Artists – C

Callow trained with Theodore and Newton Fielding. From 1827-9 he shared a studio with T.S. Boys in Paris, coming under the influence of R.P. Bonington. He had a teaching practise in Paris amongst the French nobility including the children of Louis Philippe.He travelled extensively in Europe and Britain throughout his long career, and made regular visits to Venice. He returned to England in 1841, and continued working as a drawing master for the next 40 years. He enjoyed huge popularity during his lifetime exhibiting regularly at the Society of Painters in Water-colours.His work can be found in all major drawings collections including the Victoria and Albert Museum and the Yale Center for British Art. Additional InformationYale Center for British ArtWikipedia

The artist was the eldest daughter of John Carwardine of Thinghills Court, Withington, Herefordshire, and his wife Anne Bullock, a miniature painter. She also practised miniature painting, regarded as a genteel pastime for a woman. It seems that Penelope took up painting as a means of earning a living after her father ran into financial difficulties from around 1754. Cawardine exhibited at the Society of Artists in 1771 and 1772.Cawardine painted many fashionable sitters including Lady Anne Egerton, the Earl of Coventry, Maria Gunning, Countess of Coventry (Wallace Collection) and Alice, the Countess of Egremont (Kenwood). James Boswell the diarist visited her home on March 15, 1763 to call on Lord Eglington who was having a miniature done, and described her in his London Journal as a ‘a very good-looking, agreeable woman’.She moved in artistic circles and was painted by George Romney, John Downman and Thomas Bardwell. She is said to have been a friend of Sir Joshua Reynolds and his sister Frances, and apparently Reynolds painted a portrait of one of her sisters as a present for her. (The only record of this is in Algernon Graves and William Vine Cronin’s A History of the Works of Sir Joshua Reynolds P.R.A., 1899, where a brief entry for Miss Cawardine states ‘Sat in 1777’).Her brother Rev. Thomas Carwardine (1734-1824), was rector and clerk of Earl's Colne Priory, Essex and a close friend of Romney, who was godfather to his daughter Anne (b.1779) and a frequent visitor to their house. Romney painted his portrait in 1772.Penelope Cawardine married James Butler, organist of Ranelagh and St. Margaret's, and St. Anne's, Westminster in 1763 at St James’s, Piccadilly. After her marriage she worked much less, as the social customs of the day dictated.The National Museum of Sweden owns the only other recorded drawing by Cawardine, drawn in a very similar style to the present work. It shares the characteristic diagonal hatching of the red chalk, is on similar laid paper and is cut into a rough oval in the same way.Examples of her miniatures can be found in the Wallace Collection, the Victoria & Albert Museum, Kenwood House, the Museum of Fine Arts, Houston and the Tormey-Holder Collection.Cyril Fry (1918 -2010) was a dealer in British drawings who owned a gallery in Jermyn Street. Fry and his wife Shirley amassed a substantial private collection over the course of his career.

