John Frederick Lewis, R.A. A Spanish Mule

KT475 Dated l.r.: Aug 11, watercolour over pencil with a touch of white on grey paper 17.1 x 26.1 cm.; 6 ¾ x 10 ¼ inches Provenance Bernard Squire, Portman Square, London; Arnold Fellows, collection no. 23; Bequeathed to Queen Mary’s Grammar School, Walsall until sold by a charitable trust, 2023 Lewis visited Arran in 1830. A similar drawing of identical size dated two days later is in the collection of the Courtauld Institute of Art, The Witt Collection ( D.1952.RW.3018). Arnold Fellows was a pupil at Queen Mary’s Grammar School, Walsall, between 1911 and 1917. He became a master of the school for a brief period, before moving to spend the remainder of his life as a teacher at Chigwell School in Essex. Fellows devoted much of his life to collecting art, notably works on paper, and eventually donated his entire collection to Queen Mary’s Grammar School.He was the author of The wayfarer's companion : England's history in her buildings and countryside, published by Oxford University Press, 1937.

KT633 Fragments of a colossal statue at the Memnonium, Thebes Signed l.l.: 'David Roberts. R.A.' and inscribed and dated 'Memnonium, Thebes Dec. 5th, 1838', further inscribed l.r.: 'Dimensions of the statue/Between the shoulders [?] 26 feet/Circumference of the Head 54"/Shoulder to the elbow 13" [5]', watercolour over pencil heightened with bodycolour on blue-grey paper 32.7 x 48.9 cm; 12 7/8 x 19 ¼ inches PROVENANCE Possibly David Roberts; Christie's, London, 13-20 May, 1865, lot 67 as 'Thebes: Fragments of the Colossus of Rameses'; Anonymous sale; Sotheby's, London, 15 March 1990, lot 42; with Spink, London, 1990; Christie's, London, 16 November 2006, lot 128 This temple on the west bank of the Nile at Luxor, was visited twice by Roberts during his voyage on the Nile in 1838. On the outward journey, on the way to Abu Simbel, he had visited all the temples on both sides of the Nile at Luxor, and on 21 October hired donkeys to visit the ruins at Gurnah on the west bank, noting in his journal: 'The head and shoulders of the Memnon lying on the ground is enormous one can only wonder how it got there - the trouble of dislodging it must have been almost equal to the erection ...'. The present drawing was executed on the return journey when he was on the west bank of the river at Luxor from 3 to 5 December 1838. Roberts noted in his Journal 'I have been very industrious today, thanks to a Thunder Storm, a most uncommon thing in this part of the world - The sun was quite obscured and the peals of thunder were very loud accompanied with rain.... Made four large coloured sketches two of the Memnonium and two of Medinet Habou.' (Eastern Journal, National Library of Scotland). The present drawing was executed on the spot, although it is possible that the colouring was completed later during the trip. This drawing was used as the basis for the drawing which was eventually lithographed. This temple was called the Memnonium or the Tomb of Osymandyas, one of the names of Rameses II, the king to whom it was dedicated. It is now more commonly known as the Ramesseum and is the temple from which another colossal head was taken to the British Museum, where it inspired Shelley's famous sonnet Ozymandias.

Stamped with studio stamp l.r. and inscribed: Venice, watercolour 15 x 23.5 cm.; 5 7/8 x 5 ½ inches, framed size 32 x 39 cm.; 12 1/2 x 15 1/4 inches From an album of watercolours by the artist. Johnson was born in Birmingham where he studied under Samuel Restell Lines. He was then a pupil of William James Müller in London from circa 1842/3-1845, accompanying him to Lycia at the time of Sir Charles Fellowes’ expedition in 1843. The artists travelled for around eight months, spending time in Xanthus, Pinara and Tlos before going to to Rhodes and Smyrna and presumably visited Venice at this time. Johnson, like Müller, continued to work on subjects from this trip after his return to England. On Johnson’s return to London, he became a founder member of the Clipstone Street Academy, along with Müller, participating in its life drawing and painting sessions with a variety of models from the streets. Johnson made sketching trips with David Cox to North Wales from 1844. The artist was elected an associate member of the R.I. in 1868 and a full member two years later. His work can be found in many museum collections, including the British Museum, Victoria & Albert Museum and the Fitzwilliam Museum.

Signed l.r.: W HUNT, watercolour with bodycolour on artist’s board 16 x 20.3 cm; 6 1/4 x 8 inches Primroses were a favourite subject of Hunt’s, and one which he frequently exhibited in the 1840s and 1850s. Hunt was born with a deformation of his legs which restricted his movement and he worked mainly from the studio, as painting outside was difficult for him. He specialised in carefully drawn smale-scale still lifes like this one as a result and pioneered new techniques of watercolour, using stipple techniques in subtle colour combinations and achieving a brightness of colour by overlaying washes over white gouache.

Pen and black ink over pencil Each 13 x 21 cm.; 5 x 8 ½ inches Provenance J.M. Hunter, purchased from The Fine Art Society 22 November 1968 until 2023 Exhibited The Fine Art Society Ltd., London, 'Edward Bawden, CBE, RA - Recent works', 1968 Literature Claudia Roden, 'A Book of Middle Eastern Food', published by Thomas Nelson, London, 1968, with photographs by Pinkard, and black and white illustrations at the head of each chapter by Edward Bawden. These are the original drawings used to illustrated Claudia Roden’s (b. 1936) first cookery book on Middle Eastern food which mixed Bawden’s playful drawings with modern food photography and revolutionised Western attitudes to the cuisines of the Middle East and North Africa. It was substantially expanded and published in a new edition in 1986. She is the author of ten popular and critically-acclaimed cookery books and has a particular interest in the social and historical background of cooking. Bawden lived in Great Bardfield in Essex from the 1930s to 1970 and was a central figure of the Great Bardfield Artists.

