GUY PEPPIATT FINE ART

SALE OF PICTURES FROM STOCK

MAY 2020

GUY PEPPIATT FINE ART

SALE OF PICTURES FROM STOCK

MAY 2020

Prices include UK shipping

Sold framed except where stated

High resolutions images available on request

Guy Peppiatt Fine Art LtdRiverwide House, 6 Mason’s Yard

Duke Street, St James’s, London SW1Y 6BU

Tel: +44 (0) 20 7930 3839Mobile: +44 (0) 7956 968 284Fax: +44 (0) 020 7839 1504guy@peppiattfineart.co.ukwww.peppiattfineart.co.uk

4

1Sir James Thornhill (1675-1734) Design for a Garden House

Pen and brown and grey ink and grey washes on laid paper 18.2 by 17.2 cm., 7 by 6 ¾ in.

Provenance:Colonel Gould Weston, his sale, Christie’s, 15th July 1958, lot 125 as part of an album; Ralph Holland (1917-2012) Thornhill was the most important painter of interiors in the early eighteenth century and was the first British artist to be knighted, on his appointment to sergeant-painter to the King in 1720. His most celebrated works are the interior of the Great Hall at Greenwich and the dome of St. Paul’s, London. He also worked in a number of great English houses, including Blenheim, Hampton Court, Chatsworth, Easton Neston and Wimpole.

This drawing may be linked to the work that Thornhill did for Isaac Loader (b.1653) at Deptford. Loader was an anchor maker by profession and was appointed Sheriff of Deptford in 1701. Ralph Thoresby (1658-1725) visited Loader’s house in 1714 and records that `the gardens are surprisingly fine and large: there are Mr Thornhill’s paintings in the Bagnio, and other garden-houses’ (see R. Thoresby, The Diary of Ralph Thoresby, F.R.S., 1830, p.237).

£1,950 (previously £3,950)

2Thomas Rowlandson (1756-1827)Horseracing on the Knavesmire, York

Inscribed in another hand lower left: NottinghamPen and grey ink and watercolour11.8 by 17.7 cm., 4 ½ by 7 in.

Provenance:With Spink, London (K3 9390)

Racing is recorded at York from Roman times but was well established at Clifton before moving to its current location on the Knavesmire in 1731. The first Grandstand, as depicted here, was built by the York architect John Carr in 1754 and race days regularly attracted crowds of over 100,000.

There are other views of the Knavesmire by Rowlandson taken from the centre of the course showing the new grandstand with windmills on the hill behind it. Two drawings are in the Yale Center for British Art, New Haven, with a more finished watercolour in York Art Gallery. It is also depicted in an 1813 engraving after Rowlandson entitled `Dr Syntax loses his Money on the Race Ground at York.’

£1,900 (previously £3,800)

6

3Thomas Hickey (1741-1824)Portrait of Dr Hugh Kennedy

Half-length Signed centre right: T. Hickey/1774 Coloured chalks over pencil on laid paper, oval 21 by 16.4 cm., 8 ¼ by 6 ¼ in. Provenance:Anonymous sale, Christie’s, 17th May 1934, lot 47; With J. Maher, 1939 Literature: Edward A. McGuire, ‘Pastel Portrait Painting in Ireland in the XVIII century’, Connoisseur, vol. CIII, 1939, p.11, fig. v; Neil Jeffares, Dictionary of Pastellists before 1800, 2006, p. 236, ill. Dr Hugh Alexander Kennedy (d. 1795) was Irish by birth and qualified as a doctor of medicine in Edinburgh in June 1754. He was elected Physician to the Middlesex hospital in 1759, a position he held for twenty-three years, and was admitted to the College of Physicians in 1765. He was the physician serving with the Duke of Abermarle at the Siege of Havana in 1762. He was Physician Extraordinary to the Prince of Wales at the time of his death, and Director-General of the Hospitals on the Continent. Another portrait of the same sitter, by Lemuel Francis Abbott (c.1760-1802), is recorded (NPG files).

Hickey was principally a portrait painter working mainly in oil as well as pastel. Born in Ireland, he studied in Italy from 1761 to 1767 and was in London by 1770. He worked in Bath from 1776 to 1780 when he set off to India via Portugal where he spent several years, reaching India in March 1784. In India, he set up a successful practice as a portrait painter working for Tipu Sultan amongst others and remained there, except for an interlude in Ireland from 1796 to 1798, until his death in Madras in 1824.

£1,200 (previously £1,800)

7

4Paul Sandby, R.A. (1731-1809) Portrait of Miss Abbott and Miss Rosier

Full-length standing, holding hands Watercolour over pencil, with cut corners 16.8 by 12.4 cm., 6 ½ by 4 ¾ in. Provenance:By descent from the artist to William Sandby; By descent to Hubert Peake, the great-grandson of the artist’s niece, Charlotte, his sale, Christie’s, 26th May 1959; With Thos. Agnew & Sons, London; With Kennedy Galleries, New York

£1,600 (previously £2,400)

8

5Joseph Farington, R.A. (1747-1821)A Farmhouse in a Clearing

Signed lower left: Jos. Farington Pen and brown ink and grey wash with original washline mount 31by 45.4 cm., 12 by 17 ¾ in. Provenance: Michael Ingram (1917-2005); With Lowell Libson Ltd, 2006; Private Collection, UK

Exhibited: Lowell Libson, Watercolours and Drawings, 15th November to 8th December 2006, no.2

£1,900 (was £3,500)

9

6Robert Cleveley (1747-1809)The Embarkation of Caroline of Brunswick on board the Jupiter at Cuxhaven 1795

Signed verso and inscribed: The Embarkation of Her Royal Highness the Princess of Wales on board the Jupiter at Cux havenPen and grey ink and watercolour11.9 by 18.4 cm., 4 ¾ by 7 ¼ in.

