British Women Artists (SOLD)

Signed l.l.: HC Coleman, watercolour over traces of pencil with touches of bodycolour and gum arabic, in the original frame 32.4 x 19.5 cm.; 17 3⁄4 x 12 3⁄4 inches Provenance J.W. Vokins, 10 King Street, St James’s, London; Christie’s London, 26 June 1931, lot 5 (?); Private collection, U.K. until 2021 This delightful still life is an accomplished early work which can be dated to before 1874, when the artist married and took the name of her husband Thomas Angell. It reflects the artist’s interest in pottery. Helen was the fifth daughter of twelve children of Henrietta Dendy and William Thomas Coleman, a physician and was schooled at home. Along with her sister, the pottery artist Rose Rebecca Coleman, she was taught painting and drawing by her older brother William Coleman who kept an art pottery studio in South Kensington and whom she helped make designs for Minton. Her early watercolours were first exhibited in the Dudley Gallery in London in 1864, thanks to the connections of her brother William. She married Thomas William Angell, a postmaster and an amateur artist, on 15 October 1874. The following year she joined the Royal Institute of Painters in Water Colours but resigned after she became an Associate of the Society of Painters in Water-Colour. Angell became Flower Painter in Ordinary to Queen Victoria from 1879 until her death, succeeding Valentine Bartholomew. She is said to have been anointed as his successor by William Henry Hunt, whose enthusiasm for still life subjects she shared. The artist’s work can be found in the collection of the Victoria & Albert Museum, the Royal Albert Museum, Exeter and other public collections.

Inscribed l.l.: Chatham/1810 and inscribed verso: 8t October 1810, watercolour over traces of pencil14 x 22.2 cm.; 5 1⁄2 x 8 3⁄4 inches Provenance Private collection, England; Martyn Gregory, British Watercolours and Drawings 1750-1900, May 2016, no. 2 This is a view from Gillingham Bridge, Chatham. The historic dockyard at Chatham was one of Britain’s most important naval Dockyards for over 400 years. The daughter of Sir Thomas Spencer Wilson, Bt. of Charlton in Kent, the artist was a pupil of Francis Towne in her youth. Her mother was a Cheney of Badger Hall, Shropshire, where Peter de Wint was a frequent visitor. Lady (Margaret) Arden was a pupil and a patron of David Cox. She married George Compton, Lord Arden (1756-1840) in 1787.

Alice Boyd (1823-1897) Capella di S. Clemente, S. Marco, Venice Inscribed and dated l.r.: Capella di S. Clemente S. Marco/21 June 1873., watercolour over pencil with touches of white 35.3 x 25.5 cm.; 13 7/8 x 10 inches The artist painted this subject in oil, recorded in Ellen C. Clayton, English Female Artists, London 1876, Vol. 2, p. 41. From 26 May to 6 July 1873 Alice travelled through Europe with Bell Scott, his wife Letitia, William Michael Rossetti and Lucy Madox Brown. Their tour started in Chambéry, France and continued through Italy where they stopped in Venice on their way home. William Bell Scott drew a similar view in pencil from a slightly different angle, entitled The Interior of St Marks, now in the collection of the National Galleries of Scotland (D4715.28B).

Signed with monogram l.r. and dated July 1875, watercolour over pencil with scratching out, the original mount inscribed: Steps to the Studio, Penkill/Steps that lead to pleasant days/And work that needs nor blame nor praise, in the original reeded frame 31 x 22.2 cm.; 12 ½ x 8 5/8 inches Provenance Bonhams London, 31 March 2021, lot 33 Alice Boyd was one of the most talented women in the Pre-Raphaelite circle. In March 1859 she became a pupil of William Bell Scott who was Master of the Government School of Design in Newcastle. Her work has traditionally been overshadowed by Scott’s. Boyd and Scott fell in love, and, with his wife Letitia, divided their time between Penkill and the Scott's London home, living in a menage à trois. He first visited the ancestral home she shared with her brother Spencer Boyd in July 1860. In 1865, following Spencer’s death, Alice became laird of Penkill, the romantic castle perched on a promontory overlooking the Penwhapple burn five miles from Girvan in Ayrshire. Boyd painted several watercolours and oils outside her studio in the grounds of Penkill. She converted part of the stable block into a studio for herself and Bell Scott to use during the summer. The inscription on the original mount of the present work: Steps to the Studio, Penkill/Steps that lead to pleasant days/And work that needs nor blame nor praise, reflects a happy and productive working environment. The elaborately drawn peacock and roses and foliage, reminiscent of William Morris wallpaper, bear testament to the emerging Aesthetic movement. Boyd and Bell Scott entertained other members of the Pre-Raphaelite group at Penkill, and it was here that Dante Gabriel Rossetti found some solace in his most bleak moments of melancholia. The Penwhapple Burn inspired his poem The Stream's Secret, begun when he was staying at Penkill in 1869. His sister Christina delighted in the views of Ailsa Craig and the Clyde from the window in her turret bedroom and Alma-Tadema showered every morning in the freezing torrents of the Penwhapple waterfall. William Holman Hunt sent souvenirs to Penkill as gifts for Alice, Arthur Hughes was a frequent visitor and William Morris is believed to have designed four embroidered panels which hung in the passage from the banqueting hall. Penkill has been described as having a 'relaxed atmosphere of art and animals, whisky, friends and endless talk' (Country Life, 21 March 1991, p. 118). Penkill was a centre of the Pre-Raphaelites until 1885 when Bell Scott had an angina attack and was almost bedridden until his death five years later. Alice lived there for another seven years. Christie’s sold many of the contents on 15 December 1991 and the castle is now a private residence.

