Sold Works

Inscribed with colour notes l.r., signed with initials, inscribed and dated on reverse of original backing: Downstone Rock from Saugh Mill.Devon./JWA Septr. 21.1831,/No. 18., pen and grey ink and watercolour with gum arabic, on original washline mount 21 x 16.7 cm; 8 ¼ x 6 ½ inches Provenance : With Andrew Wyld, London; The Flannery collection, UK, and by descent until 2018. Abbott was one of the best amateur watercolourists of the late eighteenth century. An Exeter surgeon and apothecary, he lived in the city until 1825. He exhibited paintings at the Royal Academy from 1793 and received contemporary acclaim for the style of his work. The artist John Downman said that Abbott ‘prefers his drawings before his paintings, as they are done with more spirit’. 1 In 1825 Abbott inherited Fordland, a Devon estate, from his uncle James White, an Exeter barrister and non-conformist, who was a close friend of Francis Towne. Abbott became a patron and pupil of Towne’s, and his linear style shows the artist’s influence. After he moved to Fordland, Abbott devoted himself to drawing. This view appears to show Dewerstone Rock seen from Shaugh Mill, near Shaugh Prior, on Dartmoor. Shaugh Mill was used for papermaking and stood by a stream of spring water. 2 In 1790 the papermaker was Richard Howard. It appears to have been a popular spot for artists to record, and was painted by J. F. Lewis and J. M. W. Turner amongst others. Another view by Abbott entitled Downstone Rock from a different aspect is in the collection of the Provost and Fellows of Eton College. 1. Joseph Farington, The Diary of Joseph Farington, republished 1978–1984; entry for 26 June 1804; vol. VI, p. 2362. 2. A. H. Shorter and R. L. Hills, Studies on the History of Papermaking in Britain, 1993. I am grateful to April Marjoram for her comments about this view.

Inscribed verso: Near Low wood July 16/Evening light on the [?]position from the Right, signed with initials, inscribed and dated on label attached to backboard: On Winandermere [sic] near Lowwood./JWA. July 16.1791, pen and grey ink and watercolour, original hand drawn mount attached to backboard 18.6 x 23.9 cm; 7½ x 9⅜ inches Provenance: Thomas Agnew & Sons Ltd, London, no. 14336; The Flannery collection, UK, and by descent until 2018. This drawing shows Windermere near Low Wood, drawn in a gentle evening light which catches on the trees; a building on the left with a boat moored in front of it and slates stacked up at the base of the tree on the right. It seems most probable that the building is the Low Wood Inn. Nine years later, Low Wood Bay is where Dorothy Wordsworth’s Grasmere journal begins (May 14 1800. Wm & John set off into Yorkshire after dinner at 1/2 past 2 o’clock – cold pork in their pockets. I left them at the turning of the Low-wood bay under the trees…).1 From the end of the eighteenth century, the numerous slate quarries of the area had begun to increase production to supply the expanding industrial areas of the north of England. The slates would have been transported by boat, using craft like the one moored on the lake in this watercolour. John White Abbott was a surgeon and apothecary in Exeter for about twenty years. Drawing was his hobby, and he was the best-known pupil of Francis Towne (1739–1816). He exhibited oil paintings regularly from 1793 to 1805 at the Royal Academy as an honorary exhibitor (a nonprofessional artist). His uncle James White, an Exeter barrister and non-conformist, was a close friend of Towne’s and accompanied him on his Lake District tour of 1786. Abbott’s only known tour of any length outside Devon was to Scotland and the Lake District five years later. A series of eighty dated drawings from 13 June (York Minster) to 28 July (Glastonbury Abbey), record him in the Lakes during the second week of July 1791. He approached from the direction of Carlisle (7 July), spent two days around Ullswater, and was at Rydal on 10 July. After a couple of days in Grasmere and Windermere (12 July), he sketched in Borrowdale on 13 July before turning southwards, but was on Windermere again on 16 July, when the present work was drawn. Abbott travelled to Liverpool the following day and then on to the Peak District in Derbyshire, where he stayed from 21 to 23 July. Although it is not known exactly when Towne taught Abbott, it has been suggested that the two must have been in contact in the later part of the 1780s when Abbott was in his twenties, as the work Towne produced on his Lake District tour appears to have had a strong influence on Abbott’s early style, and on the work he drew during his own tour of the Lakes five years later. 2 In 1825 Abbott inherited his uncle’s fortune and his property, Fordland, in Devon, and retired from the medical profession to devote himself exclusively to his painting, although he did not exhibit at the Royal Academy after 1822. 1. Dorothy Wordsworth, The Grasmere Journals, republished 1987, p. 18. 2. T. Wilcox, ‘Francis Towne and his friends’, exhibition catalogue, 2005, no. 29.

Inscribed l.l.: Fordland/June 5/1841, pen and grey ink and wash over traces of pencil 26.5 x 21.5 cm.; 10 3/8 x 8 ½ inches Abbott was one of the best amateur watercolorists of the late eighteenth century. An Exeter surgeon and apothecary, he lived in the city until 1825. He exhibited paintings at the Royal Academy from 1793 and received contemporary acclaim for the style of his work. The artist John Downman said that ‘he prefers his drawings before his paintings, as they are done with more spirit’ (J. Farington, Diary 26 June 1804; vol. VI, p. 2362). In 1825 the artist inherited the Devon estate of Fordland from his uncle James White a barrister and non-conformist. He delighted in drawing the woodland on his estate, developing the style he learnt from Francis Towne, his drawing master, with sophisticated handling of light and shade in the depiction of trees in monochrome.

KT442 Pen and grey ink and grey washes 24.8 x 31.5 cm.; 9 ¾ x 12 3/8 inches Provenance Cyril and Shirley Fry until 2021 A surgeon and apothecary in Exeter for about twenty years, drawing was John White Abbott’s hobby, and he was the best-known pupil of Francis Towne (1739-1816). He exhibited oil paintings regularly from 1793 to 1805 at the Royal Academy as an honorary exhibitor (a non-professional artist). Peamore is an historic country estate near Exeter where White Abbott and Towne made a number of watercolours. The present work has similarities with a drawing of the quarry at Peamore dated 1796 in the collection of the British Museum (2012,7037.1). The Walker Art Gallery, Liverpool, have a drawing of Peamore dating from 1802 with similar leaning trees. The Devon topographer Rev. John Swete wrote in 1789, ‘ the chief beauty of Peamore lies in the undulating form of its grounds, rising and falling in the regular alternation of hills and dales; in its woods, groves and trees and in a quarry which surrounded by a thicket of high towering oaks, beech, etc., is one of the grandest and most romantic objects in the country’ Travels in Georgian Devon: The Illustrated Journals of the Reverend John Swete, 1789–1800, edited by Todd Gray and Margery Rowe (Halsgrove, 1997), Vol. 1, p. 56. Peamore is about five miles south of Exeter and visitors and artists were permitted to explore its grounds. From 1774 until 1795 it belonged to the Coxe family until the death of Henry Hippisley Coxe when it was sold to Samuel Kekewich, in whose family it remained until 1947. In 1825 White Abbott inherited the Devon estate of Fordland from his uncle James White. He delighted in drawing the woodland on his estate, developing the style he learnt from Francis Towne his drawing master with sophisticated handling of light and shade in the depiction of trees in monochrome.

Trees Dated l.r.: July 27. 1833, pen and grey ink and wash 35 x 23.5 cm This is a charming example of White Abbott’s celebrated and ‘modern’ style of drawing, with its use of clear pen and ink outline and flat washes, derived from the style of his teacher Francis Towne. A Devonian with a particular love of trees, the artist exhibited from time to time in London as an honorary member of the Royal Academy of Arts, but he never sold any of his work. This may well be a view of Fordland, the estate in Devon not far from Exeter which he inherited from his uncle James White, the lawyer and fellow pupil of Francis Towne, in 1825. White Abbott’s work can be found in many public collections, including the British Museum, Victoria & Albert Museum, the Ashmolean, the Royal Albert Memorial Museum, Exeter and the Yale Center for British Art, New Haven.

Inscribed beneath in brown ink: At Eastbourne 1848, watercolour over pencil with a brown line border, framed in a wooden moulding (Image) 12.5 x 20 cm; 4 7/8 x 7 3/4 inches Provenance Spink, 1980 The Italian artist, born in Cremona, settled in England in 1803, having travelled in Greece and Egypt with William Wilkins, R.A. His work has often been confused with that of Constable, particularly his coastal views which look quite similar. Examples of his work may be found at the British Museum, the V & A, Brighton Art Gallery and in several other museum collections.

Signed with initials l.l.: E.A., watercolour over traces of pencil heightened with bodycolour and stopping out, with touches of red chalk, in a period burr maple frame Sheet 38.9 x 27.6 cm.; 15 ¼ x 10 ¾ inches, painted area 33 x 18 cm.; 13 x 7 inches Provenance Christie’s, London, 3 February 2000, lot 160; Sotheby’s, Gleneagles, 30 August 2000, lot 1153; Private collection, London until 2023 Alexander is best known for his exquisite watercolours of flora, fauna and the natural world. Alexander studied at the Royal Institution, Edinburgh from 1887-8, and in Paris with the sculptor Emmanuel Frémier. In 1887-8 the artist travelled to Tangier with his father and fellow artists Pollock Nisbet and Joseph Crawhall. He returned to Egypt in 1892 and lived there for four years. After his return he married Dora, moved to just outside Musselburgh, and created a menagerie that he used for his work. Plants remained important subjects for his painting and, in 1909, he illustrated J. H. Crawford’s The Wild Flowers. In 1902 Alexander was elected an associate of the Royal Scottish Academy becoming a full member in 1913. He exhibited widely including at the Royal Scottish Academy, Royal Academy, Fine Art Society, Royal Watercolour Society and the Leicester Galleries. Alexander’s work is held in the Tate Gallery, Aberdeen Art Gallery, Dundee Art Gallery and by Fife Council.

Signed with initials and dated l.r.: EA/1904, watercolour and bodycolour over traces of pencil on rough brown paper Image size 17.5 x 22.8 cm.; 6 7/8 x 9 inches, sheet size 22.5 x 27.5 cm.; 8 7/8 x 10 ¾ inches Frame size 37.5 x 43 cm.; 14 ¾ x 16 7/8 inches Provenance Private collection. U.K., until 2020 Alexander studied at the Royal Institution, Edinburgh from 1887-8, and in Paris with the sculptor Emmanuel Frémier. In 1887-8 the artist travelled to Tangier with his father and fellow artists Pollock Nisbet and Joseph Crawhall. He returned to Egypt in 1892, after his artistic studies, and lived on a houseboat on the Nile for 4 years, painting in the desert. This drawing appears to be of North Africa, the evocative rooftops an engaging subject on the characteristic oatmeal paper he often used. In 1902 Alexander was elected an associate of the Royal Scottish Academy becoming a full member in 1913. He exhibited widely including at the Royal Scottish Academy, Royal Academy, Fine Art Society, Royal Watercolour Society and the Leicester Galleries. Alexander’s work is held in the Tate Gallery, Aberdeen Art Gallery, Dundee Art Gallery and by Fife Council.

KT455 Auguste-Paul-Charles Anastasi (French 1820-1869) Etude de ciel, Le Berry, France Oil on paper laid down on canvas, inscribed with title on studio sale label attached to stretcher: Etude de ciel/Berry, further inscribed on a second later label: ARTUS/99/Étude De Ciel, stamped with the artist’s seal on the stretcher 24 x 38.5 cm.; 9 ½ x 15 ¼ inches Provenance The artist’s studio sale, Durand-Ruel, 3 - 8 March 1873, no. 132; Private collection, France until 2021 This sky study was done in the Berry region in the Loire Valley. Pin marks can be seen in the lower corners of the paper on which it is painted. The son of a painter of Greek origin, Auguste Paul Charles Anastasi was a pupil of Paul Delaroche and Camille Corot in Paris in the1840s. He began his career painting landscapes in the forest of Fontainebleau, joining the Barbizon school group. Anastasi regularly exhibited at the Paris Salons in 1850s and 1860s, showing landscapes of the countryside around Paris, Normandy, the Roman Campagna and Naples. He also worked as an engraver. In 1870 Anastasi became blind. His work can be found in many museums including the Musée d’Orsay, Paris and numerous French regional collections.

Signed l.l.: HC Coleman, watercolour over traces of pencil with touches of bodycolour and gum arabic, in the original frame 32.4 x 19.5 cm.; 17 3⁄4 x 12 3⁄4 inches Provenance J.W. Vokins, 10 King Street, St James’s, London; Christie’s London, 26 June 1931, lot 5 (?); Private collection, U.K. until 2021 This delightful still life is an accomplished early work which can be dated to before 1874, when the artist married and took the name of her husband Thomas Angell. It reflects the artist’s interest in pottery. Helen was the fifth daughter of twelve children of Henrietta Dendy and William Thomas Coleman, a physician and was schooled at home. Along with her sister, the pottery artist Rose Rebecca Coleman, she was taught painting and drawing by her older brother William Coleman who kept an art pottery studio in South Kensington and whom she helped make designs for Minton. Her early watercolours were first exhibited in the Dudley Gallery in London in 1864, thanks to the connections of her brother William. She married Thomas William Angell, a postmaster and an amateur artist, on 15 October 1874. The following year she joined the Royal Institute of Painters in Water Colours but resigned after she became an Associate of the Society of Painters in Water-Colour. Angell became Flower Painter in Ordinary to Queen Victoria from 1879 until her death, succeeding Valentine Bartholomew. She is said to have been anointed as his successor by William Henry Hunt, whose enthusiasm for still life subjects she shared. The artist’s work can be found in the collection of the Victoria & Albert Museum, the Royal Albert Museum, Exeter and other public collections.

Inscribed l.l.: Chatham/1810 and inscribed verso: 8t October 1810, watercolour over traces of pencil14 x 22.2 cm.; 5 1⁄2 x 8 3⁄4 inches Provenance Private collection, England; Martyn Gregory, British Watercolours and Drawings 1750-1900, May 2016, no. 2 This is a view from Gillingham Bridge, Chatham. The historic dockyard at Chatham was one of Britain’s most important naval Dockyards for over 400 years. The daughter of Sir Thomas Spencer Wilson, Bt. of Charlton in Kent, the artist was a pupil of Francis Towne in her youth. Her mother was a Cheney of Badger Hall, Shropshire, where Peter de Wint was a frequent visitor. Lady (Margaret) Arden was a pupil and a patron of David Cox. She married George Compton, Lord Arden (1756-1840) in 1787.

