ONE HUNDRED DRAWINGS AND WATERCOLOURS · drawings cannot be specifically related to finished...

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GUY PEPPIATT FINE ARTSTEPHEN ONGPIN FINE ART

ONE HUNDREDDRAWINGS AND WATERCOLOURS

dating from the 16th century to the present day

WINTER CATALOGUE2011–2012

to be exhibited at

Riverwide House6 Mason’s Yard

Duke Street, St. James’sLondon SW1Y 6BU

Stephen Ongpin Fine ArtTel.+44 (0) 20 7930 8813or + 44 (0)7710 328 [email protected]

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

[email protected]

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We are delighted to present our fourth annual Winter catalogue of One Hundred Drawings andWatercolours. By tradition the areas of Old Master drawings, early British drawings and watercolours,and 19th and 20th century drawings, have been regarded as separate fields, each with their ownenthusiasts and collectors, as well as auctions and exhibitions. Part of the purpose of this catalogue,and indeed the aim of our shared gallery, is to blur the distinction between these collecting areas. Aglance at the works included in this catalogue will, we hope, show that a good drawing orwatercolour is always worthy of attention, whoever the artist and whatever the date.

This catalogue includes a wide range of British and European drawings and watercolours, placedmore or less in chronological order, ranging in date from the early 16th century to the present day.As a glance at the enclosed price list will show, the prices of the drawings are equally broad in scope– from under £1,000 to around £10,000 – with a large number of interesting works at the lowerend of this range. Drawings and watercolours by well-established artists can be very affordable, andinteresting works by minor or little-known artists especially so. There is much in this catalogue forthe novice collector, as well as for the more experienced connoisseur or curator.

Our respective individual catalogues of more significant drawings will be issued in March and May2012, and will each be accompanied by exhibitions at our gallery. In the meantime, we are delightedto present this Winter catalogue of more moderately priced works. We hope you find something init to interest you, and look forward to greeting you at the gallery over the coming months.

Guy PeppiattStephen Ongpin

Lara Smith-Bosanquet

The following catalogue contains a combination of drawings from the stock of Stephen Ongpin Fine Art (SOFA)and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA at the top ofeach page; please direct any enquiries as appropriate.

Only a brief account of each drawing is given in the catalogue. Further information on most of the drawings,as well as more complete biographical information on the artists, is available on request.

The drawings are available for viewing from receipt of the catalogue. A price list is included.

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

Two Studies of a Baby

Red and black chalk175 x 119 mm., 6 7/8 x 4 5/8 in.

This charming drawing is close in style to a handful ofintimate studies of babies and young children, drawn inboth black and red chalk, by Federico Zuccaro. Thesestudies may in turn be grouped with a large number ofdrawings, generally executed in a combination of black andred chalks, which were pasted into albums and are

recorded in the inventory of Zuccaro’s studio after hisdeath. The contents of these albums comprised, for themost part, copies after the work of earlier artists thatZuccaro saw on his extensive travels throughout Italy. Thealbums also included, however, a number of other types ofdrawings – landscapes, studies of animals, genre subjects,head studies and informal portraits – all in red and blackchalk and usually of small dimensions. Most of thesedrawings cannot be specifically related to finished paintingsby the artist, and seem to have been done for his ownpleasure.

Attributions to Francesco Vanni (1563–1610) andCristofano Allori (1577–1621) have also been suggested forthe present sheet.

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2Attributed to STEFANO DELLA BELLAFlorence 1610–1664 Florence

Landscape with the Ruins of the Grotto of Egeria, Rome

Pen and brown ink and grey wash, laid down andmounted onto a large album page, with a grey washborderA sketch of a fountain in front of two arches andwith temples beyond in pen and brown ink on theversoInscribed Fontaine de la Nymphe Egerie. at the upperleft and numbered 49 on the album sheetFurther inscribed Bartolomeus on the verso138 x 185 mm., 5 3/8 x 7 1/4 in.

A talented and prolific printmaker and draughtsman, Stefanodella Bella produced countless works of considerableenergy and inventiveness, with an oeuvre numbering over athousand etchings, and many times more drawings. He

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

Under the patronage of the Medici, Della Bella was sent toRome in 1633. The young artist was to spend a total of sixyears living and working in the city, living in the Medici palaceand making drawings after antiquities and Renaissancemasters, as well as numerous landscapes, vedute and scenesof everyday life and festivities.

This is a view of the so-called grotto of the nymph Egeria (inactual fact part of the estate of the suburban villa of HerodusAtticus), near the Via Appia to the southeast of Rome. Thenatural grotto was developed into a man-made archedinterior, with a statue of Egeria set in a niche in the apse,and the walls faced with mosaics and marble.

SOFA

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3JACOB VAN DER ULFTGorkum (Gorinchem) 1627–1689 Noordwijk

Figures in an Italianate Landscape

Pen and brown ink and brown wash, within adrawn circleSigned and dated Jac: vander Ulft Fe: 1686. in thelower left and lower right margins172 x 170 mm., 6 3/4 x 6 5/8 in.

Much of Jacob van der Ulft’s surviving painted and drawnoeuvre is made up of Italianate landscapes, or antiqueRoman cityscapes and port scenes crowded with figures.He seems to have been an amateur artist and was quitepossibly self-taught, as no guild membership is recorded.Although there are many quite specific views of Romeby the hand of the artist, many of which are inscribedand dated, it remains unclear whether van der Ulft everactually visited Italy. The contemporary biographer Arnold

Houbraken states definitively that he did not, and claims thathis Roman views were based on the work of other artists.Certainly, van der Ulft was profoundly influenced by thework of another amateur artist, Jan de Bisschop (1628-1671), whose drawings approach his own in both style andhandling. An album of forty-three landscape drawings byboth Jacob van der Ulft and Jan de Bisschop, mostly viewsin or around Rome, is in the collection of the Dukes ofDevonshire at Chatsworth. Another album of Roman viewsby van der Ulft is in the Institut Néerlandais in Paris.

The present sheet belongs with a small and distinctive groupof circular landscape drawings by Jacob van der Ulft, all ofapproximately the same dimensions. Examples are in thecollections of the British Museum, the Musées Royaux desBeaux-Arts in Brussels, the Saint Louis Art Museum, theFogg Art Museum in Cambridge, MA, and elsewhere. Withits fluid, bold use of brown wash punctuated by whitehighlights where the paper has been left to show through,the drawing displays the strong influence of Jan de Bisschopon van der Ulft.

SOFA

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

a. Study of a Woman writing

Black chalk on laid paper with a Pro Patriawatermark150 x 163 mm., 5 3/4 x 6 1/4 in.

Provenance:Sir Henry Duff Gordon (1866–1953)

Hoare was a portrait painter in oil and pastel who was inBath by 1739 and was the first fashionable and successfulportrait painter to settle there. He produced a number ofthese chalk portrait drawings, which are mainly of his familyand friends.

GPFA

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b. Study of a Woman seated in a Chair

Black and white chalk on buff paper Maximum size 267 x 225 mm., 10 1/2 x 8 3/4 in.

Provenance:Sir Henry Duff Gordon (1866–1953)

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

Cupid unmasking False Love

Signed on original washline mount: Rich.d CoswayR.A. Primarius Pictor Sereness.ma Wallia Princip..Del.t 1779Pen and brown ink on laid paperSheet 233 x 194 mm., 9 x 7 1/2 in.

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

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

GPFA

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6GEORGE ROMNEYDalton-in-Furness 1734–1802 Kendal

The Descent from the Cross

Pencil on buff paper164 x 196 mm., 6 1/4 x 7 3/4 in.

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

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Above:7FRENCH SCHOOL (‘J. N. d. B.’)1791

a. Classical Ruins with Men Demolishing a Wall

Watercolour and gouache, over an underdrawing inpencil, within framing lines in black inkSigned and dated J.N.d.B. 1791 in white gouache atthe lower right244 x 184 mm., 9 5/8 x 7 1/4 in. [image]265 x 204 mm., 10 3/8 x 8 in. [sheet]

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

Watercolour and gouache, over an underdrawing inpencil, within framing lines in black inkSigned and dated J.N.d.B. 1791 in white gouache atthe lower right246 x 196 mm., 9 3/4 x 7 3/4 in. [image]267 x 218 mm., 10 1/2 x 8 5/8 in. [sheet]

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b.

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8LADY DIANA BEAUCLERKBlenheim 1734–1808

Children Playing with a Dove

Watercolour over traces of pencil148 x 189 mm., 5 3/4 x 7 1/4 in.

Lady Beauclerk was born Lady Diana Spencer and was theeldest daughter of Charles Spencer, 3rd Duke ofMarlborough. She grew up at Blenheim Palace and madecopies of the pictures there from a young age. In 1757 shemarried the 2nd Viscount Bolingbroke but divorced him in1768 and married Topham Beauclerk (1739–1780) two

days later. They moved in court circles and Lady Diana’sclosest friends were the Countesses of Pembroke andSpencer and the Duchess of Devonshire.

After her husband’s death, she moved into DevonshireCottage in Richmond. She was well known for her drawingsof children and infant cupids and bacchantes, some of whichwere engraved by Bartolozzi, and she also produceddesigns for Wedgwood pottery. Horace Walpole was agreat admirer of her work and built a room at StrawberryHill to house her drawings. Examples of her work are in theV. & A., the Royal Collection and the British Museum. For asimilar drawing entitled ‘Cupids with Doves’, see BeatriceErskine, Lady Diana Beauclerk, her Life and Work, 1903, p.xii.

GPFA

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9GIUSEPPE BERNARDINO BISONPalmanova 1762–1844 Milan

Two Heads of Young Women

Pen and brown ink and brown washA small sketch of the head of a young woman in penon the versoSigned Bison at the lower left, and initialled B on theverso144 x 174 mm., 5 5/8 x 6 7/8 in.

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

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

Bison was an accomplished draughtsman, whose earliestworks show the Venetian influence of Giambattista Tiepoloand Francesco Guardi, while his later drawings tend towardsNeoclassicism. His drawings encompass a wide and variedrange of subjects, from religious narratives to genre scenes,landscape capricci, and stage and ornament designs. Few ofBison’s drawings, however, were intended as preparatorystudies for paintings, and he produced a large number ofdrawings as independent works of art for sale. Bison’spreferred medium was pen and ink, applied in a fluidmanner and usually combined with rich tonal washes, ofwhich this drawing is a fine example. Similar studies of headsappear throughout the artist’s oeuvre.

SOFA

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10HUGH DOUGLAS HAMILTONDublin 1740–1808 Dublin

Portrait of Miss Charlotte Musgrave

Head and shouldersSigned lower right: Hamilton/delin.t 1772Pastel over pencil on laid paper, oval230 x 190 mm., 9 x 7 1/4 in.

Charlotte Musgrave (1751–1818) was the daughter of SirPhilip Musgrave, 6th Bt., and his wife Jane Turton. Shemarried the Reverend Charles Mordaunt, Rector ofMassingham, the son of Sir Charles Mordaunt, 6th Bt., in1774. She was painted by Sir Joshua Reynolds in 1774–75(see David Mannings, Sir Joshua Reynolds – A CompleteCatalogue of his Paintings, 2000, no.1290, p.342).

Hugh Douglas Hamilton was born in Dublin and studied atthe Royal Dublin Society from 1750 until 1756 until movingto London and finding success as a portrait painter in pasteland oil. In 1778 he went to Rome returning to Dublin in1792.

GPFA

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

Portrait of Georgiana, Duchess of Devonshire

Half-lengthWatercolour, oval200 x 151 mm., 7 3/4 x 6 in.

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

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

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

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

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12NICOLAS II HUETParis c.1770–1828 Paris

A Kudu

Watercolour, with touches of white heightening118 x 163 mm., 4 5/8 x 6 3/8 in.

Born into a family of artists, Nicolas Huet was the eldest sonand pupil of Jean-Baptiste Huet and the grandson of theanimalier Nicolas Huet the Elder, and like both of themspecialized in depictions of animals. The young Nicolas firstexhibited in 1788 at the Exposition de la Jeunesse, showinga still life, and made his Salon debut in 1802 with severalanimal pictures. A gifted watercolourist and engraver, Huetdeveloped a particular reputation as a natural history

draughtsman, and in 1804 was appointed painter to theMuséum d’Histore Naturelle and to the Ménagerie of theEmpress Josephine, who was an avid collector of animal,bird and plant specimens. He also took part in Napoleon’sscientific and artistic expedition to Egypt between 1798 and1801. Huet continued to exhibit at the Salons until 1827,showing mainly drawings and watercolours of animals. Healso painted a series of 246 elaborate drawings on vellum –studies of mammals, reptiles, birds, insects and sea life – forthe library of the Muséum d’Histore Naturelle.