This shows Caroline of Brunswick, the future Princess of Wales and wife of George IV, leaving Cuxhaven at the mouth of the river Elbe in Northern Germany on 28th March 1795 on her way to England to marry George, the Prince of Wales. They had intended to depart from Holland but French troops blocked their way so they diverted to Cuxhaven. When they reached Gravesend, the Princess transferred to the royal yacht Augusta and sailed up the Thames arriving at Greenwich as planned at noon on Easter Sunday, 5th April.

Robert Cleveley was the son of John Cleveley (1712-1786), a shipwright and painter from Deptford. He was a clerk and purser in the Navy and first exhibited in 1767. He was appointed Marine Draughtsman to the Duke of Clarence and Marine Painter to the Prince of Wales.

£1,500 (previously £3,500)

10

7Captain John Durrant (fl.1790-1830)The Church and Hospital of St Cross, Winchester

Inscribed upper centre: St Cross WinchesterWatercolour over pencil on laid paper17.6 by 22.5cm., 6 ¾ by 8 ¾ in.

Provenance:Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by descent until 1990

The Hospital of St Cross stands south of Winchester in the water meadows alongside the River Itchen. The Norman Church dates from the twelfth century and the Hospital is England’s oldest continuing almshouse.

Captain John Durrant (fl.1790-1830) was a highly skilled amateur artist and army officer who was stationed at Portchester Castle between 1803 and 1813. He was also stationed at Dover, Gosport and Colchester during his career. An ability to sketch was a prized asset in the armed forces in the days before photography and Durrant is likely to have trained in the art of topographical draughtsmanship at the Royal Military Academy at Woolwich where Paul Sandby, R.A. (1731-1809) taught until 1796. An album of over hundred drawings by him is in the collection of Hampshire council.

£900 (previously £1,200)

11

8Captain John Durrant (fl.1790-1830)The West Gate, Winchester

Inscribed upper centre: Westgate WinchesterPen and brown ink and watercolour over pencil on laid paper17.7 by 23cm., 7 by 9 in.

Provenance:Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by descent until 1990

This is one of the two surviving gates to Winchester of the original five. It dates from the fourteenth century and stands at the top of the High Street.

Captain John Durrant (fl.1790-1830) was a highly skilled amateur artist and army officer who was stationed at Portchester Castle between 1803 and 1813. He was also stationed at Dover, Gosport and Colchester during his career. An ability to sketch was a prized asset in the armed forces in the days before photography and Durrant is likely to have trained in the art of topographical draughtsmanship at the Royal Military Academy at Woolwich where Paul Sandby, R.A. (1731-1809) taught until 1796. An album of over hundred drawings by him is in the collection of Hampshire council.

£900 (previously £1,200)

12

9François Louis Thomas Francia (1772-1839)The Interior of Winchester Cathedral

Signed lower left: L. Francia 1803 and inscribed on reverse of original mount: Inside view of Winchester/Cathedral made for/Sir Henry Englefield Bart/by L Francia 1803, with original pen and ink borderWatercolour over pencil19 by 12.8 cm., 7 ½ by 5 in.

Provenance:Drawn for Sir Henry Englefield (1752-1822), 1803

Sir Henry Englefield was a Fellow of the Society of Antiquaries and between 1797 and 1813 he commissioned a series of engravings of English cathedrals. The present drawing probably relates to this series.

This is likely to be one of two interior views exhibited by Francia at the Royal Academy in 1804, no.652 as `Two views of interiors: no. 1 Winchester; no.2 Christ’s Church, Hants.’ For another interior view by Francia from this period, see Marcia Pointon, Bonington, Francia & Wyld, 1985, p.105, no.6, ill.

£950 (previously £1,600)

13

10François Louis Thomas Francia (1772-1839)The West Gate and Obelisk, Winchester

Signed lower left: L.Francia 1804 and again with initials on reverse of original mount: West Gate/& obelisk/Winchester/Hants/LF/1804Watercolour over pencil19.3 by 12.5 cm., 7 ½ by 4 ¾ in.

The Obelisk was built just outside the West Gate, Winchester, in 1759 by the Natives’ Society. It commemorates the spot where the townspeople of Winchester traded with country folk during the Plague of 1666.

£950 (previously £1,600)

14

11William Payne (1760-1830)Figures by the Sea, a Castle beyond

Signed verso: W. PayneWatercolour over traces of pencilOval 14.2 by 18.4 cm., 5 ½ by 7 ¼ in.