Signed and inscribed l.l.: S.R. Badmin/A wooded bank, inscribed with title and dated 1967 below the mount, watercolour over traces of pencil 17.5 x 19.5 cm.; 6 7/8 x 7 ¾ inches Exhibited Royal Society of Painters in Water-Colours, 1967, no. 109 Private collection, U.K. until 2024

Signed and dated l.l.: Ann Baring delt 1789, watercolour over pencil on laid paper watermarked with the Strasburg Lily34.8 x 47.9 cm; 13 5/8 x 18 7/8 inches Provenance Private collection, U.K., until 2019 This charming work shows Ann Baring’s watercolour style as similar to that of her fellow Devonian Francis Towne and she may be presumed to have been one of his pupils. The watercolour shows several similarities to Towne’s work, especially the trees in shade immediately above the white cow, and the figure and his donkey crossing the bridge. This would appear to be a composition drawn from elements learned from Towne. The strong shadow cast by the tree trunk in the right, and the fussy foreground plants in the bottom right corner are also characteristic of this kind of Towne. She is also known to have painted oils. Ann Baring, who lived in Devon all her life, was the daughter of John Baring, (1730-1816) of Mount Radford House, Devon, an English merchant banker and M.P. and the eldest son of Johann Baring (1697–1748), a clothier from Bremen in Germany who had settled in Exeter, where he built up a large business and obtained English citizenship. Her mother was Ann Parker, the daughter of Francis Parker of Blagdon near Paignton in Devon. She is known to have worked in Ireland as well as Devon. A Miss Baring commissioned a watercolour from Towne of Lago Maggiore in 1781 (Tate Gallery, Francis Towne online catalogue FT 350). After John Baring’s father's death in 1748, he inherited the large family cloth business in Exeter. Together with his younger brother Francis, he extended his commercial interests to London and set up the partnership of John and Francis Baring, of which he was the senior partner. He soon retired from activity in London for Devon and left the running of the London business to Francis, under whose guidance it evolved into Barings Bank. In 1802, Barings and Hope & Co. were called on to facilitate the largest land purchase in history, the Louisiana Purchase, which doubled the area of the USA. John Baring founded banks in Plymouth and Exeter and was elected Member of Parliament for Exeter in 1776. He was also appointed Sheriff of Devon for 1776. He retired from Parliament in 1802. His daughter Ann had three sisters, Elizabeth, Charlotte and Margaret and two brothers. The Baring daughters and their cousins were prominent in Exeter society and were known in the circle that included Towne’s friends and customers. In 1786 Ann’s sister Charlotte married John Short of Bickham, one of Towne’s patrons (see FT240), and in 1790 Frances, daughter of Charles Baring, married William (see FT876), the son of Towne’s musician friend William Jackson, whose house, Cowley Place, was very near to Barton Place. In 1791 Frances’s sister Jaquetta married Sir Stafford Northcote of Pynes, another nearby estate where Towne had sketched (FT143). Charles Baring’s daughter Lucy was a close friend of Frances, daughter of John Merivale, Towne’s major patron, and after Lucy’s death in 1815 Frances married her widower, John Lewis Mallet of the Audit Office. I am grateful to Richard Stephens for his comments on this watercolour.

Signed, inscribed and dated l.l.: Reginald Barrett./Gwalior./1911, watercolour over traces of pencil, in a gilt frame 23.4 x 15.8 cm.; 9 ¼ x 6 ¼ inches Frame size 38 x 29 cm.; 14 7/8 x 11 ½ inches Provenance Hartnoll and Eyre; Private collection, U.K. until 2020 Barrett was a painter of landscapes and architectural subjects. He had been articled to the architect Norman Shaw and then studied in Paris under Lefèbvre and Bouguereau. He worked as an illustrator for The Graphic and The Daily Graphic. He was an inveterate traveller in the Middle East and Italy and was commissioned by Queen Victoria to paint her favourite view in Florence. From 1885 he exhibited at the Royal Academy, New Watercolour Society and New Gallery, becoming AWRS in 1901 and RWS in 1913. He was also a Fellow of the Royal Geographical Society. Barrett’s one-man shows A Collection of Watercolour Drawings Illustrating India and Egypt was held at the Fine Art Society in 1894 and Watercolours of India at the Leicester Galleries, London in 1912. The fort at Gwalior was the favourite building of Babur, the first Mughal emperor of India.

Signed and dated l.r.: Edward Bawden/1948, pen and grey ink and watercolour 46 x 59 cm.; 18 x 23 inches Provenance Miss N.B. Allen, purchased in 1949 from the Leicester Galleries, London; Spink, K3 10536; Private collection, U.K. until 2022 Exhibited Leicester Galleries, London: ‘Works by Edward Bawden CBE, ARA’, February 1949, no. 1 Bawden lived in Great Bardfield in Essex from the 1930s to 1970 and was a central figure of the Great Bardfield Artists.

Signed l.r., watercolour 28 x 12 cm

Signed l.r.: C. Bentley, watercolour over traces of pencil Provenance L.G. Duke; Spink & Son. Ltd.

Watercolour over pencil 14.5 x 12.7 cm; 53⁄4 x 5 inches Provenance: Paul F. Walter, until 2017 This is an unusual example of a shop interior by Mary Ellen Best, whose remarkable work came to public attention in the 1980s when Sotheby’s handled a large group of her drawings and Caroline Davidson published her monograph on the artist. Best’s main interest lay in portraying domestic interiors and domestic workers. Born in York she drew the interiors of her own home and after marrying Johann Sarg, a school master, she moved to Darmstadt in Germany and continued to paint. From the summer of 1841 the Sargs lived in Frankfurt, in a house on the Bockenheimer Landstrasse. The birth of Mary Ellen’s children greatly reduced her artistic activity. Examples of Bests’s work, which she exhibited in her own lifetime in York, London, Liverpool and Leeds can be found in numerous international private collections and York City Art Gallery. Paul Walter (1825–2017) was the son of Fred and Anna Walter, co-founders of the New Jersey industrial instruments firm Thermo Electric. A respected connoisseur, he supported the Metropolitan and the Museum of Modern Art in New York over many years.

Signed and dated l.r.: F. Blake 1849, inscribed on original mount in pencil: And on the darkest clouds of woe/he sets his covenanted bow/Patterdale, inscribed on original backboard in ink: Patterdale Churchyard by F. Blake and Blake 3665, watercolour over traces of pencil with scratching out, a Vokins framing stamp on the backboard, a label inscribed Drawing Room attached to the backboard Provenance By descent in the Blake family to Major-General Mark Bond, OBE (1922-2017), Moigne Combe, Dorset; By family descent at Moigne Combe until 2019 Fanny (Frances) Blake was the sister of Frederick Rudolph Blake of Welwyn, Hertfordshire, the great-grandfather of H.M.G. Bond and E.M.G. Williams. She was an extremely talented pupil of Peter de Wint and is singled out for special mention in the ‘Gentleman’s Magazine’ of 1851, in a review of an exhibition of the work of amateur watercolorists as an ‘accomplished artist, admirable for truth, completeness and delicacy’. This watercolour is a record of the previous church of St Patrick at Patterdale which dated from the 14th century and was extensively rebuilt around 1620, known to Wordsworth, Coleridge, Southey and Turner. A new church was built at Patterdale by Salvin in the early 1850s after a storm destroyed the building depicted here. The ancient yew tree in this work, thought to have dated back to the Norman Conquest, was destroyed in a storm in 1883.

Pen and brown ink and grey wash on laid paper partially watermarked with the Strasburg Lily, the backing paper numbered 8, inscribed on reverse of backing paper by L.G.Duke: D938 D/L.P. Boitard/LGD and numbered 4 in ink in another hand 19 x 12.7 cm.; 7 ½ × 5 inches Provenance Colnaghi (part of an album of 65 drawings by Boitard); Leonard G. Duke (1890-1971); Squire Gallery, purchased from the above March 1948; Arnold Fellows, no. 72; Bequeathed by him to Queen Mary's Grammar School, Walsall; Sold by a charitable trust, 2023 The artist was an engraver, designer and illustrator from Paris who lived most of his life in London. He was the son of designer François Boitard (1667-1719). A distinctive line and a sense of humor characterises his work which often features mildly satirical drawings of ordinary people. This drawing comes from an album of 65 works by the artist once owned by Leonard G. Duke, the eminent collector, who bought it from Colnaghi and split it up. Arnold Fellows was a pupil at Queen Mary's Grammar School, Walsall, between 1911 and 1917. He became a master of the school for a brief period, before moving to spend the remainder of his life as a teacher at Chigwell School in Essex. Fellows devoted much of his life to collecting art, notably works on paper, and eventually donated his entire collection to his old school. He was the author of The wayfarer's companion : England's history in her buildings and countryside, published by Oxford University Press, 1937.

Pen and brown ink and watercolour on laid paper, numbered 29 on old mount, inscribed with initials and artist’s name by L.G.Duke verso 17.8 x 11.9 cm; 7 x 4 3/4 inches Provenance L.G. Duke, no. DG38H The artist was an engraver, designer and illustrator from Paris who lived most of his life in London. He was the son of designer François Boitard (1667-1719). His distinctive line and sense of humour characterises his work which often features mildly satirical drawings of ordinary people. This drawing comes from an album of works by the artist once owned by Leonard G. Duke, the eminent collector.

Alice Boyd (1823-1897) Capella di S. Clemente, S. Marco, Venice Inscribed and dated l.r.: Capella di S. Clemente S. Marco/21 June 1873., watercolour over pencil with touches of white 35.3 x 25.5 cm.; 13 7/8 x 10 inches The artist painted this subject in oil, recorded in Ellen C. Clayton, English Female Artists, London 1876, Vol. 2, p. 41. From 26 May to 6 July 1873 Alice travelled through Europe with Bell Scott, his wife Letitia, William Michael Rossetti and Lucy Madox Brown. Their tour started in Chambéry, France and continued through Italy where they stopped in Venice on their way home. William Bell Scott drew a similar view in pencil from a slightly different angle, entitled The Interior of St Marks, now in the collection of the National Galleries of Scotland (D4715.28B).

Signed with monogram l.r., watercolour over traces of pencil with scratching out, touches of bodycolour and white 25 x 35 cm.; 9 7/8 x 13 ¾ inches This romantic landscape is probably a view near Penkill Castle, a few miles northeast of Girvan in south Ayrshire which the artist inherited in 1865. She and her lover William Bell Scott spent their summers at Penkill, the castle perched on a promontory overlooking Penwhapple burn. The nearby Firth of Clyde was visible from the castle battlements.

Signed with monogram l.r. and dated July 1875, watercolour over pencil with scratching out, the original mount inscribed: Steps to the Studio, Penkill/Steps that lead to pleasant days/And work that needs nor blame nor praise, in the original reeded frame 31 x 22.2 cm.; 12 ½ x 8 5/8 inches Provenance Bonhams London, 31 March 2021, lot 33 Alice Boyd was one of the most talented women in the Pre-Raphaelite circle. In March 1859 she became a pupil of William Bell Scott who was Master of the Government School of Design in Newcastle. Her work has traditionally been overshadowed by Scott’s. Boyd and Scott fell in love, and, with his wife Letitia, divided their time between Penkill and the Scott's London home, living in a menage à trois. He first visited the ancestral home she shared with her brother Spencer Boyd in July 1860. In 1865, following Spencer’s death, Alice became laird of Penkill, the romantic castle perched on a promontory overlooking the Penwhapple burn five miles from Girvan in Ayrshire. Boyd painted several watercolours and oils outside her studio in the grounds of Penkill. She converted part of the stable block into a studio for herself and Bell Scott to use during the summer. The inscription on the original mount of the present work: Steps to the Studio, Penkill/Steps that lead to pleasant days/And work that needs nor blame nor praise, reflects a happy and productive working environment. The elaborately drawn peacock and roses and foliage, reminiscent of William Morris wallpaper, bear testament to the emerging Aesthetic movement. Boyd and Bell Scott entertained other members of the Pre-Raphaelite group at Penkill, and it was here that Dante Gabriel Rossetti found some solace in his most bleak moments of melancholia. The Penwhapple Burn inspired his poem The Stream's Secret, begun when he was staying at Penkill in 1869. His sister Christina delighted in the views of Ailsa Craig and the Clyde from the window in her turret bedroom and Alma-Tadema showered every morning in the freezing torrents of the Penwhapple waterfall. William Holman Hunt sent souvenirs to Penkill as gifts for Alice, Arthur Hughes was a frequent visitor and William Morris is believed to have designed four embroidered panels which hung in the passage from the banqueting hall. Penkill has been described as having a 'relaxed atmosphere of art and animals, whisky, friends and endless talk' (Country Life, 21 March 1991, p. 118). Penkill was a centre of the Pre-Raphaelites until 1885 when Bell Scott had an angina attack and was almost bedridden until his death five years later. Alice lived there for another seven years. Christie’s sold many of the contents on 15 December 1991 and the castle is now a private residence.

Watercolour 17 x 24.6 cm.; 6 33/4 x 9 ¾ inches Provenance Pietro Raffo until 2022 £3200 Brabazon greatly admired the work of J.M.W.Turner. This is a copy after a watercolour in the Turner Bequest (D32168 TB CCCXVI 31). It is thought to show shipping moored off the Isola di San Giorgio Maggiore or the Riva degli Schiavoni, Venice, done in 1840. Ian Warrell has suggested that it is part of a group which probably derived from Canaletto’s Bacino compositions (I. Warrell, Turner and Venice, 2003, p. 47). https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-shipping-moored-off-the-isola-di-san-giorgio-maggiore-or-the-r1196999 Brabazon captures the spirit of Turner’s watercolour rather successfully. Given that Turner was influenced in turn by Canaletto, this watercolour attests to the hold which Venice has had over artists through the ages.

Watercolour with touches of white over pencil on blue paper 14 x 17.3 cm The second son of Hercules Sharpe, the artist was educated at Harrow. After leaving Cambridge, where he read mathematics, he decided to become an artist and studied in Rome for three years. On the death of his elder brother he inherited the Brabazon name and estates in Ireland. He spent his summers in England and his winters travelling in Europe and, from the 1860s, further afield. In 1891 Sargent persuaded him to have an exhibition at the Goupil Gallery, and as a result in his old age he was at the forefront of the modern movement. He was most influenced by Turner, Cox, Müller and de Wint, and his style owes much to Turner’s late work. Turner drew several views of Luxembourg on his Meuse–Moselle tour of 1839, and a watercolour from a similar viewpoint is in the Turner Bequest at Tate Britain (TB CCXXX1 0), although it is unlikely that Brabazon would have seen this work.

