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Lot 134
A LOUIS XVI ORMOLU CARTEL CLOCK OR 'PENDULE D'ALCOVE' THE CASE AFTER A DESIGN BY ROBERT OSMOND, CIRCA 1780 5,25" dial enamelled Lepaute Hger du Roy the case 46cm high, 30.2cm diameter The design for this clock case can be seen in a pen, ink and wash drawing by Robert Osmond (which is now in the collections of the Bibliothèque Doucet (inventory no. VI E15, Res., fol. 36-39.) H. Ottomeyer / P. Pröschel, Vergilete Bronzen - Die Bronzearbeiten des Spätbarock und Klassizismus, Munich 1986; I, p. 184 (Fig. 3.8.8). Condition Report: Movement has been converted from pendulum escapement to platform lever regulation - hence most of the going train has been altered. The strike train survives intact. Although this is an issue with regards to originality it does render the clock more usable. The movement is running and striking however a clean/service is advised. The dial has areas of scuffing/rubbing around each winding holes (together with related chipping around each hole). The scratching has received some overpainting which is fairly poorly executed. Case is generally in very good original condition with age related rubbing, wear, discolouration and other blemishes commensurate with age and use. The bezel hinge is a little slack but it will close and the rear edge moulding fixings have been repositioned.Clock does not have a winding key. Condition Report Disclaimer
Lot 493
A RARE 19TH CENTURY DRAWING DEPICTING THE SQUAW OF THE MIC-MAC TRIBEMounted on brown paper, inscribed 'Mrs Jane Tyson. Halifax n.s 48 (Nova Scotia).Along with a brown ink drawing of Halifax, Nova Scotia by Miss Kirby.Both drawings removed from a scrap book belonging to a relative of Captain James Muddle.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
Lot 496
SIR FRANCIS GRANT P.R.A., R.S.A. (BRITISH 1803-1878): AN INK DRAWING ON PAPER DEPICTING HUNTSMAN ON HORSEBACK23.5cm x 17.5cmStuck down on paper.Removed from scrap book belonging to a relative of Captain James Muddle.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
Lot 409
Edward Ardizzone (British, 1900-1979), "No. 77 The Boy and the Willow Tree 1965’’, an illustration for The Truants and Other Poems for Children, pen and ink drawing, 19.5 x 29cm.Condition: Not signed. Foxing spot above man's hat. Crease to the right of "N" in the title running vertically down the full length, with a stain running down part of the crease. 2 foxing spots at far right, a light stain also. Other minute pale brown marks under title.
Lot 121
German/Italian Letters.- Boon (Adrian, Senator of Hamburg).- Beii den Ittalianeren feind 20 Buch staben, manuscript in German and Italian (including 2 dedication ff. to Adrian Boon), folding sepia drawing of a town, pen and ink decoration at beginning and end, c. 140pp., browned, original calf, gilt, rubbed, corners bumped, lacks part of spine, g.e., 167 x 110mm., 19th January 1692.
Lot 35
Duncan Grant (British, 1885-1978)Couple Embracing pen and ink on paper21.5 x 15cm (8 7/16 x 5 7/8in).with a further pen and ink drawing, of a similar subject, on the reverse, by the same handFootnotes:ProvenancePaul Roche, and thence by descent toMartin Roche, from whom acquired by the present owner, 1992Private Collection, U.K.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 30
Duncan Grant (British, 1885-1978)Nude with Arm Raised pen and ink on paper24 x 19.5cm (9 7/16 x 7 11/16in).Executed circa 1940with a further pen and ink drawing, of flowers and a violin, on the reverse, by the same handFootnotes:ProvenancePaul Roche, and thence by descent toMartin Roche, from whom acquired by the present owner, 1992Private Collection, U.K.The present lot is executed on the reverse of an invitation to participate in the exhibition Younger British Painters, which was held at the Ashmolean Museum in 1939. The exhibition was jointly organised with the Contemporary Art Society, and aimed to provide support to artists during the Second World War. The invitation to exhibit is inscribed with a personal note from Muirhead Bone, stating 'Dear Duncan Grant, It would be a great help to the Exhibition if you would be kind enough to send representative pictures it would very much help the young men to get a footing in these difficult times. Muirhead Bone'.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 186
Desmond Morris (British, born 1928)Star Performer signed with monogram and dated '99' (lower left); further signed with monogram, dated and numbered '22 October 99 (1)' (on sheet verso)watercolour, ink and pen and ink on paper36.5 x 25.5cm (14 3/8 x 10 1/16in).(unframed)Completed 23 November 2015Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.LiteratureS. Levy, Desmond Morris Late Work Analytical Catalogue Raisonné 2012-2020, Sansom and Company, Bristol, 2020, no. 2015/36, p. 110Please note that the ink drawing for this work was completed on 22 October 1999 and the colour was added later, in 2015. The drawing was signed in 1999, but was not re-signed when the colour was added. This is noted in S. Levy, Desmond Morris Late Work Analytical Catalogue Raisonné 2012-2020, Sansom and Company, Bristol, 2020, no. 2015/36, p. 110.We are grateful to Desmond Morris for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 38
Duncan Grant (British, 1885-1978)Two Nudes pen and ink on paper 12 x 8.5cm (4 3/4 x 3 3/8in).Executed in the 1920stogether with a further pen and ink drawing, of four male figures, by the same hand(2)Footnotes:ProvenancePaul Roche, and thence by descent toMartin Roche, from whom acquired by the present owner, 1992Private Collection, U.K.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 738
Frederick (Fred Lawson (1888-1968), a pen and ink drawing, depicting possibly a ruined castle wall and trees, signed and dated 1962. 22 x 23 cm, framed and mounted, together with an etching depicting Lady Hill, 19 x 19 cm, framed and mounted. CONDITION REPORT: The lady Hill picture has foxing throughout the entire image. There is also a ripple and a section of staining on the right-hand side leading from the bottom two thirds of the way up. On the ruined castle picture the paper is quite brown and shows some light foxing particularly around the central tree and then further down through the lower left-hand side of the picture.
