Joseph Nash Barrière St Denis, Paris

Signed l.r.: CF Tunnicliffe, watercolour over pencil with touches of white on cream paper 41 x 55 cm.; 16 1/8 x 21 5/8 inches Provenance The Tryon Gallery; Private collection, UK, sold at Christies South Kensington, London, 3 November 2010, lot 58 The artist was a countryman who was brought up Cheshire. After studying at the Macclesfield School of Art he won a scholarship to the Royal College of Art in London, gaining his teaching diploma and a further scholarship to study in the RCA's new Etching and Engraving School. He worked as a commercial artist and taught art at Manchester Grammar School. Tunnicliffe was a regular exhibitor at the Royal Academy and in 1974 a ‘Members Exhibition’ was held there of his work. He and his wife Winifred moved from Cheshire to Angelsey in 1947 and lived at Shorelands in Malltraeth until his death.

Pen and brown and grey ink and watercolour over traces of pencil, bears inscription and date 22 x 36 cm.’ 8 ½ x 14 1/8 inches Provenance Maurice Dear, Southampton; Private collection, U.K., until 2025 Rowlandson drew boating scenes such as this one on many occasions, this work probably dates from c. 1810-1820. The river is teeming with a variety of craft and passengers and the nearby pub doing a roaring trade.

Watercolour over pencil 20.5 x 38 cm.; 8 1/8 x 15 inches Provenance Walter Coleridge Richmond (1852-1931), the son of the artist, by descent; With Radnorshire Fine Art Richmond continued to draw and paint landscapes throughout his successful career as a portraitist. These works remained private and stayed mainly in his family. This beautiful sketch has a directness which reflects his enjoyment of the opportunity for contemplation when drawing from nature.

Signed with initials and dated l.r.: J.B. April 7 18.., pen and grey ink and grey wash 16.2 x 21.2 cm.; 6 3/8 x 8 3/8 inches Literature Dr A. Sneddon, ‘Representing Magic in Modern Ireland, Belief, History and Culture,’, CUP, 2022, ill. fig. 1 In Britain and Ireland amongst ordinary people popular belief in witches remained strong up until the twentieth century. This drawing appears to depict a consultation with a cunning person or white witch. A stock part of 18th and 19th century country life, these commercial, multifarious magical practitioners provided local communities with a range of services for a small fee, such as un-witching, fortune-telling, and divination. They could gain quite serious reputations and some prospered. The position gave them status in their local communities. The 'witch' seems to have a good-natured face and her bonnet is not peaked, and a cat is perched benignly on it. The old woman is seated, a horse skull above her chair and consulting a magical book or grimoire: the ownership of such expensive objects often added to the allure and kudos of cunning-folk. The family are approaching her in a deferential way (the man holds his hat, his wife looks expectant) to ask her help. The girl looks frightened, is she seeing the real witch, the cause of their maladies? After all, cunning-folk were often brought in to counter black or harmful magic. Boyne left Co. Down for London at the age of nine with his father and was apprenticed to the engraver William Byrne. He joined a company of strolling players until 1781 and thereafter established a drawing school. Boyne’s caricatures which provide an amusing insight into British contemporary life can be found in many public collections including the British Museum, the Victoria and Albert Museum, The Fitzwilliam Museum and the Yale Center for British Art, New Haven. With thanks for Dr Andrew Sneddon for his comments on this drawing.