Evelyn De Morgan (1855 – 1919) The head of a woman Coloured chalks on buff paper 35.8 x 23.4 cm.; 14 1/8 x 9 ¼ inches Provenance Private collection U.K., by descent until 2024. This beautiful drawing of the head of a woman deep in thought may be a study for the figure of Purity in De Morgan’s 1914 painting 'The Vision', also known as ‘1914', an allegorical painting inspired by World War I. The work depicts two women representing Peace and Purity in the foreground, with a demon representing war behind them (private collection, with the Louise Whitford Gallery/David Hughes in 1981). De Morgan was a pacifist, deeply moved by the horrors of the Boer War (1899-1902) and World War I, who made over fifteen paintings criticising war.

Signed l.l.: Emily Farmer, watercolour over traces of pencil with gum arabic and scratching out 43 x 32 cm.; 15 17/18 x 12 5/8 inches Provenance Sir Roundell Palmer, 1st Earl of Selborne, Blackmoor House, Hampshire Exhibited New Society of Painters in Water Colours, 1860, no. 344; Winchester Art Loan Exhibition, 1875 (lent by Lord Selborne); Hiscock Gallery, Southsea, Hampshire This watercolour is the artist’s most famous work, executed in 1860, which was reproduced in different media. When it was exhibited in 1875 it was given special mention in The Hampshire Advertiser, June 23, 1874, p. 4, issue 3028: WINCHESTER ART LOAN EXHIBITION ‘Lord Selborne-lent by his lordship- who has also a delightful picture “Deceiving Granny”, in which Emily Farmer, the artist has caught a scene thoroughly natural, and by no means rare, where a lovely girl and boy are being measured back to back by a loving grandmother, and the latter young rascal is rejoicing in gaining a half-inch over his merry sister by a surreptitious “tip toe”.’ Emily Farmer exhibited over one hundred works at the New Society of Painters in Water Colours during her lifetime, achieving good notices from contemporary critics, but her work has fallen from public view like that of many other women artists. She was the daughter of John Biker Farmer who worked for the East India Company and his wife Frances Ann (née Frost). Like many women of her generation Emily was home educated and was taught art by her brother Alexander Farmer, the genre painter. Farmer’s early work was in miniature and she exhibited twice at the Royal Academy in 1847 and 1849 but from 1850 she began to concentrate on genre painting and developed her particular love of painting children. Farmer was elected to the New Society of Painters in Water Colours in 1854. Of a membership of fifty-seven artists in 1850 she was the tenth female member of the Society added four years later, the other nine being Fanny and Louisa Corbaux, Jane Egerton, Fanny Harris, Mary Margetts, Mrs William (Emma) Oliver, Sarah Setchell and Fanny Steers. She exhibited nearly one hundred works there, including the present watercolour, over the course of her artistic career. Pamela Nunn points out that although there was not much women’s work exhibited at the New Society’s exhibitions it was often regarded as the most interesting.1 Farmer was singled out for special mention by contemporary critics: “...Miss Farmer’s pictures, which are, all things considered, the best figure pieces in the collection. They are true in gesture and expression, conscientious in execution and harmonious in colour”, Spectator, May 3, 1862, p. 495. “Miss Farmer is the only figure artist (here) whose drawings give any hope or promise”..., ibid, April 28, 1866, p. 467. “Let us call attention to the two modest bits of Domestic by Miss Farmer, the best of that class in the room”, Critic, April 28, 1860, p. 351. Farmer also exhibited work at the Royal Scottish Society of Painters in Water Colours and the Liverpool Academy. Emily Farmer lived for over half a century at Porchester House in Porchester, Hampshire where she died in 1905. She is buried in the churchyard of St Mary’s, Porchester. Examples of her work can be found in the Victoria and Albert Museum and the National Gallery of Art, Washington D.C. Roundell Palmer, 1st Earl of Selborne (1812-1895), PC, FRCS, was an English lawyer and politician. He was appointed Solicitor General in Lord Palmerston’s government in 1861 and promoted to Attorney General in 1862. He handled many questions of international law which arose from the American Civil War including the Alabama Affair and was the leading counsel for Britain before the Alabama Claims tribunal in Geneva. In 1872 he was appointed Lord Chancellor under Gladstone, an office he held again from 1880-1885. He lived at Blackmoor House in Hampshire, built from 1865-1882 to the designs of Alfred Waterhouse. Two chairs and a hanging corner cupboard designed by Waterhouse for Blackmoor are now in the collection of the Victoria & Albert Museum.