Lot 7
Paul Feiler, British 1918-2013 - Mousehole Harbour, 1953; ink and pencil on paper, signed and dated lower left 'Feiler 53', 13 x 16.8 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note: the present work relates to the paintings 'Mousehole Harbour, 1952' and 'Low Tide, Mousehole Harbour, Cornwall, 1953' and demonstrates the artist pairing down the Cornish landscape into abstract form, using a darkened palette. These works were made while the artist was living in Bristol and in the lead-up to his first one-man exhibition at the Redfern Gallery in London. There is a photocopy of a drawing of two figures attached to the reverse of the frame, possibly an image of the reverse of the work. Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
Lot 1359
Circa 1680 A.D. Ink on paper; drawing of a Western noblewoman or pilgrim; mounted with dark blue reveal in a Victorian gilt ornate frame and later illuminated border with decorative gold and red paint. 2.3 kg, 36 x 49 cm including frame (14 1/8 x 19 1/4 in.).Acquired from the UK art market. Private Scottish collection.The headgear may suggest that the subject is Portuguese, if it depicts the traditional 'capote e capelo' hood.
Lot 33
*** Please note, this drawing is sold unframed.Deare (John, 1759-1798) Design for a tomb monument, with tragic heroine, possibly Artemisia, wife of Mausolus, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Oct. 1787' in the roundel in the upper centre of the monument, image 210 x 210 mm (8 1/4 x 8 1/4 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Collection of John and Eileen HarrisLiterature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A BritishNeoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 37, illus. p. 110*** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life.'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty].
Lot 22
Chambers (Sir William, 1723-1796) Design for decoration and furniture of the hall at The Hyde, Ingatestone, Essex, pen and greyish-black ink, grey wash, annotated in pencil and brown ink, with additional elements added in pencil, on laid paper with partial watermark of Strasbourg lily, sheet 273 x 380 mm (10 3/4 x 14 7/8 in), slightly rough edges, minor nicks to extremities, some browning and surface dirt, unframed, [circa 1760]; together with Chamber's bookplate, and a portrait of Chambers in soft-ground etching by a young William Daniell after George Dance, 1793, framed (3)Provenance: Collection of John and Eileen HarrisLiterature:Harris, John, Sir William Chambers: Architect to George III, 1996, pp. 135-136, illus. fig. 191cf. Harris, John, Sir William Chambers: Knight of the Polar Star, 1970Exhibited:Sir William Chambers: architect to George III, 1996-7, Courtauld Gallery, London and National Museum, Stockholm, no. 151*** Fine drawing showing the 'elevation of an end of the hall', with colour notes and materials intended to be used, such as 'portland stone' and 'Dead White'. Additional pencil sketches have been added in over the pen and ink, suggesting further elements to embellish the original design. Chambers started work on the great hall at The Hyde in 1761, where he fashioned out 5 rooms that partially housed the collection of antiquities collected by Thomas-Brand Hollis, now held in the Fitzwilliam Museum, Cambridge. Sir William Chambers RA was a Swedish-Scottish architect, based in London. Among his best-known works are Somerset House, and the pagoda at Kew. Chambers was a founder member of the Royal Academy. Said to have been the major rival of Adam in British Neoclassicism. Chambers was more international in outlook (his knighthood being originally a Swedish honour) and was influenced by continental when designing for British clients. A second visit to Paris in 1774 confirmed the French cast to his sober and conservative refined blend of Neoclassicism and Palladian conventions.
