one hundred drawings and watercoloursbrizio painted decorative frescoes for villas and palaces in...

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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 CATALOGUE2010–2011

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 third Winter catalogue of One Hundred Drawings and Watercolours.Traditionally the fields of Old Master drawings, early British drawings and watercolours, and 19thCentury and modern drawings, have each had their own collectors, auctions and exhibitions. Theaim of this catalogue, and indeed the aim of our shared gallery as a whole, is to blur the distinctionbetween these collecting areas, and hopefully show that a good drawing is always a good drawing,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 lower endof 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 2011 and will, asever, each be accompanied by exhibitions at our gallery. In the meantime, we are delighted to presentthis Winter catalogue of more moderately priced works. We hope you find something in it to interestyou, and look forward to greeting you at the gallery over the coming months.

Guy PeppiattStephen Ongpin

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

Only a brief account of each drawing is given in the catalogue. Further information on most of thedrawings, 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.

A selection of the drawings in this catalogue will also be exhibited by us at the Watercolours andWorks on Paper Fair at the Science Museum, London, on 2–6 February 2011.

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1TUSCAN SCHOOLEarly 16th Century

The Visitation

Black chalk (and silverpoint?), heightened withwhite, on prepared paper washed purpleA study of The Holy Family with Two Saints faintly drawnin pen and grey ink on the versoNumbered 2 at the upper right, and 3 on the verso174 x 227 mm., 6 7/8 x 9 in.

Provenance:William H. Schab Gallery, New York, in c.1969Ian Woodner, New YorkHis posthumous sale, London, Christie’s, 2 July 1991, lot 71

Exhibited:New York, William H. Schab Gallery, Los Angeles, LosAngeles County Museum of Art and Indianapolis,Indianapolis Museum of Art, Woodner Collection II: OldMaster Drawings from the XV to the XVIII Century, 1973,no.38 (as School of Filippo Lippi)

While the previous attribution of the present sheet to FilippoLippi is untenable, this drawing does display the influence ofFlorentine draughtsmanship at the very end of the 15thcentury and the first two decades of the 16th century, andin particular the work of the painter Fra Bartolommeo(1472–1517). It is, however, slightly more provincial incharacter, and may well have been drawn elsewhere inCentral Italy. A date between 1510 and 1520 may beproposed.

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2FRANCESCO VANNISiena 1563–1610 Siena

A Sheet of Studies of a Young Child

Red and black chalkInscribed Franc.o Vanni at the lower left179 x 254 mm., 7 x 10 in.

Francesco Vanni worked for most of his career for churchesin and around Siena, and, with his half-brother VenturaSalimbeni, came to dominate the artistic scene in the city atthe turn of the century. He was a gifted and prolificdraughtsman, whose drawings were in great demandamong collectors.

This sheet of studies may be related to two altarpieces byVanni of the late 1590s. Both the sketch in black chalk of a child’s legs and lower torso at the lower left and the study

in red chalk of an arm and shoulder at the right centre of thesheet are studies for the pose of the Christ Child in Vanni’s1593 altarpiece of The Virgin and Child with Saints Bernardinoof Siena, Francis and Leonard in the Capuchin church on theoutskirts of Arcidosso, south of Siena. In the painting, theChild holds an orb, and his legs are partly covered withdrapery.

The remaining studies on the sheet are related to the ChristChild in The Madonna and Child with Saints Cecilia and Agnesin the Sienese church of Sant’Agnese a Vignano, datable tobetween 1595 and 1600. The study of a reclining child inred chalk at the bottom centre of the sheet is very close tothe pose of the child in the painting, although in reverse.Just above this sketch is a definitive study in black chalk forthe extended leg of the Child, again in reverse. The redchalk study of arms at the top centre and the black chalkstudies at the upper right of the sheet are studies for thearms of the Child, which in the painting reach out to placea garland on the head of Saint Cecilia.

SOFA

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3MARTEN DE VOSAntwerp 1532–1603 Antwerp

The Death of Lucretia

Pen and brown ink and brown wash, with touchesof white heightening, the outlines partially indentedfor transferInscribed Mart de Vos / fec. on the verso133 x 110 mm., 5 1/4 x 4 3/8 in.

Provenance:An unidentified collector’s mark stamped on the versoJacob H. Wiegersma, Utrecht (Lugt 1552b)P. & D. Colnaghi, London, in 1999

Arguably the most influential Flemish artist of the generationbefore Rubens, Marten de Vos was established as one ofthe leading painters in Antwerp by the second half of the16th century. Many of his religious and history paintings

were later engraved, which served to spread his reputationthroughout Flanders. A highly productive draughtsman, deVos was also active as a designer for print publishers,although he was not a printmaker himself. While most ofthe five hundred or so drawings by the artist that surviveare preparatory studies for prints, he is known to havedesigned many more, as a total of some 1,600 originalengravings after his designs exist.

The present sheet is a preparatory drawing, in reverse, foran engraving of Lucretia by Raphael Sadeler I (Hollstein1330). The engraving was one of a series of three printsdepicting women as examples of chastity – the others beingSusanna and Sophronia – designed by the artist and executedby Sadeler. The drawing can be dated to 1590, the date onthe engraving of Susanna. The popularity of Marten de Vos’sdesigns, and the prints made after them, is seen in anengraved design for the metal tip of a dagger sheath byTheodor de Bry, which incorporates at its centre theidentical figure of Lucretia.

SOFA

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4DUTCH SCHOOL17th Century

An Album Page with Five Drawings:

a. A Ruined Temple, after Matthijs Bril

Pen and brown inkInscribed h. van Swanevelt at the lower rightFurther inscribed tekening van Swanevelt / 4Schellingen on the verso165 x 248 mm., 6 1/2 x 9 3/4 in.

b. Two Peasant Women with Vegetables

Pen and black ink68 x 103 mm., 2 5/8 x 4 in.

c. Studies of Four Figures, a Child and a Horse

Pen and brown ink101 x 82 mm., 4 x 3 1/4 in.

d. Coastal Landscape with a Ruined Towere. Coastal Landscape with a Villa and Gardens

Each pen and brown inkEach 95 x 193 mm., 3 3/4 x 7 5/8 in.

The main drawing in this group, at the upper centre of thealbum page, is copied after a pen and ink drawing byMatthijs Bril the Younger (1550–1583) in the Louvre. Bril’sdrawing depicts a ruined Roman fountain flanked by twomarble trophies, which remained in situ until they weretransferred to the Campidoglio in 1590. After Matthijs Bril’sdeath in 1583, his brother Paul kept many of his drawingsof Roman views, and often allowed them to be copied bythe younger generation of Northern artists working in thecity, such as Willem van Nieulandt and Jan Brueghel.

The present sheet bears an attribution to Herman vanSwanevelt (1603–1655), who lived and worked in Romebetween 1629 and 1641.

SOFA

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5FRANCESCO BRIZIOBologna c.1575–1623 Bologna

The Head of a Boy

Pen and brown ink124 x 111 mm., 4 7/8 x 4 3/8 in.

Provenance:An unidentified armorial collector’s mark stamped at thelower rightSaid to have come from an album assembled by GiovanniPiancastelli, Rome, in the late 19th century

The attribution of this drawing is due to Babette Bohn.Francesco Brizio trained in the Bolognese studio ofBartolomeo Passarotti before enrolling in the Carracciacademy. He learned the art of engraving from Agostino

Carracci, and developed into a talented printmaker. WithAgostino’s departure for Rome in 1597, Brizio began towork closely with Ludovico Carracci, assisting him withseveral large-scale religious commissions, and eventuallyrunning the Carracci studio on his behalf when the elderartist went to Rome in 1602. As an independent artist,Brizio painted decorative frescoes for villas and palaces inBologna and the surrounding area. While many of Brizio’smature drawings are very close in style to those ofLudovico, in its technique and handling the present sheetdisplays the particular influence of the pen drawings ofAgostino Carracci.

The present sheet is thought to have been part of thelarge collection of drawings, numbering around 15,000sheets, assembled in the last quarter of the 19th centuryby the Italian painter and engraver Giovanni Piancastelli(1845–1926), the curator of the Borghese collection inRome.

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6STEFANO DELLA BELLAFlorence 1610–1664 Florence

Landscape with a Farmhouse

Pen and brown inkInscribed Stef o: della Bella at the lower rightFurther inscribed viene del cantagallina on the verso151 x 210 mm., 5 7/8 x 8 1/4 in.

Only a handful of paintings by Stefano della Bella survive tothis day, and it is as a graphic artist that he is best known. Ahugely talented and prolific printmaker and draughtsman,he produced works of considerable energy and inventive -ness, with an oeuvre numbering over a thousand etchings,and many times more drawings. Succeeding Jacques Callotas Medici court designer and printmaker in Florence, dellaBella also worked in France between 1639 and 1650,establishing a flourishing career in Paris and publishingnumerous prints. After his return to Florence in 1650, hecontinued to enjoy Medici patronage. Della Bella’s livelydrawings display a keen observation of country life andpursuits, and he seems to have often worked outdoors,filling several sketchbooks with scenes of people, buildingsand festivities; all drawn on the spot and used as a stock ofimages and motifs for both his etchings and more finisheddrawings.

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7Circle of HENDRICK GOLTZIUSMuhlbracht 1558–1617 Haarlem

Study of a Left Foot

Pen and brown ink, with touches of red chalk170 x 233 mm., 6 3/4 x 9 1/8 in.

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8RICHARD PHELPSPorlock 1710–1785 Porlock

Portrait of a Young Boy

Half-length, in Van Dyck costumeSigned verso: Rd Phelps Fecit/Augt 7 1780pencil on laid paper watermarked with a castle, oval173 x 146 mm., 6 3/4 x 5 3/4 in.

Provenance:Iolo WilliamsAlan Hobson (1942–2002)

This is a rare signed drawing by the Somerset artist RichardPhelps. He painted portraits, of which several are atDunster Castle, horses and inn signs. He also collaboratedwith the amateur artist and collector Coplestone WarreBampfylde (1720–1791) of Hestercombe.

GPFA

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9WILLIAM HOARE OF BATH, R.A.Eye, Suffolk 1707–1792 Bath

Portrait of a Gentleman

Half-length, in profileBlack and red chalk on laid paper194 x 160 mm., 7 1/2 x 6 1/4 in.

Provenance:With Agnew’s, London

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, as well the large scale portraits for which he isknown.

GPFA

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10VICTOR-JEAN NICOLLEParis 1754–1826 Paris

The Palazzo Barberini, Rome

Pen and brown ink, with framing lines in brown inkInscribed Veduta dell Palazzo Barberini à Rome. inthe lower margin59 x 89 mm., 3 1/2 x 4 3/8 in. [sheet]

Like many French artists of his day, Victor-Jean Nicolle wascaptivated by the sights and buildings of Rome. However, hesurpassed most of his contemporaries in devoting much ofhis long career to watercolour views of the Eternal City.After receiving his initial artistic training at the Ecole royalegratuite de dessin in Paris, Nicolle entered the studio of thearchitect Louis Charles Petit-Radel. Judging by the dateson some of his drawings, Nicolle spent long periods inItaly between 1787 and 1798, and again between 1806and 1811. His charming, picturesque drawings of Rome,

while full of anecdotal detail, were also topographicallyaccurate. They are, as such, important historical records ofthe appear ance of the city in the late 18th and early 19thcenturies.

Nicolle would make drawings sur le motif in pen and ink,which he would then finish with watercolour in his studio.Although best known for his Roman views, Nicolle alsoproduced drawings of other cities in Italy (including Bologna,Venice, Verona, Naples and Florence), while in France hemade numerous studies of Paris and its environs. Althoughhe never exhibited at the Salons, his reputation as atopographical artist was such that in 1810 he received acommission from Napoleon for fifty watercolours of viewsof the principal monuments of Paris, intended as a weddingpresent for the Empress Marie-Louise and now atMalmaison. Other significant groups of drawings by Nicolleare today in the Louvre, the Musée Carnavalet and theBibliothèque Nationale in Paris, as well as the museums ofRouen and Lille.

SOFA

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11RICHARD COOPER JNR.Edinburgh 1740–1820

Italianate Landscape

Signed lower right: R CooperPen and brown ink and wash over pencil on laidpaper239 x 369 mm., 9 1/4 x 14 1/4 in.

Cooper was born in Edinburgh, the son of an engraver andstudied in London and Paris. He exhibited at the Society ofArtists from 1761 before going to Italy in 1770. He stayedin Italy until at least 1776 and had returned by 1778 whenhe exhibited Italian views at the Royal Academy. He wasdrawing master at Eton in the 1780s and taught PrincessCharlotte. Surviving works by him are rare and are usuallyItalian or Italianate subject matter.

This work is typical of Cooper’s impressionistic drawing stylewhich the artist William Marshall Craig (c.1765-c.1834)described as ‘shorthand kinds of representation – a twirl, aflourish or a zig-zag’ (see W.M. Craig, Instructions in DrawingLandscape, 1814–15).

GPFA

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12DANIEL GARDNERKendal c.1750–1805 London


Half-length, wearing a blue coat with gold braid andbuttonsPastel and gouache on laid paper, oval265 x 214 mm., 10 1/4 x 8 1/4 in.

Provenance:With Spink, London

Born in Kendal, Gardner was taught by George Romneybefore going to London in the late 1760s. He established afashionable practice as a portraitist in pastels and gouache,and occasionally oil, often on a small scale. His combinationof pastel and gouache makes his works distinctive.