Second Cataract, Wady Halfah Extensively inscribed with colour notes, Second cataract/929 miles south of Alexandria/Wady Halfah end of journey and dated Feb 6 1874, water colour and pencil, stamped with atelier stamp 9.5 x 15.5 cm

Inscribed and dated l.l.: Tombs of the Kings Thebes/15 Jan 1847 and stamped with atelier stamp inscribed and dated NICE 1954, watercolour over pencil 9.5 x 15 cm

North-East view of Lyte’s Carey, Somerset and South view of Lyte’s Carey, Somerset A pair, each signed and dated l.r.: J.C. Buckler 1834, each inscribed with title on mount, pen and grey ink and grey wash over traces of pencil, in period burr maple frames stamped JB180 and JB186 Each 30 x 38 cm; 11 3/4 x 15 inches Provenance Hartnoll and Eyre The artist was an architect, the eldest son of the architect John Buckler, who drew Lyte’s Carey and the nearby church in 1834. A pair of unsigned sepia sketches of the same views, probably studies for the present works, hang at the house. These crisp works are typical of his meticulous draftsmanship and attention to architectural detail. Buckler specialised in the restoration of country houses, rebuilding Costessey Hall, Norfolk in 1825-6, a project acclaimed as an important instance of Gothic Revival in domestic architecture by Charles Locke Eastlake. In 1836 he came second in the competition to rebuild the Palace of Westminster after the fire. He also completed a number of restoration projects in parish churches including St Mary’s, Adderbury, Oxfordshire, St Nicholas’, Old Shoreham, West Sussex, St Mary’s, Steeple Barton, Oxfordshire and others. Buckler worked at a number of Oxford colleges, notably Brasenose, Oriel, Magdelen and Jesus and at the University Church of St Mary the Virgin. He also restored Oxburgh Hall, Norfolk, Hengrave Hall, Suffolk, and designed Butleigh Court in Somerset in 1845 and Dunston Hall, Norfolk from 1859.

Pen and grey ink and watercolour over traces of pencil, inscribed verso: Talleyrand 15 x 13.5 cm.; 5 7/8 x 5 1/4 inches Frame size 31.5 x 26.5 cm; 12 ¼ x 10 3/8 inches Provenance Cyril and Shirley Fry collection This sketch of the great statesman would appear to have been drawn between 1830 - 1834, during Talleyrand's time as French Ambassador to the Court of St James's.

Signed or inscribed l.l.: W Callow, inscribed l.c.: Le Forum/prise de l’arc de Constantin/26 Sept 40, watercolour over pencil on buff paper 24.5 x 36 cm; 9 5/8 x 14 1/4 inches Provenance Mrs Callow; Walker Gallery; Albany Gallery, from where purchased by the present owner; Private collection, U.K. Callow made his first trip to Italy in 1840 and spent ten days sketching in Rome, when the present work was done. Like many artists he was strongly affected by the country and his Italian views were to become some of his most popular subjects. This drawing is inscribed in French, like other drawings of the period, as Callow had been living in France since 1829. He had obtained great success and royal patronage there and in 1840 he was awarded the gold medal at the Paris Salon. He received commissions for five large watercolours from Marie Amélie, the Duc de Nemours and his pupil Princess Clémentine after they inspected his Italian sketches at the Tuileries Palace. He enjoyed much royal favour but the political instability in France and the prospect of Louis Philippe’s abdication caused him to return to England in March 1841 (see Jan Reynolds, William Callow, 1980, pp. 76-77). It has been suggested that the signature may have been added by Callow’s wife at a later date. A similar drawing of the Ponte Cartro, Rome dated 28 September is in the collection of the Cecil Higgins Art Gallery, Bedford.

Signed and dated l.r.: Wm Callow/1870, watercolour over pencil with scratching out 37 x 27 cm; 14½ x 10⅝ inches Exhibited: The Society of Painters in Water-colours, 1870, The Piazzetta, Venice. This engaging watercolour shows the famous statues of the Lion of St Mark and St Theodore in the Piazzetta, which Callow draws teeming with life. A gondolier looking for business can be seen to the left of the composition while a lady in a red cloak and white shawl is in deep conversation with a soldier in the foreground, evoking characteristically Venetian pursuits. Venice was Callow’s inspiration and he returned to the city throughout his life, always staying at the Hotel Europa facing the Grand Canal. Another watercolour of the Piazzetta dated 1877 is in the collection of the city of Birmingham Museums and Art Gallery (1953P51).

Signed and dated l.l.: Wm Callow/1885., watercolour over pencil with scratching out and touches of white 37.4 x 26.7 cm; 14¾ x 10½ inches Exhibited: Probably the Society of Painters in Water-colours, 1885, entitled A Relic of Venetian Architecture in Padua. This colourful drawing shows the triple-arched Venetian Gothic window of the Palazzo di Ezzolino in the centre of Padua, above an archway over a busy thoroughfare bustling with locals shopping. The palace was built in the twelfth and thirteenth centuries by Ezzelino da Romano. A further view of Padua by Callow showing the Market Place and Palazzo Ragione is in the collection of the Provost and Fellows of Eton College.

Signed, inscribed and dated l.r.: VENICE Wm Callow/1857., watercolour over traces of pencil heightened with touches of white 24 x 32.2 cm; 9 3/8 x 12 5/8 inches Provenance Leger Galleries, 1962; Private collection, by descent until 2018 Exhibited Society of Painters in Water-Colours, London, 1857; Leger Galleries, 1962 Literature H.M. Cundall (Ed), William Callow R.W.S. An Autobiography, London, 1908, p. 154 Venice was Callow’s inspiration and he returned to the city many times after his first visit in 1840. This viewpoint is taken from the Dogana looking north-west across the mouth of the Grand Canal towards the Doge’s Palace and St Mark’s Square. This work dates from the 1850s when his work was particularly finely drawn and he handled detail with great delicacy.

Signed with monogram l.l., red chalk on wove paper 41.8 x 35 cm; 16⅜ x 13¾ inches Private collection, U.K., until 2020 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 his daughter 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 through dense 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. I am most grateful to Thomas McLean for his helpful comments on this drawing; see ‘Family Portraits: The Life and Art of Alice Mary Chambers’, Victorians: A Journal of Culture and Literature, Number 133, Summer 2018, pp. 69–83 https://doi.org/10.1353/vct.2018.0006

Brigadier Twemlow’s Bengali Servant in an interior Signed l.r. and l.l. with initials, inscribed verso in pen and brown ink: Brigr. Twemlow’s/Bengali Servant./W.C., grey and brown washes over pencil 27.3 x 22 cm.; 10 ¾ x 8 5/8 inches Framed size 34 x 29 cm.; 13 ½ x 11 ¼ inches 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. Ayah and Child outside a bungalow Signed l.l. W.C., inscribed verso in pencil: Ayah & child./Egeltana (?)April 180/4 9, watercolour over pencil 25.5 x 20.5 cm.; 9 7/8 x 8 1/8 inches Framed size 33 x 28cm.; 13 x 11 inches (2)

Signed and dated l.r.: N. Chevalier/1887., watercolour over pencil with scratching out 36 x 48.5 cm.; 14 1/8 x 19 1/8 inches Provenance Private collection, U.K. until 2023 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.

Inscribed l.r.: Buah Nam nam./Cynometra cauliflora. and with further botanical notes in Latin, Jawi and Greek, watercolour and bodycolour over traces of pencil with gum arabic, on laid paper watermarked: RUSE & TURNERS/1825 and with the Strasburg Lily 37.5 x 48.5 cm; 14 3/4 x 19 1/4 inches Buah Nam is a member of the family Fabaceae (legumes) native to Malaysia, a small, cauliflorous tree with a thick, heavily branched stem, and rather small flowers, about 1.2 cm across, that appear on the stem in clusters. The pod is edible with aromatic, juicy yellow pulp and large seeds. Provenance Sharon and Anne Hamlyn until 2019 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.

Inscribed l.r.: Buah rambootan./Nephelium lappaceum./Monaecia pentandria L. and with further botanical notes, watercolour and bodycolour over traces of pencil with gum arabic, on laid paper watermarked: RUSE & TURNERS/1825 and with the Strasburg Lily 38.2 x 48.7 cm; 15 x 19 inches Provenance Sharon and Anne Hamlyn until 2019 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.

Signed l.l.: E.W. Cooke RA./14 Oc4.1877, inscribed below and above with locations, pencil 15.8 x 26.8 cm; 6 ¼ x 10 ½ inches 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.

Richard Cosway (1742-1821) A lady playing a keyboard wearing sixteenth century dress, 1785-1790 Pen and brown ink on watermarked laid paper, on the original wash-line mount 14 x 15.2 cm.; 5 ½ x 6 inches Framed size 36.5 x 36.5 cm.; 14 3/8 x 14 3/8 inches Provenance Timothy Clowes until 2020 Literature G. Barnett, Richard and Maria Cosway, London 1995, fig. 38 This lively drawing dates from 1785-1790 when Cosway was experimenting with 16th and 17th century costumes and role-playing. The sitter is one of the artist’s models.

Boats off Cologne Signed and dated l.r.: .S Cotman 1832, numbered and inscribed verso: 14 Boats off Cologne, watercolour over pencil with scratching out 23.2 x 32.6 cm Provenance Baron 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 descent until 2018 The Great Saint Martin church, Cologne can be seen from the Rhine. In the late 18th century the northwestern tower was taken down and Cotman’s drawing shows the church with only two towers on the east side. After the twenty year occupation of the city from 1794 by the French, the archbishopric was ended in 1801 and the cloister at Saint Martin’s disbanded in 1802. The deserted abbey was lived in by French veterans and was later demolished.The two missing towers of the church were finally rebuilt in 1875. This drawing, which has not been on the market since the time of its creation, comes from a friendship album started by Baron Akermann (1809-1890) for his wife Louise Marie Bouqet de Saint-Simon 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 leather bound album 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 lives and interiors. 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. His grand father André Joseph Bernard Ackerman (1743-1824) was receveur general des finances of Namur and his father François Joseph Ackerman (1772-1833) held the same office for the department of Sambre-et-Meuse (1808-1814) and Ardennes (1815-1833).

Watercolour over traces of pencil, inscribed in a later hand on old mount: North side of South Gate-Yarmouth, taken down in 1812. John Sell Cotman/ EXHIB 1812? 18.5 x 22.7 cm.; 7 ¼ x 8 15/16 inches Provenance Mrs Craig Henderson, her sale, Christie’s, London, 24 October 1960, (part) lot 56, bt. Spink; Mr & Mrs Giles Pilcher until 1987; With Agnew’s, London, 1992; Private collection until 2004; With W/S Fine Art; Private collection until 2018; With Guy Peppiatt Fine Art, 2019; Private collection, U.K. until 2024 Exhibited Probably Norwich Society of Artists, 1812, no. 63; Agnew’s, 119th Annual Exhibition of English Watercolours and drawings, 1992, no. 35; W/S Fine Art (Andrew Wyld), Landscape on Paper, June 2007, no. 23; Guy Peppiatt Fine Art, British Drawings and Watercolours, 2019,no. 25 Engraved Etched by Cotman as the last plate in Specimens of Norman and Gothic Architecture in the County of Norfolk, 1817 Cotman and his family moved to Yarmouth in April 1812 on the suggestion of Dawson Turner (1775-1858), his friend and patron. They lived at Bank House, Southtown, a mile from the centre of the town until 1823 when they returned to Norwich. The South Gate was destroyed later in 1812. There is a finished pencil drawing by Cotman of the subject in the Norwich Castle collection numbered 2363. https://www.museumscollections.norfolk.gov.uk/collections-object-page?id=NWHCM%20:%201932.105.25 In this atmospheric watercolour which is in exceptional condition, Cotman focuses his artistic attention on the massive body of the gatehouse, skilfully exploring the textures of the stone walls and the interplay of light, shade and colour using a restricted palette. He has deliberately focused on the gate and left the cottages in the foreground lightly washed in without adding further details. The delicately drawn masts of a couple of ships to the right of the tower allude to the proximity of the sea. The subject became well known through the popular etching produced in 1817 for Specimens of Norman and Gothic Architecture in the county of Norfolk. There is greater architectural detail in the print which is closer to the pencil drawing.

Signed and inscribed l.l.: ?H….s Oak, W(?)…Forest June ME Cotman, pencil 24.5 x 34 cm.; 9 5/8 x 13 3/8 inches Oak trees were a subject frequently drawn by J.S. Cotman and Miles Edmund. It has been suggested that this tree bears a resemblance to Kett’s Oak near Wymondham.

Signed l.l.: M E Cotman/April 23 1827, inscribed l.r.: Raby Park Durham/E of Darlingtons, pencil 34.5 x 24 cm.; 13 ½ x 9 3/8 inches Provenance Dr Henry Lowe and Judy Lowe (née) Cotman until 2023

Inscribed verso: At Dulwich, sepia wash 15.5 x 11.3 cm.; 6 1/8 x 4 3/8 inches This drawing was executed while Cox was living in Dulwich between 1809 - 1813, in the house beside the windmill on Dulwich Common. Exhibited Dulwich Picture Gallery, ‘Bicentenary Exhibition’, catalogue no. 4; Dulwich Picture Gallery, ‘Dulwich Past and Present’, summer 1993 Provenance The Carnegie family; By descent to Lord Rosehill; Anthony Reed, English Drawings and Paintings, Cork Street, London W1; Sotheby’s, 1 April 1993, lot 75; Barbara Brind; By descent until 2022

Watercolour over pencil 21 x 29.8 cm; 8¼ x 11¾ inches Provenance John Manning Ltd, London. This watercolour shows the main gatehouse of Raglan Castle, largely built by William ap Thomas in the mid fifteenth century. Raglan is not far from Hereford, Cox’s home for many years, and the artist drew several watercolours of the castle, one of which, a distant view of the ruin, was engraved by J. H. Clark.

Signed l.l.: David Cox., watercolour over traces of pencil with touches of pen and black ink on buff paper 29.6 x 39 cm; 11 ¾ x 15 ⅜ inches Provenance: Agnew’s, London, 126th annual exhibition, March 1999, no. 63; The Flannery collection, UK, and by descent until 2018. This very freely drawn watercolour represents a transitional stage in the development of the important theme of ‘Peace and War’, one of David Cox’s major subjects. Two local men, one seated, one standing, watch a small troop of soldiers on the march in an extensive sweeping landscape under a huge sky, with Lancaster Castle in the middle distance and the waters of Morecambe Bay beyond. Unusually for Cox there is not much pencil underdrawing. Cox’s preoccupation with military activity during the very unsettled years of the 1830s and 1840s manifests itself after his 1838 trip with his wife to Seabrook, near Hythe in Kent, for six weeks. The artist made sketching trips along the coast of Kent, including one to Lympne, five miles from Hythe, resulting in Peace and War: Lympne Castle ( c. 1838, Birmingham Museums & Art Gallery). The present work, which is similar in style and feel to the Lympne watercolour, presumably dates from the same time, but shows the composition reversed and the distant focus of Lancaster Castle as in Lancaster: Peace and War, 1842 (Art Institute of Chicago). Most of Cox’s numerous ‘Peace and War’ subjects are set at Lancaster rather than Lympne and have more developed references to ‘War’ than the small troop of riders seen here on the top of the hill on the left. The theme is repeatedly treated by Cox at this period, resulting in his 1838 exhibits at the Society of Painters in Water-colours in London, Rocky Scene – Infantry on the March and Stirling Castle – Cavalry on the March and the 1839 Cavalry on the March. In 1848 the first work to be entitled Peace and War (Lady Lever Art Gallery, Port Sunlight, National Museums Liverpool) was exhibited at the Society of Painters in Water-colours.

