Constance Frederica Gordon-Cumming Badulla from Allugollehella, alias Castle Cumming

Watercolour over pencil 36.5 x 57.5 cm.; 14 ½ x 22 ¾ inches This is a study for a larger watercolour of this subject, which formed part of this collection and is now in the British Library. Adam’s Peak is about 85 miles east of Colombo.

Signed, inscribed and dated l.r.: Ruins of the Temple at the furthest/point of Dondra Head. Southernmost point/of Ceylon. CFGC./Nov 7th/1873, and signed by Isabel Lloyd Hill, H Lloyd Hill, Edward Elliott, Mary Emily Elliott, and various others, numbered l.l.: 138A. watercolour and pencil 35.5 x 50.5 cm.; 14 x 19 ¾ inches This was one of many beautiful sunsets witnessed by the artist in Ceylon. Dondra is on Sri Lanka’s south coast, east of Matara.

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.

Selsdon Park, near Croydon Signed, inscribed and dated l.r.: Selsdon Park/C.F.G.C./1864, watercolour over pencil 35.1 x 50.5 cm.; 13 ¾ x 19 ¾ inches The house was owned by the Smith banking family from 1809 - 1877. George Smith (1765-1836) and his wife Frances, née Moseley, had fifteen children. Frances (1832 - 1922), the daughter of their second son, Oswald, married Claude, 13th Earl of Strathmore and Kinghorne (1824 - 1904) in 1853; they were the paternal grand parents of Queen Elizabeth the Queen Mother. The artist may have been introduced to Selsdon Park through this Scottish connection. Selsdon Park still stands, although it was significantly altered around 100 years ago, when it was converted into an hotel.

The Rock of Gibraltar and the Sierra Nevada Inscribed and dated l.r.: Rock of Gibraltar and /The Sierra Nevada/Nov. 1868/C.F.G.C., watercolour over pencil with touches of white 22.7 x 53.3 cm.; 9 x 21 inches

Kandy Railway passing Kaduganawa Signed, inscribed and date l.r.: Kandy Railway passing Kaduganawa/Allegalla Peak-/Turret Rock in the distance./looking S.W./July 26.73/CFG.C. and also signed by Bessie Farr, Thomas Farr and H. Williamson, watercolour over pencil 35.5 x 50.5 cm.; 14 x 19 ¾ inches The artist met Bessie Farr on the voyage out to Ceylon and spent time with her and her husband Tom at their home at Oolanakanda. She wrote that ‘perched at the base of the mighty crag which crowns Allagalla Peak, that home was in a sheltered nook embosomed in fruit-trees, and overlooking such a magnificent view as we may sometimes obtain for a few moments by climbing some mighty Alp, but which few homes can claim as their perpetual outlook’, Two Happy Years, p. 159. The view of the train from their house ‘labouring on its tortuous up-hill course, winding round the steep hillside. It was so far below us that it seemed like a fairy’s toy’. Alagalla Peak is the highest point of the Alagalla Mountain Range, standing at almost 4,000 feet, on the rail route from Colombo to Kandy, in southern Sri Lanka. Eka Gordon-Cumming took this single broad-gauge line train line in the spring of 1874, noting that the uniform gradient while rounding the flank of Alagalla was one in forty five. She spent some time in the area before moving on to Kandy, enjoying ‘happy days and weeks spent exploring many a lovely corner in that vast panorama’.

KT523 Pen and grey ink and watercolour over pencil on laid paper watermarked J WHATMAN, inscribed verso in pencil: Inscribed on old mount/near Chepstow/William Day 30x 39 cm.; 11 ¾ x 15 3/8 inches Provenance Cyril Fry This exceptionally fresh drawing is a lovely example of the work of William Day, an accomplished amateur artist, who exhibited at the Royal Academy between 1782 and 1801 as an Honorary Exhibitor. The late Judy Egerton wrote an article about him in The Connoisseur, July 1970, pp. 176-185. It is not known for certain when Day met John Webber, the Swiss-born artist who is famous for accompanying Captain Cook on his last expedition to the South Seas between 1776 and 1780. The Connoisseur article notes, without giving a source, that the friendship between the two artists “began about 1787”. Day and Webber were sketching together in the Wye valley in 1788, which is the first time that pairs of views by the two artists of the same subject are known to exist. Two watercolours by Webber of Chepstow Castle dated 1788, which are now in the Whitworth Art Gallery, University of Manchester (D.1900.12 & D.1970.77) (see Charles Nugent, British Watercolours in the Whitworth Art Gallery, 2003, p. 282) correspond to two watercolours by Day which were acquired by Chepstow Museum in 2012. A family note lists Day’s interest in the following order:’ Geology, Minerology and Painting’ and he formed one of the earliest private collections of minerals in England. His collection was carried on by his son William Day (1797-1849) and his grandson and passed to the Hampstead Central Library where it was destroyed by bombing during WWII.