Lot 74
Basoli (Antonio, 1774-1848) Design for the side elevation of a private chapel, probably for a ceremonial “Prospetto Laterale”, pen and grey ink, watercolour and gouache, heightened with gold, pencil under-drawing, sheet 705 x 485 mm (27 3/4 x 19 1/8 in), under glass, minor spotting and surface dirt, framed, [early 19th century]Provenance:Collection of John and Eileen Harris*** Antonio worked as a set designer and as a decorator for numerous theatres in Bologna and its environs, including the Marsigli Rossi Theater, the Teatro Comunale di Bologna, and, in particular, the Contavalli Theater. Born in Casetl Huelfo, Basoli's first teacher was his father, Lelio Andrea Basoli. His education was motivated by an insatiable and constant interest in classic art, classic and contemporary literature, and the works, decorations and inscriptions of Giovanni Battista Piranesi. Basoli often worked alongside his brothers, Francesco and Luigi Basoli, and in 1804 he became Professor at the Accademia delle Arti di Bologna until 1826. During his time at the Accademia he developed a close friendship with fellow pupils Domenico Corsini and Pelagio Palagi, and later worked for a time in the studio of Petronio Fancelli.
Lot 68
Grandjean (Jean, 1752-1781) Two Arcadian views in Rome: Porta Salaria, and Monte Cavallo, Quirinal Hill, a pair, pen and grey ink, sepia wash, pencil under-drawing, both on laid paper with partial ruled black ink borderline, each sheet approx. 101 x 170 mm (4 x 6 3/4 in), minor nicks and handling creases, light surface dirt, unframed, [circa 1790 or slightly later] (2)Provenance:Hazlitt Gooden & FoxCollection of John and Eileen Harris
![Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; Various studies including a](https://cdn.globalauctionplatform.com/c483b3c4-d107-43a9-8060-b220009a498e/f85e4dd9-ee71-4aff-a62e-b220009b29ba/468x382.jpg)
Lot 59
Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; Various studies including a seated boy in an interior [verso], double-sided drawing, numbered '44' verso, pen and brown ink, red chalk, brown wash, on laid paper without watermark, sheet 210 x 148 mm (8 1/4 x 5 3/4 in), under glass, framed, [17th century]Provenance:Collection of John and Eileen Harris*** Faint pencil inscription to reverse of frame suggests an attribution to 'Sabbatini', Nicola Sabbatini (1574-1654), however the sheet appears to be by Tassi, with another numbered drawing by the same hand sold at Christie's New York in 1996, (Old Master Drawings, January 10, 1996, lot 57], and fully given to the artist.
Lot 75
*** Please note, the description for this lot has been updated. Basoli (Antonio, 1774-1848) Design for the walls and ceiling of a room', pen and brown ink, watercolour, traces of pencil under-drawing, on wove paper without watermark, ruled brown ink borderline, numbered '2[?]7' in the upper right margin, 370 x 490 mm (14 1/2 x 19 1/4 in), under glass, affixed onto mount with old tape verso, some signs of surface dirt and minor toning, framed, [1821] Provenance: Collection of John and Eileen Harris Exhibited: The Age of Neo-classicism, Arts Council, Royal Academy and V&A, 9th Sept - 19th Nov 1972, cat. no. 1564 *** An exceptionally fine example, possibly one of Basoli's theatrical stage designs. Antonio worked as a set designer and as a decorator for numerous theatres in Bologna and its environs, including the Marsigli Rossi Theater, the Teatro Comunale di Bologna, and, in particular, the Contavalli Theater. Born in Casetl Huelfo, Basoli's first teacher was his father, Lelio Andrea Basoli. His education was motivated by an insatiable and constant interest in classic art, classic and contemporary literature, and the works, decorations and inscriptions of Giovanni Battista Piranesi. Basoli often worked alongside his brothers, Francesco and Luigi Basoli, and in 1804 he became Professor at the Accademia delle Arti di Bologna until 1826. During his time at the Accademia he developed a close friendship with fellow pupils Domenico Corsini and Pelagio Palagi, and later worked for a time in the studio of Petronio Fancelli.
Lot 48
English School (19th century) The British Chapel, Moscow, point of the brush and ink, watercolour, heightened with white, inscribed 'British Church at Mosco' and in another hand '1831-1876', on wove paper without watermark, sheet 300 x 360 mm (11 3/4 x 14 1/8 in), minor surface dirt and toning, unframed, [circa 1840s]Provenance:Collection of John and Eileen Harris*** The British chapel was established in 1828 on the current site of St. Andrew's, at 8 Voznesensky (Ascension) Lane, and remained until 1882, following which the chapel was demolished. The Rev. Charles Barton (or Burlton) was appointed by the Russia Company as chaplain in 1825, and the present drawing likely dates from just after 1840, at which point the portico was added. [cf. Ecclesiology Today, issue 57 (2019), pp 21–38]We are grateful to Dr James Bettley for his assistance in the cataloguing of this lot.