Watercolour over pencil heightened with bodycolour on‘Scotch’ paper, inscribed on old mount: ‘Vale of Dolwyddelan N.W.’ 21 x 29cm Provenance Sotheby’s, 25 November 1999, lot 70; Professor Anthony Bryer, 1999-2017 Cox painted Wales throughout his life but from 1842 his annual visits to North Wales and Betws-y-Coed became central to his oeuvre. He exhibited views of the Vale of Dolwyddelan in 1846, 1847 and 1851. His love for the wild and beautiful scenery of the area inspired his work and the present watercolour captures the drama of the landscape with the characteristic bravura of Cox’s later drawings.

Signed l.r.: D. COX., watercolour over traces of pencil with scratching out and touches of gum arabic 21.3 x 34 cm.; 8 3/8 x 13 3/8 inches Provenance Guy D. Harvey-Samuel (1887-1960); Fine Art Society, Annual Exhibition of English Drawings and Watercolours, April 1960; no. 108; Private collection, U.K. until 2020 This sparkling watercolour in superb condition and dating from circa 1824 is a fine example of the fluent small-scale drawings with which Cox had commercial success in the mid to late 1820s. He wrote to William Radclyffe that he intended to devote more time to saleable smaller works, as his larger pictures were not finding buyers (Scott Wilcox points out that his discovery of the elegant small watercolours by Bonington at this date would have provided a compelling model (See Scott Wilcox, ed., Sun, Wind, and Rain: The Art of David Cox, exhibition catalogue, Yale Centre for British Art, p. 36). Cox drew several versions of this view; the closest to this one is a slightly larger drawing in the British Museum (1915,0313.6). Another version was engraved by William Radclyffe as plate XI in Thomas Roscoe’sWanderings and Excursions in South Wales in 1837 in which agricultural labourers and their horses replace the sheep and cattle in the foreground. Birmingham Museums and Art Gallery have a slightly smaller version with sheep in the foreground (1927P678 and see David Cox, Birmingham Museums and Art Gallery, 2008-9, no. 31).

Signed and dated l.r.: Joshua Cristall.1816, numbered l.l.: 18, watercolour over traces of pencil with gum arabic, stopping out and scratching out 24.2 x 16.6 cm; 9 9/16 x 6 1/2 inches Provenance Davis & Long Company New York, 1980; Private collection, New York until 2019 Exhibited David & Long Company, ‘English Watercolours’, November 1-29 1980, no. 11, illus. Cristall’s charming sketches of rustic labourers at work provide an interesting record of rural labour in the early nineteenth century when the land was changing fast as a result of the Industrial Revolution. Much of his work depicted country people; their natural dignity and simplicity were qualities he found appealing. Encouraged by the popularity of his country figure studies he exhibited many such works. He was a founder member of the Society of Painters in Watercolour in 1804 and his work is included in the collections of many major U.K. museums.

Watercolour 11.7 x 18.2 cm.; 4 ½ x 7 1/8 inches Provenance George Clive, Herefordshire, by descent; Spink; Sir John Gielgud, purchased from the above, his sale at Sotheby’s, London, 5 April 2001, lot 21

Signed and dated l.l.: J Cristall 1829, watercolour over traces of pencil with scratching out and touches of gum arabic 37.8 x 28.2 cm.; 14 7/8 x 11 1/8 inches Provenance Abbott and Holder Ltd.; Mrs Brian McQuade, Chertsey; By descent until 2023 Exhibited Society of Painters in Water-Colours, 1829, no. 62 or 219 or 325 (Cristall exhibited 3 works entitled Fern Burners, Coppett Hill, Goodrich, Herefordshire in 1829) This is a particularly fine watercolour depicting the fern gatherers on Coppett Hill, whom Cristall liked to draw. The bracken on the hill was cut, as shown in the present work, and the stubble then burnt, releasing potash to encourage the next year’s growth. The bracken was used for making soap, often in cauldrons on the hillside, as litter in pigsties and for thatching. Coppett Hill rises steeply out of Goodrich village, with woodland turning into stony bracken before a long descent to the river Wye below Coldwell Rocks. The hill has views of the Brecon and Black Mountains in one direction and the Malvern Hills in the other. It was a favourite walk of the artist, who lived from 1823 at Granton Cottage in Goodrich, which had fine views of Coppett Hill.

Pastel 13.7 x 22 cm.; 5 3/8 x 8 ¾ inches Private collection, U.K. until 2024

Signed l.l.: Charles D’Oyly, watercolour over pencil 18 x 15.5 cm The interior of the artist’s house at Patna is illustrated in two watercolours dated 1824 in the collection of the Yale Center for British Art, Paul Mellon Collection, nos. 2019 and 2020 which show that D’Oyly’s house was a busy place, full of visitors and dogs. The present work, which relates to the Yale drawings, depicts details of the interior with a colonial sofa, a table, wall lights and a heavy curtain at the French window, as well as a travel book propped against the wall and a framed marine painting. A lush garden with palm trees can be glimpsed in the distance through the open window. D’Oyly and his second wife Elizabeth Jane Ross moved to Patna in Bihar in 1821 when he became Opium Agent for the East India Company. Their house at Bankipore, a suburb of Patna, was a focus of artistic activity, and Elizabeth also painted as well as being a musician.

Oil on paper 12.6 x 19 cm; 5 x 7½ inches Provenance: James Danby, the son of the artist; With Anthony Reed, London, 1978; Christie’s, London, 7 June 2007, lot 97; With WS Fine Art, summer 2009, no. 19; The Flannery collection, UK, and by descent until 2018. Exhibited: Anthony Reed and Davis & Long, London and New York, English Sketches and Studies, 1978, no. 86; WS Fine Art, London, summer exhibition 2009, no. 19. Danby was a very keen sailor and also had a life-long interest in building boats. This dramatic sketch of an untidy boat yard under a heavy, brooding sky, drawn on the spot, may well record work on one of his own boats, The Chase . Danby lived on the Maer near Exmouth from 1846. It has been suggested that this work shows The Point in Exmouth, where the flag flew next to Ferry Cottage to indicate when and where the ferry crossed from Exmouth over to Starcross. 1 There were two boat building firms listed at The Point, on the other side of Ferry Cottage, one owned by John Hayman, where Danby’s boat The Chase was constructed in 1847–1848. This yacht provoked comment due to its innovative and unusually broad hollow keel. 2 Danby later built himself a yacht called the Dragon Fly in which he was shipwrecked off Axmouth in August 1860, the year before he died. Another oil sketch of a boat building shed, of a similar size and reminiscent of the work of Corot, is dated by Francis Greenacre to c. 1840. 3 Stylistically the present work may also be compared with a group of spontaneous sketches of the Exe and Exmouth dating from c. 1855. 4 They appear to be records of landscape and atmospheric effects done on the spot or very shortly afterwards. This group, many of which had inscriptions saying ‘Francis Danby ARA’ on the verso in James Danby’s hand, were bought from a member of the Danby family who lived near St Albans by a local dealer around 1930. 5 1. April Marjoram, by email communication with the author, October 2018. 2. Western Times, 30 June 1849. 3. F. Greenacre, ‘Francis Danby 1793–1861’, exhibition catalogue, City of Bristol Museum and Art Gallery and Tate Gallery, 1988, no. 52, p. 121. 4. Ibid., nos. 53–8. 5. Eric Adams, Francis Danby: Varieties of Poetic Landscape, 1973, no. 58; see F. Greenacre, op. cit., p. 123 (under no. 57).

Evelyn De Morgan (1855 – 1919) A study for Boreas and the Fallen Leaves, c. 1910 - 1914 Coloured chalks on buff paper 36.8 x 23.5 cm.; 14 3/8 x 9 ½ inches Provenance Private collection, U.K. and by family descent until 2024 Boreas was the Greek god of the north wind. In this study for Boreas and the Fallen Leaves in the collection of the De Morgan Foundation (P_EDM_0044) he is shown with his lips pursed, blowing the wind. The oil depicts him by a gnarled oak tree, blowing the leaves which turn to maidens with long golden hair as they fall to the ground. The most important of the four wind gods, Boreas is usually depicted as a winged man of mature age, his hair floating in the wind. He had two faces, so he could see where he was going and from where he was coming. https://www.demorgan.org.uk/collection/boreas-and-the-fallen-leaves/ The model for Boreas was the professional artist’s model, Alessandro di Marco from Piedmont. Evelyn De Morgan made studies of him on several occasions, initially when she was at the Slade and later in her own studio. This drawing probably dates from 1880s. Another study of Alessandro, for her 1899 painting The Valley of Shadows is on the same buff colour paper, and also probably dates to the 1880s: https://www.demorgan.org.uk/collection/study-of-a-head-male/ Di Marco was used by Evelyn De Morgan in another work depicting Boreas, Boreas and Oreithyia (De Morgan Foundation P_EDM_0040, 1896). He also features in Aurora Triumphans (1876), Life and Thought Have Gone Away(1893), The Poor Man Who Saved the City (1901), The Marriage of St. Francis and Holy Poverty (1905), The Gilded Cage, A Soul in Hell (with curly hair) and '1914'. Di Marco modelled for Frederic, Lord Leighton (1830-1896) in Rome. Alessandro was one of the artists’ models working in London around 1870. Sir William Blake Richmond (1842-1921) described him as “a fellow so graceful and of such a colour, a kind of bronze gold” (S.T. Buckle, British Art Journal, Autumn 2012, Vol. 13, Issue 2, p.67: https://www.eb-j.org/pdfViewer/articles/MTA1OA== 2012). William Hamo Thornycroft noted in his diary that Alessandro sat for long periods of time without a break. He was the model for Merlin in Edward Burne-Jones’s earlier work ‘The Beguiling of Merlin’ (1872-77). He was also photographed by Julia Margaret Cameron. George Richmond described him as ‘the living embodiment of a classical sculpture’. The first owner of this drawing was a keen collector of De Morgan’s work, and also owned ‘The Dryad’ (1884-5) now in the De Morgan Foundation. Evelyn De Morgan, who attended the Slade School of Art, was influenced by George F. Watts and Edward Burne-Jones and by the work of her uncle John Roddam Spencer Stanhope. She often visited Stanhope in Florence, where she developed a love of the work of Botticelli and quattrocento art. She first exhibited at the Grosvenor Gallery in 1877. In 1887 she married the ceramicist William De Morgan, with whom she often wintered in Florence. De Morgan’s work is held in many national collections including the Walker Art Gallery, Liverpool, National Trust properties Wightwick Manor, Wolverhampton and Knightshayes Court, Devon, the Russell-Cotes Art Gallery and Museum, Bournemouth, the National Portrait Gallery, London and Southwark Art Collection, London. With thanks to Scott Thomas Buckle for his comments on this work.

Pencil 17.8 x 17.7 cm; 7 x 7 inches Provenance: M. D. E. Clayton-Stamm, by descent until 2018. Evelyn De Morgan, who attended the Slade School of Art, was influenced by George F. Watts and Edward Burne-Jones and by the work of her uncle John Roddam Spencer Stanhope. She often visited Stanhope in Florence, where she developed a love of the work of Botticelli and Quattrocento art. She first exhibited at the Grosvenor Gallery in 1877. In 1887 she married the ceramicist William De Morgan, with whom she often wintered in Florence. It has been suggested that this may be a preliminary study for a figure in her painting The Red Cross, 1916, in the collection of the De Morgan Foundation. Her work is held in many national collections including the Walker Art Gallery, Liverpool; the National Trust properties Wightwick Manor, Wolverhampton, and Knightshayes Court, Devon; the Russell-Cotes Art Gallery and Museum, Bournemouth; the National Portrait Gallery, London; and the Southwark Art Collection, London. Maxwell David Eugene Clayton-Stamm was an authority on the work of William De Morgan (on whom he published extensively), Pre-Raphaelite ceramics and the Blake-Varley sketchbook of 1819. He was a collector and bibliophile.

Evelyn De Morgan (1855 – 1919) The head of a woman Coloured chalks on buff paper 35.8 x 23.4 cm.; 14 1/8 x 9 ¼ inches Provenance Private collection U.K., by descent until 2024. This beautiful drawing of the head of a woman deep in thought may be a study for the figure of Purity in De Morgan’s 1914 painting 'The Vision', also known as ‘1914', an allegorical painting inspired by World War I. The work depicts two women representing Peace and Purity in the foreground, with a demon representing war behind them (private collection, with the Louise Whitford Gallery/David Hughes in 1981). De Morgan was a pacifist, deeply moved by the horrors of the Boer War (1899-1902) and World War I, who made over fifteen paintings criticising war.

Oil on paper laid down on canvas 32 x 49 cm.; 12 ½ x 19 ½ inches Provenance Miss H.H. Tatlock, the artist’s granddaughter; C.K. Bloom; Percy Moore Turner (1877 – 1950); Sotheby’s, London, 2 May 1962, lot 133, where purchased by Agnew’s, London; Simon C. Dickinson, London, where purchased by the previous owner Exhibited Usher Art Gallery, Lincoln, Peter de Wint, 1937, no. 77; Agnew’s, London, Loan Exhibition of Paintings and Drawings by Peter de Wint, 1966, no. 66 This atmospheric oil on paper is most probably St Michael’s, Bray, on the Thames. De Wint made several watercolours of the church.

Inscribed verso: View in Cumberland F de Wint, watercolour, on two sheets, joined 15.2 x 64.7 cm; 6 x 25½ inches Provenance: Lady Lyons, her sale at Christie’s, London, 24 October 1960, lot 42; With Spink & Son Ltd, London, K3 1910; H. A. Molins, his sale at Sotheby’s, London, 22 November 2007, lot 143; With WS Fine Art, London, 2008; The Flannery collection, UK, and by descent until 2018. Exhibited: WS Fine Art, summer 2008, no. 34. This atmospheric panorama with a remarkably extensive uninterrupted vista dates from the 1830s and is a companion to A View of the Cumberland Hills from Patterdale , in the collection of the Whitworth Art Gallery, Manchester (D1924.63). Both watercolours are painted with wet, broad washes in the same palette on two sketchbook pages joined together, in the narrow panoramic format favoured by the artist, and are identical in size. They were presumably done on the spot. It seems highly probable that this watercolour is also of the fell region between Keswick and Penrith. De Wint is thought to have drawn these when visiting from the homes of his patrons the Howards of Leben or the Lonsdales of Lowther, with both of whom he stayed. The Gentleman’s Magazine obituary of the artist stated, His visits to the lakes of Westmerland [sic] and Cumberland produced many valuable sketches and drawings of picturesque scenery of a higher character; and his characteristic diligence in studying nature under all circumstances was never relaxed. 1 1. September 1849, p. 322, quoted in John Lord, ed., ‘Peter de Wint 1784–1849’, exhibition catalogue, Usher Art Gallery, Lincoln, 2007, p. 145.

