Archibald Thorburn Rose hips

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 frameSheet 38.9 x 27.6 cm.; 15 ¼ x 10 ¾ inches, painted area 33 x 18 cm.; 13 x 7 inchesProvenanceChristie’s, London, 3 February 2000, lot 160;Sotheby’s, Gleneagles, 30 August 2000, lot 1153;Private collection, London until 2023Alexander 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 l.r.: W HUNT, watercolour with bodycolour on artist’s board16 x 20.3 cm; 6 1/4 x 8 inchesPrimroses were a favourite subject of Hunt’s, and one which he frequently exhibited in the 1840s and 1850s.Hunt was born with a deformation of his legs which restricted his movement and he worked mainly from the studio, as painting outside was difficult for him. He specialised in carefully drawn smale-scale still lifes like this one as a result and pioneered new techniques of watercolour, using stipple techniques in subtle colour combinations and achieving a brightness of colour by overlaying washes over white gouache.

Samuel Palmer, RWS (1805-1881)La Vocotella near Corpo di Cava, ItalyPencil and watercolour heightened with bodycolour with scratching out 26.7 x 37.8 cm.; 10 ½ x 14 7/8 inchesProvenanceWith Agnew’s, London 2002, no. 53Anonymous sale Sotheby’s, London, 23 November 2006, lot 145;W/S Fine Art, ‘Andrew Wyld: Connoisseur Dealer’, Christie’s, London, 10 July 2012, lot 147;Timothy Clowes, his sale at Sotheby’s, London, 23 September 2021, lot 148;Where bought by a private collector until 2026Samuel and Hannah Palmer stayed at a small inn at Corpo di Cava on their Italian honeymoon in the summer of 1838. The inn overlooked a Benedictine monastery and a ravine. During this very happy period of his life, Palmer produced some of his finest watercolours, which combined the mysticism of his Shoreham work with more Italianate composition and structure. He told his friend George Richmond that it was here that he felt he was ‘no longer a mere maker of sketches, but an artist’ (E. Malins Samuel Palmer’s Italian Honeymoon, 1968, p. 73).This watercolour is constructed on classical lines with the receding serpentine path with a figure and is infused with the golden glow of Italian sunlight.A similar watercolour of the same place from a different viewpoint is in the collection of the Graves Art Gallery Sheffield (see R. Lister Catalogue Raisonné of the works of Samuel Palmer, 1988, no. 311, pp. 126-7, ill.). In a letter to her parents, written during August 1838, Hannah Palmer mentioned two views of Corpo di Cava by her husband. Presumably one is the Graves Art Gallery drawing and the present work may be the second which Raymond Lister records as untraced (R. Lister, Catalogue Raisonné of the Works of Samuel Palmer, Cambridge 1988, see no. 310).

Signed with initials l.r.: HBB, watercolour and bodycolour over pencil, inscribed verso: Siracuse and stamped with collector’s markProvenanceGilbert Davis (L. 757a.);Edward Seago, his estate sale at Christie’s, London 1 March 1977, lot 94;Where bought by B.M. Williams;Christie’s, London, 21 November 2007, lot 145, where acquired by the previous owner until 2025 Gilbert Davis (1899–1983) built up a large collection of watercolours in the middle of the twentieth century. He sold the bulk of his collection in 1959 to the Huntingdon Library and Botanical Gardens in San Marino, California. Edward Seago RBA, RWS (1910-1974) was one of the most popular British artists of 20th century, who painted in oils and watercolours.

Signed and dated l.r.: W. Callow.1833, watercolour over traces of pencil with scratching outProvenancePrivate collection U.K. until 2026This fine example of Callow’s work dates from the time he was sharing a studio in Paris with Thomas Shotter Boys at 19 Rue de Bouloi near the Louvre. He visited England during the summer and presumably travelled through Dover.

