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THE CATALOGUE BY R. R. M. SEE AUTHOR OF “ENGLISH PASTELS 1750-1830” “MASQUERIER AND HIS CIRCLE” TO BE SOLD BY AUCTION THURSDAY & FRIDAY EVENINGS JANUARY THIRTEENTH, FOURTEENTH AY cul rTiritsN = = =——tSC~—S THE ANDERSON GALLERIES Tn Tonk 1927 SALE NUMBER 2124 PUBLIC EXHIBITION FROM SATURDAY, JANUARY EIGHTH Abs fe EMILE GROSS tr XAVIER HAAS COLLECTIONS OF ENGLISH XVIUITH CENTURY DRAWINGS & PASTELS SOLD BY ORDER OF XAVIER HAAS 14 RUE CASSINI, PARIS, PRANCE THE CATALOGUE BY R. R. M. SEE AUTHOR OF “ENGLISH PASTELS 1750-1830” “MASQUERIER AND HIS CIRCLE” TO BE SOLD BY AUCTION THURSDAY & FRIDAY EVENINGS JANUARY THIRTEENTH, FOURTEENTH AT EIGHT’FIFTEEN THE ANDERSON GALLERIES {MITCHELL KENNERLEY, Present] 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1927 CONDITIONS OF SALE ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. The highest bidder to be the buyer. In all cases of disputed bids the decision of the Auctioneer shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased shall be resold immediately. Purchases to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the lot or lots will be left at the sole risk of the purchaser, and subject to storage charges. — All lots will be placed on public exhibition before the date of sale, for examination by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or concerning any lot, and makes no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the con- clusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The Anderson Galleries, Incorporated, reserves the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses incurred. This condition shall be without prejudice to the right of this Company to enforce the sale contract and collect the amount due without such resale, at its own option. The Anderson Galleries, Incorporated, will afford every facility for the employment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries makes no charge for executing orders for its customers and uses all bids competitively, buying at the lowest price permitted by other bids. A Priced Copy of this Catalogue may be obtained for One Dollar for each Session of the Sale THE ANDERSON ‘GALLERIES, INC: 489 Park AVENUE AT Firty-NINTH STREET, New York TELEPHONE REGENT 0250 CATALOGUES ON REQUEST SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON ry INTRODUCTION HE Haas Collection of Early English drawings might equally well have been called the Emile Gross Collection, as about three-quarters of it was brought together, in the first decade of the century, by that eminent connoisseur of British art. Emile Gross had conceived the idea of collecting as many examples as he could find of the British School of draughtsmanship of the late eighteenth and early nineteenth centuries. His object in so doing was probably either to present it to his countrymen, as a monument of English art, or merely to gain reputation as a connoisseur for having practically cornered the whole of the drawings available on the London market. Be this as it may, his precise intentions will never be known, as, early in the Great War, he was killed on the Marne at the head of his company of Zouaves. His brother-in-law, Mr. Xavier Haas, then inherited the bulk of the Emile Gross Collection, to which he added his own drawings and which he continued to increase up to recent years, either by new purchases or by exchanging some of the items forming the collection for works of other masters not yet represented in his series. In bringing together this highly representative selection of pastels and drawings, the two brothers-in-law were, at the very start, strongly advised by three of the most eminent experts in British drawings of all times, to pay attention to many lesser known masters, who were then gradually attracting public notice, and although daily increasing in value, were still obtainable at the time without any considerable difficulty. These three gentlemen were: Sir Charles Robinson, the Keeper of the Queen’s pictures at the South Kensington Museum, the great collector Charles Fairfax Murray, and the veteran expert Martin H. Colnaghi. Hence the numerous drawings obtained from them or through their advice, as will be noticeable in many of the individual pedigrees attached to this ‘Catalogue Raisonné’’. The writer had on several occasions to give advice to the owners of the Gross and Haas collection, as his studies, specialized somewhat in this line since the appearance in 1911 of his book on “English Pastels’, had naturally induced many owners to seek his opinion on this type of works of art. As the technical expert and adviser of the art magazine, “The Connoisseur’, he was in a position to see, criticize and value many drawings and pastels, and continue the work begun by his first master, Martin Henry Colnaghi. When the day came that the French owner decided to part with his collection, he received on several sides the advice to place it bodily before the American public at The Anderson Galleries, thus affording the amateurs of the New World a remarkable opportunity to become acquainted with a type of works of art hardly seen outside England. Hence this momentous Sale. Momentous, indeed, as no such numerous and representative series has yet been put on the market either in Europe or in America. 7 A number of lots will appeal to any collector of discrimination; others are of particular interest to specialists of Shakespeariana, of the stage and of the drama; others again will be highly appreciated by book collectors, who will have the opportunity to extra-illustrate their copies with the original drawings for the plates and vignettes. Practically every drawing in the sale could be used by those in search of decorative work to adorn their mansions or cottages in the Colonial or Early English styles. They also give an opportunity to museums large and small, wishing to acquire signed or typical works by well known or lesser known masters, if only for study or for future comparisons. In one word, a collection of world-wide interest and of unique artistic and educational value. | R. R. M. SEE Paris, France November, 1926 oxi > a ae si) . : s “1° Ae LJ a ie oy.5 yy, Te a 14, 2 , a Lp ety Bry trse aa 7a hay r i T tea wi ~ ¥ at a «oi dey RO [2| [11] SALE THURSDAY EVENING, JANUARY THIRTEENTH, AT EIGHT-FIFTEEN FIRST SESSION NUMBERS 1-179 J. S. ALPENNY J. S. Alpenny executed many slight but elegant drawings, heightened in water colour, at the beginning of the nineteenth century. From his house in Kew he sent many pictures to the Royal Academy and to the Suffolk _ Street Exhibition between 1825 and 1853. 1 PORTRAIT OF A LADY This portrait is a bust to the waist. The lady is dressed in the décolleté dress of the period of 1830. A piece of blue muslin is tied round the neck. She is looking to the front; she has grey eyes and arched brows, and a smiling mouth. The dress is only sketched in, by pencil; the face is slightly coloured. _ Pencil and water colours on paper. Size, 61% x 514, inches. Inscribed in the right hand bottom corner, ‘Sketched by J. S. Alpenny, 16th May 1831”. JAMES ALVES 1732-1808 James Alves, a London artist, executed many pictures and small portraits im crayon and pastel during his long career, dying in his seventy-sixth year at Inverness in 1808. 2 PORTRAIT OF A LADY Ao - Three-quarter length portrait of a lady, seated with body facing three-quarters to the right; the arms and hands are folded. She is dressed in a yellowish-green bodice, with white skirt, and has a white lace fichu, V-shaped at the neck. The face is three-quarters to the right, looking front. It is rather thin and delicate, but very refined. She has bluish eyes, and well marked eyebrows and nose. Her mouth is delicate. A wealth of white-powdered hair is seen under her large white lingerie hat, with blue silk ribbon. Plain buff background. Pastel on paper. Size, 1134, x 10 inches. Exhibited at The British Drawings Exhibition, 1920. No. 1. Braithwaite Wilson Collection. Ernest Renton Collection. “A typical work of this interesting artist.” [SEE ILLUSTRATION ] ] FRANCESCO BARTOLOZZI 1725-1815 We rank Bartolozzi among the English artists, as he lived nearly forty years in England. He was appointed engraver to the King, and was even elected a member of the Royal Academy, not as a foreign associate, but as a full Academician. 3 DECORATIVE COMPOSITION Inscribed on the top, “Aux Graces Aux Talens.” It is evidently. the, title-page for three sonatas, composed by the celebrated musician J. L. Dussek. | | a The middle figure is holding a lyre—seated on clouds, in the centre of, the composition. | Ais Pen and ink drawing, washed with Indian ink, on paper. Size, 1014 x 7% inches. | An important composition. LADY DIANA BEAUCLERK 1734-1808 The works of Lady Diana Beauclerk, the well known amateur and friend of Walpole, whose long life covered the whole of the second half of the eighteenth century, are most interesting. Probably her best known draw- ings are those of her two daughters in the characters of “L’ Allegro” and “Tl Penseroso”’, as they were engraved by Bartolozzi and thus attained a widespread fame. | 4 MATERNAL LOVE Full length. On the left is seated, facing right, a fair-haired woman. Her left foot is advanced to the right; her two arms are held out to the right, while she holds in her hands the hands of the baby. Long déshabillé dress, décolleté, with high. waist, short sleeves and small bows of ribbon down the front; blue scarf. Head in profile, right, looking at the baby. Earrings. Fair hair dressed in bun on crown of head with fringe on forehead. Bracelet on right wrist. In the centre, facing three-quarters to the right, is a dark-haired woman, seated, holding on her lap a naked baby, his feet in her right hand and his back supported by her left arm. Long full dress —a night dress probably, open at the neck. Face three-quarters to the right. Dark curly hair low on forehead and with long curls on either shoulder. Black and red pencil touched in water colour, on paper. Size, 1514, x 12 inches. Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1919. No. 2; “Les Enfants Anglais”, Paris, 1922; “L’Enfant Choyé”. No. 1. Ernest Renton Collection. Pee ‘ SIR WILLIAM BEECHEY, R. A. 1753-1839 Sir William Beechey, the English portrait painter, was born in 1753 at Burford in Oxfordshire. In early life he was placed with a solicitor at Stow, but becoming acquainted with some of the painters of the day, he took a fancy to art, and began the practice of portrait painting. In this he distinguished himself so much that he was patronized by George III, was made portrait painter to Queen Charlotte, and lived much at Windsor as instructor to the princesses, who entertained the strongest regard for him to the end of his life. He was elected an associate of the Royal Academy in 1793, and an Academician in 1798. He sent no less than 362 portraits to the exhibitions of the Royal Academy. The portraits of Sir William Beechey are celebrated for their truth to nature, and for the freshness of colour which they still retain. SIR WILLIAM BEECHEY, R. A. 1753-1839 5 PORTRAIT OF A LADY: MRS. CRAWFORD Bust facing front. Mrs. Crawford holds her head inclined to the left, with her right hand to the cheek. Face three-quarters to the left, looking front. Brown curly hair covered by a white veil, which is tied under the chin and hangs down in front. Water colour on paper. Oval. Size, 21% x 15% inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No.5; Zurich, 1920. No. 5. Charles Newton Robinson Collection. “A charming miniature portrait, full of a wistful tenderness.” SIR WILLIAM BEECHEY, R. A. 1753-1839 6 THE YOUNG GIRL AT THE HARPSICHORD Three-quarter length, facing left. The young girl is shown with her left hand resting on the keyboard of a harpsichord. She wears a white dress, low-necked and short-sleeved, with a broad blue sash f 3O- tied at the back. Her head is turned front, almost full face. Round childish features, with large blue eyes. Curly golden hair cut in fringe over forehead. Large-brimmed hat trimmed with feathers. Pencil tinted in water colour on paper. Size, 5% x 8V% inches. Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 6; “Les En- fants Anglais”, Paris, 1922. No. 4. Geoffrey Whitehead Collection. Martin H. Colnaghi Collection. [SEE ILLUSTRATION ] 3 Yigy SIR WILLIAM BEECHEY, R. A. 1753-1839 CHILDREN GATHERING PEARS In the centre, facing right, full length, a small boy. He wears a tight short jacket with buttons down the front, a wide frilled collar and ruffles at the wrists, short trousers, white socks and strapped shoes. On the left, seated on the ground is an older child, a girl, who rests on her left elbow and holds her hat with her right hand. Pencil tinted in water colour on paper. Size, T32 x 51% inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 7; “Les En- fants Anglais’, Paris, 1922. No. 3. C. Johnson Collection. [SEE ILLUSTRATION | SIR WILLIAM BEECHEY, R. A. 1753-1839 SKETCH OF A LADY | The lady is seated facing front, the right hand resting on the right arm of a chair and the left elbow on the left arm of the chair. She holds with her left hand a white wrap, over her knees and over the left arm of the chair. Red high-waisted dress with short puffed sleeves and very low décolleté; white sash. Head three-quarters to the left, looking left. Hair in small curls bound with ribbon. Water colour on paper. Size, 334, x 31% inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 3; Zurich, 1920. No. 3. Charles Newton Robinson Collection. SIR WILLIAM BEECHEY, R. A. 1753-1839 PORTRAIT OF A LADY Bust facing front, leaning slightly to left. The lady is seated and wears a white dress, short puffed sleeves, high waist, low décolleté. Oval face, full front, delicate complexion, small mouth, straight nose, dark eyes. Black hair parted in the middle, dressed in a double knot on top of the head and in smooth curls over each temple. Water colour on paper. Size, 334, x 31% inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 4; Zurich, L920 DEN Gaels Charles Newton Robinson Collection. a ] [6 [7] [10] MARY BENWELL (AFTERWARDS MRS. CODE) 1739-1800 This first-rate artist became well known at the end of the eighteenth cen- tury, as a “miniature pastel” painter; she also executed a few pictures in oil. She exhibited many portraits of well known Society people of her time at the Royal Academy. 10 PORTRAIT OF A LADY A small drawing of a young lady, half length, seated in profile to the left. Her eyes are dark blue. She has a large straw hat with blue ribbon, and frilled white dress, with blue sash, which complete a charming ensemble. The background, dark grey on the left, is tinted light blue, by subtle gradations at the top of the picture. It becomes dark grey again on the lower part of the right-hand side of the picture. Pencil, water colour and crayon on paper. Size, 434 x 334 inches. Bourdier Collection. “A charming and perfect little work of art.” [SEE ILLUSTRATION ] MARY BLACK DIED 1814 The works of Mary Black, the fashionable drawing mistress of the end of the eighteenth century and the beginning of the nineteenth, are divided into two groups, her drawings in pencil and pen and ink, and her pastels, smaller than nature, generally ovals and in profile. Her pastel work is distinctly influenced by Cotes, who gave her lessons. Her colour is very frank and pure, the flesh having the quality of milk and rose purity beloved at that period. They have come to us in a good state of conservation, as she ground her colours herself on the Russell principle with soft crayons, which have withstood the passage of time with success. 11 PORTRAIT OF A LADY Half-length portrait of a lady, the body facing left, nearly in profile. Pastel on paper. Oval. Size, 10 x TY inches. Exhibited at The British Drawings Exhibition, 1920. No. 7. Sir Tollemache Sinclair Collection. Ernest Renton Collection. [SEE ILLUSTRATION ] 6 WILLIAM BRADLEY 1801-1857 The drawings of William Bradley are sketches executed either for pictures, or notes he took for the same purpose. 12 LADY IN FANCY DRESS Three-quarter length to the knees, of a lady, holding a basin. She is nearly full face, looking slightly upwards to the left, and is walk- ing towards the right with a veil floating slightly round her. Pencil on paper. Oval. Size, 714 x 51% inches. ra Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 8; Zurich, : 2 yu 1920. No. 6. 7 —- Sir Charles Turner Collection. Ernest Renton Collection. “A very charming and typical drawing by the artist.” ADAM BUCK IRISH SCHOOL, 1770-1833 Adam Buck is one of the well known Irish artists of the end of the eight- eenth and beginning of the nineteenth century, thanks to the thousands of engravings, both in black and colour, executed after his charming draw- ings. His miniatures on ivory he very often executed in collaboration with his brother Frederick Buck, who no doubt helped him from time to time with his drawings on paper. The latter can be divided into three chief classes, though very often they proceed from a mixture of processes. Buck certainly ranks amongst the four or five most accomplished artists in this kind of work, typical of the period. He was born in Cork, and prac- tised for several years in Dublin. He first exhibited at the Academy in 1795, and continued working till 1833. He also produced an important work on Greek vases, for which he drew and engraved 100 original drawings. 13 PORTRAIT OF A GENTLEMAN Small full length, standing on a terrace, facing the right. In a grey op frock coat, light grey breeches, white stock, and red waistcoat. Face J J three-quarters to the right, looking front; blue eyes, dark curly hair. He holds his hat in the left hand, his stick in the right. Drawn in wax crayon covered over with water colour, on paper. Size, 1534, x 111% inches. Signed on the right in full, “Adam Buck 1795 London”. Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 8. Mrs. Hale Collection, 1912. “An important typical example of the master.” [SEE ILLUSTRATION ] 7 ALBINIA, COUNTESS OF BUCKINGHAMSHIRE 1738-1816 A pupil of Sir Joshua, who took great interest in her work and, when she practised in oil, would often himself prepare her palette. Apart from the larger pastels, among which must be mentioned the portrait of her chil- dren and those of her friends, she has left a certain number of water colours, one of which we reproduce, representing a lady with her two chil- dren, executed with very delicate slight colourings, the drawing being sketched in lightly first of all in pencil, but most of the work being finished direct in water colour without even tracing everywhere the outlines. It is imbued with an extraordinary charm which brings us back to that fragrant period. 14 FAMILY GROUP Portrait of Lady Bristol and her two children, seated on a garden seat. Water colour drawing, slightly worked up in pencil, on paper. Size, “sn 9 x 12 inches. | Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 11; Zurich, 1920. No. 7; “Les Enfants Anglais’, Paris, 1922. No. 8. Ear! of Bristol Collection. H. W. Bunbury is especially known as a caricaturist, though his illustra- HENRY WILLIAM BUNBURY 1750-1811 tions for Shakespeare and Macklin’s “Poets” are well known through their engraving by Bartolozzi. 15 *7F "$2 THE CONNOISSEUR Small half length of a lady looking at a picture, with a lorenetees in her left hand. The picture hangs from the wall, on the right. | Pencil drawing, tinted in water colour, on paper. Size, 314 x 234 inches. | Ernest Renton Collection. GEORGE CATTERMOLE 1800-1868 George Cattermole, a water colour painter who specialized in historical subjects, is too well known to require a long explanation of his achieve- ments. 17 10 DRAWING FOR BOOK ILLUSTRATION: THE NOBLEMAN AND THE GRAVE DIGGER In the centre of a vault, stands the nobleman, hat in hand; dressed in breeches, white tunic, red sleeves with leather band across chest. In foreground, right, is the grave digger sitting.on the edge of a hole from which he has just thrown up a skull. Pencil and water colour on paper. Size, 514, x 814, inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 13; Zurich, 1920. SKETCH FOR BOOK ILLUSTRATION: BANQUET IN A PALACE A low-roofed stone hall with rounded arch at back, in which a ban- quet is taking place. The King in scarlet robes is seated on his throne on the left, surrounded by his retainers. Seated at a long table in the centre are the guests, with in front a man in scarlet and a monk in brown. India ink and water colour on paper. Size, 414, x 634, inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 14; Zurich, 1920. 10 3 4 | 4 [18] CHARLES CHAPMAN 18TH CENTURY Charles Chapman is that pupil of Frank Hayman whose father was the eminent comedian, and he had been employed with Hayman in the decora- tion of Vauxhall. After this engagement previous art historians have lost sight of him and suggest that, falling into indigence, he died about 1770. 18 PORTRAIT OF A LADY: MADAME VILLEBOIS Half length of a lady, seated in a red chair, in a garden. The body is facing front; the arms are folded on her lap, showing the hands. She has a white dress and a V-shaped fichu of the same hue. The 4y- face in profile directed to the left. She has light brown eyes, mouth slightly open, in a smile. High powdered hair, with blue ribbons. Background of trees and landscape. Pencil and water colour on paper. Oval. Size, 8 x 614 inches. Mrs. Chapman Collection. Ernest Renton Collection. “A delicate and refined work.” [SEE ILLUSTRATION |] 11 GEORGE CHINNERY 1774-1852 It is now some ten or twelve years since the fashion in George Chinnery’s works, and more especially in his pastels, water colours, and gouaches, began to develop. The French collectors, as in the case of Constable in the nineteenth century, were the first to recognize their merit, and there fol- lowed suit their American and British colleagues, who are now no less appreciative and desirous of those gems of art which sprang from the m- pulsive genius who was so true a child of the land of his birth, Erin. These gouaches show a tendency to become increasingly valuable—a fact which has led to the discovery of one example after another, in the same way as the small but charming works of Gardner have been rediscovered after a century of neglect and oblivion. I have no doubt whatever that Chinnery will be one of the néxt artists to be “boomed” in the world of art; but leaving commercial considerations, whether of to-day or to-morrow, entirely on one side, and judging the matter purely from the artistic point of view, the recognition bestowed upon his merit is fully justified. Hes a great artist—at any rate so far as his gouaches are concerned. The man who, at the English Pastel Exhibition of 1911, was named by enthusiastic admirers of the two works exhibited on that occasion the “Frans Hals of the Irish school’, was well termed by one of the greatest of French art critics, Arséne Alexandre, “le suave et sauvage Irlandais’, while by others he was given the name of the “Hibernian Whistler’. These flattering ept- thets were especially applied to the author of these firm outlines, these symphonies in white, grey, and blue, executed in that extraordinary medium which, for convenience, was termed “gouache”, though in reality a composite mixture, and not gouache pure and simple. This eccentric wanderer on the face of the earth, this utterly original but ever genial figure, is one of the most attractive personalities that one could possibly study. The succinct account of his life given by W. G. Strick- land in “The Dictionary of Irish Artists’, the most important work yet published on the subject of Irish art, is correct in substance, though necessarily condensed and by no means complete. Chinnery executed his gouaches from his earliest up to his latest period in London, Ireland, Calais, India, China, and Macao. He maintained prac- tically throughout his breadth of treatment, though he tended in his oils to tighten his technique as time went on. The miniaturist, who had begun with experiments on such broad lines as the “Lady Tuite” of the Victoria and Albert Museum, remained to the end the man whose manner, accord- ing to a contemporary writer, “possesses a peculiarity which would enable one anywhere to distinguish his work.” As Mr. Strickland writes with so much wisdom, “his portraits often mas- querade as Romneys, Raeburns, or Hoppners’’. 