GPFA

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13OZIAS HUMPHRY, R.A.Honiton 1742–1810 London


Half-length, wearing a dark coat and white stockwith a landscape beyondPastel on paper, on the original canvas support andstretcher605 x 505 mm., 23 3/4 by 20 in.

Provenance:Private collection, Buckinghamshire

Humphry was a leading portraitist in miniatures, oils andpastels of the late eighteenth century. He was elected to theRoyal Academy in 1791 and in 1792 he was appointed

‘Portrait Painter in Crayons to the King’. Most of his portraitsof the Royal Family are still in the Royal Collection. Born inDevon, he studied art in Bath and London where he wasencouraged as a young artist by both Gainsborough andReynolds. He started out as a miniaturist but problems withhis eyesight in the early 1770s, which eventually led toblindness, forced him to paint larger scale works in oil andpastel. In 1773 he travelled to Italy with George Romneywhere he remained until 1777 and from 1785 until 1787 hewas in India. This is a typical work of the late 1780s whenhe was at the height of his powers. The loosely applied orflicked brush strokes are characteristic of his style at thisperiod when his failing eyesight influenced his drawingtechnique.

We are grateful to Neil Jeffares for confirming the attributionto Ozias Humphry.

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14JEAN-BAPTISTE PILLEMENTLyon 1728–1808 Lyon

Ornamental Design with Flowers and Ribbons

Black chalk, with stumpingSigned j. Pillement at the lower left173 x 277 mm., 6 7/8 x 10 7/8 in.

One of the most influential decorative and ornamentaldraughtsmen of the second half of the 18th century, Jean-Baptiste Pillement worked throughout Europe over his longand productive career. This charming, whimsical drawing ofstylized flowers is a study for one of eight etchings publishedin London in 1760 as Recueil de differentes Fleurs de Fantasiedans le goût chinois, Propres aux Manufactures d’etoffes deSoie et d’Indienne, inventées et dessinées par Jean Pillement.The artist created numerous designs of such fleurs defantasie throughout his career, intended as designs for silkembroidery, textiles or wallpaper. Many of these were

reproduced as prints, with several included among a largenumber of landscape, ornament and chinoiserie designs byPillement engraved and published in London in the late1750s and early 1760s.

One recent scholar has noted of Pillement that ‘his flowerscould be realistically drawn or painted with his usual finesseand delicacy, but many, if not most, are the creations of hisirreverent imagination…In these multiform creations one cansee the full scope of the artist’s extravagant fancy. The vieweris baffled at first: the flowers seem to be flowers, but they arenot, although they could be . . . However, most of his quaintflowers are innocently lovely whether single or gathered in acomposition sometimes interwoven with bows of ribbons, andthey are never ordinary or dull.’ As another scholar haswritten, ‘Of all the many men who specialized in the minorarts of decoration during the eighteenth century, Pillementstands out because of the sheer delight which lies in hiscompletely nonsensical work. Groups of flowers or seed-podsare arranged in marvellous patterns, which are the moreentrancing because they have no apparent rhyme or reason.’

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15FRANCESCO BARTOLOZZIFlorence 1725–1815 Lisbon

The Head of a Bearded Man

Black and red chalkSigned with initials FB at the lower left centre306 x 230 mm., 12 x 9 in.

Best known as a printmaker, with an oeuvre of more than2,500 engravings, Francesco Bartolozzi trained at theAccademia di Belle Arti in his native Florence. At the age oftwenty he moved to Venice, and by 1760 was in Rome,where that he met Richard Dalton, Librarian to KingGeorge III, who persuaded the artist to come to England in

1764. Bartolozzi was to live and work in England for nearlyforty years, establishing a highly successful career as areproductive engraver. He was appointed Engraver to theKing, and was a founding member of the Royal Academy in1768. As a printmaker, Bartolozzi worked in a variety oftechniques, and made a particular specialty of a stippletechnique of colour engraving. In 1802 he became the firstpresident of the Society of Engravers, and later that sameyear was appointed director of the Academy of Fine Arts inLisbon. He remained in Lisbon, working productively andwith his artistic skills remaining largely undiminished, until hisdeath in 1815. Significant groups of drawings by Bartolozziare today in the collections of the Museu Nacional deArte Antiga in Lisbon, the Albertina in Vienna, the BritishMuseum in London and the Royal Collection at WindsorCastle.

SOFA

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16THOMAS ROWLANDSONLondon 1756–1827 London

A Bridge over a River, Cornwall

Pen and grey ink and watercolour143 x 296 mm., 5 7/8 x 11 7/8 in.

Rowlandson regularly visited Cornwall to see his friend andpatron the banker Matthew Michell from the 1790s untilMichell’s death in 1819. Michell owned over 550 water -colours by Rowlandson and his country house, HengarHouse, was six miles north of Bodmin. Rowlandsonenjoyed sketching in the surrounding countryside and alsovisited Michell at his home, Grove House near Enfield.

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17GIUSEPPE BERNARDINO BISONPalmanova 1762–1844 Milan

A Ship in a Storm

Pen and brown ink and two shades of brown wash,over an underdrawing in black chalkSigned Bison at the lower right162 x 194 mm., 6 3/8 x 7 5/8 in.

Provenance:Sir Bruce Ingram, Chesham (Lugt 1405a)Carl Winter, Cambridge (his mark CW on the verso)

Giuseppe Bernardino Bison received his artistic training inthe studio of Anton Maria Zanetti in Venice, and spent theearly part of his career working as a fresco painter in villasand palaces around the Veneto. The latter half of his careerfound Bison living and working in Trieste and Milan as botha frescante and scenographer, producing stage designs forthe Teatro alla Scala and other theatres. Although his career

lasted well into the 19th century, his style invariably retainssomething of the flavour of the previous century. Bison wasan accomplished and prolific draughtsman, whose preferredmedium was pen and ink. His drawings encompass a wideand varied range of subjects, from religious narratives togenre scenes and capricci, as well as stage and ornamentdesigns. Most of Bison’s drawings seem to have beenproduced as autonomous works of art for sale, andsignificant groups of his drawings are today in the collectionsof the Castello Sforzesco in Milan, the Musei Civici in Triesteand the Cooper-Hewitt Museum in New York.

The present work belonged to Sir Bruce Ingram(1877–1963), one-time editor of the Illustrated LondonNews and among the most enthusiastic collectors ofdrawings of his day. Ingram had a particular penchant formaritime and shipping scenes, as was noted in theintroduction to an exhibition catalogue of drawings andpaintings of such subjects in 1938: ‘Captain Bruce Ingramhas assembled a collection of maritime drawings which, at amodest computation, may be said to stand among the finestin the world.’

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Above:18EDMUND BECKER1746–1800

View of Borrowdale, Cumberland

Inscribed with title lower rightPen and grey ink and wash, with a watercoloursketch verso151 x 188 mm., 6 x7 1/4 in.

Provenance:Alan Hobson (1942–2002)

Little is known about Becker but he was probably a pupil ofRichard Cooper, Jnr. (see no.11) and seems to have beenin Rome circa 1780. This drawing belongs to a group ofLake District views by him which seem to date from the late1790s. For another Lake District view by Becker, with asimilar inscription, see a view of Windermere in the BritishMuseum (BM1948,0519.1).

Facing page:19LADY DIANA BEAUCLERKLangley Park, Bucks 1734–1808 Petersham

A Nymph and dancing Satyrs

Watercolour over traces of pencil304 x 277 mm., 12 x 10 3/4 in.

Provenance:Anonymous sale, Sotheby’s, 12th May 1986, lot 208

Lady Beauclerk was born Lady Diana Spencer and wasthe eldest daughter of Charles Spencer, 3rd Duke ofMarlborough. Lady Di, as she was known, grew up atLangley Park and Blenheim Palace and made copies of thepictures there from a young age. In 1757 she married the2nd Viscount Bolingbroke but was divorced by him in 1768due to her adultery with Topham Beauclerk (1739–1780),whom she married two days later. They moved in courtcircles and Lady Diana’s closest friends were the countessesof Pembroke and Spencer and the Duchess of Devonshire.

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Horace Walpole, Lord Orford, was also a close friend ofthe couple and the diarist Joseph Farington recalls his viewsof them: ‘Lord Orford mentioned many particulars relative tothe late Mr. Topham Beauclerc [the celebrated wit]. He saidHe was the worst tempered man He ever knew. Lady Dipassed a most miserable life with him. Lord 0, out of regard toher invited them occasionally to pass a few days at StrawberryHill. They slept in separate beds. Beauclerc was remarkablyfilthy in his person which generated vermin. He took Laudanumregularly in vast quantities. He seldom rose before one or twoo’clock.’

She was well known for her drawings of children and infantcupids and bacchantes, some of which were engraved byBartolozzi, and she also produced designs for Wedgwoodpottery. Walpole was a great admirer of her work and builta room at Strawberry Hill to house her drawings. Examplesof her work are in the V and A, the Royal Collection and theBritish Museum. For more on the artist, see B. C. Erskine,Lady Diana Beauclerk: her life and work, 1903.

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20PANCRACE BESSAParis 1772–1846 Ecouen

a. A Black-veined White butterfly (Aporia crataegi)and a Silver-washed Fritillary butterfly (Argynnispaphia)

b. A Labrador Sulphur butterfly (Colias nastes) and aBrown Brush-footed butterfly (Nymphalidae satyrnae)

c. A Large White butterfly (Pierris brassicae) and aPeacock butterfly (Inachis io)

Each watercolour and pen and brown ink, over anunderdrawing in pencil or pencil and red chalkEach signed P Bessa in the lower right marginEach 188 x 148 mm., 7 3/8 x 5 3/4 in.

Provenance:The artist’s studio, and by family descent at the Château deCastelnau in the Roussillon, France

Among the leading painters of flowers and fruit in the firsthalf of the 19th century in France, Pancrace Bessa was apupil of Gerard van Spaendonck and Pierre-JosephRedouté. In his day as highly regarded as both vanSpaendonck and Redouté, he was, however, less prolificthan either. Bessa exhibited at the Salons between 1806and 1831, and enjoyed the patronage of both the Duchessede Berri, to whom he was appointed flower painter anddrawing master in 1820, and the Empress Joséphine. In1823 he was commissioned by the Muséum d’HistoireNaturelle to produce studies of flowers on vellum,succeeding Redouté in this role. Bessa’s most importantcommission was for a series of 572 watercolours on vellumfor the Herbier général de l’amateur, commissioned byCharles X. Published in eight volumes, the project wasbegun in 1816 and the artist worked on the series until1827.

These three drawings are among a group of drawings andoil sketches by Pancrace Bessa only recently rediscovered inthe possession of the artist’s heirs. A comparable, albeitlarger, watercolour study of butterflies and other insects bythe artist is in the Goldyne collection in California.

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a. b.

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c.

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21THE HON. MRS HENRIETTA ANNE FORTESCUEBarnes 1763–1841

a. Edinburgh Castle from Calton Hill

Inscribed lower centre: Edinburgh Castle., signedand dated Aug:t 5th 1823 lower right and numbered107 upper leftPen and grey ink and grey wash over pencil238 x 377 mm., 9 1/4 x 14 3/4 in.

b. Craigleith Quarry, Edinburgh

Inscribed lower centre: Craig Leith Quarry (n.rEdinburgh)), signed and dated Aug:st 6th 1823lower right and numbered 110 upper leftPen and grey ink and grey wash over pencil270 x 377 mm., 10 1/2 x 14 3/4 in.

a.

b.

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Craigleith Quarry was the largest and best known ofEdinburgh’s quarries and provided most of the stone forEdinburgh New Town. It was in use for over three hundredyears and the face of the quarry was eventually 360 feethigh. Its stone was used on Edinburgh buildings such asRegister House, the entrance to Adam’s EdinburghUniversity Old College and the National Monument onCalton Hill. It was first recorded in 1615 and was eventuallyclosed in 1942 after which it was slowly filled in, although100 tons of loose stone was removed in 1995 for use inthe making of the Chinese Garden in Edinburgh’s BotanicGardens. What is left of the quarry is now part of theCriaigleith Retail Park opened in 1993.

The artist was the daughter of the banker Sir Richard Hoare,1st Bt and brother of the antiquary and author Sir RichardColt Hoare, who inherited Stourhead. She married firstly SirT.D. Acland, 9th Bt. and secondly in 1795, Captain theHon. Mathew Fortescue, R.N., brother of the first EarlFortescue. She was an enthusiastic and talented amateurartist who painted in Italy, the Pyrenees, Scotland and theLake District.

Above:22THE REV. JOHN SWETEAshburton, Devon 1752–1821 Oxton House,Devon

Duvale Quarry near Bampton, Devon

Inscribed twice upper right: Quarry Duvale and dated1796Watercolour over pencil170 x 251 mm., 6 1/2 x 9 3/4 in.

Provenance:Alan Hobson (1942–2002)

Swete was the son of a surgeon who became anantiquarian, poet and amateur artist and lived at OxtonHouse near Exeter, where he was a prebendary. Most of hisdrawings are of Devon views although he visited thecontinent in 1816. Duvale Quarry is one of a series of oldstone quarries just south of Bampton near the road toTiverton in Devon.

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23SAMUEL ATKINSfl.1787–1808

a. Shipping off Gibraltar

Signed lower leftPen and grey ink and watercolour100 x 301 mm., 4 x 113/4 in.

b. Shipping off the Coast

Signed lower rightPen and grey ink and watercolour heightened withtouches of bodycolour102 x 302 mm., 4 x 113/4 in.