KT734 Edward Lear (British 1812-1888) Sunset at Philae, Egypt Inscribed and dated l.r.: Philae. Feby. 3. 1854/from Biggeh. Sunset. P 18 and extensively further inscribed with colour notes, pen and brown ink and watercolour over traces of pencil 33 x 50 cm.; 13 x 19 ¾ inches Provenance Appleby Brothers, 27 William IV Street, Trafalgar Square, London, no. M2139; Private collection, U.K. until 2026 Lear visited Philae for the second time in late January and early February 1854. He had intended to travel up the Nile with the artist Holman Hunt but left Cairo earlier than expected when the opportunity arose after Christmas 1853, having met Thomas Seddon (1821-1856) and the explorer Sir Richard Burton (1821-1890). His views of the island were often taken from a vantage point which situated it in the landscape, showing the First Cataract, the rocky barrier that divided ancient Egypt from Nubia and the Nile. Here he enjoys painting the rocks in different shades of grey as the sun goes down, its light illuminating the temple with a golden glow. Lear spent ten days exploring the island and set up camp in the Temple of Isis. Many parties of English travellers visited, and Lear entertained some of them with dinner and music on the Temple Terrace. He adored the place and wrote that it was ‘more like a real fairy island than anything else I can compare it to. It is very small, & was formerly all covered with temples, of which the ruins of 5 or 6 now only remain. The great Temple of Isis, on the terrace of which I am now writing, is so extremely wonderful that no words can give the least idea of it. The Nile is divided here into several channels, by other rocky islands, & beyond you see the desert & the great granite hills of Assouan’ (Lear in a letter to his sister Ann, 7th February 1854, quoted in V. Noakes, ‘Edward Lear’, 1988, p, 124). He made many drawings of Philae, including a similar work dated a day later, 4 February 1854, from a different vantage point which is in the Ashmolean Museum. Lear painted Philae in oils around twenty times. He wrote on his 1867 trip that ‘In no place- it seems to me, can the variety & simplicity of colours be so well studied as in Egypt; in no place are the various beauties of shadow more observable, or more interminably numerous (Diary, 25.ii.67). Bigeh is an island and archaeological site in the Nile, formerly in the First Cataract of the river and it controlled the access to ancient Upper Egypt and Nubia. It was sacred to the ancient Egyptians who believed that Osiris was buried on the island. Its sacred temple was only accessible to priests. When the construction of the Aswan Dam began in 1960, it became apparent that the ancient temples and surrounding area would be submerged and destroyed by the rising waters of the newly created Lake Nasser. An international fund-raising campaign by UNESCO led to their relocation to higher ground by 1968.

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.

Signed l.c.: E. Lear, pencil with watercolour, pen and black ink and touches of gold 17.7 x 23 cm.; 7 x 9 inches These charming, quirky drawings are characteristic early works by Lear, dating from the late 1820s or early 1830s when he was establishing himself as an ornithological artist. They relate to a group of drawings which Lear gave to Mrs Godfrey Wentworth, who supported his employment by the Zoological Society in 1831, and whom he credited with launching him as an artist. They are imaginary, fanciful subjects drawn with not a little humour, resembling the stylised watercolours of birds painted on late eighteenth century porcelain. Robert McCracken Peck has made the interesting suggestion that Lear and his sister Ann may have been thinking of approaching ceramics companies with them (see Robert McCracken Peck, The Natural History of Edward Lear, 2016, pp. 27-9). Two surviving family albums from the late 1820s, containing a mixture of similar natural history subjects by Edward Lear and his sisters Ann and Sarah, are in the collection of the Houghton Library, Harvard University (MS Typ 55.4 and 55.27). Sir Edward Strachey was a man of letters and friend of Lear’s, who wrote an introduction to Nonsense Songs in 1895. He lived at Sutton Court, Chew Magna in Somerset and was a neighbour of Lear’s close friend Chichester Fortescue, the Liberal politician whom Lear first met in Rome in 1845.