Provenance:Probably inherited by Lady Emily Frances Percy, daughter of the 2nd Duke of Northumberland, who in 1810 married James Murray, 1st Lord Glenlyon (1782-1837);Probably by descent to their son George, 6th Duke of Atholl (1814-1864);By descent at Blair Castle, Blair Atholl, Scotland

The 1st Duke of Northumberland bought the estate of Werrington, near Launceston, Devon, which would explain his patronage of the Devon artist William Payne.

£950 (previously £1,800)

15

12William Payne (1760-1830)Pentillie Castle from the river Tamar, Devon

Signed with initials verso: Pentilly Castle W.P.Watercolour over traces of pencilOval 14.4 by 18.7 cm., 5 ½ by 7 ¼ in.

Provenance:Probably inherited by Lady Emily Frances Percy, daughter of the 2nd Duke of Northumberland, who in 1810 married James Murray, 1st Lord Glenlyon (1782-1837);Probably by descent to their son George, 6th Duke of Atholl (1814-1864);By descent at Blair Castle, Blair Atholl, Scotland

Pentillie Castle sits above the river Tamar in Paynters Cross near St Mellion in Cornwall. The house and grounds were remodelled by Humphrey Repton in the early nineteenth century.

The 1st Duke of Northumberland bought the estate of Werrington, near Launceston, Devon, which would explain his patronage of the Devon artist William Payne. £950 (previously £1,800)

16

13Samuel Prout (1783-1852)Study of seated Figures in a Market

Watercolour over pencil 5.5 by 5.6 cm., 2 by 2in.

This small sketch is part of a group of drawings executed by Prout in a market during one of his many continental tours.

£500 (previously £650)

17

14John White Abbott (1763-1851)Study of Plants

Watercolour over pencil on laid paper10.2 by 17.8 cm., 4 by 7 in.

White Abbott was a highly talented amateur artist and friend of his fellow Devonian Francis Towne. He practised as a surgeon in Exeter and inherited the nearby estate of Fordlands in 1825. Apart from a tour to Scotland and the Lake District in 1791, nearly all his works are Devon views.

£1,100 (previously £1,900)

18

15John Thomas Smith (1766-1833) A Country Cottage by a River Pen and grey ink and watercolour 19.9 by 30.1 cm., 7 ¾ by 11 ¾ in. This is a rare drawing by John Thomas `Antiquity’ Smith, the son of Nathaniel Smith, a sculptor, printseller and artist. He turned to drawing in 1784 and was appointed Keeper of Prints and Drawings at the British Museum in 1816. Mallalieu describes his penwork as `fine, with sharp twists and angles’ (see Huon Mallalieu, Dictionary of British Watercolour Artists, 2002, Vol. II, p.182). He is best known today for his influence on the young John Constable. They met in 1796, when Constable was staying with relations, the Allens, at Edmonton. Constable was still working in the family business and Smith was a local drawing master who was about to publish his Remarks on Rural Scenery illustrated with etchings of picturesque country cottages when Smith became his guide and mentor. In his first recorded letter to Smith, of 27th October 1796, Constable wrote: `I have in my walks pick’d up several cottages and peradventure I may have been fortunate enough to hit upon one, or two, that might please. If you think it is likely that I have, let me know and I’ll send you my sketchbook’ (R.B. Beckett, John Constable’s Correspondence, 1962-8, vol. II, p.5). In the autumn of 1798, Smith stayed with Constable and his family at East Bergholt.

Constable’s work from 1797 and 1798 clearly show Smith’s influence in its depiction of dilapidated country cottages and in its penwork. The closest examples are `A Farmhouse at Hadleigh’ , `Cottage near a Stream’ and `Country Folk in front of a thatched Cottage’ (see Graham Reynolds, The Early Paintings and Drawings of John Constable, 1996, nos.98.1 (pl.54), 97.13 (pl.49) and 97.14 (pl.50)). Provenance: A.P. Oppé (1878-1957); Purchased from Michael Spratt, January 1985; Private Collection, London Engraved: As an Etching for `Rural Landscapes from Nature’, 1795

£1,200 (previously £1,800)

19

16Attributed to Heneage Finch, 4th Earl of Aylesford (1751-1812)‘Depiction of a mature oak tree, with foliage to lower branches and signs of a lightening strike

to the upper branches’

Pen and brown ink and watercolour on laid paper46.9 by 27.7 cm., 18 ½ by 10 ¾ in.

Finch was educated at Oxford where he was a pupil of John Baptiste Malchair. His early work is very much influenced by Malchair but in the 1780s, he began to use brown ink. His work can be difficult to firmly attribute as his brothers and children were all talented amateur artists.

£1,500 (previously £2,400)

20

17Samuel Howitt (1756-1822)Hare Coursing

Pen and grey ink and watercolour on laid paper23 by 30.9 cm., 9 by 12 in.

Provenance: Simon Morrison; Penelope Dewhurst Thomas;With Leger Galleries, London

Howitt was born into a wealthy Quaker family in Chigwell, Essex and originally took up drawing as a hobby. He befriended the artists Rowlandson and George Morland and his style is much influenced by the former, whose sister he married in 1779. He rapidly dissipated his fortune however and took up drawing professionally, specializing in scenes of hunting and other countryside pursuits. He is probably best known for his illustrations for Williamson’s Oriental Field Sports published in 1808.