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

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13FRENCH SCHOOLCirca 1800

The Card Players

Pencil, pen and brown ink and brown washInscribed joueur(?) amis(?) / 4 croupier(?) de cadrerachiel(?) / Cadre Rachiel(?)/ thermometre on the versoFurther inscribed, in a different hand, attribué àIsabey père on the verso136 x 173 mm., 5 3/8 x 6 3/4 in.

SOFA

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

The Three Witches appearing to Macbeth andBanquo

Watercolour heightened with bodycolour andscratching out269 x 202 mm., 10 1/2 x 8 in.

Provenance (as Fuseli):Canon Smythe, SussexAppleby Brothers, London, November 1961Bernard Black GalleryCastellane Gallery

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

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

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15SIR ROBERT KERR PORTERDurham 1777–1842 St Petersburg

Russian Cavalry

Signed lower right with initials and dated 1810Pen and black ink and watercolour248 x 304 mm., 9 3/4 x 12 in.

Provenance:By descent in the Burney Family until 2011

Porter was the son of an Army surgeon and brought up inEdinburgh. In 1790 he entered the Royal Academy schoolsand quickly achieved success as a painter of large scale battlescenes. In 1804 he went to Russia as Historical Painter tothe Tsar where he fell in love with a Russian princess, thedaughter of Prince Theodor von Scherbatoff whom heeventually married in 1812. He travelled extensivelythrough Scandinavia, the Middle East and accompanied SirJohn Moore on his Corunna campaign during the PeninsularWar. He published various books and was British Consul toVenezuela from 1826 until 1841.

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

On the Road to Dover

Pen and grey ink and watercolour on Whatman laidpaper365 x 523 mm., 14 1/4 x 20 1/2 in.

Provenance:Mr and Mrs John Fenwick

Exhibited:On loan to Laing Art Gallery, Newcastle, 1982

Previously fully attributed to Sandby, this is by a closefollower. It may be by one of his many military pupils at theRoyal Military Academy, Woolwich where he taught from1768 until 1796.

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

Study of a Manor House

Signed lower left: Joseph Farington/Sept.r 10th 1786Pen and brown ink and watercolour with originalpen and ink mount192 x 246 mm., 9 x 14 3/4 in.

Provenance:Ruskin Gallery, Stratford-upon-Avon

This drawing dates from Farington’s tour of north-westEngland in the summer of 1786. A view of the same house,also dated 10th September is in the Whitworth Art Gallery,University of Manchester (see Joseph Farington –Watercolours and Drawings, exhibition catalogue, 1977,p.43, no.30, ill. p.85). A view of Lancaster from this tour,dated August 1786, is in the Fitzwilliam Museum,Cambridge (op. cit., no.23) and a view ‘At Nunnery inCumberland’, dated 20th August, was sold at Sotheby’s on6th June 2007, lot 179 for £6,240.

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18JOHN NIXON1760–1818 Ryde

The High St, Glastonbury

Inscribed lower left: A Bath Parson/Mother NashPen and grey and brown ink and watercolour overpencil, squared303 x 460 mm., 113/4 x 18 in.

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

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

Nixon was an amateur artist who was in business in Londonwith his brother Richard as an Irish merchant. He travelledextensively on sketching tours including several trips toIreland in the 1780s and 1790s often in the company ofother artists such as Francis Grose or Thomas Rowlandson.This is a later work and clearly show the influence ofRowlandson under whose tutelage he became ‘a veryprofessional amateur indeed’ (Huon Mallalieu, Dictionary ofBritish Watercolour Artists, 2002, vol. II, p.77).

GPFA

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19ENGLISH SCHOOLCirca 1790

At the Races

Pen and grey ink and watercolour on laid paper withWhatman watermark414 x 726 mm., 16 1/4 x 28 1/2 in.

Provenance:Dover Street Arts Club, London

Traditionally attributed to Robert Dighton (1751–1814), thismay be attributable to William Mason (1724–1797) whoproduced a number of horse-racing scenes in the late 18thcentury, several of which were engraved.

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20MOSES GRIFFITHCaernarvonshire 1747–1819

Llandegai Church and Bridge, Carnarvonshire, NorthWales

Inscribed verso: Llandegai Church & BridgePen and brown ink and watercolour over pencil onlaid paper228 x 298 mm., 9 x 113/4 in.

Llandegai lies 13/4 miles south-east of Bangor. In the far rightdistance Penrhyn Castle is just visible in the trees. At thisdate it was still a medieval manor house before beingtransformed into a 19th century neo-Norman fantasy castleby the architect Thomas Hopper in 1827 by anothermember of the Pennant family, George Dawkins Pennant.

21THOMAS TUDORMonmouth 1785–1855 Wyesham

a. Portland Island from the Chesil Bank

Inscribed with title lower right: Clifton andnumbered 24Pen and brown ink and brown wash heightenedwith scratching out149 x 242 mm., 5 3/4 x 9 1/2 in.

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

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

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

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

Inscribed with title lower leftBrown washes and black chalk heightened withscratching out247 x 313 mm., 9 3/4 x 12 1/4 in.

a.

b.

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22THOMAS LEESON ROWBOTHAM Bath 1782–1853 Camberwell

Harlech Castle, Wales

Inscribed lower right: HarlechWatercolour over pencil heightened with white onbuff paper228 x 300 mm., 9 x 113/4 in.

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

23PANCRACE BESSAParis 1772–1846 Ecouen

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

Watercolour and gouache, over a pencilunderdrawing, heightened with gum arabic onvellumSigned P. Bessa in the lower left margin268 x 193 mm., 10 1/2 x 7 5/8 in. [sheet]

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

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Literature:Jean-Claude-Michel Mordant de Launay and Jean-Louis-Auguste Loiseleur-Deslongchamps, Herbier général del’amateur, contenant la description, l’histoire, les propriétéset la culture des végétaux utiles et agréables, Vol.V, Paris,1821, pl.352

One the leading painters of flowers and fruit in the first halfof the 19th century, Pancrace Bessa’s most importantcommission was for a series of 572 watercolours on vellumfor Mordant de Launay’s Herbier général de l’amateur,commissioned by Charles X, King of France. The mostsignificant French flower periodical of the day and publishedin eight volumes, the project was begun in 1816 and the

artist worked on the series until 1827. Bessa’s beautifulwatercolours were superbly reproduced for the book, inthe form of hand-coloured engravings by variousprintmakers. The artist’s original watercolours for theHerbier général de l’amateur remained together for over120 years, and were shown as a group in exhibitions heldin Rio de Janeiro, Boston, San Francisco and New York,before finally being dispersed at auction in 1947.

Only rarely cultivated, the Roseleaf bramble (RubusRosifolius) is a tropical plant with a white flower and ediblefruit. It is found abundantly in the Brazilian rainforest andalso in the Himalayas, East Asia and Australia.

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24JEAN-MICHEL CELSThe Hague 1819–1894 Brussels

a. Fallen Tree Trunks on a Forest Floor

Oil on paperSigned, dated and inscribed Etude d’après na[ture]JM Cels 1840 – environs de Bruxelles on the verso192 x 362 mm., 7 5/8 x 14 1/4 in.

b. A Clearing at the Edge of a Wood

Oil on paper, laid down on canvasSigned, dated and inscribed Chateau de Meisse prèsBruxelles / JM Cels 7bre 1840 on the verso237 x 182 mm., 9 5/8 x 7 1/8 in.

Provenance:Private collection, Belgium, c.1950Sale, London, Christie’s, 16 April 1997, lot 311Kate de Rothschild, London.

The 19th century Belgian artist Jean-Michel Cels remainslittle known today. He was the son and pupil of theNeoclassical painter Cornelis Cels, director of the Académiede Tournai, and also studied with the landscape painterPierre Jean Hellemans. The younger Cels must havelearned the practice of making plein-air oil sketches from hisfather, who is known to have made such studies during theseven years he spent living and working in Italy early in hiscareer.

These two landscape sketches are part of a group ofdrawings and oil sketches by Jean-Michel Cels that appearedon the art market in London in 1997. Two oil sketches byCels, executed in oils on paper and sharing the sameprovenance as the present sheet, are in the collection ofthe National Gallery in London; one depicts a study ofclouds and the other a study of trees in a ravine. Another oilsketch study of clouds and sky by Cels is in the ThawCollection at the Pierpont Morgan Library in New York.

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

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a.

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1840 on the outskirts of Brussels. In painting works such asthis, Cels may have been aware of the pioneering plein-airpainter Pierre-Henri de Valenciennes’s statement that artistsshould make oil sketches of trees, to study the bark and theform of the tree closely. The artist’s inscription on the

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

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b.

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25JOHN RUBENS SMITH London 1775–1849 New York

East View of Margate Pier from Cliff

Inscribed with the title on part of original mount Watercolour over pencil on two sheets of paperjoined213 x 321 mm., 8 1/4 x 12 1/2 in.

This is a view looking west across Margate Harbour fromthe site of the new Turner Contemporary Museum. Thetowers of Reculver church are visible in the distance.

Smith was born in London, the son of the portraitist andengraver John Raphael Smith (1752–1812). He exhibited at

the Royal Academy between 1796 and 1811, mainlyportraits but also views of Reculver, Margate Pier andBrighton. In 1806 he emigrated to the USA and set upsuccessful drawing schools in Boston, New York andPhiladelphia.

Topographical watercolours by him are in the Library ofCongress, the Metropolitan Museum, New York and theNational Gallery of Art, Washington. A panorama ofMargate Harbour by Smith dated 1803 was with MartynGregory (see Huon Mallalieu, The Dictionary of BritishWatercolour Artists up to 1920, 1979, vol. II, p.512, ill.) anda panorama of Ramsgate was with Guy Peppiatt Fine Art(summer catalogue 2011, no.26).

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

Page’s Farm, Easton Park, Essex

Watercolour and bodycolour over pencil200 x 274 mm., 7 3/4 x 10 3/4 in.

Sandby is often described as ‘the Father of Englishwatercolour painting’ as he was probably the first Britishartist in the eighteenth century to work commercially in themedium. This is one of two pictures of this size exhibited bySandby at the British Institution in 1808 entitled ‘Part ofPage’s Farm, near Easton Park, Essex’ (no.271) or ‘Page’sFarm, Easton Park, Essex, from the West.’ Views of the

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

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

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27FRANÇOIS BONVINVaugirard 1817–1887 Saint Germain-en-Laye

A Woman Sewing

Pen and brown ink and brown wash, with somewatercolour and heightened with touches of white,on light brown paperSigned and dated f. Bonvin 50 at the lower left317 x 239 mm., 12 1/2 x 9 3/8 in.

François Bonvin rose to become one of the leaders of agroup of Realist painters in 19th century France who foundinspiration in subjects and scenes taken from contemporaryurban life. He earned a particular reputation as a painter ofgenre and interior scenes and still-life subjects, although hismodern reputation rests largely on his drawings. Signed anddated 1850, this is a fine and typical example of the sort offinished drawing that Bonvin would have intended for sale.Intimate studies of women sewing appear occasionally inBonvin’s oeuvre, and it may be noted that the artist’smother, who died when he was just four years old, was aseamstress, while his stepmother ran a sewing workshopin his native town of Vaugirard.

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28DANIEL GEVRILCarouge 1794–1875 Carouge

A Young Girl Asleep

PencilInscribed Souvenir from Mr. A to Mrs. A at thebottom of the sheetFurther inscribed Gevril de Carouge and, in adifferent hand, Gevril a Swiss Artist, on the verso192 x 155 mm. (7 1/2 x 6 1/8 in.)

A gifted portrait painter and draughtsman. Daniel Gevrilreceived his artistic training at the Ecole de Dessin inGeneva. His earliest exhibited works were portraitdrawings, shown in 1820 and 1826. From 1830 onwards,however, he concentrated mainly on painted portraits,which he exhibited regularly. Gevril was appointed aprofessor of drawing at the Collège in his native Carouge in1847. Writing shortly after the artist’s death, one critic notedof him that ‘Ses portraits, peints finement et largement, sonttoujours d’une parfaite ressemblance, grâce à son habilitécomme dessinateur. Ils ont, en général, beaucoup de vie et derelief; ils donnent à Gevril, dans l’école genevoise, une placedistinguée.’