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

This group of nineteen distinctive depictions of fruit and vegetables from South-East Asia are inscribed with titles in Indian English (possibly in Romanised Hindi) and drawn on European laid paper which is variously watermarked. There are three different numbering systems on the sheets. Many of the fruit and vegetables, such as the durian, are more commonly found in South-East Asia rather than on the Indian subcontinent, suggesting that it is possible that the drawings may have been made for a European patron in South-East Asia. Stylistically the drawings have many of the characteristics of the ‘Straits School’, a hybrid Indo-Chinese style.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 work of Chinese artists is rarer than that of Indian artists and tends to be a little later in date.British patrons commissioned local artists to draw the flora and fauna of India and other areas of South-East Asia. Such work is typically annotated with botanical notes in native script, romanised versions of native descriptions, Latin and with reference to the Linnaean system of classification, created by Carl Linnaeus (1707-78).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 being made all over the known world.The collecting of specimens was the basis of most natural history drawings, plants were pressed and dried and the drawings recorded the specimen in its living shape and colours.This group of fruit and vegetables are found in various parts of South-East Asia. Some are common others are less well known.The collection is presented mounted in a hand-made solander box.Brinjala (Aubergine)Inscribed l.r.: Brinjala and numbered ninety-five, N106 and 96, watercolour, bodycolour and gum arabic on wove paper31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesAubergine is known as brinjal in South-East Asia.MangosteenInscribed l.r.: mongostan, numbered ninety-seven. N 97 and 101, watercolour and gum arabic on laid paper watermarked IFD31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesMangosteens grow in South East Asia, particularly in Indonesia. It is a juicy, slightly acidic fruit and it is also used in traditional medicine.Ratahouli (pepper)Inscribed l.c.: Ratahouli, numbered ninety-five, N107 and 1010, watercolour and gum arabic on laid paper watermarked HIS/GD33 x 23 cm.; 13 x 9 inchesCashewInscribed Rajab, numbered ninety-eight, N109 and 1012, watercolour and gum arabic on laid paper33 x 23 cm.; 13 x 9 inchesThe cashew tree is a tropical evergreen tree that produces the cashew seed and the cashew accessory fruit. The nut can be seen growing from the bottom of the fruits in the drawing, both green and then brown once it has ripened.Jambu Air (Szygium Aqueum)Inscribed l.c.: jambol, numbered A Hundred, N111 and 1019, watercolour and gum arabic on laid paper watermarked HIS33 x 23 cm.; 13 x 9 inchesThis is a special of the brush cherry tree; its common names include watery rose apple and bell fruit.ChilliInscribed l.r.: fjoli, numbered ninety-one, N100 and 105, watercolour and gum arabic on laid paper watermarked with a crest33 x 23 cm.; 13 x 9 inchesPomegranateInscribed l.r. ramangh, numbered A hundred and three, N114 and 1019, watercolour and gum arabic on laid paper watermarked HIS33 x 23 cm.; 13 x 9 inchesPapayaWatercolour and gum arabic inscribed l.r. papaya, numbere ninety-nine, N100 and 1013, on laid paper watermarked with a crest32.5 x 23 cm.; 12 ½ x 9 inchesDurianInscribed l.r.: doorian, numbered eighty-five, N94 and 96, watercolour and gum arabic on laid paper32.7 x 23 cm.; 12 ¾ x 9 inchesThe durian, with its spiny outer shell and moist, pungent flesh can weigh up to seven pounds. These large fruits grow on trees, have a short period of ripeness and their cultivation is difficult.The durian is famously not allowed on public transport in Singapore on account of its unpleasant smell.Lobed tropical tomatoInscribed l.r.: samati, numbered ninety, N100 and 109, watercolour with touches of gum arabic on laid paper32 x 21 cm.; 12 ½ x 8 ¼ inchesBerlimbingInscribed l.r.: blinbingh, numbered A hundred and two, N113 and No 16, on laid paper watermarked HIS33 x 23 cm.; 12 ¾ x 9 inchesBerlimbing, also known as bling bling or berling berling, is a sour fruit used in curries.Buah Chiku (Sapodilla, Chikoo, Sapota or Naseberry)Inscribed l.r.: boa sawa, numbered ninety-three, N104 and 104, watercolour and gum arabic with touches of bodycolour on laid paper partially watermarked with the Strasburg Lily33 x 23 cm.; 13 x 9 inchesThis appears to be Buah Sawo or Chiku, but the identification of this plant is open to question.Ban Branjahr (?)Inscribed l.r.: Ban Branjarh (?), numbered eight eight, N90 and 102, watercolour, bodycolour and gum arabic on laid paper, watermarked31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesThis plant has not been identified.Lotus Inscribed l.c.: Fratil, numbered ninety-seven, N108 and 1011, watercolour and gum arabic, watermarked with a crest33 x 23 cm.; 13 x 9 inches This drawing shows the lotus head with seeds after it has flowered. It is the seed of plants in the genus Nelumbo and the seeds are used in Asian cooking and traditional medicine.Melon (probably watermelon)Inscribed l.r.: patuka, numbered ninety-two N103 and 106, watercolour and gum arabic on laid paper33 x 23 cm.; 13 x 9 inchesMangoInscribed l.r.: Manga, numbered A Hundred and one, N112 and 1015, watercolour and gum arabic31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesLonganInscribed l.r.: froita lanja, numbered eight nine, N99 and 103, watercolour and gum arabic on laid paper watermarked with a crest32.2 x 21 cm.; 12 ½ x 8 ¼ inchesRambutanInscribed l.r.: frouita kafri, numbered eighty-six, N96 and 100, watercolour and gum arabic 32 x 21 cm.; 12 ½ x 8 ¼ inchesBuah Gowok (Syzgium polycephalum)Inscribed l.r.: rambutan and numbered eighty-five, watercolour and gum arabic and pencil on laid paper31.7 x 20.5 cm.; 12 ½ x 8 1/8 inches