12, 19 20 21 GEORGE CHINNERY 1774-1852 THE CHINESE BARBER Seated on a three-legged stool, with his back to the artist, is the customer—a Chinaman in a yellow jacket. Standing in front of him and holding his head with one hand while he shaves his chin with the razor in his right hand, is the Chinese barber, in a green jacket. On the left, a stand with the barber’s basin. Pencil sketch, tinted in water colour, on paper. Size, 2%, x 21% inches From the Chinnery Chinese Sketch Book. No. 2. Purchased for Mr. Emile Gross in China by My. R. R. M. Sée. GEORGE CHINNERY 1774-1852 THE CHINESE BARBER The barber is standing on the right shaving a Chinaman, who is seated in the centre on a stool with his back turned three-quarters to the front. The barber has a white smock, breeches to the knees, and slippers with large rosettes. The customer, whose pigtail hangs down his back, has a red jacket. On the left is the barber’s stand, with his basin and a towel. Pencil drawing, tinted in water colour, on paper. Size, 2% x 214 inches. From the Chinnery Chinese Sketch Book. No. 2. . Purchased for Mr. Emile Gross in China by Mr. R. R. M. Sée. GEORGE CHINNERY 1774-1852 PORTRAIT OF A LADY WITH A WHITE FICHU Three-quarters portrait, facing left. The lady is seated and wears a red dress with a full skirt and short sleeves; round the neck a broad white fichu. The head faces three-quarters to the left. The face appears, as is often the case with Chinnery’s work, to have been done with a few strokes of the brush, but the expression and the complexion are there. Wash background. Gouache and pencil on paper. Size, 734, x 73 inches. Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 11; ‘Les Jolies Anglaises du XVIII° Siécle’’, Paris, 1914. No. 8. 13 GEORGE CHINNERY 1774-1852 22 LADY WITH BROWN MANTLE AND WHITE BONNET aod | The young lady is shown three-quarter length, facing front. She wears a high-waisted dress with a square neck and a dark sash, over which there is a brown coat. The head is full face. A young and — very attractive oval face, with red lips and beautiful violet eyes. On her dark wavy hair is a small white bonnet. Wash background. : Irish period. Gouache and pencil on paper. Size, 115% x 514 inches. Exhibited at “Les Jolies Anglaises du XVIII¢ Siécle’, Paris, 1914. No. 7. “A lovely girl, and a perfect work of art.” [SEE ILLUSTRATION | GEORGE CHINNERY ay 1774-1852 (73, Bist facing front. A young European lady in a bright yellow kimono with blue border and blue sash; red coral necklace. She has scarlet lips, pink cheeks and large blue eyes. Her beautiful oval face is crowned by soft brown hair. Portrait of a lady in Macao. Dark wash background. Gouache on paper. Size, 115% x 814, inehes. Inscription by artist in bottom left corner—a Chinese ideogram. Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 28. From the Chinnery Chinese Sketch Book. Purchased for Mr. Emile Gross by Mr. R. R. M. Sée, 1913. “Fine gouache in perfect state of preservation.” [SEE ILLUSTRATION | 14 [23] Ve Jy GEORGE CHINNERY 1774-1852 24 CHINESE BEAUTIES 25 Three sketches. In top left corner, head profile, right, of a young Chinese girl; reddish dress. The girl is looking down; she has a pleasant round face, and her hair is dressed in a knot on the top of her head, in which are two Chinese hairpins. In bottom left corner, a pencil sketch of a young Chinese girl turned left and looking from over her shoulder, holding in her right hand a large fan. On the right, a beautiful Chinese girl in a blue dress. Her face, three-quarters to the left, is rather proud looking, and except for the almond-shaped eyes, is of a European type rather than Chinese. Her dark blue black hair is dressed in a knot on the top of her head, and is held in place by large Chinese pins. Pencil and gouache on paper. Size, 8% x 1154 inches. Inscribed in top left corner with Chinese word, and in top centre, ‘“Juigi 1839”, by the artist. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 26. From the Chinnery Chinese Sketch Book. The gouache chemical alteration on the face of right-hand figure can easily be cleaned by a careful application of a little peroxide of hydrogen. GEORGE CHINNERY 1774-1852 CHINESE STUDIES On the left, a bust facing front of a young Chinese beauty. Mauve dress, high cheek bones, small scarlet mouth, dark eyes slanting up to the temples. Dark black hair in a knot on the top of the head, with four large Chinese pins. On the right in the background a small group of three Chinamen, two seated on their heels, one in a red kimono, and the other in yellow. The man standing hag a mauve kimono. They would seem to be engaged in some cooking operation. On the top right, some illegible scribbling. On the right bottom, a Square divided into nine compartments and inscribed with three words. Gouache drawing on paper. Size, TV, x 634, inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 25. From the Chinnery Chinese Sketch Book. “A typical work of that period of the artist’s life.” [SEE ILLUSTRATION] 16 ~~) ~~ GEORGE CHINNERY 1774-1852 26 THE LADY WITH THE WHITE BONNET AND THE BLUE SASH 27 Three-quarter size portrait of a lady seated facing three-quarters to the left. She wears a white dress, open at the neck, with sleeves to the elbow, and a blue sash. Her right hand rests on the back of the seat, and her left arm lies on her lap. Her face is shown three-quarters to the left. She has a beautiful wild-rose complexion, a smooth delicately rounded face, and grey- green eyes. Her fair hair falls on her shoulders, and is covered partly by a veil which falls down her back. Background of sky and clouds. | Gouache and pencil on paper. Size, 104% x 61%, inches. Inscribed in pencil in the top left corner, ‘““WCD”. “A splendid drawing of the Irish period.” [SEE ILLUSTRATION | GEORGE CHINNERY 1774-1852 PORTRAIT OF A LADY Three-quarter size portrait, facing front. The lady is seated; her right elbow rests on a table and her left hand lies in her lap. She has a most elaborate dress with a tight waist, sleeves puffed out to the elbow and then tight to the wrist, round which there is a decora- tive band, a large bow almost at the waist. A large collar forming a cape, tied with a ribbon in a bow and fastened with a Maltese cross—a long-pointed white collar and a necklace of some large stones. Except the head and the white collar, the drawing is in pen and ink; the head and collar are in gouache and water colour, on paper. Size, 1114 x 954 inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 21; Zurich, 19207 =Noz LE James Chinnery Collection. “A beautiful head and a most interesting example of Chinnery’s method of work. Despite his broad easy effects as shown in the head, he worked patiently at the details of his sketch before laying on the colour.” [SEE ILLUSTRATION] 18 [26] - vl yi jf 28 GEORGE CHINNERY 1774-1852 THREE CHINAMEN GAMBLING Seated on the left on a tub seat, facing right, is a Chinaman (Malay?) in a blue suit. He is watching a low table in the centre, _ on which a second Chinaman, seated in the background, appears to be making a move in one of the numerous Chinese gambling games. Pencil tinted in water colour on paper. Size, 314, x 4 inches. From the Chinnery Chinese Sketch Book. No. 2. Purchased for Mr. Emile Gross in China by Mr. R. R. M. Sée. GEORGE CHINNERY 1774-1852 29 THE CHINESE COOK 30 In the foreground, right, is the cook facing three-quarters to the left. Bare footed, dressed in a pink suit with a brown sash and a red tur- ban, he is busy at his open-air kitchen. He holds the lid of a re- ceptacle in his left hand, and with his right stirs the contents of the saucepan with a long wooden stick. The range in the centre is a long low wooden affair with three or four receptacles, and a fire at the left end. On the right background are three bamboo poles arranged to hold paper lanterns. Water colour on paper. Size, 4 x 334, inches. From the Chinnery Chinese Sketch Book. No. 2. Purchased for Mr. Emile Gross in China by Mr:-R. R. M. See. GEORGE CHINNERY 1774-1852 THE CHINESE BARBER Seated in the centre facing front, on a curious pyramidical stool painted yellow, is the customer. A Chinaman dressed in a pale green suit, with slippers with turned up toes, he has his left leg crossed over the right and clasps his left ankle with the right hand (a most European attitude). The barber is standing on the right facing left. Dressed in white trousers and a red jacket, he is busy arranging his client’s pigtail with both hands. Pencil tinted in water colour on paper. Size, 45 x 43% inches. From the Chinnery Chinese Sketch Book. No. 2. Purchased for Mr. Emile Gross in China by Mr. R. R. M. Sée. 20 Si oo is ee Oe ae he 4 Zo- GEORGE CHINNERY 1774-1852 CHINAMAN SEATED Wearing a pink suit, the Chinaman is seated on a most uncomfort- able looking seat, facing front in the centre of the picture. His right foot is nearly withdrawn from his slipper, and he has with- drawn the left from the slipper altogether—the slipper is left on the ground, while the foot is drawn up on to the stool, where the Chinaman clasps it with his left hand. On the left a stand, on which hangs a large broad-brimmed straw hat. On the right a block, on which stands a triangular object from which smoke is issuing. Sky background. Pencil tinted in water colour on paper. Size, 6Vg x 4 inches. From the Chinnery Chinese Sketch Book. No. 2. Purchased for Mr..Emile Gross in China by Mr. R. R. M. Sée. GEORGE CHINNERY 1774-1852 LEAF FROM SKETCH BOOK—SKETCHES OF CHINAMEN AND COWS Top left corner, a young calf facing left, attached to a picket in the ground on the left. Centre left, a young Chinaman in a pink blouse, to waist. Right arm akimbo on hip, while with the left over his head he supports a small tub on his right shoulder. Bottom left, the same young Chinaman in much the same position except that he is shown to the knees, that his right elbow is slightly advanced, and his head inclined to the right. Centre right, the young calf still facing left, has turned his head and is biting his flank on the side further from the artist. ; Bottom right, drawn with right-hand edge of paper as base of sketch, a Chinaman in a blue jacket and an enormous round flat straw hat, driving a cow with its calf. He has his right hand on the croup of the calf, which is shown on the left; in his left hand he holds the cords attached to the calf and to the cow shown on right foreground. Pencil tinted in water colour on paper. Size, 6Ys x 4 inches. From the Chinnery Chinese Sketch Book. No. 2. Purchased for Mr. Emile Gross*in China by Mr. R. R. M. Sée. 21 aI LC GIOVANNI BATTISTA CIPRIANI, R.A. 1727-1785 Cipriani, the Italian engraver and draughtsman, one of the early members of the Royal Academy, executed many drawings in black and red chalk. Though we include him in the “English School’, as he was a Royal Aca- demician, those drawings are really more akin to the “Italian School’. 33 FEMALE STUDY Half length to the waist of a nude a female—a sketch for an alle- gorical subject. The arms are folded. She has loose, curly hair. Drawing in Italian chalk and red sanguine, on paper. Size, TY x 614 inches. The paper is shaped in an oval for the final decoration. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 31: Zurich. 1920. No. 14. Braithwaite Wilson Collection. JOHN CONDE FL. 1785-1800 Condé is the charming and well known engraver who executed many draw- ings, which naturally are strongly influenced by his engraver’s method. These drawings are either original compositions by himself, or sometimes executed after other artists for the purpose of his engraving. It is thus that we have met in collections attributed to Cosway drawings which are really the work of Condé. 34 A GIRL WITH A DOG Drawing in pencil, the face tinted in water colour, on paper. Size, 12 x 714 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 33; “Les Enfants Anglais’, Paris, 1922. No. 13. Ernest Renton Collection. 30 LADY COSWAY The engraver’s drawing of the well known picture of Lady Cosway by herself. A full-length portrait of a lady sitting in a garden, with a book lying on a bank on the right-hand side. Her hands are clasped on her knees. She is wearing an elaborate dress with lace collar, and a “picture” hat with ostrich feathers. She is looking front. The whole drawing is in lead pencil—the head and face slightly washed in water colour—on buff paper. Size, 8% x 534 inches. [SEE ILLUSTRATION] 22 JOHN CONSTABLE, R.A. 1776-1837 John Constable, the great. landscape painter, has a place here as having executed some delightful. diawings. of figures, a few examples of which come direct from his family. He sketched in his subject with pen and.ink, executing a wonderful background direct in water colour; this is a remark- able experiment by the master, sust. as are his pencil drawings executed in lead or in wax pencil. A very interesting drawing: of a head was reproduced in the book on “English Pastels” (R. R. M. Sée: Geo. Bell & Sons, Ltd.). Art lovers for- get too often that before beginning to paint and sketch, the artist tried his hand at many portraits, both vn oils and pastel. The finest type of drawings of this master are valuable works of art, and are very rarely to be met with. + 36, LADY SEATED - - Fulllength. The subject is seated facing tree quarters to the right. : .: Full dress, with long lace. pantalons showing under skirt. High _-- waisted, low square neck,,elbow-length sleeves. White stockings and ~~ low black slippers with bows.) :The right hand rests on the seat, while mi? the left lies in the Jap. © 74 ee ‘hos Head three-quarters to the right, nearly profile. Young rounded | face; hair dressed high in chignon on the top of the head, with small curls on temples. She is seated on a rustic seat shown on left. Pencil on paper. Size, 714, x 434 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 38; Zurich, 1920. No. 17. Fairfax Murray Collection. 37 LADY SEATED IN AN ARMCHAIR Full length, seated three-quarters to the right. Long full dress, with high waist, low neck, and long sleeves full at the elbow. The right elbow rests on the arm of the chair, while the left hand holds the SE eins of the chair on the right. Head front, looking right. Small face, with small mouth and large dark eyes. Hair dressed smoothly into one large curl over the forehead. Armchair with straight embroidered back and curved armrests. Shaded background. Pencil on paper. Size, 64 x 414, inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 37; Zurich, 1920. No. 16. Fairfax Murray Collection. 2o- JOHN SINGLETON COPLEY 1737-1815 The American artist Copley was born at Boston. Massachusetts was then a British colony, and his parents were Irish; furthermore he was an English R.A. Copley lost his father the year of his birth, and probably learned the ee principles of his art from his stepfather, Peter Pelham; but this painter and engraver died also when John was fourteen. He painted portraits of many distinguished people in Boston, and in 1774 set out for London, where he was to finish his career. He travelled in Italy, and studied in Parma and Rome. From 1768 to 1812 he exhibited at the Royal Academy, the British Institution and the Society of Artists, and became a Bais of the first-named society in 1779. ) 38 PORTRAIT OF A GENTLEMAN | | Bust facing three-quarters to the right. The sitter wears a dark coat with a short collar and long lapels, open over a canary waistcoat with lapels and a white stock. He is seated in a chair and rests his right elbow on the edge of a table, while his right hand is plunged into his waistcoat. The head is turned slightly right—a fine clear- complexioned face with a humorous twist to the lips, a rather sensual nose, and pale blue eyes flecked with green. Clean shaven. High broad forehead, white hair brushed back and cut short at the collar.. Dark background, with greenish shadow on right of sitter’s face. Pastel on dark paper. Size, 1334, x 1134 inches. Signed in right bottom corner, “J S Copley”’. Braithwaite Wilson Collection. Lord Amherst of Hackney Collection. Charles Sedelmeyer Collection. 39 PORTRAIT OF A LADY Bust facing three-quarters to the left. White dress, over which is a black cloak with black lace collar thrown open at the neck. Head faces front. The face has kept its purity of outline and the firmness of its mouth, but the flesh sags a little under the eyes—the eyes of a woman of fifty. Snow-white hair curled and puffed out to frame the face. A white bonnet with a pink ribbon. Dark shaded background. Pastel on paper. Size, 914, x 714, inches. Signed at left centre, “John Singleton Copley’’. Braithwaite Wilson Collection. Lord Amherst of Hackney Collection. Charles Sedelmeyer Collection. 24 eraretasereres 4 ' : [38] [39] Kish pow PUREE S CRRRESERR DEAE SORESSSSERET ARETE SER ES DSSS ERAT, [42] [40] a ePEREPEEA ASE AER ANAL US ELVES SET ELU EOL Reh A RAE ORD eR O ES 40 Al JOHN SINGLETON COPLEY 1737-1815 $ PORTRAIT OF A GENTLEMAN Head and shoulders three-quarters to the right. Dark straight- - fronted coat with wide collar and large buttons, open over a straight- fronted waistcoat of the same material and a white stock. - Head three-quarters to the right. Clean-shaven face; reddish com- » plexion; large blue, somewhat protuberant eyes; strongly marked ‘“aughter-loving” wrinkle running from the nose to the corner of the mouth. Full white wig. Dark shaded background. Pastel on paper. Size, 9 x 73 wmches. Signed in bottom right corner, “J. S. Copley”’. Braithwaite Wilson Collection. Lord Amherst of Hackney Collection. Charles Sedelmeyer Collection. [SEE ILLUSTRATION ] JOHN SINGLETON COPLEY 1737-1815 PORTRAIT OF A YOUNG BOY VERSO: PORTRAIT OF AN OLD LADY The boy is seated facing three-quarters to the left and is portrayed to the knees. He wears a yellow jacket with long tight sleeves, cut away in front, over a light-coloured waistcoat, a white ruffed collar and white lace ruffles at the wrists. In his right hand ne holds a battledore on his knee and in his left hand a book. Background: on the left a pillar; on the right, a wainscotted wall. Verso. Bust of old lady facing front. White corsage, grey wrap. Full face with short snub nose and blue eyes. White hair dressed elaborately and powdered, with large roll at the nape of the neck, under a large light-coloured bonnet with crimped edge and tied with broad ribbon. Dark shaded oval background. Medium for both pictures, pencil and pastel on buff paper. Size: recto, T14 x 6 inches; verso, 7x 7 inches. Signed on recto in centre on wall opposite boy’s right elbow, “John Singleton Copley 1781’. | Braithwaite Wilson Collection. Lord Amherst of Hackney Collection. Charles Sedelmeyer Collection. [SEE ILLUSTRATION] 26 ee ee oer Tees Fc SaaantEnarT paae at eabeo aera a vies : [41] 42 i JOHN SINGLETON COPLEY 1737-1815 PORTRAIT OF A GENTLEMAN Bust facing three-quarters to the right. Sage-green coat, wide straight collar, long straight front, three large buttons, over green waistcoat and white stock. Face three-quarters to the right; brick- red complexion, clean shaven, bright blue eyes, high forehead, white wig. Pastel on buff paper. Size, 11 x 85% inches. Signed in bottom right corner, “J S Copley’. In the bottom left corner, an illegible inscription in Copley’s handwriting—perhaps the name of the sitter. Braithwaite Wilson Collection. Lord Amherst of Hackney Collection. Charles Sedelmeyer Collection. [SEE ILLUSTRATION | MARIA COSWAY 1759-1838 What we say about Cosway in the next notice applies equally to his wife, Maria Hadfield, who became Maria Cosway, the great friend of Angelica Kauffmann and so many other members of the smart set of the period. Dr. Williamson has given plenty of space to Maria Cosway in his book on Richard Cosway. 43 ft f / J PORTRAIT OF LADY LANGFORD Half length, the body nearly to the front, slightly turned to the left; the head in profile to the left. She has a charmingly delicate com- plexion, and greyish-blue eyes. Her curly, powdered hair is tied with a blue ribbon. | The dress is only sketched in and marked by a blue sash. A delicate, high collar surrounds the charming neck of this lovely sitter. The face is the only finished part of the drawing, executed in pencil and very elegantly washed over in the fleshy part. On paper. Size, 814 x 5% inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 48; Zurich, 1920. No. 21. Geoffrey Whitehead Collection. Fairfax Murray Collection. “A most perfect and representative work.” 28 44 yf 45 [44] [45] RICHARD COSWAY, R.A. 1740-1821 The life and work of Richard Cosway were thoroughly studied in the im- portant work by Dr. George C. Williamson published by Geo. Bell & Sons, Ltd. in 1897, and the students of art who wish for more than a cursory survey of the drawings of that delightful master will find there every available detail and accurate fact. PORTRAIT OF A LADY AS JUNO WITH HER PEACOCK Stained drawing, pencil and water colour on paper. Size, 1134, x T%¥% inches. Signature (extremely pompous!): ‘“‘Richardus Cosway R.A., F.S.A. primarius pictor serenissimi Wallios Principi fecit Londoni anno 1806”. Exhibited at “Les Maitres Anglais’, Paris, 1919; Zurich, 1920. No. a. Robert Fulton Collection. PORTRAIT OF MRS. TICKELL Nearly all water colour done with a fine sable brush, with a few details left in pencil, on paper. Size, 914, x TY inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 52; Zurich, 1920. No. 24. Sir Charles Robinson Collection. Ernest Renton Collection. 29 46 AT [47] [46] RICHARD COSWAY, R.A. 1740-1821 PORTRAIT OF A LADY WITH FAN A full-length portrait. The lady, turned to the left, holds in her left hand the front of her dress, which by its fulness and the length of its train would need a certain management. In her right hand she holds a curious fan, a bunch of white ostrich feathers on a long green handle. The lady stands on a terrace and is about to descend a flight of stone steps, which form the background, together with trees and open sky. Stained drawing, pencil and water colour on paper. Size, 914, x 514 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 53. Ernest Renton Collection. Lord Amherst of Hackney Collection. “The finest quality of the master.” DRAWING IN WATER COLOUR OF LADY TOWNSHEND AND CUPID Pencil with flesh tints in water colours on paper. Size, 9 x 5% inches. Exhibited at “‘Les Maitres Anglais’, Paris, 1919. No. 54. The Marquess Townshend Collection. 30 FRANCIS COTES, R.A. 1726-1770 Francis Cotes has justly been termed the father of English pastellists, though Knapton, Fry, Hoare and Riley preceded him in point of time. Certain of his pastels show immense merit. He is the first of our pastel- lists to obtain that lightness and luminosity, that crispness so particular to the eighteenth century pastellists, coming direct from Rosalba Carriera, the forerunner of the great pastellists of all schools in the eighteenth century. Cotes has left many water colour drawings of very great charm. These were practically all for his own use. The miniatures he made for his patrons were usually on ivory and outside our subject. Moreover, these were often executed by his brother Samuel, who closely imitated him with- out attaining his greatness. In his water colour drawings he is very deli- cate, very exact. We have a delightful example of that work in the por- trait of a lady, nearly full face, delicately sketched in in pencil and exe- cuted in water colour, having a steel-blue dress and a lilac coat edged with fur; this has quite the power of a larger work. 48 PORTRAIT OF A LADY | Small oval bust of a lady, turned to the left, wearing blue, décollete dress. The head is three-quarters to the left, looking to the front. She has brown hair with blue ribbon. ; * foo Plain background, shaded on the left. . ry She is most probably a member of the Townshend family. A charming tiny miniature drawing, entirely drawn with the brush in water colour, on paper. Size, 1% x 15% inches. Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 57; Zurich, 1920. No. 25. Marquess Townshend Collection. 