Atkins specialised in marine pictures but little is known abouthis life. He exhibited at the Royal Academy between 1787and 1808 and was at sea visiting the East Indies and thecoast of China from 1796 to 1804. Examples of his workare in the British Museum, Victoria and Albert Museum,Ashmolean Museum, Oxford and elsewhere.

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24PAUL SANDBY, R.A.Nottingham 1730–1809 London

Travellers on a country road, a Castle on a promontorybeyond

Signed and dated 1769 lower rightWatercolour and bodycolour473 x 603 mm., 18 1/2 x 23 3/4 in.

Provenance:William HawkerBy descent to Roger HelyerWith Guy Peppiatt Fine Art, 2005Private collection, Bath

This watercolour dates from 1769, the year that Sandbywas a foundation member of the Royal Academy. In the1750s, Sandby had joined his brother Thomas at Windsorhelping landscape the gardens and working on his firstwatercolours of the Castle and grounds. In 1768, he wasappointed drawing master at the Royal Military Academy atWoolwich. Traditionally described as view of PembrokeCastle, South Wales, this is unlikely as his first visit to Waleswas not until 1772. Sandby is often described as ‘the Fatherof English watercolour painting’ as he was probably the firstBritish artist in the eighteenth century to work commerciallyin the medium. For more on the artist, see Paul Sandby –Picturing Britain, Royal Academy exhibition catalogue, 2009.

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25THÉODORE GÉRICAULTRouen 1791–1824 Paris

a. A Snarling Lion

Pencil on papier calque, laid down on card160 x 212 mm., 6 1/4 x 8 3/8 in.

b. A Lion Attacking a Horse

Pencil on papier calque, laid down on card128 x 214 mm., 5 x 8 3/8 in.

Provenance:Douglas Huntly Gordon, Baltimore, Maryland (Lugt 1130a)Loaned by him to the Baltimore Museum of Art, Baltimore,MarylandAnonymous sale, New York, Christie’s, 24 May 1989, lot335

Literature:Germain Bazin, Théodore Géricault: Étude critique,documents et catalogue raisonné, Vol.VII, Paris, 1997, p.31and pp.149–150, no.2343ABruno Chenique, Catalogue raisonné des dessins inédits etretrouvés de Théodore Géricault (forthcoming)

Théodore Géricault seems to have been interested in lionsfrom early in his career, as his student sketchbooks includecopies after Rubens’ paintings of lion hunts. (One suchsketchbook is today in the collection of the J. Paul GettyMuseum in Los Angeles). While in London between 1820and 1821 he made several drawings after wild animals inthe zoo, with a particular emphasis on lions. The subject ofa horse being attacked by a lion was also one that held aparticular fascination for the artist, as it had for GeorgeStubbs before him. Géricault would have known of Stubbs’spaintings of lions and horses in combat even before his stayin England in 1820–1821, as prints of these subjects wereavailable in France and he copied some of them. Géricaultproduced several pencil drawings and watercolours of lionsattacking horses, culminating in one of his most dramatic

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depictions of the theme; a drawing of A Horse Attacked bya Lion now in the Museum Boijmans-van Beuningen inRotterdam. He also produced two lithographs of thesubject.

The attribution of these drawings to Géricault has beenconfirmed by both Lorenz Eitner and Bruno Chenique,who will include both drawings in his forthcoming Catalogueraisonné des dessins inédits de Théodore Géricault. As M.Chenique has noted of these drawings, ‘A close examinationof the two drawings on calque has allowed us to recognize thenervous graphic manner of Theodore Géricault, and to revealthe very particular manner he employed to ceaselessly varythe pressure of his hand and fingers on the pencil. Some linesare therefore darker and stronger than others and seemalmost to have been incised onto the paper. This is animportant detail and allows one to differentiate Géricault’soriginal drawings on papier calque from those of the numerousimitators who made tracings of his drawings to keep assouvenirs.’

A facsimile of the Snarling Lion is in the BibliothèqueNationale in Paris, while two copies of the sheet, attributedto the collector Alexandre Colin, are among a group oftraced copies after drawings by Géricault in the Nathancollection in Zurich. A variant of the composition of the LionAttacking a Horse, with the head of the horse not raised,appears in a sheet of pencil studies by Géricault in a privatecollection, while a copy of the drawing, attributed to Colin,is in another private collection.

Both of these drawings, which were at one time mountedtogether, belonged to the collector, scholar and bibliophileDouglas H. Gordon, Jr. (1902–1986), a Baltimore attorney.Gordon’s collection of drawings included works byItalian, Dutch, American, English and, above all, Frenchartists. Over two hundred drawings from the collectionwere bequeathed to the Virginia Museum of Fine Arts in1986.

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26EDWARD DAYESLondon 1763–1804 London

Freston Tower, Suffolk

Watercolour over pencil166 x 217 mm., 6 1/2 x 8 1/2 in.

Provenance:With Thomas Agnew & SonAnonymous Sale, Christie’s, 14th November 1989, lot 82Private collection, UK

Dayes is one of the most important British topographicalartists of the late eighteenth century whose work was veryinfluential on the young artists, Turner and Girtin. Heworked in the eighteenth century manner with a restrictedpalate mainly of greens and blues.

Freston Tower is a six storey building looking over the RiverOrwell near Ipswich. It was supposedly built by the Ipswichmerchant Thomas Gooding in 1578 and is one of the oldestfollies in the country. It is now a Landmark Trust property.

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27GIDEON YATES1790–1837

View on the Thames from Southwark Bridge lookingtowards London Bridge

Signed lower left: G. Yates 1830Watercolour over pencil with original pen and inkborder310 x 557 mm., 12 x 21 3/4 in.

This shows the newly built London Bridge which wasopened on 1st August 1831 by William IV and QueenAdelaide. This watercolour is dated 1830 before the officialopening. It was built by Sir John Rennie to the design of hisfather and was positioned upstream from the old bridge,which is visible in the present watercolour, but was takendown in 1832–33. A watercolour by Yates dated 1832which shows the old bridge being dismantled was with GuyPeppiatt Fine Art in 2008 (now private collection). Rennie’sbridge was sold in the 1970s and re-erected in Lake HavasuCity, Arizona.

On the south bank stands Southwark Cathedral with, onthe north bank, the Monument to the Great Fire of 1666built in 1671–77, and the spire of the Church of St MagnusMartyr behind the Fishmongers’ Hall. Beyond is thedistinctive spire of the Church of St Dunstan in the East withthe Tower of London in the distance.

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Above:28JOHN LINNELLBloomsbury 1792–1882 Redhill

Haymaking among Trees

Signed lower right: J. Linnell/15Black and white chalk on buff paper278 x 420 mm., 10 3/4 x 16 1/2 in.

Provenance:Anonymous sale, Sotheby’s 8th April 1998, lot 141Private Collection, U.K.

This is probably a view taken in Windsor Forest. Linnellspent a month at Winkfield, near Windsor, in May 1815 withhis fiancée Mary Ann Palmer and spent a lot of that timesketching in Windsor Park and Forest. He also visited theIsle of Wight in September 1815.

Facing page:29FRENCH SCHOOL19th Century

Ground Plan of an Amphitheatre in a Garden

Watercolour over an underdrawing in pencil619 x 473 mm., 24 3/8 x 18 5/8 in.

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30PETER DE WINTStone 1784–1849 London

A Ploughman and Horsemen by a Castle

Inscribed verso: Peter . . . /10Pen and black ink102 x 127 mm., 4 x 5 in.

Provenance:By descent from the artistTatlock familyBostock familyWith Spink and Son

Literature:Hammond Smith, Peter de Wint, 1982, p.44, ill. Fig.37

Hammond Smith (op. cit.) suggests that de Wint’s pen andink drawings were produced in the studio as ‘the pen isquite unsuited to field work.’ He also points out that ‘manyof them are executed on the backs of envelopes, letters,advertisements etc.’ The inscription on the verso suggestsde Wint drew the present work on the back of an envelope.

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31PETER DE WINTStone 1784–1849 London

The Church of St. Peter, Lisieux, Normandy

pencil155 x 129 mm., 6 x 5 in.

Provenance:With Thos. Agnew and Sons, London

This drawing dates from de Wint’s only trip abroad, toNormandy in 1828. This is the west front of the church.John Sell Cotman visited Lisieux in July 1818 and drew thechurch from a similar viewpoint. The drawing was engravedfor Cotman’s Normandy published in 1822 so it may havebeen known by de Wint.

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32ALEXANDRE DESGOFFEParis 1805–1882 Paris

Coastal Landscape at Marseilles

Watercolour, over an underdrawing in pencilInscribed and dated M. le 26. 7 bre 1838 at thelower right155 x 235 mm., 6 1/8 x 9 1/4 in.

Provenance:The artist’s studio, with the atelier stamp (Lugt 3161)Marie-Madeleine Aubrun, Paris (Lugt 3508)Her posthumous sale, Paris, Hôtel Drouot, 8–9 February1999, lot 178

Literature:Marie-Madeleine Aubrun, ‘Un grand méconnu, pionnier dunaturalisme: Alexandre Desgoffe (1805-1882)’, Bulletin dela Société de l’Histoire de l’Art français, 1983 (published1985), pp.154–155, no.D2, fig.56

Alexandre Desgoffe was already a talented amateurlandscape draughtsman when in 1827 he entered the studioof Ingres as one of the master’s first pupils. Nicknamed ‘LePère la Nature’, because he painted numerous plein-airstudies from nature, Desgoffe exhibited his work at theSalons between 1834 and 1868. He produced muraldecorations for several Parisian churches as well as for theHôtel de Ville, the Bibliothèque Nationale and the Palais deLuxembourg. He was best known as a painter of historicallandscapes, and together with Paul Flandrin, may beregarded as a master of the paysage ingresque. An inveteratetraveller, Desgoffe worked extensively in the Auvergne, andat Barbizon (one of the first artists to do so) andFontainebleau, the Midi and, in the final years of his career,at Pornic on the Atlantic coast.

This vibrant watercolour was drawn on a visit to theMediterranean coast near Marseilles in September 1838.Desgoffe was in Marseilles between the 22nd and the 29thof September 1838, on a trip to the south of France thatalso included visits to Avignon, Nîmes, Arles, Toulon,Hyères and elsewhere.

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33HENRY BRIGHTSaxmundham 1810–1873 Ipswich

Near Dorking, Surrey

Signed lower left: HBright and inscribed with thetitle lower rightBlack chalk and stump259 x 361 mm., 10 x 14 in.

Bright was born in Saxmundham, Suffolk, the son of aclockmaker and was apprenticed to a chemist in Norwichbefore turning to drawing. He learnt drawing under AlfredStannard and took lessons from John Sell Cotman. In 1836he moved to Paddington and built up a successful drawingpractice in London until 1858 when he returned toSaxmundham. He lived the last years of his life in Ipswich.This is typical of his drawings in its use of black chalk andstump.

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Above:34JOSEPH BARBERNewcastle 1757–1811 Birmingham

The Entrance to a Cave

Watercolour over pencil263 x 377 mm., 10 1/4 ¼ x 14 3/4 in.

Barber was the son of a Newcastle bookseller who settledin Birmingham and taught drawing at the Grammar Schooland elsewhere. His best known pupil was David Cox (seenos. 40–43). This may be one of the many caves in the PeakDistrict.

Facing page:35DR WILLIAM CROTCHNorwich 1775–1847 Taunton

a. The East End of Westminster Abbey and Hall

Inscribed verso: E end of Westminster Abbey &Hall/June 27Watercolour and black chalk129 x 217 mm., 5 x 8 1/2 in.

This shows Westminster Abbey and Hall taken from thesouth bank of the Thames. In 1834 the old Houses ofParliament were destroyed by fire – in the foreground ofthe present drawing is the garden which lay between theold buildings and the river and which disappeared whenwork began on the new building began in 1836. Thedrawing must date to pre-1836 therefore and probablyafter the fire of 1834.

b. The West End of St George’s Chapel, Windsor Castle

Extensively inscribed verso and dated July 14 1832Watercolour and black chalk128 x 211 mm., 5 x 8 1/2 in.

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This is a view looking south with the west end of StGeorge’s Chapel to the left and the gateway through to theLower Ward to the right with the Military Knights’ housesbeyond. This is one of a group of Eton and Windsor viewsdrawn by Crotch in the summer of 1832.

Crotch was born in Norwich and achieved early fame as amusician. At the age of four, he was giving daily organ recitalsin London and composed his first oratorio aged 11 whenstudying music in Cambridge. In 1790 at the age of 15

Crotch was the organist of Christ Church College, Oxfordand became a Professor of Music in 1797. He returned toLondon and was the first Principal of the Royal Academy ofMusic from 1822 until 1832 – many of his known drawingsdate from 1832 onwards. He was a talented artist anddraughtsman and usually inscribed the reverse of eachdrawing with a place, date and often the precise time. Formore on Crotch, see Jonathan Rennert, William Crotch(1775–1847) Composer, Artist, Teacher, 1975.

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Above:36NEWTON SMITH LIMBIRD FIELDINGLondon 1799–1856 Paris

Woodcock feeding by a Stream

Signed with initials lower leftWatercolour over pencil heightened with gumarabic and scratching out159 x 248 mm., 6 1/4 x 9 3/4 in.

Provenance:Michael IngramWith Guy Peppiatt Fine Art, 2007Private collection, UK

Newton Fielding was the younger brother of AnthonyVandyke Copley Fielding (1787–1855) and ran the familyengraving business in Paris from 1827 with William Callow(see no.53) working for him. He is best known for hisanimal studies.