Another watercolour of the same subject was in the collection of L. G. Duke and was engraved by Samuel Alken.

£950 (previously £1,600)

21

18George Keate (1729-1797)The Customs House, Margate

Watercolour over traces of pencil heightened with touches of bodycolour on laid paper18 by 25.5 cm., 7 by 10 in.

Provenance:With J.S. Maas & Co, London, 1961

Keate was a poet, writer and amateur artist. After time in Geneva, where he befriended Voltaire, and Rome, he settled in London where he trained as a lawyer but never practised.

Keate exhibited a Margate view at the Royal Academy in 1772 and published engravings of Margate in 1779 in `Sketches from Nature; taken, and coloured, in a Journey to Margate’. His daughter Georgiana married John Henderson, the early patron of Girtin and Turner.

£1,000 (previously £1,400)

22

19Thomas Tudor (1785-1855)Rhaeadr Ddu near Dolgelly, North Wales Grey washes over pencil heightened with scratching out on prepared paper 24.7 by 31 cm., 9 ¾ by 12 in. The waterfall of Rhaeadr Ddu, also known as the Black Falls, is on the river Gamlan, five miles north-west of Dolgelly. It is a double waterfall of about sixty feet.

Tudor was born in Monmouth, the son of Owen Tudor, a bookseller. He started drawing at a young age providing plans and drawings of local houses and first exhibited at the Royal Academy in 1809. He continued exhibiting until 1819 but became a land agent, building Tudor House at Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings and owned works by Reynolds, Van Dyck and Turner whose studio his diary records he visited in June 1847. His work is usually very distinctive, brown wash with highlights scratched into the paper.

£600 unframed (previously £1,200)

23

20Thomas Tudor (1785-1855)The Church of St Mary Redcliffe from across the harbour, Bristol Inscribed lower right: Redcliff Church from the Back Bristol Pen and brown ink, brown wash heightened with scratching out on laid paper 11.9 by 23.6 cm., 4 ½ by 9 ¼ in. Provenance: By descent from the artist until with Walker Galleries, 1961 The Church of St Mary Redcliffe was built between the 12th and 15th centuries by wealthy Bristol merchants. Built at the port, sailors would pray there for safe passage before a journey and give thanks on their return. This drawing shows the church without a spire. It was struck by lightning in 1446 and not reconstructed until 1872.

Tudor was born in Monmouth, the son of Owen Tudor, a bookseller. He started drawing at a young age providing plans and drawings of local houses and first exhibited at the Royal Academy in 1809. He continued exhibiting until 1819 but became a land agent, building Tudor House at Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings and owned works by Reynolds, Van Dyck and Turner whose studio his diary records he visited in June 1847. His work is usually very distinctive, brown wash with highlights scratched into the paper.

£450 unframed (previously £750)

24

21Paul Sandby Munn (1773-1845)Barmouth Estuary and Cader Idris, Wales

Inscribed lower right: Near Barmouth 1815Watercolour over pencil15 by 29.4 cm., 6 by 11 ½ in.

This is a view looking north across the estuary of the river Mawddach towards the mountain of Cader Idris.

Paul Sandby Munn was the son of a carriage decorator and landscape artist, James Munn, who was a friend of Paul Sandby, R.A. (1731-1809). Sandby was the younger artist’s godfather and gave him early lessons in watercolour painting. In 1799 he became a member of the Sketching Club founded by Thomas Girtin (1775-1802) where he befriended John Sell Cotman (1782-1842). Munn’s brothers ran a stationer’s and printseller’s business at 107 New Bond St at this date and Munn and later Cotman produced drawings which were sold in the shop.

£850 (previously £1,500)

25

22Samuel Owen (1768-1857)Shipping off the Coast in Calm Seas

Signed lower leftWatercolour over pencil heightened with bodycolour13.5 by 22.2 cm., 5 ¼ by 8 ¾ in.

Nothing is known of Owen’s life until he exhibited a marine view at the Royal Academy in 1791. He specialised in small-scale marine and coastal views in a distinctive style reminiscent of Francia.

£1,200 (previously £1,600)

26

23John Varley (1778-1842)Landscape with Trees

Inscribed verso: John VarleyGrey washes on two sheets of joined paperWith sketches of heads verso10.8 by 24.3 cm., 4 by 9 ½ in.

This rapid sketch is likely to be a late work.

£450 unframed (previously £750)

27

24John Varley (1778-1842)Classical Landscape

Watercolour heightened with bodycolour and gum arabic29.5 by 50.1 cm., 11 ¾ by 19 ¾ in.

Although unusually large, this is typical of Varley’s work of the 1830s and 1840s when he produced classical capriccios in strong colours which are strengthened by the use of gum arabic.

£1,300 (previously £2,500)

28

25William Turner of Oxford (1789-1862) Woodeaton Church, Oxfordshire Inscribed lower centre: Woode Eaton and signed or inscribed verso: W Turner/Delin Pencil on buff paper 16 by 20.7 cm., 6 ¼ by 8 in. Woodeaton is about four miles north-east of Oxford. The parish church of Woodeaton was originally built between 1070 and 1120 to replace a Saxon one. It was later added to and the current nave dates from the mid thirteenth century with the tower added in the fourteenth or fifteenth centuries.