49 PORTRAIT OF A LADY Half length of a lady in blue dress, white sash, and purple cloak framed with white fur. Full face, looking slightly down to the front. J fo Brownish hair. Plain grey background. The drawing is of pencil entirely tinted over with water colour, on paper. Oval. Size, 63% x 514, inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 58; Zurich, 1920. No. 26. Sidney Cooper, R.A., Collection. “A very delicate work.” dL SAMUEL COTES 1734-1818 Samuel Cotes, the brother of the previously mentioned artist, was his pupil and direct imitator. He was a member of the Incorporated Society of Artists. He exhibited miniatures at the second Royal Academy m 1769, and continued an occasional exhibitor. 50 SMALL SKETCH FOR A FINISHED PICTURE Pencil and water colour drawing on paper. Size, 2 x 11/8 inches. {© Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 56. “A charming little sketch for a portrait.” [51] WILLIAM COWDEN 18TH CENTURY William Cowden is a little-known artist (his name does not appear in any of the current dictionaries of art) who executed small oval paintings in the second half of the eighteenth century, and whose name deserves to be brought out of oblivion. 51 PORTRAIT OF REBECCA, COUNTESS HARCOURT Pastel on paper. Oval. Size, 11x 814 inches. Fully signed on the right, ‘““W. Cowden, delint 1779.” Exhibited at The British Drawings Exhibition. No. 14. Ernest Renton Collection. “A very interesting picture for further identification of this artist’s work.” o2 ar EDMUND FRANCIS CUNNINGHAM 1742-1795 Edmund Francis Cunningham was a distinguished Scotch portraitist who has left us some pastels of great importance. He lived on the Conti- nent for some time, principally in France. EDMUND FRANCIS CUNNINGHAM 1742-1795 52 A MUSICAL PARTY An important composition of four figures. A most important and delightful drawing in water colour and wash, with a stippled background. vf Large oval drawing on parchment paper. Size, 1114 x 1514 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 61; Zurich, 1920. No. 20. Sir Tollemache Sinclair Collection. Martin H. Colnaghi Collection. [SEE ILLUSTRATION ] GEORGE CRUIKSHANK 1792-1878 This well-known caricaturist has another side to his artistic life, less known, but which must not be overlooked. His water colour portrait paint- ing, indeed, is remarkable; he also tried oil painting in his later years, but his grotesque humour made him apply to the art his gift of caricature, and. naturally he was not very successful with his sitters. . He painted the portraits of many members of society, but it is only in his later years, when he came to be associated with the people of the Temper- ance League, that he executed those coloured heads of his friends, the mem- bers of the League. One of the best known of these was the Hon. Frederick Shaw, a leading member of the Temperance movement in England at that time. These water colours are executed with all the facility which exem- plified the “caricature” work of the artist. They are done directly with a brush on paper, without even tracing in pencil beforehand. His portraits are pleasant and forceful, and, apart from their other merits, are quite rare, from the collector’s point of view. [53] GEORGE CRUIKSHANK 1792-1878 538 PORTRAIT OF THE RIGHT HON. FREDERICK SHAW One of Cruikshank’s intimate friends and a leader of the Temperance movement. Water colour on paper. Size, 85/16 x 61% inches. [SEE ILLUSTRATION | 34 54 yo ows 5d GEORGE DANCE, R.A. 1740-1825 George Dance is one of the best known draughtsmen of the eighteenth cen- tury and the beginning of the nineteenth. He seems to have executed the portraits of most people of his time. Though they are very often signed and dated, this is not an invariable rule. PORTRAIT OF A GENTLEMAN Bust facing left. Coat with high collar and pointed lapel; white jabot tied in flowing knot in front. Head in profile of an authorita- tive-looking man, clean shaven, tight lipped, with a long nose and overhanging brows. Own hair dressed back from forehead and tied in pigtail at back with a black ribbon. Pencil drawing on paper. Size, 914 x 714 inches. Signed in bottom right corner, “Geo Dance Nov. 11th. 1797.” Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 65. Charles Newton Robinson Collection. PORTRAIT OF A LADY SEATED AT A TABLE Three-quarter length, facing left in chair which is turned to left; round table in foreground, on which is a glass tumbler. Pencil drawing on paper. Size, 814, x 7 inches. Signed in bottom right corner, ““G. D. East Molesey (illegible) Sept. 6. 1819.” Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 64. Charles Newton Robinson Collection. PORTRAIT OF A GENTLEMAN Bust facing left. Straight-fronted coat with wide collar; high stock. The profile shows a young man with a snub nose and more than inclined to be stout, with a modish wig dressed in large rolls over the ears and tied by a black ribbon in a pigtail at the back. Pencil drawing on paper. Size, 8%% x T1% inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 63. Charles Newton Robinson Collection. 30 o¢ 58 [57] GEORGE DANCE, R.A. 1740-1825 PORTRAIT OF A LADY, IN PROFILE Bust facing left, showing a handsome young lady dressed in the height of fashion: a bodice with a wide white lace collar. Pencil and water colours on paper. Oval. Size, 6144 x 51% inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 62. Ernest Renton Collection. [SEE ILLUSTRATION ] PORTRAIT OF CHARLES KYNOCK Bust facing left. Dark double-breasted coat with large lapels; white stock loosely tied in bow. A masterful face in profile, with strong mouth and chin; hair brushed back and tied in knot at back with black ribbon. Pencil drawing on paper. Size, 10 x 714 inches. Signed in bottom left corner, “Geo Dance March 23d. 1799”. Charles Newton Robinson Collection. [SEE ILLUSTRATION ] 36 Se ee a ee eee OO EE eS cnet NO ARCA i CT ATI [63] [67] AISNE RIANA REAM A IIIS SSE NOD Ne SONNET SUSE CREA NINE CERIN RO [66] \3 Ef /y £5 59 60 61 62 GEORGE DANCE, R.A. 1740-1825 PORTRAIT OF FRANCIS NEWBURG Bust facing left,.seated in straight-backed chair. Coat with wide collar and pointed lapel; double-breasted striped waistcoat and white necktie. : wi: Pencil drawing on paper, complexion tinted water colour. Size, 10 x 714 inches. « — Signed in bottom left corner, ‘““Geo Dance March 3d 1789”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 70. Charles Newton Robinson Collection. PORTRAIT OF THE REVD. HUDDISFORTH [GEORGE HUDDESFORD] AUTHOR & EDITOR OF “SALMAGUNDI’” Head and shoulders facing left. Ecclesiastical garment with high roll collar and small pointed hood. A fine head in profile, with power- ful Roman nose and small determined mouth; clean shaven; hair worn short, with suggestion of a tonsure. | Pencil drawing on paper—slight water colour tinting of complexion. Size, 10 x 714 inches. Signed at bottom: “The Revd. Huddisforth ‘Author & Editor of Salmangundi Geo. Dance’’. Charles Newton Robinson Collection. PORTRAIT OF MR. BLAKE Bust facing left. Coat with wide collar, no lapels; white necktie knotted in a loose bow with long ends. Pencil drawing on paper—complexion tinted water colour. Size, 10 x 714 inches. Signed in bottom left and right corners, “Feby. 2d. 1794 Geo. Dance’’. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 69. Charles Newton Robinson Collection. PORTRAIT OF THE REVD. B. BLACKER Bust facing left. Coat with collar, large lapels and short ‘‘coach- man’s” cape. Head profile to left; shows a rather stout clean-shaven face with high complexion. Pencil drawing on paper. Size, 10x 7 14 inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 66. Charles Newton Robinson Collection. 38 [69] SELLERS RT SSRN RR LOE [61] [64] NL OE a a a Pe Ate 63 64 65 66 GEORGE DANCE, R.A. 1740-1825 PORTRAIT OF WILLIAM KIMONT Bust facing left. Coat with collar of darker material, and triangular lapel, open over a white lace jabot wound high round the neck and very full in front. Pencil drawing on paper. Size, 10 x 714 inches. Charles Newton Robinson Collection. [SEE ILLUSTRATION ] GEORGE DANCE, R.A. 1740-1825 PORTRAIT OF THE REVD. THOMAS HUGHES ~— Bust facing left. Coat with high collar and no lapels, open over waistcoat slightly open at throat. Pencil drawing on paper—lips tinted with water colour. Size, 10 x 714 inches. Signed by artist in bottom left corner, in pencil, “March 9th 1794 Geo Dance’’. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 67. Charles Newton Robinson Collection. [SEE ILLUSTRATION ] PORTRAIT OF MR. HALEY Bust facing left. Coat with short lapel; white necktie. Head in profile; clean shaven smiling face. White wig dressed in rolled curls at side and in pigtail at back. Pencil drawing on paper—complexion tinted in water colour. Size, 7 x 414 wnches. Inscribed in artist’s hand, in block letters, inside frame, bottom right, LAU EN Exhibited at “Les Maitres anglais’, Paris, 1919. No. 68. Charles Newton Robinson Collection. PORTRAIT OF MR. CROSGILL Bust facing left. Mr. Crosgill is seated on a high-backed chair. Coat with high collar, white stock and jabot. Pencil drawing on paper. Size, 10 x 734, inches. ; Dated in left bottom corner, “May 18th 1795” and signed in right bottom corner, “Geo. Dance’’. Charles Newton Robinson Collection. [SEE ILLUSTRATION | AQ bg 67 GEORGE DANCE, R.A. 1740-1825 PORTRAIT OF CHARLES KYNOCK, JUNR. Bust in profile, facing left; seated in chair. Mr. Kynock is shown in the dress of the period—coat buttoned up to the throat, with white lace jabot. Pencil drawing on paper—touch of water colour in face. Size, 10 x 714 inches. Signed in bottom right corner, in pencil, “Geo. Dance March 23d. 1800”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 71. Charles Newton Robinson Collection. [SEE ILLUSTRATION ] PORTRAIT OF A LADY WITH BONNET Head and shoulders facing left. High white bonnet with broad silk ribbon. Fair hair dressed in wide curls low on the neck. _ Water colour on paper—stuck on blue-grey paper foundation. Size, 9 x 634 inches. Geoffrey Whitehead Collection. SIR NATHANIEL DANCE, R.A. 1734-1811 Nathaniel Dance’s drawings are sometimes mistaken for those of his brother, George Dance. Nathaniel Dance, however, 1s generally a por- traitist, who added to his name that of Holland. The work in oil of the two brothers being so similar, it follows that his drawings are influenced on two sides, first of all by his brother’s technique (though the other was the younger of the two), and secondly by that of Hayman, Reynolds and Angelica Kauffmann (whom he nearly married). 69 J= TITLE—“MUSIC” Composition representing a lady standing full length in the middle of the picture with an old-fashioned musical instrument; a small chorister is holding a book on the right of the picture. Oval drawing in Indian ink, on paper. Size, 85 x 634, inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 73; Zurich, 1920. No. 32. Ernest Renton Collection. Al 70 oe ee 71 72 SIR NATHANIEL DANCE 1734-1811 PORTRAIT OF LADY HAMILTON WITH A TAMBOURINE Small full-length portrait of the lady dancing to the right, the body nearly in profile. Pencil and wash drawing on paper. Size, 84 x 514, inches. Exhibited at ‘Les Maitres Anglais”, Paris, 1919. Ng ee Fairfax Murray Collection. Sir Charles Robinson Collection. TWO LADIES SEWING A lady full face is seated on the left, looking down on her work. A second is sitting on the right in profile. Drawing in pencil on paper. Size, 614, x 634, inches. Exhibited in the Reynolds Collection. No. 74. Reynolds Collection. Sir Charles Robinson Collection. BUST OF A GIRL—STUDY FOR A PICTURE The girl is standing nearly full face to the front, looking with an amazed and somewhat frightened expression to the right. She is wearing a lawn dress and a lace bonnet. In pencil—the face slightly tinted in water colour. A tiny but very expressive sketch on paper. Size, 2%, x 234, inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 75; Zurich, 1920. No. 33. Fairfax Murray Collection. 42 HENRY THOMAS DAY 18TH CENTURY Day is one of those little-known artists of the eighteenth century who exe- cuted numerous small pastels, in addition to his water colour and landscape views. These small pastels are of either the Hamilton or Smith type of oval, but tighter in their technique and very charming in colour. [73] 73 PORTRAITS OF A LADY AND A GENTLEMAN Two silhouette pictures, cut on the usual background according to the fashion of the period. (a) The lady is in profile, standing, and directed to the right. She is a seen half-length to the waist, in a buff-coloured décolleté dress. (b) The gentleman is facing the lady in profile, and looking to the left—in a black suit, with white lace collar, and powdered wig. Pastel on paper. Full oval. Size, 5 x 414, inches. Oval carved frames of the period. ; Exhibited at ‘Les Dessinateurs Anglais’, Paris; 1920. No. 16. Ernest Renton Collection. [SEE ILLUSTRATION ] 43 BO THOMAS FROGNALL DIBDIN 1776-1847 Thomas Frognall Dibdin, the great friend of John James Masquerier, exe- cuted many water colour landscape drawings, being very much influenced by Masquerier’s manner in that part of his art. Dibdin, a famous dramatist and song-writer, was a son of the Parish Clerk of Holyrood Church, Southhampton. He loved all kinds of art, being fond of music. He must be considered as an amateur, whilst his work bears all the qualities and the perfection of some professional men. 74 EVENTIDE ON THE COAST A large expanse of blue sky with white clouds. On the left, the dark blue waters of a small bay, on which are the dark sails of fishing boats. Right foreground, the beach on which two fishermen in bright-coloured clothes are busy at their boat. An overturned capstan. Water colour on paper. Size, 5 x T14, inches. JOHN DOWNMAN, A.R.A. 1750-1824 The life and work of John Downman have been studied by Dr. as Williamson in an extra number of the “Connoisseur”. With regard to the value of his works, Dr. Williamson states that prices have advanced by leaps and bounds since the end of the last century. Downman was born about 1750, in Devonshire according to the art dic- tionaries, but Dr. Williamson considers that he was born in or near Ruabon, though of the stock of a Devonshire family. When quite young he came to London, and in 1768 he entered the Academy Schools. In 1770 he sent a portrait to the Academy exhibition. About this time he spent two years in the studio of Benjamin West, the President. 75 PORTRAIT OF A YOUNG LADY, IN PROFILE Head in profile facing left. A very agreeable face—soft round cheeks —dark eyes—a fresh pink and white complexion—a small well-shaped mouth. Except for the mouth, a close resemblance with young lady in the blue sash (Number 77) and probably belonging to the same period (1781). Pencil and chalk, tinted water colour, on paper. Size, 7 x 5 inches. Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 79. Ernest Renton Collection. Mrs. Cranfield Collection. “A broad sketch from the artist’s sketch book, much broader and finer than some of his other achievments.”’ 44 [76] [75] JOHN DOWNMAN, A.R.A. 1750-1824 76 PORTRAIT OF A LADY SEATED. 1780 J- The lady is shown three-quarter length, facing the artist. With her right hand she holds on her lap a scarf; her left elbow rests on a table, and her left hand is held up to her shoulder. A dark dress with square décolleté, short puff sleeves and long tight-fitting under- sleeves in a light-coloured material finished at the wrists with embroidered bands. A ring on the third finger of her right hand and a solitaire on the second finger of her left hand. Sketched in pencil, finished in sepia—flesh tints in water colour on paper. Size, 414 x 31% inches. Signed on table, “J. D. 1780”. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 87; Zurich, 1920. No. 38. Geoffrey Whitehead Collection. Jules Porges Collection. “A perfect little gem.” [SEE ILLUSTRATION ] 45 T7 78 719 JOHN DOWNMAN, A.R.A. 1750-1824 PORTRAIT OF A YOUNG LADY. 1781 Bust three-quarters to the left. Dress with square décolleté, fone sleeves, wide pale blue sash. The hair is dressed high in one of the monumental fashions of the day. Black chalk, stump shadows, with the flesh and the sash tinted in water colour, on paper. Oval. Size, 844 x 614 inches. Signed in left bottom corner, “J Downman Pinxt. 1781”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 86; Zurich, 1920. No. 87. Ernest Renton Collection. Sir Charles Turner Collection. PORTRAIT OF A YOUNG MAN : Head and shoulders facing left. He wears a dark coat with a plain collar and straight front, open to show a double-breasted waistcoat in a light material and a high stock tied with a white lace ruffle. Pencil, black crayon, tinted water colour, on paper. Oval. Size, 63/4, x 53% wnches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 85. Ernest Renton Collection. ““A typical and sterling work.” [SEE ILLUSTRATION ] PORTRAIT OF A LADY. 1796 Bust turned very slightly to right. The dress is only indicated by a few lines in black chalk—a waistcoat dress with a lace collar, and a flower at the waist. The profile in pencil, the rest in black chalk, on paper. Size, 73), x 534, inches. | ee: Inscribed on frame, “J. Downman 1796”. From the artist’s Sketch Book. Lord Amherst of Hackney Collection. Ernest Renton Collection. | “All the more interesting, being executed by the artist for his own use, and not for his patrons.” 46 =~ [84] [78] J i RR: a © — TR DNS EE [80] JOHN DOWNMAN, A.R.A. 1750-1824 80 PORTRAIT OF MRS. WELLS, THE ACTRESS, IN WELSH COSTUME Bust three-quarters to the right. The lady wears a bodice with a wide kerchief round the corsage; at her bosom, two tulips; round her waist, a pink sash. The head is turned front and looks up. Pencil finished in water colour and Indian ink on ribbed and water- ve OG — marked paper. Size, 734, x 534, inches. Exhibited at ‘“‘Les Dessinateurs Anglais”, Paris, 1919. Ernest Renton Collection. Mentioned in Dr. Williamson’s “John Downman, A.R.A.” 4 Pp y Vildevter. p[SEE ILLUSTRATION] P y A j2** Gk t Jl? M fr he [oun ne ey a os yo Me yor Ge eee Sata i 81 PORTRAIT IN WATER COLOURS OF COUNT BORUSLAWKI Bust facing front. The Count, who is dressed in a double-breasted blue coat with brass buttons, over a white waistcoat, high white stock Ys Ge and white lace ruffle, has his right arm raised and bent at the elbow. A very chubby face of an elderly man. Clean shaven, with curly grey hair. A florid complexion and large blue eyes. The placid ap- pearance of the face is belied by the strongly hooked nose, with a deep groove between the eyes. Water colour on thick paper, pasted on to backing which is cut away at the back to show inscription, “Count Boruslawki’. Size, 734, x T14, inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 77. Lord Tweedmouth Collection. “A most spirited and perfect little picture.” [SEE ILLUSTRATION ] 82 SKETCH OF A LADY’S HEAD Cr. Bust facing three-quarters to the left. Black bodice, and large white Yo" fichu round the shoulders. The head is turned to face the artist; large dark eyes, a well-shaped mouth with scarlet lips, and a dainty complexion. The hair dressed in big waves and falling in curls on the shoulders; a white gauze veil on the back of the hair. Black and red crayon with high lights in gouache, on paper. Size, 1014, x 71% inches. [SEE ILLUSTRATION] 48 N ie.) — ‘ X X ." VS) ~ 83 4-60- 85 JOHN DOWNMAN, A.R.A. 1750-1824 PORTRAIT OF MISS FITZGERALD. 1782 Bust of lady facing three-quarters to the right. Miss Fitzgerald is wearing a white dress, with a waist and a frilled collar and long sleeves. | The dress and hair in black chalk with stump shadows; the face beautifully tinted in water colour. Size, 914, x 614 inches. Signed in bottom right corner, “Mifs Fitzgerald J. Downman Pt 1733”, Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 80. Lord Tweedmouth Collection. Ernest Renton Collection. [SEE ILLUSTRATION | PORTRAIT OF A MAN Bust in profile, left. Long straight coat wit straight narrow collar, open down the front. High white stock. The face is shown in. pro- file—the smooth unwrinkled face of an elderly man with a very high complexion, a clean firmly cut mouth, straight nose, large honest- looking eyes and a square chin. White curly hair growing low on the back of the neck. A low-crowned broad-brimmed black soft hat. Pencil and black chalks, flesh tints in water colour, on pe Oval, Size, 914, x 634, inches. Signed with initials in bottom right corner, “J D 1779”. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 83. Ernest Renton Collection. [SEE ILLUSTRATION | PORTRAIT OF A LADY Half length, turned to the left. Black silk mantle, white muslin col- lar. Face three-quarters to the left, looking front. Grey eyes. Pow- dered hair. Large straw hat, with pink ribbons and streamers. Sky background. Water colour on paper. Oval. Size, 9 x 7 inches. Sketch for the finished engraved picture. “A lovely picture of a pretty girl.” [SEE ILLUSTRATION] 50 oy Oe ee a j f ¥ [83] . at [ : JOHN DUNKARTON John Dunkarton was the younger brother of Robert Dunkarton, a pupil of Pether, chiefly known as an engraver, who exhibited some twenty pastels from time to time, his works being generally small full lengths, and chiefly portraits of theatrical people. He discontinued exhibiting after 1779. _ ff [87] (86) © ee ; | 86 PORTRAIT OF A LADY Fh ee Half length, seated in profile to the left. Is a ‘dev Pencil and water colour drawing, on paper. Oval. Size, 814 x 61/4 inches. Signed and dated on the right hand side, “J. D. 1780”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 88; Zurich, 1920 "Noo 39. Jules Porges Collection. Ernest Renton Collection. 87 PORTRAIT OF A LADY: MISS WALKER Half-length portrait of a lady in profile, looking to the left, wearing a white muslin dress, décolleté, V-shaped, with buff-coloured silk sash. Pencil and water colour drawing, slightly touched up with wash, on paper. Oval. Size, 83% x 614 inches. Signed on the left, “J. D. 1786”. Sir Tollemache Sinclair, Bart., Collection. aon. wf 1234 Colnaghi Collection. Se , /, Cott. eo ag ee “A little gem.” pan 1952 | ies fre ote L M ria 7% h “ D2 HENRY EDRIDGE 1769-1821 Henry Edridge showed an early taste for art, and at the age of fourteen was studying under Pether, and at sixteen at the Academy Schools. Reynolds advised him to specialize in miniature, and lent him pictures to copy. Soon after the death of the latter he began his drawings in water colour and Indian ink, and rapidly became a master in that branch of art. In his gouaches and pastels we find again those qualities of elegant draw- ing and easy technique. Edridge is one of the best-known names among English draughtsmen. [83] 88 PORTRAIT OF A LADY WITH NECKLACE The lady is seated with her right elbow resting on a small table with / a drawer. Her left hand lies under the right, on her lap. She wears v4 fm a high-waisted white dress, cut low in front, with short puffed sleeves | over long tight ones. Round the waist a narrow black ribbon knotted in front. Round her neck a long necklace of round red stones. Hatched background. Pencil and water colour on paper, stuck on card. Size, 734 x 644 inches. Dated by artist in bottom left corner, 1804”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 13; Zurich, 1920. No. 48. Ernest Renton Collection. HENRY EDRIDGE 1769-1821 89 PORTRAIT OF LADY MORGAN Three-quarter length, facing three-quarters to the right. White eve- ning dress, Empire style, high waist, very low décolleté, arms bare except for a small sleeve with a button. Hatched background. t Pencil and water colour on paper. Size, 45 x 35% inches. Inscribed by the artist in top right corner, “Lady Morgan’’, Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 94; Zurich, 1920. No. 44. Ernest Renton Collection. [90] [92] 90 PORTRAIT OF A LADY RESTING AGAINST A ROCK Full-length portrait, facing front. The lady is reclining against large boulders on the right. She wears a long white dress with lace border, high waist, square décolleté, elbow-length sleeves. Her white cloak with embroidered hem is thrown open, and lies over her left shoulder and on the rocks. Pencil tinted water colour on paper. Size, 121% x 834 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 92; Zurich, 1920. No. 42. Ernest Renton Collection. 54 91 [91] HENRY EDRIDGE 1769-1821 PORTRAIT OF SIR ATHOS MUNRO, BART., K.C.B. Full-length portrait, facing front. The eminent soldier, dressed in full uniform, stands with his left foot slightly advanced. He wears a light-coloured coat with dark cuffs, collar and front—high collar open at the front over a white collar and high black stock. Water colour on paper. Size, 1714, x 1234, inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 95; Zurich, 1920. No. 45. “A most important and perfect drawing.” > 92 co HENRY EDRIDGE 1769-1821 PORTRAIT OF QUEEN CAROLINE This portrait has previously been catalogued as “Queen Charlot es the wife of George III, but it is in reality the portrait of the unhappy Queen Caroline (of Brunswick), the unfortunate wife of George IV. Full-length, facing three-quarters to the left. The young and beauti- ful Queen wears a long-skirted high-waisted dress with a short train. Water colour on paper. Size, 1234 x 9 inches. Signed in bottom left corner, ‘““Edridge 1802”. Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 91; Zurich, 1920. No. 41. Earl of Crawford Collection. “A highly finished, most interesting drawing.” [SEE ILLUSTRATION ] FRANCIS ENGLEHEART 1775-1849 Francis Engleheart, born in London in 1775, was a relation of the next artist, George Engleheart, some earlier art historians supposing him to be a brother, others a nephew. What is certain is that he followed his.manner somewhat, but he is especially known as the engraver of Smirke’s draw- ings and those of other contemporaries. 93 PORTRAIT OF A LADY Bust facing right, of a lady wearing high-waisted bodice with square décolleté, ruffed collar, and short sleeves puffed and slashed with red over long tight sleeves. Bodice and sleeves white with black band at waist. Small necklace and pendant. Face three-quarters to the right—arch look—full red lips—large dark eyes. Hair powdered and worn high in curls, with a long lock hanging on to the right shoulder. Wash background—sky-blue. Water colour on paper. Oval. Size, 234, x 214 inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 97. J. Ravidrez Collection. [SEE ILLUSTRATION | 56 Me a id hte : i $ ? * /f LO FRANCIS ENGLEHEART 1775-1849 94 PORTRAIT OF A LADY Head facing three-quarters to the right. The little that can be seen of the dress shows that it is white with a ruffed collar open in V. Pearl necklace tight around throat, and above, a narrow black band of velvet. A bright-coloured face with a small ‘‘Cupid’s bow”? mouth and dark eyes. Hair dressed high in small curls, powdered and fall- ing on each side of the neck in ringlets. Pencil and water colour on paper. Oval. Size, 21% x 15% inches. GEORGE ENGLEHEART 1752-1839 George Engleheart, the great miniaturist and rival of Cosway and Plimer, has left many drawings on paper, some of which are distinct sketches for miniatures, others being broad miniatures on paper. We know that he worked at the start in the studio of George Barrett, afterwards entering the studio of Sir Joshua Reynolds. He was « constant exhibitor at the Royal Academy and a very quick worker. His technique, both in his miniatures and his drawings, is totally different from Cosway’s. Both in his small full lengths and in his oval portraits he always employed the same processes, drawing in lead pencil very loosely, with a kind of terror of the straight line, in a broad, artistic, but somewhat “fuzzy” manner—a most charming way. This process gives a lot of softness and atmosphere to his drawings and makes them easily recognizable at a distance. Over this drawing he employs both water colour and gouache, introducing blues very often in his shadows, according to the tenets of the miniaturist. His works are of high quality—real works of art, and at the same time usually portraits of pretty ladies in whom the fashion of powdered hair eminently suited Engleheart’s art in his early period. Later on, naturally following the fashion, his productions are somewhat less catchy if none the less meritorious. The reproductions in this catalogue will give an idea of the charm and quality of this delightful artist. His works are justly valued as highly as Cosway’s. Little is known of the private life of Engleheart. He exhibited at the Royal Academy as early as 1773, and in 1790 was appointed “miniature painter to the King”. He exhibited as late as 1812, according to Redgrave. 58 | | RIOT TALES ; Sr SORE eEERrreaes 4 ‘ [ae r " GEORGE ENGLEHEART 1752-1839 PORTRAIT OF A LADY Full length, facing left. White dress with skirt to ground and long train. At waist, broad pink sash tied behind in large knot and hang- ing down. Bodice with frilled collar and cuffs. Short sleeves. Pencil and gouache on paper. Size, 9¥, x 7 inches. Signed in bottom right corner, “George Engleheart’’. Ernest Renton Collection. “An important and charming drawing. ? [SEE ILLUSTRATION ] PORTRAIT OF A LADY Full-length portrait, facing front. The lady is standing holding her skirt with her right hand, while her left hand rests on the stone baleony behind. Pencil and gouache on paper. Size, 113% x 734, inches. Ernest Renton Collection. [SEE ILLUSTRATION] 59 97 f pe bd 98 f b0- oD GEORGE ENGLEHEART 1752-1839 PORTRAIT OF A LADY Bust facing front. White bodice, frilled collar, square décolleté. Face looking front—pretty young woman with soft contours, full lips and tender blue eyes. Hair dressed in mass of small curls, with long locks on each shoulder. Shaded blue background. Water colour on paper. Oval. Size, 4 x 314 inches. Companion picture to the following. “High quality drawing.” [SEE ILLUSTRATION | PORTRAIT OF A LADY Bust facing three-quarters to the right. White dress, V décolleté, puffed sleeves over long tight sleeves. Blue sash tied at back. Smil- ing face three-quarters to the right, nearly profile. Hair in mass of small curls bound with white fillet ribbon and falling on shoulders in long ringlets. Shaded background. Water colour on paper. Oval. Size, 4 x 33% inches. Companion picture to the preceding. [SEE ILLUSTRATION ] PORTRAIT OF A LADY AND CHILD The lady is shown three-quarter length, facing three-quarters to the right. She wears a white dress, tight waisted, with a little white cape; with a foliate edge, and long tight sleeves with turned back cuffs. The face three-quarters to the right. A sweet face with a small red mouth, a fine nose and large blue eyes. Hair arranged in a great mountain of small curls with ringlets on each shoulder. Her right hand lies on her lap and holds shut a red-covered book. In the hollow of her left arm, she holds against her the infant. The child, three-quarter length, facing left, wears a white dress with a large collar and short sleeves. His head faces front—a chubby baby’s face with his mother’s mouth and large dark blue eyes. Curly brown hair falling in ringlets on either shoulder. Shaded background. Pencil and water colour on paper. Oval. Size, 434, x 4 inches. Exhibited at ‘Les Enfants Anglais”, Paris, 1922. Ernest Renton Collection. [SEE ILLUSTRATION ] 60 > wa 7 t _ ? [100] Soseheaoiaeb [89] 100 101 GEORGE ENGLEHEART 1752-1839 PORTRAIT OF A LADY Three-quarter length, facing three-quarters to the left. The lady is seated in a chair with curved back and arms, and she wears a white dress with frilled collar open in V, sleeves tight to the elbow and then puffed out half-way down the forearm, and red sash. | Water colour and pencil on paper. Size, 65 x 53% imches Ernest Renton Collection. GEORGE ENGLEHEART 1752-1839 PORTRAIT OF A YOUNG BOY Bust facing three-quarters to the right. ‘The boy wears a white suit with a white frilled collar. The right arm lies across the chest. Water colour on paper. Oval. Size, 6 x 484, ches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 96; “Les Enfants Anglais’, Paris, 1922. “It is my opinion that this very charming drawing is the work of John Cox Dillman Engleheart (1783-1862) and not that of his uncle and namesake George.”—R.R.M.S. WALTER FASTROUGH Walter Fastrough was an Irish artist of the early nineteenth century, whose name is missing in most painters’ dictionaries. He has a very great charm, while at the same time a certain naivete. WALTER FASTROUGH 102 DRAWING, BOY AND GIRL Full length; fancy dress. The boy in the centre faces front and stands, the right foot over the left, holding in his left hand, the left hand of the little girl standing on the left. He wears a pink coat and breeches, with a short blue cloak, a lace collar, blue stockings and shoes with pink bows. On the left, facing right, is the little girl. Short white dress with panniers on the sides, short sleeves and low neck. Bare feet. The girl holds her right arm in front of her, and with her left holds the left hand of the boy. Water colour drawing, on paper. Size, 1114 x 834 inches. Signed at bottom right, “Walter Fastrough”’. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 98. Ernest Renton Collection. 62 THOMAS GAINSBOROUGH 1727-1788 It is always with some kind of admiring hesitation that a writer starts a notice on the great virtuoso of the British school. His life and work have been thoroughly studied by Sir Walter Armstrong, and his sketches and drawings, like those of George Romney, have for a long time been highly valued and anxiously collected by art lovers. It is not a mere fashion that has set Gainsborough’s drawings on the, pinnacle. They will certainly as long as the world exists be considered the most extraordinary achievements of the man who combined the two qual- ities of being at the same time the greatest artist and the greatest painter. ‘Among portraits executed by Gainsborough we find, in his early period, small drawings and pastels executed for his patrons, whilst later on the portraits we find are solely sketches for his bigger pictures, executed for. himself. In his youth Gainsborough even executed a few miniatures. His work in pastel has already been studied in the book on “English Pastels” so often mentioned in the course of these notices. Let us remark that there already we find that denth of feeling, those atmospheric qualities, that wondrous technical skill which characterized his larger work. Gainsborough is the most elegant, whilst at the same time the most. forceful, draughtsman of the period, and he was naturally as great in his first sketches of the great ladies or the rustics whose portraits he was going to execute as in his more ambitious work. His great delightful heart was helping his colossal brain, and those dashes of genius on a bit of paper are to our mind even more admirable than the most valuable drawing of the quinquecento, and in another sphere of art rank as high as a Benvenuto or a Michelangelo drawing, or if compared with the eighteenth century French giants, are quite on the level of Watteau or Fragonard. As we shall find in our study of Romney, that great portraitist has also produced some extraordinarily forceful drawings; and these two men produced the masterpieces of the period. No great collector ought to be without a Thomas Gainsborough drawing. [SEE ILLUSTRATION ] 63 THOMAS GAINSBOROUGH 1727-1788 Gainsborough was born at Sudbury, Suffolk, in 1727. When about fif- teen he came to London and became a pupil of Gravelot, the French en- graver, and also studied at the St. Martin’s Lane Academy. There he became a pupil of Frank Hayman for four years, and afterwards started to practice in his native town. At the age of nineteen he married Margaret Burr, whose little fortune rendered him more independent of commercial considerations. His popularity increased so rapidly that his price for a. portrait advanced from five to eight guineas, and eventually settled at forty guineas for a half length and a hundred guineas for a full length. 3 104. SKETCH FOR THE PORTRAIT OF THE HONOURABLE MRS. GRAHAM Bust facing front of a young lady wearing a iighe coloured dress with a low neck. A beautiful oval face, stamped with the refinement of generations of patrician ancestors: firm red mouth, straight nose Vm with clear-cut nostrils, open fearless grey-green eyes, and a high noble forehead crowned by a mass of fair hair, which is dressed in the “Gainsborough” manner, a long ringlet down the back, brought round to lie on the front of the right shoulder. In the hair is a curious scribbled mark in pencil: while the sketch lay in the artist’s studio, some one made this mark accidently. If it were removed, there would be a danger of removing some of Gains- borough’s delicate. chalk work—and there it has remained for a hundred years. Shaded background. Three colour chalks on paper. Size, 111% x 9 inches. fae: Inscribed on frame by a French framemaker, “Mrs Tickle. T. Gains- borough.” The name, of course, is wrong—we know now that the sketch was of Mrs. Graham, whose full-length portrait has drawn so many visi- tors to Edinburgh. Sir T. Acland Collection. No. 47. Sir Charles Robinson (Director of the South Kensington Museum) Collection. Charles Newton Robinson Collection. “A first sketch—but a masterpiece.” “One of the gems of the Collection.” [SEE ILLUSTRATION ] 64 [104] THOMAS GAINSBOROUGH 1727-1788 105 SKETCH: PORTRAIT OF A LADY ZO0- Bust turned to the left. The lady wears a bright blue bodice edged with white, low square décolleté, and round her neck a white ribbon. Her face is turned front—an aristrocratic face of a young lady, who has her hair powdered and dressed high on her head, with a ribbon entwined in it. Background, light blue wash. Pencil and water colour on paper. Oval. Size, 3% x 21% inches. White Collection. “An admirable little work of art. It has all the whimsical charm of a pencil as elegant as that of Watteau.”’ “Perfectly genuine early picture by the master.” THOMAS GAINSBOROUGH 1727-1788 106 SKETCH: PORTRAIT OF W. J. NIXON Bust, facing right. Mr. Nixon ig wearing a straight-fronted coat with a narrow collar, a white stock and a large bow. He has a hand- some clean-shaven face with a well-shaped mouth and dark eyes and eyebrows. Curly fair hair—a wig (?). Bath period. Charcoal and chalks on paper. Size, 8% x 6Y, inches. Inscribed curiously, at bottom: “W J Nixon This drawing was given to me by Wm. Bright Mr Wright supposes this to be by Gainsborough”. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 104. Ernest Renton Collection. 66 [105] [107] DUPONT GAINSBOROUGH 1767-1797 107 PASTEL: PORTRAIT OF A LADY Bust facing three-quarters to the right. Black dress, white fichu, narrow black ribbon round the neck and hanging on bosom. The head is turned front and shows a beautiful gracious lady with a very sweet smile, a delicate complexion, and soft grey eyes. Her soft waving hair is powdered and frames her face. Shaded background. Pastel on coarse millboard. Size, 1314 x 101% inches. “A lovely pastel in a fine state of preservation.” 68 DANIEL GARDNER 1750-1805 Gardner owes his modern reputation to those charming drawings, height- ened in water-body colour and finished in wash and in pastel, which place him in the foremost rank of the great artists of this school. The sitter, distinguished and finely modelled, stands out against a back- ground of wash representing rocks, trees and clouds. The features of the model are drawn and entirely finished with a very sharp point. The judi- cious use of water-body colour imparts to the draperies, the hair, and even to the foliage of the trees, the required force of relief, while the chalk, applied in half-tone over almost the whole surface, softens the effects of the shadows and reflections of light, which are skilfully distributed and gradated. Thus he obtained the same delicate effects as his rival, Downman, who, on the other hand, applied colour at the back of his draw- ings, just as portrait painters, by the skilful use of glazes laid on over the required portions of the finished work, obtained those half-tones and trans- parent effects which it was impossible for them to produce in the first instance. Gardner’s method is that of a master, and he was entirely suc- cessful in it. Time had but to soften his pictures, which have come down to us among the purest gems of the art of the eighteenth century. Gardner was born at Kendal and studied at the Royal Academy Schools. He was remarked by the. President, Sir Joshua Reynolds, who took a great liking to him. He became the fashionable artist for little por- traits in oil and pastel. He amassed a fortune by his art, and died in Warwick Street, Golden Square, at the age of 55. 108 109 DANIEL GARDNER 1750-1805 A PAIR OF STUDIES FOR KING LEAR The sitter was ‘Peter the Paviuor”, one of Sir Joshua Reynolds’ models; and the drawings were done in Reynolds’ studio while Gardner was a student there. . (a) Head and shoulders facing front. The old man wears a brown mantle. His right fist is raised and clenched, while his left hand is held to his head. His fine rugged face is drawn in an expression of fury. He has a snow-white beard and moustache and snow-white hair. Dark shaded background. Pastel on paper. Size, 10 x 734, inches. SE (b) Head and shoulders three-quarters to the right. A dark red cloak. The old man has his right hand raised and rests his cheek on his left hand. Head nearly profile, right. An expression of quiet content. Dark shaded background. Pastel on paper. Size, 934, x 734, ches. (2) [SEE ILLUSTRATION, PAGE 69] DANIEL GARDNER 1750-1805 PORTRAIT OF A YOUNG LADY Bust facing front. The young lady is seated, her hands folded on her lap and her left arm resting on the arm of the seat. White muslin dress, sleeves to the elbow, edged with white lace, V décolleté, tied round the upper arm with yellow ribbon. Very beautiful slim hands. Over the left shoulder, a dark scarf. Head three-quarters to the left, looking left. Smiling red lips, small straight nose, violet eyes. Dark brown hair piled high and bound with a white ribbon, and hanging in two locks on either side of the neck. Pastel, water colour and pencil on paper. Size, 1534, x 12 inches. Sir Robert Gresley Collection. Martin H. Colnaghi Collection. Jules Porgés Collection. “A typical and fine example of the master’s finest quality.” In perfect condition, except for a tiny damage near the left eye on the cheek. [SEE ILLUSTRATION |] 70 [109] DANIEL GARDNER 1750-1805 110 PORTRAIT OF A LADY Three-quarter length, facing right. This very charming young lady is seated at the foot of a tree, her right leg crossed over the left, her left hand on her lap, and her right elbow supported on her knee with the right hand under the chin. Pale yellow skirt, long grey coat with high waist and long tight sleeves. White lace at the wrists and a pale blue collar. Low neck. Very beautiful long hands. Sy H re Pastel and water colour on paper. Size, 16 x 1034, inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 105; Zurich, 1920. No. 47. Wertheimer Collection. Ernest Renton Collection. ; 2 “One of the purest gems of eighteenth century art’’. [SEE ILLUSTRATION | GUSTAVE HAMILTON Gustave Hamilton is an Irish artist very rarely mentioned in English dic- tonaries, though Mr. Strickland in his “Dictionary of Irish Art’ has given an interesting account of this draughtsman, whose chief quality was charm and grandeur. Not so vivacious as Hugh Douglas, or so classical and varied as William, Gustave Hamilton’s works have a distinction of their own; they are solidly built and firmly executed with a sure hand. Gustave Hamilton should be watched by the judicious collector, as later on more of his work will be unearthed and he is a coming man. GUSTAVE HAMILTON 111 BUST OF A GENTLEMAN Face and profile to the right—the head only is finished. The coat is sketched in charcoal, and a few dashes of blue indicate its future colour. The tie and the lace at the neck are of white muslin. The hair is powdered, in a pigtail. Pastel on paper. Size, 9 x 71% inches. Exhibited at “Les Dessinateurs Anglais’, Paris, 1920. No. 20. Sir Charles Robinson Collection. Charles Newton Robinson Collection. Jules Porges Collection. [SEE ILLUSTRATION, PAGE 75] i a ok SRS, EE at AO, Se BE 2 SELEY EERE OO IE NE IEE ROLE REP TEE tin Bn, [110] HUGH DOUGLAS HAMILTON 1734-1806 H. D. Hamilton is the Irish specialist of small pastel drawings and water colours which we might describe as “pastels in water colour’, who made a great reputation for his small drawings in black lead pencil heightened with sanguine and for his oval pastels. ! 112 PORTRAIT OF A LADY je ee 11é > v Bust, three-quarters to the left. She is wearing a blue wrap with deep collar, edged with scalloped black lace, open V shape. Head three-quarters to the left, looking left. . Pastel on paper. Oval. Size, 1014, x 8 inches. j Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 110. Ernest Renton Collection. [113] PORTRAIT OF A LADY Bust, three-quarters to the right. The lady, who would appear to be in mourning, wears a black dress, with a V-shaped décolleté, with white lace at the throat. Water colour on paper. Oval. Size, 934 x 73% inches. Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 25. Ernest Renton Collection. [SEE ILLUSTRATION | 74 114 115 Se eew eee ewes " i ik bs —— ye 4 ' : : + : [119] WILLIAM HAMILTON, R.A. 1751-1801 119 PORTRAIT OF THE MARCHIONESS OF ELY Bust facing three-quarters to the left. The Marchioness wears a reseda-green dress with tight bodice with a pointed waist; long tight sleeves; frilled collar and large bow in front; white fichu. The face three-quarters to the left, looking front, shows a lady past the bloom : of youth, but still very beautiful. Pastel on paper. Size, 1054 x 81% inches. Written in ink on back of frame, ““Marchioness of Ely”. Exhibited at “‘Les Dessinateurs Anglais”, Paris, 1919. No. 32. 718 121 WILLIAM HAMILTON, R.A. 1751-1801 120 PORTRAIT OF A LADY—AT THE FOUNTAIN A large classical drawing. Full length, facing left. The woman, who is in Grecian attire, holds in her left hand a Grecian vase, which she is filling at the fountain on the left. Pencil and water colour on paper. Size, 17 x 1114 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 114; Zurich, 1920. No. 52. Ernest Renton Collection. “A grandly executed classical drawing done in pencil with an easy free handling and coloured in delicate hues.” Reproduced in colour, full page, in ‘‘The Connoisseur”. PORTRAIT OF MRS. HARTLEY Bust facing front. Loose white dress; open low neck. Face in pro- file, left. A very beautiful face with regular features. /— Pastel on paper. Size, 10 x 734, inches. Written in ink on wooden back: ‘Mrs. Hartley the Actrefs F A. C G. as Jane Shore Oct. 5. 1772. Died July 2 1824. aged 738. Hamilton pinxit.” i~ Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1922. No. 31. © 4 Ge! ‘. ’ et et As 122 ol 123 “le WILLIAM HAMILTON, R.A. 1751-1801 THE BIRD CAGE Two ladies, full length, are in the middle of the ee opening a a wooden cage in which is a white bird. A most interesting picture, in pastel, pencilled up, with charcoal and pencil. This important pastel, at first sight, would remind one of a fine work by Daniel Gardner; if it were not that the picture is fully signed, the mistake could easily occur. Pastel on paper stretched on canvas. Size, 2814 x 2114 aches The chief figure has been silhouetted on the left of the hair, to give more depth and more relief. Inscribed on the left hand side, at the bottom, “W. Hamilton’”—in lead pencil, in the same manner as Russell signed his pastels. The picture has been lengthened by one inch at the bottom. Exhibited at “Les Maitres’, Paris, 1919. No. 113. Martin Colnaghi Collection. “A capital and most interesting work by the master.” [SEE ILLUSTRATION ] TWO WATER COLOURS. SKETCHES FOR FRIEZES. CLASSICAL SUBJECTS (a) In the centre, Phoebus in his four-horsed chariot, rides Hay (east!). The sunrise. Behind the chariot are the Hours of the Night, women in various poses and dresses. In front of the chariot are the Morning Hours, women dancing joyously with linked hands, and preceded by the Spirit of Darkness, whom they are chasing away. Pen and ink heightened with water colour, on paper. Size, 3 x 2534, — inches. Signed in ink, right bottom corner, ““W Hamilton Ind 1784”. (b) Feast in honour of Silene, whose bust is shown in left centre adorned with a garland; before him, is an urn with burning incense. On the left, a kneeling woman; a young man walking right, crowned with vine leaves, a vase in his right hand and an upraised cup of wine in his left; two women seated. On right of Silene, an orchestra of three women playing triangle, cymbals and lyre; four dancing couples; a woman with a tambourine; two seated women. Pen and ink heightened with water colour, on paper. Size, 3 x 25 inches. Signed in bottom right corner, “W Hamilton Ind 1784’. [SEE ILLUSTRATION, PAGE 79] 80 7? H. J. HARDING 19TH CENTURY H. J. Harding, the miniaturist, lived in London at the beginning of the nineteenth century, and exhibited his works at the Royal Academy and at Suffolk Street. He executed small and refined drawings on paper, which are increasing in value year by year. 124 A PEASANT GIRL | A small full length of a girl walking in the countryside, holding a basket. She is directed towards the left and turning her head back to the front. She is wearing a purplish-brown dress with blue bodice, grey apron, and yellow straw hat with blue ribbon. White lawn fe sleeves. Her complexion is highly coloured. we Drawing in pencil heightened by water colour, on paper. Size, ~N \ ~ 714 x 534, inches. Inscribed on the mount, “H. Harding 1818”’. Ernest Renton Collection. 