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Facing page:29THOMAS RICHARD UNDERWOOD1772–1836 Chamarande, near Paris

A Group of views of Druids Lodge

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

This may be a view of Druids Lodge, a house on the PlasNewydd Estate, Anglesey. The house was recorded in the1810s and 1820s as the house of John Sanderson, the agentof the 1st Marquess Anglesey who owned Plas Newydd.

Above:30WILLIAM HENRY PYNELondon 1769–1843 London

Black Lion Lane, Canterbury

Inscribed with title versoWatercolour heightened with stopping out andtouches of bodycolour124 x 173 mm., 4 3/4 x 6 3/4 in.

Provenance:L.G. Duke (D4128)With Spink & Sons, LondonPrivate collection, London, until 2010

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

Portrait of Lady Clementina Villiers aged eight

Full-length in a garden, holding a hatSigned in gold lower right: A.E. Chalon R.A. 1832.Watercolour heightened with stopping out404 x 267 mm., 15 3/4 x 10 1/2 in.

Engraved:By H.T. Ryall for Heath’s Gallery, 1834

Lady Clementina Augusta Wellington Villiers (1824–1858)was one of the seven children of the 5th Earl of Jersey andthe goddaughter of the Duke of Wellington. Her motherLady Jersey was one of the Grandes Dames of LondonSociety at the time and Clementina was a famous beauty.Many men asked for her hand in marriage, the mostpersistent being the Duke of Osasuna. She was taken ill witha fever however while in Germany in 1858 and returned tothe family home at Middleton Park, Oxfordshire where shedied.

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32MARY SMIRKELondon 1779–1853 Eton

The Grove at Stanmore, Middlesex

A pair, one signed with initials lower right andinscribed on border: The Grove – St Albans indistanceWatercolour over pencilEach 140 x 228 mm., 5 1/2 x 9 in.

Provenance:Bought by J.A. Dormer from Cork Street Gallery,London, March 1972

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

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33ROBERT HILLSIslington 1769–1844 London

a. Deer in a Wooded Landscape

Watercolour over pencil504 x 380 mm., 19 3/4 x 15 in.

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b. Deer and Horses in a Wooded Landscape

Watercolour over pencil532 x 415 mm., 21 x 16 1/4 in.

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34JOHN CHESSELL BUCKLER1793–1894

a. The Interior of the Sheldonian Theatre, Oxford

Signed lower right: Drawn by J. Buckler. A.D. 1815,with a dedication to Lord Grenville, Chancellor ofthe University of Oxford underneathWatercolour over pencil heightened with traces ofbodycolourImage 435 x 613 mm., 17 x 24 in.

b. Tom Tower, Christ Church, Oxford

Signed on washline border lower right: J. Buckler1830..Watercolour over traces of pencil354 x 267 mm., 13 3/4 x 10 1/2 in.

c. The High Street, Oxford

Signed on washline border lower right: Drawn byJ.C. Buckler 1812.Watercolour over traces of pencil418 x 622 mm., 16 1/4 x 24 1/2 in.

Provenance:Private Collection, Suffolk

John Chessell Buckler was the eldest son of John Buckler(1770–1851), the architect and architectural draughtsmanand, having worked with his father from 1810, took over hisarchitectural practice in 1826. He produced architecturalviews of towns, villages and country houses and died aged100.

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35ANTHONY VANDYKE COPLEY FIELDINGSowerby Bridge 1787–1855 Worthing

View of Snowdon from the Head of the Valley, aboveCapel Curig, Caernarvonshire

Signed lower left: Copley Fielding/1844Watercolour over pencil heightened withbodycolour, scratching out and stopping out589 x 878 mm., 23 x 34 1/2 in.

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

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

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

Figures by a Waterfall, a Town on a hill beyond

Watercolour heightened with scratching out andgum arabic212 x 160 mm., 8 1/2 x 6 1/4 in.

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

John Martin was one of the best known and most originalartists of the first half of the nineteenth century, oftendepicting cataclysmic events on a large scale. The depictionof humanity dwarved by nature as seen in the present workis typical. He is currently the subject of an exhibition at TateBritain.

Michael Campbell dates this drawing to circa 1811–12

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

Oblivion’ which was accepted by the Royal Academy andhe was beginning to establish himself as a drawing master.

In the present work, although Martin has clearly drawn onthe many eighteenth century views of the town andwaterfall at Tivoli near Rome which he would have known,the topographical details are incorrect for Tivoli.

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37GIACINTO GIGANTENaples 1806–1876 Naples

Casarlano, near Sorrento

Watercolour, heightened with touches of gouache,on buff paperSigned and dated Gia Gigante 1850 at the lower left276 x 379 mm., 10 7/8 x 14 7/8 in.

Giacinto Gigante was trained in the Neapolitan studio of theDutch artist Antoon Sminck Pitloo, who encouraged hisstudents to paint all’aperto, or out of doors. He was soonestablished as a successful landscape painter anddraughtsman, with a particular penchant for views of Naplesand the surrounding region, and became the acknowledgedleader of a group of Neapolitan landscape artists laterknown as the Scuola di Posillipo. Writing in 1853, onecontemporary English critic noted of Gigante that, ‘There isno portion of the Neapolitan scenery, to which he has not beena frequent, patient, enthusiastic visitant . . . In this tempered

region, where fertility and wildness meet, . . . where at everyturn some feature, soft or savage, forms a seductive or strikingframe to the distant landscape, Sig. Gigante finds the subjectsof those studies, which, for freedom of handling, fidelity ofcolour, transparency, perspective, and effect, have no parallelon his own more ambitious canvass, or on the canvass of anyliving painter of his country.’ Significant groups of drawingsand watercolours by Gigante are today in the MuseoNazionale di Capodimonte and the Museo Nazionale diSan Martino, both in Naples.

This watercolour depicts a view near the forested mountainvillage of Casarlano, above the town of Sorrento,overlooking the Tyrrhenian Sea. Gigante spent much of1848 and 1849 living and working in Sorrento, and the viewfrom Casarlano and the woods surrounding it appears in anumber of drawings and watercolours of this period. Alarger variant of this composition, also dated 1850 but withdifferent staffage, is in a private Neapolitan collection.Another, smaller gouache of the same view by Gigante,again dated 1850, was in the Statella collection in Naples in1930.

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38WILLIAM WYLD London 1806–1889 Paris

A Bridge over a Continental River

Signed lower rightWatercolour over pencil heightened withbodycolour104 x 156 mm., 4 x 6 in.

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

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39WILLIAM WYLD London 1806–1889 Paris

Venice

Signed lower leftWatercolour over pencil57 x 180 mm., 2 1/4 x 7 in.

See no.38 for a note on the artist.

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

a. View of San Giorgio Maggiore, Venice

Pencil on paper; a page from a sketchbookSigned with initials, inscribed and dated JH Venice 57at the lower right131 x 197 mm., 5 1/8 x 7 3/4 in.

b. A Sheet of Studies of Gondolas and Figures

Pencil and watercolour on paper; a page from asketchbookSigned with initials, inscribed and dated JH Melons.26.Sept.57 at the lower right131 x 198 mm., 5 1/8 x 7 3/4 in.

Provenance:Probably the Holland studio sale, London, Christie’s, 26May 1870John Appleby, Jersey

James Holland made his first visit to Venice in 1835, anddisplayed a lifelong fascination with the architecture of thecity. He first exhibited a watercolour view of Venice at theOld Water-Colour Society in 1836, and continued to showVenetian subjects throughout his later career. A photographof another page from the same 1857 Venice sketchbook,depicting fishing boats moored on a quayside and datedOctober 3rd, 1857, is in the Witt Library, London.

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41EDUARD BENDEMANNBerlin 1811–1889 Düsseldorf

A Young Boy Reading at a Table

Pencil on paperA sketch of the head of the same boy in pencil onthe versoInscribed and dated Df. July 68 at the lower left191 x 227 mm., 7 1/2 x 8 7/8 in.

Provenance:Possibly Richard Schöne, BerlinFriedrich Schöne, Essen and Berlin (Lugt 3622), his stampon the verso

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

In 1834 he received a commission from the Prussian crownprince for a painting of Jeremiah on the Ruins of Jerusalem,and three years later painted an allegorical fresco for thehouse of the sculptor Johann Gottfried Schadow in Berlin.In 1838 Bendemann was appointed a professor at theDresden Akademie, and soon afterwards received acommission for the fresco decoration of three large roomsin the royal palace in Dresden, a project that was to occupythe artist for the better part of fifteen years. In 1859 he wasappointed Director of the Akademie in Düsseldorf, and wasestablished as a leading figure among the cultured elite ofthe city. The year after Bendemann’s death in 1889, a largeretrospective exhibition of his work was held at theNationalgalerie in Berlin. A sizeable group of drawings bythe artist is today in the collection of the Kupferstichkabinettin Berlin.

This charming, informal drawing bears the collector’s markof the lawyer Friedrich Schöne (1882-1963), part of whosecollection of 19th century German drawings may have beeninherited from his father, the archaeologist and museumdirector Richard Schöne (1840–1922).

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42JAMES THOMAS LINNELLHampstead 1823–1905

A Log Stack

Black chalk, with touches of white chalk on bluepaper; a page from a large sketchbookSigned and dated J. Linnell 1865 at the lower right430 x 289 mm., 16 7/8 x 11 3/8 in. [sheet]

Provenance:By descent in the family of the artistStephen Somerville, London, in 1980Charles Ryskamp, New York

The second son of the landscape painter John Linnell, JamesThomas Linnell studied at the Royal Academy Schoolsalongside his two brothers John and William. He exhibitedalmost annually at the Royal Academy between 1850 and1888, showing at first religious subjects in which thelandscape predominated. By the middle of the decade,however, he was exhibiting mainly landscapes with peasantsand farm labourers and it is for these pastoral landscapesthat he is best known today. Writing in 1872, one criticnoted that ‘James Thomas Linnell . . . is entitled to share withhis brother William the estimation in which their pictures areheld by the amateur and collector, sometimes rivalling eventhose of his father.’

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

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

Inscribed with title lower left and dated 25th August1818Pencil285 x 492 mm., 111/4 x 19 1/4 in.

Edridge was born in Paddington, London, and studied at theRoyal Academy where he began to exhibit portraitminiatures from 1786 (he exhibited 260 pictures thereduring his lifetime). He achieved considerable success as a

portraitist in the late eighteenth and early nineteenthcenturies – his portraits are executed in pencil with subtletints of colour. These are examples of his landscapes drawnin a similar style to Hearne and Girtin, his friends and fellowartists.

The statue of Henry IV which stands on the Pont Neufwhere it crosses the Ile de la Cité was originallycommissioned from Giambologna by the King’s widow,Marie de Medici in 1614. However Giambologna died andit was completed by his assistant Pietro Tacca and erectedin 1618. It was destroyed in 1792, during the FrenchRevolution, but was rebuilt on the restoration of theBourbon monarchy in 1818. This shows its inauguration on25th August 1818 which Edridge witnessed.

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

Inscribed lower left: Pont au Double Notre Dame/&the Pont de la Cite, from the/Quai de la Tournelle,Aug.t/11.th 1818.Pen and brown ink over pencil on buff paper285 x 489 mm., 111/4 x 19 1/4 in.

These drawings date from the first of Edridge’s three tripsto Paris and Northern France in the summers of 1818,1819 and 1820. He exhibited nine French views at theRoyal Academy in 1820 and 1821, the year of his death. Asketchbook of his French tour of 1819 is in the BritishMuseum and other French views by him are in the RoyalCollection, Courtauld Institute, the Yale Center for BritishArt and Birmingham City Art Gallery.

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44HENRY EDRIDGE, A.R.A.Paddington 1769–1821 London

a. The Cathedral at Evreux from the Rue de L’Eveche

Inscribed with title lower left Pen and grey and brown ink over pencil425 x 344 mm., 16 3/4 x 13 1/2 in.

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b. The Entrance to the Palais de Justice from the Rueaux Juifs, Rouen

Inscribed with title lower left and dated July 16.th1819Pencil466 x 326 mm., 18 1/4 x 12 3/4 in.

For more information on these drawings, see no.43.

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45JOHN VARLEYHackney 1778–1842 London

a. A Castle by a Lake in a Mountainous Landscape

Signed lower rightWatercolour over pencil126 x 193 mm., 5 x 7 1/2 in.

b. A Boat on a River

Watercolour over pencil heightened withbodycolour and gum arabic95 x 135 mm., 3 3/4 x 5 1/4 in.

