Edward Bawden RA Trees, Audley End

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.

Stamped with the artist’s stamp l.l., watercolour over pencil heighted with white on rough buff paper 32.3 x 46.5 cm; 12 5/8 x 18 ¼ inche Provenance: 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 2020 Exhibited: Glasgow International Exhibition, 1888 Literature: Delia Millar, 'The Victorian Watercolours in the Collection of Her Majesty The Queen', 2 vols., London, 1995, no. 3422 Osborne 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 paper 32.3 x 46.5 cm; 12 5/8 x 18 ¼ inche Provenance: 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 2020 Exhibited: Glasgow International Exhibition, 1888 Literature: Delia Millar, 'The Victorian Watercolours in the Collection of Her Majesty The Queen', 2 vols., London, 1995, no. 3422

KT514 Signed and dated on mount l.l.: E. Dayes 1791, pen and grey ink and watercolour with touches of bodycolour over traces of pencil on wove paper, on original laid paper mount 21 x 13.9 cm.; 8 ¼ x 5 ½ inches Provenance Sotheby’s, 25 January 1989, lot 54, where bought by James Hall, his collection no. 23, until 2022 The Abbey was founded for the Cistercians between 1175 and 1178 by Hervey de Montemarisco, Marshall of Henry II, who became its first abbot. At the Reformation Henry VIII granted the Abbey to Sir Osborne Itchingham. The church is one of the longest Cistercian churches in Ireland.

KT453B Inscribed and dated in pencil verso: Tring Hill/ 1791, oil on paper 12.8 x 19 cm.; 5 1/16 x 7 ½ inches Frame size 29 x 34 cm.; 11 1/4 x 13 ¼ inches Provenance Mr Nicholson, Oxford, until 1942, when acquired by Edward Croft-Murray, CBE, (1907-1980); Jill Croft-Murray until 2020; Woolley and Wallis, The Edward Croft-Murray Collection, 11 August 2021, lot 421 This spontaneous oil sketch originally came from an album of oil sketches from nature, executed in 1790s and assembled by the artist for his own pleasure, inscribed ‘Studies from nature by G. Garrard’. Five further examples of his oil sketches of locations in and around London are in the collection of Tate Gallery.

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).

One hundred and forty-four drawings on sixty-eight pages, laid into an album bound in vellum, the fly leaf with a large label inscribed: Miss Stones/First Efforts/plates.71 The drawings are of various sizes, on laid paper, each page 31.5 x 19.7 cm.; 12 1⁄4 x 7 3⁄4 inches Provenance Private collection, U.K.;Private sale by Sotheby’s Australia, January 25 2001; Patrick Dockar-Drysdale (1929-2020) Exhibited Tate Britain, 'Now you See Us- Women Artists in Britain 1520-1920', May - October 2024, ill. p.42, p. 205 Sarah Stone was the daughter of James Stone, a fan painter and is thought to have assisted her father. The family lived in London. The dated drawings in this album suggest that Stone executed many of them when she was ten or eleven years old and identify her as something of a child prodigy. This album contains many copies from drawing books which were a popular means of allowing an artist to develop their technique by copying. The number of drawings and the repetition of certain subjects reflect a systematic approach and a determination to improve and there are drawings after Holbein, Ribera and Boucher, the minor details may be after Le Brun. One of the drawings is inscribed ‘The New Drawing Book‘ which could be a reference to Francis Vivares, A New Drawing Book, in the Manner of Chalk fit for Youth to Draw after. 6 sepia soft ground etchings, by W. Hebert after Vanloo and Boucher, 4to. Frans. Vivares. Sept. 1759. The plates in this were in the manner of red chalk. The range of subjects in the present album suggests Stone was using one of the compilation drawing books, such as Carrington Bowles, The School of Art; or, most compleat Drawing-Book extant: consisting of an extensive series of well chosen examples, selected from the designs of those eminent masters, Watteau, Boucher, Bouchardson, Le Brun, Eisen, &c. engraved on sixty copper plates, and performed in a method which expresses the manner of handling the chalk, 1765 and later editions.

Sir Gerald Festus Kelly, P.R.A. (British 1879-1972) The Great Wall of China Oil on board Exhibited Martyn Gregory Gallery, ‘Modern British Painters’, October 1988, Catalogue no. 52, no. 34 This is a study for a painting of the same size of the Great Wall of China exhibited at the Royal Hibernian Academy, 1938, no.45 and the Royal Academy, London, Exhibition of Works by Sir Gerald Kelly, 1957, no.231. Born in London of Irish descent, Kelly was educated at Cambridge University, later living and studying art in Paris where he met Degas, Monet, Renoir and Sickert. Whistler was also an early influence as were Cézanne and Gaugin. Kelly was an enthusiastic traveller, visiting amongst other countries China, Spain, America, South Africa and Burma, where he painted some of his most characteristic and charming figure studies. He became a successful society portraitist whose sitters included Somerset Maugham, whom he painted several times, and he undertook numerous state portraits. Kelly is represented in many public collections, including the Tate, which holds seven works. He had retrospective exhibitions at the Leicester Galleries in 1950 and in 1957 at the RA. He was elected RA in 1930, was the Academy's Keeper from 1943-45 and President, defeating Augustus John in the election, from 1949-54. Kelly held a number of official positions, such as membership of the Royal Fine Arts Commission, 1938-43, and was knighted in 1945. Between 1909 and 1970 Kelly exhibited over 300 works at the RA. During his lifetime his work became well known through popular prints.