Alice Mary Chambers was a talented and well-connected artist associated with Whistler and the Pre-Raphaelites, whose career and family ties have so far been overlooked. A notable figure in the late nineteenth century British art world, Chambers exhibited her work in many major galleries including the Royal Academy, was a close friend of the collector Charles Augustus Howell and gave Dante Gabriel Rossetti’s plaster death mask to the National Portrait Gallery.Chambers was born in Harlow, Essex in 1854 or 1855. Her father Charles Chambers (1817–1874), vicar of St Mary’s, Harlow, was a significant figure in the ritualist or AngloCatholic movement, her mother Mary Upton (c.1815–1873) the daughter of a Sedbergh cotton merchant. Orphaned by their death within a year of each other in 1873–4 she was able to complete her studies in art. The 1881 census records Chambers as an artist in drawing and painting, living at 17 Red Lion Square in the house which had been previously lived in by William Morris, Dante Gabriel Rossetti and Edward Burne-Jones and where Morris, Marshall, Faulkner & Co. had their first headquarters.Chambers was a direct contemporary of Evelyn De Morgan, Kate Bunce and Marianne Stokes and like them, the Pre-Raphaelite influence on her work was profound. She was a friend of the collector Charles Augustus Howell and through him met other artists such as Whistler (see McClean, op cit. p. 77). Howell was Ruskin’s secretary from 1865–70, and a close friend of Algernon Swinburne,the Burne-Joneses and Whistler. Howell famously oversaw the exhumation of Lizzie Siddal’s coffin to recover Rossetti’s manuscript poems in 1869 and was rumoured to have overseen the forgery of various paintings with the help of his lover, the artist Rosa Corder. When the collector Samuel Wreford Paddon sued Howell for fraud, Chambers and Corder provided promissory notes to help settle the claim. On Howell’s death in 1890 he named Chambers as an executor and trustee of his will and a guardian of hisdaughter Rosalind and she made the arrangements for his funeral and the sale of his estate.Chambers exhibited nine works at the Royal Academy between 1883 and 1893. Her work included such titles as Cydippe, Psyche, A Priestess of Ceres, Nancy, An Egyptian Fellah Woman, Relentless Memory and During the Prelude. She exhibited Daphne in 1892 at the New Gallery; the catalogue described it as a ‘little upright picture of a maiden penetrating with closed eyes throughdense laurel thicket’ (New Gallery 7). She showed During the Prelude and Home through the wood: Brittany, at the Autumn 1894 exhibition of the Royal Birmingham Society of Artists (Royal Society 35, 55). She exhibited work at the Royal Institute of Painters in Water Colours, the Walker Art Gallery in Liverpool, and the Manchester City Art Gallery. She also provided the frontispiece illustration for Mary Hullah’s The Lion Battalion (1885), a collection of stories for children.She specialized in drawings of female figures and mythological and orientalist subjects, and favoured red chalk and her monogram is reminiscent of that of Rossetti. She often used a leafy backdrop, as in the present work (not unlike the famous Morris wallpaper Willow Boughs) which can also be seen in her lithograph of the actress of the silent screen Mary Anderson and a similar drawing of a woman with her hair up and with plants in the background which was sold at Christies, London (10 March 1995, lot 134).Chambers appears to have moved again in London and led quite a peripatetic life spending time in Spain and France and was living in Sussex by 1911. In 1913 she donated Rossetti’s plaster death mask to the National Portrait Gallery.

Chapman was born in London. He studied at the East India Company’s Military Seminary at Addiscombe, where he won several exam prizes. After a year at Chatham he joined the Bombay Engineers. As Second Assistant in the Department of Roads and tanks he took charge of the works on the Agra road from the foot of the Thull Ghaut to Candore from 1846, receiving much praise for his work. He married Brigadier Twemlow’s second daughter Charlotte in Aurungabad in June 1848.After a leave of absence spent researching engineering projects in England in 1851, he joined the Institution of Civil Engineers as an Associate Member. On his return to India in October 1852, he was appointed to the survey of the construction of a canal between the Indus and Kurrachee. He concluded that a railway line would offer greater advantages. While investigating this he had a fatal accident on the river Indus in December 853. After his untimely death the road he had worked on was renamed Chapman Road, Thull Ghaut.Brigadier Twemlow (1796 - 1877) of the Royal (Bengal) Artillery was the commandant at Aurungabad (Nizam’s Contingent) who had a distinguished military career in India from 1812. He lived in a bungalow at Roza, ‘an old Mohammedan tomb surrounded by a walled garden’, (Francis Egerton, ‘Journal of a Winter’s tour in India’, 1852, vol. II, p. 225).He returned to England in 1853 and devoted himself to scientific and archaeological pursuits.

The artist was born in London, the daughter of John Chase, an artist, and his second wife, Georgiana. John Chase had been partly trained by John Constable and his first wife, Mary Ann Rix (d. 1840), had also been a watercolour artist. Chase was taught perspective and watercolour painting by her father and life drawing by Margaret Gillies (1803-1907), who was not only an artist but also a pioneer of women’s liberation, and amongst the earliest supporters of the suffrage movement.She exhibited from 1866 to 1905 at the Royal Academy, the Royal Society of British Artists, the Royal Institute, the Dudley Gallery, the Grosvenor Gallery, the International Exhibition of 1871 and various provincial, colonial, and foreign exhibitions. On 22 March 1875, she was elected an associate of the Institute of Painters in Water Colours, and in 1879 she became a full member. In 1878 she contributed drawings and watercolours to the journal The Garden. In 1888 the Royal Horticultural Society awarded her a silver medal.Chase died in 1905 after a heart operation and is buried in St Pancras Cemetery.Examples of her work can be found in the Victoria & Albert Museum and in the collection of Aberdeen Art Gallery.