125 BOY FISHING The boy is standing by the river side, resting against a bank, with a fishing rod in his hand, looking intently at the river on the left. Pencil and water colour drawing on paper. Size, 7x 514 inches. Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 33; “Les Enfants Anglais’, Paris, 1922. No. 30. “A very typical drawing.” J. W. HARDING 18TH CENTURY J. W. Harding, the engraver, practised in the latter part of the eighteenth century, chiefly in the dotted manner, and was engaged upon the works of Angelica Kauffmann and other notable contemporaries. He was the author of “Sketches in North Wales’, published in 1810. J. W. HARDING 126 WAITING Full length of a female figure in white classical robe, with neck and forearms bare. She is seated on a rocky shore, looking at the sea. Profile, turned to the left. Conté crayon and sanguine, on paper. Size, 734 x 53 inches. Signed with initials at the lower left. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 70; Zurich, T2002 N Oe: Reynolds Collection. Sir Charles Robinson Collection. 82 [ 7 j iH irate Sai Fe ge ms eer re en ett ene eS enrremmeneanses ann = me — : ; o | a a. iui 4 que : 4 < fi 4 | A es. ; : ae GEORGE HENRY HARLOW 1787-1819 George Henry Harlow is in our opinion one of the most interesting artists of the beginning of the nineteenth century, who would have had a very big future had he not died early. A pupil of Drummond and Lawrence, he started with small theatrical portraits and developed afterwards into larger productions. Unfortu- nately, the numerous copies or imitations of Lawrence in circulation at the beginning of this century were regularly called Harlow’s by those who did not know how to name them, so that some amateurs and dealers _ adopted the habit of considering Harlow as a second-rate man. In reality, bu his intensity of expression and strength of execution he is a first-rate artist both in oils and in his water colour drawings. In his drawings this eminent artist closely resembles Sir Thomas himself in colour, technique and handling, though he is less mannered and some- what broader. Undoubtedly his works are one of the best investments for the genuine collector, and will become one of the most appreciated pos- sessions later on, if our prophecy is realized. 127 PORTRAIT OF MRS. SIDDONS IN THE PART OF LADY MACBETH See Macbeth, Act V, Scene I. “Waiting Gentlewoman: Lo you, here she comes! This is her very guise: and, upon my life, fast asleep. Observe her; stand close. 4 va Doctor: How came she by that light? O- Gen.: Why, it stood by her: she has light by her continually; ’tis her command. Doct.: You see, her eyes are open. Gen.: Ay, but their sense is shut.” Mrs. Siddons is shown full length, facing front, walking forward, the right foot advanced and the left on the step behind. In her left hand she holds aloft a small flat lamp. Her right arm is held up with the forefinger outstretched. She wears a long night dress with a high waist—bare feet. Over her head a long veil hanging down behind to the ground. On the beautiful face with its large dark eyes and half parted lips, an expression of fear and horror. “To bed, to bed; there’s knocking at the gate: come, come, come, come, give me your hand; what’s done, cannot be undone: to bed, to bed, to bed.” Water colour on paper. Size, 19% x 1334, inches. Exhibited at “Les Dessinateurs Anglais’, Paris, 1922. No. 34. “Very important drawing; typical of Harlow’s theatrical pictures manner.” 85 128 129 [128] [ie GEORGE HENRY HARLOW 1787-1819 PORTRAIT OF A LADY: LADY TEMPLETOWN The lady is seated facing three-quarters to the right, three-quarter length. Her right arm rests on the arm of the chair. Pencil and sanguine on paper. Size, 1014 x 8 inches. Printed on frame, ‘‘Lady Templetowne G. H. Harlow’’. Ernest Renton Collection. [SEE ILLUSTRATION ] PORTRAIT OF A LADY Head and shoulders facing front. The head is inclined slightly to left. A somewhat melancholy face, with large beautiful grey eyes and fine eyebrows. Soft wavy hair parted in the middle, in twn large bands on each temple. Pencil and red crayon for the flesh tints, on paper. Size, 4144 x 314 inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 117; “Les Enfants Anglais”, Paris, 1922. Ernest Renton Collection. 84 bs a J a FF b> 4 E E 132 a 130 GEORGE HENRY HARLOW 1787-1819 SKETCH IN WATER COLOURS OF A LADY The lady is seated, her right arm hanging loosely by her side and her head resting on her left hand. Dress, which is only roughly sketched in, is full with low décolleté and elbow-length sleeves. Pencil and water colour on paper. Size, 115 x Te inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 118. Ernest Renton Collection PORTRAIT OF MISS WARREN SMITH Bust, facing three-quarters to the left. Low-necked white dress. She is holding her right hand to her bosom. Face in profile, left. Pencil and sanguine on paper. Size, 9x 7 inches. Marked on frame, “G. Harlow”. “A genuine and lovely work of art.” [SEE ILLUSTRATION | [132] PORTRAIT OF A YOUNG LADY: MISS HAWKINS Head in profile, facing left. Young round chin, lips half parted, vivacious grey eyes—an expression of eagerness. Pencil and sanguine on grey paper. Size, 1014 x 834, inches. Signed on right centre, “G. H.” Inscribed by artist in bottom left corner, “Miss Hawkins”. “One of the best of Harlow’s drawings.” [SEE ILLUSTRATION ] 85 133 GEORGE HENRY HARLOW 1787-1819 PORTRAIT OF EDMUND KEAN Kean, the actor, in one of his well known roles. Dark sepia wash on paper. Size, 934, x 713 ches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 120; Zurich, LOZ02 INO: oe “The drawing which served for the famous engraving of Kean as Macbeth.’’ [SEE ILLUSTRATION ] 86 —-. - SRE DSL EL TLE LR IN a a oe = POTTS Tees: [134] CHRISTIAN FERDINAND HARTMANN P.R.A. OF DRESDEN 1774-1852 This interesting artist was born in Stuttgart in 1774. Called to England by the Court, he executed many portraits there of famous people of scien- tific, artistic and literary circles. 134 PORTRAIT OF CHARLES DICKENS. 1847 Water colour on paper. Size, 1734, x 1034, inches. | Signed and dated, lower right, “Ch. F. Hartmann gez 1847”. Séo- Exhibited at “Les Dessinateurs Anglais”, Paris, 1922. No. 35. Ernest Renton Collection. 87 LC [136] [135] CHARLES HAYTER 1761-1835 Charles Hayter, father of Sir George Hayter, practised successfully as a painter of portraits in crayons and miniatures about the beginning of the nineteenth century, and exhibited miniatures requis at the Royal Academy up to the year 1882. 135 PORTRAIT OF LADY BLESSINGTON Sketch of head of the famous beauty. The face only is finished. Pencil, gouache on paper. Size, 8 x 6% inches. Signed on the right hand side, bottom corner, “C. Hayter’’. Exhibited at ‘Les Maitres Anglais”, Paris, 1919. No. 121. Given, in mistake, under the name of Lady Pilkington. Sidney Cooper, R.A., Collection. Burdett Coutts Collection. SIR GEORGE HAYTER 1792-1871 136 MOTHER AND CHILD A pencil drawing with tint flesh in water colour, very delicately put in, on paper. Size, 7 x 434 inches. Inscribed in the top left hand corner, “July 18337’. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 123 “Les Enfants Anglais”, Paris, 1922. No. 32. 88 & al Pt . ; 2 Bi si aa a it Ab oe 8, JOHN HAYTER 1800-1879 whom he approaches very nearly in his best examples. A very charming composition is the one reproduced here, signed and dated 1803, which is carried out in pencil, the flesh tinted over in the Lawrence style, but some- what broader, and the pencilling a little heavier. | John Hayter in his drawings is a direct follower of Sir Thomas Lawrence, : 137 PORTRAIT OF A YOUNG LADY Tinted drawing in pencil, with face and neck in water colour. . Signed and dated on the right bottom corner, “J. Hayer 1823 Augt.” . Map Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 122. Ernest Renton Collection. \ JOSEPH HIGHMORE 1692-1780 The works of this artist deserve to be in any complete collection of eighteenth century drawings. He was an intimate friend of Richardson, and followed similar methods. 138 PORTRAIT OF ELKINS, THE ACTOR Fo A. Pencil and water colour sketch, on paper. Size, 95/16 x 63%. inches. Inscribed at the bottom of the drawing, “Portrait of Elikins (sic.)”’. : Meatyard Collection. | 89 [139] [140] CHARLES HOWARD HODGES 1774-1837 Hodges the engraver had a habit of copying in pencil or charcoal, and colouring in water colour the fleshes, of most of the pictures he engraved. 139 THE CONTEMPLATIVE YOUTH fies This picture is the engraver’s drawing of the famous picture by Reynolds. Jt The picture is in charcoal and water colours. The face and hands are coloured in natural colours. The rest of the picture is in black and white. On paper. Size, 11 x 914, inches. THOMAS HOLLOWAY 1748-1827 Thomas Holloway executed many pastels and water colours before becom- ing an engraver. He is one of those masters who will gain repute and value as time goes on. a ee the Bees eee Pk — a ee Se bere 140 PORTRAIT OF A LADY Tinted wash drawing in pencil and water colour, on paper. Oval. Size, 834, x 714, inches. Signed and dated on the left hand side, ““T. Holloway, 1787’. Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1920. No. 36. “A very perfect little work of art.” a 90) 9 a ee a oe rs Doe camels, JOHN HOPPNER 1758-1810 John Hoppner has not executed many portraits in pastels or gouaches, as he often was said to have done before the discovery of the existence, or rather the reinstation under the producers’ names, of the works of Chin- nery, Masquerier and Hobday. In our long experience we have only found two types of drawings, or rather sketches, which can be definitely at- tributed to Hoppner, and those are: firstly, sketches for portraits more or less highly advanced, i.e. either a mere outline in black charcoal, or crayon drawings, executed with a facile pencil and with all the adroitness and elegance that were the chief attributes of the first painter to the Prince of Wales. He even carried such work sometimes to a further point, as in the portrait reproduced here, where the artist has made extraordinarily clever use of his sanguine stick and even used blue chalk to get his sky effect. The second type of sketch is executed for his pictures in lead pencil and Indian ink, not unlike George Romney’s drawings, and which may have been painted either for the study of the composition and division of light and shade for the future picture, or as i sketches for the engravers, to give them his ideas. 141 SKETCH FOR THE PORTRAIT OF LADY X. AS MIRANDA Full length, three-quarters to the right. “Tf by your art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, | J /- — But that the sea, mounting to the welkin’s cheek, ; Dashes the fire out.” “THE TEMPEST’. Act I. Scene II. Pencil and sepia wash on paper. Size, 814 x 634, inches. 142 PORTRAIT OF A LADY Bust, three-quarters to the left. White low-necked dress, with broad ,/ 72. black sash. Head looking front, nearly full face. Regular features. f Charcoal, pencil, sanguine and white chalk on paper. Size, 914 x 61% inches. Geoffrey Whitehead Collection. “A most expressive study.” 91. JOHN HOPPNER 1758-1810 143. PORTRAIT OF A LADY SEATED AT A WINDOW The lady is seated facing left, her right hand lying in her lap and her left elbow resting on the carved side of a wooden settle. Pink dress with wide black sash, short full sleeves with a wide white muslin cuff; deep white muslin collar. Charcoal, pencil, sanguine and white chalk with blue chalk for the sky, on paper. Size, 914, x 7 inches. Geoffrey Whitehead Collection. 92 T . OZIAS HUMPHREY 1742-1810 Ozias Humphrey is an eminent pastellist and, with Gardner, is the artist who most nearly approaches the art of Reynolds. Simple in composition, well drawn, pure and sweet in colouring, and true in likeness and char- acterization, his pastels have a charm that has stood the test of time. Humphrey was born at Honiton, Devon, of a very ancient family. Show- ing while young a decided talent, he was sent to the St. Martin’s Lane School. His father’s death obliged him to return home, and he was then placed under the miniaturist Samuel Collins at Bath. After the latter’s departure for Dublin he succeeded to his Bath connection. On the advice of Reynolds he settled in London in 1764, and two years after one of his miniatures exhibited at Spring Gardens was bought by the King, who com- missioned him to paint the Queen and other members of the royal family. In 1773 he accompanied George Romney to Rome. Returning to London, he exhibited at the Academy in 1779, 1780 and 1783. In 1785 he sailed for India, where he painted many important miniatures of native princes. For reasons of health he returned to London in 1788 and practised in minia- ture, but his eyesight did not long stand the strain of such minute work, and he commenced in pastel, where he succeeded so well that he devoted his whole attention to that branch of art. His portraits of the Prince and Princess of Orange were his last productions, his failing sight making further work impossible. He died in London in 1810. 144 PORTRAIT OF A GENTLEMAN Portrait of a gentleman in plum-coloured coat—nearly profile, to the right. He is wearing a velvet coat-collar and white lawn collar. His Jy J hair is powdered. His eyes are brownish-grey. His mouth and nose are strong. The portrait is that of a country gentleman. The face still bears the distinguishing mark of the technique of Ozias Humphrey. Over his general background of rubbed-in pastel, he has executed some bold marks in sharp crayon, and left other parts, contrariwise, to “Russell” technique. Pastel on paper, sketched on canvas. Size about 2312 x 18% inches. Signed with his monogram in the background on the left hand cor- ner, the H within the O. Sir Charles Turner Collection. 93 al — | oF | | i [145] OZIAS HUMPHREY 1742-1810 145 PORTRAIT OF LADY BARBARA LUCY ASHLEY Pastel on ribbed paper. Size, 11 x 814, inches. This is the original sketch taken from life by the artist on his return from Rome, the finished picture being exhibited at the Royal Acad- emy of 1797, under the name, ‘Portrait of a Young Lady of Quality”. The young lady became afterwards Lady Barbara Ponsonby. Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 37; “‘Les Enfants Anglais’, Paris, 1922. No. 34. Claude Ponsonby Collection. 94 “a = — * Pe Sia 7 -> kt = Hi PE aa EE TT ANE aT er eeETErEeS-s . rehia . i — ve ey 7s be 1s « = CHARLOTTE JONES 1768-1847 Charlotte Jones is the fashionable artist who had the appointment of min- tature painter to the Princess of Wales, and must not be confused with Emma Jones, a somewhat older artist, who also executed portraits and groups of children in a similar fashion at a period slightly later. The rarity of her works naturally enhances their value. No collection of British drawings ought to be without an example of this typical artist of the beginning of the nineteenth century. 146 STUDY OF A WOMAN AND A GREYHOUND DOG A delightful life study in sanguine and black crayon. to On coarse buff paper. Size, 12 x 834, inches. z Fairfax Murray Collection. ANGELICA KAUFFMANN 1741-1807 Angelica Kauffmann painted many pastels, and so strong is the influence of Rosalba that, were it not for the costume and the type of the ladies and children of the English aristocracy that she painted, her work might well _be mistaken for that of one of the great Italian’s pupils. Her paintings are numerous and well represented in collections of the art of this period. Her pictures have been popularized in engravings. Ryland, Bartolozzi and Schiavonetti reproduced her works, while Boydell published no less than sixty of them. Angelica was the daughter of John Joseph Kauffmann, and was born in 1741 at Coire, the capital of the Grisons. Her father destined her for art, and took her to the Academy in boy’s clothes. In 1765 she came to England with the wife of the English Ambassador, whom she had met in Venice. Her perfect manners, her education, her elegance and her talent pleased the young Queen and her Court. She decorated a room for the Queen at Frogmore, in which some of her flower groups are still to be seen. In 1769 she was made a member of the Academy. In 1780 she married a Venetian artist, Antonio Zucchi—her first mar- riage had been a failure. She kept the name she had rendered famous, and with her husband retired in 1782 to Rome. Much féted in the Eternal City, she lived there for twenty-five years, and died, after a long and pain- ful illness, in 1807, at the age of sixty-seven. 95 [147] ANGELICA KAUFFMANN 1741-1807 147 BUST OF A LADY In profile to the left. She is dressed in a yellowish dress, edged by black lace, with a black sash round the waist. The face shows classi- cal features. Her hair is blond and unpowdered. Lovely curls are twisted in a chignon. The eyes are dark blue. The ears can be seen slightly. Painted delicately in pastel, on paper. Oval. Size, 11 x 9 inches. A typical example of Angelica Kauffmann’s small pastel work. Exhibited at The British Drawings Exhibition, 1920. No. 40. Ernest Renton Collection. 96 JOHN KAUFFMANN DIED 1782 ] John Kauffmann, the father of Angelica, and her first teacher, executed many drawings and small pastels, very often of sacred and poetic subjects, 148 MATERNITY _ A finished drawing. This is probably the first idea of the engraving. /= Water colour on paper. Oval. Size, 1114 x 9 inches. a “An important composition.” 149 PORTRAIT OF THE HEAD OF A LADY Charcoal and wash drawing, on paper. Oval. Size, 814 x 714 inches, SE. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 132; Zurich, 1920. No. 58. Ernest Renton Collection. TILLY KETTLE 1740-1786 Tilly Kettle was a delightful portraitist who has left us some rare pastels. 150 PORTRAIT OF AN OFFICER : . A silhouette pastel of a naval officer in uniform, in profile, wearing a : gr coloured wig. A strong and frank face, looking to the left. : Cut out, and the figure replaced, to give depth, according to the fashion of the period. On paper. Oval. Size, 6 x 434 inches. a Exhibited at “Les Dessinateurs Anglais”, Paris, 1920. No. 4J Ernest Renton Collection. “A splendid little example of the art of the period.” [SEE ILLUSTRATION, PAGE 98] 97 [150] [151] SIR EDWIN LANDSEER 1802-1873 Sir Edwin Landseer executed, especially in his early period, many portraits and small water colours done with a broad brush and very pleasant colour. Landseer was the youngest son of John Landseer, A.R.A., and was born in London in 1802. He entered the Royal Academy Schools at the age of fourteen, having had his gift for drawing cultivated by his father from his very earliest years. At the age of twenty-four he was elected an associate of the Royal Academy, and in 1831 he was elected an Academician. In 1855 he declined the presidency of the Academy. 151 PORTRAIT OF A GENTLEMAN This portrait is a bust to the waist, of a man sitting three-quarters to the right, nearly full face, looking front. He is wearing a brown frock-coat, black folded collar, yellow waistcoat, black silk tie, white shirt. He has curly light-brown hair and blue eyes. Water colour on thick paper board. Size, 65 x 5%, inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 133; Zurich, 1920.7 Nor 59; Sidney Cooper, R.A., Collection. “A typical example of that part of pictorial activity of the famous animal painter—a very interesting work of art.” [SEE ILLUSTRATION | 98 153 Eo- [152] [153] WILLIAM LAWRANSON William Lawranson, son of the portrait painter, Thomas Lawranson, painted genre pictures and executed portraits in London at the close of the eighteenth century. 152 PORTRAIT OF A LADY—SILHOUETTE A most interesting pastel, on paper made out of two pieces of dif- ferent sheets, one applied on the top of the other, to get the depth. Oval. Size, 934, x 73% inches. Exhibited as a typical example of this kind of work at the Exhibition of English Pastellists of the eighteenth century, Paris, 1911. No. 166. Ernest Renton Collection. “A perfect little work of a type very representative of its kind.” PORTRAIT OF LADY SEATED IN A GARDEN This picture was chosen as representative of the master to be ex- hibited at the Exhibition of English Pastellists, Paris, 1911. No. 75. It was reproduced as a full-page illustration in “English Pastels”, London, 1911, page 337. Pastel on paper. Oval. Size, 1244, x 1014, inches. Ernest Renton Collection. 99 SAMUEL LAWRENCE — 1811-1884 He was born in 1811. He first contributed to the Society of British Artists in 1834, and to the Royal Academy in 1835. 154 DRAWING: MISS SOMERVILLE al Charcoal and flesh tints in water colour on paper. Size, 14 x 95% an inches. 3) a Signed at bottom right, “Samuel Lawrence’, and inscribed by the artist at bottom left, “Miss Somerville’. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 136; Zurich, 1920. No. 61. SIR THOMAS LAWRENCE 1769-1830 We have already pointed out the importance of Sir Thomas Lawrence as a pastellist and a draughtsman in the book on “English Pastels” published in 1911. It is to be remarked that the first exhibit of the artist, in the Academy of 1787, was a small oval pastel entitled the “Mad Girl’. Fora good length of time he continued the practice he had started in Bath of his world-famous tinted drawings, the type of work imitated hundreds of times by contemporary artists, and even more often since. These drawings were executed by the artist either as pert or for reproduction. The pastels are really sketches for bigger pictures, drawn in black and white chalks in a very direct though graceful and strong man- ner, the colour rich but still subdued. In fact these portrait drawings are exceedingly clever pieces of portraiture which well deserve to rank next to the larger masterpieces of the President of the Academy. 155 PORTRAIT OF A LADY Head and shoulders, facing front. Head three-quarters to the right, looking right. Smooth round face with straight nose. Curly hair, with curls on forehead. Pencil tinted white chalk on yellow paper. Size, 4 x 31% inches. 156 PORTRAIT OF A LADY Pencil tinted on yellow paper. Size, 834, x 614, inches. Braithwaite Wilson Collection. Martin H. Colnaghi Collection. Fairfax Murray Collection. “A very fine and typical example of the great President, in splendid. state of preservation.” [SEE ILLUSTRATION | 100 [156] etn el § ee a /0- JOHN JAMES MASQUERIER 1778-1855 It may without hesitation be asserted that after the death of fussell, Masquerier was the foremost pastellist of his time. His works are rare, for a matter of two or three score of pastel portraits of importance and one hundred drawings hardly suffice to make a name. Masquerier at his best reaches real greatness. Almost entirely free from artificiality and sentimental elegantism, his art is all simple — grace, unaffected dignity, instinct with humour and breezily healthy. He has left to us some of the loveliest women and most eminent men of his day, © rendered with great fidelity and consummate art and waren 2! with pro- found and acute perception of character. The prices fetched by some Masqueriers lately have been tremendous. His tinted drawings equal in commercial value those of Lawrence, Cosway, Downman, Edridge, Pope and Buck. 157 PORTRAIT OF THE ARTIST IN HIS ELEVENTH YEAR (1789) FROM A BUST. 1830 Drawn by the artist himself from a small marble bust executed in | Paris, 1789. Sepia water colour drawing on paper. Size, 101% x 7 inches. Inscription at bottom of picture: “J. J. Masquerier in his 11th year, 1789”. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1. Listed on page 155, mentioned on page 217, and illustrated in frontis- piece of ‘“Masquerier and his Circle’, by R. R. M. Sée. London, 1922. 158 PORTRAIT OF SIR FRANCIS BURDETT, BART. 1835 VERSO. STUDY OF SAME The well known politician; father of Baroness Burdett-Coutts. Both small pastels, one each side of tinted paper. Size, about - 10 x 6% inches. Inscription in pencil at bottom of recto, “Sir Francis Burdett’. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, pages 3 and 4. Mentioned on pages 156 and 184 of ‘“‘Masquerier and his Circle’’. ‘Most important drawing, of fine quality and capital historical interest.” 102 TT te cre, [170] [160] [161] [159] 159 JO - 160 hie J. J. MASQUERIER 1778-1855 PORTRAIT OF MISS CLARA BURDETT. 1855 : Clara Maria, sister of Baroness Burdett-Coutts. Married to the Rev. James Drummond in 1850. Chalk drawing on paper, tinted in water colour ine collar in Chinese white. Size, 1014, x 6% inches. ! Inscription in bottom left corner, in artist’s writing, “Miss Clara”. Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, page 7. Mentioned on pages 156 and 184 of “‘Masquerier and his Circle”. One of three small pastels of Miss Clara Burdett—-see the next two numbers. [SEE ILLUSTRATION ] PORTRAIT OF MISS CLARA BURDETT. 1835 Clara Maria, sister of Baroness Burdett-Coutts. Chalk drawing on paper, tinted in water colour, and touched with | Chinese white. Size, 914 x 614 inches. Sale at Christie’s, January 19, 1872. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, page 8. Mentioned on pages 156 and 184 of “Masquerier and his Circle”. One of three small pastels of Miss Clara Burdett—see preceding and following numbers. [SEE ILLUSTRATION | PORTRAIT OF MISS CLARA BURDETT Clara Maria, sister of Baroness Burdett-Coutts. Chalk drawing on paper, tinted in water colours and touched with Chinese white. Size, 1014 x 7 inches. Sale at Christie’s, January 19, 1872. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, page 9. Mentioned on pages 156 and 184 of ‘““Masquerier and his Circle’. One of three small pastels of Miss Clara Burdett—see preceding numbers. [SEE ILLUSTRATION ] 104 [167] [171] JO a3 162 163 Vf O ws JO 164 J. J. MASQUERIER 1778-1855 PORTRAIT OF CHARLES MATHEWS. 1835 Son of James Mathews, bookseller, and local Wesleyan preacher. Chalk drawing on paper. Size, 94%, x T inches. | Inscription at bottom centre, “Charles Matthews”’ (sic). Sale at Christie’s, January 19,1872. Lot 72. Burdett Coutts Sale, London, 1922. Mentioned on pages 156 and 217 in ‘‘Masquerier and ris Circle” Illustration in the same work, Plate LII. [SEE ILLUSTRATION ] PORTRAIT OF HENRY CRABB ROBINSON. 1834 H. C. Robinson (1775-1867), diarist. Chalk drawing on pinkish paper. Size, 94, x 634, inches. Inscription at bottom in pencil, “H. C. Robinson’. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 12. See references on pages 156 and 228 and illustration, Plate LII, in “Masquerier and his circle’. “A very important drawing of fine quality, especially interesting on account of the personality of the sitter.” [SEE ILLUSTRATION ] PORTRAIT DE VELASQUEZ PEINT PAR LUI-MEME Copy of the portrait of Velasquez (by himself) 1599-1660, from the ~ original in the Louvre. Pastel on shaded paper. Size, 1114 x 814 inches. Inscription in Masquerier’s handwriting: ‘Portrait de Velasquez peint par lui-méme. Sketched from the original in the Louvre Heenan hee 106 . — oe, * . ry 4, Greet yor VAsigi wing Ttieat Et Lois wed pe ; : . ‘ ie: \ = a? — 165 166 167 /o- J. J. MASQUERIER 1778-1855 STUDY OF TWO YOUNG GIRLS VERSO. PORTRAIT OF SIR EDWARD CODRINGTON. 1835 Sir Edward Codrington, K.C.B. (1770-1851). Grandson of Sir Ed- ward Codrington, first baronet. Took part in the battle of Trafalgar. Recto. Two young girls, to waist, facing one another. Probably the daughters of Sir Edward Codrington. Pastels on tinted paper. Size, 111% x 81% inches. Verso. Inscription under portrait in pencil, “Sir Edward Codring- ton”. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 14. Mentioned on pages 156 and 188, ‘“‘Masquerier and His Circle’. “This drawing is as fine as any of those of the same period by Sir Thomas Lawrence.” PORTRAIT OF COLONEL BURNS. 1835 Bust of Colonel Burns, son of Robert Burns, the Scotch poet. Chalk drawing on paper, tinted in water color. Size, 934, x 73% inches. Signature under drawing, in writing of Col. Burns, “W. N. Burns”. This drawing was contained in Masquerier’s souvenir book. Inscription in bottom right corner: ‘Col. Burns Son of Roberts Burns the Poet’. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 15. See biographical notes on pages 158 and reference page 184 in “Masquerier and his Circle’. PORTRAIT OF MR. D. A. DURTNALL. 1838 Pastel on paper. Size, 101% x 814, inches. Signed at bottom, “D. A. Durtnall 1838”. Contained in Masquerier’s own souvenir album. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 16. Referred to on pages 156 and 192 of ‘““Masquerier and his Circle’. [SEE ILLUSTRATION ] 107 /0- 168 169 170 J. J. MASQUERIER 1778-1855 PORTRAIT OF SIR WILLIAM GRANT Sir William Grant (1752-1832). Master of the Rolls. 1776, appointed Attorney General of Canada. Indian ink drawing on paper, after the portrait by G. H. Harlow. Size, 12 x 93% inches. ‘a Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 17. Harlow’s portrait of Sir William Grant is well known through S. W. Reynolds’ popular engraving. PORTRAIT OF W. B. SPENCE, F.R.S. (1783-1860) Entomologist. Best friend of William Kirby with whom he wrote “Introduction to Entomology’. Founder of the Entomological Society, and President in 1847. His portrait in oil by the artist dates 1835. Engraved by W. Haddon. Three-colour chalk drawing, heightened in water colour, on paper. Size, 1014, x 71% inches. Inscribed on the right, ‘““W. B. Spence’’. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 18. Described in ‘“Masquerier and his Circle’, page 233. PORTRAIT OF THE REV. J. SORTAIN A Brighton friend of the artist. Three-colour chalk drawing, heightened in water colour, on paper. Size, 11 x 81% inches. Inscribed at bottom, “‘Rev. J. Sortain”’. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 19. Mentioned on page 155 of ‘‘Masquerier and his Circle’’. [SEE ILLUSTRATION ] 108 J. J. MASQUERIER 1778-1855 171 PORTRAIT OF CHARLES YOUEL Inscription as follows: “Du choc de l’ouragan preservé par le hétre Tu décrivis mes traits aux récits de fingal Pour le prix du talent qui fait vivre et renaitre i? fe Je te livre l’original 9 Ch Youél 2 Ruines de Semilly 7 juin 1835.” Three-colour chalk drawing, tinted in water colour, on paper. Size, 85/4 x 534, inches. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 20. Mentioned on page 242 of “Masquerier and his Circle’. The date is really 1832, while the inscription 1835 on the portrait was in- scribed by Youel three years later. [SEE ILLUSTRATION ] 172 PORTRAIT OF MR. D. BRUCKNER. 1832 Son of the Lutheran divine. Pastel on sepia paper. Size, 111% x 81% inches. Inscribed, “Briickner at Aix Chapelle’. Sale at Christie’s, January 19, 1878. Lot 72. Burdetts-Coutts Sale, London, 1922. Album 1, No. 22. Mentioned on pages 155 and 183 of ‘‘Masquerier and his Circle”. 173 PORTRAIT OF COL. SCHEPELER. 1837 Water colour and pastel on paper. Size, 114% x 8 inches. Inscription under portrait, in pencil: “Schepeler Colonel since the : battle at Albuera 1811.” | a, Oo Signed in bottom left corner: “ Aix-la-chapelle July 28. 1837 | * Jaw. Mi.” Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 23. 4 Listed on page 156 and mentioned on page 230 of ““Masquerier and i” his Circle’. See also portraits of Madame and of Mademoiselle Schepeler—the next two numbers. 109 J. J. MASQUERIER 1778-1855 174 MADAME SCHEPELER : ae Wife of Colonel Schepeler. oa Inscribed in the artist’s hand, “Signora Scheneiae Chalk drawing on paper, red, white and black, hetgntae in water colours. Size, 11 x 814 inches. Burdett-Coutts Sale, London, 1922. Album 1, No. 25. . vA O- Mentioned and described in ‘““Masquerier and his Circle’, page 230. 175 PORTRAIT OF MLLE. SCHEPELER. 1835 Young girl, daughter of Colonel Schepeler. He i= Water colour and pastel on paper. Size, 7 x 5 inches. Inscription in right bottom corner, ““Mademoiselle Schepeler”’. Sale at Christie’s, January 19, 1878. Lot 72. h Burdett-Coutts Sale, London, 1922. Album 1, No. 24. Ve Mentioned on pages 156 and reference page 230 of “Masquerier and his Circle’. [SEE ILLUSTRATION |] 176. PORTRAIT OF MISS WARD. 1832 ie Inscribed in artist’s hand, in bottom left corner, “Miss Ward”’. eae Chalk drawing, tinted in water colours, on paper. Size, 7 x 5 inches. Sale at Christie’s, January 19, 1878. Lot 72. Burdett-Coutts Sale, London, 1922. Album 1, No. 26. Mentioned in ‘‘Masquerier and his Circle’, page 155, and described on page 238 of. the same work. [SEE ILLUSTRATION ] 110 177 JO 178 ie [176] [175] J. J. MASQUERIER 1778-1855 PORTRAIT OF ORIENTAL VERSO. PORTRAIT OF GENTLEMAN Pastel and water colour on tinted paper. Size, 11 x 81% inches. Burdett-Coutts Sale, London, 1922. PORTRAIT OF MURILLO Pastel drawing on paper, copied from an oil painting. Oval. Size, 914 x 8 inches. The portrait has a most curious inscription by Masquerier. “The splendid portrait of Murillo, painted by himself, which adorns the gallery of Spanish pictures recently opened to the public in the rooms of the new Louvre, by command of the King of the French, was purchased at an obscure shop in Paris for ‘an old song’. We be- lieve there is no other portrait of this great master known, with the exception of that which is exhibited in the gallery at Florence.” At a later date, Masquerier adds the following note: “N.B. This is not the fact, the present Portrait was bought from Mr. Williams, vice Consul at Seville, and there is a much finer one at Petworth house. Oct. 3.1830. J.J. M.” The whereabouts of the original of this portrait is to-day unknown. lil F179 J. J. MASQUERIER 1778-1855 PORTRAIT OF MISS MEREDITH WHEN YOUNG Afterwards Mrs. Brown. The life-long companion of Baroness Burdett-Coutts. Crayon drawing on paper. Size, 1634, x 1234, inches. “T have carefully examined this drawing and in my opinion it is the finest work by the artist executed in the thirties, and finer than any Lawrence tinted drawing, being much more powerful. R. R. M. SEE. Burdett-Coutts Collection. Described in “Masquerier and his Circle”, page 218. 112 . AAS EACH = SALE FRIDAY EVENING, JANUARY FOURTEENTH, AT EIGHT-FIFTEEN SECOND SESSION NUMBERS 180-316 [180] MEADOWS 180 PORTRAIT OF BENJAMIN DISRAELI, LORD BEACONSFIELD YO ra Water colour drawing on paper. Size, 834, x 7 inches. This little picture is most important on account of the subject it rep- resents, and the high quality of the execution. Lord Tweedmouth Collection. Fairfax Murray Collection. “A very important little drawing. 113 99 181 182 [181] x GEORGE MORLAND 17638-1804 LADY READING A BOOK Drawing in pen and ink, sepia and water colour, on paper. Size, 914 x 714 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 141; Zurich, 1920. No. 62. Charles Newton Robinson Collection. “A very important and charming drawing.’ ’ [SEE ILLUSTRATION ] GEORGE MORLAND [ATTRIBUTED TO | THE IDLE PEASANT In the centre, leaning against the root of a tree, seated three-quarters to the right, a peasant in sleeveless coat, breeches, open neck, broad- brimmed hat. Pencil on paper. Size, 834, x 1234 inches. Ernest Renton Collection. 114 Ths eee ag ee ine _pratn ne oe Sec 7) ,& ~ [183] JAMES NORTHCOTE 1746-1831 James Northcote has left many small, highly finished water colours, prob- ably documents for his pictures; such is the portrait of the Earl of Mansfield reproduced here. In appearance it is not unlike the work of the Russell family. JAMES NORTHCOTE 1746-1831 183 PORTRAIT OF THE EARL OF MANSFIELD, LORD CHANCELLOR This celebrated judge is seated in his judicial armchair. A full bottomed wig frames his intelligent and forcefull face. The arms are raised on the side of the seat. The corner of a table is seen on the right, upon which are papers SS and documents. One of these can be read—‘“The Earl of Mans- field’. Water colours on paper. Oval. Size, 5 x 4 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 143; Zurich, 1920. No. 64. Sir Thomas Lawrence, P.R.A., Collection. Sir Charles Robinson Collection. Charles Newton Robinson Collection. “A most wonderful little picture, full of life and quality.” att o- [SEE ILLUSTRATION ] 115 [185] [184] COUNT D’ORSAY 1801-1852 184 SIR EDWIN LANDSEER . | Pencil and sanguine on paper. Size, 814 x 7 inches. a Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 144; Zurich, . 1920. No. 65. & Sidney Cooper Collection. 3 Ernest Renton Collection. | [SEE ILLUSTRATION ] WILLIAM OWEN es 1769-1825 William Owen, the well known portraitist, has left us many sketches of his larger portraits. These he generally executes in coloured chalks, sketching lightly. his outline in pencil and finishing up his subject. here and there, making it as complete a document as possible for his picture. 185 PORTRAIT OF A LADY Conté crayon, water colour drawing, on paper. Oval. Size, 11x 9 inches. Sir Tollemache Sinclair Collection. Ernest Renton Collection. [SEE ILLUSTRATION ] 116 4 = = ie EDMUND THOMAS PARRIS * 1793-1873 a Edmund Thomas Parris, had he not been attracted by that early nineteenth ee tury fad of historical painting, which in his case was doubled by pano- — rama painting, would have been one of the most delightful water colour portraitists of the early Victorian era. We would go further and say that, had he been fifty years earlier, with his extraordinary talent he would have _ been a worthy rival of Sir Thomas Lawrence. His charming little gems have a wonderful breadth and atmosphere. We reproduce here two similar portraits o f Mrs. Campbell as Desdemona _ tm typical attitudes of the famous actress, executed in black chalk and _ sanguine. The high efficiency of the artist as a draughtsman, and the elegant line he obtained with very simple materials, are conspicuous here. } Drawings by Parris deserve the attention of all clever collectors, as he is a one of those men who must be more and more appreciated as time goes on. _ He was born in 1793. He first exhibited at the Academy in 1816. From 1825 to 1829 he was engaged on the gigantic panorama of London for the — Coliseum in Regent’s Park which was afterwards removed to New York. ey HT e was appointed historical painter to Queen Adelaide in 1838, and on the accession of Queen Victoria he painted her coronation and also a portrait “ae of the young Queen. He undertook the work of resorting the pictures of _ Sir James Thornhill in the dome of St. Paul’s from 1853 to 1856. He died ain 1878. 186 A LADY SEATED. 1820 Full length, three-quarters to the left. Long full dress, with sleeves very full to the elbow and then tight to the wrist—low necked, high waisted. The lady is seated at the end of a high-backed sofa, with her feet crossed and her hands clasped in her lap. Round her neck oy” a black ribbon from which hangs a pendant. Head three-quarters to the right, inclined right and down, looking down. Delicate com- g plexion, small red mouth, hair dressed in ringlets on either side of face. | i Pencil drawing, fleshes in sanguine, on paper. Size, 1214. x 91% inches. is Signed at bottom right, “E. T. Parris 1820.” 3 Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 149; Zurich, 1920. No. 67. 187 SKETCH OF A WOMAN’S HEAD FROM THE BACK = Low-necked dress, showing a pretty neck and shoulders—round the Jf 27st neck a black ribbon. The back of the head is shown with black % hair drawn up into a chignon on top and fastened with a large comb; on either side short curls. Long earrings. Black chalk and sanguine on paper. Size, 6 x 5% inches. 117 a = 188 189 [189] [188] PORTRAIT OF MRS. CAMPBELL AS DESDEMONA Full length, facing front. Long dress to ground, high waisted with. girdle, fastened over left shoulder, leaving right shoulder bare. Arm- let on left arm. Bare feet, in sandals. Head in profile, right. Fine clear-cut face with dark eyes. Dark hair done in classical style with diadem in front, bound with fillet ribbons, and dressed in chignon at back. The actress holds her left hand to her chin while her right rests on draperies on left. Black chalk and sanguine on paper. Size, 11 x 614 inches. PORTRAIT OF MRS. CAMPBELL AS DESDEMONA Full length, facing front. Head three-quarters to the right, looking down. Right foot crossed over left. Chin held in left hand. Right. arm lying loosely on drapery. Same clothes and headdress as in the preceding portrait. Black chalk and sanguine on paper. Size, 11 x 634, inches. Signed at bottom left, “E. P. Feb. 1935’’. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 148; Zurich, 1920. No. 66. [SEE ILLUSTRATION ] 118 PARS The brothers Henry (1734-1806) and William Pars (1742-1782) both executed small portraits in water colour and pastel, apart from their draw- ings of landscapes and antiquities. There was also a Miss Pars, who was an honorary exhibitor at the Academy in 1776. "i ’ 190 PORTRAIT OF A GENTLEMAN Half-length portrait of a gentleman in blue coat, with white waist- coat, white lawn tie and collar. His wig is powdered. He is facing profile to the left. Blue eyes, an Irish nose and mouth. i Pastel on paper. Oval. Size, 934, x 714, inches. _ ‘There are several small spots on the face which could easily be re- ~ moved with a stump leather. O'Neill Collection. ee ew WILLIAM PETERS | 1742-1814 i. Much of what had to be said about that delightful painter who became a ergyman and not, as.so many still believe, the cleric who preferred the Tight muslin garments of half naked ladies to the holy cloth, has been prettily studied by Lady Victoria Manners in her book on Peters. MATTHEW WILLIAM PETERS 1742-1814 HEAD OF A YOUNG GIRL The head is three-quarters to the right, looking front. She has a soft, round face, with full red lips; large brown eyes, and very curly fair hair, under a large, white hat. Pencil sketch, tinted in water-colour, on paper. Size, 6% x 534 inches. Ernest Renton Collection. “A perfect little picture.” PORTRAIT OF A LADY Bust, facing left. The lady is seated in an armchair. The head is three-quarters to the left. She has a full face, snub nose, and bright dark eyes. She wears an extremely elaborate hat, trimmed with wide ribbon and flowers. The hat has side-pieces, coming down over the ears, so as to cover completely the side of the head. Pencil on paper. Size, 8 x 614 inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 156. 119 19 [193] PORTRAIT OF MRS. HADDEN BROWN Pencil and water colour, on paper. Size, 103% x 732 inches. Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1919. No. 46. This is the original sketch of the famous masterpiece by Peters now in the Whittouck Collection, which is reproduced in “English Pastels” as a full-page illustration, page 161. “An important drawing, full of charm and quality.” 120 oe wy Migr —aee omens [194] MATTHEW WILLIAM PETERS 1742-1814 (194 STUDY FOR A LADY’S PORTRAIT Pencil and coloured chalks, on paper. Size, 934 x 7 inches. Exhibited at “Les Jolies Anglaises du XVIII¢ Siécle’, Paris, 1914. f- : No. 45. | “ 2 Sir Tollemache Sinclair Collection. | we “A very free and forcible sketch by the master.” yy ve “Very likely a sketch for the Duchess of Ruthland’s portrait.” [SEE ILLUSTRATION ] ¥ Three-quarter length, seated facing front. Her right arm rests on ./ her lap. Her left elbow is on the back of the seat, with hand sup- lJO=— 195 PORTRAIT OF A LADY : porting chin. | Pencil and water colour sketch, on paper. Size, 8V, x T% inches. H Exhibited at “Les Jolies Anglaises du XVIII® Siecle’, Paris, 1914. No. 42. 121 [196] HENRY WILLIAM PICKERSGILL, R.A. 1782-1875 i Pickersgill is one of the best pupils of Lawrence and his drawings, especi- * ally his early ones (at least those done for portraits), are really good lke- nesses, full of life. They can indeed be considered as real works of art, attaining as they do the quality of any of the greater masters of his period. 196 SELF-PORTRAIT Wash background; on the right, a table. Pencil and water colour on paper. Size, 11% x 1034, inches. [SEE ILLUSTRATION ] 122 -ALEXANDER POPE 1763--1835 _ Alexander Pope appears to have been born in Cork, in 1763. His name e is to be found as early as 1776 in the roll of the Dublin Art School, at which time Francis Robert West was occupying the post of Professor of : Drawing. We find him in 1777 and 1780 sending to the Society of Artists, in William Street, Dublin, both drawings and small portraits. Soon after this he returned to his native town of Cork, where he practised his art for several years. — Drawings belonging to Pope’s early period are often carried out com- 7 + | pletely in water colour, as in the case of that delightful little oval of the a Misses Moneyhill at the Spinet. Here the artist, working almost as if exe- = cuting a miniature on paper, as fully bearing in mind the precepts of the - miniature painter working on iwory or vellum; here are the blue shadows, _ 80 beloved of Cosway, Engleheart, and Plimer, though there is no use, at this time, of the method of sable stippling, which he seems to affect more at a later period. In private life, Pope is said to have been quite a dandy, and many stories ae | are told of his fastidiousness and epicurian tastes in regard to the pleasures ie eet eA of the table. Indeed, his gourmandising propensities are partly responsible for the financial straits in which he found himself at various times. In a letter to Edmund Kean, who offered him an engagement for the Dublin season on very advantageous terms, he writes: . . . “must be at Plymouth at the time; it is exactly the season for mullet!” Through the bequests of his wives (he was married three times), he came into a considerable amount of property, but a consistent course of good living quickly dis- persed this. He died in his house in Store Street, Leicester Square, in ~ March, 1835. 197 PORTRAIT OF LADY ROMILLY A three-quarter length portrait shows Lady Romilly seated facing left, her right hand on her knee and her left elbow on the chair back, turning her head and bust to face the artist. The dress is only indi- 3 "4 2“ cated in pencil—high waisted, square décolleté, long sleeves, a neck- lace and pendant. Pencil and water colour on paper. Size, 914, x 634, inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 162. “A capital and representative work of the master.” 123 [198] | ALEXANDER POPE 1763--1835 es 198 PORTRAIT OF MRS. WESTBY, AFTERWARDS LADY LYNDHURST Water colour and pencil on paper. Size, 634, x 55% inches. Inscribed by the farmer, “Lady Lyndhurst’. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 159; Zurich, 1920. No. 738. Ernest Renton Collection. Illustrated on page 133 of ‘The Connoisseur” for November, 1919. oer RS 199 PORTRAIT OF AN UNKNOWN LADY. 1815 Bust with landscape background. “4 - Pencil and water colour on paper. Size, 844, x 7 inches. | Signed in the bottom right corner, “A. Pope 1815”. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 166; Zurich, 1920. No. 75. “A very charming and genuine work.”’ “ee [SEE ILLUSTRATION ] 4 124 3 NN RR tS Ae eo mane See NDE ERR eer reeeeremaeee = | ea subasmncenniememanannesy | | Digammeas —— a . Mi cae Sc nei es ae ah Ba Ex: epee cSabear elder tetenranatomearmcaran ALEXANDER POPE 1763--1835 PORTRAIT OF MISS ELIZABETH PONSONBY. 1810 Water colour and pencil on paper. Size, 65/2 x 55 inches. Ernest Renton Collection. Illustrated on page 135 of ‘““‘The Connoisseur”, Vol. LV, No. 219. Could make a pair with Lady Lyndhurst (See Number 198). Same period and quality. [SEE ILLUSTRATION | MRS. JAMES ADAM WHEN CAROLINE WHEATLEY. 1815 (Sketch of dear Caroline, by A. Pope) Sister of Pope’s third wife, widow of Francis Wheatley, R. A. Plumbago and water colour on paper. Circular. Size, 38% x 3% inches. Signed in artist’s hand, “Sketch of dear Caroline by A. pS ote but the present frame covers this inscription. 2 Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 169; “Les Enfants Anglais’, Paris, 1922. No. 44. Illustrated on page 135 and described on page 136 of “The Connois- seur’’, Vol. LV, No. 219. “A real masterpiece.” [SEE ILLUSTRATION ] 125 ALEXANDER POPE 1763-1835 202 THE MISSES MONEYHILL AT THE SPINET Water colour on paper. Oval. Size, 634, x 514 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 165; Les En- fants Anglais’, Paris, 1922. No. 45. See reference on page 137 and illustration on page 134 of “The Con- noisseur” for November, 1919. “A real museum piece.” 