£750 (previously £1,400)

29

26Peter de Wint (1784-1849)Haymakers in a Country Landscape

Pen and brown ink, with figure drawings verso12.4 by 20.3 cm., 4 ¾ by 8 in.

This is a typical pen and ink drawing by de Wint. He often drew on scraps of paper or the back of letters or envelopes.

£1,000 (previously £1,600)

30

27Cornelius Varley (1781-1873)A Thames Craft

Signed lower left: Thames Craft C. VarleyBrown washes over pencil30.9 by 21.9 cm., 12 by 8 ½ in.

Provenance:With Thos. Agnew & Sons, London, no. 27183

Engraved:Lithographed by W. Boosey for Varley’s Drawing Book of Boats, 1847

This is one of the seven drawings lithographed for Varley’s Drawing Book of Boats, published in 1847: `They are chiefly drawn by his Graphic Telescope which securing both truth of form & perspective render them admirably adapted for the studies of Youth, & from their implicit fidelity to Nature may suit the Portfolio of the Artist as a work of reference.’ For images of the lithographs, see Cornelius Varley – The Art of Observation, exhibition catalogue 2005, no.88, pp.154-157.

£900 (previously £1,800)

31

28Thomas Leeson Rowbotham (1782-1853)St. Luke’s Church, Brislington

Brown washes over pencil heightened with stopping out27.4 by 19.5 cm, 11 by 7 ¾ in.

This drawing is likely to have been commissioned from Rowbotham by the great Bristol collector and anitiquary George Weare Braikenridge (1775-1856) who purchased Broomwell House in Wick Road, Brislington in May 1823. Braikenridge’s collection of 1400 topographical views of Bristol and the surrounding area was commissioned from a number of local artists and includes 258 drawings by Rowbotham and others by Samuel Jackson, James Johnson. They were bequeathed by one of his sons to Bristol City Art Gallery in 1908. He also commissioned over 100 drawings of Brislington alone in the mid 1820s, mainly from Rowbotham of which this is probably one. Another view of the Hermitage at Wick House is in the collection of the Bristol City Art Gallery (K4907).

Brislington is two miles south-east of Bristol city centre and was described as one of the prettiest villages in Somerset in the early nineteenth century. Wick House, built in circa 1790, was a villa that stood in sixty acres of pleasure grounds. It is now a retirement home. St Luke’s Church dates from the fifteenth century but was remodelled in the nineteenth.

£800 (previously £1,400)

32

29George Barret Junior (1767-1842)Travellers on a Road in a Classical Landscape

Signed lower centre: G Barret/1836Watercolour over pencil heightened with bodycolour and gum arabic31.3 by 42.8 cm., 12 ¼ by 16 ¾ in.

Barret Jnr was the son of a Dublin artist of the same name. He was a founder member of the Society of Painters in Water-colours in 1805 and exhibited there throughout his life. Redgrave describes his work as follows: `He excelled in his poetic treatments of sunrise and sunset, the effects of moonlight and in his truly classic and poetic compositions’ (Samuel Redgrave, A Dictionary of Artists of the British School, 1878, p.26).

£1,200 (previously £2,200)

33

30Edmund John Niemann (1813-1876)Pull’s Ferry, Norwich

Signed lower left: The Ferry/Norwich/Niemann 51Watercolour over pencil35.4 by 48.2 cm., 14 by 19 in.

Pull’s Ferry is a medieval waterway on the river Wensum south of Broadgate, Norwich. It was built by monks to link a canal to the Wensum to ferry stone from France to build Norwich Cathedral. The watergate is fifteenth century and built of brick and flint. The adjoining Ferry House dates from 1647. The building became known as Pull’s Ferry after John Pull who ran a ferry across the Wensum at this point from 1796 to 1841.

Niemann exhibited `The Fish Market, Norwich’ at the Royal Academy in 1852.

£1,400 (previously £2,500)

34

31James Duffield Harding (1797-1863)A Cottage on Hampstead Heath

With artist’s studio stamp lower right and inscribed: Hampstead Fields/march 6th 1857 -Black chalk and stump24.7 by 35 cm., 9 ¾ by 13 ¾ in. Provenance:Prince Donatus of Hohenzollern Literature:The Heath and Hampstead Society Newsletter, September 2006, vol. 37, no.3

In the mid nineteenth century, Hampstead Heath was significantly smaller than it is today and was confined to the area immediately to the west of Hampstead. Parliament Hill was added in 1888 and the Kenwood Estate in the 1920s. Between 1831 and 1871 local residents fought a long legal battle with Sir Thomas Maryon Wilson, the owner of the heath who wanted to build houses on it. It was finally saved for the nation in 1871.

£950 (previously £1,900)

35

32James Duffield Harding (1797-1863)Plymouth Sound, looking across Drake Island from Mt. Edgcumbe, Plymouth beyond

Watercolour over pencil heightened with bodycolour22.6 by 33.2 cm., 9 by 13 ¼ in.