Born in St Petersburg of a Swiss father and Russian mother, Chevalier moved to Switzerland in 1845 where he studied at the drawing academy affiliated with the Musée Arlaud in Lausanne before studying architecture at the Academy of Fine Arts in Munich. He travelled to London in 1851 to see the Great Exhibition, where he also trained as a lithographer and exhibited watercolours at the Royal Academy.Chevalier arrived in Melbourne in 1854 and found employment on the magazine Melbourne Punch. Alongside his work as a commercial illustrator he also published in 1865 a portfolio of 12 landscape prints, the earliest examples of chromolithography in Australia. Chevalier visited New Zealand in 1865–66, making extensive records of his tour, which he exhibited in Christchurch and Dunedin and in Melbourne at the Intercolonial Exhibition of 1866–67, as well as at the Paris Salon in 1868.When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News. Later, he was invited to join the Duke’s entourage for the voyage back to England. His sketches and watercolours documenting the journey were exhibited at the Crystal Palace and at the South Kensington Museum in 1872.After settling in London in 1870, Chevalier received numerous commissions from the royal family. He also travelled routinely to Switzerland to paint. His influence on the development of the fine arts in Australia remained strong.Towards the end of his life Chevalier spent his winters in Madeira, where his final watercolours were made. This view shows Loo Rock in Funchal Bay and gives an evocative sense of the terraces of the city in the late 1880s.

These fine examples of watercolours by Chinese Artists of the Straits School are in the style of the Chinese artists who worked for Sir Stamford Raffles in Singapore and Major-General William Farquhar (c.1771-1839) who was Resident of Malacca from 1808-1818. The frequent movements of trade and personnel between India and China, via ports on the Malay peninsula including Malacca and Prince of Wales Island, meant that collectors frequently had both Indian and Chinese drawings in their collections. Henry Noltie has suggested that this school is named ‘Straits School’ (see Forgotten Masters Indian Painting for the East India Company, ed. W. Dalrymple, 2019, pp. 78-82).British patrons commissioned local Chinese artists to draw the flora and fauna of Malacca and the extensive botanical annotations in Jawi, the Malay script derived from Arabic, Romanised Malay, Latin and Greek and with reference to the Linnaean system of classification, created by Carl Linnaeus (1707-78) are typical of this material.The accumulation of natural history drawings by officials of the British East India Company gave rise to the term ‘Company School’, now out of favour, which has been used to describe the work of Indian or Chinese artists for British patrons. The distinctive style is a result of a fusion of two artistic traditions, the European with its desire for realism and the Asian taste for a more stylised approach.The eighteenth and early nineteenth century saw an enormous rise of interest in Europe in the study of natural history by both scientists and amateurs. A knowledge of the subject was considered to be an important part of a liberal education and many people studied ‘natural philosophy’ and the various branches of natural history. Accurate drawings were vital tools in classification as well as a reminder of the excited reaction to new discoveries.

Born in London, Chinnery spent most of his working life in India and on the China coast. The preeminent artist of British India from 1802 his paintings and drawings record the world of the British East India Company.He lived in Madras, Calcutta and Dacca where he taught Sir Charles D’Oyly. In 1825 he sailed for China to escape his creditors and his wife and built a thriving practise amongst the trading community in Macao, Hong Kong and Canton. He worked in oils and watercolours and painted miniatures and numerous sketches, many inscribed in his distinctive shorthand.Additional InformationArt UKWikipedia

Edward William Cooke spent ten seasons in Venice from 1850-1877, entranced by the city’s architecture like so many artists before and after him. Rowed by his gondolier, Vincenzo Grilla, Cooke found innumerable subjects to explore. As John Munday observes, ‘What marine painter, worth his salt, could ignore the call of the Serenissima? Certainly not Edward Cooke, for her waterways fringed by palaces and churches of a unique style reflecting moving colour and light were thronged by a fascinating variety of working craft. Further, the islands in the lagoons were set against a mountainous backdrop and were subject to atmospheric effects which could be theatrical. What more, to his taste, could any place offer?’ (John Munday, Edward William Cooke: 1811-1880, Woodbridge 1996, p. 151).Cooke’s views of Venice earned the enthusiastic praise of his contemporaries, including John Ruskin.The Royal Academy, London has a collection of Cooke’s pencil sketches which illustrate in depth the quality of his draughtsmanship.

