Francis Towne Going to Hornsey, near London

KT516Signed l.l.: h. Harpignies and indistinctly dated 70, watercolour12 x 16 cm.; 4 ¾ x 6 ¼ inchesProvenanceThomas Agnew & Sons, London, no. 26164, cat. No. 19;By descent from the purchaserThe artist was a landscape painter of the Barbizon school. After following his family’s wish for him to go into business he started to study art in his late twenties. Following a few years in Italy he returned to France and fell in with Corot and the other artists of the Barbizon school. He and Corot travelled to Italy together in 1860.He exhibited regularly at the Salon from 1861. His work can be found in many of the world’s major museums.

Pen and brown and grey ink and watercolour on two sheets of laid paper, joined25.8 x 36.7 cm.; 10 x 14 ½ inchesProvenanceBy descent from the artist until 2015;Guy Peppiatt Ltd.;Hugo Burge (1979-2023)Abbott was one of the best amateur watercolourists of the late Eighteenth Century. A surgeon and apothecary, he lived in Exeter until 1825. He exhibited paintings at the Royal Academy from 1793, receiving 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 Abbott inherited Fordland, a Devon estate, from his uncle James White, an Exeter barrister, Nonconformist and close friend of Francis Towne. Abbott became a patron and pupil of Towne’s, and his linear style shows the artist’s influence. After moving to Fordland he devoted himself to drawing where this work is most likely to have been drawn.

Signed, inscribed and dated l.r.: Carl Haag London 14 Sept 1849, oil on paper35 x 25.3 cm.; 13 ½ x 10 inches, framed size 50 x 40 cm.; 19 3/4 x 15 3/4 inchesProvenancePeter Ward-Jackson (1916-2015)LiteratureW. Karbach and C. Allison, Carl Haag Victorian Court Painter and Travelling Adventurer between Orient and Occident, 2019, no. 85Having studied in Munich (where he worked as a miniaturist and book illustrator), Paris and Brussels the artist arrived in England in the spring of 1847. After spending that winter in Rome, he returned to London to study watercolour painting at the Royal Academy Schools. He almost lost a hand in an accidental explosion in December 1848. Haag’s first exhibited work at the Royal Academy in 1849 was entitled The Return from the Vineyards and the present work may have been made as a preparatory study.He became a member of the Old Water Colour Society in 1853. Haag travelled widely all over Europe and the Near East. He was popular with Royal and aristocratic patrons and spent the autumn of 1853 at Balmoral and the winter at Windsor.Peter Ward-Jackson was a curator at the Victoria and Albert Museum and a leading authority on furniture, prints and drawings, particularly ornament designs. His publications became standard works in these fields such as his catalogue of the V&A’s Italian Drawings (in two volumes, 1979-80).

Pen and grey ink and watercolour with a pen and ink line border on laid paper, signed and dated 1776 and inscribed “copied from a drawing by Captain Grose”, verso23 x 25 cm; 9 x 9 5/8 inchesProvenanceBy descent in the family to Geoffrey Gosselin, the great, great, great-grandson of the artist, his sale at Philipps, London, 5 November 1999, lot 31 (part lot)Joshua Gosselin joined the Guernsey Militia in 1758 and over a military career of forty years rose to the rank of Colonel in 1789. He was elected a Greffier of the Royal Court in 1768. Gosselin had a deep love of nature and made a comprehensive list of the wildflowers of Guernsey, the earliest record of its kind. He also collected and studied seashells, was a noted antiquarian and an important figure in Guernsey society.