Provenance:With James King, Liverpool

Engraved:By William Finden as a steel engraving for ‘Ports, Harbours, Watering Places and Coast Scenery of Great Britain’, 1842, vol. I, opp. p.133

Finden describes this view as follows (op. cit.): ‘The view of Plymouth is taken from the grounds of Mount Edgecumbe, looking across the lower part of the Sound. About the middle distance is St. Nicholas’ Island; beyond which are perceived the ramparts of the citadel. Between the citadel and the point of land to the right, where several small vessels are seen, is the entrance of the creek called the Catwater.’

£1,200 (previously £2,400)

36

33Newton Smith Limbirth Fielding (1799-1856) Woodcock feeding by a Stream

Signed with initials lower leftWatercolour over pencil heightened with gum arabic and scratching out15.9 by 24.8 cm., 6 ¼ by 9 ¾ in.

Provenance:Michael Ingram (1917-2005);With Guy Peppiatt Fine Art, 2007

Newton Fielding is the younger brother of Anthony Vandyke Copley Fielding (1787-1855) and ran the family engraving business in Paris from 1827 with William Callow working for him. He is best known for his animal studies.

£1,200 (previously £1,800)

37

34Joseph Murray Ince (1806-1859)Boats in a Harbour at Low Tide

Signed on wall centre right: JM Ince/1847Watercolour over pencil heightened with bodycolour and scratching out20.3 by 34.3 cm., 8 by 13 ½ in.

Ince came to London in 1826 after several years as a pupil of Cox in Hereford. He exhibited at the Royal Academy and elsewhere. From the mid 1830s until his death he lived back in Presteigne in central Wales. He specialised in small scale landscapes and coastal scenes.

£1,250 (previously £2,500)

38

35Sir Edwin Henry Landseer, R.A. (1802-1873) A Pony carrying a dead Stag, a Ghillie and dog beyond Pencil 17.1 by 23.1 cm., 6 ¾ by 9 ¼ in. Provenance: The Artist’s studio sale, Christie’s, 8th to 15th May 1874, lot 857, one of two; With the Manning Gallery, London This study belongs to a group of similar drawings relating to Landseer’s oil `Highlanders Returning from Deerstalking’. The painting was exhibited at the Royal Academy in 1827 where it was bought by the 4th Duke of Northumberland and it is still at Alnwick Castle. It was the first of a succession of Highland scenes exhibited by Landseer in the late 1820s and 1830s. His first visit to the Highlands was in the autumn of 1824 and it had a profound effect on his life and his art. He returned year after year in the summer and autumn months and Scotland inspired many of his greatest works. He would stay with a succession of aristocratic families including the Duke of Atholl at Blair Atholl, the Marquess of Breadalbane, and the Duke and Duchess of Bedford at their hunting lodge near Aviemore as well as Walter Scott at Abbotsford.

Deer-stalking became a regular subject for Landseer despite his ambivalence to their killing. He wrote to Lord Ellesmere in 9th September 1837: `There is something in the toil and trouble, the wild weather and savage scenery that makes butchers of us all. Who does not glory in the death of a fine stag? on the spot—when in truth he ought to be ashamed of the assassination.’ For two other studies for the oil (now in a private collection), see Sotheby’s sale, 6th July 2010, lot 237.

£1,400 (previously £2,800)

39

36Edward Duncan, R.W.S. (1803-1882)The Mainyard of the ‘Neptune’

Signed and dated l.l.: E.Duncan/1855, with artist’ studio stamp l.r. and inscribed l.r.: Mainyard/of the “Neptune”/98 gnsBlack chalk and brown washes on buff paper 10.6 by 33.9 cm., 4 by 13 ¼ in.

Duncan was born in St Pancras, London, and apprenticed as a young man to Robert Havell who specialised in aquatint engravings and his brother the watercolourist William Havell. After his apprenticeship he set up his own studio working principally for Fores of Piccadilly. In 1826 he embarked on a project to engrave maritime scenes after paintings by the artist William Huggins and this appears to have sparked his interest in marine subject matter. He married Huggins’s daughter and embarked on a successful career as a marine and coastal painter exhibiting over 500 watercolours at the New and Old Watercolour Societies from 1833, as well as at the Royal Academy and the Society of British Artists. He also produced country scenes, mainly of the South of England.

£350 unframed (was £475)

40

37William Callow, R.W.S. (1812-1908)Dunster Castle, Somerset

Inscribed with title versoWatercolour over pencil23 by 34.5 cm., 9 by 13 ½ in.

Provenance:Manning Gallery, London

Dunster Castle sits above the village of the same name on the north Somerset coast near Minehead. Originally an eleventh century Norman castle, it has been extensively rebuilt and remodelled over the years and is now a National Trust property. For another view of Dunster Castle, dated 1847, see William Callow - An Autobiography, edited by H.M. Cundall, 1908, ill. opp. p.144.

£850 unframed (previously £1,400)

41

38William Callow, R.W.S. (1812-1908)Abbot Reginald’s Gateway, Evesham

Signed lower left: Wm Callow and inscribed lower right: Gateway Evesham/Augt 19/’59Watercolour over pencil33.1 by 24.2 cm., 13 ¼ by 9 ¾ in.