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 l.l.: W Muller/1839., oil on panel 43.5 x 27 cm.; 17 x 10 5/8 inches Provenance Thomas Agnew & Sons, London; Anonymous sale Sotheby’s, London, 10 November 1982, lot 49; Noortman & Brod, New York, 1983; Anonymous sale, Christie’s, New York, 10 February 1998 lot 160; Matthew Rutenberg, New York, until 2020 Exhibited Noortman & Brod, 18th and 19th Century Paintings, April – May 1983, New York, June - July 1983, London This spirited painting executed with great bravura was done shortly after the artist’s return from Egypt in 1839. Müller arrived in Egypt by steamer in November 1838. He was one of the first established European artists to visit Egypt and was there at the same time as David Roberts, although neither knew of the other’s presence there. Müller was exhilarated by his arrival in the bustling metropolis of Cairo and was particularly intrigued by the slave market, which he described as ‘one of my most favourite haunts’ (W. J. Müller, ‘An Artist’s Tour of Egypt’, Art-Union 1, London, 1839, pp. 131-2). Müller is the best-known artist of the Bristol School. His German father settled in the city and was the first curator of the Bristol Institution, the forerunner of the Bristol Museum and Art Gallery. His early exposure to art led to a short apprenticeship with James Baker Pyne and a friendship with the Reverend James Bulwer (1749-1879), a pupil of John Sell Cotman, whose collection of Norwich School drawings Müller would have known. In 1833 Müller was one of the founders of the Bristol Sketching Club and his travels began the following year with visits to Holland, Germany and Venice. His 1838 trip started in Athens before he continued to Cairo. In 1840 he visited France and in 1843 he went to Lycia at the same time as Sir Charles Fellows’ expedition, during which he produced some of his finest watercolours. He died at the age of 43 after his return from Turkey. Following Müller’s death, prices of his oil paintings rose dramatically in the salerooms. Articles on his work appeared regularly and in 1875 N. Neal Solly, the biographer of David Cox, wrote a long biography. In 1896 the Birmingham Museum and Art Gallery held a retrospective of 192 of Müller’s paintings, watercolour and drawings. His reputation was kept alive in Bristol where the 150th anniversary of his birth in 1962 was celebrated with an exhibition at Bristol Art Gallery, while in 1984 Tate Gallery held a show of his French and Lycian watercolours. In 1991 a major retrospective was held at Bristol Museum and Art Gallery, who hold the most comprehensive collection of his work, organised by Francis Greenacre, the renowed authority on Müller and the Bristol School.

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).

Watercolour over traces of pencil on Creswick paper 31 x 48.3 cm.; 12 ¼ x 19 inches Provenance Christie’s, London, the Artist’s sale, 27 May 1850, lot 378; Christie's London, April 25, 1995, 116; Bill Thomson, Albany Gallery until 2021 De 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.

Pencil on laid paper 15 x 17.5 cm.; 6 x 7 ¼ inches Provenance Sabin Galleries Ltd., “The Sublime and Beautiful’, 1973, no. 88 The artist was an architect and surveyor as well as an artist, the fifth and youngest son of the architect George Dance the Elder, from a family of architects, artists and dramatists. His brother Nathaniel Dance (Dance-Holland) was also a painter and later a politician. Both brothers were founder members of the Royal Academy in 1768. There has been confusion over the authorship of some of the caricatures with which both brothers are associated.

Inscribed l.l.: TRENANT SIR E. BULLERS., pen and grey ink and watercolour over traces of pencil 14 x 23.3 cm; 5 ½ x 9 1/8 inches Provenance J.A.D. Bridger, his sale at Sotheby’s London, 24 January 1951, lot 150; bought by Thomas Agnew & Sons Ltd.; H.M. Langton; Spink & Son Ltd., K3/1993; Exhibited Thomas Agnew & Sons Ltd., 80th Annual Exhibition of Water-colour Drawings (January – March 1953), no. 85 Rowlandson worked extensively in the West Country early in his career and made annual tours. He usually stayed with his friend and patron Matthew Michell, a banker, who had an estate at Hengar near Bodmin in Cornwall. Sir Edward Buller, 1st Baronet (24 December 1764 – 15 April 1824) was an officer in the Royal Navy who served during the American War of Independence, and the French Revolutionary and Napoleonic Wars. He was MP for East Looe in Cornwall from 1802-1820. He lived at Trenant Park in East Cornwall.