Hugo Vilfred Pedersen Portrait of a man from Ceylon

Pencil on laid paper, partially watermarked and countermarked 181914.5 x 10.9 cm.; 5 ¾ x 4 ¼ inchesProvenance: Cyril and Shirley Fry until 2021Literature: J. Witt, 'William Henry Hunt (1790-1864)', 1982, no. 369Exhibited: 'Hunt Exhibition Fry Collection', 1967, no. 17 (2)This work dates from c. 1820.

Pen and grey ink and grey wash over pencil24.5 x 17.1 cm.; 10 x 6 ¾ inchesProvenanceWith the Squire Gallery;J. Thursby-Pelham;Mrs Guy Argles and by descent until 1995, anon. sale Christie’s, London, 7 November 1995, lot 71;Spink, London;Christie’s, London, 21 November 2002, lot 8, where bought by the previous owner;Dreweatt’s, Château de Lasfonds sale, 16 November 2022, lot 143ExhibitedSpink, London, ‘Annual Exhibition of Watercolours and Drawings, 28 May – 21 June 1996, no. 4This imposing drawing shows Satan holding his shield aloft to defend himself against Heaven. Romney made many illustrations to Milton’s ‘Paradise Lost’ around 1794. This drawing appears to show a moment in Book 1 when Satan and the other rebels are ‘Hurled headlong, flaming from the ethereal sky’. Elsewhere in the poem Milton compares Satan’s shield to a moon seen through Galileo’s telescope.Another similar drawing in the collection of the Fitzwilliam Museum also shows Satan holding his shield above his headhttps://data.fitzmuseum.cam.ac.uk/id/object/16046It is possible that the French Revolution, raging at this time, was close to Romney’s mind when he worked on these drawings for 'Paradise Lost', giving them some contemporary political significance.

Signed with initials l.r., pen and brown ink14.5 x 12 cm.; 5 ½ x 4 ¾ inchesProvenance:Mrs F.L. Evans;With Colnaghi, 1951, catalogue no. 59Duncan Beresford-Jones until 2000The Shah of Persia presented a group of Arabian horses to the Prince Regent, commemorated in a painting of 1819 by H.B. Chalon (Tate Britain, TO2357). Landseer was also attracted to the subject and two versions of oils of an Arabian stallion with an Attendant in Persian dress are known, see Richard Ormond, Sir Edwin Landseer, 1982, p. 54.The Shah sent an Ambassador, Mirza Abdul Hassan Shiraz, to London in 1819 to discuss with Lord Castlereagh, the Foreign Secretary, aspects of the Anglo-Persian treaty concluded by Sir Gore Ouseley in Tehran in 1812, and more recently revised. That treaty had established an Anglo-Persian alliance against a possible Franco-Russian one and the Shah was hoping for positive assurances that England would protect Persia in the event of a Russian invasion.The Ambassador left Tehran in October 1818 laden with presents from the Shah, including eighteen selected Arabian horses for the Prince Regent. The horses travelled with the Ambassador to Constantinople and then the British government organised their transport to London, an expensive undertaking arranged by a Mr George Willcox and costing over £1500. The presentation of the Shah’s gifts was listed in The Times of 24 May and took place at Carlton House, the Prince Regent’s London residence. There are seven horses pictured in Chalon’s painting, and it is not known how many of them survived the journey, but the present drawing presumably shows one of them.Mirza Abdu Hassan Shiraz’s visit aroused considerable social and popular attention but the visit was not a success, as following the defeat of Napoleon and the conclusion of an alliance with Russia the British no longer attached much importance to their Persian alliance.

Signed with initials and dated l.r.: J.B. April 7 18.., pen and grey ink and grey wash16.2 x 21.2 cm.; 6 3/8 x 8 3/8 inchesLiteratureDr A. Sneddon, ‘Representing Magic in Modern Ireland, Belief, History and Culture,’, CUP, 2022, ill. fig. 1In Britain and Ireland amongst ordinary people popular belief in witches remained strong up until the twentieth century. This drawing appears to depict a consultation with a cunning person or white witch. A stock part of 18th and 19th century country life, these commercial, multifarious magical practitioners provided local communities with a range of services for a small fee, such as un-witching, fortune-telling, and divination. They could gain quite serious reputations and some prospered. The position gave them status in their local communities. The 'witch' seems to have a good-natured face and her bonnet is not peaked, and a cat is perched benignly on it. The old woman is seated, a horse skull above her chair and consulting a magical book or grimoire: the ownership of such expensive objects often added to the allure and kudos of cunning-folk. The family are approaching her in a deferential way (the man holds his hat, his wife looks expectant) to ask her help. The girl looks frightened, is she seeing the real witch, the cause of their maladies? After all, cunning-folk were often brought in to counter black or harmful magic.Boyne left Co. Down for London at the age of nine with his father and was apprenticed to the engraver William Byrne. He joined a company of strolling players until 1781 and thereafter established a drawing school.Boyne’s caricatures which provide an amusing insight into British contemporary life can be found in many public collections including the British Museum, the Victoria and Albert Museum, The Fitzwilliam Museum and the Yale Center for British Art, New Haven.With thanks for Dr Andrew Sneddon for his comments on this drawing.

