Miles Edmund Cotman Raby Park, Durham

KT609Signed and dated l.l.: M.E. Cotman/June .18th, pencil, in a 19th century burr maple frame33 x 24.5 cm.; 13 x 9 5/8 inchesProvenanceDr Henry Lowe and Judy Lowe (née) Cotman until 2023

KT579Signed l.l.: M E Cotman 1831, watercolour with scratching out and stopping out29.5 x 36.6 cm.; 11 ¾ x 14 3/8 inchesProvenanceBy family descent to Grahame Cotman (1878-1938);Susan Gay Wiltshire, née Cotman (d.2022)ExhibitedNorwich Castle Museum, ‘Exhibition of Norwich School Pictures’, 1927, no. 151This work was lent to the Norwich Castle Museum exhibition in 1927 by Grahame Cotman and probably depicts shipping off the Norfolk coast.Miles Edmund was John Sell Cotman’s eldest son and his closest collaborator, his work often very similar to that of his father. He is particularly famed for his seascapes in watercolour of which the present work is a fine, exhibited, example. He was born in Norwich and spent his childhood and adolescence in Great Yarmouth, learning from his father. He exhibited with the Norwich Society of Artists from 1823, when the family returned to Norwich, and assisted his father with a drawing school run from the family home.He married Elizabeth Juby in 1842 and they had three children. The family lived in North London in the early 1850s but returned to Norfolk a few years later, where Cotman continued to paint and teach.M.E. Cotman’s work can be found in many public collections including the British Museum and Norwich Castle Museum & Art Gallery.

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.

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.

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.

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.

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, 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: https://media.karentaylorfineart.com/pdfs/Constance-Frederica-Gordon-Cumming-KTFA-2025.pdf