio stamp (under mount) Charcoal, 25.5 by 35.5 cm, 10 ½ by 14 in. Provenance: the Fine Art Society, London; acquired by the previous owner from the Court Gallery, Somerset

Bevan’s summer months in the last couple of decades of his life were dominated by his visits to the Blackdown Hills on the Somerset/Devon border. First taking a house in the Bolham Valley he eventually acquired Marlpitts Cottage in Luppitt. In the summer of 1920, he took lodgings at Gould’s Farm in Luppitt and a fine group of paintings as well as some of the artist’s best landscape lithographs were produced here (amongst them The Smithy, Luppitt and The White House). The same remarkable monochromatic tonal range of the lithographs is apparent in this fine drawing, which accentuates the contrasts between the jagged leaves within the strong outlines of the trees and the hedgerows and horizons beyond. Such works hark back to the enduring influence of the Post Impressionists on Bevan’s art, particularly in this case that of Vincent Van Gogh. Rosemary Lane, also the subject of the lithograph Rosemary, Devon from 1922, is situated a few miles north of Luppitt. 64



Charles Ginner, ARA (1878-1952) Allotments at Oxted, c.1917 Watercolour over pen and ink, 30 by 25 cm, 11 ¾ by 9 ¾ in.

The present work relates to the painting Early Morning from 1917 (Southampton City Art Gallery, acc.12/1969), which shows the backs of houses in the Surrey town of Oxted. Ginner had been called-up in World War One, serving first with the Royal Army Ordnance Corps and then the Intelligence Corps. Some fine Wartime work resulted from the former of these, amongst them The Blouse Factory, from 1917 (Government Art Collection, acc.6838). His drawing of Oxted, despite its strong compositional similarities to the related painting, differs considerably in execution. Its strong underlying draughtsmanship is characteristic of this earlier phase of the artist’s work, perhaps reflecting Ginner’s training as an architect in Paris in the late 1890s. 65



Vanessa Bell (1879-1961) The Town Square, Montepulciano Inscribed l.r.: Montepulciano Pen with brush and black ink on light brown paper. 29.5 by 35.5 cm, 11 ½ by 14 in. Provenance: the Bloomsbury Workshop

Executed on a trip to Italy by the artist in c.1950.




Vanessa Bell (1879-1961) Portrait of Angelica Garnett, c.1930 With the artist's studio stamp (l.l.) Pencil, 22.5 by 18.5 cm, 8 ¾ by 7 ¼ in. Provenance: the artist's estate; the Bloomsbury Workshop

The present work depicts Angelica, Vanessa Bell's daughter with Duncan Grant, aged about twelve. 67



Dora Carrington (1893-1932) Studies of Cattle Pencil, 6.5 by 13.5 cm, 2 ½ by 5 ¼ in. Provenance: with the Bloomsbury Workshop in 2010

The present drawing was originally in a sketchbook from c.1912, acquired by the Bloomsbury Workshop in the early 1990s. Its contents were the subject of an exhibition by the gallery in October 1992 with a catalogue introduction by Frances Partridge.




Sir Stanley Spencer, RA (1891-1959) A Cat and a Dog Resting on a Suit of Armour Pencil, 20.5 by 29.5 cm, 8 by 11 ½ in. Provenance: the estate of Daphne Charlton

This is possibly the same suit of armour that Spencer used in his painting of 1958, Saint Peter Escaping from Prison. A comparable study of the armour appeared in the Stanley Spencer Studio sale at Christie's in 1998.




Barnett Freedman (1901-1958) The Garden Party Signed l.r.: Barnett Freedman Watercolour over pen and ink, 20 by 17 cm, 8 by 6 ¾ in.

Freedman was at the heart of a talented group of Royal College of Art students from the mid-1920s which included the painters Edward Bawden and Eric Ravilious. He was one of the most widely admired British book designers and lithographers of the mid twentieth century, his illustrations, in particular, for War and Peace and Anna Karenina (both for the Limited Edition Book Club) being viewed as landmarks in the history of book design. 70



Edward Ardizzone, RA (1900-1979) Evening in the Officer’s Mess Signed l.r.: E.Ardizzone Watercolour over pen and ink, 21 by 29.5cm, 8 ¼ by 11 ½ in.