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

b.

a.

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46LAZARE MEYERFegersheim 1847–1896 Paris

Head of a Man

Oil on canvasSigned and dated LAZAR-MEYER / 1868 at thelower left203 x 186 mm., 8 x 7 3/8 in.

Provenance:W. M. Brady & Co., New York, in 1994Charles Ryskamp, New York

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

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

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

A Moorland Scene, possibly near Killin, Perthshire

Watercolour, heightened with gouache, on paperlaid down on boardSigned and dated Paul Naftel 1873 at the lower leftInscribed (by Cochrane) J.P.C. No 179.B. / PAULNAFTEL on the verso227 x 458 mm., 8 7/8 x 18 in.

Provenance:J. P. W. Cochrane, LondonThence by descent until 2010

Born on the island of Guernsey, Paul Naftel was from anearly age devoted to painting and drawing, in which he wasself-taught. His earliest works are views of Guernsey, whichwere reproduced as lithographs and sold to tourists visitingthe island. In 1850 he exhibited for the first time at the OldWatercolour Society in London, showing five views ofGuernsey and one of North Wales. Naftel continued tosend finished watercolours to the annual exhibitions of theO.W.S., often previewing the works in his studio in St. PeterPort before they were dispatched to London.

In 1870 Naftel decided to leave Guernsey and settle inLondon, where he lived and worked for the remainder ofhis career. He traveled extensively around Scotland, NorthWales and Ireland, and also made several visits to Italy. In1889 a one-man exhibition of his work, comprising sixty-sixwatercolours, was held at the Fine Art Society in London,marking the high point of the artist’s career. One review ofthe exhibition noted that ‘There is a delicious quality aboutMr. Paul Naftel’s best work, which it would be hard to conveyin words. Something in the delicacy and skill of his handlingand something in his choice of projects and accentuation ofparts produces an aerial quality quite delightful to behold.’Naftel died two years later, at the age of seventy-five. Theremaining contents of his studio, amounting to some fourhundred works, were dispersed at auction at Christie’s inLondon in April 1892.

During the early and mid-1870s Naftel made several visitsto Scotland, and the present sheet may depict a Scottishview. Indeed, it may tentatively be identified as one ofseveral views of the moor near Killin in Perthshire, sent byNaftel to the 1873 and 1874 exhibitions of the OldWatercolour Society.

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48WILLIAM HAMILTON YATMANLondon 1819–1913 Bournemouth

Two Star Corals

Watercolour, over a pencil underdrawing, within adrawn border in black ink220 x 318 mm. (8 5/8 x 12 1/2 in.)

Provenance:Albany Gallery, London, in 1983

Exhibited:London, Albany Gallery, An Exhibition of 19th CenturyWatercolour Drawings of Sea Shells from the Indian, Pacificand Mediterranean Oceans, December 1983, no.2

A barrister by profession, William Hamilton Yatman was alsoan amateur artist. He was educated at Winchester Collegeand at Caius College, Cambridge, for whom he rowed inthe Boat Race in 1839. Yatman was admitted to the InnerTemple in 1840 and called to the bar four years later. Heserved as a Justice of the Peace in Gloucestershire, Wiltshireand Warwickshire, and in 1864 acquired Highgrove House,near Tetbury, today the country home of the Prince ofWales. An amateur draughtsman, Yatman had a preferencefor natural history subjects, and drawings such as the presentsheet, executed with a refined and delicate watercolourtechnique, reflect his interest in the world around him.

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49ALEXANDRE THOMAS FRANCIACalais 1815–1884 Brussels

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

WatercolourSigned with a depiction of the artist’s visiting card,inscribed Mr A. FRANCIA. / 6 rue de Berceau andP.P.C.Dated 1880 twice, on a letter and a banknote171 x 214 mm., 6 3/4 x 8 3/8 in.

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

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

The son and pupil of the emigré French watercolouristFrançois Louis Francia, Alexandre Francia travelledextensively throughout Europe, particularly in Scotland andthe Low Countries, and eventually settled in Brussels. Hespecialized in marine subjects, notably views of ports, fishingscenes and storms. Francia made his Salon debut in Paris in1835, and exhibited in Paris, London, Antwerp and Brusselsthroughout his career, receiving numerous honours andprizes.

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

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50EMILE DE SPECHTBorn Saint-Denis 1843

A Presumed Portrait of Edgar Degas

Black chalk, with stumpingSigned and dated Le 22 Novembre 1878 / Émile deSpecht / Paris at the lower right305 x 232 mm., 12 x 9 1/8 in.

Wilhelm Émile Charles Adolphe de Specht was a pupil ofLéon Cogniet and Félix-Joseph Barrias at the Ecole desBeaux-Arts in Paris, which he entered in 1861. He exhibitedat the Salon des Artistes Français from 1865 to 1897,showing mainly views of Paris, genre scenes and portraits.He also exhibited one work at the Salon des Refusés in1873 and at the Salon des Indépendants in 1888.

The present sheet would appear to be a casual portrait ofthe artist Edgar Degas (1834–1917) at the age of forty-four.A similar portrait drawing in black chalk by Émile de Specht,depicting Dr. Paul Gachet and dated the 19th of December1895, is now lost, but is known from an engraving byGachet himself, under the name Paul van Ryssel.

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51SAMUEL PROUTDiss 1783–1852 London

Near Plymouth

Signed on prow of boat lower centre and inscribedverso: near PlymouthWatercolour over traces of pencil heightened withtouches of bodycolour247 x 227 mm., 9 3/4 x 9 in.

Provenance:Private collection, London, until 2010

This is a fine example of Prout’s early style before he visitedthe Continent in 1819. It is likely to be the picture of this titleexhibited at the Society of Painters in Water-Colours in1815, no. 349 which was bought by Lord Buckinghamshirefor 4 guineas.

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52SAMUEL JACKSONBristol 1794–1869 Clifton

Mont Blanc and the Valley of Chamonix

Signed lower right: S Jackson and inscribed in an oldhand verso: Mont Blanc and Valley of Chamounix/bySam.l JacksonWatercolour heightened with bodycolour 338 x 518 mm., 13 1/4 x 20 1/4 in.

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

the left of Mont Blanc. Jackson visited Switzerland twice, in1854 and 1858, when Chamonix was still a small village.Although the first luxury hotel was built in 1816, it onlygained proper road access in 1866 under the reign ofNapoleon III, when the first horse-drawn coaches alightedin the village square.

Jackson was one of the best known artists of the BristolSchool. He was born in Bristol, the son of a merchant andworked for his father until 1820 when he became aprofessional artist. He became a well known drawingteacher in Bristol and travelled extensively in Britain.Mallalieu described him as ‘the father figure and mainstay ofthe Bristol school’ (Huon Mallalieu, Dictionary of BritishWatercolour Artists, 2002, p.330).

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53EDWIN DALTON SMITH1800–1883

a. Portrait of Anna Deacon

Full-length in a doorwaySigned lower right: Edwin D. Smith pin.t 1839Watercolour heightened with bodycolour, withcorners cut301 x 243 mm., 113/4 x 9 1/2 in.

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

Anna Deacon married George Courthope Esq. Of Whilighin January 1841. She was the eldest daughter of JohnDeacon of Mabledon, Tonbridge. Deacon made his fortunein Deacon’s Bank and bought Mabledon from the Burtonfamily in 1828.

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b. Portrait of Frances Deacon

Three-quarter length seated at a table holding aguitarSigned lower right: Edwin D. Smith pin.t 1839Watercolour heightened with bodycolour, withcorners cut330 x 246 mm., 13 x 9 1/2 in.

Frances Deacon later married Col. Arthur Ramsden ofSteneness, Ashurst.

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54EDWIN DALTON SMITH1800–1883

a. Portrait of Lady Sophia Deacon aged seven

Full-length in a garden carrying a basketSigned lower left: Edwin D. Smith pin.t 1838Watercolour heightened with bodycolour, withcorners cut335 x 257 mm., 13 x 10 in.

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

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

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b. Portrait of William Samuel Deacon

Three-quarter length, holding a fishing rodSigned lower left: Edwin D. Smith pin.t 1838Watercolour heightened with bodycolour, withcorners cut335 x 257 mm., 13 x 10 in.

William Deacon married Miss Mary Sophia Currie.

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55HENRI ZUBERRixheim 1844–1909 Paris

a. Landscape with a Stormy Sky

Watercolour, over a pencil underdrawingStamped with the Zuber atelier stamp (not in Lugt)on the verso122 x 190 mm., 4 3/4 x 7 1/2 in.

b. Study of Sky and Clouds

Watercolour, over a pencil underdrawingSigned with initials H.Z. at the lower rightInscribed Claude and Marc on the versoStamped with the Oeuvre Henri Zuber / cataloguegénéral stamp (not in Lugt) on the verso, as Serie f,No.123 and entitled prairie91 x 150 mm., 3 5/8 x 5 7/8 in.

Provenance:Pierre Miquel, ParisPrivate collection, Paris

Born in Alsace, Jean Henri Zuber spent most of the 1860sserving in the French navy, and it was during this time thathe began producing watercolour sketches. When he leftthe navy in 1868, he decided to embark on a career as anartist, and entered the atelier of the painter Charles Gleyre.In 1869 he exhibited at the Salon des Artistes Français forthe first time and, apart from 1871 and 1872, showed thereevery year thereafter until his death in 1909. Working froma studio on the rue de Vaugirard in Paris, Zuber came tospecialize in views of the city – in both oil and watercolour– as well as scenes elsewhere in France. He exhibited at theSalons from 1869 onwards, and from 1884 also showedwith the Société des Aquarellistes Français. He wouldsometimes go on sketching tours in the company of hisfellow painter Paul Lecomte, and would spend eachsummer in the town of Ferrette in Alsace. In 1910, the yearafter his death, a large retrospective exhibition of Zuber’s

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work was held at the Ecole des Beaux-Arts in Paris. Worksby the artist are today in the Louvre and the Musée d’Orsay,as well as in many provincial museums in France.

Zuber is noted to have often said that, “The language of thesky, the earth, and the sea is eternal!”, and this is particularlyevident in many of his watercolours. As a watercolourist,Zuber’s work at times comes close to that of his oldercontemporary, Henri-Joseph Harpignies, and like him wasgreatly admired by English collectors. (In a review of anexhibition of Zuber’s watercolours held at the Goupilgalleries in London in 1883, a critic in the Pall Mall Gazettenoted of the artist that ‘His treatment of water-colour is muchmore English than French . . . It is evident that his sympathiesare with the younger English school, to whom, however, thepurity and freshness of his tones might often be objects ofenvy.’)

As one contemporary critic wrote, shortly after HenriZuber’s death, ‘For twenty years he contributed largely to thesuccess of the Société des Aquerellistes Français. Heunderstood thoroughly the fundamental principles of aquarelle,and his trained vision enabled him to endow each of hisdrawings with the atmosphere and character peculiar to thesubject. He was equally successful with diverse subjects,whether it was Venice, the shores of the Lake of Como, Antibes,Versailles, among the Jura Mountains, or simply an eveningeffect in the Luxembourg Gardens, at the Pont Royal, or thePlace de la Concorde . . . Henri Zuber’s art, at once sodelicate, so subtle, and so personal, places this painter amongthe masters, such as Corot, Daubigny, and Cazin, who infusedinto their art something of their own very soul, that indefinablequality, call it genius or what you will, that makes of a simplepicture a masterpiece.’

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56FRANÇOIS CLÉMENT SOMMIER, calledHENRY SOMMRouen 1844–1907 Paris

Study of a Young Woman

Watercolour, with pen and black ink106 x 163 mm., 4 1/4 x 6 3/8 in.

Henry Somm settled in Paris in the late 1860s, and enjoyeda successful career as an illustrator and draughtsman,contributing to such popular journals as Le Monde Parisienand L’Illustration Nouvelle. He was also active as a graphicdesigner, providing designs for menus, theatre programs,invitations and announcements for the many fashionableevents of Belle Epoque Paris. At the invitation of EdgarDegas, Somm took part in the fourth Impressionistexhibition of 1879. The 1880s found him linked with a

group of artists associated with the cabaret Le Chat Noir, forwhose eponymous journal he published reviews andarticles. In the latter part of his career, Somm’s draughts -manship became both more economical in line and moreself-assured.