Lot 2
Whittell of Bodenham, Herefordshire (William, b. 1684, fl. 1705-9) Hampton Court com: Heref:, bird's-eye view of Hampton Court, Herefordshire, showing both house and gardens, pen and brown ink, on laid paper, signed indistinctly in the lower right corner, inscribed again in the lower margin 'W Whittell fecit', sheet 207 x 272 mm (8 1/18 x 10 3/4 in), carefully affixed onto slightly later laid paper, minor spotting and surface dirt, unframed, [circa 1700] Provenance: Surveys and maps commissioned by Thomas, Earl of Coningsby and his younger daughter, Lady Frances Coningsby 1698-1774; Collection of the Earl of Essex; Collection of Richard Arkwright Esq.; The Burrell Collection; Collection of Viscount Hereford, the then owner of the estate; Sabin Gallery, 1967; Collection of John and Eileen Harris Exhibited: Sabin Galleries, A Country House Portrayed: Hampton Court Herefordshire 1699-1840, 1973, cat. no. 6, illus. pl. IX *** Hampton Court in Herefordshire is one of the great houses of that county. The medieval house and its estate was purchased by Sir Humphrey Coningsby in 1510. His great grandson, Sir Thomas, made significant changes and developed the grounds in the early 17th century, but it was his great grandson King William lll's Paymaster General and Privy Councillor who transformed the house and gardens, circa 1690-1700. Not only that, he was sufficiently proud of his achievements to record these undertakings in large paintings by Leonard Knyff and John Stevens (now in the Paul Mellon Collection of British Art, New Haven), in these very rare drawings, and for the landed estate itself in the surveys bound into the Hampton Court Atlas (Herefordshire Archive and Record Centre). Coningsby (1656-1729), who was made Earl Coningsby by William lll in 1693, employed the Royal architect William Talman and the Royal gardener George London (both of whom had been engaged on the remodelling of Hampton Court Palace) to carry out the work. The former provided a new façade and a suite of rooms for the south front and the latter laid out the very extensive parterres and a series of avenues radiating into the landscape. The drawing is the bird's eye view taken from the east, and shows that façade of the house, revealing its earlier origins, and provides a remarkable visual picture of London's gardens with their parterres, topiary, water features and alleys. You can also see the Orangery which is obscured by the house in Knyff's painting as that is taken from the south east (see John Harris, The Artist and the Country House, 1979, pp118-199).William Whittell is reputed to have come from the village of Bodenham, which is situated just south east of Hampton Court on the other side of the River Lugg.
Lot 21
Lewis (Charles, b.1748, fl.1760-1790) View of Pan's Lodge, Painswick, Gloucestershire, built by the late Benjamin Hyett Esq., pen and black ink, brown ink, ruled black ink borderline, inscribed underneath 'Pan's Lodge built by the late Benjamin Hyett Esq.', on laid paper with Pro Patria watermark, sheet 198 x 310 mm (7 3/4 x 12 1/4 in), laid onto paper support, extensive pencil inscriptions verso, surface dirt, minor spotting, unframed, [circa 1760-1780] Provenance: Sale. Sotheby's 22nd May, 1986, part of lot 219 (bought by William Drummond); Collection of John and Eileen Harris Literature: John Harris, 'Gardenesque': the case of Charles Greville's Garden at Gloucester", Journal of Garden History, vol. 1, no. 2, p. 169 Roger White and Tim Mowl, "Thomas Robins at Painswick", Journal of Garden History, vol. 4, no. 2, p. 169 and fig. 10 *** Pan's Lodge was a Gothic summer-house in the rococo gardens of Painswick House, which was built in the 1730s by Charles Hyett to escape the smog of Gloucester. The Painswick Rococo Garden was laid out by Charles's oldest son Benjamin Hyett II (1708-1762), the eighteenth-century garden creator and brother of Nicholas Hyett, constable and keeper of the Castle of Gloucester. The Victoria and Albert Museum hold another drawing from the mid-to-late 18th century that also shows the Lodge designed by Hyett II, drawn by the little known but enigmatic artist Thomas Robins [see acc. no. E.1308:71-2001]. John Harris was particularly familiar with Robins having written the publication 'Gardens of Delight: the Rococo English landscape of Thomas Robins the elder', 1978.