Facing page:37SAMUEL HENRY GORDON ALKENIpswich 1810–1894 London

a. A pair of Pointers

Signed lower right: H Alken 1832.Watercolour and pencil on Whatman laid paper152 x 217 mm., 6 x 8 1/2 in.

b. A pair of Irish Setters

Signed lower centre: H Alken 1832.Watercolour and pencil131 x 184mm., 5 x 7 1/4 in.

Samuel Alken was the son of the well known sportingpainter Henry Thomas Alken (1785–1851). His subjectmatter is similar and he usually signed his work ‘H. Alken’.

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Above:38BRITISH OR CONTINENTAL SCHOOL19th Century

Study of Trees

Pencil and watercolour on blue paper.296 x 463 mm., 11 5/8 x 18 1/4 in.

Facing page:39FREDERICK HENRY HENSHAWBirmingham 1807–1891

Study of a Scot’s Pine

Oil on paper339 x 239 mm., 13 1/4 x 9 1/4 in.

Provenance:The Artist’s studio sale, 12th May 1892, lot 62

Henshaw was born in Birmingham and educated at KingEdward’s before transferring to the Grammar School onNew St. There he was taught to draw by the artist JosephVincent Barber (1788–1838) to whom he was articled fromthe age of fourteen. In 1826 he went to London to studythe works of English landscape artists and Turner inparticular. He exhibited at the Royal Academy in 1828 andsoon established himself as a successful artist. He lived atThe Cottage, Green Lanes, Small Heath, Birmingham from1833 until his death in 1891, although from 1837 until1840, he sketched on the Continent, mainly in France,Switzerland and Italy.

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40DAVID COXBirmingham 1783–1859 Birmingham

Near Rowsley, Derbyshire

Inscribed with title lower leftBlack chalk, with another chalk sketch verso195 x 267 mm., 7 3/4 x 10 1/2 in.

Provenance:William Ellis, 1845Private collection, CanterburyMichael Bryan, 1998With Martyn Gregory, 2005Private collection, UK until 2010

This drawing dates from Cox’s trip to Derbyshire in May1845 in the company of his friend and patron William Ellis.He frequently visited Haddon Hall from 1831 onwards andthe area was a favourite sketching ground. He normallystayed at the Peacock Inn at Rowsley. Cox’s friend N.N.Solly recalls: ‘These views at Rowsley were generallysketched before breakfast. Cox made sometimes twodrawings before breakfast, and began a third, and then spentthe day afterwards sketching at Haddon Hall; this was in themonth of May, 1845, when he was still in his full vigour’(N.Neal Solly, Memoir of the Life of David Cox, 1873, p.269).

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View of a Country Villa

Watercolour over pencil with black ink and pencil250 x 387 mm., 9 3/4 x 15 1/4 in.

This has traditionally been called a view of Basford House,Nottingham, the home of the historian and newspapereditor Thomas Bailey (1785–1856) but Basford was built in1739 whereas the present house dates from the earlynineteenth century.

Stylistically this work dates from the mid 1830s when Coxwas living in Hereford and presumably it was drawn as acommission.

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Figures in Van Dyck costume on a Terrace

Watercolour over pencil heightened withbodycolour and stopping out190 x 265 mm., 7 1/2 x 10 1/4 in.

Provenance:Private collection, UK

This is one of series of drawings by Cox of figures inseventeenth century costume on a terrace which date fromthe 1830s. They are sometimes based on the terraces atHaddon Hall or Powis Castle. For another example, seeScott Wilcox, Sun, Wind, and Rain – The Art of David Cox,2008, p.187, no.59.

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A Woman by a Country Cottage

Brown washes and black chalk184 x 256 mm., 7 1/4 x 10in.

Provenance:With Messrs Gooden & Fox, LondonPrivate collection, UK until 2010

Drawings in wash and black chalk of this type by Cox datefrom the mid 1840s (see Scott Wilcox, Sun, Wind, and Rain– The Art of David Cox, 2008, p.200–1, nos.74 and 75).

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44THOMAS BRABAZON AYLMERLimerick 1734–1808 Worthing

a. View of the Port of Marsala, Italy

Inscribed lower right: Marsala. Nov. 3.. 1836Pencil heightened with white bodycolour on greypaperWhole sheet 181 x 265 mm., 7 x 10 1/4 in.

Marsala is on the east coast of Sicily and was an importantport in Roman times. In the foreground is the Chiesadell’Addolorata with the Porta di Mare (now Porta Garibaldi)in front. The dome of the Cathedral or Chiesa Madre isprominent beyond.

b. View of Terni, Italy, from the East

Inscribed lower right: Terni April 19/1836Pencil heightened with white bodycolour on greypaper148 x 266 mm., 5 3/4 x 10 1/2 in.

Terni is in southern Umbria, sixty-five miles north of Rome.To the left is the Cathedral of Santa Maria Assunta with, inthe centre the Palazzo Spada which is now the town hall.

The son of a general, Aylmer travelled in Italy in the 1830sand exhibited from 1838 until 1855. His drawing styleshows the influence of James Duffield Harding (1797–1863)– Edward Lear’s early Italian drawings from the late 1830sshow the same influence. These drawings date fromAylmer’s extensive tour of Italy in 1836.

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45JAMES HOLLANDBurslem 1800–1870 London

The Tombs of the Scaligeri, Verona

Signed, inscribed with title and dated 1835 threetimesWatercolour over pencil heightened withbodycolour288 x 213 mm., 11 1/4 x 8 1/4 in.

This dates from Holland’s first trip to Italy. He left Londonin July 1835 and reached Geneva in late October. On 29thOctober he reached Milan and stopped at Verona on hisway to Venice. The Scaligeri family were a dynasty whoruled Verona in the 13th and 14th century and their familytombs are just off the Piazza dei Signori in Verona. Hollandmay have been influenced in his choice of subject by RichardParkes Bonington, an artist he much admired, who visitedthe city in 1826 and also drew the tombs.

This may be the watercolour of this title exhibited at theSociety of Painters in Water-colours in 1837, no.55.

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46FRANÇOIS-AUGUSTE RAVIERLyon 1814–1895 Morestel

Landscape with a Pond near Crémieu

Brush and brown and grey wash, over anunderdrawing in pencilSigned Ravier at the lower right261 x 308 mm., 10 1/4 x 12 3/8 in.

Provenance:M. Ribert (according to a label on the old backing board)

Exhibited:Lyon, L’art lyonnais, 1925, no.328, as Crémieux.

A native of Lyon, Auguste Ravier abandoned his studies asa notary to become an artist. Early in his career he metCamille Corot, who was to be a lifelong influence on his

work. Ravier worked for his entire career in and aroundLyon and the Dauphiné, taking his subjects from thesurrounding countryside around the towns of Crémieu andMorestel. He seems to have been something of a recluse,avoiding visits to town and living a life of country solitude.He was particularly adept as a watercolourist, and in the1850s and 1860s worked in a manner indebted to that ofCorot and Daubigny, both of whom were close friends. Hewas especially fond of scenes at dawn and dusk, oftenmaking studies in oil or watercolour on the spot that wouldlater be worked up into finished, atmospheric watercoloursin his studio. Ravier only rarely exhibited his work andalmost never visited Paris, and it was not until 1884 thatseveral of his watercolours were shown at the Salon. In thesame year he lost the sight in one eye, forcing him to giveup painting, and by 1889 he had become totally blind. Thepresent sheet, one of three drawings by Ravier lent by a M.Ribert to a seminal 1925 exhibition of the work of Lyonnaisartists and craftsmen, is a typical example of the artist’spoetic landscapes.

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47FRENCH SCHOOL19th Century

Study of a Man in Albanian or Greek Costume

Pencil and watercolour244 x 121 mm., 9 5/8 x 4 3/4 in.

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48LIEUTENANT-GENERAL EZEKIAL BARTON1781–1855 Irthlingborough House, Northants

Pair of Indian Landscapes

Two, pen and ink on wove paper, onewatermarked: . . . .& Turner/1826Each 179 x 229 mm., 7 x 9 in.

Barton was a good amateur artist who served in the Britisharmy in India from 1799, eventually becoming Colonel ofthe 46th Bengal Regiment. This is one of a group of worksby Barton one of which is signed with initials and datedJanuary 1828. Examples of his work are in the BritishMuseum.

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49ABRAM LOUIS BUVELOTMorges, Switzerland 1814–1888 Melbourne,Australia

The Kalighat Kali Temple on the Hoogly, Calcutta

Signed lower left: Ls Buvelot. 1855.Watercolour over pencil heightened withbodycolour and gum arabic245 x 310 mm., 9 1/2 x 12 in.

Buvelot travelled to Calcutta in December 1854 with theAustrian artist Ferdinand Krumholz hoping to establish astudio of photography and painting. The venture failedhowever and Buvelot returned to Switzerland in thesummer of 1855. In 1840 he had left Lausanne for Brazilwhere he spent the best part of fifteen years. He returnedto Brazil in the 1860s and died in Australia.

The Hindu temple of Kalighat Kali stands on the banks ofthe Hoogly river in Calcutta and is dedicated to the goddessMaa Kali. It was originally a small hut until the present templewas erected in 1809 and it still stands today.

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50SIR FREDERICK POLLOCK, 2ND BT.India 1815–1874

A Fakir at Agra, India

Signed with initials lower right: FAKEER/AT AGRA/F.P.1841Watercolour over traces of pencil255 x 176 mm., 10 x 6 3/4 in.

The artist was the son of Field-Marshall Sir George Pollock,1st Bt. who served in the Bengal Infantry. Frederick Pollockserved in the Royal Engineers in India in 1841–2, StHelena in 1842, Aden in 1844 and Germany in 1843. Hesucceeded to the Baronetcy in 1872. His work is describedas being in the tradition of William Callow. A Fakir is aMuslim Sufi who teaches Islam and survives on alms. Pollockdepicts this Fakir on the banks of the river Jumna with the TajMahal beyond.

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51JOHN VARLEYHackney 1778-1842 London

Valle Crucis Abbey, North Wales

Signed lower right: J. Varley/1835 Watercolour over pencil, with cut corners128 x 171 mm., 5 x 6 3/4 in.

Valle Crucis Abbey was founded in 1201 just to the west ofLlangollen and was an active Cistercian monastery until itwas dissolved in 1537, and subsequently fell into disrepair.Varley was a frequent visitor to North Wales from 1798 andhe exhibited many Welsh views at the Society of Painters inWater-colours.

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52HARRY JOHN JOHNSONBirmingham 1826–1884 London

Ben Lui near Tyndrum, Scotland

With artist’s studio stamp lower right and inscribedlower left: Ben LuiWatercolour over pencil heightened with touches ofbodycolour on oatmeal paper254 x 441 mm., 10 x 17 1/4 in.

Provenance:With Spinks, LondonProperty of a Company, London until 2010

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53WILLIAM CALLOW, R.W.S.Greenwich 1812-1908 Great Missenden

Figures by a Lake, a Cottage beyond

Watercolour over pencil heightened with touches ofbodycolour220 x 320 mm., 8 1/2 x 11 1/2 in.

Provenance:Anonymous sale, Sotheby’s, 17th November 1988, lot125, sold for £1,900

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54PIERRE-JUSTIN OUVRIÉParis 1806–1879 Rouen

A View of the Saint-Louis Hospital from the Canal SaintMartin, Paris

Pencil and watercolourSigned with initials J.O. and inscribed Vue de l’hopital St.Louis près des bords du canal St. Martin at the lower left169 x 265 mm., 6 5/8 x 10 3/8 in.

Provenance:The Ouvrié atelier, with the vente stamp (Lugt 2002a)Paul Prouté, ParisCurtis Otto Baer, New Rochelle (Lugt 3366)By descent to his son, George M. Baer, AtlantaThence by descent until 2010

LiteratureEric M. Zafran, Master Drawings from Titian to Picasso: TheCurtis O. Baer Collection, exhibition catalogue, Washingtonand elsewhere, 1985–1987, p.191, no.161.

A student of Abel de Pujol and Chatillon, Justin Ouvriéexhibited both landscape paintings and town views at theSalon between 1831 and 1873. His exhibited work wasmade up primarily of paintings, drawings and lithographs oflandscapes and city views, produced during his extensivetravels throughout France and elsewhere in Europe; notablyin Germany, Holland, Belgium and Italy, as well as in Englandand Scotland. He also provided illustrations for his uncleBaron Taylor’s monumental series of Voyages pittoresqueset romantiques dans l’ancienne France, published between1820 and 1878. Ouvrié was particularly admired for hiswatercolours, some of which sold for higher prices than hispaintings. Among his important patrons was Louis-Philippe,who acquired a large number of his works.

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55JOHN GENDALLExeter 1790–1865 Exeter

On the River Exe near Exeter

Watercolour and bodycolour over pencil271 x 379 mm., 10 1/2 x 14 3/4 in.

Provenance:Anonymous sale, Sotheby’s, 9th May 1962, lot 60Private collection, London until 2010

Gendall was born in Exeter and started life as a servant to abarrister James White, the uncle of the artist John WhiteAbbott. Perhaps encouraged by White, Gendall was inLondon by 1811 working for Ackermann’s in Londonwhere he produced drawings to be engraved. He wasprobably best known for his French views which wereengraved for Picturesque Views of the River Seine publishedin 1821. He returned to Exeter in the late 1820s where heset himself up as a drawing teacher, carriage painter, carverand gilder.

