Gluck Georgie

Pencil26.5 x 18 cm.; 10 1⁄2 x 7 1/8 inchesProvenanceEstate of the artist (his daughter Henrietta Phipps), until 2000;Davis & Langdale Company, New York, 2000;Private collection, from 2000 until 2023Exhibited:Davis & Langdale Company, New York, 2000, Henry Lamb: Works on Paper, no. 13 [checklist]This compelling drawing was executed around 1930.Henry Lamb was born in Adelaide, Australia in 1883, shortly before his father moved the family to Manchester, where he spent his childhood. He studied medicine before abandoning this path to be an artist. At twenty-two he left for London to study under Augustus John and William Orpen at their Chelsea Art School.John was a particularly formative influence and Lamb moved to Paris with him a few years later. Lamb spent a couple of summers on the south coast of Brittany, in search of a more traditional way of life. This impulse drew Lamb to Gola Island in Northern Ireland two years later.In London in 1905, Lamb joined the Fitzroy Street Group and was a founding member of both the Camden Town Group and the London Group. He married Nina Forrest, or Euphemia, in 1906 but the marriage proved short-lived. He was friendly with the Bloomsbury Group, having known Vanessa Stephen and Clive Bell from his early days in London, but he often had little patience with them. He was close friends with the eminent critic and biographer Lytton Strachey and between 1912 and 1914 he painted his portrait, now held in the Tate and one of his greatest works.In the First World War, Lamb served as a doctor in the Royal Army Medical Corps in France, Salonika and Palestine; he was awarded the Military Cross. He was not an official war artist but drew extensively and the resulting oils are an important part of his oeuvre.In 1928 he married Lady Pansy Pakenham and moved to Coombe Bissett in Wiltshire. Lamb was appointed an official war artist for the Second World War, making portraits of soldiers and studies of servicemen at work across the South of England. Lamb was elected as an associate of the Royal Academy and a Trustee of both the National Portrait Gallery and the Tate at this time. He was finally awarded full membership of the Royal Academy in 1949.Interest in Lamb’s work has revived in recent years, and he has been the subject of recent exhibitions at Salisbury Museum and Poole Museum. His work can be found in many collections around the world, including the Tate, the Imperial War Museum, the Government Art Collection and the National Gallery of Canada.

William Henry Hunt, OWS (1790-1864)Lighting the BrazierSigned l.l.: W HUNT., watercolour over traces of pencil with scratching out, title inscribed on original frame36.2 x 26.7 cm.; 14 ¼ x 10 ½ inchesProvenanceAgnew’s, Liverpool, no. 253;Malllams, Oxford, 19 March 2026, lot 443This unpublished watercolour is a notable addition to the group of black subjects drawn by W.H. Hunt held in public collections in the UK and USA. It fits into a group on which Hunt was working in 1830s depicting black children warming themselves by fires. For domestic servants lighting fires was a daily job.In the 1830s Hunt exhibited twenty humorous images of children which were later lithographed as Hunt’s Comic Sketches published in 1844, including two of black children, including Master James Crow -Out of His Element and Miss Jim Ima Crow seated by fires. The Lady Lever Art Gallery, Port Sunlight, has the original watercolour of Jim Crow which appears to show the same black boy as in the present work (see J. Witt, William Henry Hunt (1790-1846), 1982, no.477, see lithograph). Both boys are shown seated in front of a brazier, a suggestion that they feel the cold alluded to in the title of the lithograph, seated on a barrel or basket of the same height. The present watercolour (executed circa 1830-40) also has similarities with a watercolour of the same black model holding a slate at the Victoria and Albert Museum, London also entitled ‘A Brown Study’ (FA526). Both drawings share the same neutral background and have an added strip at the top. Another version of this work, without an added strip, is in the collection of the Yale Center for British Art (B1975.4.583).Hunt made several other studies of black sitters, including a drawing of a young girl in pencil on buff paper in the Courtauld Institute, London and a boy posing as a boxer in the Metropolitan Museum of Art, New York (2020.120). Jan Marsh has suggested that because of Hunt’s choice of theme his sitters are most likely to have been youths aged around 10 – 14 years old who were not at school or apprenticed but earning small amounts in the street running errands, carrying parcels and doing other small jobs, and were therefore visible and available to artists notably in London, Bristol and Liverpool (private email March 2026). Hunt preferred to use the same sitters as models. Hunt was born with a deformation of his legs which restricted his movement and seems to have had a form of dwarfism. According to his early biographer, F. G. Stephens, Hunt was: ‘was a little less than… five foot. He was broad as well as round shouldered and his head was large beyond proportion to the rest of his figure which the torso was that of a larger man. His large and long frock coats and loose trousers although favourable to him on other accounts, did not add to his outward graces.’ . Stephens adds that Hunt’s personal disabilities: ‘frequently made him reserved and not very easily accessible to strangers.’ While Hunt’s interactions with black sitters were inevitably informed by the prejudices of his age it is quite possible that his own disability drew him to marginalised members of his society. He is known to have befriended black acrobats and musicians.British artists showed increasing interest in Black subjects during the 1830s. Slavery was abolished throughout the British Empire over the years 1833 -1838 and the abolition movement was hotly debated in Parliament and beyond.