Lot 27
Woolfe (John, Irish architect, employed by the Office of Works as a 'labourer in trust', d.1793) Colworth House, Bedfordshire, showing the addition of the wings, pen and black ink, watercolour, inscribed 'Front of Colworth' in the lower margin above the scale, ruled ink borderlines, sheet 150 x 265 mm (5 7/8 x 10 1/2 in), under glass, appears to be laid onto support, minor spotting, surface dirt and handling creases, framed, [circa 1771]Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Gifted to Howard Colvin (architectural historian, 1919-2007); whom gifted to John Harris;Collection of John and Eileen Harris*** Woolfe's drawing shows that the wings originally had giant arches in the centre and hipped roofs behind parapets, but have since been altered.'William Lee Antoine was born on 1764, the son of Sir William Lee (1726?-1778), chief justice of the King's Bench, and his wife Philadelphia Dyke, of Totteridge Park, Hertfordshire, England. As a young man, he acquired estates near Marlow, Buckinghamshire, and served as the borough's Whig representative in Parliament from 1790 to 1796. During the same time he lived primarily at Colworth House near Sharnbrook in Bedfordshire, which he had inherited from his distant cousin Richard Antoine. There he founded the Oakley Hunt with his neighbour Samuel Whitbread and served as its first master; he also represented Bedford in Parliament from 1802 to 1812. William Lee Antoine never married, and died on Sept. 11, 1815.' [Yale]
Lot 34
*** Please note, this drawing is sold unframed. Deare (John, 1759-1798) Design for a relief of Cupid and Psyche, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Sept. 1787', 195 x 255 mm (7 3/4 x 10 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787 Provenance: Valentine Lawless, Lord Cloncurry (1773-1853); then by descent; Anonymous sale; Collection of John and Eileen Harris Literature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A British Neoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 22, illus. p. 115. *** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life. 'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty].
Lot 73
Rude (François, 1784-1855), Attributed to. Design for monuments in Pere Lachaise cemetery, including that of Marshal André Masséna, Prince of Essling, Duke of Rivoli (d.1817), four works relating to sculpture by Rude, pen and brown ink over pencil under-drawing, various sizes but each sheet approx. 165 x 135 mm (6 1/2 x 5 1/4 in), or the reverse, some spotting and surface dirt, presented in one mount, framed, [circa 1820] Provenance:Collection of John and Eileen Harris*** André Masséna, Prince of Essling, Duke of Rivoli was a French military commander during the French Revolutionary Wars and the Napoleonic Wars, and was one of the original 18 Marshals of the Empire created by Napoleon I. Nicknamed l'Enfant chéri de la Victoire (the Dear Child of Victory), Masséna is considered to be one of the greatest generals of the Revolutionary and Napoleonic Wars.
Lot 18
Harwood (Francis, c.1727-1783) Design for an urn, from the sculptor's time in Rome, pen and brown ink, grey wash, pencil under-drawing, on laid paper, sheet 265 x 160 mm (10 3/8 x 6 1/4 in), tipped onto purple paper support with red wax holding it at corners, under glass, framed, [circa 1750s]Provenance:From the Cipriani and Joseph Wilton album of Roman Grand Tour drawings, circa 1750s;Sir Bruce Stirling Ingram, O.B.E., M.C., F.S.A. (1877-1963);Sotheby’s, 21st October 1964, part of lot. 196;Geoffrey Bennison (Interior decorator and art dealer, 1921-1984)Collection of John and Eileen Harris*** "Like his contemporary Christopher Hewetson, Harwood travelled to Italy in 1752, and after an initial stay in Rome went to Florence, where he lived from 1753 until his death. Although he was British, Harwood's exact place of birth is unknown, and little is known of his early career. He was, however, noted as being 'acquainted with Joseph Wilton, who was then working in Florence'... Harwood's work was wide-ranging; as well as producing busts and copies after the Antique, he also executed vases, chimneypieces and figures." [V&A]Two other drawings from the album, both drapery studies by Cipriani, are held in the British Museum (see nos. 2019,7015.53 and 2019,7015.54).