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56ROBERT LEMANNorwich? 1799–1863 Norwich

Trowse Bridge on the river Wensum near NorwichWatercolour heightened with scratching out andtouches of bodycolour240 x 333 mm., 9 1/2 x 13 in.

Leman was a talented landscape artist who was a followerof John Sell Cotman in Norwich. He was a member of theNorwich Amateur Club in the 1830s, exhibiting at theNorwich Society and was a friend of many of the latergeneration of Norwich School artists. Another watercolourby Leman taken from this viewpoint is in the CastleMuseum, Norwich.

Provenance:Harold Day

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57ROBERT LEMANNorwich? 1799–1863 Norwich

A View on the Greta or the Tees

Inscribed Leman on old backboardWatercolour over pencil heightened with touches ofbodycolour322 x 477 mm., 12 1/2 x 18 3/4 in.

This is a copy of a John Sell Cotman watercolour in the TateGallery (T08836, formerly Oppé collection) which datesfrom Cotman’s tour of Yorkshire in 1805. Leman was asecond generation Norwich School artist who was muchinfluenced by Cotman and owned a large collection of hiswork. The existence of this copy suggests that Cotman’s‘View on the Greta or the Tees’ is likely to have been inLeman’s collection which was sold at the Exhibition Rooms,Norwich on 23rd April 1863.

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58WILLIAM HAMILTON YATMANLondon 1819–1913 Bournemouth

Cones: A Still Life of Seashells

Watercolour, over a pencil underdrawing235 x 325 mm., 9 1/4 1/4 x 12 3/4 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.35.

By profession a barrister, William Hamilton Yatman was anamateur artist about whom relatively little is known. He waseducated at Winchester College and at Caius College,Cambridge, for whom he rowed in the Boat Race in 1839.Yatman was admitted to the Inner Temple in 1840 andcalled to the bar four years later. He served as a Justice ofthe Peace in Gloucestershire, Wiltshire and Warwickshire,and in 1864 acquired Highgrove House, near Tetbury, nowthe country home of the Prince of Wales. As an amateurdraughtsman, Yatman had a preference for natural historysubjects. Drawings such as the present sheet, executed witha refined and delicate watercolour technique, reflect hisinterest in the world around him. Several comparablestudies by Yatman are today in the Goldyne collection inCalifornia.

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59HENRY BONAVENTURE MONNIERParis 1799–1877 Paris

Portrait of the Actor Edmond Delannoy

Pen and brown ink and watercolour, over anunderdrawing in pencilSigned and dated Henry Monnier / fevrier 1858 atthe lower leftInscribed Henri Monnier / Delannoy (rôle deBerluber(?) / dans Trioler(?)) on the old backing board354 x 218 mm., 13 7/8 x 8 5/8 in.

A painter, draughtsman, illustrator and lithographer, as wellas a writer, playwright and actor, Henry Monnier is bestknown for his depictions of bourgeois life in 19th centuryParis. An amateur thespian himself, he produced severaldrawings of actors in various roles. Léopold-Émile-EdmondDelannoy (1817–1888) was a popular stage performer atthe Théâtre du Vaudeville in Paris, where he performed forsome thirty-five years. Another watercolour of Delannoy,dated 1856, was part of the extensive collection of drawingsby Monnier assembled by the art historian Gustave Cahenand dispersed at auction in 1923.

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60EDWARD LEARHighgate 1812–1888 San Remo

Italian Landscape

Inscribed lower right: ItalPen and brown ink over pencil on buff paper144 x 367 mm., 5 1/2 x 14 1/2 in.

Lear’s pen and ink Italian drawings tend to date from the1870s and 1880s when he was living in San Remo.

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61EDWARD LEARHighgate 1812–1888 San Remo

The Forest of Valdoniello, Corsica

Pen and brown ink and watercolour91 x 103 mm., 3 1/2 x 4 in.

Lear spent the winter of 1867–68 in Cannes and left forCorsica on 8th April 1868 in the company of the writer JohnAddington Symonds and his family, but set out to explorethe island alone. He reached the Forest of Valdoniello on11th May: ‘The great forest of Valdoniello, commencingimmediately from the bocca or ridge I have crossed, clothesthe slopes of the mountains on its eastern, as that if Aitone

does its western side . . . it is only when you begin thedescent through Valdoniello that you perceive how widelyin each direction the limits of this grand forest stretch out,and that the trees here are of the greatest size, thoughdwarfed by the huge mountain forms above them intoapparently less importance’ (Edward Lear, Journal of aLandscape Painter in Corsica, 1966 edition, p.148).

This is one of a group of preparatory sketches produced byLear for the illustrations to his Journal of a Landscape Painterin Corsica which was published in 1870, although thisparticular watercolour does not directly relate to anillustration in the journal. For two others, see Guy PeppiattFine Art, 18th and 19th Century Drawings and Watercolours,Exhibition Catalogue, 2007, nos.50 and 51.

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62JOHAN BARTHOLD JONGKINDLattrop 1819–1891 La Côte-Saint-André

A Windmill on the Butte-aux-Cailles, Paris

Pen and brown ink and brown washDated and inscribed butte aux cailles / 17 7bre 1849at the lower right centreFurther inscribed Moulin des prés at the lower leftand with colour notes moulin gris / [?] jaun[e] /terrain rouge at the lower right corner204 x 292 mm., 8 x 11 1/2 in.

Provenance:An unidentified collector’s mark on the versoJohn Rewald, New York (Lugt 1514a)Given by him to Frances R. Weitzenhoffer, New York, inDecember 1984John Rewald, New York, after March 1991His posthumous sale, New York, Christie’s, 22 May 1997,lot 198

Drawn in September 1849, when Johan Barthold Jongkindwas living in Paris and working in a studio on the PlacePigalle, this drawing depicts a windmill known as the Moulindes Prés on the Butte-aux-Cailles; a small hill on thesouthern outskirts of Paris which was covered withwindmills until the late 19th century. Jongkind had arrived inParis in 1846, and spent a considerable amount of timepainting and sketching views of the city, particularly in theyear 1849. It is perhaps not surprising that he would havebeen drawn to the windmills of the Butte-aux-Cailles, givenhis fondness for the same motif in his Dutch views. An earlysketchbook of 1849 in the Louvre contains a number ofviews of Montmartre and its windmills, while a similar studyof another windmill, drawn in 1852 at Sannois on theoutskirts of Paris, is also in the Louvre. The Butte-aux-Caillesremained a working-class village until it was incorporatedinto Paris in the late 19th century, and is today part of the13th arrondissement of the city.

The attribution of the present sheet, which once belongedto the eminent scholar of Impressionist art John Rewald(1912–1994), was confirmed by the late Adolphe Stein.

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63HENRY BARLOW CARTERScarborough 1795–1867 Torquay

York Minster from Swinegate

Watercolour over pencil heightened with touches ofbodycolour172 x 122 mm., 6 3/4 x 4 3/4 in.

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64WILLIAM ROXBY BEVERLYRichmond 1811–1889 Hampstead

Fishing Boats off Scarborough, North Yorkshire

Watercolour over traces of pencil heightened withbodycolour174 x 479 mm., 6 3/4 x 18 3/4 in.

This shows the lighthouse at Scarborough which was builtin 1806 by a surveyor called Nixon on Vincent pier built1752. Unusually for a busy port, there is a no record of alighthouse at Scarborough prior to this date. In December1914, the town of Scarborough came under fire from twoGerman battlecruisers and the last shell they fired landeddirectly on the lighthouse destroying it. The replacementand present lighthouse was officially opened in 1931.

Beverly was a son of a family of northern actors and beganhis career as a scene painter, and actor, for his father.Typically he produced beach scenes with beached boats andsunsets with strong colours often depicting the north-eastcoast of England.

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65WILLIAM ROXBY BEVERLYRichmond 1811–1889 Hampstead

Beached Boats on an EstuaryWatercolour over traces of pencil heightened withscratching out267 x 445 mm., 10 1/2 x 17 1/2 in.

Provenance:With Ackermann & Johnson, London;Anonymous sale, Sotheby’s 12th April 1995, lot 143

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66LUDEK MAROLDPrague 1865–1898 Prague

Study of a Reclining Woman

Pencil, brush and grey wash, heightened with whitegouache, on boardSigned with initials L.M. at the lower left298 x 196 mm., 11 3/4 x 7 3/4 in.

Ludek Marold studied in his native Prague and in Munich,where he began providing illustrations for magazines, andin 1889 received a grant to study in Paris, remainingthere until 1897. It was in Paris that he earned a particular

reputation for his scenes of fashionable and aristocraticsociety, seen in the subjects of his relatively few paintingsand as drawings reproduced in such popular publications asL’Illustration and Le Monde Illustré. (As one modern scholarhas noted, Marold ‘very quickly achieved considerable successas an illustrator who could add lightness and charm toillusionistic naturalism. His younger compatriots admired histechnique.’) By 1891 the artist was earning a monthlyincome of up to 1,300 francs for his illustrations. Marold alsoenjoyed a successful career as a book illustrator, providingimages for over fifty books, and also designing a largenumber of advertising posters. His death, at the age of just33, was greatly mourned in Prague and Paris, and no less anartist that Gustav Klimt is said to have described Marold asone of the finest artists of the day.

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67ALPHONSE DE NEUVILLESaint-Omer 1835–1885 Paris

A Soldier on Guard Duty

WatercolourSigned A. de Neuville at the lower right388 x 282 mm., 15 1/4 x 11 1/8 in.

Alphonse-Marie de Neuville was, along with ErnestMeissonier and Edouard Detaille, one of the leading militarypainters in France in the second half of the 19th century. Hemade his Salon debut in 1859 with two paintings of TheSiege of Sebastopol, but it was not until the outbreak of theFranco-Prussian war in 1870 that the artist came fully into his

own. During the siege of Paris, he was attached to a unitdefending the outskirts of the city at Le Bourget, and saw theeffects of the war at close hand. For the rest of his career deNeuville made a particular specialty of scenes from theFranco-Prussian war of 1870–1871, in which the emphasiswas not on the battles themselves but on the human dramaexpressed in the individual actions and courage of theFrench soldiers, often battling against overwhelming odds.This anecdotal quality proved immensely popular with thepublic, who found his portrayal of French troops bravelyengaged on a desperate and ultimately futile cause intenselymoving. De Neuville was exacting in the details of uniformsand equipment depicted in his paintings, and madenumerous sketches from life on the battlefields in EasternFrance.

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68PAUL JACOB NAFTEL, R.W.S.St Peter Port, Guernsey 1817–1891 Twickenham

A Bridge over a Rocky Stream

Signed lower left: Paul J Naftel 1873.Watercolour over pencil heightened with touches ofbodycolour228 x 457 mm., 9 x 18 in.

Provenance:J.P.W. Cochrane

Born in Guernsey, Naftel was the son of a clock and watchmaker who also kept a shop selling artists’ materials andprints. He showed an early aptitude for art and appears tohave been largely self-taught. His early subject matter was

Channel Island views until a visit to Wales in the late 1840sbroadened his horizons. From 1847 until 1870 he wasthe drawing master at Elizabeth College, the main schoolin Guernsey. He exhibited almost seven hundred picturesat the Society of Painters in Water-colours from 1850onwards. In 1870 he moved to London where hecontinued to exhibit and built a successful practice as adrawing teacher. He travelled widely in Britain as well asvisiting Switzerland in 1851, Italy between 1860 and 1866and Spain in 1870 to paint the total solar eclipse inDecember of that year. His work is characterised by bright,strong colours and a lavish use of bodycolour.

His second wife was Isabel Naftel (c.1832–1912), thedaughter of the artist Octavius Oakley, and she was also asuccessful artist, as was their daughter Maud Naftel(1856–1890) who was well known as a flower painter.

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69PAUL JACOB NAFTEL, R.W.S.St Peter Port, Guernsey 1817–1891 Twickenham

Cows by a track in a mountainous Landscape

Signed with a monogram and dated 1869 lower rightWatercolour over pencil heightened with touches ofbodycolour258 x 356 mm., 10 x 14 in.

Provenance:J.P.W. Cochrane

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70HERMANN HIRZELBuenos Aires 1864–1939 Berlin

Steps in the Garden of the Casa Baldi, Olevano

PencilSigned, dated and inscribed Olevano 93 / Casa Baldi.Hzl. at the lower right244 x 325 mm., 9 5/8 x 12 3/4 in.

Provenance:Walther Unus [Heinrich], Berlin

Born in Argentina of Swiss parents, Hermann RobertCatumby Hirzel was active as a painter, engraver, graphicdesigner and illustrator. He began his career as a pharmacistbut in the late 1880s decided to give up his studies tobecome a painter. Although he took classes at the BerlinKunstakademie, he seems to have been largely self-taught

as both a painter and etcher. In the 1890s he made studytrips to Sicily and Rome, and in 1893 won a silver medal fora landscape etching at an exhibition in Rome. Apart from aperiod in Russia between 1904 and 1910, Hirzel workedfor most of his career in Berlin, occasionally exhibiting withthe association of artists known as the Berlin Secession.While he produced a number of landscapes, much of hiswork took the form of commercial projects as a graphicdesigner, producing bookplates, sheet music covers,advertisements and book illustrations.

A youthful work by the artist, the present sheet was drawnin 1893 on the grounds of the Casa Baldi in the hill town ofOlevano, about fifty kilometres east of Rome. In the 19thcentury the Casa Baldi was a country inn popular with artistspainting and sketching the mountainous landscape aroundOlevano. In the 1930s the house was acquired by theGerman state, and today houses an extension of theGerman Academy in Rome.