Possibly a Wartime subject dating from the early 1940s.




John Nash, RA (1893-1977) An East Anglian Farm With the artist's studio stamp (verso) Watercolour over pencil, 40 by 57.5 cm, 15 ¾ by 22 ½ in. Provenance: acquired by the previous owner from the New Grafton Gallery in 1980




Dame Elisabeth Frink, RA (1930-1993) Lying Down Horse Signed and dated l.r.: Frink/77 and with dedication (l.l.) Francis from Liz Pen and black ink, 39.5 by 56 cm, 15 ½ by 22 ¼ in.

Horses became Frink’s most prolific subject matter in the latter part of her career, particularly following her move to Woolland in Dorset in 1970. The figure of the reclining horse, in particular, recurs in her work, often with a pose similar to this – its head turned to the right across its body. Examples include a larger watercolour (also from 1977) Lying Down Horse (sold, Christie’s, 21 March 2018, lot 21) and several of her most memorable prints and sculptures.




Albert Edward Halliwell (1905-1987) New York Design for a White Star Line poster, c.late 1920s Gouache over touches of pencil, 38 by 15 cm, 15 by 6 in.

The existence of a further similar design by Halliwell for a New York poster suggests that the present gouache relates to an idea for a poster for the White Star Line from the late 1920s. Halliwell studied at Stockport School of Art and the Royal College of Art. He is at his best in the commercial artwork he created in the 1920s which is amongst the best of the English Art Deco. He produced work for London Transport and for many train and travel companies, as well as packaging design for firms such as Bird’s Custard and Melias Coffee. 74



Guy Kortright (1876-1948) The Citadel of Corte, Corsica Signed l.r.: Guy Kortright Watercolour over pen and ink, 52 by 56 cm, 20 ½ by 22 in.

The fifteenth century Citadel of Corte is one of seven similar fortresses on Corsica and was built in two stages some 350 years apart. Its striking, precarious position on an isolated outcrop earned it the nickname “the Eagle’s Nest”. Kortright visited Corsica in the early 1930s and his painting St Pierre in Corsica of c.1933 is in the collection of Bristol Museum and Art Gallery (acc.K1198). He was particularly attracted to the landscape of Southern Europe and the patterns of colour conveyed by the arid countryside. He put his artistic philosophy in writing in a series of articles with the title Decorative Landscape Painting which were published in the periodical The Artist between 1934 and 1935. 75



Barbara Jones (1912-1978) Beynac on the Dordogne with Watermelons Watercolour and gouache, 34 by 45 cm, 13 ¼ by 17 ¾ in. Provenance: Private Collection; Jennings Fine Art

Jones visited the Dordogne in the late 1960s with her close friend, the architect W.G.Howell. Howell had met Jones at the Britain Can Make it exhibition in the late 1940s and he helped in the research of her seminal book Follies and Grottoes. Howell’s family recall their time at Beynac, during which they stayed with Jones in the campsite clearly visible in the centre middle ground of this picture. We are grateful to Charles and Sam Howell for their assistance.




Barbara Jones (1912-1978) Mural Design for the New Cake House in St James’s Park Watercolour with gouache over pencil and collage on two joined sheets of paper, 66 by 69 cm, 26 by 27 ¼ in. Provenance: the estate of the artist; with Jennings Fine Art

The New Cake House in St James’s Park was opened by Harold Wilson’s wife Mary on 23rd February 1970. Its interior mural was constructed in ceramic tiles by Richard Parkinson from original designs by Barbara Jones. They depict the George III Jubilee celebrations held in the park in 1814 to commemorate one hundred years of the Hanoverian Dynasty. By the end of the century the structure came to be seen as outmoded (as well as being beset with structural issues) and was finally demolished (and the murals lost) to make way for the Inn in the Park (see Ruth Artmonsky, A Snapper Up of Unconsidered Trifles: A Tribute to Barbara Jones, 2008, pp.109-110; also The Pagoda and Chinese Bridge, St. James’s Park, London, 1814, post on The Folly Flaneuse, November 15 2019).