Lot 5
Thornhill (Sir James, 1675-1734) Portrait group of two architects and young boy, possibly Sir Christopher Wren and family, pen and brown ink, brown wash, red chalk, partial ink and chalk borderline, on laid paper without watermark, image 140 x 184 mm (5 1/4 x 7 1/4 in), sheet 185 x 232 mm (7 1/4 x 9 1/8 in), laid onto paper support, some handling creases, minor surface dirt, framed, [circa 1715]Provenance:Collection of John and Eileen Harris *** There are a number of similar drawings by Sir James Thornhill held in institutional collections that compare very closely with the present sheet, including 'Design for a portrait of an architect or a painter' [Yale Center for British Art, Paul Mellon Collection, acc. no. B1975.4.955], and 'Portrait of a Geographer, Wife, and Child' [Art Institute Chicago, acc. no. 1922.1604]. The Leonora Hall Gurley Memorial Collection, Art Institute Chicago, also holds a number of other single figure portrait studies in ink by Thornhill, which all appear to uphold the attribution.The most likely architect would be Sir Christopher Wren (1632-1723), his son Christopher Jnr (1675-1747), aged 39, and his grandson (another Christopher) who was born in 1711. The globe in the background could relate to the portrait of Sir Christopher Wren in the Sheldonian Theatre, Oxford, begun by Antonio Verrio before 1707 and completed by Sir Godfrey Kneller and Thornhill. Thornhill got the commission to decorate the dome of St Paul’s in 1714, which might provide an approximate date for this drawing if it does depict the Wrens.We are grateful to Charles Hind for his assistance in cataloguing the present drawing, and for his identification of the sitters.
Lot 26
Richardson (George, Scottish architectural and decorative draftsman, ca. 1738-1813) Design for a neoclassical ceiling, brush and ink, pen and ink, watercolour, some pencil under-drawing, on cream laid paper without watermark, with green wash border and background, 360 x 370 mm (14 1/4 x 14 1/2 in), minor spotting, light browning and surface dirt, framed, [circa 1770-1800]Provenance: Collection of John and Eileen HarrisLiterature:cf. Richardson, George, A Collection of Ceilings, Decorated in The Style Of The Antique Grotesque, 1766, *** Finely detailed study, possibly an unused design for Richardson's A Collection of Ceilings, published in 1776. The Yale Collection for British Art hold another comparable original design [see acc. no. B1975.2.674].Richardson began life as a draughtsman in the office of Robert and James Adam, and accompanied James Adam on his Grand Tour from 1760 to 1763; it was here that Richardson gained first hand knowledge of the antique sources that were to form the basis of the Adam style.
Lot 58
Marchetti (Marco, c.1528-1588), Attributed to. Design for the frieze decoration of the cove of a ceiling, with a view of the Colosseum, pen and brown ink, brown wash, 135 x 420 mm (5 1/4 x 16 1/2 in), under glass, laid onto old paper support, some old folds and possible splitting repaired, minor scuffs and abrasions, most notably to the far right of the sheet, minor spotting and browning, framed, [late 16th century]*** The Metropolitan Museum of Art, New York, hold a drawing by Marchetti that appears close to the present sheet, showing a Design for a wall elevation with a fireplace and door opening, and seems to uphold the traditionally understood attribution [see acc. no. 2014.754]. Marco Marchetti was a prolific draughtsman, and many of his drawings are held in major public collections. In particular, the Gabinetto Disegni e Stampe at the Uffizi in Florence offers a corpus of hundreds of pieces, mainly dating from the last twenty years of the artist's activity.
Lot 24
Adam (Robert, 1728-1792) Preliminary design for an urn in the dining room at Osterley Park, Middlesex, pen and brown ink, brown wash, traces of black chalk under-drawing, signed and dated '1766', on fine laid paper with watermark initials 'GR', sheet 305 x 175 mm (12 x 6 7/8 in), under glass, very fine small splits within one or two of the heavily inked lines, handling creases, minor surface dirt, framed, 1766 Provenance: Collection of John and Eileen HarrisLiterature: cf. Harris, Eileen, The Genius of Robert Adam: His Interiors, 2001, Chapter 10 "Osterley Park". Exhibited: Royal Academy and the V&A, Age of Neoclassicism, 1972 *** Exquisitely executed design for an urn in the dining room of Osterley Park; the 'palace of palaces' [Walpole]. A rare survival by the foremost Neoclassical architect of the 18th century. On his return from Italy in 1761 Robert Adam became a Fellow of the Royal Society, and thus established in practice, set out to revolutionize English domestic architecture. In place of the rigid grammar of the orders as described by Vitruvius and interpreted by Palladio, he substituted a new and elegant repertoire of architectural ornament based on a wide variety of classical sources ranging from antiquity to the Cinquecento. The success of the new style was immediate. The present drawing depicts a design for an urn that was intended to be one of a pair placed upon pedestals, made of carved, painted and gilded wood, with the finished examples attributed to John Linnell (1729-96) and still on display in the house today [see National Trust no. NT771750.3]. 'Osterely, Middlesex, was a botched Elizabethan pile when Adam came there in 1761; when he left in 1778 it was a 'palace of palaces... so improved and enriched that all the Percies and Seymours of Sion must die of envy' [op. cit. Harris, Eileen, 2001]. The original building on this site was a manor house built in the 1570s for banker Sir Thomas Gresham, who purchased the manor of Osterley in 1562. During the late 17th century, the estate was owned by Nicholas Barbon, a developer who mortgaged it to Child's Bank and then died in debt around 1698. As a result of a mortgage default, by the early 1710s, the estate came into the ownership of Sir Francis Child, the founder of Child's Bank. In 1761, Sir Francis's grandsons, Francis and Robert, employed the Scottish architect Robert Adam to remodel the house. Architectural drawings by Robert Adam rarely appear on the open market, despite having produced a significant number, this being due to the vast majority (nearly 9,000) having been purchased directly from the Adam family by Sir John Soane in 1833; which now forms one of the principal treasures of the museum. Unlike a relatively steady and finished "Office hand", the present drawing shows a vigour and passion that can only be by the architect himself, and is a preliminary drawing of a raw idea taking shape and being refined. The Soane Collection hold three similar preliminary drawings for different commissions, which allow for an excellent comparison of Adam's hand; see 'Preliminary design for a ceiling for the hall, c. 1773' [SM Adam volume 8/33], 'Preliminary design for a chimneypiece and overmantel mirror frame', 1787 [SM Adam volume 24/195], and 'Preliminary design for a girandole for the drawing room', 1775 [SM Adam volume 6/30]. Eileen Harris is an internationally recognised Robert Adam scholar, publishing extensively on the subject for over 40 years.