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71HERMANN HIRZELBuenos Aires 1864–1939 Berlin

A Winter Landscape, within a Decorative Border

Pen and black ink, with touches of white heightening,on two joined sheets of cardSigned Hirzel at the lower right and Hzl. at the lowerright of the decorative border247 x 301 mm., 9 3/4 x 11 7/8 in. [image, with border]320 x 364 mm., 12 5/8 x 14 3/8 in. [sheet]

Provenance:Walther Unus [Heinrich], Berlin

Much of Hirzel’s graphic work is characterized by stylizedornamental elements in the form of plants, flowers andother organic motifs; evidence of the artist’s contribution tothe Jugendstil, or Art Nouveau, aesthetic. The present sheetmay be dated to c.1902, by a stylistic comparison withHirzel’s landscape illustrations for the magazine Teuerdank,published between 1901 and 1903 in Berlin andDüsseldorf. Hirzel’s landscapes for the magazine, entitled‘Stimmungen’ (‘Moods’), are characterized by a sense ofstillness and calm, tinged with melancholy.

Both this and the previous drawing belonged to the writerand art collector Walther Heinrich (1872–1939), whowrote under the pseudonym Walther Unus.

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72GIUSEPPE CASCIAROOrtella 1863–1941 Naples

Capri

PastelSigned Casciaro at the lower left208 x 303 mm., 8 1/8 x 11 7/8 in.

Provenance:Private collection, Italy

A graduate of the Accademia di Belle Arti in Naples,Giuseppe Casciaro enjoyed a long career of some sixtyyears, and made a particular specialty of landscapes in pastel.He may have first been inspired to take up the medium in

1885, when a series of pastels by the artist Francesco PaoloMichetti was shown in Naples. Two years later, Casciaro exhibited a series of eleven pastel landscapes of his own.He settled on the hillside quarter of Naples known as theVomero, and for much of his life his preferred subject matterwere views in and around Naples, as well as the islands ofCapri and Ischia. Between 1892 and 1896 he travelledregularly to Paris, where he received commissions from thedealer Adolphe Goupil. Appointed a professor at theAccademia in Naples, by 1906 he was engaged as a tutorin pastel drawing to Elena di Savoia, the Queen of Italy.Casciaro exhibited frequently in Naples and Venice, andalso in Paris, Munich, Barcelona, Prague, Athens and St.Petersburg.

This view of the island of Capri is an especially fine and freshexample of Casciaro’s mastery of the pastel medium.

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73ADOLF HIRÉMY-HIRSCHLTemesvár 1860–1933 Rome

A Standing Draped Figure

Black and white chalk on blue-grey paper480 x 315 mm., 18 7/8 x 12 3/8 in.

Provenance:The artist’s studio, RomeBy descent to his daughter MaudGalleria Carlo Virgilio, RomePrivate collection, Hawaii

Born in Hungary, Adolf Hirémy-Hirschl studied in Vienna,and in 1882 won a prize that allowed him to visit Rome for

two years. His experiences there were to have a profoundeffect on his work, notably in his preference for scenesfrom ancient Roman history. On his return to Vienna hesoon established a successful career as a painter, receivingnumerous commissions and producing grand, complexcompositions of historical or allegorical subjects that werewidely praised by critics and connoisseurs. One of theleading artists in fin-de-siècle Vienna, Hirémy-Hirschlproduced a large number of preparatory studies, in charcoalor chalk, for his paintings. This drawing is a study for thedrapery of a woman in the background of the artist’spainting of A Wedding Procession in Ancient Rome, completedin 1891. The painting depicts the moments before anancient Roman wedding, when the bride is led to the houseof the bridegroom, accompanied by bridesmaids singinghymns to the god Hymeneus.

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74MYLES BIRKET FOSTER, R.W.S.North Shields 1825–1899 Weybridge

Cliveden from Maidenhead Bridge, Berkshire

Signed with initials lower right and inscribed with titleunder mount: Cliefden from Maidenhead BridgeWatercolour heightened with bodycolourWhole sheet 178 x 220 mm., 7 x 8 1/2 in.

Provenance:J. Noble, 1882

Exhibited:London, J. & W. Vokins, 14 and 16 Great Portland St., BirketFoster Loan Exhibition, 1882, no.25 (part)

This is a view looking north from Maidenhead Bridge withthe island of Bridge Eyot in the foreground and ClivedenHouse on the hill in the distance. Cliveden is an Italianatemansion perched two hundred feet above the Thames.The present house, the third on the site, was built in 1851by Charles Barry for the 2nd Duke of Sutherland and it isnow a five star hotel.

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75JOHN SHERRIN, R.I.London 1819–1896 Ramsgate

Still Life of a Bird’s Nest and Primroses

Watercolour, with touches of white heighteningSigned JSherrin at the lower left165 x 207 mm., 6 1/2 x 8 1/8 in.

Provenance:Richard Haworth, BlackburnAudrey Pearce, Surrey, in 1972

One of the few known pupils of William Henry Hunt, fromwhom he adopted a lifelong interest in the depiction ofbird’s nests as a still life subject, John Sherrin began exhibitingat the Royal Academy in 1859. He eventually exhibitedsome forty works at the R.A., up to 1894, as well as afurther 150 drawings at the New Water-Colour Society,which he joined as an associate member in 1866. Sherrinworked mainly in watercolour, and specialized in still life andbird subjects. His technical abilities are readily evident in thepresent sheet, with its use of a stippling technique appliedwith minute brushstrokes. Watercolours like this owe muchto the example of Hunt, who was popularly known as‘Bird’s Nest’ Hunt. Such direct observation from nature ischaracteristic of Sherrin’s work, and reflects the particularinfluence of the ideas of John Ruskin, who was also taughtby Hunt.

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76HERCULES BRABAZON BRABAZONParis 1821–1906 Oaklands, Sussex

A Castle near Dubrovnik

Signed with initials lower right and inscribed verso:Dalmatia near RagusaWatercolour and bodycolour over pencil on greypaper116 x 155 mm., 4 1/2 x 6 in.

Exhibited:With the Beaux Arts Gallery, London, 1928

Brabazon was educated at Harrow and Trinity College,Cambridge and, on leaving Cambridge in 1844, spent threeyears in Rome where he learnt to draw. Following the deathof his older brother in 1847, he inherited the Brabazonestates in Connaught, Ireland and on the death of his fatherin 1858, he took over the family estate at Oaklands nearSedlescombe, Sussex. He spent his summers in Englandand travelled in Europe, North Africa and India in the winter,sketching as much as he could. It was not until 1891however, aged seventy, when he became a member of theNew England Art Club and first exhibited his work there,that his work became widely known and he achieved greatcommercial and critical success.

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77THÉOPHILE-ALEXANDRE STEINLENLausanne 1859–1923 Paris

A Woman at her Dressing Table

Black chalk, grey ink and grey wash, heightened withwhite and touches of red gouache, on boardSigned Steinlen at the lower left130 x 207 mm., 5 1/8 x 8 1/8 in.

A native of Lausanne, Théophile-Alexandre Steinlen movedto Paris in 1881, settling in Montmartre, and began tofrequent the literary cabaret known as Le Chat Noir. It wasthere that he met and befriended the artists Forain,Toulouse-Lautrec, Somm, Anquetin, Valotton and Carand’Ache, among others. The artists of Le Chat Noirestablished something of a private club of aesthetes, andSteinlen was soon contributing illustrations to the associatedjournal Le Chat Noir. The success of these led to hisbecoming one of the foremost illustrators in Paris by theturn of the century, with his work appearing regularly in GilBlas illustré and more than thirty other periodicals. Steinlen

depicted all manner of Parisian society in his drawings andillustrations, with a particular emphasis on the life of theworking class. Like his contemporaries Toulouse-Lautrecand Alphonse Mucha, he also designed theatrical andcabaret posters; an important means of disseminating hiswork and one that greatly added to his popularity. Steinlenenjoyed the first of many successful exhibitions of hispaintings and drawings in 1894, and in 1909 gained thedistinction of a room devoted solely to his work at the Salond’Automne.

As a draughtsman, Steinlen employed a wide variety ofmedia, including black, blue and coloured chalks, ink, pencil,watercolour and charcoal. The present sheet is unusuallyrefined in execution, and may be included among a handfulof more finished drawings by the artist, such as a portraitof his daughter Colette, drawn in coloured chalks, in theLouvre, as well as a pair of interior scenes and a watercolourstill-life of flowers and paintbrushes; these are also amongthe nearly 2,800 of the artist’s drawings in the collection ofthe Louvre.

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78RUDOLF PICKVienna 1865–1915 Vienna

The Giraffe Races

Watercolour, pen and black ink, and gouacheSigned and dated R. Pick 98 at the lower left399 x 608 mm., 15 5/8 x 23 7/8 in.

A pupil of the painters Eduard Gerisch and Imre Revesz,Rudolf (or Rudolph) Pick was active as a painter, illustratorand caricaturist of sporting, racing and hunting subjects.

A stylistically comparable series of thirteen colouredlithographs of comical hunting scenes by Pick, including onecomposition of a group of giraffes, served illustrate a large-format portfolio entitled Lebel’s Sport-Collection. Jagden inAfrika und Asien: Skizzen zum Tagebuch des Lord John W.Humbug, published by Verlag S. Lebel in Vienna. Pick alsoproduced a similar series of watercolours to illustrate TheStony Sinai, a humorous account of a British huntingexpedition in the desert, as well as a volume entitled BlackSport: Sketches by R. Pick. Some two hundred watercoloursby Rudolf Pick, including one other drawing of a giraffe,were included in the posthumous sale of the contents ofthe artist’s studio, held in Vienna in 1916.

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79VINCENZO GEMITONaples 1852–1929 Naples

Study of a Bearded Man, Looking to the Left

Brush and black wash, over an underdrawing inpencil, on light brown paperSigned and dated GEMITO / 1912 at the lower right218 x 138 mm., 8 5/8 x 5 3/8 in.

Provenance:Given by the artist to Vittoria Castelfranco in 1912Heim Gallery, LondonArthur M. Sackler, New YorkThence by descent until 2010

Vincenzo Gemito was perhaps the foremost Italian sculptorof the late 19th century. A precocious talent, the sixteen-year old Gemito exhibited a sculpture in Naples in 1868that attracted the attention of the King of Italy, VittorioEmmanuele II, who acquired a bronze cast of the work.Between 1877 and 1880 Gemito lived in Paris, and at theSalon of 1877 exhibited his sculpture of a NeapolitanFisherboy to considerable critical acclaim. Around 1887,however, after he began to experience bouts of mentalillness, Gemito gave up sculpture almost entirely, althoughhe continued to produce a large number of drawings. It wasnot until around 1909 that he again took up sculpture fulltime, creating some of his finest work in bronze, executedwith a delicacy and fineness of detail ultimately derived fromhis drawings. A gifted draughtsman, Gemito produced figureand portrait studies in pen, chalk, pastel and watercolourthat were greatly admired and avidly collected by hiscontemporaries.

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80JEAN-ADRIEN MERCIERAngers 1899–1995 Paris(?)

Two Women in a Cemetery in Rabat, Morocco

Gouache and watercolour, over an underdrawing inpencilSigned and dated Jean A. Mercier – 5 – 22 – at theupper right, and inscribed Rabat at the upper leftDedicated, signed and dated a Madame Lecocq bien(?)affecteusement / souvenir de Maroc - Jean A. Mercier/ – 5 – 22 – on the old backing sheet192 x 245 mm., 7 5/8 x 9 5/8 in.

Provenance:Given by the artist to a Mme. Lecocq

A graphic designer and illustrator, Jean-Adrien Mercier beganhis career in 1924 as a designer of publicity and cinemaposters, a field in which he was to remain active throughout

his life and for which he remains best known. Between1925 and 1942 Mercier designed more than 120 cinemaposters for films by such eminent directors as Jean Renoir,Abel Gance and Sacha Guitry. He also produced numerouscommercial posters, notably for the Cointreau brand, forwhom he worked for some forty years. At the end of the1930s Mercier began producing illustrations for children’sbooks, and also undertook work as a designer of calendars,book covers and so forth.

This watercolour is dated May 1922, when Mercier was 23years old. It is interesting to note that the young artist wasvisiting Morocco only a decade or so after the country hadbeen opened up to foreign visitors. Unlike Tunisia or Algeria,Morocco remained largely closed to foreigners throughoutthe 19th century, until it was declared a French and Spanishprotectorate in 1912. The French decided to move thecapital from Fez to Rabat, a port dominated by Barbarypirates since the 17th century. This drawing depicts a smallcemetery on the Atlantic coast of Rabat, just north of theKasbah des Oudaïas and to the north and east of the largerCimitière As-Shouhada.

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81MARCELLE FRANÇOISE KRIER-LAMBRETTEBorn 1899

Study of Seaweed

Watercolour, over an underdrawing in pencil, on paleblue-green paperSigned with initials M.L at the lower right452 x 325 mm., 17 3/4 x 12 3/4 in.

Born in Limoges in 1899, Marcelle Krier-Lambrette seemsto have been mainly active as a flower painter, although verylittle is known of her career. She was pupil of Luc-OlivierMerson, with whom she later collaborated by paintingflowers on the borders of his designs for tapestries, and wonseveral prizes and medals at the exhibitions of the Salon desArtistes Français.

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82KARL GEISERBerne 1898–1957 Zurich

Head of a Boy with a Cap

Pen and black ink on paper, laid down on a white cardStamped with the artist’s initials KG at the lower right97 x 82 mm., 3 7/8 x 3 1/4 in.