Edward Bawden, RA (1903-1989) “Too Much Hadham”, Design for a Shell Advertisement, 1934 Pen and black ink, 19 by 17 cm, 7 ½ by 6 ¾ in. Provenance: the BP Shell Mex collection; the Fine Art Society, London

The 1930s was one of Bawden’s busiest decades for commercial art, with work for organisations including Good Food magazine, London Transport and Shell Mex. He had a particular talent for the ingenious placing of text within a design as evidenced in this drawing for a magazine advertisement for Shell (see fig.3 opposite). Fig.3




Edward Bawden, RA (1903-1989) Mr Wilkins Returning Home Pen and black ink, 9 by 6.5 cm, 3 ½ by 2 ½ in.

This early illustration shows the strong influence of Paul Nash who had taught Bawden at the Royal College of Art in the 1920s. The full title of the present work is Mr Wilkins returning home with a beast fish and is an illustration for the book The Life and Adventures of Peter Wilkins (1928).




Clifford Webb, RBA, ARE (1895-1972) Landscape with Dry Stone Wall, Northumberland Watercolour, 30 by 44.5 cm, 12 by 17 ½ in.

Many of Webb’s most successful woodcuts depict the Northumbrian countryside near Hadrian’s Wall where he would visit regularly in the inter-war years. His best watercolours, like this picture, closely reflect his work as a printmaker and retain something of the same graphic quality and inventive composition. Webb was a leading figure in the British wood engraving revival of the 1920s and was highly regarded as an illustrator, with work including that for the Golden Cockerel Press and later for a famous edition of Swallows and Amazons. He taught at Birmingham School of Art in the 1920s, later lecturing on engraving in London at St Martin’s School of Art.




Roland Collins (1918-2015) Sunset on the Beach, Whitstable Watercolour with gouache, 59.5 by 71.5 cm, 23 ½ by 28 in. Provenance: Michael Parkin

In his Guardian obituary on the artist, Andrew Lambirth described Roland Collins as “a painter with a feeling for the unusual and overlooked detail of the British landscape”. Virtually re-discovered in his nineties, Collins was a versatile artist who had worked as an illustrator, book designer and muralist. He also made a series of lithographs to illustrate Noel Carrington’s 1954 book on colour and pattern in the home.




Robert Tavener, RE (1920-2004) A Country Church near Lewes, East Sussex Signed l.r.: Robert Tavener Watercolour over pen and ink, 40 by 57 cm, 15 ¾ by 22 ½ in.




Bernard Fleetwood Walker, RA, RWS (1893-1965) A Girl Reading Signed l.l.: B.Fleetwood-Walker Watercolour, 35 by 28 cm, 13 ¾ by 11 in. Provenance: Mrs P.Fleetwood-Walker; Fosse Gallery, Stow-on-the-Wold, c.mid 1980s Exhibited: Royal Watercolour Society, Spring Exhibition, 1950, no.130; John Lindsey Fine Art, Exhibition of Watercolours by Bernard Fleetwood-Walker, March 1981, no.23

The Birmingham Post art critic, Richard Edmonds, wrote of Fleetwood Walker’s work in his review of the exhibition where this watercolour was shown: “His style is both lyrical and readily assured. Hands in particular are frequently a focal point of these lovely paintings which are immensely and touchingly human. The artist throws light on to a cheekbone on the curve of a jaw… you have a direct feel of the model, understated, irrevocably English and deeply satisfying.” (Fleetwood Walker at John Lindsey Fine Art, Knowle, Birmingham Post, 24 March, 1981). Fleetwood Walker had strong links with Birmingham, teaching at the school of art there and serving for a time as president of the Royal Birmingham Society of Artists. 83



Graham Sutherland, OM (1903-1980) Form in a Landscape, Pembrokeshire Watercolour over pencil, 22 by 28 cm, 8 ¾ by 11 in. Provenance: Goldmark Gallery; from a sketchbook by the artist sold Sotheby’s Olympia, 2003




John Piper, CH (1903-1992) A Field of Sunflowers near Matha, Aquitaine Signed l.r.: John Piper with title and date Sunflowers/Outside Matha/IX-74 and with further inscription No.24 Sunflower Field 1. Watercolour with gouache wax resist and ink, 37 by 55 cm, 14 ½ by 21 ¾ in.