£3750Signed, inscribed and dated below: Drawn 1785, by I. Johnson. Woodbridge.-/This OAK stands in Winfarthing, Norfolk, on the Estate of the Rt. Hon: Lord ALBERMARLE./Circumference at Base 51 Feet, at three Feet high 32 Feet, at six Feet, 30 Feet Circum. Height 60 Feet., watercolour and bodycolour over pencil with pen and black inkImage size 34 x 29 cm.; 13 3/8 x 11 3/8 inches, sheet size 40 x 33 cm.; 15 ¾ x 13 inchesProvenanceSimon Carter, Woodbridge;R. Geoffrey Smith, Berveriche Manor Farm, Middleton;Martyn Gregory Gallery, London;Hugh Burge (1972-2023)LiteratureHuon Mallalieu, Dictionary of British Watercolour Artists up to 1920, vol. III, 1990, p. 191, ill.;John Blatchley, Isaac Johnson of Woodbridge: Georgian Surveyor and Artist, 2014, pp. 12-16The artist was a surveyor and antiquarian as well as an artist who lived in Woodbridge, Suffolk for his adult life. Around 1785 he was considering a volume illustrating the most remarkable trees of Norfolk and Suffolk which never came to fruition, but for which the current drawing would have been a likely candidate.White's History, Gazetteer, and Directory of Norfolk, 1883 describes the tree which stood on the estate of the Earl of Albermarle:The celebrated 'Winfarthing Oak,' probably the largest in England except the one at Cowthorpe, in Yorkshire, stands near the Lodge farmhouse, and is a grand and picturesque old ruin. It measures 70 feet round at the roots, and 40 feet in the middle of the main stem, and must have been at one time a magnificent spreading tree, with enormous arms. It is traditionally said to have been called the 'Old Oak' in the time of the Conqueror, and is usually considered to be more than 1200 years old. It is now a mere shell, bleached snowy white, and capable of containing a large number of persons in its interior. It still retains vitality on its south side, and three years ago a rook's nest was built in its branches.

Inscribed verso: Nutwell.Oct.24th 1796, pen and grey ink and watercolour over traces of pencil11.2 x 18 cm.; 4 3/8 x 7 1/8 inchesProvenancePrivate collection U.K. until 2024 Nutwell Court is in east Devon near Lympstone overlooking the Exe estuary. Owned by Sir Francis Henry Drake, 5th Bt. (1723-1794) the estate was planted with fig trees in 1752, cedars in 1754, and laurels and evergreen oaks in 1755. By 1756 there were grape vines, a raspberry tree, a strawberry tree, a weeping willow, plane trees, cypresses, Newfoundland firs, larch trees, and a cistus. Further planting followed with black poplars, apricot trees, orange trees, Weymouth pines, myrtle and Scotch pines.

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.

Henry Pilleau (1813-1899)The Dead SeaSigned with monogram l.l., watercolour 21 x 38 cm.; 8 ¼ x 15 inchesProvenancePresented to Queen Victoria in 1887 for her Golden Jubilee by the Royal Society of Water-Colour PaintersPilleau served with 16th Lancers. He is best known for his colourful watercolours and prints of Egypt. He visited Egypt in 1840s with Lieutenant -Colonel Sir George Everest (1790-1866), Surveyor-General of India, presumably on the men’s way to India. Pilleau’s ‘Sketches in Egypt’ comprising 12 lithographs was published in London in 1845 by Dickinson and dedicated to Everest. It comprises text and colourful plates of famous views and sites. Everest, a Welsh surveyor and geographer, after whom Mount Everest was named, served as the Surveyor General of India (1830–1843) and worked on the Great Trigonometric Survey of India.This watercolour left the Royal collection in the early twentieth century together with a substantial number of other works on paper, and there is no documentation for this with the Royal Collection. The other works whose details are recorded on the sheet of Windsor notepaper attached to the backboard were also dispersed at this time ( from the Royal Cambrian Academy of Art gift, Llyn Crafnant by D.W. Barker (the rendering of his name as ‘Banken’ suggests that someone was inaccurately copying from another source); Time-Honoured Lancaster by R. Aspinwall; and A Breezy Day by R. Short).

Signed, inscribed and dated l.r.: Cave on the Island/of Elephanta/Dec 9th. 69 and further signed by another, watercolour over pencil.The artist visited the famous Hindu temple carved into the rockface on the island of Elephanta. Constructed between the fifth and sixth century, the temple is part of the ‘City of Caves’ devoted to the cult of Shiva.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

Watercolour over traces of pencil on Creswick paper31 x 48.3 cm.; 12 ¼ x 19 inchesProvenanceChristie’s, London, the Artist’s sale, 27 May 1850, lot 378;Christie's London, April 25, 1995, 116;Bill Thomson, Albany Gallery until 2021De Wint first visited Shropshire in 1829-1830 and exhibited a number of Shropshire views throughout his career. He had two major patrons there, Lord Clive at Oakley Park near Ludlow, not far from the Clee Hills, and Edward Cheney of Badger Hall.