William Payne A thatched cottage in a wooded landscape

Oil on paper laid down on canvas15.1 x 21.6 cm.; 6 x 8 ½ inchesFrame size 25.5 x 32 cm.; 10 x 12 ½ inchesEngravedBy the artist as a lithograph on chine collé, printed by Charles Motte, 1828, plate 8Newton Fielding produced a series of lithographs of mammals which were printed by Charles Motte in 1828.The artist was the youngest son of portrait painter Nathan Theodore Fielding. From 1827 to 1830 he lived in Paris, where he ran the family engraving business, at which William Callow worked. He was closely associated with the Anglo-French circle of artists centred around Bonington and Delacroix.He collaborated with his brothers Thales and Theodore in England before returning to France where he built up an extensive teaching practice, with pupils including members of the family of King Louis- Philippe. He published a number of teaching manuals and lived in France until his death.

KT748Evelyn de Morgan (1855-1919)A head study of the model Alessandro di MarcoColoured chalks on coloured paper35.5 x 32.5 cm: 14 x 12 ½ inchesProvenancePrivate 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’.

KT633Fragments 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 inchesPROVENANCEPossibly 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 128This 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.

Pen and brown ink and wash over traces of pencil on laid paper12 x 9.7 cm.; 4 ¾ x 3 3/4 inchesFramed in a dark wood moulding31 x 29 cm.; 12 1/4 x 11 1/2 inchesProvenance: Dickinson

Signed l.r.: W HUNT, watercolour with bodycolour on artist’s board16 x 20.3 cm; 6 1/4 x 8 inchesPrimroses 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.

Watercolour over traces of pencil on Creswick paper31 x 48.3 cm.; 12 ¼ x 19 inchesProvenanceChristie’s, London, the Artist’s sale, 27 May 1850, lot 378;Christie's London, April 25, 1995, 116;Bill Thomson, Albany Gallery until 2021De Wint first visited Shropshire in 1829-1830 and exhibited a number of Shropshire views throughout his career. He had two major patrons there, Lord Clive at Oakley Park near Ludlow, not far from the Clee Hills, and Edward Cheney of Badger Hall.

Signed with initials in pencil l.r.: HBB, watercolour24 x 17 cm.; 9 ½ x 6 ¾ inchesProvenancePietro Raffo, until 2022£2200This watercolour shows the influence of J.M.W. Turner, whose watercolour studies were copied by Brabazon.

Oil on laid paper laid down on canvas20.5 x 25.1 cm.; 8 1/8 x 9 7/8 inchesProvenancePrivate collection, USA, until 2025This charming plein air sketch was made not long after the completion of the restoration of the Arch of Titus in 1824. During the early nineteenth century the integrity of the structure was spoilt by the remains of medieval stone walls and accumulations of rubble at the sides. These were cleared in the early 1820s by Giuseppe Valadier (1762–1839) who restored the Arch to something approaching its original (and current) appearance. The artist differentiates between the original Pentelic marble and the white Travertine used for the newly carved sections of the monument.On the Via Sacra to the south-east of the Forum, the Arch of Titus was designed to glorify the memory of the emperor Titus and his official deification or consecratio. It was built shortly after the death of Titus in 81AD by his brother Domitian, who succeeded him as emperor.

Inscribed l.c.: Zaffia in Barbaria, pen and brown ink and wash on laid paper, collector’s mark on old backing23.1 x 33.7 cm; 9 1/8 x 13 1/4 inchesProvenance: Anna Place, the artist’s widow until 1732;Frances Wyndham, the artist’s daughter; Her nephew Francis Parrott ;By family descent to Francis Parrott Jr; His sister Elizabeth, widow of Captain John Fraser of Hospitalfield, Arbroath; Her daughter Elizabeth and Patrick Allan-Fraser; His sale, Sotheby’s, June 1931, lot 133; Sir Bruce Ingram, (Lugt, 1405a); R.E.S. Willison;Sotheby’s London, 19 November 1987, lot 85; Michael and Justina Ryan until 2019This is a view of Safi, southwest of Casablanca in western Morocco. The sixteenth century fortress built by the Portugese dominates the town.Another drawing of this town from a slightly different aspect by Jan Peeters (1624-78) (View of Zaffia in Barbary c.1665, pen, brown ink and grey wash, on paper) also belonged to Sir Bruce Ingram and is now in the Fitzwilliam Museum (PD.587-1963).Place was the earliest English artist whose main preoccupation was with landscape. He travelled on foot through Yorkshire, Wales, Scotland, Ireland and France, and was thus a forerunner of the sketching tours of artists a hundred years later. He knew Wenceslas Hollar (1607-1677), whose topographical work influenced his style and who accompanied an expedition to Tangier in 1669 to make records of the area. Place also worked as a book illustrator, pioneer of mezzotint and experimental potter (see E. Croft-Murray and P. Hulton, 'Catalogue of British Drawings', vol. I, British Museum, 1960 pp. 456-470).This drawing is recorded on page 10 of the 'Drawings Notebook' at Hospitalfield House, Arbroath which was compiled by Wadham Wyndham, the artist’s son-in-law.

Signed and dated l.r.: SOPHIA BEALE/1869, watercolour heightened with bodycolour and gum arabic34.5 x 60 cm; 13 ¾ x 23 ½ inchesProvenanceBrightwell’s, Leominster, 12 January 2004; where purchased byPaddy Docker-Drysdale (1929-2020);By descent until 2022This substantial landscape of Heidelberg is a fine example of a detailed Pre-Raphaelite landscape. The skillful use of bodycolour applied with a dry brush creates a pleasing richness which combined with the play of dappled sunlight on the mossy rocks in the foreground and the careful selection of colours elevates the view well above topography.Beale was born in London to Frances, née Smith, and Lionel John Beale, a surgeon. Her sister, Ellen Brooker Beale, was also an artist with whom she collaborated. Sophia and Ellen Beale went to Queen’s College School, London and took art lessons at the popular Leigh’s Academy run by the artist Matthew Leigh. They copied extensively after the Old Masters and antiquities in the National Gallery and British Museum.From 1860 to 1867 the two sisters shared a studio on Long Acre in Covent Garden. In 1869 Sophia Beale travelled in Germany and France, when the present work was drawn, and in 1872 she returned to Paris, where she took classes run for women at Charles Joshua Chaplin’s (1825-1891) studio (where Mary Cassatt also studied), financing her studies by working at M. Bertin’s studio. On her return to London, Beale used the money she had earned in Paris to open an art school in Albany Street, near Regent’s Park, teaching the latest Parisian techniques.Beale was a feminist and in 1889 among the two thousand signatories to the ‘Declaration in Favour of Women's Suffrage’ formulated by the Central Committee for Women’s Suffrage. Beale also advocated for the Royal Academy and the universities to allow greater access for women.The artist exhibited extensively during her lifetime at the Society of British Artists in Sussex Street, where she showed around thirty works, while she also had four works accepted by the Royal Academy between 1863 and 1887. Between 1868 and 1882 she exhibited at the Royal Hibernian Academy and with the Society of Women Artists from 1860 to 1881. She published four books, A guide to the Louvre (1883), The Amateur’s Guide to Architecture (1887), The Churches of Paris from Clovis to Charles X (1893) and her autobiography, Recollections of a Spinster Aunt (1908). She also wrote articles including a review of the 1894 exhibition ‘Fair Women’ at the Grafton Gallery in London for The American Architect and Building News (1876-1908), Boston 45, no. 975 (see Meaghan Clark, Fashionability, Exhibition Culture and Gender Politics: Fair Women, 2021, p. 21).