The subject matter of Henry Somm’s watercolours tendtowards elegant, often wistful young women, depicted witha particular delicacy of touch. The critic Louis Morin, writingin 1893, noted of the artist that ‘His pastels and water colorsare much sought after; he has the painter’s eye to the highestdegree imaginable...More than any other artist Somm is thepainter of the Parisienne; not the society woman, but theprettily dressed girl who runs about the streets, her nose in theair, laughing unceremoniously at the compliments of thepassers-by, and who sometimes enters the Moulin Rouge orthe Elysée-Montmarte. It is by Somm’s works that she will live,this masterpiece of roguish grace, the grisette of Paris.’

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57PAUL-ALBERT BESNARDParis 1849–1936 Paris

Portrait of a Young Man in Profile

Oil on boardSigned with the artist’s monogram and dated AB 77at the lower left.113 x 101 mm., 4 1/2 x 4 in.

Provenance:David and Constance Yates, New York, in 1992Charles Ryskamp, New York

Albert Besnard entered the École des Beaux-Arts in 1866and two years later made his debut at the Salon. In 1874 hewon the Prix de Rome. His five years at the Villa Medici inRome were followed by three years in London, between1879 and 1881, during which he obtained several

important portrait commissions. By the 1880s Besnard wasone of the most highly regarded and fashionable societyportrait painters in Paris. He developed a particularlyevocative manner of depicting his sitters that relied onluminous, vibrant colours, dramatic (and at times artificial)lighting and bold brushwork. These elements also foundtheir way into the artist’s other main activity; his work as adecorative mural painter. Besnard painted large decorativeschemes for several public buildings, including the Sorbonneand the Pavillion des Arts Décoratifs at the ExpositionUniverselle of 1900, as well as ceiling decorations for theHôtel de Ville, the Comédie Francaise and the Petit Palais.Besnard exhibited regularly at the Salons, and at the SocietéNationale des Beaux-Arts from 1890 onwards.

Painted in 1877 during Besnard’s stay at the FrenchAcademy in Rome, this small portrait may depict a fellowpensionnaire at the Villa Medici.

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58EDWARD LEAR Highgate 1812–1888 San Remo

a. A market, Koblenz

Inscribed upper left: ..blenz. 1837./August 12.Pencil heightened with white on grey paper, withcorners cut169 x 258 mm., 6 1/2 x 10 in.

These drawings date from Lear’s first tour of Europe in thesummer of 1837. Having spent the early summer of 1837in Devon, Lear returned to London in early July. From therehe set off for the Continent on the Antwerp packet boat on10th July in the company of his sister Ann, with whom hetravelled as far as Brussels. He then passed throughLuxembourg, Germany and Switzerland before spendingSeptember and October in the Italian Lakes, reachingFlorence in November and Rome in early December. Formost of the next ten years, Lear spent the winter in Romeand visited the rest of Italy in the summer.

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

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b. View of Sion, Switzerland

Inscribed lower right: Sion. 17. Sept. 1837Pencil heightened with touches of white on greypaper, with cut corners250 x 346 mm., 9 3/4 x 13 1/2 in.

The town of Sion is the capital of the Swiss canton of Valaisand is approximately fifty miles east of Geneva. Above thesixteenth century buildings of the town stands the Basiliquede Valère, a fortified church dating from the twelfth andthirteenth centuries and on the hill beyond is the ruinedChâteau de Tourbillon. In the foreground the church withthe spire is the Cathedral Nôtre-Dame du Glarier with, toits right the small church of St Théodule. Lear was inGeneva on 8th September, reached Sion by the 17th andLake Maggiore in the Italian Lakes by the 28th.

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Above:59WILLIAM ROXBY BEVERLYRichmond, Yorkshire 1811-1889 Hampstead

Fishermen on the Beach, Hastings

Watercolour heightened with bodycolour, stoppingout and scratching out657 x 927 mm., 25 3/4 x 36 1/2 in.

Facing page:60WILLIAM ROXBY BEVERLYRichmond, Yorkshire 1811–1889 Hampstead

a. Study of a Sky

Watercolour over traces of pencil162 x 257 mm., 6 1/4 x 10 in.

Provenance:Appleby Bros., London

Beverly was a son of a family of northern actors and beganhis career as a scene painter and actor for his father. Typicallyhe produced beach scenes with beached boats and sunsetswith strong colours often depicting the north-east coast ofEngland.

b. Moonrise over Moorland

Inscribed verso: Moonrise and in another hand: byW BeverlyWatercolour heightened with stopping out146 x 255 mm., 5 3/4 x 10 in.

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a.

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61JAMES BAKER PYNE Bristol 1800–1870 London

a. A View on the Thames

Signed lower left: JBPyne/1833 Watercolour over pencil heightened with scratchingout and gum arabic210 x 284 mm., 8 1/4 x 11 in.

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

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b. A View in the Lake District, possibly the Banks ofthe Derwent, Borrowdale

Signed lower left: PYNE/1833 Watercolour over pencil heightened withbodycolour180 x 255 mm., 7 x 10 in.

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62GEORGES ANTOINE ROCHEGROSSEVersailles 1859–1938 El-Biar, Algiers

A Woman Reclining in a Field of Flowers: Study for LeChevalier aux Fleurs

WatercolourSigned G Rochegrosse at the lower right237 x 241 mm., 9 3/8 x 9 1/2 in. [sheet]

One of leading exponents of Orientalism in France, GeorgesRochegrosse made his debut at the Salon de la Société desArtistes Français in 1882. His earliest exhibited workstended towards scenes from literature, legend and history,often tinged with violence, but the 1890s found the artistworking in a more Symbolist vein, exemplified by his largepainting The Knight of the Flowers of 1892. He also receivedseveral commissions for public decorations. By the turn ofthe century, however, Rochegrosse had come to be bestknown as a fashionable painter of Orientalist and exoticsubjects.

This radiant watercolour is a preparatory study for thenymph at the lower left of Rochegrosse’s monumentalcanvas Le Chevalier aux Fleurs (The Knight of the Flowers),painted in 1892. The painting was first exhibited in Munichin 1892 and, two years later, in Paris, where it was acquiredby the State; it is today in the Musée d’Orsay. The subjectof the painting is taken from Wagner’s opera Parsifal, anddepicts the chaste hero Parsifal who walks through theenchanted garden of the castle of the magician Klingsor, deafto the entreaties of the beautiful and seductive flowermaidens, bodies barely covered with flowers, who call tohim (‘Komm, komm, holder Knabe!’). Rochegrosse’s largepainting was much praised by critics, one of whomdescribed it as a ‘bouquet of fireworks.’

Many of Rochegrosse’s paintings of the period between1890 and 1920 feature his favourite model; his wife MarieLeblond, who is likely to have posed for the present sheet.Another watercolour study of the same figure is illustratedin a deluxe edition of Octave Charpentier’s poem Lechevalier aux fleurs, inspired by Rochegrosse’s painting,published in 1941.

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63PAUL LECOMTEParis 1842–1920 Paris

The Beach at Brighton

WatercolourSigned and inscribed Paul Lecomte / (Brighton) at thelower left237 x 233 mm., 9 3/8 x 9 1/8 in.

A landscape painter and watercolourist, Paul Lecomte madehis debut at the Salon in 1868, gaining an honourablemention two years later and thereafter exhibiting yearly until1912. Lecomte worked mainly in Paris, where he producednumerous urban views of the city, and in Normandy andBrittany, as well as the South of France, the Basque regionand England.

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

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Facing page:64HENRY JUTSUM London 1816–1869 London

Trees by a River

Signed lower right: Henry JutsumWatercolour heightened with touches ofbodycolour375 x 282 mm., 14 3/4 x 11 in.

Jutsum was born in London and having gone to school inDevon, he returned to London where he began to sketchin Kensington Gardens. In 1839, he took lessons from theNorwich School artist James Stark. Through Stark, Jutsumabsorbed the influence of Norwich School artists such ashis friend Henry Bright and John Middleton.

Above:65WILLIAM LEIGHTON LEITCHGlasgow 1804–1883 London

A Windmill by a Country Road

Signed and dated 1856 lower leftWatercolour over pencil heightened withbodycolour225 x 356 mm., 8 3/4 x 14 in.

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

A Wreck off the Gower Coast

Signed lower left and dated 1869Watercolour over pencil heightened with scratchingout213 x 517 mm., 8 1/4 x 20 1/4 in.

Provenance:Anonymous sale, Christie’s, 25th November 1969, lot 139Anonymous sale, Sotheby’s, 28th April 1983, lot 130

Duncan trained as an aquatint engraver under the Havellsand was introduced to marine painting, which became hisspeciality, by William Huggins whose pictures he engravedand whose daughter he married. His marine scenes usuallydepict south coast views often in rough seas. He exhibitedat the Royal Academy and prinicipally the Old and NewWatercolour Societies from 1830 until 1882.

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67HENRY BARLOW CARTERScarborough 1804–1868 Torquay

The Dovecote Rock, Flamborough, Yorkshire

Signed lower right: H.B. CARTERWatercolour over pencil heightened with scratchingout and gum arabic312 x 468 mm., 12 1/4 x 18 1/4 in.

Provenance:Private collection since the 1970s

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

A Three-Masted Ship moored off the Coast

Watercolour 144 x 238 mm., 5 1/2 x 9 1/4 in.

Provenance:Given by the artist to his daughterBy family descentPrivate collection, London, until 2010

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

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69ALFRED WILLIAM HUNTLiverpool 1830–1896 London

View of the Town and Abbey of Whitby, Yorkshire

Watercolour heightened with bodycolourSheet 246 x 310 mm., 9 1/2 x 12 in.

This is a view taken from the north-west across the mouthof the River Esk towards Whitby Abbey and it is a subjectwhich Hunt drew on a number of occasions. Hunt firstvisited Whitby in about 1874 and returned repeatedly. Afinished view taken from the same point dates from 1881and is entitled ‘A Fine Evening at Whitby’ (see ChristopherNewall, The Poetry of Truth – Alfred William Hunt and theArt of Landscape, 2004, no.55, ill.). A similarly sketchyversion of this view, signed and dated 1874, was sold atChristie’s in the Dawson sale, 3rd June 2004, lot 6. Thison-the-spot sketch shows the influence of J.M.W. Turner.

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70WILLIAM FRASER GARDENGillingham 1856–1921 Huntingdon

The Manor House by the River Ouse at HemingfordGrey, Huntingdonshire

WatercolourSigned and dated W. F. GARDEN: ‘95. at the lowerleftInscribed Manor-house, Hemingford Grey. on theverso229 x 181 mm., 9 x 7 1/8 in.

Provenance:The Broderick family, Lytham St. Annes, Lancashire

Born into a family of landscape artists, William Fraser Gardenpainted watercolour views of his native Huntingdonshireand the fen villages along the Great Ouse river inBedfordshire which are masterpieces of clarity and detail.The manor house at Hemingford Grey, situated close tothe 12th century church of Saint James, is noted by Pevsneras being ‘of very special interest’ for its central hall, which alsodates from the 12th century. The gardens of the houseextend down to the Ouse, with a moat enclosing thegrounds on the other three sides.

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

Study of a Sleeping Baby Girl

PencilSigned and dated William Orpen ‘03 at the lower left205 x 318 mm., 8 x 12 1/2 in.

Throughout his career, William Orpen was admired as oneof the finest draughtsmen of his day. He drew for long hoursevery day, and left behind a large corpus of drawings andsketches. As the critic of The Art News commented of apublication of a portfolio of ten photogravure reproductionsof his drawings in 1915, ‘These drawings are remarkable notonly for their delicacy of handling, but for the loving care withwhich the pencil has revelled in beauty of form. Mr. WilliamOrpen is thoroughly modern, yet he continues a tradition whichhas been handed down from the great draughtsmen of thepast. His work does not suffer when placed by the side of thework of the Old Masters, a supreme but dangerous test.’

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

The present sheet is likely to depict the artist’s eldestdaughter Mary, born in September 1902 and known in thefamily as ‘Bunnie’. Between 1902 and 1904 Orpenproduced a series of drawings of his wife Grace and Mary,based around the baby in her crib or at bath time. Thesestudies culminated in the painting Bath Hour, exhibited atthe New English Art Club in 1904 and today in the WilliamHumphries Art Gallery in Kimberley, South Africa.

