Charles Gore Arundel Castle

Signed with monogram l.r., inscribed l.l.: near Calikut., watercolour heightened with touches of bodycolourProvenanceFranklin Lushington (1823-1901) and thence by descentLear was invited to India by his friend and patron Lord Northbrook who was appointed Viceroy in 1871, and his journey there was the last and longest of his life. He was overwhelmed by the colour and vitality of India and enjoyed the bustle of Viceregal life.Calicut, or present-day Kozhikode, is on the Malabar coast in Kerala and was a centre of the Indian spice trade. Edward Lear arrived there in October 1874, just as the monsoon began. He was warned about the dangers of contracting fever but stayed, despite the pouring rain, until the skies were clear enough to draw. He described the roads around the city as “of such redundant beauty one can hardly dream.” Franklin Lushington, Lear’s close friend and first owner of this drawing, was the son of Edmund Henry Lushington. He was appointed judge to the Supreme Court of Justice in the Ionian Islands in 1855 and Lear went with him to live in Corfu. They first met in Malta in 1849, where Franklin’s elder brother Henry was Chief Secretary to the government. On his death, Lear left all his papers to Lushington, who later destroyed most of them.

Stamped with the artist’s stamp l.l., watercolour over pencil heighted with white on rough buff paper32.3 x 46.5 cm; 12 5/8 x 18 ¼ incheProvenance: Christie’s, London, the Artist’s Studio sale, March 13 -17, 1884 (13 gns);The Fine Art Society, London, April 1966;Hermione Hobhouse (1933-2014);By family descent until 2020Exhibited: Glasgow International Exhibition, 1888Literature: Delia Millar, 'The Victorian Watercolours in the Collection of Her Majesty The Queen', 2 vols., London, 1995, no. 3422Osborne House on the Isle of Wight was a summer retreat built for Queen Victoria and Prince Albert between 1845 and 1851, designed by Albert himself in the style of an Italian palazzo. The stone lions shown here at the foot of the steps, copied from the antique, were acquired in January 1851, and were in place by 9 March 1851. The groups of children possibly include Princess Helena and Princess Louise, described by their mother as 'looking extremely pretty in little blue silk polkas, with white silk hats' (Queen Victoria’s Journal, 15 August 1851).There is another smaller version of this watercolour in the Royal Collection dated August 1851 (RCIN 919847). The present drawing would seem to be the preliminary drawing as passages are unfinished. The version in the Royal Collection has an additional figure group at the bottom of the stairs. Leitch also drew two further watercolours of Osborne under construction drawn circa 1847 (RCIN 91982 and 91983). William Leighton Leitch was one of Queen Victoria's favourite watercolour artists, and she commissioned many watercolours from him for her View Albums. Leitch also taught watercolour to the Queen and her children, all of whom copied his work. He stayed at Osborne from 31 July 1851 and for most of August that year. It has been suggested that this drawing may have been made as a drawing lesson for some members of the Royal Family.Hermione Hobhouse was an architectural historian and preservation campaigner. During her distinguished career, during which she acted as secretary of ‘The Victorian Society’ from 1976-1983, she wrote numerous books, including Prince Albert: His Life and Work, 1983.Stamped with the artist’s stamp l.l., watercolour over pencil heighted with white on rough buff paper32.3 x 46.5 cm; 12 5/8 x 18 ¼ incheProvenance: Christie’s, London, the Artist’s Studio sale, March 13 -17, 1884 (13 gns);The Fine Art Society, London, April 1966;Hermione Hobhouse (1933-2014);By family descent until 2020Exhibited: Glasgow International Exhibition, 1888Literature: Delia Millar, 'The Victorian Watercolours in the Collection of Her Majesty The Queen', 2 vols., London, 1995, no. 3422

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

Inscribed on original label now attached to backboard: General Distant View of the Carnarvonshire Mountains, seen from the road beyond Llangerniew,/going by the Vale of the Elwyn from St Asaph to Llanrwst-Principal in this Towering Group, are Moel Siabod, Snowdon, The Glyders/ and Trevaon Denbighshire, watercolour over pencil.13 x 20.8 cm.; 5 1/8 x 8 ¼ inchesProvenanceGeorge Greville, 2nd Earl of Warwick (1746-1816), no. 17, part of an album sold at Sotheby’s, 17 June 1936;With Leger Galleries, 1980; Christie’s, London, 20 November 1984, lot 113, where bought by a private collector, until 2024Smith seems to have been fascinated by the Welsh countryside and dated drawings, often inscribed ‘taken on the spot’, point to visits nearly every year from 1784-1798, after his return from Italy.The artist was born in Cumberland and patronised by 2nd Earl of Warwick who sponsored his travels to Italy in 1776 and whose name became the artist’s sobriquet. Smith spent five years in Rome and Naples, befriending William Pars and Thomas Jones, in whose Memoirs he is frequently referenced. He travelled home in 1781 through Switzerland with Francis Towne and was among the most admired watercolourists of his day.