126 [204] SEES :SC TT TE aie i [203] 203 UY ~ 205 ALEXANDER POPE 1763-1835 PORTRAIT OF THE ARTIST’S WIFE (M. A. CAMPION) Pope married three times. His first wife Elizabeth Younge died in 1797 and was buried in Westminster Abbey. Ten months later the actor-artist married a young and pretty Irish widow of Waterford, also an actress, Mrs. Spencer, known on the stage as Maria Ann Campion. This marriage was of short duration—Miss Campion died in 18038 at the early age of 26 and was buried in Westminster Abbey in the same tomb as Pope’s first wife. The portrait of her by Shee, exhibited in the Academy of 1803, now hangs in the Garrick Club. Pencil and water colour drawing on paper. Size, 121% x 8 %nches. Signature in bottom right corner, ‘‘A P”’’. Exhibited at the Royal Academy, 1799. No. 705; ‘‘Les Maitres An- glais’, Paris, 1919. No. 168. Ernest Renton Collection. See article on Alexander Pope in “The Connoisseur” for November, 1919, pages 131-139. Reproduced on page 136. “A very charming work.” [SEE ILLUSTRATION ] HEAD OF YOUNG GIRL: MISS ANNESLEY Water colour on paper. Size, 81% x 21% inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 167. Illustrated in ‘The Connoisseur’, for November, 1919, page 138. Reference iden, page 136. M. Rothschild Collection. [SEE ILLUSTRATION ] PORTRAIT OF MRS. OAKLEY Pencil and water colour on paper. Size, 1054 x 734, inches. Signed in left bottom corner, “‘A. Pope’. Exhibited at the Royal Academy, 1807. No. 422. Illustrated in “The Connoisseur”, for November, 1919, page 134. “An important work.” 128 PVH TE B. PYM 18TH CENTURY B. Pym, who exhibited regularly at the Academy up to 1793, and whose _ portrait of Banister in the Garrick Club is so well known, had a Ronareeh able practice in London. t 206 PORTRAIT OF A YOUNG BOY _. Pastel on paper. Size, 914 x 714 inches. _ Exhibited at “Les Enfants Anglais’, Paris, 1922. No. 48. ” Vo, 2 Sia ALAN RAMSAY 1713-1784 The famous Scotch painter executed many drawings, mostly in pen and ink. He was the greatest portraitist at the beginning of the eighteenth, century in Great Britain, and whilst in his large portraits he was assisted. by many artists, he always made it a rule to do his drawings himself, and it is from those drawings that his assistants executed the work which he . himself generally looked over and finished, just as Reubens in the preceding. 7 Cf century did in ers ‘ZZ a er ee ee Pe Ere < i « Ly 7 ‘ 207 PORTRAIT OF PEG WOFFINGTON, THE ACTRESS, AS A SHEPHERDESS Pen and ink on paper. Size, 123% x 73% inches. Dated in bottom left corner, “A° 1734”. Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 171; Zurich, 1920. No. 76. Sir Joshua Reynolds Collection. Sir Charles Turner Collection. Fairfax Murray Collection. FRANCES REYNOLDS 1792-1807 Frances Reynolds (youngest sister of Sir Joshua) is among the best of the English women pastellists. 208 PORTRAIT OF A LADY Unfinished drawing of a lady’s bust, three-quarters to the right, full face, looking front. The face is the only finished part of the picture. Pastel on paper. Oval. Size, 8%, x 6% inches. Lord Amherst of Hackney Collection. Ernest Renton Collection. ~~ > 129 SIR JOSHUA REYNOLDS 1723-1792 Sir Joshua Reynolds has produced some delightful portraits in chalk, all executed as sketches for his pictures. In contrast to his great rival Gains- borough, or his successor Lawrence, he did not execute drawings on paper or pastels. His are small impressions of his sitters, or studies executed during his journeys for the purpose of future work. None the less they well deserve the high value placed upon them, and their very rarity 1s a cause of the greater value attached by collectors to these direct productions of the great first President of the Royal Academy. Drawings by Sir Joshua hardly ever come into the sale room, as collec- tors jealously keep these rare pieces. In 1755 he was entered as a member of the St. Martin’s Lane Academy, London. He soon became a great success and moved in a set which in- cluded the most brilliant brains of that prolific period. In 1768 the Royal Academy was founded under his presidency. We are indebted to him for likenesses of Dr. Johnson, Goldsmith, Sterne, Sheridan and other great men of letters of that period, and for matchless theatrical portraits such as the “Mrs. Siddons as the Tragic Muse’, “Garrick between Tragedy and Comedy’, and “Mrs. Abingdon as the Comic Muse”. He exhibited for the last time in 1790, and in 1792 he died. SIR JOSHUA REYNOLDS 1723-1792 209 PORTRAIT: MOTHER AND CHILD The lady is shown in bust, facing right, holding her small boy to her bosom with her left arm. She wears a white dress with a black sash, and a wide white collar. Face three-quarters to the right, nearly profile. A smiling face with a long straight nose and a high forehead. Fair hair with reddish tinges, curled and worn in long curls on the shoulders. The boy faces front and has his head pressed against his mother’s throat. Small mouth, large eyes, reddish hair, cut in fringe on forehead. Background shaded on left. Black charcoal and sanguine on yellowish-white ribbed paper. Size, 153% x 1214, inches. 2 Exhibited at “Les Enfants Anglais’, Paris, 1922, No. 53. [SEE ILLUSTRATION ] 130 [209] Sen i ; k z oS pee 3 210 SIR JOSHUA REYNOLDS 1723-1792 DRAWING: HEAD OF A YOUNG GIRL: OFFY PALMER The favorite niece of the great artist. Black, red and white chalks on blue-grey paper. Size, 11 x 8% inches. Sir Charles Turner Collection. Martin H. Colnaghi Collection. - ; Fairfax Murray Collection. In its old English carved frame,.a suitable companion for the por- trait of the Boy in the Black Felt Hat (Number 211). [SEE ILLUSTRATION ] PORTRAIT: THE BOY IN THE BLACK FELT HAT Black, white and red chalks on blue-grey paper. Size, 11x 83% inches. Martin H. Colnaghi Collection. Sir Charles Robinson Collection. Charles Newton Robinson Collection. This picture in its old English carved frame makes a suitable com- panion for the portrait of Offy Palmer (Number 210). [SEE ILLUSTRATION | 132 SAMUEL WILLIAM REYNOLDS By. 1773-1835 < Samu e el William Reynolds the engraver has also executed many small and ur Bee seomrnce. His works are becoming more and more fashionable. as ee, ae oT : - PORTRAIT OF A YOUNG GIRL: HEAD ys Pencil drawing, tinted in white and red chalks, on canvas. Size, 10% x 1314, inches. _ Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 176; “Les ia a Enfants Anglais”, Paris, 1922. No. 55. oF i Baroness de Forest Collection. an 218 PORTRAIT OF A MAN Pencil drawing, tinted in white and red chalks, on canvas. Size, 11 x 16 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 177. PORTRAIT OF A MAN Pencil drawing, tinted in white and red chalks, on canvas. Size, 1114 x 1414, inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 178. PORTRAIT OF A YOUNG GIRL Pencil drawing, tinted in white and red chalks, on canvas. Size, 11 x 13 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 180; “Les Enfants Anglais’, Paris, 1922. No. 56. DRAWING OF A YOUNG GIRL WITH NECKLACE. AFTER LAWRENCE Water colour on paper. Circular size, 81 x 842 inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 175; Zurich, 1920, No. 79; “Les Enfants Anglais”, Paris, 1922. No. 57. Ernest Renton Collection. 133 [230] [217] SAMUEL WILLIAM REYNOLDS Ses ee 1773-1835 217 PORTRAIT OF A YOUNG GIRL WITH A ROSE Pencil tinted in water colour on paper. Size, 8 x 51% inches. | Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 181; “Les * Enfants Anglais’, Paris, 1922. No. 58. | s “A lovely little drawing.” < ¥ [SEE ILLUSTRATION ] . 218 PORTRAIT OF A LADY Pencil tinted in water colour on paper. Size, 6 x 43/, inches. Exhibited at ‘““Les Maitres Anglais’, Paris, 1919. No. 183; Zurich, 1920. No. 82. JOHN FRANCIS RIGAUD, R. A. 1742-1810 219 PORTRAIT OF A LADY India ink drawing, tinted in sepia and water colour, on paper. 53 X 334, inches. Signed with initials on the left bottom corner, “J. R.” Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 233. | Sir Charles Robinson Collection. Size, 134 220 G/- [220] STEPHEN F. D. RIGAUD 1777-1861 Stephen F. D. Rigaud was the son of John F. Rigaud, and is the famous English water colour painter. KENSINGTON PARK. THE INFANT ENAMOURED OF HIS OWN REFLECTION A large park with a winding path in the centre. In the foreground is a rectangular trough full of water, sunk in the ground. On the left of the trough kneels a woman holding a baby over the water. On the right, a group of six persons, a woman seated against a tree holding on her lap a baby and surrounded by four small children. The kneeling woman on the left, facing right, wears a full brown dress with a red cloak; bare arms; face looking down, three-quarters to the right; fair curly hair under a Leghorn straw hat, trimmed and tied under the chin with a cherry ribbon. Water colour on board. Size, 171% x 2514 inches. Signed and dated on front right corner trough, “S Rigaud 1809”, Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 47; “Les Enfants Anglais”, Paris, 1922. No. 59. (Under the name of J. F. R.) Lord Tweedmouth Collection. Jules Porges Collection. “A very important picture”. [SEE ILLUSTRATION ] 135 [221] : ANDREW ROBERTSON 1777-1845 Water colour drawings and pencil sketches by Andrew Robertson are executed with a broad, elegant touch, the colour being added in bold masses. These little pieces are beginning to receive the attention they deserve from collectors. 221 YOUNG GIRL WITH PARRAKEET: MISS CLEGG Water colour on paper. Size, 19 x 1834, inches. Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 13. [SEE ILLUSTRATION ] 136 ee PONS neat ean ge RP RE en cantare Sctataeeneecnammaniaee ana [222] GEORGE ROMNEY 1734-1802 222 PORTRAIT OF LADY HAMILTON AS A BACCHANTE Bust facing right. The bare right arm and shoulder are shown. The head is leaning on the right shoulder and looking up and to the right. The face of Lady Hamilton is as well known to art lovers as is that of a modern cinema star to the larger public. A tender virginal smile and soft eyes—giving no hint of the real nature of the woman who ruined so many men. Dark curly hair and a white cap. Sepia wash and gouache on paper. Size, 11% x 8'% inches. 137 i ok PETER ROMNEY 17438-1777 It is an illustrious name that follows a Christian name misleading in its obscurity: The name of Romney always seems as if it should be written in an article of art as “George Romney.” Herein les the misfortune of being at once an exquisite artist and the brother of a great master! The world has never accorded Peter Romney the recognition he deserved. Peter was endowed with all those qualities which constitute genius. The — ] two brothers loved one another with a tender fondness, and their mutual understanding was remarkable. With George’s guidance and stimulus, — 4 Peter was soon qualified to share in the work of his elder brother, even in painting; in pastel he equalled the greatest masters in this graceful art. It must be noted how practically impossible it is to ER LALIRI LES between the works of the two brothers dating from this period. 7 223 PASTEL PORTRAIT OF MISS JANE LONGWORTH = After his love affair with Miss Shuttleworth at Manchester in 1767, | Romney became amorous of Miss Longworth and it is about this time (1768-9) that he executed her portrait in pastel. Pastel on paper, stretched on canvas. Size, 91% x 71% inches. Signed with initials on right over sitter’s shoulder in pastel, “P. R.” Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 192; iaeae national Pastel Exhibition, Paris, 1911. 2 | Miss Romney’s Sale. Martin H. Colnaghi Collection. Illustrated on page 67 of “The Connoisseur” for Februsie: 1919. “A very beautiful portrait.” 224 PORTRAIT OF MISS O’FLANAGAN Bust, facing front. Dark dress, broad white fichu, V-décolleté. } narrow black silk ribbon round neck. Pastel on paper. Size, 1034, x 7% inches. Exxhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 48. Full-page coloured illustration in “The Connoisseur” for February, 1919. Miss Romney’s Sale. Martin H. Colnaghi Collection. [SEE ILLUSTRATION ] 138 PRO EN ee AT ee eid [224] [226] [228] PETER ROMNEY 1743-1777 225 PORTRAIT OF MISS SHUTTLEWORTH y / 226 CO 227 228 Indian ink brush work on paper. Size, 7 x 51% inches. Miss Romney’s Sale. Martin H. Colnaghi Collection. Illustrated on page 70 of “The Connoisseur” for February, 1919. PORTRAIT OF MRS. RAVENSCROFT Pastel on paper. Size, 10 x 8 inches. Exhibited at ‘Les Maitres Anglais”, Paris, 1919: No. 196. Zurich, 1920. No. 87. Miss Romney’s Sale. Martin H. Colnaghi Collection. [SEE ILLUSTRATION] PORTRAIT OF MRS. BENWELL Sepia drawing on paper. Size, 93% x TV, inches. Miss Romney’s Sale. Martin H. Colnaghi Collection. PORTRAIT OF MRS. MARSH Pastel, gouache and water colour on paper. Size, 11 x 8 inches. Illustrated on page 66 of ““The Connoisseur” for February, 1919. Miss Romney’s Sale. Martin H. Colnaghi Collection. [SEE ILLUSTRATION] 140 ipncnrnnreietgprencorinanantnattninnnninianh wena P.ROMNEY > MARY BENT FIELD PETER ROMNEY 1743-1777 229 PORTRAIT OF MARY BENFIELD Head and shoulders, three-quarters to the right. Bo - Reddish background. | Pastel, water colour and gouache on paper. Circular. Size, 6 x 6 inches. Miss Romney’s Sale. Martin H. Colnaghi Collection. Illustrated on page 68 of “The Connoisseur” for February, 1919. — [SEE ILLUSTRATION ] 141 /o- SIR WILLIAM CHARLES ROSS 1794-1860 Walteom Charles Ross started very early to study with his father Henry o Ross, the miniature painter. He is probably the best known miniature painter of the Victorian period, having executed over two hundred of these small figures. In his drawings on paper, often first preparations for his . miniatures on iwory, he has the same quality as m his finished work. 230 231 233 PORTRAIT OF A LADY Bust, facing front. Face three-quarters to the right, looking right. Pencil and water colour on paper. Size, 7x 51% inches. Ernest Renton Collection. | [SEE PAI PORTRAIT OF TWO YOUNG GIRLS—THE MISSES SPENCER ~ Water colour on paper. Size, 121% x 8 inches. Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 51; “Les Enfants Anglais’, Paris, 1922. Ernest Renton Collection. [SEE ILLUSTRATION | PORTRAIT OF MISS FOOTE, THE ACTRESS, AFTERWARDS — COUNTESS OF HARRINGTON Charcoal stump heightened in water colour, on paper. Size, 14x 111% inches. | , Inscriptions: (a) On right below hair, half erased, ‘‘Oct. 4, 1833”; (b) Bottom right corner: “Miss Foote Covent Garden 1833” ; (c) On frame, bottom right corner, “Ross (Sir William) Portrait of Miss Foote. Covent Gdn afterwards Countess of Harrow”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 198; Zurich, 1920. No. 89. “A very fine work of art.” 1794-1860 PORTRAIT OF SIR THOMAS LAWRENCE. 1830 Pencil tinted in water colour, on paper. Size, 11 x 8 inches. Signed middle right, ‘““W C Ross delint. 1830”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 197; Zurich, 1920. No. 88. 142 set enna rari ssnenannqeeeete ths nethasbaansiaseistetene retransmit re n ~ [231] PEIN ch) TL OES OP ORES TT 234 255 ey % 236 Le EE THOMAS ROWLANDSON 5 1756-1827 STUDY FOR A WOMAN’S HEAD Pencil tinted in water colour, on paper. Size, 234, x 2 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 215. THE “OLE CLO’ MAN” Water colour on paper. Size, 614 x 334 inches. Exhibited at ‘Les Maitres Anglais”, Paris, 1919. No. 199 1920. No. 90. Van Gogh Collection. ~“ STUDY FOR AN ENGRAVING: “THE ITALIAN FAMILY” Pencil and water colour on paper. Size, 9 x 1234 inches. Signed with initials at bottom right, “T R”. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 206. “A wonderful drawing.” [SEE ILLUSTRATION ] 144 jovnbesavuonesasesovenacoidbeantsvarassovaseautaibtnostow inci [237 ] ANNE RUSSELL 1781-1857 Anne was the youngest and most talented of the daughters of John Russell; certain of her pictures are worthy of Rosalba. 237 PORTRAIT OF MRS. MARTHA HIGGINSON AND CHILD. 1793 Pastel on paper. Size, 91% x 1234, inches. VS - H. Colnaghi Collection. Ernest Renton Collection. “This is a copy of the larger well known pastel by John Russell. Some experts have thought it to be the work of J. R. Smith, in preparation for his engraving, but we believe it to be the work of John Russell’s daughter, Anne.” 145 [238] JOHN RUSSELL, R.A. ; 1745-1806 7 John Russell, who has been the subject of an important monograph as far 3 back as 1892 by Dr. George Williamson, has justly been termed the prince 4 of pastellists. It is more interesting for us here to insist upon a less often studied side of his artistic life—his drawings in water colour and his sketches both in pencil and in crayon. The water colour drawings of Russell are going up in price parallel with the big rise in his pastel and oil work. 238 THE LEE FAMILY Water colour sketch of John Lee, his wife and six children. dl Water colour on paper. Size, 7x 11 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 229; “Les Enfants Anglais”, Paris, 1922. No. 64. Direct from the artist’s family. F. H. Webb Collection (great-grandson of the artist). [SEE ILLUSTRATION | 146 JOHN RUSSELL, R.A. 1745-1806 239 THE HIND FAMILY Water colour on paper. Size, 5 x 41% inches. Inscribed in pencil, lower right, “Mrs. Hind R.A. 1801”. (R.A. 1801 is date of exhibition at Royal Academy.) Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 227: “Les Enfants Anglais”, Paris, 1922. No. 65. F. H. Webb Collection. “The finest water colour sketch by Russell, | ever saw up to now.”— R.R.M.S. 147 [240] JOHN RUSSELL, R.A. 1745-1806 240 PORTRAIT OF MRS. BATES Water colour on paper. Size, 914 x 7% inches. Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 226; Zurich, 1920. No. 100. | “A very interesting water colour, in fine condition.” _ ir f jg r- : 4 [SEE ILLUSTRATION] |)» 7 0 148 241 242 YOu =< = = — Pin sak a a] t Te ni is : a re i " a # . 4 ’ 8 an tO [241] [242] MARIA RUSSELL 1783-1881 Maria Russell made many sketches from nature, and copies in water colour from her father’s pictures. PORTRAIT OF A YOUNG GIRL Water colour on paper. Size, 6 x 334, inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 230; “Les Enfants Anglais”, Paris, 1922. F. H. Webb Collection. Purchased direct by Emile Gross from the great-grandson of John Russell, H. F. Webb. [SEE ILLUSTRATION ] THE LADY WITH THE SPOTTED VEIL Water colour on paper. Size, 4 x 3 inches. Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 54. “A studio sketch inspired by one of J. R.’s pictures.” Purchased by Mr. Gross from Mr. R. R. M. Sée, to whom it had been given by F. H. Webb, great-grandson of John Russell. [SEE ILLUSTRATION ] 149 ZA vi /= SIR MARTIN ARCHER SHEE, P.R.A. ft | oa JOHN SANDERS (OR SAUNDERS) 1750-1825 (?) 244 PORTRAIT OF A YOUNG GIRL Water colour drawing with traces of wash in the high lights, om paper. Oval. Size, 95% x 714 inches. Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 231. 1. Sir Charles Robinson Collection. [SEE ILLUSTRATION | 1769-1850 He had already made a fair start in his profession when he left — Ireland (where he was born) at the age of nineteen and took lodgings in a Southampton Street. He had practised for some two years when Sir Joshua advised him to enter the Academy Schools, which he did m4 1790. He tee x 4 elected President on the death of Lowrengg. 245 PORTRAIT OF A LADY Indian ink, tinted in water colour, on paper. Size, 3 x 214 inches. The right hand top corner of the paper has been clipped. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 232; Zurich, 1920. No. 103. SAMUEL SHELLEY 1750-1808 Samuel Shelley, the miniaturist, has executed a great number of pencil — drawings and pen and ink drawings, where he shows a high talent as a draughtsman. 246 PORTRAIT OF MISS LINWOOD st Drawing in pencil and tinted in sanguine, on paper. Size, 654 x 5 tl inches. Exhibited at “‘Les Maitres Anglais”, Paris, 1919. No. 234; Zurich, 1920. No. 104. Sir Charles Turner Collection. 247 PORTRAIT OF MRS. TRAVERS In pencil and pen and ink; also water colour, on paper. Size, 71% x 514 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 235; Zurich, 1920. No. 105. Lord Amherst of Hackney Collection. [SEE ILLUSTRATION | 150 [244] [247] [248] N » xX os GEORGE SHEPHEARD 1770 (?)-1842 Some confusion exists in the dictionaries as to the life and work of George Shepheard. They all refer to his landscape work and his exhibits at the Royal Academy from 1811 to 1830. However, we have found drawings by him, for example the delightful drawing here reproduced, a sketch of a portrait of Jane Chantess, dated as early as 1791. 248 PORTRAIT OF JANE CHANTESS. 1791 Pen and ink drawing, washed all over with water colour, on paper. Size, 63 x 41% inches. Exhibited at “Les Enfants Anglais’, Paris, 1922. No. 68. Lord Tweedmouth Collection. | “A most charming and forcible little work of art.” [SEE ILLUSTRATION ] HENRY SINGLETON 1766-1839 Henry Singleton, who had been brought up by his two uncles William and Joseph Singleton, both miniature painters, naturally received artistic im- pressions at a very early age. Indeed, at the age of ten he is recorded as a genius at the Exhibition at Spring Gardens by the showing of his draw- ing in pen and ink of a “Soldier returning to his family”. This success gained him a scholarship at the Royal Academy. 249 “COMEDY” Charming allegory. A study for the engraved picture. Probably inspired by Lady Hamilton. Pencil drawing, flesh and face tinted in water colour, on paper. Size, 8% x 514 inches. Exhibited at the Singleton Exhibition, 1920. No. 10. Martin H. Colnaghi Collection. “A most important drawing, in very fine state.” [SEE ILLUSTRATION ] 250 MISS SIMPSON Study of a three-quarter length portrait to the knees, exhibited at the Royal Academy, 1809. No. 414. Pencil and water colour drawing, on paper. Size, 834, x 53% inches. Maxtii H. Colnaghi Collection. “A very charming and important drawing.” [SEE ILLUSTRATION | 152 251 —l | | t | :} = | i a | ar | | [249] HENRY SINGLETON 1766-1839 TWO CHILDREN—KNEELING AND SINGING A charming study, part of the picture “Infant Choir’. Exhibited at the Royal Academy, 1898. No. 18. Pencil and water colour on paper. Size, 684, x 514, inches. Exhibited at the Singleton Exhibition, 1920. No. 21. Martin H. Colnaghi Collection. [SEE ILLUSTRATION ] LADY HAMILTON Head and bust. Trial sketch for the picture engraved by C. Knight, and published June, 1815, by S. and J. Fuller. Pencil on paper. Size, 83 x 514 inches. Exhibited at the Singleton Exhibition, 1920. No. 5. Martin H. Colnaghi Collection. LADY HAMILTON Head and shoulder. Sketch for the picture engraved by C. Knight, and published June, 1815, by S. and J. Fuller. Pencil drawing, flesh, mouth and lips tinted in water colour, on paper. Size, 514 x 7 inches. Exhibited at the Singleton Exhibition, 1920. No. 6. Martin H. Colnaghi Collection. 153 254 256 [261] [262] HENRY SINGLETON 1766-1839 CHASTITY ~Finished drawing, with the same subject as the next number. Water colour on paper. Size, 9 x 514 inches. Exhibited at the Singleton Exhibition, 1920. No. 7. Martin H. Colnaghi Collection. Companion picture to No. 257. VESTAL Study for the engraved picture “Chastity.” Pencil drawing on paper. Size, 8Vg x 51% inches. Exhibited at the Singleton Exhibition, 1920. No. 8. Martin H. Colnaghi Collection. See also the following number. VESTAL Half length of the same subject as in the preceding number. Water colour and pencil drawing on paper. Size, 73 x 51% inches. Exhibited at the Singleton Exhibition, 1920. No. 9. Martin H. Colnaghi Collection. 154 HENRY SINGLETON 1766-1839 257 LOVE Engraved drawing, companion to “Chastity”, No. 254. Water colour drawing, with a few pencil strokes, on paper. Size, 8%, x 514 inches. yt Exhibited at the Singleton Exhibition, 1920. No. 11. hee Martin H. Colnaghi Collection. 258 MISS SIMPSON AND BROTHERS Pencil drawing, flesh and faces tinted in water colour, on paper. Size, 514 x 9 inches. 