Anna Tonelli (née Nistri) A pair of portraits of Frances & Robert Anderson

Pastel over traces of pencil, signed in pen and ink on backboard: Anna Tonelli/fece in Londra/1794, inscribed on labels attached to backboard with details of sitters and its provenanceOval, in the original frame25 x 30 cm; 9 ¾ x 11 5/8 inchesProvenanceRichard Curzon-Howe, 1st Earl Howe (1796-1870)Lady de la Zouche, Hagley Hall, Rugeley, Staffordshire (according to a label on reverse of frame);Edward Curzon, 6th Earl Howe of Gopsall Park and Penn House (1906-1984), Buckinghamshire;Thence by family descent until 2023LiteratureN. Jeffares, Dictionary of Pastellists before 1800, online, J.722.1373The charmingly drawn sitters are the young children of the Hon. Penn Assheton Curzon (1757-1797) and Lady Sophia Charlotte Howe, Baroness Howe of Langar (1762-1835). George Augustus William Curzon (1788-1805) died aged 16 and is buried in Penn, Buckinghamshire where he shares a memorial in the church of the Holy Trinity, Penn, with his parents. His younger sister Marianne (1790-1820) was also buried at Penn.This branch of the Curzon family had houses at Penn House, near Amersham in Buckinghamshire, and Hagley Hall at Rugeley in Staffordshire, near Cannock Chase.

Pastel, inscribed on reverse of original backboard: Anna Tonelli/fece in Londra/1796, in the original frame bearing the inscription Anna Tonelli H.D.Hamilton 179626.1 x 22.6 cm.; 10 ¼ x 8 7/8 inchesProvenanceMellors & Kirk, Nottingham, 9-10 June 2011, lot 713 (as of Tonelli by Hugh Douglas Hamilton);Private collection, U.K. until 2022LiteratureN. Jeffares, Dictionary of Pastellists before 1800, online edition, no. J.722.167Anna 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 with that of Hugh Douglas Hamilton, which may account for the inscription on the frame. She is known to have copied his work for Lord Clive, producing portraits in 1790s to add to a series begun by Hamilton. It seems unlikely that Hamilton has any connection with the present work, as he had returned to Ireland by this date.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 their 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.I am grateful to Neil Jeffares for his biographical information about the artist.

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.

Signed with initials l.r.: HBB, watercolour and bodycolour over pencil, inscribed verso: Siracuse and stamped with collector’s markProvenanceGilbert Davis (L. 757a.);Edward Seago, his estate sale at Christie’s, London 1 March 1977, lot 94;Where bought by B.M. Williams;Christie’s, London, 21 November 2007, lot 145, where acquired by the previous owner until 2025 Gilbert Davis (1899–1983) built up a large collection of watercolours in the middle of the twentieth century. He sold the bulk of his collection in 1959 to the Huntingdon Library and Botanical Gardens in San Marino, California. Edward Seago RBA, RWS (1910-1974) was one of the most popular British artists of 20th century, who painted in oils and watercolours.

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.71The drawings are of various sizes, on laid paper, each page 31.5 x 19.7 cm.; 12 1⁄4 x 7 3⁄4 inchesProvenancePrivate collection, U.K.;Private sale by Sotheby’s Australia, January 25 2001; Patrick Dockar-Drysdale (1929-2020)ExhibitedTate Britain, 'Now you See Us- Women Artists in Britain 1520-1920', May - October 2024, ill. p.42, p. 205Sarah 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.

Signed with initials l.l.: E.A., watercolour over traces of pencil heightened with bodycolour and stopping out, with touches of red chalk, in a period burr maple frameSheet 38.9 x 27.6 cm.; 15 ¼ x 10 ¾ inches, painted area 33 x 18 cm.; 13 x 7 inchesProvenanceChristie’s, London, 3 February 2000, lot 160;Sotheby’s, Gleneagles, 30 August 2000, lot 1153;Private collection, London until 2023Alexander is best known for his exquisite watercolours of flora, fauna and the natural world.Alexander studied at the Royal Institution, Edinburgh from 1887-8, and in Paris with the sculptor Emmanuel Frémier.In 1887-8 the artist travelled to Tangier with his father and fellow artists Pollock Nisbet and Joseph Crawhall. He returned to Egypt in 1892 and lived there for four years. After his return he married Dora, moved to just outside Musselburgh, and created a menagerie that he used for his work. Plants remained important subjects for his painting and, in 1909, he illustrated J. H. Crawford’s The Wild Flowers.In 1902 Alexander was elected an associate of the Royal Scottish Academy becoming a full member in 1913. He exhibited widely including at the Royal Scottish Academy, Royal Academy, Fine Art Society, Royal Watercolour Society and the Leicester Galleries.Alexander’s work is held in the Tate Gallery, Aberdeen Art Gallery, Dundee Art Gallery and by Fife Council.