This shows Abbot Reginald’s Gateway which is situated just off the market place in Evesham. St Nicholas’s Church is visible beyond with Walker Hall on the right. This on-the-spot sketch evidently dates from a tour of Worcestershire and the Wye area in the summer of 1859. Callow exhibited ‘A Summer’s Evening on the Avon, at Evesham’ at the Society of Painters in Watercolours in 1860 and two views on the Wye.

£1,200 (previously £2,400)

42

39Samuel Jackson (1794-1869)St Vincent’s Rocks from Nightingale Valley, Clifton, Bristol Black and white chalk on grey paper 27.4 by 24.9 cm., 10 ¾ by 9 ¾ in. Provenance: With Suzi Quadrat, Clifton, Bristol This is a view looking down Nightingale Valley to St Vincent’s Rocks which stand over the Clifton Gorge. Above St. Vincent’s Rocks stands Clifton Observatory which from 1828 was used as a studio by Jackson’s friend the artist William West. Nightingale Valley was the part of Leigh Woods most favoured by the Bristol School artists (see no. 39a). Jackson’s friend, the amateur artist the Rev. John Eagles recalled `those beautiful woods opposite Clifton, separated from it by the muddy Avon…. dividing…. the cares and toils of a busy world from the regions of Elysium. Beautiful as these woods are when seen from the opposite hill, those who only see them thus have little conception of their beauty. It is the very best artist’s ground and of a character unique.’ A watercolour of this view by Jackson is in the Victoria and Albert Museum (see Francis Greenacre and Sheena Stoddard, The Bristol Landscape – The Watercolours of Samuel Jackson, 1986, no. 26, ill. p.46).

£800 (previously £1,200)

43

40Charles Branwhite (1817-1880)A Rocky River

Signed with initials lower rightWatercolour over pencil heightened with bodycolour36 by 53.3 cm., 14 by 21 in.

Branwhite lived in Bristol all his life where he was taught by William James Müller (1812-1845). The present watercolour is reminiscent of Müller’s Devon river views and is typical in its lavish use of bodycolour.

£1,300 (previously £2,500)

44

41Thomas Miles Richardson, Senior (1784-1848)A Castle on a Hill by the Sea

Watercolour heightened with bodycolour and scratching out21.7 by 30.8 cm., 8 ½ by 12 in.

Richardson Senior was referred to as `The Father of Fine Arts in Newcastle’ during his lifetime. Having been apprenticed to a cabinet maker, he gave it up to succeed his father as master of St. Andrew’s Charity School in Newcastle in 1806. He started working as a drawing master during this period and gave up teaching to devote himself to art in 1813. In 1822 he helped set up the Northumberland Institution for the Promotion of Fine Arts and its success led to the Northern Academy of Arts in Newcastle in 1828.

£1,300 (previously £2,800

45

42Henry George Hine (1811-1895)Henfield Common, West Sussex

Signed and dated 1840 lower rightWatercolour heightened with bodycolour, stopping out and gum arabic17.1 by 28.6 cm, 6 ¾ by 11½ in.

Provenance:Christopher Norris, his sale of works by the Hine family, Christie’s, 25th October 1988, lot 35

Henfield Common lies to the east of the village of Henfield which is north of the South Downs and about ten miles south of Horsham. Hine, the son of a coachman, taught himself to draw by copying the watercolours of Anthony Vandyke Copley Fielding belonging to the vicar of his local church. His subjects are mainly Sussex views.

£1,000 (previously £1,900)

46

43William Leighton Leitch (1804-1883)Cattle watering by a ruined Castle and Bridge

Signed lower right: WL Leitch 1878Watercolour over touches of pencil23.3 by 37.6 cm., 9 by 14 ¾ in.

Provenance:With Thos. Agnew & Sons, circa 1940 as ‘Stranraer’

Born in Glasgow, he was apprenticed to a lawyer before turning to painting in the early 1820s. He painted scenery at the Theatre Royal, Glasgow from 1824 to 1826 before moving to London in about 1828. In 1833 he was given the money by a patron, the stockbroker Mr Anderden, to visit Italy and the continent. On his return in July 1837 he set up a successful drawing practice numbering Queen Victoria and other members of the Royal Family among his pupils.

£950 (previously £1,900)

47

44Charles Marshall (1806-1890)Rochester Castle, Kent

Signed with initials lower leftWatercolour heightened with bodycolour and stopping out31.2 by 46.4 cm., 12 ¼ by 18 ¼ in.

Engraved:By William Henshall as a steel line engraving for ‘Select Illustrated Topography of Thirty Miles round London’, 1837-38

Exhibited:London, Royal Academy, 1837, no. 907

Marshall was a scene painter who worked at Drury Lane and Covent Garden as well as drawing landscapes which he exhibited widely. For more information on the artist see Philip Marshall, Charles Marshall – His origins, Life and Career, 2000.

£1,200 (previously £1,800)

48

45Thomas Hartley Cromek (1809-1873)The Steps and Terrace at the Villa Torlonia, Frascati, Italy Signed lower left: T.H. CROMEK fWatercolour over pencil heightened with bodycolour28.1 by 41.7 cm., 11 by 16 ¼ in.