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72ALCESTE CAMPRIANITerni 1848–1933 Lucca

a. A Fishing Boat

Oil on panelInscribed Dipinto autentico di Alceste / Campriani Glieredi / Marzia Mattioli / Borckeky(?) / (2) velluto rossomattone / scodellina a lato on the reverseStamped with the panel-maker’s stamp Giosi Napolion the reverse.101 x 227 mm., 4 x 8 7/8 in.

b. A Fisherman in his Boat

Oil on panelInscribed Dipinto autentico di Alceste / Campriani Glieredi / Marzia Mattioli Borckeky(?) and numbered (2)on the reverseStamped with the panel-maker’s stamp Giosi Napolion the reverse.131 x 222 mm., 5 1/8 x 8 3/4 in.

Provenance:The artist’s studio, NaplesThence by descent in the family of the artist

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Alceste Campriani studied at the Accademia di Belle Arti inNaples from 1862 to 1869. There he befriended thepainter Giuseppe de Nittis, with whom he paintedlandscapes in the open air as part of a group of artists knownas the Scuola di Resina, regarded as the successors to theNeapolitan landscape artists of the previous generation, ledby Giacinto Gigante, who had been known as the Scuola diPosillipo. Through de Nittis, Campriani gained anintroduction to the influential Parisian art dealer AdolpheGoupil, who in 1871 signed a contract with the artist thatlasted until 1884. This allowed his work to be better knownelsewhere in Europe and also in America, although he wasnever to achieve the same international reputation andcommercial success as such contemporary Italian artists asde Nittis, Giovanni Boldini and Federico Zandomeneghi.Campriani worked for several years in Paris, and alsoparticipated in the annual exhibitions organized by theSocietà Promotrice di Belle Arti in Naples, becoming amember of the jury in 1885. He painted seascapes,Neapolitan landscapes and genre scenes, as well as the

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

This pair of oil sketches were among the contents of theartist’s studio at the time of his death and have remained inthe possession of his descendants until recently. Scenes offishermen and fishing boats appear throughout Campriani’soeuvre. Similar boats appear, for example, in a largepainting, signed and dated 1900, which appeared on the artmarket in London in 1984, while a comparable small oilsketch of a Neapolitan fishing boat appeared at auction inRome in 2007.

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73VLADIMIR VASILIEVICH PEREPLETCHIKOVMoscow 1863–1918 Moscow

Sunset over a River

Pastel and gouache on paperSigned in Russian at the lower right and numberedor dated 3/4 VII. in the lower right marginFurther signed in Russian and dated 1909. on thebacking sheet Numbered N49 – 1940 on thebacking sheetStamped with a Russian stamp on the verso247 x 373 mm. (9 3/4 x 14 5/8 in.)

A landscape painter and draughtsman, Vasily Perepletchikovwas a pupil of Alexander Kiselev at the School of Fine Artsin Moscow and Vasily Polenov at the Moscow School ofPainting, Sculpture and Architecture. A founding memberof the conservative Union of Russian Artists in 1903,Perepletchikov exhibited with the group in Moscow, St.Petersburg and elsewhere, and his work was dominated bylyrical Russian landscapes painted in an Impressionist vein

and characterized by a heightened sense of colour. Paintingsby Perepletchikov were often illustrated in the leading artmagazine Mir iskusstva and were owned by artists such asIsaak Levitan and Sergei Vinogradov. Perepletchikov’s diariesrecord much of interest in the artistic life of Moscow aroundthe turn of the century, including visits to the homes of thecollectors Ivan Morozov and Sergei Shchukin, all recordedin a highly opinionated and at times somewhat acidic tone.When the First World War broke out in August 1914 andRussian men faced compulsory conscription into the army,like many artists and intellectuals Perepletchikov found thesituation almost intolerable; as he wrote during this periodof crisis, ‘I am no longer a painter. I have almost forgotten howto paint.’ The artist was to spend the last years of his careerunable to practice his profession, and died in Moscowshortly before the war ended. Paintings by VasilyPerepletchikov, whose appearance is recorded in a 1912pastel portrait by Sergei Malyutin, are today in the collectionof the State Tretyakov Gallery in Moscow, and elsewhere.

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

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74ORESTE CORTAZZORome 1836–1910 Paris

A Parisian Boulevard at Night, with a NewspaperVendor

Engraved wood block102 x 82 x 23 mm., 4 x 3 1/4 x 7/8 in.

Literature:Guy de Maupassant, Yvette, Paris, 1902, p.9

Born in Italy, Oreste Cortazzo spent most of his career inFrance as a painter of historical and genre scenes, many ofwhich were produced on commission for the art dealerAdolphe Goupil. He exhibited infrequently at the Salonsbetween 1874 and 1885, and also at the ExpositionUniverselle in 1878 and 1889. His sentimental narrativecompositions were likely influenced by the rise ofphotography in the second half of the 19th century.Cortazzo also worked as a printmaker and book illustrator;

among the books he illustrated were Eugène Muller’s LaMionette, published in 1885, and Guy de Maupassant’sYvette, published in 1902. Together with LodovicoMarchetti and Lucio Rossi, Cortazzo also provided drawingsfor a lavish illustrated edition of Shakespeare’s Romeo andJuliet, published in London around 1900.

This engraved wood block was used for an illustratededition of Guy de Maupassant’s Yvette, a collection of shortstories published in Paris in 1902, with illustrations byCortazzo. Maupassant’s story Yvette was first published in LeFigaro in 1884, and was reprinted as a book the followingyear. Cortazzo’s image was used to illustrate the beginningof the story, in which the two friends Jean de Servigny andLéon Saval leave the Café Riche and walk along the streetsof Paris: ‘A restless crowd was moving along the boulevard,that throng peculiar to summer nights, drinking, chatting, andflowing like a river, filled with a sense of comfort and joy. Hereand there a cafe threw a flood of light upon a knot of patronsdrinking at little tables on the sidewalk, which were coveredwith bottles and glasses, hindering the passing of the hurryingmultitude.’

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75ALETHEA GARSTINPenzance 1894–1978 Zennor

A Breton Girl

Black chalk on paper; a page from a sketchbookA slight sketch of a standing youth on the verso300 x 229 mm., 11 3/4 x 9 in.

Provenance:From one of the artist’s sketchbooks, and thence bydescent in the family of the artist.

The daughter and pupil of the painter Norman Garstin,Mary Dochie Alethea Garstin began painting seriously at theage of sixteen, and two years later she had a work accepted

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

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76GIUSEPPE CASCIAROOrtelle 1863–1941 Naples

A Coastal Landscape

Pastel, over an underdrawing in pencil, on brownpaperFaintly signed and dated GCasciaro / 6 08(?) 07 atthe lower leftSigned, dated and inscribed a Paride / De Marco(?) /l’amico / GCasciaro. / 1 luglio 1916 napoli at thelower rightStamped G. CASCIARO / NAPOLI in a circle in blueink on the verso168 x 331 mm., 6 5/8 x 13 in.

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

have first been inspired to take up the medium of pastel in1885, when a series of pastel drawings by the artistFrancesco Paolo Michetti was shown in Naples. Two yearslater, in 1887, Casciaro exhibited a series of eleven pastellandscapes of his own, and he remained devoted to themedium throughout his career. Indeed, he may be regardedas one of the finest practitioners of the art of the pastellandscape working in Italy during this period.

Casciaro settled on the hillside quarter of Naples known asthe Vomero, sharing a studio with the painter Attilio Pratella,and for much of his life his preferred subject matter wereviews in and around Naples and the islands of Capri andIschia. Between 1892 and 1896 he travelled regularly toParis, where he had a one-man exhibition and receivedcommissions from the dealer Adolphe Goupil. Appointed aprofessor at the Accademia in Naples in 1902, by 1906 hewas engaged as a tutor in pastel drawing to the Queen ofItaly, Elena di Savoia. Casciaro exhibited frequently in Naplesand at the Biennale in Venice, and won a bronze medal atthe Exposition Universelle in Paris in 1900. His work wasalso exhibited throughout Europe; in Munich, Barcelona,Prague, Athens and St. Petersburg, as well as in SanFrancisco, Tokyo and in South America.

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77JOHN DUNCAN FERGUSSONLeith 1874–1961 Edinburgh

Boats in the Harbour, Cassis

Black chalk112 x 200 mm., 4 1/4 x 7 3/4 in.

Provenance:The Artist’s partner, Margaret Morris (1891–1980)Private Collection

Fergusson is one of the best known of the ScottishColourists along with Peploe, Cadell and Hunter. Theywere active in the first half of the twentieth century and

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

This is likely to date from Fergusson’s first stay in Paris from1907 until 1914 when he spent a lot of time in the south ofFrance. In 1913, he persuaded his fellow Colourist SamuelJohn Peploe (1871–1935) to accompany him to Cassis. Herecalled: ‘I had grown tired of the north of France; I wantedmore sun, more colour; I wanted to go south to Cassis . . .we had his [Peploe’s] birthday party there and, after a lot ofconsideration, chose a bottle of Château Lafitte instead ofchampagne. Château Lafitte to me now means that happylunch on the veranda overlooking Cassis bay sparkling in thesunshine’ (see Roger Billcliffe, The Scottish Colourists, 1990,p.37).

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78SIR GEORGE CLAUSEN, R.A., R.W.S.London 1852–1944 Cold Ash

Study of Trees

Coloured chalks on brown paper298 x 233 mm., 11 3/4 x 9 in.

Provenance:By descent from the artist to his daughter-in-law MrsHugh ClausenAnonymous sale, Sotheby’s, 30th September 1992, lot 7

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79ANNA AIRYGreenwich 1882-1964 Playford, nr. Ipswich

a. Land of Plenty

Pen and black ink and watercolour, on paperwashed a pale greySigned with the artist’s monogram at the lowercentreNumbered 11 and inscribed and titled sight 12 x 9“Land of Plenty” / (to fit frame) at the bottom of thesheet338 x 257 mm., 13 1/4 x 10 1/8 in. [sheet]

b. Blue Tit’s Breakfast

Pen and black ink and watercolour, on paperwashed a pale greySigned with the artist’s monogram at the lowercentreNumbered 15 and inscribed and titled sight 12 1/2 x8 / “Blue tit’s breakfast” / (to fit frame) on the verso.330 x 212 mm., 13 x 8 3/8 in. [sheet]

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

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A student at the Slade School of Art in London between1899 and 1903, Anna Airy was a gifted and prolific artist,adept in a variety of media and techniques. She firstexhibited at the Royal Academy in 1905, and continued todo so almost every year until 1956, showing a total ofaround eighty works. By the time of her first one-man showat the Carfax Gallery in London in 1907 was regarded asone of the most promising young female painters of hergeneration. Airy also exhibited her work at the New EnglishArt Club, the Royal Institute of Painters in Water-Coloursand the Royal Society of Portrait Painters. In 1952 aretrospective exhibition of Airy’s paintings, drawings andprints was held in London, and in the preface to thecatalogue the critic Martin Hardie praised her ‘untiringpatience, a Durer-like analysis, an almost Pre-raphaeliteprecision, in recording the minutest detail and the materialstructure and anatomy of living organism in pendant fruit,

sprays of blossom, bees, birds, butterflies, struggling twigs orinsect-eaten leaves.’

Anna Airy was particularly admired as a draughtsman, andher interest in botanical studies was manifest from theearliest years of her career. On the occasion of an exhibitionof her work in 1915, one critic noted that ‘We have then inthese drawings the expression of passionate sympathy with therefinements of leaf and stem-forms. We have here the realismthat alone can satisfy an eager love of Nature for herself. Whatis novel is the careful art, almost Japanese in spirit, with whichnaturalism is controlled and exploited on behalf ofdecoration…An artist has not such a conscience for truth tonature as Miss Airy’s for nothing; not a line is drawn by herexcept in the presence of nature. The pen-work is done out ofdoors direct from the “model” branch as it grows on a tree,and the colouring is done in the same circumstances.’

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80HENRI ROYERNancy 1869–1938 Neuilly-sur-Seine

A Sheet of Studies of Women

Black and red chalk, with touches of whiteheightening, on paper laid down on a thin boardSigned Henri Royer. at the lower right centre476 x 629 mm., 18 3/4 x 24 3/4 in.