Head and shoulders, pen and brown ink and wash22.9 x 17.3 cm; 9 x 10 3/4 inchesProvenance: Private collection, UK, bought at a charity auction at the Finchingfield GuildhallLandseer’s caricatures are a less well-known aspect of his art. They were made for private circulation and show Landseer’s effortless ability to capture the physical oddities of his subjects in an acute yet affectionate fashion. This drawing was once thought to depict Paganini but the subject is currently unidentified.

Evelyn De Morgan (1855 – 1919)The head of a womanColoured chalks on buff paper35.8 x 23.4 cm.; 14 1/8 x 9 ¼ inchesProvenancePrivate collection U.K., by descent until 2024.This beautiful drawing of the head of a woman deep in thought may be a study for the figure of Purity in De Morgan’s 1914 painting 'The Vision', also known as ‘1914', an allegoricalpainting inspired by World War I. The work depicts two women representing Peace andPurity in the foreground, with a demon representing war behind them (private collection, with the Louise Whitford Gallery/David Hughes in 1981).De Morgan was a pacifist, deeply moved by the horrors of the Boer War (1899-1902) andWorld War I, who made over fifteen paintings criticising war.

Watercolour over pencil20.5 x 38 cm.; 8 1/8 x 15 inchesProvenanceWalter Coleridge Richmond (1852-1931), the son of the artist, by descent;With Radnorshire Fine ArtRichmond 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.