Keith Vaughan (1912-1977) Figures by a Fallen Tree, 1946 Signed and dated l.r.: Keith Vaughan/46 Gouache, crayon and ink, 23 by 31.5 cm, 9 by 12 in. Provenance: acquired from the artist's in the 1950s; American Private Collection

The present work relates to the painting Figures by a Fallen Tree Branch from 1946-47. It employs motifs that occupied the artist in the 1940s and which he went on to use in one of his few lithographs, The Walled Garden from 1951, also realised in a similar yellow colour palette. The strong use of wax resist also owes something to the work of Graham Sutherland, whose Neo-Romantic work had a significant influence on Vaughan at this date. 86



Keith Vaughan (1912-1977) Standing Figures, 1965 Signed and dated l.r.: Keith Vaughan/January 1965 Presented in the artist’s original restored mid 1960s metal frame and slip Gouache, ink and watercolour, 40 by 37.5 cm, 15 ¾ by 14 ¾ in. Provenance: acquired by the previous owner in the 1960s

1965 was Vaughan's finest year for gouaches which occupied him particularly in the early winter months. Numerous entries in his journals for January and February of that year refer to these powerful drawings, culminating in one on Friday 26 February: “Gouaches started sometime over Christmas, now amount to about 35. Purely compulsive. I dread stopping. Vinegar in the water makes the ink precipitate. Stings the skin.” We are very grateful to Gerard Hastings for his assistance. 87



Hans Feibusch (1898-1998) Design for the “Britain Can Make It” Tearoom, 1946 Gouache with brush and ink on light grey paper, 23.5 by 54 cm, 9 ¼ by 21 ¼ in.

Britain Can Make It was held at the Victoria and Albert Museum in the Autumn of 1946, with the aim of injecting energy into Britain’s manufacturing industries following the end of World War Two. Feibusch was commissioned to make a mural for the tea room for the show, which included scenes of parkland, the Commedia dell ‘Arte, a fairground, and a circus. The Victoria and Albert Museum hold several of Feibusch’s colour roughs for the scheme. Feibusch was born to Jewish parents in Frankfurt am Mein. He emigrated to Britain following the Nazi Party’s rise to power in 1933 and was subsequently included in their infamous of Entartete Kunst (Degenerate Art) exhibition in 1937. He later converted to Christianity contributing a remarkable body of work as a muralist for the Anglican Church.




Edward Burra (1905-1971) Idea for a Tailpiece with a Figure by a Tomb, c.1948 Signed l.r.: Edward Burra Pen and black ink, 18.5 by 18 cm, 7¼ by 7 in. Provenance: Christie's South Kensington, 6 December 2001, lot 139

It has been suggested that the present work relates to an edition of Mark Twain's Huckleberry Finn that Burra illustrated in 1948.


John Bellany (1942-2013)

The Contented Sole [cat.97] 90





John Nash, RA (1893-1977) Woodland Design, Buckinghamshire Signed and dated 1919 Pen, ink, crayon and watercolour, 25.5 by 34 cm, 10 by 13 ½ in. Exhibited: London, Anthony d’Offay, Exhibition of Early Watercolours, 8 September – 10 October 1981 Provenance: G F Neal Esq, October 1981, Private Collection, UK




Keith Vaughan (1912-1977) Sleeping Quarters, Bulford Camp KV estate stamp to the reverse Pen and ink with red conte, 13 by 18 cm, 5 ¼ by 7 in. Provenance: The Redfern Gallery, London




Alan Lowndes (1921-1978) Florence Signed, executed c.1944-5 Pen and ink, 16 by 23 cm, 6 ½ by 9 in. Exhibited: London, Crane Kalman Gallery, Alan Lowndes Retrospective and Book Launch, June 2010 Literature: Alan Lowndes by Jonathan Riley, published Kent 2010, illustrated pg. 23




Frank Dobson, RA (1886-1963) Reclining Nude Signed and dated ‘47 Red chalk, 30.5 by 45.5 cm, 12 by 18 in.






Rowland Suddaby (1912-1972) Flowers in a Pot Signed and dated ‘47 Pen and ink, watercolour and wash, 42.5 by 55.5 cm, 16 ¾ by 22 in. Provenance: The Redfern Gallery, London




John Wells (1907-2000) Cat and Bird Signed and dated 1947; also inscribed To Trudie Berger from John Wells, with best wishes, Christmas 1947 on the reverse Pen and ink, 10 by 20.5 cm, 4 by 8 in.




