Dr William Crotch Trees in Kensington Gardens, 1822

Anna Tonelli (née Nistri) (c. 1763-1846) Portrait of Frances Anderson (née Gosling) (1768-1850), half-length, wearing a white dress and blue headdress, signed on backboard: Anna Tonelli/fe..in Londra/1798, inscribed on backing on reverse: glass taken out and restored 1848 (?). Frances Anderson née Gosling/born 1768 died 1850 at Dorset Gardens/Brighton Pastel, framed as an oval in the original frame 25.5 x 21 cm.; 10 x 8 ¼ inches Provenance By family descent to Pamela Bruce Clarke (1915-1989); By family descent at The Grange, Wendover, Buckinghamshire, until October 2024 Literature N. Jeffares, Dictionary of Pastellists before 1800, online edition, no. J.722.167 Portrait of Robert Anderson (1764-1837) half-length, wearing a black coat and with powdered hair, signed on backboard: Anna Tonelli/fece in Londra/1798, inscribed on label attached to backboard: Robert Anderson M.D. Born 1704 died 1837/at Dorset Gardens, Brighton, Restored 1893. W.B.C./Ancestor of Pamela Bruce Clarke Pastel, framed as an oval, in the original frame 25.5 x 21 cm.; 10 x 8 ¼ inches Frame size 32 x 28 cm.; 12 ½ x 11 inches Robert Anderson was a physician in Brighton who married Frances Gosling in 1788. The couple lived in Dorset Gardens, Brighton. Anna Tonelli, née Nistri, was probably trained in Florence, possibly by Giuseppe Piattoli (1743-1823) with whom she collaborated on a portrait of the family of Granduca Pietro Leopoldo, which was engraved in 1785. At some stage before 1785 she married the virtuoso violinist Luigi Tonelli. It seems highly likely that she came across the work of Hugh Douglas Hamilton in Rome. Tonelli met Lord Clive, ‘Clive of India’, while he was travelling in Italy, and he employed her to make pastels of members of his family. From 1794 she taught drawing to his children in London. She exhibited at the Royal Academy in 1794 and 1797, giving her address as 97 Norton Street. The artist travelled with the Clive family to India between 1798 and 1801, moving around southern India with Lady Clive and her daughters. During her time in the subcontinent, she seems to have worked in watercolour or miniature, rather than pastel, and charged twelve to thirty guineas for a miniature. She painted the Rajah of Tanjore and Tipu Sultan on this trip. She returned to Florence in 1801. Tonelli’s work has been confused often with that of Hugh Douglas Hamilton. She is known to have copied his work for Lord Clive, producing portraits in 1790s to add to a series begun by Hamilton. In 1806 the American agent in Paris, Filippo Mazzei, engaged her to bring up his daughter Elisabetta. He provided a description of the family to Thomas Jefferson (letter, 20th July 1806) with a view to them emigrating to the USA, praising the father, a violinist ‘the peer of any other’, the two children (born c.1789–90), and the mother who ‘sings and plays the piano like an expert; knows very well her own language, French, and English; draws and paints with excellent taste; is accomplished in embroidery and all needlework; and knows geography quite well.’ Jefferson’s response highlighted the expense of living in a major city, which may have deterred the family, as by 2 November 1807 they were in Pisa with Mazzei, while by 1809 they seem to have returned to Florence. The Grange, Wendover was owned from 1789 to 1794 by John Barker Church (1748-1818). Barker Church was an English born businessman and the supplier of the Continental Army during the American Revolutionary War. He was one of the few American revolutionaries to sit in the English parliament. His brother-in-law was Alexander Hamilton the influential founding father of the United States. Hamilton and Church were not only business partners but also friends having married sisters. Hamilton went on to have a love affair with Church’s wife Angelica Schuyler. She is featured in the popular musical ‘Hamilton’ by Lin-Manuel Miranda and Church is referred to as her ‘wealthy husband’.

Signed with initials l.r., pen and brown ink 14.5 x 12 cm.; 5 ½ x 4 ¾ inches Provenance: Mrs F.L. Evans; With Colnaghi, 1951, catalogue no. 59 Duncan Beresford-Jones until 2000 The Shah of Persia presented a group of Arabian horses to the Prince Regent, commemorated in a painting of 1819 by H.B. Chalon (Tate Britain, TO2357). Landseer was also attracted to the subject and two versions of oils of an Arabian stallion with an Attendant in Persian dress are known, see Richard Ormond, Sir Edwin Landseer, 1982, p. 54. The Shah sent an Ambassador, Mirza Abdul Hassan Shiraz, to London in 1819 to discuss with Lord Castlereagh, the Foreign Secretary, aspects of the Anglo-Persian treaty concluded by Sir Gore Ouseley in Tehran in 1812, and more recently revised. That treaty had established an Anglo-Persian alliance against a possible Franco-Russian one and the Shah was hoping for positive assurances that England would protect Persia in the event of a Russian invasion. The Ambassador left Tehran in October 1818 laden with presents from the Shah, including eighteen selected Arabian horses for the Prince Regent. The horses travelled with the Ambassador to Constantinople and then the British government organised their transport to London, an expensive undertaking arranged by a Mr George Willcox and costing over £1500. The presentation of the Shah’s gifts was listed in The Times of 24 May and took place at Carlton House, the Prince Regent’s London residence. There are seven horses pictured in Chalon’s painting, and it is not known how many of them survived the journey, but the present drawing presumably shows one of them. Mirza Abdu Hassan Shiraz’s visit aroused considerable social and popular attention but the visit was not a success, as following the defeat of Napoleon and the conclusion of an alliance with Russia the British no longer attached much importance to their Persian alliance.