Watercolour over faint traces of pencil with scratching out 26.6 x 54.4 cm sight size Provenance With Thomas Agnew & Sons. Ltd, London, no. 14733, cat. no 45; Sir Robert and Lady Mayer, by descent to the present owner Exhibited Agnew’s Galleries, London, 1966, Loan Exhibition of Paintings and Drawings by Peter de Wint, in aid of Lincoln Cathedral Fabric Maintenance Fund, no. 74 Peter De Wint was the son of a physician who, though born in New York of Dutch immigrant parents, was trained in Holland and London. The artist’s marriage to Harriet Hilton, sister of fellow painter William Hilton, introduced him to their native Lincolnshire where they spent many of their summers and which was to provide him with a lifetime of inspiration. In Harriet de Wint’s Memoir she wrote, ‘at Lincoln and the neighbourhood where he ever found new beauties and new subjects...the long, extensive distances with their ever varying effects. .afforded him unceasing delight’ (H. De Wint, A Short Memoir of the Life of Peter De Wint and William Hilton, R.A.’, privately printed, pp. 84). This lovely De Wint is a masterly example of his skilled use of the wet brush, creating layers of colour to build up the Lincolnshire landscape. It has not been possible to identify Yardley Mill; it may be that the mill was named after its owner. This drawing has been in the same family since it was bought by the present owner’s grandmother from Agnew’s in the 1940s.

KT379 Signed and dated l.l.: John Dearman 1845, signed and inscribed on stretcher: Cattle crossing Merrow Down Guilford Surrey/storm passing off.Jn. Dearman 184., oil on paper laid down on canvas stamped PREPARED BY/CHARLES ROBERSON/LONG ACRE LONDON 18 x 15.4 cm.; 7 x 6 1/8 inches Frame size 28 x 26 cm.; 11 x 10 inches Provenance Christie’s, London (1002V); John Abbott (1937-2011) This delightful oil sketch captures a huge brooding sky with distant light breaking through which suggests that the storm is passing. The grandeur of nature is enhanced by the small figure of a shepherd with a flash of red at his neck, with his dog and flock of sheep, which draw the eye to the foreground. Virtuoso handling of the impasto of the landscape in the middle distance show the work of an artist spontaneously enjoying his paint. Dearman also records the weather effects on the stretcher in his neat hand. The artist lived in Camberwell, London in the 1830s and had a house in Guilford High Street. He exhibited at the Royal Academy between 1824-1856 and also showed often at the Royal Society of British Artists and the British Institution.

Signed and dated l.r.: A. Delacroix./1835, watercolour with touches of bodycolour and scratching out, numbered verso: No 16 15.6 x 23.9 cm Provenance: Baron 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 2018 This 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 leather-bound 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. The B on the boat is the identifying code for Boulogne. 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 with initials, inscribed and dated verso: G.D. 1836/Puerta Romana/Cordoba, watercolour over pencil 22 x 32 cm Provenance Bernard Williams Weller (1870-1944), journalist and critic George Dennis was an English artist, explorer and writer. He left school at 15 but was a prodigious linguist, who taught himself ancient Greek and Latin then learnt Spanish, French, Portuguese and several other languages. His intrepid spirit inspired his first visit to Spain in the 1830s. From Cadiz he travelled to Grenada through the Sierra Nevada, visiting Cacin, Alhama, the Tajo, the Sierra Tejada, Velez, Malaga and Ronda. He continued on to Gibraltar via Benadalid, Gaucin, Posada amongst other places and then finally returned to Cadiz. The roads were dangerous and he encountered difficulties with banditti. He also ventured further north visiting Tudela, Zaragoza, Toledo and Illesas. His first work, ‘A Summer in Andalucia’ (2 volumes) was published in 1839. Dennis travelled further in Italy and made an illustrated study of the cemeteries of Etruria, which was published in 1848 by the British Museum, London and he completed the first account of Etruscan sources in the modern era. He joined the Colonial Service later in life and became vice-consul to Sicily, and subsequently to Benghazi and Smyrna. He was a companion of the Order of St Michael and St George.

Signed l.l.: DETMOLD, watercolour over pencil with a brown line border 31.3 x 20.3 cm Provenance Alan Fortunoff, by descent until 2017 Detmold worked as a painter, illustrator and printmaker specialising in meticulous, intense images. He and his twin brother Charles were taken by their great-uncle to London zoo and the Natural History Museum to draw from an early age. Their uncle Henry Detmold, an artist, further encouraged their development and they absorbed the influence of Japanese printmakers, fashionable in the late 19th century. E.J. Detmold’s work is to be found in many museum collections including that of the British Museum, the V&A and the Fitzwilliam Museum, Cambridge. Alan Fortunoff (1933-2000) was an American department store magnate who transformed the Fortunoff Department Store. He formed a fine collection British nineteenth and twentieth century art.

Inscribed above: Furness Fells with a fall that runs into Coniston Water and Blawith Bridge, pen and grey ink and watercolour over pencil, with a grey line border, on laid paper watermarked JWHATMAN 38 x 54 cm; 15 x 21 1/4 inches Provenance: Sotheby’s 15 July 1976, lot 151; Where bought by the previous owner, the Pemberton collection until 2019 The younger brother of Arthur Devis the portrait painter, Anthony Devis exhibited at the Royal Academy from 1761-1781. He travelled extensively in the British Isles and made several trips to the Lakes. By the end of the 1750s he had begun producing Lake District views, including the large oil painting now in Abbot Hall Art Gallery, Kendal, a ‘View of Derwentwater and Skiddaw from Lord’s Island’. Nothing is known of his visits to the Lake District but he produced a number of drawings in his characteristic style. The Wordsworth Trust own a drawing of Furness Abbey by Devis amongst a group of several others.

Watercolour with touches of bodycolour 6.5 x 8 cm Lady Emily Dundas, née Reynolds-Moreton, was the fourth daughter of Thomas, 1st Earl of Ducie and sister of Augusta Raymond-Barker’s stepmother Lady Catherine Reynolds-Moreton, who married John Raymond-Barker in 1841 as his second wife. In 1847 she married Admiral Sir James Whitley Deans Dundas, G CB (1785–1862) as his second wife. He became the First Naval Lord in the first Russell ministry in July 1847 and they lived at Admiralty House. Thackeray records that during the 1850 season Lady Emily Dundas gave a party at which anyone who was anyone would wish to be seen (Jerry White, London in the Nineteenth Century – ‘A Human Awful Wonder of God’, 2007). Provenance: Augusta Raymond-Barker, Fairford Park, Gloucestershire; thence by family descent until 2016

i A figure with a pitcher near a cottage with two donkeys Oil on varnished laid paper 30 x 39 cm; 113⁄4 x 153⁄8 inches ii A woodland cottage with cows near a pond Oil on varnished laid paper with traces of pencil 30.5 x 44.6 cm; 12 x 171⁄2 inches iii A wooded landscape with a herdsman and cows near a cottage Oil on varnished laid paper 25 x 34 cm; 93⁄4 x 133⁄8 inches iv A landscape with a herdsman and cows Oil on varnished laid paper with traces of pencil 29.5 x 37 cm; 115⁄8 x 141⁄2 inches Sold (iv) Provenance: John Mayheux (d. 1839); General Arthur Easton (1863–1949); By whom bequeathed to his godson Major C. G. Carew Hunt (d. 1980);With Michael Harvard by 1959; With Edward Speelman; Brian Jenks, his sale, Sotheby’s, London, 27 June 1973, lot 46; Where acquired by the father of the previous owner, by descent until 2018. Exhibited : Victoria Art Gallery, Bath, Festival of Britain 'Gainsborough Exhibition', 1951. Literature: John Hayes, 'The Landscape Paintings of Thomas Gainsborough', 1982, vol. 1, pp. 196 and 231, no. 24, illus. plate 262 (landscape with herdsman and cows). These virtuoso oil sketches are from a larger group of about thirteen done by Gainsborough Dupont, Thomas Gainsborough’s nephew, pupil and studio assistant, and were thought to be by Gainsborough until John Hayes positively identified the hand of Dupont. Five of this group are in the collection of the Yale Center for British Art, New Haven, two are in the Henry E. Huntingdon Library and Art Gallery, San Marino, and two are at Gainsborough’s House, Sudbury. Eight were sold at Sotheby’s, London, in June 1973, including the present examples. Hayes describes these oil sketches on paper as amongst Gainsborough Dupont’s finest works, splendidly fluent, richly painted, these decorative compositions, with their surface emphasis and animation, are a fine late expression of the rococo (Hayes, op. cit., p. 231). He notes that they are Dupont’s most personal and distinctive contribution to the genre, and of historical interest as oil sketches clearly intended as finished compositions for display. The group exemplifies what Hayes described as Dupont’s latter-day rococo emphasis on decorative picturemaking: on surface pattern, rhythmic forms and line, and brilliant, often darting or flickering effects of light (ibid., p. 191). The two unfinished landscapes illustrate how the artist painted confidently directly on to paper with oils, sometimes with pencil underdrawing. The first reference to Gainsborough Dupont’s landscapes appears to have been in 1792 when the journalist Bate-Dudley, who was well informed about the workings of Gainsborough’s studio, records that some beautiful little studies of rural nature have also lately employed this Artist’s pencil ('Morning Herald', 9 March 1792; see Hayes, op. cit., pp. 188–9 and 235). Philip Thicknesse, one of Gainsborough’s oldest friends, notes 'at the end of his brief life of Gainsborough that Dupont was a man of exquisite genius, little inferior in the line of a painter to his uncle ... either as a landscape or Portrait painter' (ibid., pp. 187 and 302). Mrs Bell noted that his original works were chiefly landscapes ('Thomas Gainsborough', London, 1897, p. 66). Gainsborough Dupont was born in Sudbury, Suffolk, on 24 December 1754, the third son of Philip Dupont and Thomas Gainsborough’s sister Sarah. In the 1760s Dupont was sent to Bath to be raised by his aunt Mary Gibbon, the recently widowed sister of Thomas and Sarah, who set up a millinery shop there beside her brother’s studio in 1762. On 12 January 1772, Dupont was formally apprenticed to Gainsborough, the older man’s first and only studio assistant, and worked for him for sixteen years. Dupont was painted by his uncle four times in the early 1770s (see David Solkin et al., 'Gainsborough’s Family Album', National Portrait Gallery, London, 2018, nos 26, 32& 48 and fig. 36). On 6 March 1775, some nine months after the Gainsboroughs moved to London, Dupont joined the Royal Academy Schools. After his formal training he worked in his uncle’s studio in Schomberg House, Pall Mall, and continued to live at his home there, where he learned to scrape mezzotints and made small copies in oil after his uncle’s portraits. In 1784, Gainsborough asked him to copy a portrait of Queen Caroline to accompany a portrait of her husband George II by John Shackleton in Huntingdon Town Hall. After Gainsborough’s death on 2 August 1788, his nephew had the opportunity to develop his own practice. Dupont continued to work in the studio at Schomberg House. Portrait commissions came, notably from George III, who admired his work, and from some of the children of his uncle’s friends. In 1793 he was given his most prestigious commission, to paint a huge canvas, larger than any his uncle had painted, of the Elder Brethren of Trinity House: thirty-one figures placed across a canvas nine and a half feet tall and nearly nineteen feet wide. The group portrait – commissioned to decorate the newly completed headquarters of Trinity House on Tower Hill – took three years to complete. In 1794 Thomas Harris (d. 1820), a theatrical proprietor, commissioned a series of spirited portraits of actors that are, with a few exceptions, now in the Garrick Club, London. Dupont was also a painter of landscapes (see catalogue by John Hayes, op. cit., pp. 192–6) and he exhibited at the Royal Academy from 1790 to 1795. Hayes notes that the dating of Dupont’s landscapes is problematic, but that there does appear to be a progression from a grand, slightly stiff manner, through a poetic, pastoral kind of landscape, linking with Gainsborough’s smaller late works, to a more fluent, vigorous and dramatic style, possibly influenced by Lawrence. This group fits into his later oeuvre. John Mayheux, the first owner of these pictures, was an assistant at the Board of Control, under Lord Melville, which oversaw the activities of the East India Company from London.

Pencil and washes, in its original early 19th century frame with acanthus leaves at the corners 33 x 22.1 cm; 13 x 8 ¾ inches Provenance: Miss Elizabeth Broadwood, Canterbury, by descent; Colt Clavier Collection, Bethersden, Kent, until 2018. Literature: David Wainwright, 'Broadwood by Appointment: A History', 1985, ill. facing p. 185. This portrait of Thomas Broadwood shows him as a young man of leisure. He was the second surviving son of John Broadwood, and the third generation of the piano manufacturers John Broadwood & Sons, who made upright and grand pianos, where he worked as business manager of the company. He met Beethoven as a young man in 1818 and sent him a newly improved triple stringed piano (which subsequently belonged to Liszt and is now in the National Museum in Budapest). Thomas Broadwood purchased the Holmbush estate in Lower Beeding, Sussex, in 1824–1825, and employed Francis Edwards to design a two-storey castellated mansion with octagonal turrets. He grew dahlias in the gardens, which were highly fashionable in the 1820s and 1830s. Broadwood was High Sheriff of Sussex in 1833. Edridge’s work can be found in the collections of Britain’s major museums.