Provenance:Curtis Otto Baer, New Rochelle (Lugt 3366)By descent to his son, George M. Baer, AtlantaThence by descent until 2010

One of the most significant Swiss sculptors of the 20thcentury, Karl Geiser received his training in Berne, Munichand Berlin and, apart from brief visits to Paris, Rome andGenoa, worked mainly in Zurich. He enjoyed a successfulcareer, and among his important patrons was theWinterthur collector Georg Reinhardt. As a sculptor,

draughtsman and printmaker, Geiser’s subject matterwas often inspired by children. As one contemporarywriter noted, ‘The themes of this sculptor are characteristic.Geiser draws, above all, the adolescent. The body of theprepubescent youth, the man-child, all of whose proportionsescape any fixed rules, is the dominant element of his art.’Geiser received a number of public sculptural commissionsin Zurich, Berne and Winterthur, notably two sculpturalgroups of boys and girls for a new school in Berne,completed in 1937 and installed in 1938. In 1941 anexhibition of 350 of his drawings was held at the Kunsthausin Zurich, the same year that a large exhibition of hissculptures was mounted at the Kunstmuseum in Winterthur.Geiser suffered from depression throughout his life and diedin his studio in 1957, apparently a suicide.

The present sheet, a fine example of Geiser’s sparedraughtsmanship, may be grouped with the artist’s drawingsof the late 1920s and 1930s. As a draughtsman, Geiserworked mainly in pen, with a deceptively simple lineartechnique devoid of shading or hatching.

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83PIERRE EUGÈNE MONTEZINParis 1874–1946 Moëlan

Landscape with Wheatsheaves

Watercolour and gouache, over an underdrawing inpencil, laid down on boardSigned PMontezin at the lower left165 x 372 mm., 6 1/2 x 14 5/8 in.

Provenance:Private collection, Naples, Florida

Pierre Eugène Montézin was trained initially as a decorativemural painter, but began to devote himself to landscapepainting around 1893. Although he first submitted hiswork to the Salon des Artistes Français in Paris in 1893, itwas not until ten years later that his paintings wereaccepted. He continued to show there throughout theremainder of his career, winning several medals and prizes.Strongly influenced by the work of the first generation ofImpressionist artists, Montézin enjoyed a long and successfulcareer as a landscape and still life painter, equally adept inoils, pastels and gouache, with a technique much admiredby his contemporaries for its facility. Montézin served onthe jury of the Salon des Artistes Français in 1932, and inthe same year a large retrospective exhibition of his work,numbering over two hundred works, was held in Paris. In1940 he was elected to the Académie des Beaux-Arts,taking the place of Edouard Vuillard, who had died.Montézin continued working to the very end of his life,dying suddenly in 1946 while on a painting expedition toBrittany.

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84ALFRED CHARLES CONRADELeeds 1863–1955 Heywood

a. A Rococo salon, Paris

Signed lower left and on pediment lower right andinscribed on pediment: ParisWatercolour over pencil heightened with bodycolour530 x 375 mm., 20 3/4 x 14 3/4 in.

Conrade studied at the Düsseldorf Academy as well asin Paris and Madrid. He established a reputation as anarchitectural painter – his extensive use of pencil under -drawing is typical – and travelled extensively in Europe andJapan. He was chief artist at White City from 1911 to 1914,the site of the enormous Franco-British exhibition of 1908and the London Olympic Games of the same year.

b. The Interior of the Great Mosque, Cordoba, Spain

Signed lower left and on column lower rightWatercolour over pencil heightened with bodycolour530 x 365 mm., 21 x 14 1/4 in.

The Mosque at Cordoba has, at its centre, an early Christianchurch, before it was converted into a mosque in the eighthcentury by the Moors. In the fifteenth century, whenAndalucia was recaptured, it was turned into a church again.

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85D. M. S.20th Century

Art Deco Heads

Coloured chalks and pencil on buff paper, laid downSigned with the artist’s initials and dated D.M.S. / 1932at the lower right303 x 229 mm., 11 7/8 x 9 in.

Stylistic affinities with such Art Deco artists, designers anddraughtsmen as Paul Colin (1892–1985), Georges Lepape(1887–1971) and Jean Dupas (1882–1964) may be noted.

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86ALFRED AARON WOLMARKWarsaw 1877–1961 London

Porters: A Design for a Poster

Gouache and inkSigned WOLMARK at the lower right, and with initialsA.W at the centre360 x 290 mm., 14 1/8 x 11 3/8 in.

Born in Poland, Alfred Wolmark entered the Royal AcademySchools in London in 1894, and his early work comprisedscenes of Jewish life in the East End of London and familyportraits. By 1910, however, Wolmark had begun paintingin a more robust Post-Impressionist manner, his vibrantly

coloured paintings characterized by a bold application of paint and heavy impasto. Wolmark visited New York in 1919, andhis paintings of the city were exhibited there the followingyear. A gifted portraitist, he also produced book illustrationsand posters, as well as undertaking commissions for costumeand stage designs, stained glass windows and decorativepottery. While Wolmark enjoyed a modest degree of successbefore and just after the Second World War, his reputation fellinto decline long before his death and was only revived in the1970s by a new scholarly and critical appreciation of his work.This gouache drawing is likely to be a design for a commercialposter or image; Wolmark worked on posters mainlybetween the end of the First World War and the late 1920s.Similar motifs of men carrying heavy loads are also found inhis painting Work: The Temple Builders of 1919.

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87FRANK WASLEYPeckham 1848–1934 Henley-on-Thames(?)

Night Scene, Venice

Charcoal, pastel and gouacheSigned, dated and inscribed Pastel / Night Scene Venice/ FWasley 1927 on the backing board359 x 190 mm., 14 1/8 x 7 1/2 in.

A painter, watercolourist and draughtsman, Stephen FrankWasley specialized in coastal landscapes, marine subjectsand seascapes, with a particular penchant for atmosphericviews of Venice. Trained as a musician, he only took up

painting around 1875. Wasley exhibited at the RoyalAcademy and in various provincial galleries, and wasparticularly admired for his drawings. As one contemporarycritic noted, ‘his work is distinguished by a verve and vigourthat are truly remarkable . . . given to sudden and fleetinginspirations, our artist found paints and brushes slow ofpreparation and use compared to the handy sheet of paperand stick of charcoal. So that, although Mr. Wasley works withdistinction in water-colours and other mediums, it is evidentthat charcoal is his favourite, and the one that gives theclearest reflection of the poetic and sentimental phases of hismind . . . an added interest is lent to his drawings by theevidently varied treatment of the medium in the rendering ofthe different textures and surfaces depicted.’

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88CHARLES MAHONEY, A.R.A.London 1903–1968 London

Iris

Pen and black ink and watercolour, on a page from alarge sketchbook.321 x 305 mm., 12 5/8 x 12 in.

Provenance:By descent to the artist’s daughter, Elizabeth Bulkeley

Charles Mahoney defied his parent’s wishes to pursue acareer as an artist, winning a scholarship to the RoyalCollege of Art in 1922. By 1928 had returned to the RoyalCollege as a tutor, and went on to devote his career to acombination of painting, drawing and teaching. In 1937Mahoney bought a cottage in Kent, and began to grow andstudy a large variety of plants and flowers. An amateur

botanist, his scientific approach can be detected in all of hisplant sketches. According to the artist’s wife, ‘Charlesdelighted in plant life, its richness, strength, grandeur, colour,form and infinite textural qualities.’ Nature came to dominateall of Mahoney’s paintings, regardless of their subject matter.This confident and detailed sketch of an iris perfectlyillustrates Mahoney’s in-depth knowledge and under -standing of plants. As his friend and fellow painter BernardDunstan recalled, ‘I can think of very few recent artists whohave drawn plants with the vigour and understanding thatMahoney brought to them. . .Anyone who watched him drawwill remember the concentrated deliberation and thought -fulness of his line. His eye absorbed in the growth andstructure, his pencil would remain poised over the paper untilthe precisely ‘right’ line flowed from it . . . There is no gestural‘freedom’, no flourish; the curvature of a leaf or a stem is toosubtle and strong to be described by mere approximatecurves. Every curve is different and changes subtly through itslength . . . These studies seem to me to be drawing on thehighest level.’

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89MICHAEL REILLYBorn 1898

Two Designs for Great Western Railway Menu Cards:

a. Paignton, Devon

Gouache on cardSigned Michael Reilly at the lower right, and inscribedPaignton in the lower right margin162 x 241 mm., 6 3/8 x 9 1/2 in. [sheet]

Provenance:Malcolm Guest, Knaresborough, North Yorkshire

Born in 1898, Michael Reilly studied at the Central Schoolof Arts and Crafts in Birmingham between 1923 and 1926.Very little is known of his life and career, which seems tohave been spent living and working in the West Midlands;the artist lived in Birmingham in the 1930s and wasin nearby Sutton Coldfield by 1946. As a commercial

artist, Reilly received commissions from several railwaycompanies, including the Great Western Railway, SouthernRailway and the London Underground. He designed anumber of railway posters, of which several examples aretoday in the collection of the National Railway Museum inYork. These include a poster of Wells in Smiling Somerset,published by the Southern Railway in 1931 and Wales,Unsurpassed for Scenic Grandeur for the Great WesternRailway, printed around 1930. Other posters designed byReilly for the G.W.R. include scenes of Criccieth andPorthcawl in Wales, dating from 1935 and 1937 respec -tively, and Weston-super-Mare in Somerset, published in1946. A watercolour view of Aberystwyth in Wales, drawnby Reilly in 1946 and today in the National RailwayMuseum, was also used for a G.W.R. poster.

The harbour at Paignton, on the western shore of Tor Bayin Devon, was established in the 18th century, and remainedfor many years a thriving fishing port.

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b. Perranporth, Cornwall

Gouache on cardSigned with initials MR at the lower right and inscribedPerranporth in the lower right margin158 x 241 mm., 6 1/4 x 9 1/2 in. [sheet]

Provenance:Malcolm Guest, Knaresborough, North Yorkshire

On the Atlantic coast of Cornwall, southwest of Newquay,Perranporth is a small seaside resort noted for its cliffs,which overlook a wide, sandy beach, nearly two miles inlength.

Another design by Michael Reilly for a Great WesternRailway menu card, depicting a view of Newquay inCornwall and datable to c.1930, is today in the collection ofthe National Railway Museum in York.

Both of these gouache drawings by Reilly were part of theextensive collection of railway memorabilia – includingposters, artwork and archives, with a particular emphasison the Great Western Railway – assembled by the lateMalcolm Guest (1943–2009).

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90ERICH WOLFSFELDKrojanke 1884–1956 London

Study of an Arab Girl

Brush and brown ink, brown oil paint and chalk, onhandmade paperSigned Erich Wolfsfeld at the lower right636 x 468 mm., 25 x 18 3/8 in.

Provenance:Lotte Laserstein, Stockholm and Kalmar

Erich Wolfsfeld’s early career was largely devoted toprintmaking, but by around 1912 he had also begun paintingin oils, though usually preferring to paint on paper rather thancanvas. He travelled widely, and was drawn in particular toNorth Africa and the Middle East. Although a popular andhighly regarded teacher at the Akademie in Berlin, Wolfsfeld,as a Jew, was forced to resign in 1935 due to Nazi pressure.Three years later he settled in Britain, bringing much of hiswork with him. Writing a few years after his death, onecontemporary critic noted of Wolfsfeld that ‘He was an artistwho loved drawing for its own sake – who could combine powerand sensitivity – who enjoyed describing the human form eitherwith brush or chalk or the etcher’s needle . . . [and] with anintensity of perception that is deeply moving particularly in hisstudies of old men and young children.’

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91ANDRÉE LAVIEILLEParis 1887–1960 Paris

Coastal Cliffs, Brittany

Watercolour, over an underdrawing in black chalk, onthick white paperStamped with the Andrée Lavieille atelier stamp onthe verso380 x 264 mm., 15 x 10 3/8 in. [sheet]

Born into a family of artists, Andrée Lavieille exhibited at theSalon des Artistes Français for the first time in 1910. Shecontinued to paint after her marriage in 1912, raising threechildren while continuing to send works to the annual

Salons until 1939. As the years progressed, she began toconcentrate on working in watercolours, which allowed herthe greatest degree of spontaneity and freedom, at theexpense of oil painting. In the years following the SecondWorld War, however, Lavieille began to develop Parkinson’sdisease, affecting the use of her right hand. Her finalsketchbooks date from 1948 and 1949, and she appears tohave produced almost nothing in the last decade of her life.Although she had exhibited regularly at the Salons, Lavieilledoes not seem to have had any gallery exhibitions in herlifetime, and as such her work remains little known today.The present sheet depicts a view in Brittany, where Lavieilleand her family would spend most summer holidaysbeginning in the 1920s. A comparable watercolour of theheadlands of Castelmeur and Brézellec on the Breton coastis illustrated in a recently published biography of the artist.

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92RAY HOWARD-JONESLambourn 1903–1996 Pembrokeshire

Ayios Yeoryios, GreeceSigned lower right: Ray 69Watercolour and bodycolour and black chalk394 x 567 mm., 15 1/2 x 22 1/4 in.

Exhibited:London, Leicester Galleries, Exhibition of Works by RayHoward-Jones, May 1969, no.54, bt. L.P. Lee

Ray Howard-Jones was born in Lambourn, Berkshire ofWelsh parents. From 1920 to 1924, she studied at theSlade, but her career as an artist did not take off until shebecame one of the few accredited female war artist – manyof these works are now in the Imperial War Museum. Sheis best known for her views of the Island of Skomer off thePembrokeshire coast where she spent long periods of timebetween 1949 and 1958.