Lot 63
Bolognese School (18th century) Design for a wall decoration or monument, with Hercules wrestling the Nemean lion, flanked by Doric columns, pen and brown ink, wash, pencil under-drawing and faint gridlines, on laid paper without watermark, sheet 358 x 255 mm (14 x 10 in), under glass, some spotting and minor browning, faint handling creases, framed, [mid-18th century]Provenance:Luigi Grassi (d. 1937) [Lugt 1171b]Possibly Grassi's sale, Sotheby's, London, 13th May, 1924;Anonymous sale;Collection of John and Eileen Harris*** The reliefs on the base of the monument include Hercules and Antaeus on the left, the Apotheosis of Hercules in the centre, and Hercules and Onphale or Jole on the right; the triumph of objects above include Mercury's caduceus, the spindle of Onphale, and a celestial globe. Suggested attributions include Ubaldo Gandolfi (1728-1781), and the artist's working in his circle.
Lot 45
Roos (Alexander, c.1810-1881) Perspective of Hadzor Hall, Worcestershire, built for J.H. Galton 1827, pen and black ink, watercolour, over traces of pencil under-drawing, on wove paper, sheet 195 x 265 mm (7 3/8 x 10 1/2 in), under glass, framed, [circa 1830s]Provenance:Collection of John and Eileen HarrisLiterature: Richard Garnier, ‘Alexander Roos (c.1810-1881)’, Georgian Group Journal, vo.15, 2005, pp.11-68*** Alexander Roos (circa 1810-1881) was born in Rome and was both an architect and a landscape gardener. From around 1835 he worked in the UK, and he had an extensive architectural practice in Scotland in the 1840s. Hadzor Hall was built circa 1779, and refaced and extended in 1827 by Matthew Habershon, with additional mid-20th century alterations and additions.
Lot 32
Spyers (John, worked as a draughtsman for ‘Capability’ Brown from 1746 to 1783) Design for a landscape garden with pond, point of the brush and ink, watercolour, on laid paper without watermark, double ruled ink borderline, sheet 220 x 308 mm (8 5/8 x 12 1/8 in), inset at edges into conservation paper mount with verso exposed, minor surface abrasion, unframed, [circa 1780]Provenance:Collection of John and Eileen HarrisLiterature:cf. Piotrovsky, Mikhail, The Hampton Court Albums of Catherine the Great: Containing drawings, mainly of the palace and its surrounds, by Capability Brown's draughtsman, Fontanka, 2016*** While the Yale collection and British Museum both have drawings by the same hand as the present sheet, both given to one James Spyers, it would appear likely that they are actually all by the draughtsman who worked for ‘Capability’ Brown between 1746 to 1783, called John Spyers. Until recently, very little was known of the artist, with only one drawing by John Spyers recorded in the Witt Library, which was with Agnew's in 1981, and closely compares with the present drawing.In the early 2000s, two albums of drawings of Hampton Court Palace by Capability Brown’s draughtsman, John Spyers, were discovered in the State Hermitage Museum, St. Petersburg. Now considered one of the most complete visual records of an historic landscape ever captured before photography, they were purchased by Catherine the Great in 1783 but lay forgotten for over 200 years. The albums were first published in 2016.
