Georgina Martha de L'Aubiniére Ducks at the edge of a lake

Pen and brown ink and wash over traces of pencil on laid paper 12 x 9.7 cm.; 4 ¾ x 3 3/4 inches Framed in a dark wood moulding 31 x 29 cm.; 12 1/4 x 11 1/2 inches Provenance: Dickinson

Signed, inscribed and dated l.r.: Carl Haag London 14 Sept 1849, oil on paper 35 x 25.3 cm.; 13 ½ x 10 inches, framed size 50 x 40 cm.; 19 3/4 x 15 3/4 inches Provenance Peter Ward-Jackson (1916-2015) Literature W. Karbach and C. Allison, Carl Haag Victorian Court Painter and Travelling Adventurer between Orient and Occident, 2019, no. 85 Having 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).

William Wallace Collett-Mason (1895-1957) A young Indian man in military uniform and a turban holding a bayonet Pencil, black chalk and watercolour 57 x 36 cm.; 22 ½ x 14 ¼ inches This work was most probably drawn in the Jhelum area of the Punjab, now in Pakistan, near the border with Kashmir. From May 1921, Jhelum hosted the 10th Battalion of the newly reorganised 1st Punjab Regiment. The subject may be a soldier or a member of the Balochistan police force. His turban is in the style of the "Kulla Wali Pagh" which includes a "Cone Cap", which was worn by Punjabi Muslims. Head and shoulders portrait in profile of Supharas Khan from Jhelum with a comb in his hair Pencil and black chalk, with a sketch of his torso verso 56.5 x 35.5 cm.; 22 ¼ x 14 inches The sitter Supharas Khan came from the Jhelum area of the Punjab, now in Pakistan, near the border with Kashmir. Head and shoulders portrait of Supharas Khan, wearing a shirt and with a comb in his hair Inscribed l.l.: Subharas Khan. 26/Punjab. From jelhum, pencil, with a sketch l.l. 56.5 x 35.5 cm.; 22 ¼ x 14 inches The sitter is drawn from the front. The Jhelum area of the Punjab is now in Pakistan, near the border with Kashmir. From May 1921, Jhelum hosted the 10th Battalion of the newly reorganised 1st Punjab Regiment. Head and shoulders portrait of Supharas Khan, wearing a shirt with a comb in his hair Inscribed l.l: S, pencil 56.5 x 35.5 cm.; 22 ¼ x 14 inches Portrait of a young Indian man wearing a turban Signed l.r.: COLLET-MASON -, pencil 56.5 x 35.5 cm.; 22 ¼ x 14 inches Provenance By descent in the family of the artist until 2025

Signed with initials in pencil l.r.: HBB, watercolour 24 x 17 cm.; 9 ½ x 6 ¾ inches Provenance Pietro Raffo, until 2022 £2200 This watercolour shows the influence of J.M.W. Turner, whose watercolour studies were copied by Brabazon.

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.71 The drawings are of various sizes, on laid paper, each page 31.5 x 19.7 cm.; 12 1⁄4 x 7 3⁄4 inches Provenance Private collection, U.K.;Private sale by Sotheby’s Australia, January 25 2001; Patrick Dockar-Drysdale (1929-2020) Exhibited Tate Britain, 'Now you See Us- Women Artists in Britain 1520-1920', May - October 2024, ill. p.42, p. 205 Sarah 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.

Signed and dated lower left: J. Severn Roma 1825 Oil on canvas 61.6 by 75cm., 24 1/4 by 39 1/2 inches, framed size 82 x 90 cm.; 32 1/4 x 35 3/8 inches £22,000 This unpublished painting depicts the wife and child of a brigand apparently hiding from the authorities, probably in the Alban Hills. The sleeping man, his rifle at his side, is watched over by his wife who rocks their child in a makeshift cradle covered by a cloth and hanging from a tree branch. Banditti were a popular artistic subject, made fashionable by the work of Salvator Rosa, and Severn experienced an attempted robbery first hand in 1823 when he was travelling around Naples, where brigands were common. Here he focusses on the humanity of the mother and draws attention to the precarious condition of the family. Joseph Severn was the eldest son of a music teacher from Hoxton. At the age of 14 he became apprenticed to the engraver William Bond before entering the Royal Academy Schools in 1815. Here, in 1820, he was awarded the gold medal for historical painting for his Una and the Red Cross Knight in the Cave of Despair, which granted him a travelling scholarship. This coincided with the illness of his friend, the poet John Keats, and together they travelled to Rome in search of a better climate for the ailing poet. During the winter of 1820-21 Severn nursed Keats in their apartment near the Spanish Steps, his detailed letters from the period of great importance, but, on 23 February 1821, Keats died. Severn remained in Rome, launching his own artistic career as a painter of landscapes, portraits and subject paintings. His pictures of Italian peasant life won him such an avid following that there were times during the 1820s when he could not keep up with the flood of commissions. At the beginning of 1827 he wrote to his younger brother Charles that he had “now 9 pictures on order”, and by the beginning of the following year he had “eleven pictures on hand” and this popularity continued well into the 1830s. Patrons, friends, family and fellow artists all praised the freshness and originality of his Italian painting. Sir Charles Eastlake wrote of the “richness of colour” and the "truth of circumstance, situation, incident & costume," of Severn’s Italian work (Charles Eastlake to Severn, 7 May 1834 and May 1832 (MS: Harvard, bMS Eng 1434 [52, 51], quoted in Grant F. Scott, Joseph Severn Letters and Memoirs, 2005, p. 23). It seems probable that the present work was a commission. Severn exhibited extensively at the Royal Academy during the late 1820s and 1830s showing eleven paintings of which ten were Italian genre pictures. Today comparable paintings from this period can be found in the Thorvaldens Museum in Denmark, Italian woman and her Daughter, 1831 and Italian Peasant in The Royal Collection, Her Majesty Queen Elizabeth II. The Fountain of 1828 has a similar landscape background to the present work and hangs in the Royal Palace, Brussels. The Vintage, was commissioned by the Duke of Bedford in 1825 for Woburn Abbey. Further work is in the collections of the Tate Gallery, London and the Victoria and Albert Museum. Severn played a crucial role in the foundation of the British Academy of the Fine Arts at Rome (1823-1936), securing funding from various influential patrons including William Hamilton, the antiquarian, and hosting evening gatherings in his apartment on the Via di San Isodoro, where artists met to study and draw from life, and where they had access to casts, painting and sculpting material and books. It was also a temporary rooming house where artists who had recently arrived from England could stay while looking for a studio (see, Grant F. Scott, op. cit., p.17). Severn remained in Rome for most of his life other than a spell in England from 1841-1861. With the help of William Gladstone, an avid patron, he became British Consul in Rome from 1860-72. He died in Rome in 1879 and, at his request, was buried next to Keats in the Protestant cemetery near Porta San Paolo and adjacent to the Pyramid of Cestius. Their graves are pictured below.