Signed l.l.: W Muller/1839., oil on panel43.5 x 27 cm.; 17 x 10 5/8 inchesProvenanceThomas Agnew & Sons, London;Anonymous sale Sotheby’s, London, 10 November 1982, lot 49;Noortman & Brod, New York, 1983;Anonymous sale, Christie’s, New York, 10 February 1998 lot 160;Matthew Rutenberg, New York, until 2020ExhibitedNoortman & Brod, 18th and 19th Century Paintings, April – May 1983, New York, June - July 1983, LondonThis spirited painting executed with great bravura was done shortly after the artist’s return from Egypt in 1839. Müller arrived in Egypt by steamer in November 1838. He was one of the first established European artists to visit Egypt and was there at the same time as David Roberts, although neither knew of the other’s presence there.Müller was exhilarated by his arrival in the bustling metropolis of Cairo and was particularly intrigued by the slave market, which he described as ‘one of my most favourite haunts’ (W. J. Müller, ‘An Artist’s Tour of Egypt’, Art-Union 1, London, 1839, pp. 131-2).Müller is the best-known artist of the Bristol School. His German father settled in the city and was the first curator of the Bristol Institution, the forerunner of the Bristol Museum and Art Gallery. His early exposure to art led to a short apprenticeship with James Baker Pyne and a friendship with the Reverend James Bulwer (1749-1879), a pupil of John Sell Cotman, whose collection of Norwich School drawings Müller would have known.In 1833 Müller was one of the founders of the Bristol Sketching Club and his travels began the following year with visits to Holland, Germany and Venice. His 1838 trip started in Athens before he continued to Cairo. In 1840 he visited France and in 1843 he went to Lycia at the same time as Sir Charles Fellows’ expedition, during which he produced some of his finest watercolours. He died at the age of 43 after his return from Turkey.Following Müller’s death, prices of his oil paintings rose dramatically in the salerooms. Articles on his work appeared regularly and in 1875 N. Neal Solly, the biographer of David Cox, wrote a long biography. In 1896 the Birmingham Museum and Art Gallery held a retrospective of 192 of Müller’s paintings, watercolour and drawings. His reputation was kept alive in Bristol where the 150th anniversary of his birth in 1962 was celebrated with an exhibition at Bristol Art Gallery, while in 1984 Tate Gallery held a show of his French and Lycian watercolours. In 1991 a major retrospective was held at Bristol Museum and Art Gallery, who hold the most comprehensive collection of his work, organised by Francis Greenacre, the renowed authority on Müller and the Bristol School.

Inscribed (recto): T Von Holst, pencil and pen and brown ink, verso: pencil, on laid paper with a partial Strasburg Lily watermark, laid down on a brown sheet numbered 1027.2 x 21.4 cm; 10 3⁄4 x 8 1⁄2 inchesProvenanceJohn Welch Etherington Rolls (1807-1870);By family descent to Lady Shelley Rolls, her sale at Sotheby’s, London,12 June 1959;P. & D. Colnaghi;Private collection U.K. until 2019Von Holst’s drawing of the seated woman, recto, is after a figure in Raphael’s ‘Miraculous Draft of Fishes’; the drawing for the tapestry cartoon is in the Albertina, Vienna. A print was made after the drawing, which von Holst probably copied. The figure of the standing female on the recto is a characteristic Holst pose, derived from Vincenzo Danti’s bronze statue of Venus in the Palazzo Vecchio, Florence (see Max Browne, The Romantic Art of Theodor von Holst 1810-44, 1994, p.15).The drawing on the verso illustrates a scene inspired by a Gothic novel such as The Mysteries of Udolpho by Ann Radcliffe, published in 1794. One of the most popular novels of its day, its main character Emily St. Aubert, a virtuous and beautiful young woman, undertakes a series of dramatic adventures; she escapes from captivity at the hands of a cruel villain in a brooding castle to freedom.The brown card inlay on which the present drawing is contained is from the Rolls album, a large leather-bound album which forms the largest-known group of drawings by the artist. The family lived at The Hendre in Monmouthshire, where they also had at least five oils by von Holst. They were also involved with the theatre and opened their own in the grounds.The pencil inscription “T. Von Holst’ appears on almost all the drawings in the album and is effectively its collection mark.