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

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

Signed l.l.: Kate Gardiner Hastings, red and black chalk 46.7 x 36.9 cm.; 18 ½ x 14 ½ inches Ellen Terry (1847 - 1928) is portrayed against a background of blossom. Her hair is pinned behind and she wears a blouse with a frilled collar and a knotted scarf. The background, costume and pose bear a strong resemblance to other portraits of Terry as Ophelia. The famous actress was born in Coventry in actors’ lodgings, where her parents were on tour, and she started acting as a child. She married the much older artist, George Frederick Watts in 1864, but they separated within a year. He painted her in many guises, including as Ophelia and Joan of Arc. Terry became known as the Painters’ Actress and was painted and photographed by Julia Margaret Cameron, John Singer Sargent and Aubrey Beardsley, amongst many others. Terry and the architect and designer Edward William Godwin (1833-1886) had two children, Edith Craig and Edward Gordon Craig. She returned to the stage in 1872 to establish herself as a leading actress with the Bancroft's and John Hare’s company. In 1878, Terry joined Henry Irving's company at the Lyceum Theatre as its leading lady, playing Ophelia opposite Irving's Hamlet. Her acting career became increasingly successful with tours of America and ventures into theatre ownership and management. In 1907, Ellen Terry married her third husband, the American actor James Carew (1876–1938) in Pittsburgh, Pennsylvania, whom she first met at the Royal Court and with whom she toured America in George Bernard Shaw’s Captain Brassbound’s Conversion. She graduated successfully to film and continued her career after the First World War on both stage and screen. In later life she continued to act, but also produced plays, lectured and wrote. Terry moved in artistic and literary circles, and her friends included Henry James, George Bernard Shaw and Oscar Wilde. Her great-nephew was the actor, Sir John Gielgud (1904-2000). Born in London in 1837, as Katherine Carr, Kate Gardiner Hastings received her artistic education at the Slade School in London. From 1871 - 1876 she studied with John Poynter and upon the completion of her studies, in 1877, she married Alfred Gardiner Hastings. For the next few years she exhibited regularly showing her work at the Dudley Gallery and the Walker Gallery. The artist drew a series of portraits of Terry’s family circa 1890 which are now part of the National Trust Collection and held at Terry's former home, Smallhythe Place in Kent (NT/SMA/D/20, 21, 22, and 23). These portray Benjamin and Sarah Terry, (the actress’s mother and father) and her children Edith, the theatre director and activist and Edward Gordon Craig, the theatre designer. The pastel of Sarah Terry (1817-1892) was exhibited at the Summer Exhibition of 1890 at New Gallery, London. Another red chalk portrait of the actress as Ophelia in Hamlet c. 1878 by the artist is in the collection of the Victoria & Albert Museum (S.1484-2014).

Signed l.l.: Matilda Hayes, pen and brown ink and watercolour on paper watermarked 1814/WHATMAN 21.5 x 27 cm.; 8 ½ x 10 5/8 inches Provenance Private collection, New York, until 2021 Matilda Hayes was the daughter of William Hayes (1734-1802), the British illustrator best known for A Natural History of British Birds (1775) and Rare and Curious Birds Accurately Drawn and Colored from Their Specimens in the Menagerie at Osterly Park (1794-99). One of Hayes’ seven children she worked with her father and drew bird illustrations. A self-taught artist, Hayes worked from live specimens he kept in captivity, as well as birds from the collection of one of his patrons, the Duchess of Portland. Like Audubon, Hayes depicted birds at life size whenever possible. He presumably taught his wife Anne and children including Charles, William, Annette, Emily, Maria and Matilda with whom he worked at printing, colouring and assembling volumes, and some of his bird illustrations were drawn by other members of his large family. In the mid-1780s, Hayes moved to Southall, near Osterley Park, and the estate’s owners, Robert and Sarah Child, of the banking family, who collected exotic birds, became his patrons. Horace Walpole described ‘a menagerie full of birds that comes from a thousand islands which Mr. Banks has not yet discovered’ (Walpole to Lady Ossory 21 June, 1773. (Lewis, ed. Walpole’s Correspondence, 1937), 126). Hayes and his family also painted portraits of birds belonging to John Montagu, Earl of Sandwich. The Red-bellied Macaw is a small, green macaw closely associated with the Mauritia palm tree of northern South America. It feeds on the palm's fruits, and nests in a hole in a dead palm surrounded by water.

Signed and inscribed l.r.: Laura Knight/1946, Nuremberg, charcoal and watercolour 56 x 38 cm.; 22 x 15 inches Provenance Sotheby’s, Olympia 4 July 2002, lot 237, where bought by the present owner; Private collection, U.K. Exhibited Laura Knight: A Panoramic View, MK Gallery, Milton Keynes, 9 October 2021-20 February 2022, ill. p. 190 Knight suggested painting the Nuremberg Trial to the War Artists Advisory Committee in December 1945, and in early 1946 she flew to Frankfurt. The War Crimes Trial for Nazi war criminals was held in the Central Courts of Justice in Nuremberg. Knight attended the trial and made studies from a press box. She made several sketches for the finished oil (in the Imperial War Museum) and her letters to her husband Harold express the intense emotion generated at the Trial: ‘I am trying my hardest for a dynamic and rather terrible build-up of the design, hoping that the placing of the masses, even apart from the detail, will convey in some way the sensation that not only I but everyone appears to feel… in it there is much pity- pity perhaps that the human creature could sink to such baseness as these poor creatures have done’. This drawing shows the back row of prisoners at the trial with Albert Speer, Konstantin von Neurath, Foreign Minister until 1938, and Hans Fritzche, the broadcaster and head of the radio division, at the very end of the row. Speer, Hitler’s favoured architect and Minister of Armaments was sentenced to twenty years imprisonment and Von Neurath to fifteen years. Fritzsche was acquitted. Hermann Goering was the end of the first row of prisoners with his own guard, next to Rudolph Hess, Joachim von Ribbentrop, Wilhelm Keitel, Alfred Rosenberg, Hans Frank, Julius Streicher, Wilhelm Frick, Walther Funk and Hjalmar Schacht. At the other end of the back row, depicted in this drawing, sat Karl Doenitz, and next to him Erich Raeder, Baldur von Schirach, Fritz Sauckel, Alfred Jodl, Franz von Papen and Arthur Seyss-Inquart. Two less finished sketches for the Nuremberg Trial are currently on loan to the Ben Uri Gallery, London.

Signed and dated l.r.: Laura Knight/1958, graphite and black chalk on paper partially watermarked J WHATMAN, framed in a black painted frame 25.5 x 36 cm.; 10 x 14 inches Framed size 43.5 x 56 cm.; 17 1/8 x 22 inches The apparent Japanese influence on this drawing can also be seen in an oil of a tree with a landscape entitled ‘A Misty Sunrise’ painted in 1956 and in the collection of the Royal Academy (03/1161). Knight had a lifelong interest in trees and landscape. This drawing may have been done in the Malvern Hills where the artist and her husband Harold spent some time in the summer of 1958.