Pen and grey ink and watercolour over traces of pencil with touches of white 18.9 x 29 cm There are three drawings (on two sheets) for the eating room at Fairford in the Sir John Soane’s Museum dating from 1789–90 (SM (5) 80/1/65 recto & verso (6) 81/2/99). They aim to remodel the room to make the wall panels more balanced, to use the same cornice as the main stair - case and to remodel the existing chimneypiece. Provenance: Augusta Raymond-Barker, Fairford Park, Gloucestershire; thence by family descent until 2016

KT748 Evelyn de Morgan (1855-1919) A head study of the model Alessandro di Marco Coloured chalks on coloured paper 35.5 x 32.5 cm: 14 x 12 ½ inches Provenance Private collection, U.K. Alessandro di Marco was a professional artist’s model from Piedmont. Evelyn De Morgan made studies of him on several occasions, initially when she was at the Slade and later in her own studio. This drawing probably dates from 1890s. Another study of Alessandro in the De Morgan Foundation collection, for her 1899 painting The Valley of Shadows is not dissimilar to the present work (D_EDM_0038): https://www.demorgan.org.uk/collection/study-of-a-head-male/ Di Marco was used by Evelyn De Morgan in two works depicting Boreas, 'Boreas and Oreithyia' (De Morgan Foundation P_EDM_0040, 1896) and 'Boreas and the Fallen Leaves' (c. 1910-14). He also features in 'Aurora Triumphans' (1876), 'Life and Thought Have Gone Away’ (1893), 'The Poor Man Who Saved the City' (1901), 'The Marriage of St. Francis and Holy Poverty' (1905), 'The Gilded Cage, A Soul in Hell’ (with curly hair) and '1914'. Di Marco modelled for Frederic, Lord Leighton (1830-1896) in Rome and was one of the artists’ models working in London around 1870. Sir William Blake Richmond (1842-1921) described him as “a fellow so graceful and of such a colour, a kind of bronze gold” (S.T. Buckle, British Art Journal, Autumn 2012, Vol. 13, Issue 2, p.67: https://www.eb-j.org/pdfViewer/articles/MTA1OA== 2012). William Hamo Thornycroft noted in his diary that Alessandro sat for long periods of time without a break. He was the model for Merlin in Edward Burne-Jones’s earlier work 'The Beguiling of Merlin' (1872-77). He was also photographed by Julia Margaret Cameron. George Richmond described him as ‘the living embodiment of a classical sculpture’.

Oil on paper laid down on board, inscribed on reverse of board: George Mason ARA and stamped with a Christie’s stencil 21 x 21 cm.; 8 ¼ x 8 ¼ inches Provenance The artist’s studio sale, Christie’s, 15 February 1873, lot 91, where bought by George Dunlop Leslie, RA (1835-1921); his daughter Lydia Leslie, By descent to T. L. Twidell Exhibited Stoke-on-Trent Museum & Art Gallery, George Heming Mason, 1982, cat. no 20 (ill) (lent by T.W. Twidell). Exhibited George Heming Mason, City Museum & Art Gallery, Stoke-on-Trent, 1 May – 12 June 1982; Walker Art Gallery, Liverpool, 26 June – 31 July, The Fine Art Society, London 9 August – 4 September, cat. 20 (ill.) The sympathetic white horse is yoked in the Italian manner in this lively oil sketch and can be presumed to have been executed in Italy.

Signed with initials l.r.: HBB, watercolour and bodycolour over pencil, inscribed verso: Siracuse and stamped with collector’s mark Provenance Gilbert Davis (L. 757a.); Edward Seago, his estate sale at Christie’s, London 1 March 1977, lot 94; Where bought by B.M. Williams; Christie’s, London, 21 November 2007, lot 145, where acquired by the previous owner until 2025 Gilbert Davis (1899–1983) built up a large collection of watercolours in the middle of the twentieth century. He sold the bulk of his collection in 1959 to the Huntingdon Library and Botanical Gardens in San Marino, California. Edward Seago RBA, RWS (1910-1974) was one of the most popular British artists of 20th century, who painted in oils and watercolours.