Pencil and black and red chalk, in original frame42 x 34.5 cm.; 16 ½ x 13 5/8 inchesProvenance: With Dorothy Roberts, Lincoln, 1996;Acquired by the previous owner in May 1996 from Douglas Turner;Private collection U.K. until 2021Literature: Kenneth Garlick, ‘A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence’ in The Walpole Society; 1962–64, xxxix, 1964, p. 244This unpublished drawing by Lawrence is an addition to a group of three known portraits of Munia.Lawrence became friendly with the Angerstein family in about 1790, when John Julius Angerstein (1735–1823) took charge of his financial affairs. Lawrence did paintings and drawings of most of the family, which included John Julius’ son, John Angerstein, M.P. (1772/3–1858), who married, in 1799, Amelia Lock, daughter of William Lock, who was also a friend and patron of Lawrence. Isabel Smith, or Munia, was nurse to the couple’s five children at Woodlands, the family residence which John Julius had built at Blackheath in 1770s. She was described as Russian in the papers of Miss May Rowley, a direct descendant of Elizabeth Julia Angerstein, daughter of John Julius. (Archive reference number NG14/230/1).This smaller version of this composition (measuring 35.5 x 30.25 cm; 14 x 11 15/16 inches) from May Rowley is now in the collection of Tate (T00768). The Tate drawing is inscribed on the back ‘This is a drawing of my Nurse Isabel Smith, called Munia, buried at Nh Willingham Lincolne. Wm Angerstein, drawn by Sr Thos Lawrence at Woodlands’. The Tate drawing originally belonged to Elizabeth, John Angerstein’s daughter, and was bequeathed to the nation in 1965 by May Rowley, who had inherited it from her grandfather Richard Freeman Rowley, Elizabeth’s husband.A second version, the same larger size as the present drawing, is in the possession of Viscount Daventry at Arbury, and was exhibited at Bristol City Art Gallery, ‘Exhibition of works by Sir Thomas Lawrence P.R.A.’, 1951, no. 48.Garlick records a further smaller version of this subject measuring 35.6 x 30.2 cm as being in the possession of Miss Keightley in 1925. She inherited the drawing from her father Archibald Keightley who was Lawrence’s executor. This drawing, in poor condition, is now in the Royal Academy (LAW/3/1). This work was illustrated in R.Brimley Johnson, Mrs Delaney, 1925, rep. facing p. 256 (incorrectly called Mrs Delaney).The financier and philanthropist John Julius Angerstein was born in St Petersburg in 1735 to a German family who had settled in Russia. He emigrated to England in about 1749 and built a fortune, partly from a career in the City of London, developing Lloyd’s insurance business. An active philanthropist, he was a patron of Lawrence’s and the artist advised him on his picture acquisitions together with Benjamin West. Angerstein started collecting around 1790.On Angerstein’s death the British Government purchased thirty-eight of his pictures and took over the lease of his Pall Mall town house. The public was able to view the collection here before the National Gallery, founded in 1824, was constructed in Trafalgar Square and it formed the nucleus of the gallery’s collection. Four paintings from the Pall Mall house were not purchased, a Reynolds portrait of Angerstein’s first wife and their first child, and three Fuseli paintings after Milton’s ‘Paradise Lost’which were returned to Angerstein’s heirs, and which remained at Woodlands until 1870.For further information about Woodlands and the collection kept there see Susanna Avery-Quash, ‘The lover of the fine arts is well amused with the choice pictures that adorn the house’: John Julius Angerstein’s ‘other’ art collection at his suburban villa, Woodlandshttps://academic.oup.com/jhc/article/33/3/fhx055/4773890 (Journal of the History of Collections, Volume 33, Issue 3, November 2021, fhx055, https://doi.org/10.1093/jhc/fhx055See also Anthony Twist, A Life of John Julius Angerstein, 1735–1823: Widening circles of finance, philanthropy, and the arts in eighteenth-century London (London, 2006).

Head and shoulders, pen and brown ink and wash22.9 x 17.3 cm; 9 x 10 3/4 inchesProvenance: Private collection, UK, bought at a charity auction at the Finchingfield GuildhallLandseer’s caricatures are a less well-known aspect of his art. They were made for private circulation and show Landseer’s effortless ability to capture the physical oddities of his subjects in an acute yet affectionate fashion. This drawing was once thought to depict Paganini but the subject is currently unidentified.

Signed l.r.: W. HUNT, pencil, tiny sketches of figures and a list verso, on wove paper12 x 8.4 cm.; 7 ¼ x 4 ¾ inchesProvenance: Cyril and Shirley Fry until 2021Literature: J. Witt, 'William Henry Hunt (1790-1864)', 1982, no. 370Exhibited: 'Hunt Exhibition Fry Collection', 1967, no. 17 (1)This drawing dates from circa 1820. Hunt drew the same girl on another occasion in a similar pose (Rossetti Collection, J. Witt, ibid. no. 492).

Pencil on laid paper15 x 17.5 cm.; 6 x 7 ¼ inchesProvenanceSabin Galleries Ltd., “The Sublime and Beautiful’, 1973, no. 88The artist was an architect and surveyor as well as an artist, the fifth and youngest son of the architect George Dance the Elder, from a family of architects, artists and dramatists. His brother Nathaniel Dance (Dance-Holland) was also a painter and later a politician. Both brothers were founder members of the Royal Academy in 1768. There has been confusion over the authorship of some of the caricatures with which both brothers are associated.