William Gear, RA (1915-1997) Landscape Composition Signed and dated Oct VIII ’48, also inscribed Paris and titled verso Mixed media, 30.5 by 48 cm, 12 by 19 in.




Mary Adshead (1904-1995) Study for Mural for Tea Room, Luton Hoo Signed Gouache and pencil, 27 by 26 cm, 10 ½ by 10 ¼ in. Provenance: Liss Fine Art




Bernard Meninsky (1891-1950) Still Life with Fruit Gouache, 28 by 42 cm, 11 by 16 ½ in. Provenance: Belgrave Gallery, St,Ives




Reginald James Lloyd (1926-2000) Harbour Hotel, Porthleven Signed, titled and dated ‘52 Pencil and watercolour, 30.5 by 25.5 cm, 12 by 10 in.




Michael Ayrton (1921-1975) Demeter Signed and dated 4.3.1963 Pen, ink and wash, 49.5 by 39.5 cm, 19 ½ by 15 ½ in.




George Bissill (1896-1973) The Brisk Young Widow Signed, inscribed ‘a Folk Song as presented by the Arts League Travelling Theatre w hose season at the King George’s Hall, has just come to an end’ on the backboard Watercolour and gouache, 29 by 21.5 cm, 11 ¼ by 8 ¼ in. 104



Evie Hone (1894-1955) From the Window, Montparnasse Signed Gouache, 35 by 23 cm, 13 ¾ by 9 in. 105



Colin Sealy (1891-1964) Summer Flowers Signed Watercolour and gouache, 37 by 27 cm, 14 ½ by 10 ½ in. 106



Roger Hilton (1911-1975) Father Christmas Inscribed on the reverse ‘To all at The Hollywood’ Charcoal and collage on an envelope, 15.5 by 23 cm, 6 ¼ by 9 ¼ in. Provenance: Given to the landlord of The Hollywood Arms pub in the early 1960s. While Roger and Rose Hilton lived in Cathcart Road, London, Roger was a regular customer of the Hollywood Arms pub.








John Nash RA (1893-1977) Four Seasons A set of four pencil drawings, one with pen and ink, each 6.5 by 9 cm, 2 ½ by 3 ½ in. (4) Framed individually Inscribed ‘Original drawings for 4 Nos of The Countryman’ a. ‘Autumn, Firle Park’ b. ‘Summer, Cornwall Lake’ c. ‘Winter, Suffolk Snow’ d. ‘Spring, Skye, The Braes’




John Nash RA (1893-1977) Fritillaria Imperialis Pencil, coloured crayon, pen and ink, 19 by 12.5 cm, 7 ½ by 5 in. 109



Tristram Hillier, RA (1905-1983) A Road in the Fens A double-sided drawing with a sketch of haystacks to the reverse, both drawings inscribed Pencil, 17 by 24.5 cm, 6 ¾ by 9 ¾ in. Provenance: The artist’s family




Tristram Hillier, RA (1905-1983) Spanish Landscape Extensively inscribed Pencil, 23.5 by 34 cm, 9 ¼ by 13 ½ in. Provenance: The artist’s family




James Lloyd (1905-1974) Tree Signed Gouache and watercolour, 56 by 36 cm, 22 by 14 ¼ in. Provenance: Portal Gallery, London 112



James Lloyd (1905-1974) The Last Fence Signed Gouache on card, 53.5 by 38 cm, 21 by 15 in.




Mary Fedden, RA (1915-2012) By the Sea Signed and dated 1976; also signed and titled on the backboard Ink and gouache, 17 by 15 cm, 6 ¾ by 5 ¾ in.




Mary Fedden, RA (1915-2012) Feeding the Horse Signed and dated 1978 Pen, ink, watercolour and gouache, 18.5 by 18.5 cm, 7 ¼ by 7 ¼ in.






John Skeaping (1901-1980) Cat Crouching Signed Pencil, crayon and pastel, 34 by 49 cm, 15 ½ by 19 ¼ in.