Villa Torlonia was originally built in the sixteenth century and its name dates from the nineteenth century when it was bought by Prince Torlonia. The villa was destroyed when Frascati was bombed on 8th December 1943 but the gardens are now a public park.

Cromek was born in London, the son of engraver, and was apprenticed to a portrait painter in Wakefield, Yorkshire. He soon became a landscape painter and lived and worked on the continent, and mainly in Rome, from 1831 to 1849. He built up a successful teaching practice there until 1849 when he was forced home by Garibaldi’s threatened attack on Rome.

£1,500 (previously £2,800)

49

46Thomas Hartley Cromek (1809-1873)The Cappella Maggiore, Santa Croce Church, Florence Signed lower left: T.H. Cromek f. 1838 Watercolour over traces of pencil heightened with bodycolour and gum arabic 49.3 by 30.3 cm., 19 ¼ by 12 in. The Cappella Maggiore is the central chapel of Santa Croce and was decorated by Agnolo Gaddi with frescoes telling the story of the Legend of the True Cross dating from circa 1380.

Cromek was born in London, the son of engraver, and was apprenticed to a portrait painter in Wakefield, Yorkshire. He soon became a landscape painter and lived and worked on the continent, and mainly in Rome, from 1831 to 1849. He built up a successful teaching practice there until 1849 when he was forced home by Garibaldi’s threatened attack on Rome.

£1,900 (previously £3,800)

50

47Hercules Brabazon Brabazon (1821-1906)The Burning of the Houses of Parliament - after J.M.W. Turner

Coloured chalks14 by 18.3 cm., 5 ½ by 7 in.

The Houses of Parliament burnt down on the evening of the 16th October 1834. This is a copy of a watercolour of the subject by J.M.W. Turner in the Turner Bequest, Tate Gallery (TB CCCLXIV 373).

£1,000 (previously £1,800)

51

48Hercules Brabazon Brabazon (1821-1906)Mt Etna from Taormina, Sicily

Signed with initials lower left and inscribed lower right: from TaorminaWatercolour18.7 by 28.4 cm., 7 ¼ by 11 in.

Taormina is a city in north-east Sicily. This is the famous view from its Greco-Roman amphitheatre.

£1,000 (previously £1,800)

52

49 John MacWhirter (1839-1911) Study of Wild Flowers in the Tyrol, Austria Signed lower left: MacW Watercolour over pencil heightened with bodycolour 36.5 by 49.7 cm., 14 ¼ by 19 ½ in. This is a study for the lower right section of ‘June in the Austrian Tyrol’, exhibited in 1892, and now in the Tate Gallery (N01571).

MacWhirter was apprenticed to an Edinburgh bookseller before studying at the Trustees’ Academy. In 1869 he moved to London where his work came to the attention of John Ruskin who bought a number of his works, which he subsequently bequeathed to the Ashmolean Museum, Oxford. MacWhirter enjoyed sketching in the Perthshire hills and also travelled extensively in Europe, including Norway, where he produced flower studies, and Turkey, as well as the U.S.A.

£1,900 (£3,950)

53

50Edward Ardizzone (1900-1979)The Watchers Watercolour over pencil 11.7 by 22 cm., 4 ½ by 8 ½ in. Provenance: Mrs E. Ardizzone;With Chris Beetles Ltd Literature: Gabriel White, Edward Ardizzone, London, 1979, colour plate III, between pp.80 and 81

Ardizzone was a writer, illustrator and war artist. Born in French Indo-China to a Franco-Italian father and a Scottish mother, he came to England in 1905. After the First World War, he took evening classes at the Westminster School of Art while working as an office clerk. From 1927, he became a full time artist and had his first one man exhibition in 1930. He achieved success as an illustrator, particularly of children’s books.

This is one of a series of sketches of the subject, originally on one sheet, recorded by Gabriel White as being in the artist’s collection, and dated by him to circa 1970.

£1,400 (was £1,900)

54

Ardizzone, E. 50

Barret Junior, G. 29Brabazon, H.B. 47-48Branwhite, C. 40

Callow, W. 37-38Cleveley, R. 6Cromek, T.H. 45-46

De Wint, P. 26Duncan, E. 36Durrant, J. 7-8

Farington, J. 5Fielding, N.S.L. 33Finch, H. 16Francia, F.L.T. 9-10

Harding, J.D. 31-32Hickey, T. 3Hine, H.G. 42Howitt, S. 17

Ince, J.M. 34

Jackson, S. 39

Keate, G. 18

Landseer, Sir E.H. 35Leitch, W.L. 43

Macwhirter, J. 49Marshall, C. 44 Munn, P.S. 21

Niemann, E.J. 30

Owen, S. 22

Payne, W. 11-12Prout, S. 13

Richardson Sr, T.M. 41Rowbotham, T.L. 28Rowlandson, T. 2

Sandby, P. 4Smith, J.T. 15

Thornhill, Sir J. 1Tudor, T. 19-20Turner of Oxford, W. 25

Varley, C. 27Varley, J. 23-24

White Abbott, J. 14

INDEX