Signed and dated l.r.: Laura Knight/Dec 1923, watercolour and black chalk Sight size 41.2 x 33 cm.; 16 1⁄4 x 13 inches Whole sheet 45.6 x 39.5 cm; 41.2 x 15 1⁄2 inches; 16 1⁄2 x 15 1⁄2 inches Provenance Private collection, U.K. Exhibited MK Gallery, Milton Keynes, Laura Knight a panoramic view, 2021, ill. p. 144; Nottingham Castle Museum, Laura Knight & Caroline Walker: A Female Gaze, 2021 (no catalogue) Literature Ed. Fay Blanchard & Anthony Spira, Laura Knight A panoramic view, 2022, ill. p. 144 This striking work by Laura Knight was drawn in 1923 and is a notable example of her ‘female gaze’. Her portrait drawings of women are invariably strong and vital. Here, she adds emphasis with her trademark black chalk creating strong lines, which contrast with the vivid background in blue watercolour. It has been suggested that the sitter was Lilian Ryan, who was married to Sir Gerald Festus Kelly, one of the most fashionable society portraitists in Britain during the first half of the twentieth century and president of the Royal Academy from 1949 to 1954. During Kelly’s tenure as President, Lilian ‘Jane’ Ryan, as she was more commonly known, exhibited under the alias ‘Lilian Jelly’ to avoid accusations of cronyism. From a working-class family, Ryan (c.1898 – c.1980) had been a model for Sir George Clausen in the 1910s, and he introduced her to Gerald Kelly in 1916. They were to marry four years later and spend over fifty happy years together: indeed, Gerald painted her portrait at least fifty times, exhibiting each year at the Royal Academy and titling them ‘Jane,’ his nickname for his wife. Her many likenesses became so recognisable that when Queen Mary was introduced to her, she exclaimed “Jane, of the many Janes!”. Lilian took an interest in painting for herself in the early 1940s, and her husband encouraged her curiosity. She had a natural affinity to oils and she advanced quickly and exhibited at the Royal Academy for the first time in 1944, continuing to exhibit there for thirty years. In 1936 Laura Knight was the first woman to be elected to full membership of the Royal Academy since its foundation in 1768. She battled against the structural inequalities of the art world throughout her professional life, from when she was excluded from the life room at Nottingham School of Art in 1891. In 1922 she wrote a pamphlet entitled Can Women Succeed as Artists where she identified inequality of opportunity as a major factor in the near exclusion of women from the arts in Britain. In 1937, she became the first woman to join the selection committee of the R.A., but was not invited to its annual banquet until 1967. Knight campaigned for greater recognition and status for women in the arts throughout her career and was President of the Society of Women Artists from 1932-1968. Throughout her life she took the opportunity to promote herself and her work, fight for equal renumeration and obtain high-profile commissions.

Signed l.r.: Laura Knight, watercolour over pencil 56 x 38 cm.; 22 x 15 inches Provenance Polak Gallery, London;Christie’s, London, 23 June 1994, lot 9;Private collection U.K.;Sotheby’s, London, 13 December 2018, lot 85, where bought by the present owner Literature Janet Dunbar, Laura Knight, 1975, ill. facing p. 104 The subject of this watercolour is Eileen Mayo (1906-1994) depicted as a ballerina. Mayo was an artist and a favourite model of both Laura Knight and Dod Proctor. The work combines Knight’s frank depiction of the female form with her love of the stage and was drawn in the studio rather than at the theatre. Knight’s interest in ballerina’s dressing rooms started in 1919 when she was invited to draw Lopokova, the star of Diaghilev’s ballet at the Coliseum in No. 1 Dressing Room, which gives the present work its title. In her autobiography, Knight describes her fascination with the glow of the electric bulbs, the ballet shoes and the scent of powder and grease paint, and how she was allowed to sit and observe as much as she desired (L. Knight Oil Paint and Grease Paint, 1936, pp. 224-232). Knight worked on an oil of Mayo as a ballerina in 1927, entitled ‘Dressing for the Ballet’ and it was exhibited at the Royal Academy that year. The work was included in Knight’s touring exhibition of the United States in 1931 and was badly damaged, so she cut it down and completely repainted the original. The new composition called ‘No. 1 Dressing Room’, featuring Mayo topless in the identical pink tights and doing her hair in front of the mirror in an extended interior was re-exhibited at the Royal Academy in 1947 and bought by the Grundy Art Gallery, Blackpool. Excluded from the life room at Nottingham School of Art in 1891, she battled against the structural inequalities of the art world throughout her professional life and fought for greater recognition and status for women in the arts throughout her career. In 1922 she wrote a pamphlet entitled Can Women Succeed as Artists where she identified inequality of opportunity as a major factor in the near-total exclusion of women from the arts in Britain. In 1936 Laura Knight was the first woman to be elected to full membership of the Royal Academy since its foundation in 1768. She was President of the Society of Women Artists from 1932 to 1968. While she became the first woman to join the selection committee of the Royal Academy in 1937, Knight was not invited to its annual banquet until 1967.