John Piper, CH (1903-1992) Girl with Sunflower c.1979 Signed Pen, ink, watercolour and gouache, 56 by 76 cm, 22 by 30 in. Provenance: Beaux Arts Gallery, London




John Piper, CH (1903-1992) St Mary in the Marsh, Kent Signed twice, titled on the reverse Watercolour, gouache, pen and ink, chalk and pencil, 39.5 by 55 cm, 15 ½ by 21 ¾ in. Provenance: With Beaux Arts, Bath, Private Collection, U.K.




Carel Weight, RA (1908-1997) The Last Aeronaut Signed and titled Pencil and watercolour, 20.5 by 29 cm, 8 by 11 ½ in.




John Stanton Ward (1917-2007) Florians, Venice Signed, titled and dated 1986 Pencil and watercolour, 19 by 28 cm, 7 ½ by 11 in.






Bernard Dunstan, RA (1920-2017) The Bathroom Door Signed with initials Pastel on brown paper, 18.5 by 23 cm, 7 ¼ by 9 in.




Diana Armfield, RA (b.1920) Afternoon in Campo Bandiera e Moro Signed with initials Pastel, 18.5 by 16.5 cm, 7 ¼ by 6 ½ in. 124



Diana Armfield, RA (b.1920) Queuing for The Accademia, Venice Signed with initials Pastel, 28 by 22.5 cm, 11 by 9 in. 125



Sir Terry Frost, RA (1915-2003) Setting Sun Signed; inscribed inside the card Pen, ink, gouache and collage, 11 by 12 cm, 4 ¼ by 4 ¾ in.




John Bellany (1942-2013) The Contented Sole Signed and inscribed Watercolour, 56 by 76 cm, 22 by 30 in.






Donald Hamilton Fraser, RA (1929-2009) Church in Malta Signed Gouache, 19 by 16 cm, 7 ½ by 6 ¼ in.




Mary Fedden, RA (1915-2012) Harlequins with Birds Signed and dated 1998 Pen, ink and gouache, 24 by 20 cm, 9 ½ by 8 in.




Mary Fedden, RA (1915-2012) The Pink Chair Signed and dated ‘06 Watercolour and gouache, 22 by 15 cm, 8 ¾ by 6 in.



[Ex. Cat. 1]

Luke Elwes (b.1961) Pasture Signed, titled and dated 2004 Mixed media, 60 by 76 cm, 22 by 30 in.



[Ex. Cat. 2]

Mark Hearld (b.1974) Compton Verney Cockerel Signed and dated ‘17 Watercolour, gouache and collage, 50 by 55 cm, 19 ¾ by 21 ¾ in.


GUY PEPPIATT Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures Department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical sales. Guy left Sotheby’s in 2004 to work as a dealer in early British watercolours and since 2006 he has shared a gallery on the ground floor of 6 Mason’s Yard, St James’s. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. Guy Peppiatt Fine Art exhibit as part of Master Drawings New York every January as well as London Art Week in July and December.


He has recently curated an exhibition of early British watercolours at Eton College and held a loan exhibition in the gallery in 2022 - ‘Views of Nature – Four Centuries from Winchester College’. He has regular selling exhibitions in the gallery – recent ones including ‘Dr William Crotch and the Great School of Oxford’, ‘Bristol School of artists 1820-1860’, ‘Charles Gore 1729-1807’, ‘Edward Lear 1812-1888’, ‘British Portrait and Figure Drawings’ and ‘John Linnell and his Contemporaries’. He is also a Trustee of Turner’s House in Twickenham.

FREYA MITTON Freya Mitton has been specialising in 20th Century British Art for over 25 years. She set up as an independent dealer in 2012 having previously been a specialist and auctioneer at both Sotheby’s and Bonhams. She is a board member of the Association of Art & Antiques Dealers (LAPADA), and also a member

of the British Antique Dealers Association (BADA) and an associate member of The Cotswold Art & Antique Dealer Association. Prior to moving into 6 Mason’s Yard Freya exhibited at over 75 Art and Antiques Fairs in London and across the country.