Exhibited:Mulhouse, Exposition de Mulhouse, 1914

Henri Paul Royer was active as a portraitist and genrepainter, as well as a draughtsman and book illustrator, andexhibited frequently at the Salon des Artistes Français from1890 onwards. In 1896 he made his first of many visits toBrittany, where he produced genre paintings of the life andcustoms of the people of Cap-Sizun, south of Finistère, andthe Ile de Sein, a small island off the western tip of Brittany.He became particularly known for his views of Brittany andscenes of Breton life, which he showed at the Salons. Royerwon a gold medal at the Exposition Universelle in 1900,

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

At the time of an exhibition of Royer’s work at the GalerieJean Charpentier in Paris in 1928, the critic Roger Dardennenoted that, ‘It is perhaps with the female portrait, however,that M. Henri Royer shows the fullest measure of his mastery.The delicacy of temperament, a natural elegance, combinedwith a great confidence in his profession, allow him to render,with a truth full of charm, the faces of women and young girls.’This sheet of studies may be regarded as preparatoryexercises for the sort of finished drawing in coloured chalksexemplified by a portrait of a woman reproduced as afull-page illustration in colour in the Christmas 1923 issueof the magazine L’Illustration. In comments which mayequally be said to be relevant to the present sheet, the textaccompanying the drawing in L’Illustration noted that ‘This isone of the pastels in which Henri Royer excels, to whom weowe, in addition to his fine work as a painter, some admirabedrawings in coloured chalks. A portrait of a young woman,treated with astonishing descriptive confidence, light fabrics,intangible, veiling and revealing the body, the face lit by asmile . . . A work of expressive grace and luminous harmony.’

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81EDWARD JOHN BURROWWellington 1869–1935 Cheltenham

A London Nocturne

Watercolour, heightened with touches ofbodycolourSigned and dated Ed J Burrow / 1918 and titled ALondon Nocturne in at the lower left and centre.238 x 164 mm., 9 3/8 x 6 1/2 in.

Originally trained as a chemist and pharmacist, Edward JohnBurrow was born in Somerset and studied at CheltenhamCollege, later settling in the spa town. Active as atopographical etcher and draughtsman, he established acooperative publishing business in Cheltenham in 1900,through which he wrote and published several books oflocal interest, such as The Ancient Entrenchments and Campsof Gloucestershire, first published in 1919, and Around andAbout Cheltenham, published in 1921. Many of Burrow’setchings are commissioned views of public schools andcolleges such as Marlborough, Rugby, Eton and Haileybury.

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82TAMARA DE LEMPICKAWarsaw 1898-1980 Cuernavaca

A Seated Female Nude

PencilSigned de Lempicka at the lower left236 x 142 mm., 9 1/4 x 5 5/8 in.

Provenance:Private collection, in 1972Barry Friedman Ltd., New YorkPrivate collection, Spain

Literature:Alain Blondel, Tamara de Lempicka: Catalogue raisonné1921-1979, Lausanne, 1999, p.433, no. A.23

Recognized today as an iconic painter of the Art Deco era,Tamara de Lempicka exhibited for the first time at the Salond’Automne in 1922. Her work as a portraitist was greatlyadmired, and the late 1920’s and early 1930’s found theartist at the height of her career, enjoying an exalted positionin Parisian society. De Lempicka’s studies of female nudeswere strongly influenced by the figure style of her teacherAndré Lhote. Datable to around 1923, the present sheetmay have been drawn from a posed model in Lhote’sstudio on the rue de Départ in Paris. This drawing maytentatively be related to a small painting of a similarly posedfemale nude, also seen from below and wearing a necklace,in a private collection.

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83GUSTAVE LOISEAUParis 1865–1935 Paris

Still Life with a Dish of Fried Eggs

Pencil, watercolour and gouache on buff paperA sketch of a church and surrounding buildings onthe versoDated 1923 at the upper leftThe verso inscribed and dated cour de la / ??? /Pontoise / 1922206 x 273 mm., 8 1/8 x 10 3/4 in.

Abandoning a career as a house painter, Gustave Loiseautook up painting around 1884 and had devoted himself toit entirely by 1887. Apart from a year at the Ecole des ArtsDécoratifs, he was mostly self-taught. In 1890 he stayed forsome months in the town of Pont-Aven in Brittany, joiningthe little artistic community there and befriending painters

such as Maxime Maufra and Henry Moret. He joined theSociété des Artists Indépendants in 1893 and exhibited sixpaintings at the group’s annual exhibition; he continued toexhibit at the Salon des Indépendants nearly every yearthereafter. In Pont-Aven in 1894 Loiseau met Paul Gauguin,who, impressed with the young artist’s work, gave him astill life of fruit and flowers. In 1897 he entered into acontract with the Galerie Durand-Ruel, which allowed theartist a measure of financial freedom. For the remainder ofhis career, Loiseau travelled tirelessly in Brittany, Normandyand the Ile-de-France, painting numerous landscapes alongthe Seine and elsewhere.

Loiseau produced several paintings of still-life compositions,many of which were done at Pont-Aven between 1922 and1928. The present sheet is dated 1923, while the sketch ofa church in Pontoise on the verso bears a date of theprevious year. The ceramic dish in which the eggs areplaced is found in several still life compositions by Loiseau ofthe 1920s and early 1930s.

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

The Artist’s Father Seated in an Interior

Pencil and black chalk, with stumping, with touchesof orange and white chalk, on buff paper307 x 366 mm., 12 1/8 x 14 3/8 in.

Provenance:Lady Gwendolen Herbert

Literature:Mervyn Levy, Ruskin Spear, London, 1985, p.31,illustrated p.12, fig.4

Exhibited:London, Royal Academy of Arts, Ruskin Spear R.A.: ARetrospective Exhibition, 1980, no.79

Drawn in 1932, the present sheet is a portrait of the artist’sfather Augustus Spear. The drawing was singled out forpraise by Ruskin Spear’s biographer Mervyn Levy: ‘It is inhis portraits of his family and his friends that his essentialhumanity is most apparent, although his empathy with hissubject is always conveyed with restraint. This applies inparticular to his portrayals of old age. The emotive content isalways tightly controlled – concise and contained . . . There iscompassion without sentimentality. Even in the study of thepainter’s father, drawn in 1932 when the artist was onlytwenty-one, there is no excess of feeling, no self-indulgence. Itis a statement about old age, brilliantly drawn and strikinglyobjective. I know of no better example of the artist’s powers ofdraughtsmanship. The opposition of tension and relaxation issuperbly realized in the relaxed, bowed head, the tension inthe resting arm and left leg, and the relaxation of the left armand the right leg.’

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85ODILON ROCHEChâteauneuf-sur-Loire 1868–1947 Six-Fours

Study of a Standing Draped Woman, Seen fromBehind

Pencil and watercolourInscribed A Rodin at the lower rightStamped with a variant of the Roche mark (Lugt2007e) at the lower right337 x 274 mm., 13 1/4 x 10 3/4 in.

An amateur artist and a disciple of Auguste Rodin, OdilonRoche was one of the more fascinating characters in Paris inthe first quarter of the 20th century. In 1902 he opened ashop in Montmartre selling artists’ supplies, counting amonghis customers Pissarro and Renoir. A second shop sellingPersian and Chinese antiques soon became a fashionablerendezvous for cultured Parisians, among them the novelistColette, who described Roche as ‘un homme fastueux dans

une époque médiocre.’ In 1917 Roche’s friend LéonceBénédite, the executor of Rodin’s will and soon to be thefirst curator of the Musée Rodin, asked him to classify theentire contents of the sculptor’s studio, including countlessboxes of loose drawings and watercolours.

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

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86RAYMOND1933

Philips Radio: Design for a Poster

WatercolourSigned and dated RAYMOND. 1933 at the upperright490 x 340 mm., 19 1/4 x 13 3/8 in.

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87RICHARD BARRETT TALBOT KELLY1896–1971

A Hovering Kingfisher

Signed with monogram centre leftPen and brown ink and watercolour on oatmealpaper194 x 143 mm., 7 1/2 x 5 1/2 in.

Kelly served in the Artillery until 1929 and concentrated ondrawing birds in watercolour from the 1920s. He was artmaster at Rugby School.

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88STEPHEN ROWLAND PIERCE, F.R.I.B.A., F.S.A.1896–1966

The Bombed House

Watercolour on thick cardSigned and dated S. Rowland Pierce 1941 at thelower right345 x 271 mm., 13 5/8 x 10 5/8 in.

An architect and town planning consultant, StephenRowland Pierce was awarded the Rome Scholarship inArchitecture in 1921 and studied at the British School atRome. Much of his architectural work was in the form ofcivic buildings, often in partnership with the architect CharlesHolloway James, such as the town hall of Slough,constructed in 1936, and the Hertford County Hall, built in1940. His best-known work as an architect, however, is the

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

The present sheet was probably drawn during the Blitz inLondon. At the time Rowland Pierce made the drawing, hewas serving as Director of Architectural Studies at theHastings School of Art, a post he held between 1936 and1942. Between 1941 and 1942 he was also a lecturer atthe School of Architecture at Manchester University.

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89ERICH WOLFSFELDKrojanke 1884–1956 London

Study of an Arab Girl

Oil, black chalk and coloured chalks, with traces ofsquaring in pencil, on buff paperSigned Erich Wolfsfeld at the lower right359 x 286 mm., 14 1/8 x 11 1/8 in.

Provenance:Among the contents of the artist’s studio at his deathThence by descent to his stepson, Dr. Max Block,Mossley Hill, Liverpool, until 2009

Exhibited:Derby, Derby Art Gallery, Erich Wolfsfeld, 1953

Erich Wolfsfeld studied at the Berlin Academy of Arts andthe Académie Julien in Paris. His early career was largely

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

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

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

St. Ives, Cornwall

Watercolour, heightened with touches of gouacheSigned and inscribed St. Ives. / S.R. Badmin at thelower right287 x 386 mm., 11 3/8 x 15 1/4 in. [sheet]

A gifted watercolourist and printmaker, S. R. Badminbecame, at the age of twenty-six, one of the youngestAssociate members of the Royal Society of Painters inWatercolours. At the exhibition of the Society in 1932, thefirst to which he contributed, his work was singled out forparticular praise by several reviewers, one of whom wrotethat ‘The most interesting drawings in this show are providedby S.R. Badmin, a young etcher who uses line with almost anetcher’s delicacy and precision. Badmin is almost miniaturistin the fineness of his work he packs into a small picture area,but in spite of all this wealth of beautifully designed detail, he

contrives, with the aid of washes of tender colour, to preservea seemly order in all his drawings.’ Badmin is today bestknown for his watercolour landscapes; charming andaffectionate depictions of the English countryside. In the1940s and 1950s he illustrated a number of books onpastoral or topographical themes, notably Village and Town,Trees in Britain and The British Countryside in Colour. Amonghis other commercial projects were designs for Shell postersdepicting the various counties of England, as well as coversand illustrations for Reader’s Digest and Radio Timesmagazines, advertising images, calendars and greeting cards.As one recent author has noted of Badmin, ‘his craft hasbeen based on hard work and experience, and his talent on alove for and deep knowledge of the British countryside.’

Badmin produced a handful of views of the picturesquefishing port of St. Ives in Cornwall. Another view of thetown, inscribed by the artist ‘A Corner of St. Ives’ and ‘TheRoom with the View’, was on the London art market in 1985,while a watercolour of St. Ives from Porthminster wasincluded at the Autumn 1953 exhibition of the RoyalWatercolour Society.

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91JOHN NORTHCOTE NASH, R.A.Kensington 1893–1977 Colchester

Olive Trees near Clavier, Grasse, France

Inscribed with colour notesWatercolour over pencil on laid paper, squared fortransfer224 x 171 mm., 8 3/4 x 6 3/4 in.

Provenance:New Grafton Gallery

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

Three Feathers

Tempera on boardSigned with the artist’s monogram and numberedOP / 253 at the upper right253 x 305 mm., 10 x 12 in.

Provenance:Kensington Art Gallery, London, in 1949Purchased from them by Mrs. Carrow, LondonMrs. Gladys Lilian Grant and thence by descent until 2006

Maxwell Armfield began experimenting with painting intempera while a student in Birmingham, although he onlybegan taking up the medium more seriously around 1910.Best known for his portraits, landscapes and still life paintingsin tempera, Armfield exhibited at the Royal Academy, theNew English Art Club and the Royal Watercolour Society.

He was also a prolific and accomplished illustrator anddecorative artist, and found the time to publish a number ofbooks of poetry, travel accounts and technical guides totempera painting. Although his work was largely forgottenafter the Second World War, Armfield lived to see areassessment of his oeuvre take place in the 1970s.