Oil on panel 22 x 27 cm.; 8 ¾ x 10 5/8 inches Provenance The artist’s widow, Lady Kelly; Michael Parkin Fine Art Ltd; From whom purchased by J.G. Cluff, private collection U.K. until 2022 Born in London of Irish descent, Kelly was educated at Cambridge University, later living and studying art in Paris where he met Degas, Monet, Renoir and Sickert. Whistler was also an early influence as were Cézanne and Gaugin. Kelly was an enthusiastic traveller, visiting many countries from Egypt to China. His sketches of his travels are pleasingly spontaneous and tend to be painted more freely than his finished portraits. He became a successful society portraitist whose sitters included Somerset Maugham, whom he painted several times, and he undertook numerous state portraits. Kelly is represented in many public collections, including the Tate, which holds seven works. He had retrospective exhibitions at the Leicester Galleries in 1950 and in 1957 at the RA. He was elected RA in 1930, was the Academy's Keeper from 1943-45 and President, defeating Augustus John in the election, from 1949-54. Kelly held a number of official positions, such as membership of the Royal Fine Arts Commission, 1938-43, and was knighted in 1945. Between 1909 and 1970 Kelly exhibited over 300 works at the RA. During his lifetime his work became well known through popular prints.

Thomas Rowlandson (1757-1827) Soldiers on parade, France Pen and grey ink and watercolour over traces of pencil, inscribed: Depot de Gardes Françoise 14.4 x 23.4 cm.; 5 33/4 x 9 ¼ inches Provenance Richard Green Ltd Rowlandson frequently painted military subjects and here he draws English soldiers standing to attention while passers-by walk past unperturbed carrying on their daily activities. The dépôt de Gardes françaises was the Parisian barracks for the elite regiment of troops which protected the French Royal family and was disbanded in 1789 when the soldiers joined the Revolutionary troops.

Oil on board, inscribed verso: Grindlay, inscribed on old backing paper by one of Edward Grindlay’s children: An early James Gunn/My father admired it in the/Studio so James framed it/and gave it to him 22.4 x 14.2 cm.; 8 7/8 x 5 5/8 inches Frame size 34 x 24 cm.; 13 3/8 x 9 ½ inches Provenance Given by the artist to Edward Grindlay; By descent until 2021 This beautiful view of the Place de la Concorde was done in 1911-1912 when Gunn studied at the Académie Julian in Paris under Jean Paul Laurens. It is previously unrecorded and a significant addition to his rare small pictures of Paris. While in Paris Gunn started to make tonally delicate panels of the city on small boards, using a muted palette reminiscent of Whistler, capturing street scenes with tiny figures drawn with a few strokes of the brush. He also made regular visits to the Louvre to draw from the Old Masters and rented a room at 2 bis rue Perel. His small pictures of Paris are not numerous and are highly sought after. Gunn has painted this work from near the centre of the Place de la Concorde, looking towards the eastern end of the Champs Elysées, with the Grand Palais visible behind the trees of the Jardin des Champs-Elysées. The statue on the plinth is one of the famous Chevaux de Marly by Guillaume Costou, brought from the Chateau de Marly in 1719 and now in the Louvre. James Gunn attended drawing lessons from the age of five. He studied at the Glasgow School of Art, the Edinburgh College of Art before he went to Paris. Gunn returned to Edinburgh in 1912 and also spent time in London. Early in 1914, at the instigation of the London dealer W.B. Paterson, he travelled widely in Europe, sending pictures back home, and revisiting Paris and Étretat. He enlisted with the Artists Rifles in 1915. Gunn gave a speech to the Glasgow Art Club in November 1955 and reminisced about his early career, ‘…In Paris I studied at the Académie Julian under Jean Paul Laurens…I returned from Paris with a collection of sketches made in the streets and by the river. Many of these passed through the house of Anna. There they were seen and some were purchased by a dealer from Bond Street, W.B. Paterson, brother of the distinguished Scottish Academician, James. He gave me a contract, paid me a retaining fee and I undertook to provide him with not less than thirty pictures a year. At his instigation I went to Spain at the beginning of 1914. There I travelled, seeing and painting, till the echoes from Sarajevo warned that the good days were soon to end’. Edward ‘Teddy’ Grindlay and Gunn met in 1917 towards the end of WWI when they were commissioned into the 10th Scottish Rifles, the beginning of a life-long friendship. Gunn’s drawings of his fellow officers were published in a book ‘The 10th Battalion, The Cameronians (Scottish Rifles): a Record and a Memorial 1914-1918’. Grindlay saw this oil sketch in Gunn’s studio and admired it, so the artist had it framed and gave it to his friend. Edward and his wife Evelyn were both painted by Gunn who also painted a conversation piece of their house at 1 Newton Grove, Bedford Park in London in 1927. They later moved to Westcott near Dorking. They owned many paintings and drawings by Gunn who used his friend as a model for Maurice Baring in his famous conversation piece with Hilaire Belloc and G.K. Chesterton, which is now in the National Portrait Gallery, London (NPG3654). He received commissions from many of the leading figures of the day and painted the Royal Family in another famous conversation piece at Royal Lodge, Windsor (NPG3778). Gunn had a successful career as a portrait painter and in 1961 was elected a member of the Royal Academy.