HARRY MOORE-GWYN Harry Moore-Gwyn studied at Oxford University and Christie’s Education before working as graduate trainee at Sotheby’s London. He started dealing independently in 2000 and has since established his reputation as a dealer in British Paintings, drawings and sculpture, focusing on the period from 1870 to 1950 and with artists including the painters of the Bloomsbury and Camden Town groups, John and Paul Nash, John Piper and Graham Sutherland. He opened his first gallery on the Third floor at 6 Mason’s Yard in St James’s in 2018, moving to the Ground floor in 2021 in a space he now shares with Freya Mitton and Guy Peppiatt. He has also taken stands at many of the leading London art and antique fairs. He has a particular

interest in unsung painters of the period, publishing numerous catalogues on twentieth century British art and working with several artist’s estates amongst them James Boswell, Anthony Devas and Lowes Dalbiac Luard. In 2015 he cocurated the centenary show on Kenneth Rowntree at the Fry Art Gallery, Saffron Walden and Pallant House, Chichester, the catalogue for which was nominated for the Berger Prize for British Art History in 2016. In 2018 he curated the first major retrospective on the painter Henry Lamb for a generation at Salisbury Museum (later travelling to Poole Museum in 2019). His catalogue for this show, Henry Lamb: Out of the Shadows was published by Paul Holberton in 2018.




Selected list of exhibitions and events for the 2023-24 Season (other events are currently unconfirmed and will be announced during the year)

15th October to 15th December 2023 Three Centuries of British Art, Shepherd W&K Galleries, 58 East 79 Street, New York (Harry Moore-Gwyn & Guy Peppiatt)

17th to 24th January 2024 London Art Fair – Islington, N1 0QH (Freya Mitton & Harry Moore-Gwyn)

26th January to 3rd February 2024 Master Drawings New York, exhibiting at the Arader Galleries, 1016 Madison Ave (Guy Peppiatt)

29th January to 9th February In Full Colour: Modern British Art, 6 Mason’s Yard (Freya Mitton)

26th February to 8th March 2024 Keith Vaughan, 6 Mason’s Yard (Harry Moore-Gwyn in association with Zuleika Gallery)

April 2024 The British Artist in Europe, 6 Mason’s Yard

17th to 19th May 2024 The Petworth Park Antiques and Fine Art Fair (Freya Mitton)

17th June to 5th July 2024 British Drawings and Watercolours, 6 Mason’s Yard, as part of London Art Week (Guy Peppiatt)

August 2024 6 Mason’s Yard closed for summer break

September 2024 The British Art Fair – Saatchi Gallery, SW3 4RY (Freya Mitton & Harry Moore-Gwyn)

November 2024 Andrew Festing – The Studio Sale, 6 Mason’s Yard (Harry Moore-Gwyn)

Opposite page: Clifford Webb, RBA, ARE (1895-1972)

Landscape with Dry Stone Wall, Northumberland [cat.59] 137


Cat No. Adshead, Mary (1904-1995) 75 Ardizzone, Edward RA (1900-1979) 52 Armfield, Diana RA (b.1920) 95a, 95b Ayrton, Michael (1921-1975) 78


Bawden, Edward RA (1903-1989) 58a, 58b Bell, Vanessa (1879-1961) 48a, 48b Bellany, John (1942-2013) 97 Bevan, Robert (1865-1925) 46 Bissill, George (1896-1973) 79 Boys, Thomas Shotter (1803-1874) 29 Brabazon Brabazon, Hercules N.E.A.C. (1821-1906) 32 Branwhite, Charles (1817-1880) 12 Burne-Jones, Sir Edward Coley Bt. ARA, RWS (1833-1898) 35a, 35b Burra, Edward (1905-1971) 67


Callow, John (1822-1878) 21 Callow, William R.W.S. (1812-1908) 20a, 20b Carmichael, John Wilson (1799-1868) 17a, 17b Carrington, Dora (1893-1932) 49 Collins, Roland (1918-2015) 60 Condy, Nicholas (1793-1857) 22 Cotman, John Joseph (1814-1878) 11 Cotman, John Sell (1782-1842) 8 Cotman, Miles Edmund (1810-1858) 9a, 9b Crawhall, Joseph RSW (1861-1913) 39 Cristall, Joshua (1768-1847) 6


