François Louis Thomas Francia

KT524Signed and dated l.c.: L Francia 1828 (?), watercolour with scratching out19.7 x 27.5 cm.;7 ¾ x 10 ¾ inchesProvenanceSotheby’s, London, 7 June 2006, lot 356;Bonhams, London, 23 September 2008, lot 40This charming view of London from Greenwich is painted from a similar vantage point to the artist’s famous self-portrait in Greenwich Park, in the collection of the Musée des Beaux-Arts, Calais (Inv.86-57-2). The towers of the hospital can be seen in the present drawing, with the dome of St Paul’s cathedral looming between them on the horizon.Francia was Bonington’s teacher whose work provides an important link between British and French watercolour painting in the early nineteenth century. A native of Calais, he left for London in 1788 after the outbreak of the French Revolution and remained until 1817. He established a practice as a drawing master in London and a reputation as a painter of marine and landscape watercolours. He attended the Monro ‘Academy’, made sketching tours, was secretary of the Brothers, a sketching club of which Girtin was a member and was also secretary of the Associated Artists in Water Colours. He exhibited at the Royal Academy from 1795-1822. Francia returned to Calais in 1817. He gave Bonington his first professional lessons in watercolour in Calais as well as other artists including William Wyld, Eugène Isabey, Tesson and Collignon. British and French artists who passed through the town on a tour of the coast or en route to Paris or London would visit him.

Signed l.c.: FRANCIA, watercolour over traces of pencil.10 x 23 cm.; 4 x 9 inchesProvenanceSir William Forbes, 7th Baronet, of Pitsligo (1773-1828), also of Colinton House, Greenhill House and Fettercairn House, Kincardineshire and by descent until 2017;With Abbott and Holder;Private collection U.K. until 2024Francia was Bonington’s teacher whose work provides an important link between British and French watercolour painting in the early nineteenth century. A native of Calais, he left for London after the outbreak of the French Revolution and remained until 1817. He established a practise as a drawing master in London and a reputation as a painter of marine and landscape watercolours. He attended the Monro ‘academy’, made sketching tours, was secretary of the Brothers, a sketching club of which Girtin was a member and was also secretary of the Associated Artists in Water Colours. He exhibited at the Royal Academy from 1795-1822. He returned to Calais in 1817.Sir William Forbes, 7th Bt., began acquiring Old Master drawings as a young man, travelled to Italy in 1827 and formed an important collection of Old Master paintings later in life. He bought extensively from the posthumous sales of John McGouan (L. 1496), another significant Scottish collector, in 1803 and 1804. He was also an enthusiastic patron of British contemporary watercolourists.

Signed c.r.: Francia, watercolour over traces of pencil with scratching out and touches of bodycolour, numbered verso: No 44.20.4 x 29.4 cmProvenanceBaron François Adolphe Akermann, régent of the Banque de France and his wife Louise Marie née Boquet de Saint-Simon, the Chateau de Coulonges, Rahay, Sarthe, France, by direct descent until 2018An important addition to Francia’s known oeuvre, this drawing shows the busy port of Dunkirk with loggers moving their wood in the foreground in front of a variety of moored boats. The Leughenaer, or Liar’s Tower, on the right of the composition, is one of the most famous monuments in Dunkirk and continues to dominate the old port. It was erected by Jacques Desfontaines in 1405 and is Dunkirk’s oldest surviving building. Originally part of the port’s fortifications, it became Dunkirk’s first lighthouse at the end of the eighteenth century. The Leughenaer is 30 metres high and overlooks Minck Square, the site of the old fish market. Between 1814 and 1823 the top section with a search light was added to the tower.There is a drawing by Francia dating from around 1824, now in the collection of the Musée des Beaux-Arts, Dunkirk, which shows the tower from the quay on the right had side of the present watercolour (see Louis Francia’ Musée des Beaux-Arts, Calais 1988/89, no. 79).Francia was Bonington’s teacher whose work provides an important link between British and French watercolour painting in the early nineteenth century. A native of Calais, he left for London in 1788 after the outbreak of the French Revolution and remained until 1817. He established a practise as a drawing master in London and a reputation as a painter of marine and landscape watercolours. He attended the Monro ‘academy’, made sketching tours, was secretary of the Brothers, a sketching club of which Girtin was a member and was also secretary of the Associated Artists in Water Colours. He exhibited at the Royal Academy from 1795-1822. He returned to Calais in 1817. He gave Bonington his first professional lessons in watercolour in Calais as well as other artists including William Wyld, Eugène Isabey, Tesson and Collignon. British and French artists who passed through the town on a tour of the coast or en route to Paris or London would visit him.Baron François Adolphe Ackerman (1809-1890) was born in Paris and followed his grandfather and father into the world of finance becoming receveur général des Finances for the department of the Dordogne in 1834 at the age of twenty-five. He was an able financier and rebuilt the family estate at Coulonges, Rahay, Sarthe also becoming mayor of Rahay. He became deputy governor of the Banque de France in December 1870 and régent of the Banque de France on 27 January 1871, holding the office until his death. He was painted by Winterhalter. He and his wife had two daughters one of whom, Henrietta, married Vicomte Henri de Bouillé.

Signed on sail: Francia, watercolour over traces of pencil with scratching out and touches of bodycolour, numbered on old mount: No 8114 x 20.4 cmProvenanceBaron François Adolphe Akermann, régent of the Banque de France and his wife Louise Marie née Boquet de Saint-Simon, the Chateau de Coulonges, Rahay, Sarthe, France, by direct descent until 2018This drawing comes from a friendship album started by Baron Akermann (1809-1890) for his wife after their marriage in 1836. There was a vogue for such albums in the nineteenth century and visitors would bring a drawing or watercolour as a symbol of friendship or to commemorate a visit. The magnificent leatherbound album contained an unmounted group of drawings and watercolours by artists such as Richard Parkes Bonington, Francia, William Wyld, Decamps, Vernet, Granville, Garneray, Coignet and others. The subjects ranged from marines to genre scenes, landscapes, still lifes, interiors.