This group of work explores the artist’s physical connection to the material world. Made in all weathers by the riverbank, and executed without correction in one sitting on one day, each image refers both to the immediacy of this encounter and the recollection of past experience. This singular occurrence becomes one of a sequence, forming over time a living record that reflects on the fluid interaction of water and ground while simultaneously employing the elements – rain, silt, river water - as both the medium and material in their making. Mixed media on paper 57 x 76 cm June 2017

Signed l.l.: Emily Farmer, watercolour over traces of pencil with gum arabic and scratching out 43 x 32 cm.; 15 17/18 x 12 5/8 inches Provenance Sir Roundell Palmer, 1st Earl of Selborne, Blackmoor House, Hampshire Exhibited New Society of Painters in Water Colours, 1860, no. 344; Winchester Art Loan Exhibition, 1875 (lent by Lord Selborne); Hiscock Gallery, Southsea, Hampshire This watercolour is the artist’s most famous work, executed in 1860, which was reproduced in different media. When it was exhibited in 1875 it was given special mention in The Hampshire Advertiser, June 23, 1874, p. 4, issue 3028: WINCHESTER ART LOAN EXHIBITION ‘Lord Selborne-lent by his lordship- who has also a delightful picture “Deceiving Granny”, in which Emily Farmer, the artist has caught a scene thoroughly natural, and by no means rare, where a lovely girl and boy are being measured back to back by a loving grandmother, and the latter young rascal is rejoicing in gaining a half-inch over his merry sister by a surreptitious “tip toe”.’ Emily Farmer exhibited over one hundred works at the New Society of Painters in Water Colours during her lifetime, achieving good notices from contemporary critics, but her work has fallen from public view like that of many other women artists. She was the daughter of John Biker Farmer who worked for the East India Company and his wife Frances Ann (née Frost). Like many women of her generation Emily was home educated and was taught art by her brother Alexander Farmer, the genre painter. Farmer’s early work was in miniature and she exhibited twice at the Royal Academy in 1847 and 1849 but from 1850 she began to concentrate on genre painting and developed her particular love of painting children. Farmer was elected to the New Society of Painters in Water Colours in 1854. Of a membership of fifty-seven artists in 1850 she was the tenth female member of the Society added four years later, the other nine being Fanny and Louisa Corbaux, Jane Egerton, Fanny Harris, Mary Margetts, Mrs William (Emma) Oliver, Sarah Setchell and Fanny Steers. She exhibited nearly one hundred works there, including the present watercolour, over the course of her artistic career. Pamela Nunn points out that although there was not much women’s work exhibited at the New Society’s exhibitions it was often regarded as the most interesting.1 Farmer was singled out for special mention by contemporary critics: “...Miss Farmer’s pictures, which are, all things considered, the best figure pieces in the collection. They are true in gesture and expression, conscientious in execution and harmonious in colour”, Spectator, May 3, 1862, p. 495. “Miss Farmer is the only figure artist (here) whose drawings give any hope or promise”..., ibid, April 28, 1866, p. 467. “Let us call attention to the two modest bits of Domestic by Miss Farmer, the best of that class in the room”, Critic, April 28, 1860, p. 351. Farmer also exhibited work at the Royal Scottish Society of Painters in Water Colours and the Liverpool Academy. Emily Farmer lived for over half a century at Porchester House in Porchester, Hampshire where she died in 1905. She is buried in the churchyard of St Mary’s, Porchester. Examples of her work can be found in the Victoria and Albert Museum and the National Gallery of Art, Washington D.C. Roundell Palmer, 1st Earl of Selborne (1812-1895), PC, FRCS, was an English lawyer and politician. He was appointed Solicitor General in Lord Palmerston’s government in 1861 and promoted to Attorney General in 1862. He handled many questions of international law which arose from the American Civil War including the Alabama Affair and was the leading counsel for Britain before the Alabama Claims tribunal in Geneva. In 1872 he was appointed Lord Chancellor under Gladstone, an office he held again from 1880-1885. He lived at Blackmoor House in Hampshire, built from 1865-1882 to the designs of Alfred Waterhouse. Two chairs and a hanging corner cupboard designed by Waterhouse for Blackmoor are now in the collection of the Victoria & Albert Museum.

Watercolour over pencil heightened with bodycolour and scratching out 24.5 x 35.5 cm Provenance Sotheby’s, 13 July, 1989, lot 173, bought by Neuberg; Private collection, U.K. Legend has it that a giant called Gwendol Wrekin ap Shenkin ap Mynyddmawr had a grudge against the town of Shrewsbury and decided to flood it to kill all its inhabitants. He collected a giant-sized spade of earth and set off towards the town. When he was near Wellington he met a cobbler returning from Shrewsbury market with a large sack of shoes for repair. The giant asked him for directions, adding that he was going to dump his spade of earth in the River Severn and flood the town. "It's a very long way to Shrewsbury," replied the quick-thinking shoemaker. "Look at all these shoes I've worn out walking back from there!" The giant changed his mind and dumped the earth on the ground beside him, creating the Wrekin.

Watercolour over pencil with scratching out 13.9 x 20 cm The artist was the youngest son of Nathan Theodore Fielding. From c. 1827 to 1830 he lived in Paris, where he ran the family engraving business, at which William Callow worked. He collaborated with his brothers Thales and Theodore in England before returning to France, where he built up an extensive teaching practice, with pupils including members of the family of King Louis-Philippe. Provenance: Augusta Raymond-Barker, Fairford Park, Gloucestershire; thence by family descent until 2016

Inscribed l.l. on original mount: At Tenby, pen and brown ink, brush and brown and grey wash on laid paper, partially watermarked FABRIANO 21 x 26.3 cm.; 8 ¼ x 10 ¼ inches Heneage Finch, 4th Earl of Aylesford was a talented amateur artist who studied drawing with John Baptist Malchair while he was at Christ Church College, Oxford. His mature style shows show the influence of Rembrandt, whose etchings he collected. Aylesford made frequent tours to Wales, including a trip in 1803 when he may have made this view of Tenby. Another very similar but slightly smaller drawing of boats at the shore at Tenby by him is in the collection of Tate (T08126) and a further view of Tenby is in the collection of the National Gallery of Art, Washington DC (2009.70.30). He was also a politician, patron of the arts (he was a trustee of the British Museum from 1787-1812), etcher and a talented amateur architect. His work can be found in many institutional collections.

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 cm Provenance Baron 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 2018 An 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 81 14 x 20.4 cm Provenance Baron 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 2018 This 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.

Signed l.c.: FRANCIA, watercolour over traces of pencil. 10 x 23 cm.; 4 x 9 inches Provenance Sir 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 2024 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 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.

Black chalk with stump over pencil on laid paper 27.8 x 38.9 cm; 11 x 15¼ inches Provenance: Arthur Kay (1861–1939), Edinburgh; Edith Oliver (1894–1972); By descent until sold at Christie’s, London, 11 November 1997, lot 7; David Stokes, London; Private collection, UK, until 2018. Literature: Hugh Belsey, 'A Second Supplement to John Hayes’s ‘The Drawings of Thomas Gainsborough’, no. 1086, Master Drawings, Vol. 46, No. 4, ‘Drawings by Gainsborough’ (Winter, 2008), pp. 427–541. This drawing probably dates from the mid 1780s. The comparatively free handling of the forms is similar to a group of other drawings of this date (see Belsey, op. cit., nos. 1074 and 1077–92). Arthur Kay, the first recorded owner of this work, owned a group of drawings by Gainsborough, some of which were sold at Christie’s on 23 May 1930, although it has not been possible to precisely identify the present drawing as one of these.

KT591 Watercolour over traces of pencil 32 x 47 cm.; 12 5/8 x 18 ½ inches Provenance Spink, London, ‘A Journey through India- Pictures of India by British Artists’, 9 October-1 November 1996, no. 30;Sotheby’s, London, 8 June 2000, lot 69;Private collection, U.K. until 2023 Justinian Gantz, described in the East India Gazette as 'Miniature Painter', was the son of the artist John Gantz. In addition to their work as draughtsmen for the East India Company, they may have practised as architects and ran a family lithographic press in Popham's Broadway, Chennai (M. Archer, British Drawings in the India Office Library, 1969, I, p.49, and J.R. Abbey, Travel in Aquatint and Lithography, 1957, II, no.445). Seven watercolours by Justinian Gantz of European houses in Chennai dating from 1832-1841 are in the collection of the British Library (M. Archer, op.cit., II, pp.604-606). The fortress of Gooty was an important British stronghold 269 miles from Chennai and 44 miles east of Bellary. It comprised a number of strong works, connected with each other on the summits of a cluster of hills and enclosing a space of level ground where the town was situated. Two fortified gateways gave access to the town to the south-west and north-west. A huge smooth rock to the north of the circle of hills ascended through 14 gateways and fortifications to form a citadel. This work was part of a group of views of southern India by Justinian and John Gantz included in the Spink exhibition in 1996.

KT453A George Garrard, ARA (1760-1826) Hyde Park from the artist’s painting room window at Knightsbridge, 1793 Inscribed verso: Hidepark from Knightsbridge/D Room 1793, inscribed on a label: Hyde Park from the Artists painting room window at Knightsbridge 1793., oil on laid paper 16.2 x 20 cm.; 6 3/8 x 7 7/8 inches Provenance Mr Nicholson, Oxford, until 1942, when acquired by Edward Croft-Murray, CBE, (1907-1980); Jill Croft-Murray until 2020; Woolley and Wallis, The Edward Croft-Murray Collection, 11 August 2021, lot 421 Exhibited Arts Council of Great Britain, ‘Paintings from Nature; The Tradition of Open air Oil Sketching’, 1980, cat. no. 40 This delightful oil sketch originally came from an album of oil sketches from nature, assembled by the artist for his own pleasure, inscribed ‘Studies from nature by G. Garrard’. Garrard’s painting room was in the hamlet of Knightsbridge, overlooking Hyde Park. Its spontaneity and the looseness of the brush strokes is suggestive of a plein air sketch, although we know that it was painted through the window of Garrard’s drawing room which was evidently very close to the park. This sketch would have been produced as an aide memoire for the artist and is typical of the type of work which was produced in the late 18th century neither for exhibition nor sale but as a means of understanding nature. The rediscovery of the genre has been explored in the exhibition ‘Truth to Nature Open air Painting In Europe 1780-1870’, 2020. Five further examples of his oil sketches in and around London are in the collection of Tate Gallery and another of Woburn Park in the Higgins Museum, Bedford, donated by Edward Croft-Murray, the previous owner of the present work. Garrard came from a family of artists who were descended from Marcus Gheeraerts the Younger (c.1561-1636). He was a pupil of Sawrey Gilpin (1733-1807) whose daughter Matilda he married. He studied at the R.A. Schools from 1778 and was a frequent exhibitor there from 1783-1826, becoming an ARA in 1800. Garrard specialised in animal portraiture and sculpture, but also painted landscapes, portraits and urban views. From 1795 he worked increasingly as a sculptor. He died in Brompton, then a village next to Knightsbridge. where many artists lived.

Watercolour over traces of pencil with touches of white, gum arabic and scratching out 36.5 x 47.3 cm Provenance The Oppé collection, Sotheby’s, 15 July 2016, lot 135 (as British School) Gastineau made many watercolours of Welsh subjects, some of which were engraved and published as Wales Illustrated in 1830–31. These included another version of this view, showing the Eagle Tower from a slightly different angle: see below. He exhibited two watercolours of Caernarvon Castle at the Old WaterColour Society (OWS), in 1830, no. 356 (possibly the present drawing), and again in 1847, no. 225. The artist was known for his successful moonlit watercolours, to which according to Roget he gave a characteristic mellowness by means of preliminary washes of warm colour: see J. L. Roget, A History of the Old WaterColour Society, 1891, reprinted 1972, p. 508.

KT341 Signed, inscribed and dated l.r.: On the Holmwood/Dorking/H. Gastineau/1864(?), watercolour over pencil with touches of gum arabic 27 x 37.5 cm.; 10 5/8 x 14 ¾ inches A prolific and successful watercolourist, Gastineau travelled widely in the British Isles and abroad. He was based in Camberwell, London from 1827. Gastineau exhibited numerous views of Surrey throughout his long career. His work may be found in many UK museum collections.

Signed and dated l.l.: M. Gianni.1897, further inscribed on previous backboard: Grand Harbour/EA (?), gouache 19 x 53 cm Provenance: Private collection, UK, until 2019 This bright watercolour is a fine example of the delicate work of M. Gianni, known as Maria to collectors, whose work is included in numerous collections in Malta. The shipping is particularly nicely drawn in great detail.

Signed l.l.: GLUCK, oil on canvas, in original Gluck frame 27.8 x 23 cm.; 10 7/8 x 9 inches Frame size 54 x 48.5 cm.; 21 ¼ x 19 ¼ inches Provenance Fine Art Society, Diverse Paintings by Gluck, November 1932, no. 20; With Anthony Mould in 1982; Private collection, U.K. Exhibited Fine Art Society, Diverse Paintings by Gluck, November 1932, no. 20; Gluck Art and Identity, Brighton Museum & Art Gallery, UK, 18 November 2017 to 11 March 2018 Literature Diana Souhani, Gluck Her Biography, London 1988, p.73; Gluck Art and Identity, ed. Amy de la Haye and Martin Pel, (exhibition catalogue), Yale University Press, 2017, p. 107, ill. Full catalogue available.

Signed, inscribed and dated l.r.: Hindoo Temple near Dehra/Himmalayas in the background-/Oct. 1869./C.F.G.C., watercolour over pencil with touches of white. Dehradun, the capital of Uttarakhand, is in the foothills of the Himalayas. On the banks of a river is a Hindu temple in front of which figures ride elephants through the shallow waters. On the riverbank, a woman performs the aarti, releasing a diya to float upon the waters as an offering. For further work by this artist please see the catalogue link and enquire about availability

Inscribed and dated l.l.: From Egutpoora/en route to Bombay/from Nagpore/Dec 2nd/69, watercolour over pencil. The artist stopped in Nagpore ‘the city of the Naga’, or serpent, on the railway to Bombay, In the Himalayas, p. 569. For further work by this artist please see the catalogue link and enquire about availability: https://media.karentaylorfineart.com/pdfs/Constance-Frederica-Gordon-Cumming-KTFA-2025.pdf

Duncan Grant (1885-1978) The Blue Tablecloth Signed and dated l.l.: D. Grant/32, oil on canvas board Provenance Thomas Agnew & Sons, London (7524); sold to Isobel Jeans, 20 July 1932; Wyndham T. Vint, Bradford; Christie’s London, 16 July 2014, lot 102 where bought by the present owner Grant’s painting style was influenced by the French Post-Impressionist exhibitions organized in London by Roger Fry in 1910. He painted still lifes throughout his life, constantly juxtaposing different objects, fruit and plants on a tabletop. Here the skillfully painted blue tablecloth provides a backdrop to the carefully arranged bowl of fruit with black grapes, bananas and apples juxtaposed with a bottle, seen in many of his still lifes. A couple of red roses balance the composition. This still life was most probably painted at Charleston, Grant’s home in Sussex which he shared with Vanessa Bell. He moved there with his lover David Garnett and Bell’s two children Julian and Quentin. Their father Clive Bell was a frequent visitor, although he kept his permanent home in London. Agnew’s sold many paintings for Duncan Grant over the course of his lifetime.