Dalziel, Herbert ROI (1858-1941) 37 de Glehn, Wilfred Gabriel RA (1870-1951) 42 Dobson, Frank RA (1886-1963) 71 Dunstan, Bernard RA (1920-2017) 94


Eagles, The Rev. John (1783-1855) 13 Elwes, Luke (b.1961) Ex Cat 1


Fedden, Mary RA (1915-2012) 87, 88, 99, 100 Feibusch, Hans (1898-1998) 66 Fielding, Anthony Vandyke Copley (1787-1855) 26 138

Cat No. Fielding, Newton Smith Limbird (1799-1856) 19 Fraser, Donald Hamilton RA (1929-2009) 98 Freedman, Barnett (1901-1958) 51 Frink, Dame Elisabeth RA (1930-1993) 54 Frost, Sir Terry RA (1915-2003) 96

Cat No. Müller, William James (1812-1845) 14a, 14b Munn, Paul Sandby (1773-1845) 5



Gear, William RA (1915-1997) Geldart, Joseph (1808-1882) Ginner, Charles ARA (1878-1952)

74 10 47


Halliwell, Albert Edward (1905-1987) 55 Hankey, William Lee ROI (1869-1952) 38 Hearld, Mark (b.1974) Ex Cat 2 Hillier, Tristram RA (1905-1983) 85a, 85b Hills, Robert (1769-1844) 18 Hilton, Roger (1911-1975) 82 Hone, Evie (1894-1955) 80


Johnson, Harry John (1826-1884) 30 Jones, Barbara (1912-1978) 57a, 57b


Kennington, Eric RA (1880-1960) Kortright, Guy (1876-1948)

45 56


Lear, Edward (1812-1888) 34a, 34b Lens III, Bernard (Attributed to) (1682-1740) 3 Lewis, John Frederick RA (1804-1876) 27 Lewis, Percy Wyndham (1882-1957) 44 Lloyd, James (1905-1974) 86a, 86b Lloyd, Reginald James (1926-2000) 77 Lowndes, Alan (1921-1978) 70


Mackintosh, Charles Rennie (1868-1928) 40, 41 Margetson, William Henry RI (1861-1940) 36 Martin, John (1789-1854) 7 Meninsky, Bernard (1891-1950) 76 Mogford, John (1821-1886) 31


Nash, John RA (1893-1977) 53, 68, 83a,b,c,d, 84 Nicholl, Andrew R.H.S. (1804-1886) 28

Orpen, Sir William RA, RHA (1878-1931)



Pearson, John (1777-1813) 2a,b,c,d Piper, John CH (1903-1992) 64, 90, 91 Prout, Samuel (1783-1852) 23 Prout, Samuel Gillespie (1822-1911) 24


Richardson Senior, Thomas Miles (1784-1848)



Sealy, Colin (1891-1964) 81 Skeaping, John (1901-1980) 89 Smith, John Rubens (1775-1849) 1 Spencer, Sir Stanley RA (1891-1959) 50 Suddaby, Rowland (1912-1972) 72 Sutherland, Graham OM (1903-1980) 63


Tavener, Robert RE (1920-2004) 61 Tunnicliffe, Charles Frederick RA (1901-1979) 33


Varley, Cornelius (1781-1873) 4 Varley, John (1778-1842) 15, 16 Vaughan, Keith (1912-1977) 65a,b, 69


Walker, Bernard Fleetwood RA, RWS (1893-1965) Ward, John Stanton (1917-2007) Webb, Clifford RBA, ARE (1895-1972) Weight, Carel RA (1908-1997) Wells, John (1907-2000)

62 93 59 92 73




GUY PEPPIATT FINE ART Tel: +44 (0) 20 7930 3839 or +44 (0) 7956 968 284

HARRY MOORE-GWYN BRITISH ART Tel: +44 (0)7765 966 256

Ground Floor, 6 Mason’s Yard, Duke Street, St James’s, London SW1Y 6BU Monday to Friday 10.30am to 6pm Evenings and weekends by appointment

Design: Sarah Garwood Creative, Print: Zenith Print Group,


ONE HUNDRED D R AW I N G S A N D W AT E R C O L O U R S Fr om the 18th to the 21st Centuries FREYA MITTON | GUY PEPPIATT | HARRY MO ORE - GWYN

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