Oil on paper laid down on board, inscribed on reverse of board: George Mason ARA and stamped with a Christie’s stencil21 x 21 cm.; 8 ¼ x 8 ¼ inchesProvenanceThe artist’s studio sale, Christie’s, 15 February 1873, lot 91, where bought byGeorge Dunlop Leslie, RA (1835-1921); his daughter Lydia Leslie, By descent to T. L. Twidell ExhibitedStoke-on-Trent Museum & Art Gallery, George Heming Mason, 1982, cat. no 20 (ill) (lent by T.W. Twidell). ExhibitedGeorge Heming Mason, City Museum & Art Gallery, Stoke-on-Trent, 1 May – 12 June 1982; Walker Art Gallery, Liverpool, 26 June – 31 July, The Fine Art Society, London 9 August – 4 September, cat. 20 (ill.)The sympathetic white horse is yoked in the Italian manner in this lively oil sketch and can be presumed to have been executed in Italy.

Signed l.c.: E. Lear, pencil with watercolour, pen and black ink and touches of gold17.7 x 23 cm.; 7 x 9 inchesThese charming, quirky drawings are characteristic early works by Lear, dating from the late 1820s or early 1830s when he was establishing himself as an ornithological artist. They relate to a group of drawings which Lear gave to Mrs Godfrey Wentworth, who supported his employment by the Zoological Society in 1831, and whom he credited with launching him as an artist. They are imaginary, fanciful subjects drawn with not a little humour, resembling the stylised watercolours of birds painted on late eighteenth century porcelain. Robert McCracken Peck has made the interesting suggestion that Lear and his sister Ann may have been thinking of approaching ceramics companies with them (see Robert McCracken Peck, The Natural History of Edward Lear, 2016, pp. 27-9).Two surviving family albums from the late 1820s, containing a mixture of similar natural history subjects by Edward Lear and his sisters Ann and Sarah, are in the collection of the Houghton Library, Harvard University (MS Typ 55.4 and 55.27).Sir Edward Strachey was a man of letters and friend of Lear’s, who wrote an introduction to Nonsense Songs in 1895. He lived at Sutton Court, Chew Magna in Somerset and was a neighbour of Lear’s close friend Chichester Fortescue, the Liberal politician whom Lear first met in Rome in 1845.

Signed with monogram l.r., inscribed l.l.: near Calikut., watercolour heightened with touches of bodycolourProvenanceFranklin Lushington (1823-1901) and thence by descentLear was invited to India by his friend and patron Lord Northbrook who was appointed Viceroy in 1871, and his journey there was the last and longest of his life. He was overwhelmed by the colour and vitality of India and enjoyed the bustle of Viceregal life.Calicut, or present-day Kozhikode, is on the Malabar coast in Kerala and was a centre of the Indian spice trade. Edward Lear arrived there in October 1874, just as the monsoon began. He was warned about the dangers of contracting fever but stayed, despite the pouring rain, until the skies were clear enough to draw. He described the roads around the city as “of such redundant beauty one can hardly dream.” Franklin Lushington, Lear’s close friend and first owner of this drawing, was the son of Edmund Henry Lushington. He was appointed judge to the Supreme Court of Justice in the Ionian Islands in 1855 and Lear went with him to live in Corfu. They first met in Malta in 1849, where Franklin’s elder brother Henry was Chief Secretary to the government. On his death, Lear left all his papers to Lushington, who later destroyed most of them.