Signed l.r.: EFlorence Mason, watercolour 49.5 x 32.5 cm.; 19 ½ x 12 ¾ inches The artist, who was known as Florrie, was born in Birmingham, and raised in Bromsgrove, Worcestershire, the daughter of Robert Crump Mason a dispensing chemist. Mason studied at the Royal College of Art in London and was influenced for a time by the Pre-Raphaelites. She painted portraits, oriental and Indian subjects, decorative pictures and also worked as an illustrator. The artist left London and returned to Bromsgrove where she had an established artist’s practise by the age of 30 and taught art for a time at Howell’s School, Llandaff, Cardiff. She lived in London again later in life. She travelled to India and for a time was Honorary Secretary of the Ceylon Society of Arts. Mason’s work was exhibited at the Walker Art Gallery, Liverpool, the Royal West of England Academy, the Royal Institute, The Cardiff Art Society, and the Birmingham Art Gallery. In 1921 she exhibited four works at the Society of Women Artists. Kailasanathar Temple in Srivaikuntam, a village in Tamil Nadu 30 km from Tirunelveli, is dedicated to the Hindu god Shiva. The Dravidian temple has three precincts. Shiva is worshipped as Kailasanathar and his consort Parvati as Sivakami. A granite wall surrounds the temple, enclosing all its shrines. The temple has an unusual flat gateway tower, unlike other South Indian temples that have a pyramidal entrance tower. The temple was originally built by Chandrakula Pandya Vijayanagar and Nayak kings commissioned pillared halls, sculptures and major shrines in the temple during the 16th century.

Signed and dated l.r.: Eliza Mayes/1861, watercolour over pencil heightened with bodycolour 38.5 x 56.3 cm.; 15 ¼ x 22 1/8 inches The picturesque temple of Jupiter Panhellenius stands on Mount Panhellion and commands a view of the Saronic Gulf. It is dedicated to Aphaia, a goddess whose cult was only found at Aegina, and it is one of the loveliest late Archaic temples in Greece. In 1811 C.R. Cockerell and Baron Haller von Hallerstein excavated and found the fallen pedimental sculpture from the Temple dating from circa 510 to 490 BC. Seventeen statues which they excavated were acquired from them by Ludwig I of Bavaria and are today in the Glyptothek in Munich. The artist does not appear to be recorded but evidently enjoyed painting the blue sea and sky off Aegina.

Sara Page (1855-1943) Portrait of Marie Signed l.l.: S Page, inscribed u.l.: MARIE, pastel, label attached verso: Papeterie F. Dupré, 141 Faubourg St Honoré, Paris 46 x 38 cm.; 18 x 15 inches Literature Olga Baird (Yatsenko), Sara Wells Page (1855-1943): a Parisian artist from Wolverhampton, 2022, p. 12 (ill). Sara Page was born in Moxley, Staffordshire, the fourth child of Samuel Page, a successful timber merchant, and his wife Sara Wells Page, the daughter of a wealthy local ironmaster. Her parents died in the 1870s leaving her and her siblings financially independent. From 1884-1891 she studied drawing at Wolverhampton School of Art and then travelled to Italy to continue her artistic education, making copies in oil after originals in the Uffizi Gallery in Florence. She was photographed in Venice by the photographers Fratelli Vianelli. In 1892, having been encouraged by Sir Frederick Leighton, Page went to Paris to study at the Académie Julian, under Bouguereau, Tony Robert-Fleury and Gabriel Ferrier. Male and female students received the same training which included drawing from live models, the sexes taught in separate ateliers. One of the ateliers for female students was at 5 rue de Berri. Page wrote that she ‘worked under the best French artists at the Académie Julian and found there both guidance and much interest in the companionship of many different nations, and as all the students (about 500) competed in efforts for the medal in painting and sculpture, life was animated’25. Page received a medal for portrait painting.

Signed l.r.: JHP Bouverie, watercolour over traces of pencil with touches of white and gum arabic 22.5 x 34 cm; 8 3/4 x 13 3/8 inches Provenance Augusta Raymond-Barker of Fairford Park, Gloucestershire, by family descent until 2016. Ampney Park is a late 16th century house. The large room on the south-west corner of the ground floor is a complete Jacobean survival with oak panelled walls with strapwork pilasters, elaborate plaster ceiling with pendant bosses, and a very large carved stone fireplace and overmantel with the figures and arms of the Pleydell family, the original owners of house till 1724. (David Verey, Buildings of England - Gloucestershire: the Cotswolds, 1979). The artist was the daughter of the 3rd Earl of Radnor born at Coleshill in Berkshire, and the wife of William Ellice (1816-1892) whom she married in 1847. She was a childhood friend of Princess Victoria with whom she was taken to play aged six and told by the young princess that she could not play with her toys and was not to address her by her christian name. She was one the Queen’s bridesmaids, the last survivor of the group, and wrote about it in the Cornhill Magazine of June 1897. Jane was actively involved in the temperance movement from the mid-1850s and chaired many meetings in London and elsewhere on the subject and was President of the Faringdon, Berkshire branch of the British Women’s Temperance Association. In 1887 Jane wrote a book titled ‘The shadow of a coming danger to the cause of temperance from the celebration of the Jubilee of Queen Victoria’ which highlighted the social problems caused by alcohol. There is a portrait of her after John Hayter in the Royal Collection and a portrait of Jane as a young girl was illustrated in the 23 June

Pen and brown ink and wash over traces of pencil, inscribed verso: Miss Selby/Netley Abbey 18.5 x 23.5 cm This drawing is reminiscent of the work of Heneage Finch (1751–1812), Viscount Guernsey, 4th Earl of Aylesford from 1777, whose lively penwork was his hallmark. The work of his siblings and children share this attribute, and it may be that Miss Selby knew one of them and was influenced by their style. Provenance: Augusta Raymond-Barker, Fairford Park, Gloucestershire; thence by family descent until 2016