Daniel Maclise , R.A. (1806-1870)A seated girl reading in a doorwayPencil13.5 x 8 cm.; 5 ¼ x 3 1/8 inchesProvenanceCovent Garden Gallery Ltd.Daniel Maclise was born in Cork to a family of Scottish descent. After a brief period working in a bank, Maclise’s passion for drawing led him to pursue a career in art which he studied at the Cork Society of Arts.He moved to London in 1826 to attend the Royal Academy where he excelled as a student, particularly in life drawing and history painting. He began exhibiting in the RA in 1829, was made an associate in 1830, and an academician in 1840.

Signed with initials on border l.r.: F .Y (?) M, and inscribed l.c.: Female Hottentot watercolour on wove paper, with a laid paper borderDrawing size 20.6 x 15.3 cm.; 8 ½ x 6 inches, with border 26 x 20 cm.; 10 ¼ x 7 7/8 inchesThis drawing came from a now disbound English album which contained works on paper from the late 18th and early 19th centuries.

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.

One hundred and forty-four drawings on sixty-eight pages, laid into an album bound in vellum, the fly leaf with a large label inscribed: Miss Stones/First Efforts/plates.71The drawings are of various sizes, on laid paper, each page 31.5 x 19.7 cm.; 12 1⁄4 x 7 3⁄4 inchesProvenancePrivate collection, U.K.;Private sale by Sotheby’s Australia, January 25 2001; Patrick Dockar-Drysdale (1929-2020)ExhibitedTate Britain, 'Now you See Us- Women Artists in Britain 1520-1920', May - October 2024, ill. p.42, p. 205Sarah Stone was the daughter of James Stone, a fan painter and is thought to have assisted her father. The family lived in London.The dated drawings in this album suggest that Stone executed many of them when she was ten or eleven years old and identify her as something of a child prodigy. This album contains many copies from drawing books which were a popular means of allowing an artist to develop their technique by copying. The number of drawings and the repetition of certain subjects reflect a systematic approach and a determination to improve and there are drawings after Holbein, Ribera and Boucher, the minor details may be after Le Brun.One of the drawings is inscribed ‘The New Drawing Book‘ which could be a reference to Francis Vivares, A New Drawing Book, in the Manner of Chalk fit for Youth to Draw after. 6 sepia soft ground etchings, by W. Hebert after Vanloo and Boucher, 4to. Frans. Vivares. Sept. 1759. The plates in this were in the manner of red chalk.The range of subjects in the present album suggests Stone was using one of the compilation drawing books, such as Carrington Bowles, The School of Art; or, most compleat Drawing-Book extant: consisting of an extensive series of well chosen examples, selected from the designs of those eminent masters, Watteau, Boucher, Bouchardson, Le Brun, Eisen, &c. engraved on sixty copper plates, and performed in a method which expresses the manner of handling the chalk, 1765 and later editions.

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.

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.

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.

Inscribed l.r.: Bruges, watercolour7.6 x 11.4 cm; 3 x 4½ inchesProvenanceSpink & Son Ltd, London, K3/1890b, part of a group purchased from Appleby Brothers, 2 August 1960.This spontaneous, on-the-spot sketch was presumably done when Cox visited Bruges in 1826. His first trip to the Continent was organised by his brother-in-law Mr Gardener, an agent for the sale of government ordnance maps who had premises at 163 Regent Street, London. Gardener persuaded Cox and his son David Cox Jr to accompany him on a business trip to Brussels. The party travelled from Dover to Calais and then, travelling by diligence, on to Dunkerque, Bruges and Brussels. Cox evidently liked the caps worn by the market women in Belgium as he sketched them again in Brussels.1 1.See N. Neil Solly, Memoir of the Life of David Cox, 1873, reprinted 1973, p. 49.