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93ÉMILE MANGENOTParis 1910–1991 Bagnoles-de-l’Orne

Marais en Bretagne

Gouache on thick white paper, laid downSigned E. Mangenot at the lower left502 x 650 mm., 19 3/4 x 25 5/8 in.

A highly regarded landscape painter, Émile Mangenotpainted views of the various regions of France, and inparticular scenes in Brittany and Normandy. He exhibited atthe Salon des Artistes Français, where he won a silver medalin 1957; in the same year a painting of his was acquired bythe State. It was not until 1958, however, that he had hisfirst one-man show, at the Galerie André Weil in Paris. Thefollowing year, one critic noted of the artist that ‘Émile

Mangenot’s brush is full of honesty and power, faithful to therules of classicism, the artist strictly limits himself to truth andto harmonious colour. His sumptuous landscapes, marked byserenity, are often decorated by pleasant daubs, they shine bytheir picturesque views selected with exquisite taste.’ In 1960the artist won first prize in the category of landscapepainting, as well as another silver medal, at the Salon desArtistes Français. That year, another critic wrote of anexhibition of Mangenot’s work that, ‘The landscapes ofFrance occupy a special place, and, consummate artist thathe is, he knows how to express their beautiful light and theirstillness. A variety of landscapes where his talent can practicein all its fullness, painted onto delicate canvases, hues, colours,form, are expressed with great art.’ Mangenot enjoyedseveral further solo exhibitions in the 1960s and 1970s, inParis, Lille and his home town of Bagnoles-de-l’Orne, innorthwestern France.

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Above:94INGRID GERHARDTDüsseldorf(?) 1925–2002

A Large Manor House

Watercolour and gouache, with pen and brown inkand brown washSigned and dated Gerhardt 50 at the lower right312 x 482 mm., 12 1/4 x 19 in.

Almost nothing is known of the German artist IngridGerhardt, who does not seem to appear in any biographicaldictionaries of 20th century artists. She studied at the free artschool established by the painter Jo Strahn in Düsseldorf inthe 1940s, and lived and worked for much of her later lifein France, in the département of Ille-et-Vilaine in Brittany.

The present sheet is one of a group of watercolours by theartist in stock.

Facing page:95ANDRÉ DERAINChatou 1880–1954 Garches

Recto: Costume Designs for a Musketeer and a WomanVerso: Still Life with a Plate of Fish on a Table

Pen and brown ink and brown wash on light brownpaper, the verso in pencil270 x 417 mm., 10 5/8 x 16 3/8 in.

Provenance:The studio of the artist, with the atelier stamp (Lugt 668a)

Datable to the late 1940s, the recto of this drawing can berelated to Derain’s work for the stage. In the last decade ofhis career Derain collaborated on several opera and balletproductions, eventually creating costumes and sets forthirteen ballets, two stage plays and two operas, while alsoproviding designs for a number of unrealized projects. Heworked with the Ballets Russes, Georges Balanchine’s Les

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Ballets 1933 and the Sadler’s Wells Ballet, and with thechoreographers Michel Fokine, Léonid Massine and SergeLifar. As one modern scholar has written of Derain, ‘He wasa born man of the theatre, gifted with an ability of renderinghis designs lyrical and comprehensible . . . It is as if his need totranspose his sentiments into another medium acted as aliberating force, and his designs . . . spirited, witty, modern and

utterly charming, accorded perfectly with the mood of themoment.’

The still life composition on the verso of the sheet is closeto that of such paintings of the latter half of the 1940s as theStill Life with Fish and Pitcher in the Musée d’Art Moderne inTroyes.

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96CHARLES FREDERICK TUNNICLIFFEMacclesfield 1901–1979 Afon Cefni, Anglesey

Shovellers on Llyn Coron, Anglesey

Signed lower right: C.F. Tunnicliffe and inscribed lowercentre: Llyn Coron. Dec. 30th Many Shovellers on thelake/Water so rough that often bill-tips were awash.Watercolour over pencil heightened with bodycolouron blue-grey paper239 x 294 mm., 9 1/4 x 11 1/2 in.

Tunnicliffe was born in Langley near Macclesfield and in1947 he moved from Manchester to a cottage at Malltraethon the south coast of Anglesey where he spent the rest ofhis life. Llyn Coron is a lake a mile from his home whereTunnicliffe frequently sketched birds. He was one of the bestknown post-War bird artists and specialised in drawing birdsin their natural setting. He worked for the RSPB andillustrated over 250 books.

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97NORMAN NEASOM, R.W.S.Tardebigge 1915–2010 Redditch

Canal at Hanbury, Worcestershire

WatercolourSigned and dated N. NEASOM. 1976 at the lowerrightInscribed Canal at Hanbury / Norman Neasom / 1976on the verso256 x 359 mm., 10 1/8 x 14 1/8 in.

Born on a farm near Redditch in Worcestershire, where hewas to live and work throughout his life, Norman Neasomstudied at the Birmingham College of Arts and Craftsbetween 1931 and 1935. He went on to teach painting forover thirty years, first at the Birmingham College of Art andlater at the Redditch School of Art, before retiring in 1979.

Working primarily in the medium of watercolour, Neasompainted landscapes in England and Wales that have beenaptly described as reflecting ‘a benign, pastoral vision in adeeply English tradition.’ His work was exhibited at the RoyalAcademy, the Royal Watercolour Society (to which he waselected in 1978) and elsewhere. In an interview in 2003,Neasom noted that ‘I paint from my feelings, rather thanbeing objective and copying what I see. I make a lot of initialdrawings and have a lot of notebooks where I write down thefacts about what I’m painting as well as my reactions to it . . .I like painting landscapes, I like painting people, and I likepainting landscapes with people in them.’ Neasom’swatercolours were hugely popular with collectors, andexamples are today in the collections of Her Majesty theQueen, the Birmingham Museum and Art Gallery, the RoyalWatercolour Society and the West Midlands Arts Council,among others. The artist died earlier this year, at the age ofninety-four.

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98JULIENNE PAULINE ISIDORINE WALTER,called ZOUM WALTERIxelles 1902–1974 Paris

Sea and Sky

Pastel on dark blue-grey paperSigned with initials and dated Z.W. / 71 at the lowerright285 x 322 mm., 11 1/4 x 12 3/4 in. [sheet]

A gifted painter and pastellist, Julienne (known as ‘Zoum’)Walter was the daughter of the Belgian artist Jean van denEeckhoudt, and began to paint at a very young age. Herwork was made up primarily of landscapes, executed inboth oils and pastel, the latter a medium she was to becomeparticularly adept. Following her marriage to François Walterin 1928, Zoum settled in Paris. Her first solo exhibitionswere held in Paris and Brussels in 1929, and in thesucceeding years she took part in the Salon d’Automne, theSalon des Tuileries and the Salon des Indépendants. A burstof creativity in the late 1960s and the early 1970s foundWalter returning to particular landscape motifs; views of thecoast of Normandy around Houlgate, the Alpilles ofProvence, the Alpes Maritimes around Nice, Menton andRoquebrune, the North Sea town of Koksijde, andelsewhere. She had a special interest in studies of skies;depicting vast, atmospheric landscapes devoid of details andany trace of a human presence.

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99KATHLEEN GUTHRIEFeltham 1906–1981 Shrewsbury

Waves

Gouache on board348 x 254 mm., 13 5/8 x 10 in.

Provenance:By descent in the family of the artist

A student at the Slade School of Art and the Royal AcademySchools, Kathleen Guthrie was given her first one-manshow in 1932, exhibiting landscapes and narrative scenespainted in a deliberately naïve manner. Although sheexhibited at the Royal Academy and the New English ArtClub, relatively few paintings survive from the period before

and after the Second World War. By the late 1950s, Guthriehad begun moving towards pure abstract compositions,while continuing to paint figurative subjects and landscapes.She began to travel around Britain, producing landscapesthat often explore the abstract qualities of a particular view,and also painting gouache sketches as a means of developingideas for her larger paintings in oil or acrylics. A retrospectiveexhibition of her paintings, in London in 1966, included bothabstract and figurative compositions, and elicited a numberof positive reviews. One critic noted ‘a sense of calm inmany of her pictures, a quality which is reflected in herabstracts. This later work makes the most profound impression,with its regard for the subtle play of light and thoughtful colourcombinations. It presents a sense of inevitable resolution, agentle form of abstraction . . .’. Guthrie continued to paintboth abstract and naturalistic subjects until her death, on asketching holiday in Shropshire, at the age of 76.

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100ANNE CONNELLBorn 1959

Study with Pyramid

Gouache over a pencil underdrawing on handmademarbled paper, mounted on Rives BFK paper andmounted on board305 x 305 mm., 12 x 12 in.

Drawn in 2010.

Anne Connell lives and works in Portland, Oregon. She hasexhibited widely in America over the past two decades, andin November 2009 Stephen Ongpin Fine Art mounted thefirst exhibition of her work to be held in Europe. Connell’ssmall, exquisitely detailed paintings are characterized by apainstaking technique and display a rich vocabulary of motifsand influences that reflect her close study of medieval andRenaissance imagery. Sampling images and patterns fromQuattrocento sources, the artist presents them in unfamiliarways to create an expressive vocabulary with its ownmeanings and purposes.

For other works by Anne Connell, please contact thegallery.

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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 in March and Art Antiques London in June. Stephen Ongpin FineArt mounts annual exhibitions of drawings in both London and New York, and also issues regularcatalogues.

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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ALKEN, Samuel Henry George no.37

ATKINS, Samuel no.23

AYLMER, Thomas Brabazon no.44

BARBER, Joseph no.34

BARTOLOZZI, Francesco no.15

BARTON, Ezekiel no.48

BEAUCLERK, Lady Diana no.19

BECKER, Edmund no.21

BESSA, Pancrace no.20

BEVERLY, William Roxby nos.64–65

BIRKET FOSTER, Myles no.74

BISON, Giuseppe Bernardino no.17

BRABAZON, Hercules Brabazon no.76

BRIGHT, Henry no.33

BRITISH or CONTINTENTAL SCHOOL,19th Century no.38

BRIZIO, Francesco no.5

BUVELOT, Abram-Louis no.49

CALLOW, William no.53

CARTER, Henry Barlow no.63

CASCIARO, Giuseppe no.72

CONRADE, Alfred Charles no.84

CONNELL, Anne no.100

COOPER JR., Richard no.11

COX, David nos.40–43

CROTCH, Dr. William no.35

DAYES, Edward no.26

DELLA BELLA, Stefano no.6

DERAIN, André no.95

DESGOFFE, Alexandre no.32

DE VOS, Marten no.3

DE WINT, Peter nos.30–31

D.M.S. no.85

DUTCH SCHOOL, 17th Century no.4

FIELDING, Newton Smith Limbird no.36

FORTESCUE, Henrietta Anne no.18

FRENCH SCHOOL,19th Century nos.29 & 47

GARDNER, Daniel no.12

GEISER, Karl no.82

GEMITO, Vincenzo no.79

GENDALL, John no.55

GERHARDT, Ingrid no.94

GÉRICAULT, Théodore no.25

GOLTZIUS, Hendrick [circle] no.7

GUTHRIE, Kathleen no.99

HENSHAW, Frederick Henry no.39

HIRÉMY-HIRSCHL, Adolf no.73

HIRZEL, Hermann nos.70–71

HOARE OF BATH, William no.9

HOLLAND, James no.45

INDEX OF ARTISTS

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109

HOWARD-JONES, Ray no.92

HUMPHREY, Ozias no.13

JONGKIND, Johan Barthold no.62

JOHNSON, Harry John no.52

KRIER-LAMBRETTE, Marcelle François no.81

LAVIEILLE, Andrée no.91

LEAR, Edward nos.60–61

LEMAN, Robert nos.56–57

LINNELL, John no.28

MAHONEY, Charles no.88

MANGENOT, Emile no.93

MAROLD, Ludek no.66

MERCIER, Jean-Adrien no.80

MONNIER, Henry Bonaventure no.59

MONTEZIN, Pierre Eugène no.83

NAFTEL, Paul Jacob nos.68–69

NEASON, Norman no.97

NEUVILLE, Alphonse de no.67

NICOLLE, Victor-Jean no.10

OUVRIÉ, Pierre-Justin no.54

PHELPS, Richard no.8

PICK, Rudolf no.78

PILLEMENT, Jean-Baptiste no.14

POLLOCK, Sir Frederick no.50

RAVIER, François-Auguste no.46

REILLY, Michael no.89

ROWLANDSON, Thomas no.16

SANDBY, Paul no.24

SHERRIN, John no.75

STEINLEN, Théophile-Alexandre no.77

SWETE, Rev. John no.22

TUNICLIFFE, Charles Frederick no.96

TUSCAN SCHOOL, 16th Century no.1

VANNI, Francesco no.2

VARLEY, John no.51

VOS, Marten de no.3

WALTER, Julienne Pauline, called Zoum no.98

WASLEY, Frank no.87

WOLFSFELD, Erich no.90

WOLMARK, Alfred no.86

YATES, Gideon no.27

YATMAN, William Hamilton no.58

16308 GP & SO Catalogue_v7 03/11/2010 10:09

16308 GP & SO Catalogue_v7 03/11/2010 10:09

one hundred drawings and watercoloursbrizio painted decorative frescoes for villas and palaces in...

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