Signed and dated l.r.: S:Stone 1788, inscribed in pen and brown ink verso: Sam: Lysons., watercolour with gum arabic and touches of bodycolour on wove paper 37 x 30 cm.; 14 1⁄2 x 11 3⁄4 inches Provenance Probably Samuel Lysons, FSA (1763-1819); Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973); By family descent; Sotheby’s, London, sale of the Library of Henry Rogers Broughton, 2nd Baron Fairhaven, Part II, 29 November 2022, lot 478 Sarah Stone was the first female British painter of birds and animals to achieve professional recognition. Her drawings of birds are a highly important visual record of the specimens held in collections in late eighteenth-century England, and include some of specimens collected on the voyages of Captain Cook. The Mandarin drake from China (Aix galericulata) is shown raising the fan-shaped, cinnamon coloured innermost pair of secondary wings on his back like sails in a courting gesture. Stone evidently admired the Mandarin duck as she made several versions of the present drawing. One is in the Natural History Museum, London (see Christine Jackson, Sarah Stone Natural Curiosities from the New Worlds, 1998, p. 113, NHML no. 54, ill. Pl. 54 p. 81). Another, smaller version dated 1781 (in poor condition) was sold at Bonhams, London, 12 October 2022, lot 3. Stone was employed when she was still in her mid-teens to draw the objects in the Holophusican or Leverian Museum, a major cultural institution of the day housed in the former royal palace of Leicester House. She was to work there for nearly thirty years. Its owner, Sir Ashton Lever (1729-1788) commissioned her by 1777 to record specimens and ethnographic material brought back by British expeditions to Australia, the Americas, Africa and the Far East. For financial reasons, Lever had to dispose of his collection in the 1780s, by lottery. Before doing so, he apparently commissioned Sarah Stone to depict the birds, ethnography and antiquities. From January to March 1784 Lever exhibited Stone’s work, advertising the show as: ‘a large Room of Transparent Drawings from the most curious specimens in the collection, consisting of above one thousand different articles, executed by Miss Stone, a young lady who is allowed by all Artists to have succeeded in the effort beyond imagination. These will continue to be open for the inspection of the public until they are removed into the country. Admittance HALF-A-CROWN each...Good fires in all the galleries.’ (See C. Jackson, ibid, p. 22). Lever kept Stone’s drawings after the exhibition. The Leverian Museum continued to grow under new ownership through the 1780s and 1790s, and Stone continued to work there. Stone drew items from other private collections and the British Museum. As most of the actual specimens have not survived, her drawings are a vital record of contemporary collections, few of which produced catalogues, and give valuable insight into the collecting practises of Enlightenment museums. Sarah’s father James Stone was a fan painter, and it is likely that Sarah assisted him. As a child she was taught to make her own pigments using natural ingredients. She practised working in bodycolour as well as watercolour as a child, and the exquisite brushwork which can be seen in the drawing of the feathers of the duck demonstrates her skill at using bodycolour and gum arabic to intensify the colours. Stone exhibited at the Royal Academy, London in 1781, 1785 and 1786. She exhibited paintings of birds at the Society of Artists in 1791. She married John Langdale Smith, a midshipman, on 8 September 1789; she exhibited as a ‘painter’ before her marriage and in her married name as an ‘Honorary Exhibitor.’ She painted less after her marriage, predominately drawing live birds which her husband, also an artist, brought back from his travels. Stone was twenty seven when she married. A, daughter Eliza, who probably died in infancy, was baptised in September 1792 at St John the Evangelist, Westminster. A son, Henry Stone Smith (1795-1881) was baptised in the same church in March 1795. The family has a note by him recording a bird ‘Topial’, probably a troupial, which was brought back from the West Indies by his father and lived with the family (see C. Jackson, ibid, p. 30). Further examples of Stone’s watercolours can be found in the British Museum, the Natural History Museum, London, the Art Gallery of Ontario, the National Gallery of Australia, the National Library of Australia, the State Library of New South Wales, the Yale Center for British Art, the Getty, the Bernice Pauahi Bishop Museum, Honolulu, Hawaii and the Alexander Turnbull Library, New Zealand. Paris Spies-Gans has written about Stone’s participation in the imperial project in Paul Mellon Centre Notes, No. 20, ‘Colonialism in the Photographic Archive’, January 2022, pp. 11-12). Samuel Lysons, FSA (1763-1819) The inscription on the reverse of the drawing suggests it was owned by Samuel Lysons, FSA. Lysons was a Gloucestershire antiquarian, engraver and archaeologist, whose interests centred on Roman archaeology and mosaics and Gloucestershire church architecture. He was the Director of the Society of Antiquaries from 1798 to 1809. He illustrated his brother Daniel Lysons’ Environs of London, and the two collaborated on Magna Britannia, Being a Concise Topographical Account of the Several Counties of Great Britain, published in several volumes from 1806 to 1822. Henry Rogers Broughton (1900-1973) Henry Rogers Broughton succeeded his older brother Urban Huttlestone Broughton as the 2nd Lord Fairhaven in 1966. He was born in the United States and educated at Harrow, before joining the Royal Horse Guards in 1920. Their father, English emigré Urban Broughton (1857-1929), had a successful career building sewerage systems in the USA in the 1890s and married Carla Leland Rogers (1867-1939). She was the daughter of the wealthy oil and railroad tycoon Henry Huttlestone Rogers (184-1909). In 1912 the family moved to London. The title Lord Fairhaven was awarded to Urban for his political activities, but he died before he could use it and his eldest son Huttlestone became the first Baron Fairhaven. Both brothers were great collectors and Henry put together one of the largest twentieth-century collections of depictions of natural history. He left a large bequest of one hundred and twenty flower paintings, over nine hundred watercolours and drawings and forty-four volumes of drawings by botanical artists such as Redouté and Ehret to the Fitzwilliam Museum, Cambridge (the Broughton Bequest). The brothers’ home, Angelsey Abbey near Cambridge, with its large natural history collection, was left to the National Trust in 1966.