Signed, inscribed and dated l.r.: E F Green Poonah 1847, oil on canvas 76.9 x 63.8 cm; 30 ¼ x 25 1/8 inches Provenance Christie’s, London, 5 June 1996, lot 140; Private collection, Scandinavia Exhibited Royal Academy, 1851, no. 446 In this evocative image, the snake charmer holds a pungi. His assistant has a python draped around him and a mongoose, commonly included in snake charmers’ performances, is tied up in the corner of the composition. A third snake slithers in the foreground. They are standing in a landscape with a fort on a hill in the middle distance, with mountains beyond. Green, while not known for his topographical accuracy, seems to have captured the hilly landscape around Poona, and the building on the rocky outcrop in the present work may be loosely based on the Maratha Hill Fort at Purandhar. The temples may be inspired by the Temples of Parvati at Poona. Snake charming Snake charming, as it exists today, is thought to have originated in India, and Hinduism has long revered serpents, particularly cobras, as sacred creatures. Originally snake charmers may have been healers, who were able to treat snake bites. Some learned how to handle snakes and could be called upon to remove snakes from places where they were not wanted. They were a familiar sight of Indian street life until the 1970s when the practise was outlawed. The ubiquitous controlled battle between a mongoose, immune to snake venom, and a cobra usually saw the snake charmer handle the lithe mongoose on a rope so that it didn’t kill the cobra. The pungi or tiktiri is an Indian wind instrument consisting of two reed pipes glued together and inserted into the thick end of a gourd – the hollow, dried shell of a fruit in the Cucurbitaceae family of plants, which includes melons, cucumbers and squashes. The mouthpiece is at the narrower end of the gourd. One of the pipes is a drone playing a single note, while the other plays the melody, with fingerholes that can be adjusted with wax to vary the pitch. They are often brightly painted. It is the traditional instrument used by snake charmers to control the snake by movement, as while snakes can sense sound, they cannot hear music. Edward F. Green The artist was the fifth son of John Green, a merchant in the Levant and his wife, Harriet. The Green family were prominent members of The Levant Company and the Maltese Consular Service. Edward Green’s dates have been incorrectly recorded, but family records indicate he was born on 11 January 1801, baptised on 14 July 1801 at St Botolph’s, Bishopsgate, London, and died in 1884. Green studied at the prestigious Royal Academy Schools in London, where his name appears in the records as Frederick Edward Green / E.F. Green. He was admitted as a probationary student on 11 January 1822, and registered as a full student on 4 April 1822, aged 21, for painting. Green was admitted to the life drawing school on 29 November 1822. He excelled at the Schools and won a silver medal in 1826, for a copy made in the painting school. The artist married Catherine Colona Stilon in Malta on 2 June 1840 and a daughter, Melita (Kate) was born to the couple on 30 April 1841. They had a second daughter Ellen Green. His brother, James Moring Green (the seventh son), was also an artist and Vice Consul of Naples. Two of his other brothers were Consul and Vice-Consul in Greece and this no doubt lies behind the number of interesting paintings he made of Greek subjects. After his wife’s death in 1845, Edward F. Green sold all his paintings, copies of Old Masters and curiosities at an auction by Foster Auctioneers, 54 Pall Mall (which was advertised in ‘The Atheneum’) and travelled to India. He is recorded as having lived in Bombay, now Mumbai, and evidently travelled in the surrounding area, and possibly, further afield. He stayed in India for three years, returning to Malta in 1848 for the funeral of his father-in-law, Dr Guiseppe Stilon, a Royal Naval Surgeon of Italian origin (whose will is in the National Archives, Kew). Green’s motivation to visit India is not known but it seems likely that it was influenced by the loss of his wife. Little is known about Green’s soujourn there, but he was an artist with a taste for travel and a journey to India would have appeared exciting and begun a new chapter in his life. British artists had been visiting India since William Hodges’ arrival in 1780 and the activities of the East India Company and the increased number of permanent British residents created a market for pictures both in India and the United Kingdom. With his eye for local customs and costumes, Green would have found a ready supply of colourful subjects to paint. Exhibition History Green exhibited regularly at the Royal Academy, showing 14 works between 1824 – 1851. He also showed 21 works at the British Institution and exhibited at the Society of British Artists. The artist specialised in exotic and orientalist subjects inspired by his extensive travels in Italy, Greece, Albania, Persia and India, and he specialised in painting particularly evocative oils by highlighting details of local costume and customs. His portrait of a Greek girl in a landscape wearing a Greek costume and embroideries was illustrated as a colour plate in Fani Maria Tsigakou, The Rediscovery of Greece, 1981, col. Pl. V, p. 194. He also worked as a portrait painter, a ready source of income, and in 1830 painted the portrait of Major-General Sir Robert Henry Dick (1785? – 1846), the soldier who lived in India. This was engraved as a mezzotint by Henry Haig circa 1847. A portrait of a young man by Green is in the collection of the Guildhall Art Gallery. His various addresses are recorded as 13 New Bond Street in 1824; at 65 Upper Charlotte Street in 1826; at 16 Howland Street in 1828 and 1829; at Upper Gloucester Place in 1837; all in London, at Strada Mercante in Valletta, Malta in 1840 and 1841; at 2 Titchfield Terrace in St. John's Wood in 1843; in Bombay, India in 1846 and at 17 Nottingham Street, London in 1851. Poona (Pune), Maharashtra Poona (now Pune) in Maharashtra was one of the major military bases of the British East India Company from 1818 after the fall of Peshwa during the third Anglo-Maratha War. A large military cantonment was built to the east of the city. Due to its milder climate, it was the monsoon capital for Bombay, situated almost two thousand feet up in the Western Ghats. It was one of the most important cities of the Bombay Presidency established in 1858 when India came under direct British rule. Poona had long been a place which British artists visited, from Thomas and William Daniell and James Wales in 1780s and 1790s. Wales founded an art school for local painters in the city in 1791 with the help of Sir Charles Ware Malet, British Resident at the Peshwa’s court, although the school ceased to exist after his death in 1795. William Carpenter (1818 – 1899) was in Poona around the same time as Edward Green and drew many watercolours of the city, its inhabitants and the surrounding area. William Simpson (1823 – 1899) also visited Poona towards the end of his time in India, once the railway had been extended there in 1858.

Inscribed verso: Malacca/where dear William died & was buried/Feby. 4th 1845, watercolour over traces of pencil, further inscribed again on original label, signed on the flyleaf of the album from which it comes 13.8 x 23 cm.; 5⅜ x 9 inches Apollonia Griffith was a talented print maker and watercolourist. Her father was the London merchant Thomas Griffith of Ham Common, who had four children including her brother William, celebrated for his contribution to Indian botany. William studied medicine at London University, where his botanical interests developed. In 1832 he joined the East India Company as an assistant surgeon at Madras. After trips to Bhutan and Afghanistan, he took charge of Calcutta Botanic Garden in 1842. Only three years later he was to die at Malacca of hepatitis, leaving behind a widow, young child and three maiden sisters. A cenotaph was erected to commemorate him in the Botanic Garden in Calcutta. On his deathbed William asked fellow botanist John McClelland to sort through and publish his manuscript papers, and it is through these posthumous memoirs, journals of his travels on the Indian subcontinent published in 1847 with lithographs by Apollonia, that Griffith’s work is so widely known and celebrated. Her role is praised in the introduction to the memoirs: we owe the transfer of the landscapes to stone, which add so much to the appearance of the following volume, to the talent and kindness of his sister.

Signed l.l.: F. Grose delin.1771, inscribed u.l. in pencil: Connoisseurs examining an antique Bust, pen and brown ink and wash over traces of pencil on laid paper partially watermarked with the Strasburg Lily, further inscribed with artist’s name and title in a later hand in pencil, verso 37.5 x 27.5 cm.; 14 ¾ x 10 ¾ inches, framed size 58 x 46 cm.; 22 3/4 x 18 1/8 inches This satirical drawing pokes fun at antiquarianism and art dealing in the late 18th century. Three men examine a bust, the two on the right seem unconvinced of the authenticity of the work, one waving a magnifying glass while the figure in court dress looks a little dubious while the vendor, with two hands resting on the work in proprietorial fashion, seems to be extolling its virtues. Grose treated the subject on other occasions and a print entitled ‘The Antiquerers’ (see below) was made after his work. The British were the foremost buyers of classical antiquities in the 18th and 19th century, with thousands of works, both authentic and undoubtedly fake, shipped over to adorn houses all over the British Isles. The proliferation of dilettantes in the field, and the often totally inexpert practise of what would come to be called ‘connoisseurship’, provided illustrators of the day with plenty of material. The artist was born in Greenford, Middlesex, the son of a Swiss jeweller who modelled George II’s crown. He was a noted amateur draughtsman, but extravagant living exhausted his inherited fortune and forced him to earn an income from his hobby. The results of his regular antiquarian sketching tours were published as The Antiquities of England and Wales, The Antiquities of Scotland and The Antiquities of Ireland between 1773 and his death. He also drew portraits and figurative works, although they are comparatively rare. He was a larger-than-life figure of substantial girth and known as the ‘Greatest Porter Drinker of the Age’. He died suddenly in Dublin and was buried at Drumcondra, where his tombstone records that Grose ‘whilst in cheerful conversation with his friends, expired in their arms without a sigh 18 May 1791 aged 60’.

Stamped l.l.: G. Guillaument, oil on panel, three labels attached to reverse of original frame 15.5 x 24 cm Provenance Alfred Kulka (1868-1926), Jägendorf, bequeathed to his sister Valerie Heissfeld, (1876-1938); Lotte Heissfeld (1907-1983) a Christmas gift from her mother, 1936; On her death left to the mother of the present owner, by descent until 2022 Guillaumet was a leading French Orientalist painter. From 1857 he studied under François-Édouard Picot and Félix Barrias at the École des Beaux-Arts. He won the second prize in the Prix de Rome for historical landscape in 1861 and set off for Italy. In Marseille he was delayed by a storm and by chance took a boat for Alger. He was entranced by Algeria and its light. During this first journey he made a large quantity of drawings and studies. Between 1862 and 1884 Guillaumet returned to Algeria on ten or eleven trips, spending several months there each time, travelling around the country, living either in villages, or in Kabyle ksour (fortified villages) or with nomads. He also accompanied French expeditionary columns, as in 1864 and witnessed raids and the repression of insurrections. He wrote of his admiration for the landscape and his empathy for the population. Inspired by Fromentin’s works, he wrote texts about his Oriental experiences that appeared in the 'Nouvelle Revue' starting in 1879 and were later published together in an illustrated volume ‘Tableaux Algériens’ published posthumously in 1888. Guillaumet, who at first had a studio at Sèvres, settled permanently in Paris in 1885. He lived there with Cécile Neinlist (1838-1929) whom he married in 1879 and with whom he had a son, Édouard, born in 1866. He exhibited regularly at the Salon from 1861 to 1880. He enjoyed early success and the French state acquired several of his pictures of rural and nomadic Algeria for the Luxembourg and provincial museums. After his premature death a first retrospective exhibition was organized at the Paris École des Beaux-Arts in 1888. (1) His work may be found in Paris at the Musée d’Orsay and the Louvre. In Algeria, works by him are also on view in the public collections of the National Fine Arts Museum of Alger, at the National Museum Cirta in Constantine and the Zabana National Museum of Oran. He was the subject of a monographic exhibition’ L’Algérie de Gustave Guillaumet (1840-1887)’, (2) at the Musée des Beaux-Arts of La Rochelle, the Musée des Beaux-Arts of Limoges and at La Piscine in Roubaix (9 March – 2 June 2019). The Kulka-Heissfeld collection was formed by Richard Kulka (1863- 1931) the son of a Jewish industrialist with textile factories in Jägerndorf who moved to Vienna and became a lawyer. The paintings in the collection were mainly 19th and early 20th century landscapes. On his death he left 1/3 of his collection to his sister Adele Kulka and 2/3 to Valerie Heißfeld. Valerie and her daughter Lotte left Vienna in 1938 after the Anschluss with some of the collection. They applied for export applications for numerous works of art and succeeded in taking many with them. Lotte succeeded in fleeing to England on 1 March 1939 with around 25 pictures, of which this is one. Her mother and aunt, Adela Kulka, perished at the concentration camp at Theresienstadt. Exposition des œuvres de G. Guillaumet: au profit d’un monument à élever à la mémoire de F. Bonvin, Paris, École Nationale des Beaux-Arts, 7 to 31 January 1888.[↩] Marie Gautheron (dir.), L’Algérie de Gustave Guillaumet (1840-1887), exh. cat. 2018-2019 Musée des Beaux-Arts de La Rochelle, Musée des Beaux-Arts de Limoges and La Piscine de Roubaix, 2018.[↩]

Signed l.l.: Kate Gardiner Hastings, red and black chalk 46.7 x 36.9 cm.; 18 ½ x 14 ½ inches Ellen Terry (1847 - 1928) is portrayed against a background of blossom. Her hair is pinned behind and she wears a blouse with a frilled collar and a knotted scarf. The background, costume and pose bear a strong resemblance to other portraits of Terry as Ophelia. The famous actress was born in Coventry in actors’ lodgings, where her parents were on tour, and she started acting as a child. She married the much older artist, George Frederick Watts in 1864, but they separated within a year. He painted her in many guises, including as Ophelia and Joan of Arc. Terry became known as the Painters’ Actress and was painted and photographed by Julia Margaret Cameron, John Singer Sargent and Aubrey Beardsley, amongst many others. Terry and the architect and designer Edward William Godwin (1833-1886) had two children, Edith Craig and Edward Gordon Craig. She returned to the stage in 1872 to establish herself as a leading actress with the Bancroft's and John Hare’s company. In 1878, Terry joined Henry Irving's company at the Lyceum Theatre as its leading lady, playing Ophelia opposite Irving's Hamlet. Her acting career became increasingly successful with tours of America and ventures into theatre ownership and management. In 1907, Ellen Terry married her third husband, the American actor James Carew (1876–1938) in Pittsburgh, Pennsylvania, whom she first met at the Royal Court and with whom she toured America in George Bernard Shaw’s Captain Brassbound’s Conversion. She graduated successfully to film and continued her career after the First World War on both stage and screen. In later life she continued to act, but also produced plays, lectured and wrote. Terry moved in artistic and literary circles, and her friends included Henry James, George Bernard Shaw and Oscar Wilde. Her great-nephew was the actor, Sir John Gielgud (1904-2000). Born in London in 1837, as Katherine Carr, Kate Gardiner Hastings received her artistic education at the Slade School in London. From 1871 - 1876 she studied with John Poynter and upon the completion of her studies, in 1877, she married Alfred Gardiner Hastings. For the next few years she exhibited regularly showing her work at the Dudley Gallery and the Walker Gallery. The artist drew a series of portraits of Terry’s family circa 1890 which are now part of the National Trust Collection and held at Terry's former home, Smallhythe Place in Kent (NT/SMA/D/20, 21, 22, and 23). These portray Benjamin and Sarah Terry, (the actress’s mother and father) and her children Edith, the theatre director and activist and Edward Gordon Craig, the theatre designer. The pastel of Sarah Terry (1817-1892) was exhibited at the Summer Exhibition of 1890 at New Gallery, London. Another red chalk portrait of the actress as Ophelia in Hamlet c. 1878 by the artist is in the collection of the Victoria & Albert Museum (S.1484-2014).