7 Martin H. Colnaghi Collection. t ig gia “An important composition.” [SEE ILLUSTRATION] 259 MRS. HEARNE AND CHILDREN Pencil, the faces and hands tinted in water colour, on paper. Size, 9 x 514 inches. Exhibited at the Singleton Exhibition, 1920. No. 13. we Martin H. Colnaghi Collection. “A very fine tinted drawing.” [SEE ILLUSTRATION] 260 PORTRAIT OF MRS. FORSTER Pencil drawing, the flesh and face tinted in water colour. Finished sketch for the portrait, exhibited at the Royal Academy, 1809. No. 174. Exhibited at the Singleton Exhibition, 1920. No. 14. Martin H. Colnaghi Collection. “A striking picture of a lovely woman.” [SEE ILLUSTRATION ] 261 CUPIDS Pencil and water colour on paper. Size, 51% x 9 inches. i Signed on left bottom corner in India ink, “H. S. delt.” Zy*= Exhibited at the Singleton Exhibition, 1920. No. 16. Martin H. Colnaghi Collection. Companion to the following number. [SEE ILLUSTRATION] 155 262 — 263 264 265 CUPIDS Pencil and water colour on paper. Size, 814 x 9 inches. Sketch for the picture ‘“Cupids—Shepherds’’. Exhibited at the Singleton Exhibition, 1920. No. 17. Martin H. Colnaghi Collection. Companion to the preceding number. [SEE ILLUSTRATION] CUPIDS RESTING | Pen and ink drawing on paper. Size, 51% x 9 inches. Exhibited at the Singleton Exhibition, 1920. No. 18. Martin H. Colnaghi Collection. “A charming composition.” CUPIDS AND LOVE Pencil drawing on paper. Size, 514 x 9 inches. | Inscribed in India ink in the left bottom corner, in the artist’s hand- writing, “H. S. delt.” A charming composition for an oil picture. Exhibited at the Singleton Exhibition, 1920. No. 19. Martin H. Colnaghi Collection. MASTER ACLAND Son of Sir T. Acland, Bt. Standing on right, facing front, holding lovingly the neck of a fine poodle. Pencil and water colour drawing. Size, 9 x 514 inches. The boy’s portrait with his brother and the same dog was in the Royal Academy of 1823. This is one of the sketches made for the study of the picture. Inscribed on the left bottom corner in pencil, in the artist’s hand, “T. Acland”. Martin H. Colnaghi Collection. “A most lovely drawing.” [SEE ILLUSTRATION ] 156 [259] [269] [260 | [265] 266 268 270 A211 HENRY SINGLETON 1766-1839 THE CARD PARTY Pen and ink drawing. Size, 51% x 9 inches. Exhibited at the Singleton Exhibition, 1920. No. 24. ‘Martin H. Colnaghi Collection. ALLEGORICAL SUBJECT Two women seated, reading. Pencil on paper. Size, 5144 x 9 inches. Exhibited at the Singleton Exhibition, 1920. No. 25. Martin H. Colnaghi Collection. | ALLEGORICAL SUBJECT Woman reclining, reading a large book. Pencil on paper. Size, 51% x 9 inches. i Exhibited at the Singleton Exhibition, 1920. No. 26. Martin H. Colnaghi Collection. PORTRAIT OF P. LATOUCHE, ESQ. Pencil drawing, hands and face tinted in water colour, on EE is Size, 9 x 514 inches. Sketch for the picture exhibited in the Royal Academy, 1813, under the name “P. Latouche, Senior’. No. 62. Exhibited at the Singleton Exhibition, 1920. No. OT, Martin H. Colnaghi Collection. [SEE ILLUSTRATION | PORTRAIT OF A. KNOX, ESQ. Pencil on paper. Size, 55% x 9 inches. Sketch for the picture exhibited at the Royal Academy, 1813. No. 62. Exhibited at the Singleton Exhibition, 1920. No. 28. Martin H. Colnaghi Collection. “A study from life, a wonderfully strong work.” PORTRAIT OF THE REV. MR. WHALLEY Tinted drawing on paper. Size, 5%, x 514 inches. Sketch for the picture exhibited at the Royal Academy, 1812. No. 271. Inscribed at bottom in the artist’s handwriting. ‘Revd. Mr. Whalley —Aug. 11, 1812”. Exhibited at the Singleton Exhibition, 1920. No. 29. Martin H. Colnaghi Collection. 158 } | HENRY SINGLETON 1766-1839 272 A VILLAGE Water colour on paper. Size, 514 x 9 inches. Exhibited at the Singleton Exhibition, 1920, under the title “Castle and Park’. No. 30. _f4¢— Martin H. Colnaghi Collection. 273 A MARKET GIRL Coloured in chalks, on paper. Size, 1444 x 9% inches. Lord Tweedmouth Collection. Jé “An important drawing, in good condition.” Companion picture to the following number. [SEE ILLUSTRATION ] 274 A SHEPHERD BOY Black and red chalk drawing on paper. Size, 14% x 9% inches. 4 ¥, ve Lord Tweedmouth Collection. fe “A very important drawing, in fine condition.” Companion picture to the preceding number. [SEE ILLUSTRATION | 159 a RS x ae amy iF [275] JOHN SMART 1740-1811 John Smart, the great miniaturist, also executed some tinted drawings of minute finish and delicate colour. 275 PORTRAIT OF A LADY ON A TERRACE Pencil tinted water colour on paper. Size, 145/g x 95% inches. Signed “J. Smart” on the left bottom corner. 160 276 [276] [277] JOHN SMART 1740-1811 PORTRAIT OF A GENTLEMAN Water colour on paper. Oval. Size, 31% x 31% inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 2387. Ernest Renton Collection. [SEE ILLUSTRATION | PORTRAIT OF A LADY Tinted pencil drawing on paper. Size, 6%. x 4%, inches. Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 238. [SEE ILLUSTRATION ] JOHN RAPHAEL SMITH 1752-1812 John Raphael Smith is as accomplished a draughtsman and pastellist as he is an eminent engraver. In his water colours as in his oils he evinces a marked taste for crowning his lady sitters with a hat, having cleverly developed his skill in rendering the shadows thus thrown upon the face. 161 [278] JOHN RAPHAEL SMITH 1752-1812 278 PORTRAIT OF A LADY IN A PARK Pencil and sepia on paper. Size, 1634, x 11 inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 241; Zurich, 1920. No. 108. Ernest Renton Collection. 162 279 om toate Malai le Se tee Ee JOHN RAPHAEL SMITH 1752-1812 PORTRAIT OF A LADY IN A BLACK LACE MANTLE From an old inscription written in ink and pasted on the back of the frame, we are inclined to think that this dear old lady was the Dowager Lady Webster. Pencil and water colour on paper. Oval. Size, 53% x 4% inches. Very suitably framed in a deep wooden square frame with an inner gilded oval frame. Exhibited at ‘“‘Les Maitres Anglais’, Paris, 1919. No. 242. Ernest Renton Collection. PORTRAIT OF A LADY Pencil and water colour on paper. Size, 1014 x 8 inches. Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 243; Zurich, 1920. No. 109. Ernest Renton Collection. “A very decorative and genuine work of the master.” [SEE ILLUSTRATION ] 163 [281] JOHN RAPHAEL SMITH 1752-1812 281 PORTRAIT OF THE CLAVERING CHILDREN, AFTER GEORGE ROMNEY THE ENGRAVER’S DRAWING. Je Chalks on paper stretched on canvas. Size, 1614 x 14 inches. Elaborate gilded wood frame. Traces of signature and inscription cn left bottom, under dogs’ feet. Printed on front of frame: “ ‘The Clavering Children’ after George Romney. The Engraver’s Drawing. by JOHN RAPHAEL SMITH.” Ernest Leggatt Collection. 164 ie eT ey 2 THOMAS STOTHARD 1755-1834 As a book illustrator and a decorative draughtsman Thomas Stothard had in his day no rival. His small drawings in sepia and India ink are really small masterpieces. 282 SIX BOOK ILLUSTRATIONS (a) ILLUSTRATION FOR “CLARISSA”’ Young girl kneeling, facing left, at table, with her head on large book. Size, 45 x 2% inches. (b) ILLUSTRATION FOR “CLARISSA” Woman on her death bed, surrounded by sorrowing household. Size, 414 x 3 inches. (c) FRONTISPIECES FOR Books: “THE NYMPH FOREDOOMED.” “A PAIR” = Mercury advances towards an old man sitting on steps on left. The other, a bare legged warrior, with short mail tunic, who has leapt into his chariot, bearing on his shoulders a woman. Size, 414 x 214 inches. (d) ILLUSTRATION FOR “MARIA” A drawing room. A young man, facing front, is moving rapidly and fearfully left, to avoid a dark-haired man who has just arrived. Size, 452 x 213/16 inches. (e) ILLUSTRATION FOR ‘‘PILGRIM’S PROGRESS” Women and children gathering fruit. Size, 334 x 211/16 inches. All in sepia and India ink on paper. Fairfax Murray Collection. GEORGE, MARQUESS TOWNSHEND 1724-1807 The Marquess Townshend is one of the most distinguished amateur artists at the end of the eighteenth century. 283 PORTRAIT OF A LADY Inscribed in bottom left of frame, “‘1797’’. Marquess Townshend Collection. Hedderwick Collection. Ernest Renton Collection. “This work has been attributed in the past to St. Simon, but in the expert’s opinion, it was executed by the Marquess Townshend.” [SEE ILLUSTRATION ] 165 [284] QUEEN VICTORIA 1819-1901 284 This is a sketch of Queen Victoria, executed by herself when young. yor It reappeared during the Great War at the Red Cross Sale, where it was bought by Mr. Renton. Drawing in pencil, slightly tinted in water colour, on paper. Size, 11 x 8% inches. Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 250; Zurich, 1920. No. 118. 166 [285] [288] FRANCOIS HUET VILLIERS 1772-1813 Francois Villier’s works, in spite of his French origin, can be considered as clearly English drawings. He was born in Paris, but the Revolution caused him to settle in London, where he practised successfully. He exhibited at the Academy and the British Institution from 1803 to 18138, the year of his death. 285 PORTRAIT OF A GENTLEMAN Pencil and water colour on paper. Oval. Size, 6144 x 514 inches. Signed and dated “F. Huet Villiers 1804” on the left of the picture. Braithwaite Wilson Collection. i, So Ernest Renton Collection. [SEE ILLUSTRATION] THOMAS CHARLES WAGEMAN 1787-1863 An artist who specialized from the beginning of the nineteenth century in theatrical portraits. 40286 PORTRAIT OF MRS. EDWIN Pencil gouached, on paper. Size, 4 x 24% inches. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 251. Sir Henry Irving Collection. 167 Dike Vos oy) COUNT JOHANN MAXIMILIAN WALDECK = 1766-1875 | a This interesting artist beats all records of length of life, and is certainly :- the champion among artists; he was an Austrian nobleman, born in Vienna a in 1766, and lived for 110 years. He studied art in Paris, under Vien, . Ar David and se: Later he became established in Lond es 287 PORTRAIT OF MISS KEMBLE AS EUPHRASIA IN “THE — GRECIAN DAUGHTER” Water colour on paper. Size, 6x 43, inches. ‘JAMES WARD, R.A. | 1769-1859 James Ward is one of the most proficient draughtsmen of the English i School of the beginning of the nineteenth century, and out of anxiety to have his work distinguished from that of Morland he signed all his draw- ings, even to the slightest sketches. 288 LADY SITTING AT A TABLE : Water colour drawing on paper. Size, 7 Vg x 634, inches. Signed on the left bottom corner, “J. W. R. A.” Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 252. Geoffrey Whitehead Collection. [SEE ILLUSTRATION |] WILLIAM WARD 1766-1826 William Ward, the brother of James Ward, sometimes executed small crayon drawings broadly dashed in and undoubtedly influenced by Mor- land. Although his engravings are well known, his drawings seem to have been overlooked. They are, however, of high technical quality and well deserving the attention of collectors. | 289 PORTRAIT OF A GENTLEMAN Pencil drawing with full-coloured dashes in chalk over a general tint of water colour, on paper. Oval. Size, 9x7 anehes. Braithwaite Wilson Collection. Ernest Renton Collection. [SEE ILLUSTRATION ] 168 ne i i eee nt a [289 ] L. J. WATTEAU de LILLE 1731-1798 So called to distinguish him from his uncle and from his son, Antoine Watteau de Valenciennes. Pupil of the Paris Royal Academy, he settled in Lille in 1755, and became professor at the Academy, where he introduced the nude model. 290 SIX DRAWINGS (a) YOUNG MAN WITH A JABOT Pencil on paper. Size, 2%, x 23% inches. (b) OLD MAN WITH STICK Pencil on paper. Size, 314 x 21% inches. (c) STUDY OF A WOMAN Three-quarter length, seated, facing right, and resting fer right Lo SE elbow on the back of the seat in the foreground. Pencil on paper. Size, 414 x 25% inches. (d) LADY WITH A HIGH-CROWNED HAT Pencil on paper. Size, 354 x 21/16 inches. (e) Two STUDIES FOR CLOTHING Upper left, a man shows his back to waist; right arm outstretched; long coat with short collar; wig. Lower right, headless bust, facing three-quarters right. Long coat with large buttons and high collar; lace jabot; double-breasted waist- coat with small buttons. Pencil on paper. Size, 65% x 334, inches. RICHARD WESTALL, R.A. 1765-1836 Richard Westall, a fellow student of Sir Thomas Lawrence, is best known as a book illustrator in domestic and rural subjects. But his small half- length portraits in water colour, as well as his heads, deserve appreciation for their elegance and fine quality of draughtmanship. 291 L’ALLEGRO A portrait of Lady Hamilton. Conté, chalk and water colours, on paper. Size, 9x 8 inches. The four corners have been clipped. Exhibited at “Les Maitres Anglais’, Paris, 1919; Zurich, 1920. No. 254. Martin H. Colnaghi Collection. Charles Newton Robinson Collection. “One of the most charming works ever executed by this artist. A representative museum piece.” Companion to the following number, “Il Penseroso”’. [SEE ILLUSTRATION | Leo | F 1 : ay ~*~ qian lpepeee) [292] [291] RICHARD WESTALL, R.A. 1765-1836 IL PENSEROSO A portrait of Miss Siddons, the daughter of the celebrated actress. Conté, chalk and water colours on paper. Size, 9x 8 inches. Companion drawing to the preceding number, “L’Allegro”’. YOUNG LADY IN CLASSICAL DRESS, PROBABLY THE PORTRAIT OF AN ACTRESS Water colour and Chinese white, on paper. Size, 614 x51% inches. Ernest Renton Collection. “A very charming work.” PORTRAIT OF PRINCESS VICTORIA AS OPHELIA Queen Victoria when twelve years old had Richard Westall as draw- ing master. Tradition has it that one day Westall asked the permission of his royal pupil to draw her charming profile in his sketch book. The young princess agreed and picking up the tunic of Ophelia—which the artist had ready for his big historical picture of Hamlet and Ophelia—she donned it and arranged her hair in the style of the period. The artist made a large drawing, which is still in the royal collection, and a smaller one which he kept. Pencil drawing on paper. Size, 544,x 31% inches. Signed with initials “R. W.” on bottom right corner. Fairfax Murray Collection. 171 /y 295 e 296 RICHARD WESTALL, R.A. 1765-1836 FOUR DRAWINGS Illustrations for Bernardin de Saint-Pierre’s ‘Paul et Virginie’, translated by Helen Maria Williams. : (a) PAUL CARRYING VIRGINIA IN THE FOREST TO CROSS A FORD Pencil on paper. Size, 434, x 3%, wmches. Fairfax Murray Collection. (b) VIRGINIA WAITING FOR PAUL Pencil on paper. Size, 434,x 3% inches. Initialled in the right bottom corner, ‘‘R.W.” Fairfax Murray Collection. “A perfect little drawing.” (c) PAUL’S DESPAIR | Pencil on paper. Size, 45 x 334, inches. Initialled in the right bottom corner, “R.W.” Fairfax Murray Collection. (d) THE DEATH OF VIRGINIA Pencil on paper. Size, 45 x 334, inches. Initialled in the right bottom corner, “R.W.” Fairfax Murray Collection. FOUR DRAWINGS Illustrations for Gay’s ‘Fables’”—the celebrated Stockdale edition, 1798. (a) THE MOTHER, THE NURSE AND THE FAIRY Slightly drawn in pencil on paper. Size, 4% x 4 inches. (b) THE PHILOSOPHER AND THE PHEASANTS Slightly drawn in pencil on paper. Size, 4%, x 4 inches. Fairfax Murray Collection. (c) THE PEACOCK, THE TURKEY AND THE GEESE Slightly drawn in pencil on paper. Size, 434, x 4 inches. (qd) THE SHEEP DOG AND THE WOLF Slightly drawn in pencil on paper. Size, 45 x 3% inches. Fairfax Murray Collection. 172 297 298 eG ee Q \ 299 ——" enw RICHARD WESTALL, R.A. 1765-1836 THREE SKETCHES (a) KING AND COURTIERS Pencil on paper. A few lines in India ink. Size, 734 x 51% inches. Signed in the left bottom corner, “R. Westall R.A.” Fairfax Murray Collection. (b) THE RIVER ARUN AND THE CHILD OTWAY India ink drawing on paper. Size, 27% x 4 inches. Fairfax Murray Collection. (c) MOORISH GATEWAY, WITH VIEW OF A CITY IN THE BACKGROUND Sepia and water colour drawing on paper. Size, 5Yg, x 51% inches. Signed in the right bottom corner, “R. Westall R.A.” Fairfax Murray Collection. THREE DRAWINGS (a) SKETCH OF FIGURES IN A DOORWAY Charcoal drawing on paper. Size, 5% x 41% inches. Initialled in the right bottom corner, “R.W.” Fairfax Murray Collection. _ (b) DR. FAUST AT THE FANTASTIC BALL An important composition, with numerous figures of dancers, musi- cians, etc., in the background. It bears the marks of the engraver’s tool in transferring the main lines to the plate. Pencil, charcoal and India ink on paper. Size, 834, x 61% inches. Fairfax Murray Collection. (c) SKETCH: STUDY OF TWo HANDS Black and white chalk drawing on steel-blue paper. Size, 334, x 454 inches. Fairfax Murray Collection. SELF-PORTRAIT Head in profile, looking up to the right. Highly finished pencil drawing on paper. Size, 334 x 37/16 inches. Fairfax Murray Collection. HEAD OF JOHN KEATS Profile to the left of the famous poet, showing both eyes. Pencil on paper. Size, 31% x 3V% inches. Inscribed “Keats” in left bottom corner. Fairfax Murray Collection. 173 301 SO- 302 Ad di fis RICHARD WESTALL, R.A. 1765-1836 HEAD AND SHOULDERS OF A YOUN G GIRL Three-quarters to the right. Pencil on paper. Size, 414 x 414 inches. Fairfax Murray Collection. NINETEEN DRAWINGS—ILLUSTRATION S FOR THE BIBLE (a) THE. FALL OF SATAN INTO THE AByss. Rev. xx, 11 Pencil on paper. Size, 55 x 34Yg inches. Signed with initials in bottom right corner, “R. W. Ks (b) Moses ABANDONED IN THE BULRUSHES. Ex. ii, 3 With the engraving. : Pencil on paper. Size, 314 x 5% inches. The engraving is smaller. Signed with initials, bottom right, “R. W.” (c) MOSES STRIKING THE ROCK. Num. xx, 11 | With the engraving. Pencil on paper. Size, 58% x 31% inches. Signed with initials, bottom right, “R. W.” (d) MOSES BRINGING THE TABLES OF THE LAW FROM MOUNT SINAI. Ex. Xxxiv, 29 Pencil on paper. Size, 514, x 33% inches. (e) JONAH CAST INTO THE SEA. Jon. i, 15 : Note the Biblical whale, with his teeth and large eyes—a whale quite capable of swallowing a man. Pencil on paper. Size, 53% x 3814 inches. Signed with initials on prow of ship, “R. W.” (f) JOSHUA AND THE ANGEL. Josh. v, 13 With the engraving. Pencil on paper. Size, 33% x 53% inches. Signed with initials, bottom right, “R. W.” (9g) THE SACRIFICE OF MANOAH. Judges. xiii, 20 With the engraving. Pencil on paper. Size, 534, x 3814 inches. Signed with initials, bottom right, “R. W.” (h) SAMSON AND DELILAH. Judges. xvi, 19 Pencil on paper. Size, 33% x 65 inches. Signed with initials on base of bedside table, “R.W.”’ (1) THE BRIDE’S COUNSEL TO HER MAIDS. Songs, ii, 7 Pencil on paper. Size, 33 x 614 inches Signed with initials, left bottom, “R. W.” 174 | bl (7) HAGAR AND ISHMAEL. Gen. xxi, 15 With the engraving. Pencil on paper. Size, 4%, x 4 inches. Signed with initials, bottom left, “R.W.” Squared by the artist for proportions. Touches of red crayon. (k) ESTHER KISSING THE ROYAL SCEPTRE. Esther. vy, 2 Pencil on paper. Size, 334 x 53% inches. Signed with initials, bottom left, “R. W.” (1) MIRIAM STRICKEN WITH LEPROSY. Num. xii, 10 With the engraving. Pencil on paper. Size, 514 x 33% inches. Signed with initials, bottom right, “R. W.” (m) ELISHA ON HIS DEATH BED, WITH JOASH KING OF ISRAEL. II Kings. xiii, 17 Pencil on paper. Size, 314, x 514, inches. Signed with initials, bottom left, “R. W.” (n) RUTH GLEANING IN THE FIELDS OF Boaz. Ruth. ii, 5 Pencil on paper. Size, 3%. x 53% inches. (0) ZECHARIAH’S VISION OF THE FOUR CHARIOTS. Zech. vi, 1 Pencil on paper. Size, 33% x 514, inches. Signed with initials, bottom right, “R. W.” (p) JESUS RAISES THE WIDOW’S SON FROM THE DEAD AT NAIN. Luke. vii, 15 Pencil on paper. Size, 332 x 514 inches. Signed with initials, bottom right, “R. W.” (q) JESUS APPEARS IN THE GARDEN TO MARY MAGDALENE Pencil on paper. Size, 584, x 41% inches. Signed with initials, bottom left, “R. W.” (r) THE ANNUNCIATION. Luke. i, 26 Pencil on paper. Size, 414% x 15% inches. (s) THE BIRTH OF JESUS. Luke. ii, 15 Pencil on paper. Size, 434 x 1% inches. Signed with initials, bottom right, “R. W.” These drawings were for “The Bible illustrated with Engravings by Charles Heath from the Designs of Richard Westall. Oxford, 1815.” All from the Fairfax Murray Collection. “The plates have been twice engraved.”—W. T. Lowndes. 175 [304] [305] FRANCIS WHEATLEY 1747-1801 Francis Wheatley, the well known subject painter, has executed many drawings of figures, mostly however subject drawings rather than absolute portraits. Having such a facile execution he naturally handled a very quick pencil. Where he is most charming is perhaps in his septa portraits, two of which are reproduced here. These he sketches in with pencil and direct with the brush executes his outline, showing his skill and his knowledge of the human figure. In this broad manner he obtains an easy, perfect outline. 503 NYMPHS AND FAUNS AT PLAY Seven complete figures. On the left, three Cupids decorating a stone bust of Silenus with flowers. bg Jt Pen and ink drawing tinted in water colour on paper. Size, 111% x f 7 135 inches. Inscribed in ink, bottom left, ‘““F. Wheatley R. A.” 3004 PORTRAIT OF A LADY ‘Pencil and India ink tinted in water colour on paper. Size, 8 x 614 inches. Exhibited at “‘Les Maitres Anglais’, Paris, 1919. No. 257. Ernest Renton Collection. [SEE ILLUSTRATION | 176 ar drag any VORE = FRANCIS WHEATLEY 1747-1801 _ 805 THE YOUNG SHEPHERD AND HIS DOG Pencil tinted in water colour on paper. Size, 113% x 8% inches. Signed, bottom right, “F. Wheatley’. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 259; Zurich, 1920. No. 119. / jf" [SEE ILLUSTRATION ] SAMUEL DE WILDE 1748-1832 Samuel de Wilde is known all over the world through his theatrical por- traits both in oil and water colour, though his activities do not by any means stop at members of the theatrical profession, Next to his theatrical drawings he has also executed some pencil and some sanguine drawings which are deserving of the highest praise, and merit the close attention of the wise collector. De Wilde was born in Holland. He exhibited at the Royal Academy between 1788 and 1821. 306 STUDY OF A YOUNG GIRL | Pencil and sanguine on paper. Size, 111% x 714, inches. 4 on Signed and dated at bottom, “DW N 13 1801 N.” Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 264; Zurich, 1920. No. 122. “Important and very fine.” [SEE ILLUSTRATION ] 207 PORTRAIT OF DOWTON, THE ACTOR, IN ONE OF HIS PARTS & Water colour on paper. Size, 6 x 434, inches. 2 Jo- Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 60. [SEE ILLUSTRATION ] 308 PORTRAIT OF A YOUNG WOMAN Charcoal and sanguine on paper. Size, 94% x T inches. JO a Signed and dated, bottom left, “S De Wilde 1801”. Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 59. Ernest Renton Collection. : 177 a SAMUEL DE WILDE 1748-1882 309 PORTRAIT OF MRS. ANTHONY CLARK OF CANTERBURY Water colour on paper. Size, 644 x 514 inches. Ernest Renton Collection. _ [SEE ILLUSTRATION] 310 PORTRAIT OF WILLIAM PARSONS, THE ACTOR, SIGHT” Water colour on paper. Size, 914 x 614 inches. Signed and dated, bottom left, “S De Wilde Feb 1794”. JA Gm Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 262. [SEE ILLUSTRATION ] 311 PORTRAIT OF ELLISON, THE ACTOR, IN A SHAKESPEAREAN , ROLE Water colour on paper. Size, 1334, x 85 inches. Signed and dated, lower right, “S de Wilde July 1780”. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 261; Zurich, 1920. No. 120. [SEE ILLUSTRATION | 612 PORTRAIT OF CHARLES MACKLIN, THE ACTOR, AS SHYLOCK Water colour on paper. Size, 914, x 634 inches. Exhibited at ‘Les Maitres Anglais”, Paris, 1919. No. 260. [SEE ILLUSTRATION ] 178 AS “FORE- © nites [307] [309] Tn nena ec er ea peor etc ensenoone nce eer reer ' 2 1 » [3 amy. —_) re oD ey SAMUEL DE WILDE 1748-1832 3138 PORTRAIT OF MOTHER AND CHILD Pencil and sanguine on paper. Size, 135% x 8% inches. Inscribed and dated, bottom left, “ . . ., Pint. Jun 23 1803”. 2 rixhibited at “Les Maitres Anmais’ Paris 1919. No. 263; Zurich, on 1920. No. 121. 314 THE YOUNG CROSSING SWEEPER Pencil and sanguine on paper. Size, 1334 x 9 inches. Signed and dated, left bottom, “D W ft Jun 26th 1801”, [SEE ILLUSTRATION] JO - @ 315 PORTRAIT OF LADY HAMILTON AS THE FAIR COURTESAN Pencil tinted in water colour on paper. Size, 684, x 4% inches. Sir Tollemache Sinclair Collection. / / : [SEE ILLUSTRATION] JOHN YOUNG 1755-1825 John Young, the painter and engraver, executed a good many drawings at the end of the eighteenth century, and a few pastels. He was mezzotint engraver to the Prince of Wales, and keeper of the British Institution. JOHN YOUNG fe 1755-1825 /) “316 PORTRAIT OF A LADY Pastel on paper. Size, 19 x 151% inches. “This drawing has usually been attributed to Cotes, but in the expert’s opinion, it is more likely to be that of John Young.” 180 [314] [306] [315] cm ‘ : we F a. a ee . “2 « ¥ \) ais This catalogue designed by The Anderson Galleries Composition and press-work by Publishers Printing Company, New York ) ~ | = ” eh ~ —_— 9 ~ —-g ¥ - ~— > a } ¥ Saat ~4 ~ — a _ . —— ¥ &*~ ~ a “ = od “i ~: / <_. ~ - > — wy ce . is / ‘ me §S y = :.. - - ~ — ‘ ‘ a ™ hae Pm se ee at < mf *. ‘ oe . s a. a ™ = = = — ~— «A — ¥ a = ~ Nae > = ‘ie - — ~e K ag ‘< = e S a= — _ (~ --S, ‘ es (~~ —— “ ae — — 7 — _, -— : _— a 4 aes . , : = one 5 > nf = 7 f — ~, a aint naa 7 mad er a \ - —~ , PN ne ; - Ee. ¢ _ Yo = “~~ ‘ a \ _ ‘- © ~ ’ —- — ; 7 ~~ - ee ~ ~, \ , wat : an 4 < — om ~ — - — -_ \ — : = g i ane ~~ Page ~ — a . : e = : eo ~~ r= _ =<. t % > he _ j ~~ - _ — - rn — y me ‘ ¥ — : =. of ~ oe —_ \ — ” _— —a 7 Tm * _ eet — * TS pelted ea 4 me P uJ Vy \ | ; i <= ~e a = > oe ae << & =y ~ >. 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