KT496 Signed l.c.: Sarah Smith, watercolour heightened with bodycolour and gum arabic, with a black line border 44 x 34 cm.; 17 ¼ x 13 3/8 inches Provenance Frances Smith Beale (1800-1849), the artist’s niece, daughter of Frances Mary Stone (1769-1852), sister of the artist; Ellen Beale Brooker d. 1900, (m. in 1868 William Watkiss Lloyd, 1813-1893); Eireene Watkiss Lloyd; daughter of the above m. William Docker Drysdale (1866-1952) of Wick Hall, Radley, Oxfordshire; William Docker Drysdale (1906-1985); Park End, Radley; Patrick Dockar-Drysdale (1929-2020), Wick Hall, Radley; Literature Christine Jackson, Sarah Stone Natural Curiosities from the New Worlds, 1998, p. 131 no. 6 (Watercolour Drawings by Sarah Stone in Public and Private Institutions-Private Collection A) Sarah Stone was the first female British painter of birds and animals to achieve professional recognition. Her drawings of birds are a highly important visual record of the specimens held in collections in late eighteenth century England and included some from the voyages of Captain Cook, and were exhibited at the Leverian Museum in 1784. This spectacular drawing with its finished background is an important work intended for display. Stone was employed when she was still in her mid-teens to draw the objects in the Holophusican or Leverian Museum, housed in the former royal palace Leicester House, and a major cultural institution of the day. She was to work there for nearly thirty years. Its owner, Sir Ashton Lever (1729-1788) commissioned her by 1777 to record specimens and ethnographic material brought back by British expeditions to Australia, the Americas, Africa and the Far East. For financial reasons, Lever had to dispose of his collection in the 1780s, by lottery. Before doing so he apparently commissioned Sarah Stone to depict the birds, ethnography and antiquities. From January to March 1784 Lever exhibited Stone’s work, advertising the show as: ‘a large Room of Transparent Drawings from the most curious specimens in the collection, consisting of above one thousand different articles, executed by Miss Stone, a young lady who is allowed by all Artists to have succeeded in the effort beyond imagination. These will continue to be open for the inspection of the public until they are removed into the country. Admittance HALF-A-CROWN each…Good fires in all the galleries.’ (See C. Jackson, ibid, p. 22). Lever kept Stone’s drawings after the exhibition was over. The Leverian Museum continued to grow under new ownership through the 1780s and 1790s, and Stone continued working there. This exceptional drawing of a macaw can be linked with one of the three specimens of this bird sold at the sale of the Leverian Museum in 1806 when the collection was dispersed (see Christine Jackson, ibid, p. 131). Stone also drew items from other private collections and the British Museum. As most of the actual specimens have not survived, her drawings are a vital record of contemporary collections, few of which produced catalogues, and give valuable insight into the collecting practises of contemporary museums. Stone was the daughter of James Stone, a fan painter, and it is highly likely that she assisted her father. As a child she was taught to make her own pigments using natural ingredients - the intense blues and yellows of this work are extraordinary and a testament to her skill at mixing pigments. She practised working in bodycolour as well as watercolour as a child, and the exquisite brushwork which can be seen in the drawing of the feathers of the macaw also demonstrates her skill at using bodycolour and gum arabic to intensify the colours. The tree branches which Stone habitually included in her drawings are a distinctive feature of her work. Very few of her works include a sky, and Christine Jackson ibid, p. 16, suggests that she included them in watercolours which were intended to be framed. The spectacular and carefully draw nature of the present work appears to bear this out and suggests that it was an important work intended for display which remained in her family. Stone exhibited at the Royal Academy, London in 1781, 1785 and 1786. She exhibited paintings of birds at the Society of Artists in 1791. She married John Langdale Smith, a midshipman, on 8 September 1789 and exhibited as a ‘painter’ before her marriage and in her married name as an ‘Honorary Exhibitor’ thereafter. She painted less after her marriage, mainly drawing live birds which her husband, also an artist, brought back from his travels. She signed her work with her married name of Smith and thus the present work must date from after September 1789. Stone was nearly thirty when she married, and a daughter Eliza, who probably died in infancy, was baptised in September 1792 at St John the Evangelist, Westminster. A son, Henry Stone Smith (1795-1881) was baptized in the same church in March 1795. The family has a note by him recording a bird ‘Topial’, probably a troupial, brought back from the West Indies by his father and living and domesticated with the family (see C. Jackson, ibid, p. 30). Further examples of Stone’s watercolours can be found in the British Museum, the Natural History Museum, London, the National Library of Australia, the State Library of New South Wales, the Yale Center for British Art, the Getty, the Bernice Pauahi Bishop Museum, Honolulu, Hawaii and the Alexander Turnbull Library, New Zealand. Paris Spies-Gans has written about Stone’s participation in the imperial project in Paul Mellon Centre Notes, No. 20, ‘Colonialism in the Photographic Archive’, January 2022, pp. 11-12). The blue and yellow macaw (Psittacus arauna), also known as the blue-and-gold-macaw is a large South American parrot, and one of the most popular. They live in forests and woodlands. In captivity they are known for their skill at mimicry. Patrick (Paddy) Dockar-Drysdale (1929-2020) Born in Shropshire, after his education at Oxford Paddy went to Canada with his wife Olwen, as a stage-manager of a theatre company in Newfoundland. They stayed in Canada from 1955 until 1982. Paddy switched from theatre to teaching English as an assistant professor at the University of Newfoundland and then to publishing in Toronto. His specialisms were the use of language, dialects and lexicography. He made an important contribution to the codification of Canadian English. The Dockar-Drysdales returned to England to Wick Hall, Radley where they restored the grounds and gardens. Patrick Dockar-Drysdale was a descendant of Sarah Stone and had a lifelong fascination with her work about which he was knowledgeable and which he collected throughout his life. It seems likely that the macaw may have come down in the family of the artist’s niece, Frances Smith Sheppard (1800-1849), who married Lionel John Beale, a surgeon. In 1868 their daughter Ellen Brooker Beale (d. 1900), married the businessman (who worked in the family tobacco firm) and writer William Watkiss Lloyd (1813-1893). He wrote on the classics and history, his best-known work ‘The Age of Pericles’, 1875. Sophia Beale (1837-1920), the artist, writer and sister of Ellen Beale, discussed his work in a ‘Memoir’ prefixed to Lloyd’s posthumously published ‘Elijah Fenton: his Poetry and Friends’, 1894. Their daughter Eireene Watkiss Lloyd was Patrick Docker-Drysdale’s grandmother, who took the drawing to Wick Hall after her marriage to William Docker-Drysdale (1866-1952).