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

Signed l.l.: John, pencil and black chalk 45.5 x 30.5 cm.; 17 7/8 x 12 inches Provenance Lady Hornby (1934-2021) Exhibited Augustus John, Olympia, 23-28 February 1999, no. 61 (no catalogue) This freely drawn, captivating drawing dates from c. 1904-1906. It epitomises the qualities of John’s fluent draughtsmanship and his ability to capture the essence of a sitter with apparent ease. Its immediacy, sureness and simplicity place it amongst his finest female portraits. Sheran Cazalet was the daughter of Peter Cazalet, Queen Elizabeth, the Queen Mother’s, racing trainer. Her grandparents, William and Maud Cazalet, were friends of Augustus John. She married Sir Simon Hornby in 1968. He was the last family member to serve as chairman of WH Smith and served as chairman of the Design Council; he died in 2010. The couple lived at The Ham, Oxfordshire, where they assembled a collection of twentieth century works on paper, created a beautiful garden and entertained in style. Many of the contents of The Ham were sold at Christie’s, London, in 2012.

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.

Signed and dated l.l.: David Cox. 1836, watercolour over pencil with scratching out 18 x 26 cm In the summer of 1836 Cox spent a few weeks at Rowsley, painting at Haddon Hall. He made several watercolours of elegant figures in seventeenth century costume strolling on the terrace there to which the present work relates. Although the present work does not appear to be of Haddon, it fits in with this period of his oeuvre.

KT475 Dated l.r.: Aug 11, watercolour over pencil with a touch of white on grey paper 17.1 x 26.1 cm.; 6 ¾ x 10 ¼ inches Provenance Bernard Squire, Portman Square, London; Arnold Fellows, collection no. 23; Bequeathed to Queen Mary’s Grammar School, Walsall until sold by a charitable trust, 2023 Lewis visited Arran in 1830. A similar drawing of identical size dated two days later is in the collection of the Courtauld Institute of Art, The Witt Collection ( D.1952.RW.3018). Arnold Fellows was a pupil at Queen Mary’s Grammar School, Walsall, between 1911 and 1917. He became a master of the school for a brief period, before moving to spend the remainder of his life as a teacher at Chigwell School in Essex. Fellows devoted much of his life to collecting art, notably works on paper, and eventually donated his entire collection to Queen Mary’s Grammar School.He was the author of The wayfarer's companion : England's history in her buildings and countryside, published by Oxford University Press, 1937.

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).

KT663 Thérèse Lessore (1884 – 1945) In a Belgian Train Signed and dated l.r.: Lessore/1921, watercolour over pencil, with a pencil outline, inscribed in pencil with title beneath mount l.r.: in a Belgian train Image 23 x 26.5 cm.; 9 x 10 3/8 inches, full sheet 28 x 32 cm.; 11 x 12 5/8 inches Provenance Bonhams, London, 17 November 1988, lot 27; Sandra Lumis Fine Art, London; Bernard Kelly, bought from the above, his sale at Lyon and Turnbull, London, 15 January 2025, lot 225 The artist came from an artistic family and was the daughter of the painter Jules Lessore (1849-1892) and sister of the sculptor Frederick Lessore (1879-1951). Born in Brighton, she attended the South-Western Polytechnic Art School and the Slade School of Fine Art from 1904–9, where she won the Melville Nettleship Prize for Figure Composition. She exhibited regularly at the New English Art Club and the Goupil Gallery, and had her first solo exhibition at Eldar Gallery, with a catalogue preface written by Walter Sickert. She was a founder member of The London Group, the artist-run organisation of radical painters which grew out of The Camden Town Group, where she was to exhibit regularly. Lessore was amongst the most talented female artists of The London Group. She married firstly the artist Bernard Adeney and in then 1926 she married Walter Sickert, as his third wife. He described her as “a Persian miniature”. The two artists shared a love of the music-hall and the circus which feature in both their work. Her contributions to exhibitions at The London Group were fewer after her marriage to Sickert who was 24 years her senior and for whom she cared and acted as his artist’s assistant. This acutely observed watercolour of two fellow passengers observed by the artist in Belgium a few years after the end of WWI verges on caricature.

KT748 Evelyn de Morgan (1855-1919) A head study of the model Alessandro di Marco Coloured chalks on coloured paper 35.5 x 32.5 cm: 14 x 12 ½ inches Provenance Private 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’.