The present work is numbered by the artist as Opus 253,which would suggest an approximate date of 1948; it wasfirst exhibited the following year. Writing a few years later,Armfield described the particular appeal of tempera, notingthat ‘only in this apparently most material and restrictedmedium could I learn to express in this age, those fundamentalthings which could not at the present time find acceptance ina direct or ostensible way.’ In another publication, Armfieldwrote, ‘Tempera because of the exigencies of material isspecially suitable for smallish pictures, gay and rich incolour . . . the peculiarities of the medium itself render it mostsuitable for the presentation of flowers, fruit, and the smallbeasts naturally associated with them: for sky, pebbles, andgenerally, the smaller details of nature . . .’

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

a. Spider Monkeysb. De Brazza’s Guenonc. Spider Monkeys

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

Provenance:Bunny Bird Fine Art, London

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

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

The largest of these three drawings is a preparatory studyfor Tunnicliffe’s painting De Brazza’s Guenon, exhibited atthe Royal Academy in 1967. The two studies of spidermonkeys are related to a finished watercolour of SpiderMonkeys shown at the Royal Academy in 1973.

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a. Red-Breasted Mergansers


b. Black-headed and Common Gulls


These two drawings date from the mid 1960s.

The drawings in nos. 94 and 95 were in the artist’s studioon his death in 1979 and were subsequently exhibited in`Charles F. Tunnicliffe, RA – The Composition Drawings’ atthe Tryon and Moorland Gallery, Cork St., London from5th to 26th March 1986. Since then they have been in aprivate European collection.

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a. Black-headed Gulls asleep

Watercolour and bodycolour over pencil63 x 105 mm., 2 1/2 x 4 in.

This dates from the 1960s.

b. Roseate Terns displayingWatercolour and bodycolour over pencil92 x 111 mm., 3 1/2 x 4 1/4 in.

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

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96JOHN LANGLEY HOWARDMontclair 1902–1999 San Francisco

a. Succulent

Grey ink and wash on paperSigned with initials and dated JLH ’49 at the lowerright centreFurther inscribed PW 700 / 1949 / Mill Valley / 300-on the verso203 x 230 mm., 8 x 9 in. [sheet]

b. Apples on Earth

Watercolour on paper, laid down on boardSigned and dated JOHN LANGLEY HOWARD ’67 atthe lower right214 x 285 mm., 8 3/8 x 11 1/4 in. [sheet]

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

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Born into a family of artists and architects, John LangleyHoward was raised in California and studied at the CaliforniaGuild of Arts and Crafts in Oakland before completing histraining at the Art Students League in New York in 1924.He worked mainly in tempera, watercolour and oil, andalso took up etching. Howard held his first one-manexhibition at the Modern Gallery in San Francisco in 1927,and the following year shared a joint exhibition with hisolder brothers Charles and Robert; in a review of the showone critic noted that, of the three Howard brothers, ‘JohnLangley is the poet, the mystic and the most complex...therepredominates in his work a certain quality, an element ofsentiment that escapes definition but is the unmistakable traitby which one recognizes deeper art.’

With the onset of the Depression, Howard began toengage in political discourse and incorporate Marxist themesin his work, which often emphasized the plight of theworking classes. This was perhaps most explicit in acommission he received in 1934 for a mural to decoratepart the interior of the Coit Tower on Telegraph Hill in SanFrancisco. The frescoes were intended as a celebration of

California’s achievements in industry and agriculture, andthe artist’s decision to devote his Industry mural to thedepiction of a group of unemployed workers, combinedwith the subjects chosen by some of the other equallypoliticized artists working on the same project, led toconsiderable controversy. After the outbreak of World WarII, however, Howard’s work began to move away fromsocial commentary and towards a renewed focus onlandscapes, devoid of human figures, as well as still life andnatural history subjects. Between 1953 and 1965 heworked as an illustrator for Scientific American magazine,creating many covers that emphasized the delicacy andbeauty of objects found in the natural world. He lived forsome time in Mexico, Greece and London before settlingin California for good in 1970.

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

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97RENÉ GRUAUCovignano 1909–2004 Rome

Design for the Cover of Sir Magazine (No.4, 1964)

Brush and black ink, gouache, and green film, over apencil underdrawing, on paperSigned with the initial *G at the lower right410 x 287 mm., 16 1/8 x 11 1/4 in.

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

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

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

SOFA

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

Art Nouveau Apartment Building, Geneva

Watercolour over an underdrawing in pencil, onthick white paperSigned, dated and inscribed Paul Hogarth ’87 ArtNouveau apartment house, Quai Wilson, Geneva atthe lower left centreFurther inscribed Constance’s flat / Sebastian at thelower left572 x 463 mm., 22 1/2 x 18 1/4 in. [sheet]

The architectural historian Peter Blake has noted that ‘PaulHogarth is not exactly a recorder of architecture, he is a loverof buildings. He idealises them, romanticizes them, makes funof them, and ultimately identifies with them. His drawings andwatercolour washes are like love letters to buildings; and, likelove letters, they exaggerate. They make you smile. Not manyartists know how to get a building to make you smile. Hogarthknows.’ A similar sentiment was expressed by the architectSir Hugh Casson, who has said that ‘There’s nobody to touchPaul Hogarth for catching a building’s likeness – dead rightwithout a trace of laborious correctness.’

SOFA

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99MICHAEL KOTASEKBorn 1962

Try Pots

Watercolour, over an underdrawing in pencilSigned and dated PM KOTASEK 05 at the lower left492 x 673 mm., 19 3/8 x 26 1/2 in. [sheet]

Provenance:Grenning Gallery, Sag Harbor, New York

Born in upstate New York in 1962, P. Michael Kotasekreceived his degree in Fine Art from Syracuse University andworks in and around the town of Sag Harbor on LongIsland, New York. His landscapes and still life subjects areexecuted primarily in watercolour and tempera, althoughmore recently he has been working in oils. The subject ofmuch of his work, which has won several prizes, is devotedto the landscapes, farms and houses of the eastern end ofLong Island.

A try pot is a large cast iron vessel used to remove andrender down the oil from whale blubber. Try pots wereused extensively in the New England whaling industry in the18th and 19th centuries.

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100MARK ADLINGTONBorn 1965

An Arabian Leopard

WatercolourSigned with initials and dated MA/08 at the lower left285 x 419 mm., 11 1/4 x 16 1/2 in.

Based in London, Mark Adlington studied at the City andGuilds of London School of Art, and is best known as apainter and draughtsman of wild animals. This watercolouris part of a recent series of drawings and paintings of theanimals of the Arabian peninsula. The artist has spent part ofthe last few years in the Middle East, studying animals inOman, which has some of the last wild habitats of severalendangered species native to the region, and at theBreeding Centre for Endangered Arabian Wildlife in Sharjahin the United Arab Emirates. The Arabian leopard, oncefound throughout the peninsula, now survives in the wildonly in very small numbers – thought to be less than twohundred mature individuals – and remains in danger ofextinction.

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ADLINGTON, Mark no.100

AIRY, Anna no.79

ARMFIELD, Maxwell no.9

BADMIN, Stanley Roy no.90

BEAUCLERK, Lady Diana no.8

BENDEMANN, Eduard no.41

BESNARD, Albert no.57

BESSA, Pancrace no.23

BEVERLY, William Roxby nos.59–60

BISON, Giuseppe Bernardino no.9

BONVIN, François no.27

BUCKLER, John Chessell no.34

BURROW, Edward John no.81

CAMPRIANI, Alceste no.72

CARTER, Henry Barlow no.67

CASCIARO, Giuseppe no.76

CELS, Jean-Michel no.24

CHALON, Alfred Edward no.31

CLAUSEN, Sir George no.78

CORTAZZO, Oreste no.74

COSWAY, Richard no.5

DELLA BELLA, Stefano no.2

DE SPECHT, Emile no.50

DOWNMAN, John no.11

DUNCAN, Edward no.66

EDRIDGE, Henry nos.43–44

ENGLISH SCHOOL, circa 1790 no.19

FARINGTON, Joseph no.17

FERGUSSON, John Duncan no.77

FIELDING, Anthony Vandyke Copley no.35

FLORENTINE SCHOOL, 16th Century no.1

FRANCIA, Alexandre Thomas no.49

FRASER GARDEN, William no.70

FRENCH SCHOOL, 1791 (J.N.d.B) no.7

FRENCH SHCOOL, circa 1800 no.13

GARSTIN, Alethea no.75

GEVRIL, Daniel no.28

GIGANTE, Giacinto no.37

GRIFFITH, Moses no.20

GRUAU, René no.97

HAMILTON, Hugh Douglas no.10

HILLS, Robert no.33

HOARE OF BATH, William no.4

HOGARTH, Paul no.98

HOLLAND, James no.40

HOWARD, John Langley no.96

HUET, Nicolas II no.12

HUNT, Alfred William no.69

JACKSON, Samuel no.52

INDEX OF ARTISTS

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JUTSUM, Henry no.64

KELLY, Richard Barrett Talbot no.87

KOTASEK, Michael no.99

LEAR, Edward no.58

LECOMTE, Paul no.63

LEITCH, William Leighton no.65

LEMPICKA, Tamara de no.82

LINNELL, James Thomas no.42

LOISEAU, Gustave no.83

MARTIN, John no.36

MEYER, Lazare no.46

NAFTEL, Paul Jacob no.47

NASH, John no.91

NIXON, John no.18

ORPEN, Sir William no.71

PEREPLETCHIKOV, Vasily no.73

PIERCE, Stephen Rowland no.88

PORTER, Sir Robert Kerr no.15

PROUT, Samuel no.51

PYNE, James Baker no.61

PYNE, William Henry no.30

RAYMOND no.86

ROCHE, Odilon no.85

ROCHEGROSSE, Georges Antoine no.62

ROMNEY, George no.6

ROWBOTHAM, Thomas Leeson no.22

ROYER, Henri no.80

SANDBY, Paul nos.16 & 26

SMIRKE, Mary no.32

SMITH, John Rubens no.25

SMITH, Edward Dalton nos.53–54

SOMM, Henry no.56

SPEAR, Ruskin no.84

TUDOR, Thomas no.21

TUNNICLIFFE, Charles Frederick nos.93–95

UNDERWOOD, Thomas Richard no.29

VAN DER ULFT, Jacob no.3

VARLEY, John no.45

WESTALL, Richard no.14

WOLFSFELD, Erich no.89

WYLD, William nos.38–39

WYLLIE, William Lionel no.68

YATMAN, William Hamilton no.48

ZUBER, Henri no.55

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Stephen Ongpin has more than twenty years of experience as a dealer in Old Master and 19th centurydrawings. He began his career in 1986 at the long-established gallery of P. & D. Colnaghi, working atthe firm's New York branch for ten years before moving to London in 1996. Working closely withJean-Luc Baroni, Stephen was responsible for organizing the drawings exhibitions mounted by thegallery, and for researching, writing, and editing their annual catalogues of Master Drawings. In 2001he joined Baroni in forming Jean-Luc Baroni Ltd. in London, with Stephen continuing to assumeresponsibility for the new firm's drawing department, organizing their successful drawings exhibitionsand writing the accompanying catalogues. He has to date researched and written nearly thirty scholarlycatalogues of drawings. Since 2006 Stephen has worked as an independent dealer and consultant inthe field of Old Master, 19th century and Modern drawings, assisted by Lara Smith-Bosanquet, andsharing a gallery in St. James's in London with Guy Peppiatt. The gallery exhibits at several art fairs,including the Salon du Dessin in Paris and The European Fine Art Fair in Maastricht in March, and ArtAntiques London in June. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both Londonand New York, and also issues regular catalogues.

Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby's British Picturesdepartment in 1993. He quickly specialised in early British drawings and watercolours and took overthe running of Sotheby's Topographical and Travel sales. Topographical views, whether they be of Britainor worldwide, have remained an abiding passion. Guy left Sotheby's in early 2004 and has worked asa dealer since then, first based at home, and now in a gallery in St James's, which he shares with StephenOngpin. Guy's main yearly exhibition of early drawings and watercolours is in May and June and he alsoexhibits at the Watercolours and Works on Paper Fair in early February, the BADA Fair in March, the ArtAntiques London Fair in June and the Winter Olympia Art and Antiques Fair in November. He also advisesclients on their collections, buys and sells on their behalf and can provide insurance valuations.

Stephen Ongpin Fine ArtTel.+44 (0) 20 7930 8813or + 44 (0)7710 328 [email protected]

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

[email protected]

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