This group of nineteen distinctive depictions of fruit and vegetables from South-East Asia are inscribed with titles in Indian English (possibly in Romanised Hindi) and drawn on European laid paper which is variously watermarked. There are three different numbering systems on the sheets. Many of the fruit and vegetables, such as the durian, are more commonly found in South-East Asia rather than on the Indian subcontinent, suggesting that it is possible that the drawings may have been made for a European patron in South-East Asia. Stylistically the drawings have many of the characteristics of the ‘Straits School’, a hybrid Indo-Chinese style.The accumulation of natural history drawings by officials of the British East India Company gave rise to the term ‘Company School’, now out of favour, which has been used to describe the work of Indian or Chinese artists for British patrons. The distinctive style is a result of a fusion of two artistic traditions, the European with its desire for realism and the Asian taste for a more stylised approach. The work of Chinese artists is rarer than that of Indian artists and tends to be a little later in date.British patrons commissioned local artists to draw the flora and fauna of India and other areas of South-East Asia. Such work is typically annotated with botanical notes in native script, romanised versions of native descriptions, Latin and with reference to the Linnaean system of classification, created by Carl Linnaeus (1707-78).The eighteenth and early nineteenth century saw an enormous rise of interest in Europe in the study of natural history by both scientists and amateurs. A knowledge of the subject was considered to be an important part of a liberal education and many people studied ‘natural philosophy’ and the various branches of natural history. Accurate drawings were vital tools in classification as well as a reminder of the excited reaction to new discoveries being made all over the known world.The collecting of specimens was the basis of most natural history drawings, plants were pressed and dried and the drawings recorded the specimen in its living shape and colours.This group of fruit and vegetables are found in various parts of South-East Asia. Some are common others are less well known.The collection is presented mounted in a hand-made solander box.Brinjala (Aubergine)Inscribed l.r.: Brinjala and numbered ninety-five, N106 and 96, watercolour, bodycolour and gum arabic on wove paper31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesAubergine is known as brinjal in South-East Asia.MangosteenInscribed l.r.: mongostan, numbered ninety-seven. N 97 and 101, watercolour and gum arabic on laid paper watermarked IFD31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesMangosteens grow in South East Asia, particularly in Indonesia. It is a juicy, slightly acidic fruit and it is also used in traditional medicine.Ratahouli (pepper)Inscribed l.c.: Ratahouli, numbered ninety-five, N107 and 1010, watercolour and gum arabic on laid paper watermarked HIS/GD33 x 23 cm.; 13 x 9 inchesCashewInscribed Rajab, numbered ninety-eight, N109 and 1012, watercolour and gum arabic on laid paper33 x 23 cm.; 13 x 9 inchesThe cashew tree is a tropical evergreen tree that produces the cashew seed and the cashew accessory fruit. The nut can be seen growing from the bottom of the fruits in the drawing, both green and then brown once it has ripened.Jambu Air (Szygium Aqueum)Inscribed l.c.: jambol, numbered A Hundred, N111 and 1019, watercolour and gum arabic on laid paper watermarked HIS33 x 23 cm.; 13 x 9 inchesThis is a special of the brush cherry tree; its common names include watery rose apple and bell fruit.ChilliInscribed l.r.: fjoli, numbered ninety-one, N100 and 105, watercolour and gum arabic on laid paper watermarked with a crest33 x 23 cm.; 13 x 9 inchesPomegranateInscribed l.r. ramangh, numbered A hundred and three, N114 and 1019, watercolour and gum arabic on laid paper watermarked HIS33 x 23 cm.; 13 x 9 inchesPapayaWatercolour and gum arabic inscribed l.r. papaya, numbere ninety-nine, N100 and 1013, on laid paper watermarked with a crest32.5 x 23 cm.; 12 ½ x 9 inchesDurianInscribed l.r.: doorian, numbered eighty-five, N94 and 96, watercolour and gum arabic on laid paper32.7 x 23 cm.; 12 ¾ x 9 inchesThe durian, with its spiny outer shell and moist, pungent flesh can weigh up to seven pounds. These large fruits grow on trees, have a short period of ripeness and their cultivation is difficult.The durian is famously not allowed on public transport in Singapore on account of its unpleasant smell.Lobed tropical tomatoInscribed l.r.: samati, numbered ninety, N100 and 109, watercolour with touches of gum arabic on laid paper32 x 21 cm.; 12 ½ x 8 ¼ inchesBerlimbingInscribed l.r.: blinbingh, numbered A hundred and two, N113 and No 16, on laid paper watermarked HIS33 x 23 cm.; 12 ¾ x 9 inchesBerlimbing, also known as bling bling or berling berling, is a sour fruit used in curries.Buah Chiku (Sapodilla, Chikoo, Sapota or Naseberry)Inscribed l.r.: boa sawa, numbered ninety-three, N104 and 104, watercolour and gum arabic with touches of bodycolour on laid paper partially watermarked with the Strasburg Lily33 x 23 cm.; 13 x 9 inchesThis appears to be Buah Sawo or Chiku, but the identification of this plant is open to question.Ban Branjahr (?)Inscribed l.r.: Ban Branjarh (?), numbered eight eight, N90 and 102, watercolour, bodycolour and gum arabic on laid paper, watermarked31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesThis plant has not been identified.Lotus Inscribed l.c.: Fratil, numbered ninety-seven, N108 and 1011, watercolour and gum arabic, watermarked with a crest33 x 23 cm.; 13 x 9 inches This drawing shows the lotus head with seeds after it has flowered. It is the seed of plants in the genus Nelumbo and the seeds are used in Asian cooking and traditional medicine.Melon (probably watermelon)Inscribed l.r.: patuka, numbered ninety-two N103 and 106, watercolour and gum arabic on laid paper33 x 23 cm.; 13 x 9 inchesMangoInscribed l.r.: Manga, numbered A Hundred and one, N112 and 1015, watercolour and gum arabic31.7 x 20.5 cm.; 12 ½ x 8 1/8 inchesLonganInscribed l.r.: froita lanja, numbered eight nine, N99 and 103, watercolour and gum arabic on laid paper watermarked with a crest32.2 x 21 cm.; 12 ½ x 8 ¼ inchesRambutanInscribed l.r.: frouita kafri, numbered eighty-six, N96 and 100, watercolour and gum arabic 32 x 21 cm.; 12 ½ x 8 ¼ inchesBuah Gowok (Syzgium polycephalum)Inscribed l.r.: rambutan and numbered eighty-five, watercolour and gum arabic and pencil on laid paper31.7 x 20.5 cm.; 12 ½ x 8 1/8 inches