Two, bodycolour, one on paper watermarked: SMITH & ALLNUTT 1815 Each 20.5 x 33.5 cm Provenance: Mrs Baldock The artists of the Patna School specialised in the depiction of everyday activities for their British patrons. Traditionally described as the work of the Company School (reflecting the patronage of the East India Company employees) this unique genre evolved as the painting styles of Western and Mughal traditions merged.

Signed and dated l.r.: W. Callow.1833, watercolour over traces of pencil with scratching out Provenance Private collection U.K. until 2026 This fine example of Callow’s work dates from the time he was sharing a studio in Paris with Thomas Shotter Boys at 19 Rue de Bouloi near the Louvre. He visited England during the summer and presumably travelled through Dover.

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’.

Signed l.r.: W. HUNT, pencil, tiny sketches of figures and a list verso, on wove paper 12 x 8.4 cm.; 7 ¼ x 4 ¾ inches Provenance: Cyril and Shirley Fry until 2021 Literature: J. Witt, 'William Henry Hunt (1790-1864)', 1982, no. 370 Exhibited: 'Hunt Exhibition Fry Collection', 1967, no. 17 (1) This drawing dates from circa 1820. Hunt drew the same girl on another occasion in a similar pose (Rossetti Collection, J. Witt, ibid. no. 492).

Anna Tonelli (née Nistri) (c. 1763-1846) Portrait of Frances Anderson (née Gosling) (1768-1850), half-length, wearing a white dress and blue headdress, signed on backboard: Anna Tonelli/fe..in Londra/1798, inscribed on backing on reverse: glass taken out and restored 1848 (?). Frances Anderson née Gosling/born 1768 died 1850 at Dorset Gardens/Brighton Pastel, framed as an oval in the original frame 25.5 x 21 cm.; 10 x 8 ¼ inches Provenance By family descent to Pamela Bruce Clarke (1915-1989); By family descent at The Grange, Wendover, Buckinghamshire, until October 2024 Literature N. Jeffares, Dictionary of Pastellists before 1800, online edition, no. J.722.167 Portrait of Robert Anderson (1764-1837) half-length, wearing a black coat and with powdered hair, signed on backboard: Anna Tonelli/fece in Londra/1798, inscribed on label attached to backboard: Robert Anderson M.D. Born 1704 died 1837/at Dorset Gardens, Brighton, Restored 1893. W.B.C./Ancestor of Pamela Bruce Clarke Pastel, framed as an oval, in the original frame 25.5 x 21 cm.; 10 x 8 ¼ inches Frame size 32 x 28 cm.; 12 ½ x 11 inches Robert Anderson was a physician in Brighton who married Frances Gosling in 1788. The couple lived in Dorset Gardens, Brighton. Anna Tonelli, née Nistri, was probably trained in Florence, possibly by Giuseppe Piattoli (1743-1823) with whom she collaborated on a portrait of the family of Granduca Pietro Leopoldo, which was engraved in 1785. At some stage before 1785 she married the virtuoso violinist Luigi Tonelli. It seems highly likely that she came across the work of Hugh Douglas Hamilton in Rome. Tonelli met Lord Clive, ‘Clive of India’, while he was travelling in Italy, and he employed her to make pastels of members of his family. From 1794 she taught drawing to his children in London. She exhibited at the Royal Academy in 1794 and 1797, giving her address as 97 Norton Street. The artist travelled with the Clive family to India between 1798 and 1801, moving around southern India with Lady Clive and her daughters. During her time in the subcontinent, she seems to have worked in watercolour or miniature, rather than pastel, and charged twelve to thirty guineas for a miniature. She painted the Rajah of Tanjore and Tipu Sultan on this trip. She returned to Florence in 1801. Tonelli’s work has been confused often with that of Hugh Douglas Hamilton. She is known to have copied his work for Lord Clive, producing portraits in 1790s to add to a series begun by Hamilton. In 1806 the American agent in Paris, Filippo Mazzei, engaged her to bring up his daughter Elisabetta. He provided a description of the family to Thomas Jefferson (letter, 20th July 1806) with a view to them emigrating to the USA, praising the father, a violinist ‘the peer of any other’, the two children (born c.1789–90), and the mother who ‘sings and plays the piano like an expert; knows very well her own language, French, and English; draws and paints with excellent taste; is accomplished in embroidery and all needlework; and knows geography quite well.’ Jefferson’s response highlighted the expense of living in a major city, which may have deterred the family, as by 2 November 1807 they were in Pisa with Mazzei, while by 1809 they seem to have returned to Florence. The Grange, Wendover was owned from 1789 to 1794 by John Barker Church (1748-1818). Barker Church was an English born businessman and the supplier of the Continental Army during the American Revolutionary War. He was one of the few American revolutionaries to sit in the English parliament. His brother-in-law was Alexander Hamilton the influential founding father of the United States. Hamilton and Church were not only business partners but also friends having married sisters. Hamilton went on to have a love affair with Church’s wife Angelica Schuyler. She is featured in the popular musical ‘Hamilton’ by Lin-Manuel Miranda and Church is referred to as her ‘wealthy husband’.