Cotman is regarded as one of the greatest English watercolourists of the Norwich School. Early in his career he was associated with the circle of Dr Thomas Monro where he met Turner and Girtin. His unique style developed around 1803-5 when he visited Yorkshire and produced his Greta drawings, regarded as his greatest works. He moved to Great Yarmouth to teach Dawson Turner's daughters from 1812-1842, was in Norwich from 1824 and then back to London for most of the rest of his life, elected Professor of Drawing at King's College in 1833. He made trips to Normandy in 1817, 1818 and 1820. His later work was experimental and highly coloured. Additional InformationCotmaniaArt UKWikipedia

Miles Edmund was John Sell Cotman’s eldest son and his closest collaborator, his work often very similar to that of his father. He is particularly famed for his seascapes in watercolour of which the present work is a fine, exhibited, example. He was born in Norwich and spent his childhood and adolescence in Great Yarmouth, learning from his father. He exhibited with the Norwich Society of Artists from 1823, when the family returned to Norwich, and assisted his father with a drawing school run from the family home.He married Elizabeth Juby in 1842 and they had three children. The family lived in North London in the early 1850s but returned to Norfolk a few years later, where Cotman continued to paint and teach.M.E. Cotman’s work can be found in many public collections including the British Museum and Norwich Castle Museum & Art Gallery.

One of the greatest landscape painters of the early 19th century Cox joined the Society of Painters in Water Colour in 1812. He moved from his native Birmingham to London in 1804 where he worked as a drawing master. He moved to Hereford and made regular tours of the Wye Valley and Wales. He visited the Low Countries in 1826, Paris in 1829 and France in 1832. He lived in London from 1826-1841 and continued to travel in Yorkshire, Derbyshire, Wales, Lancashire and Kent. From 1841 he lived in Birmingham until his death making regular tours of North Wales.His work developed throughout his life and falls into 3 major stylistic periods.Additional InformationTateYale Center for British ArtWikipedia

The artist studied in Birmingham under Joseph V. Barber (1788-1838) and moved to London in 1828. He was one of the leading practitioners of the Birmingham School of Artists and a founder member of the Etching Club. Creswick exhibited over 250 paintings in London during his lifetime at the Royal Academy and Suffolk Street Galleries, and also worked as an illustrator. He sought out subjects from the rivers and streams all over the British Isles.The present work has a pleasing spontaneity and sense of place which reflects Creswick’s habit of painting outside from nature. He was particularly drawn to streams which he painted many times. He revels in depicting the colours, shapes and textures of the boulders in the foreground of this work and excels himself conveying the softness of the moss on the first rock. John Ruskin praised Creswick’s handling of foliage and his observations from nature in the first volume of Modern Painters (1843). Oils on paper by him are comparatively rare.Creswick’s work is represented in many British institutional collections and the Yale Center for British Art, New Haven.

Cristall worked in oil and watercolours and was born at Camborne, Cornwall, in 1767 to an educated, seafaring family. Dr. Monro was one of his early friends. His first artistic job was as a china-painter in the potteries. He became a student at the Royal Academy, and was in 1805 a founder member of the Water-colour Society, of which he was also the first president from 1821 until 1832. Cristall was a founder and important member of the Sketching Society. He toured North Wales in 1803, 1820 and Cumberland in 1831. His early work, usually of classical figures in landscapes developed into watercolours of rural labourers treated with an unusual realism. His sketches from nature have a pleasing freshness of touch.In 1812 he married a French widow. He continued to devote most of his time to painting, and after 1821, was almost always sketching plein air in the Wye Valley where he lived for seventeen years in Goodrich, Herefordshire, returning to London after his wife's death. He died in London and was buried next to his wife at Goodrich, where there is a monument to his memory. A three days' sale of his studio was held at Christie & Manson's in April 1848. His work can be found in most major drawings collections including the British Museum, the Yale Center for British Art and the V&A. Additional InformationBritish MuseumV&AYale Center for British Art