A pair, each signed with initals and dated 1870 and 1869 l.l. and l.r., watercolour over traces of pencil heightened with bodycolour and gum arabic, one signed and inscribed on label attached to backboard: Lilies (1876)/Fanny Vallance/Farnham Royal/Bucks, the other inscribed on label verso: Within the bush, her covert nest/A little linnet fondly rests/’Burns One 37 x 27.5 cm.; 14 ½ x 10 7/8 inches; the other 38.5 x 27 cm.; 15 1/8 x 10 5/8 inches Provenance Lady Longmore The little-known artist exhibited a work entitled ‘Fruit’ at the Royal Academy in 1876, her address given as 43 Porchester Square, Hyde Park West, London. Fanny Vallance was the daughter of Henry Vallance (d. 1905), who built Farnham Park, in Farnham Royal, Buckinghamshire in 1865, and his wife Emily, née Carr. Most of the contents of the house were sold after his death in 1905. A photograph of the artist taken in 1862 by Camille Silvy in her Bayswater studio is in the collection of the National Portrait Gallery.

Watercolour over traces of pencil heightened with gum arabic and white, with framing instructions in pencil, verso, inscribed with title on original label attached to backboard 31.6 x 41.4 cm.; 12 ½ x 16 ¼ inches See The Nursery for the artist’s biography. Both drawings have a painted marble ledge on which the birds are arranged, a compositional device favoured by the artist and used in Dutch still lifes. The combination of birds and flowers in an elaborate arrangement in this and The Nursery were subjects which Withers favoured in 1840s and a departure from her botanical work. The embossed and moulded milk glass of the vase and urn were popular in the early 19th century and have been beautifully rendered by Withers.The introduction of a window, here delicately drawn with a cracked pane and bubble in the glass, looks back to the Old Masters. The landscape beyond suggests a freedom not enjoyed by the captive birds and is a reminder of the interior world inhabited by women of the mid-Nineteenth century. Withers forms part of a distingished cohort of female artists who drew natural history subjects in inventive and diverse ways. Predecessors such as Rachel Ruysch (1664 - 1750) or Barbara Dietzsch (1706 - 1783) had similarly scientific approaches to their subjects and her work merits consideration in this broader context (see Catherine Powell-Warren, Making her Mark, A History of Women Artists in Europe 1400-1800, 2023, ‘Scientific and Natural Illustration’, p. 225-228).

Watercolour over traces of pencil with gum arabic 25.2 x 31.6 cm.; 9 7/8 x 12 3/8 inches Provenance David Cornwell (aka John Le Carré, 1931-2020) Augusta Innes Withers, the daughter of a Chaplain to the Prince Regent, was born in Cheltenham. She was well known to contemporaries and widely praised for her botanical and bird pictures, characterised by her meticulously detailed and accurate work, which is beautifully illustrated in the present watercolour of canaries. The bird food is in an octagonal trencher salt made of French faience or Dutch delft. Withers enjoyed a successful career and exhibited widely, at the Royal Academy in London from 1829 to 1846, the Royal Society of British Artists where she showed sixty-eight works between 1832-65 and the New Watercolour Society. She was one of the earliest members of the Society of Women Artists where she exhibited forty-three works from 1857-75. Withers enjoyed Royal patronage and was appointed flower painter to Queen Adelaide in 1833, and flower and fruit painter to Queen Victoria in 1864. She is also listed as a painter to the Horticultural Society. In 1822 she married Theodore Withers (1782-1869), an accountant from Middlesex. The couple lived mainly in London and had at least two children, Theodore (b. 1823) and Augusta (b. 1825). Withers contributed to many publications including The Botanist, John Lindley’s The Pomological Magazine and Curtis’s Botanical Magazine. She illustrated Robert Thompson’s The Gardener’s Assistant, 1859 and collaborated with Sarah Drake on James Bateman’s Orchidaceae of Mexico and Guatemala. Three of Withers’ paintings are in the Natural History Museum, London. The Fitzwilliam Museum, Cambridge has a good holding of her watercolours, as does the Lindley Library of the Royal Horticultural Society. David Cornwell is better known by his pen name of John Le Carré, whose spy novels are internationally renowned, and many have been adapted for film and television. He worked for the Security Services in the 1950s and 1960s before turning to writing full time.