Signed l.l.: Matilda Hayes, pen and brown ink and watercolour on paper watermarked 1814/WHATMAN 21.5 x 27 cm.; 8 ½ x 10 5/8 inches Provenance Private collection, New York, until 2021 Matilda Hayes was the daughter of William Hayes (1734-1802), the British illustrator best known for A Natural History of British Birds (1775) and Rare and Curious Birds Accurately Drawn and Colored from Their Specimens in the Menagerie at Osterly Park (1794-99). One of Hayes’ seven children she worked with her father and drew bird illustrations. A self-taught artist, Hayes worked from live specimens he kept in captivity, as well as birds from the collection of one of his patrons, the Duchess of Portland. Like Audubon, Hayes depicted birds at life size whenever possible. He presumably taught his wife Anne and children including Charles, William, Annette, Emily, Maria and Matilda with whom he worked at printing, colouring and assembling volumes, and some of his bird illustrations were drawn by other members of his large family. In the mid-1780s, Hayes moved to Southall, near Osterley Park, and the estate’s owners, Robert and Sarah Child, of the banking family, who collected exotic birds, became his patrons. Horace Walpole described ‘a menagerie full of birds that comes from a thousand islands which Mr. Banks has not yet discovered’ (Walpole to Lady Ossory 21 June, 1773. (Lewis, ed. Walpole’s Correspondence, 1937), 126). Hayes and his family also painted portraits of birds belonging to John Montagu, Earl of Sandwich. The Red-bellied Macaw is a small, green macaw closely associated with the Mauritia palm tree of northern South America. It feeds on the palm's fruits, and nests in a hole in a dead palm surrounded by water.

General Robert Clive receiving the homage of the Nawab Mir Jafar after the Battle of Plassey c.1761-2 Oil on canvas, 20 x 203/4 ins. (50.8 x 60.5 cm) Inscribed indistinctly on stretcher: ‘F.M. Wor… RA’ 1 Provenance Private collection, U.S.A., until 2012 Literature: Brian Allen, Francis Hayman (New Haven & London, 1987) p.123, 177, checklist no.101; The Raj-India and the British, National Portrait Gallery catalogue 1990, ill. p.32, fig.10 This is probably a preliminary oil sketch by Hayman for the huge canvas (12 x 15 feet) which formed part of the series of four gigantic pictures illustrating glorious victories from the Seven Years War (1756-63) which were installed in the annex to the Rotunda at Vauxhall Gardens by the proprietor Jonathan Tyers (1702-67). Although much acclaimed at the time of their unveiling in the early 1760s, all four large pictures had disappeared from the Gardens by 1840 (they were almost certainly removed and probably destroyed by that date or soon after) but a lengthy description of the original large pictures was published in a contemporary guidebook to the gardens and in the London press and this source enabled the identification of a larger (presumably subsequent) preliminary sketch for the same subject which is now in the National Portrait Gallery.2 Another rougher version of this subject, was with Spink in the 1970s (K2 3992) and is now in a private collection in the U.K. The subject depicted is the meeting between the victorious General Robert Clive (1725-1774) and Mir Jafar, the Nawab of Bengal (c.1691(?)–1765) after the Battle of Plassey on 23 rd June 1757. Clive was extraordinarily successful in India and, on his return to England in 1760 with an enormous personal fortune, received huge critical acclaim.3 In 1756 the Nawab of Oudh, Siraj-ud-Daula, (1733-1757) captured the East India Company’s settlement at Calcutta and imprisoned British captives in the infamous Black Hole. Robert Clive, in command of the Company’s army, recaptured Calcutta in January 1757 and then took the French fort at nearby Chandernagore in March. Clive then deposed Siraj, with the help of Mir Jafar at the Battle of Plassey. Mir Jafar’s rule is usually considered to be the start of British imperialism in India. He had effectively betrayed his predecessor Siraj ud-Dulah (1733-1757) who was killed soon after the battle, in order to become the next Nawab of Bengal. He gave a fortune of around £3 million to the East India Company, but in 1760 Mir Jafar was forced to abdicate in favour of his son-in-law Mir Qasim (d.1777). In 1763 Mir Jafar was restored with the full support of the Company for the remaining two years of his life. In 1764 Clive assumed supreme military and civil power in Bengal and forced the Mughal Emperor Sah ‘Alam to allow him to collect revenue (diwan) on his behalf. It is worth quoting at length from the rather exaggeratedly effusive contemporary description of the large lost picture since the author must have spoken with Hayman to elucidate the subject matter, if indeed the painter himself was not its author: ‘General Clive, after gaining the battle of Plassey in the East Indies, which restored the English interest that had been ruined in those parts of the world, found himself under a necessity of deposing the reigning Nabob; for that purpose sent from the field of battle for Meer Jaffer, a principal General under the Subah or Nabob, and an enemy to the French. Meer Jaffer sent for, seeing the General surrounded by his victorious troops under their arms, approaches him with every symptom of doubt and dissidence in his countenance. The General is represented in the attitude of Friendship, by extending his hands to receive him. Behind the General stands his Aid de Camp with his spontoon in his hand; as bold but as graceful a figure as can well be conceived, the British colours are display’d in the hands of another English officer, with the like appearance as the former, but all of them in different atitudes. A bold horse, supposed to be the General’s that seems startled at the sight of the elephant, closes to the fore ground of this compartment of the picture. It is but justice to the Painter to say, that no figures were ever better detached from the canvas than those are; that of the General, being the principal, is inimitably free, and in a most masterly stile of painting. The painter could with no propriety avoid representing the British figures in their uniform; but to prevent a sameness in the composition, he has with great judgment introduced the Indian groom in the habit of his country, which form a most happy contrast. Meer Jaffer wears on his face strong remains of the emotions already mentioned, but his dejection seems faintly alleviated by the General’s manner of receiving him. The extension of his arms and the inclination of his body is most movingly expressive of doubt, submission and resignation, which is heightened by an Indian officer laying the Subah’s standard at the General’s feet. The future Subah or Nabob is attended by his son, a youth of about eighteen years of age, bewitchingly handsome, and painted with a masterly propriety. The other Indian figures behind Meer Jaffer are those of his friends and officers, and the countenances of them all strongly partake of the inquietudes of their principal. This co[m]partment is terminated by an elephant on the background, which the greatest judges from the East-Indies say is the best they ever saw in a painting, both co[m]partments of the picture (for so they may be called on account of the diversity of the figures they exhibit) are drawn up around the scene of interview. The painter has here taken advantage of the various dresses of the Indians, which, as well as their arms and all their other attributes, are preserved with the utmost precision, to introduce a beautiful play of colours, without departing from propriety.’4 The other two versions and the present picture correspond closely to the published description except that there is no ‘Indian officer laying the Subbah’s standard at the General’s feet’ in either of the two other preparatory works, although the present work has a native with a box which may contain a folded standard. The present work also has a golden ladder and a chair on top of the elephant. Other minor differences between the preparatory works show Clive wearing his tricorn hat in both other versions but hatless in the present picture. In the present picture Mir Jafar is shown bowing more obsequiously than in the larger NPG picture. The NPG picture shows the red banner of the other two pictures turned into a British flag. A letter in the National Library of Wales (Robert Clive Papers H1/1-4) reveals that Clive visited Hayman’s studio on 26 April 1763 when Henry Clive paid 5s to ‘Mr Hamans the painter’. This is recorded in an account book in the handwriting of Henry Clive (1709-1775), who was a first cousin of Clive of India’s father. When Robert Clive came back from India for the second time in 1760, with his young cousin George in attendance, cousin Henry, who was an attorney, seems to have become a kind of steward, travelling with the party and keeping this account book (Dr Charlotte Mitchell kindly shared this information by email in October 2018). This shows that Clive almost certainly commissioned a painting from Hayman and it seems highly likely that he saw the Vauxhall Gardens work and decided that he wanted one for himself. Despite never setting foot in India Hayman was among the first British artists to exploit Indian subject matter, a genre that was to become increasingly popular towards the end of the century in the hands of artists who did travel to the sub-Continent such as Zoffany and Tilly Kettle. 1. There is no record of any Royal Academician corresponding to the inscription. 2. See A Description of Vaux-Hall Gardens (London, 1762) bound into the end of the British Library’s copy. See also The Public Advertiser, no.8905 (20 May 1763) and The London Magazine, XXXII (May 1763) pp.233-4, quoted by Allen, Francis Hayman (see Literature above). The larger sketch in the NPG was correctly identified by Brian Allen as by Hayman when it was catalogued by Christie’s as ‘English School’ in an anonymous sale on 22 June 1979 (162), bought by the National Portrait Gallery. This work had previously been misidentified as by the American Mather Brown (1761-1831) by Mildred Archer in India and British Portraiture 1700-1825 (London, 1979) p.419. For further details of the three other large historical pictures see Allen, op.cit., pp.62-9 3. See Mark Bence-Jones, Clive of India (London, 1975) 4. See A description of Vaux-Hall Gardens (London, 1762) note 2 above.

Signed l.r.: Helleu, black, red and white chalks 70 x 48.5 cm; 27 1⁄2 x 19 inches Provenance Nevill Keating Pictures Ltd., London; Private collection until 2022 This elegant drawing aux trois crayons of the artist’s wife Alice, drawn from behind, is recorded in the online archive of Les Amis de Paul-César Helleu as PCH DE1-3216. Helleu studied at the École des Beaux-Arts in 1876 in the atelier of Jean-Léon Gerome. In Paris, his circle of intimate friends included fellow artists Giovanni Boldini, Alfred Stevens, Edgar Degas, Rodin, Claude Monet and notably the Americans Whistler and Sargent, with whom he briefly shared a studio. Helleu exhibited several large pastel portraits to great acclaim at the Salons of 1885 and 1886, including one of Alice Louis-Guérin, to whom he became engaged in 1885. He and Alice married in 1886 at the church of Saint-Pierre in Neuilly. Although friendly with many of the Impressionist painters and invited by Degas to participate in the eighth and final Impressionist exhibition of 1886, Helleu declined to do so. He exhibited six pastels at the Salon des Pastellistes at the Galerie Georges Petit in 1887, including two further portraits of Alice. At this time he first met Comte Robert de Montesquieu, who was to become his leading patron and who, in 1913, published the first important monograph on the artist. In 1889 Paul and Alice Helleu spent some time with Sargent at Fladbury in England, and he made several studies of Alice and an oil of Paul painting her (Brooklyn Museum, New York). The 1890s were a successful decade for Helleu, who moved comfortably in society in both France and England. He obtained numerous lucrative portrait commissions and enjoyed considerable financial success. Helleu also met and enjoyed a long friendship with Marcel Proust, who is thought to have based the character of the painter Elstir in A la Recherche du Temps Perdu on him. Encouraged by Sargent, Helleu began travelling to America in 1902, where his reputation had preceded him, and he enjoyed further success drawing elegant Society women. His subjects included the Comtesse Greffulhe, Queen Alexandra and Consuelo Vanderbilt, the Duchess of Marlborough. These works were greatly admired by his contemporaries. His preferred subject remained Alice, whom he drew many times. The writer Edmond de Goncourt wrote of Alice Helleu that [s]he was incapable of making a movement that was not graceful and elegant, and ten times a day he [Paul-César Helleu] tried to capture those movements with a quick drypoint sketch. In 1931, four years after Helleu’s death, a retrospective exhibition of his work was held at the Galerie Charpentier in Paris. Today his work can be found in many museum collections, including the Museum of Fine Arts, Boston, the Musée du Luxembourg, Paris and the Musée d'Orsay, Paris.

Pen and grey ink and watercolour on laid paper 12 x 9.4 cm The composition is reminiscent of Liotard’s La Choco - latière, although many of the details are different, notably the style of chair and the arrangement of pots on the tea table. The present drawing shows a tea pot and a silver chocolate pot with a wooden handle, which is probably French. The drawing would appear to be reflecting the status of the subject, as she was unlikely to have been drinking tea and chocolate at the same time. Highmore’s drawings are quite rare, but several examples can be found in the collection of the Yale Center for British Art, New Haven, Paul Mellon Collection. Provenance: Sabin Galleries Ltd.

KT 171 SOLD William Hoare of Bath (British 1707-1792) Black chalk on laid paper with an unidentified oval watermark 14.8 x 19.8 cm Provenance John Sutton Hoare, a portraitist in oil and pastel settled in London in the 1720s and was apprenticed to the Flemish painter Giseppe Grisoni. In 1728 he returned to Italy and took Hoare with him. Hoare spent a decade in Italy, studying the Old Masters, meeting British ‘Grand Tourists’, many of whom became future patrons, and perfecting his technique in chalk and pastel. On his return to England he settled in fashionable Bath around 1738, where he remained until his death. He was a founder member of the Royal Academy. This portrait is a charming example of the intimate style Hoare adopted later in his career when painting his family and friends, with rapid, loose strokes which suggest form. It would have been intended as a private image of which very few were worked up into oil paintings.

KT635 Signed with monogram, inscribe and dated in pencil l.l.: TRAETH MAWR/Sept 27th 55, watercolour over pencil heightened with white on buff paper 33.7 x 51.8 cm.; 13 3/8 x 20 3/8 inches Frame size 50 x 67 cm.; 19 5/8 x 26 3/8 inches Provenance Agnew’s, (DB5417) Private collection, Herefordshire, until 2024 James Holland OWS was born in Burslem, Staffordshire, where his father and other members of his family (including his brother Thomas, also an artist) were employed at the pottery works of William Davenport in Longport. James was employed there from the age of twelve, for seven years, painting flowers on pottery and porcelain. In 1819, Holland came to London where he continued to work as a pottery painter, but also gave lessons in drawing landscapes, architecture, and marine subjects. He first exhibited at the Royal Academy in 1824, became an associate exhibitor of The Society of Painters in Water Colours in 1835 and joined the Society of British Artists in 1843. In 1858 he was elected a full member of the Old Water Colour Society. Holland travelled extensively on the Continent between the 1830s and the 1850s, and he became known for his topographical works which were reproduced in the illustrated travel annuals of the day. He visited Venice, Milan, Geneva, and Paris, Portugal, Normandy and made tours of North Wales in 1850 and 1855. He exhibited prolifically during his lifetime and showed thirty-two pictures at the Royal Academy, ninety-one at the British Institution, and 108 at the Society of British Artists.