Signed l.c.: E. Lear, pencil with watercolour, pen and black ink and touches of gold17.7 x 23 cm.; 7 x 9 inchesThese 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.

Oil on paper laid down on board, inscribed on reverse of board: George Mason ARA and stamped with a Christie’s stencil21 x 21 cm.; 8 ¼ x 8 ¼ inchesProvenanceThe artist’s studio sale, Christie’s, 15 February 1873, lot 91, where bought byGeorge Dunlop Leslie, RA (1835-1921); his daughter Lydia Leslie, By descent to T. L. Twidell ExhibitedStoke-on-Trent Museum & Art Gallery, George Heming Mason, 1982, cat. no 20 (ill) (lent by T.W. Twidell). ExhibitedGeorge 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.

Henry Pilleau (1813-1899)The Dead SeaSigned with monogram l.l., watercolour 21 x 38 cm.; 8 ¼ x 15 inchesProvenancePresented to Queen Victoria in 1887 for her Golden Jubilee by the Royal Society of Water-Colour PaintersPilleau served with 16th Lancers. He is best known for his colourful watercolours and prints of Egypt. He visited Egypt in 1840s with Lieutenant -Colonel Sir George Everest (1790-1866), Surveyor-General of India, presumably on the men’s way to India. Pilleau’s ‘Sketches in Egypt’ comprising 12 lithographs was published in London in 1845 by Dickinson and dedicated to Everest. It comprises text and colourful plates of famous views and sites. Everest, a Welsh surveyor and geographer, after whom Mount Everest was named, served as the Surveyor General of India (1830–1843) and worked on the Great Trigonometric Survey of India.This watercolour left the Royal collection in the early twentieth century together with a substantial number of other works on paper, and there is no documentation for this with the Royal Collection. The other works whose details are recorded on the sheet of Windsor notepaper attached to the backboard were also dispersed at this time ( from the Royal Cambrian Academy of Art gift, Llyn Crafnant by D.W. Barker (the rendering of his name as ‘Banken’ suggests that someone was inaccurately copying from another source); Time-Honoured Lancaster by R. Aspinwall; and A Breezy Day by R. Short).

Samuel Palmer, RWS (1805-1881)La Vocotella near Corpo di Cava, ItalyPencil and watercolour heightened with bodycolour with scratching out 26.7 x 37.8 cm.; 10 ½ x 14 7/8 inchesProvenanceWith Agnew’s, London 2002, no. 53Anonymous sale Sotheby’s, London, 23 November 2006, lot 145;W/S Fine Art, ‘Andrew Wyld: Connoisseur Dealer’, Christie’s, London, 10 July 2012, lot 147;Timothy Clowes, his sale at Sotheby’s, London, 23 September 2021, lot 148;Where bought by a private collector until 2026Samuel and Hannah Palmer stayed at a small inn at Corpo di Cava on their Italian honeymoon in the summer of 1838. The inn overlooked a Benedictine monastery and a ravine. During this very happy period of his life, Palmer produced some of his finest watercolours, which combined the mysticism of his Shoreham work with more Italianate composition and structure. He told his friend George Richmond that it was here that he felt he was ‘no longer a mere maker of sketches, but an artist’ (E. Malins Samuel Palmer’s Italian Honeymoon, 1968, p. 73).This watercolour is constructed on classical lines with the receding serpentine path with a figure and is infused with the golden glow of Italian sunlight.A similar watercolour of the same place from a different viewpoint is in the collection of the Graves Art Gallery Sheffield (see R. Lister Catalogue Raisonné of the works of Samuel Palmer, 1988, no. 311, pp. 126-7, ill.). In a letter to her parents, written during August 1838, Hannah Palmer mentioned two views of Corpo di Cava by her husband. Presumably one is the Graves Art Gallery drawing and the present work may be the second which Raymond Lister records as untraced (R. Lister, Catalogue Raisonné of the Works of Samuel Palmer, Cambridge 1988, see no. 310).

Cecil Arthur Hunt, RWS (1873-1965)Mount Etna, SicilySigned in pencil l.l.: C.A. Hunt, watercolour, inscribed on label attached to backboard: From Cecil & Phyllis Hunt/Christmas 1954/Etna9 x 13,5 cm.; 3 ½ x 5 5/8 inchesFrame size 15 x 29 cm.; 6 x 11 3/8 inchesProvenanceAgnew’s;Private collection UKHunt and his wife, Phyllis made many trips to Sicily, an island which inspired the artist. They always stayed at the Casa Cuseni, the villa in Taormina belonging to his friend and art critic, R. H. Kitson, the painter and critic, who he first met at Cambridge. Casa Cuseni is now a museum and is, perhaps, best known for its dining room designed by Sir Frank Brangwyn (1867 – 1956).

Signed and dated l.r.: W. Callow.1833, watercolour over traces of pencil with scratching outProvenancePrivate collection U.K. until 2026This 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.