Lot 443
Jean Paulhan Le Berger d'Ècosse. Suivis de Les Passagers. La Pierre Philosophale. Paris, Presses du Livre Francais 1948. Mit 5 Orig.-Radierungen von Wols und einer Orig.-Zeichnung von Jean Paulhan. Erste Ausgabe. - 1 von 100 Exemplaren auf Vergé-Ingres. Mit den Originalradierungen Sonne, Baum, Schlieren, Kahle Landschaft und Gräser und Spirale. Die Kupferplatten der Radierungen wurden nach dem Druck zerstört. - Vortitel mit Orig.-Federzeichnung in Schwarz und Rot von Jean Paulhan mit eigh. Widmung 'pour Maurice Tesca, le 3. VII. 49'. EINBAND: Illustrierte Orig.-Broschur. 25 : 17 cm. - ILLUSTRATION: Mit 5 Orig.-Radierungen von Wols u. 1 Orig.-Zeichnung von Jean Paulhan. - PROVENIENZ: Privatsammlung Hessen. LITERATUR: Busch 37-41. - Grohmann XXXVII-XLI. - Monod 8900. - Weber (Kat. Kassel) 49. - Arnold 2212. - Maler machen Bücher 93. - Französ. Maler illustrieren Bücher. Kat. Stuttgart 1965, Nr. 193. First edition. 1 of 100 copies. Illustrated orig. wrappers. With 5 orig. etchings by Wols and dedication with orig. ink drawing by the author. - Slightly browned. Wrappers with tears. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000710 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000710 This lot can only be purchased subject to regular taxation (R).
Lot 388
Heinrich Zille 4 Bll. Straßenszenen. 3 Orig.-Kohlezeichnungen und 1 aquarellierte Orig.-Tuschezeichnung. 2 eigh. signiert, 2 mit Stempelsignatur 'Heinrich Zille' in Rot (Lugt 2676b). Um 1900. 3 auf Vélin, 1 auf festem Karton. Papierformat 22 : 14 cm bis 20,3 : 24,3 cm. Die kleine Sammlung von Zillezeichnungen zeigt 4 Paare beim Flanieren oder innig auf der Bank sitzend. Die schöne Tuschezeichnung mit einem in der Kälte auf der Bank zusammengerücktem Paar, sie eine Flasche haltend, während er gerade zu seiner in der Manteltasche greift. Die drei Kohlzeichnungen zeigen Arm in Arm laufende Paare von der Seite, von hinten und von vorne. - PROVENIENZ: 2 Zeichnungen mit Sammlerstempel Werner Eberhard Müller, Leipzig (Lugt 5075). - Seit ca. 20 Jahren in norddeutschem Privatbesitz. Small collection of Zille drawings shows 4 couples strolling or sitting intimately on the bench. 4 leaves with street scenes. 3 orig. charcoal drawings and 1 orig. colored ink drawing. 2 signed, 2 with stamp signature 'Heinrich Zille' in red (Lugt 2676b). - All 4 leaves mounted (1 detached), the charcoal drawings slightly dirty and with handling creases, the ink drawing (on cardboard) with small defect in the upper right corner. 2 drawings with collector's stamp Werner Eberhard Müller, Leipzig (Lugt 5075). - Privately owned in northern Germany for around 20 years. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000376 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000376 This lot can be purchased subject to differential or regular taxation.
Lot 308
Hermann Hesse Eigenhändiges Gedicht mit Orig.-Aquarell. Ohne Ort und Jahr (Montagnola, ca. 1940). 2 Seiten (Doppelblatt). Blattgröße 21 : 15 cm. Auf unbeschnittenem Bütten. Sehr schönes Doppelblatt mit aquarellierter Federzeichung und eigenhändigem Gedicht auf Büttenpapier. Mit dem Gedicht Frühlingstag . Wind im Gesträuch und Vogelpfiff, Und hoch im höchsten süssen Blau Ein stilles, stolzes Wolkenschiff .. Ich träume von einer blonden Frau, Ich träume von meiner Jugendzeit, Der hohe Himmel blau und weit Ist meiner Sehnsucht Wiege Dahin ich stillgesinnt Und selig warm Mit leisem Summen liege, So wie in seiner Mutter Arm Ein Kind. Das Aquarell zeigt eine Landschaft im Tessin, im Vordergrund ein Haus zwischen zwei Bäumen, dahinter ein See, in der Ferne blaue Berge. - Schöne Dichterhandschrift in frischem Zustand. Autograph poem with orig. watercolor ink drawing. 2 pp. Fine double-leaf on hand made paper. Sheet size 21 : 15 cm. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000607 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000607 This lot can only be purchased subject to regular taxation (R).
Lot 389
Heinrich Zille 4 Bll. Kinderszenen. 3 Orig.-Kohlezeichnungen und 1 Orig.-Tuschezeichnung mit Bleistift. 1 eigh. signiert, 2 mit Stempelsignatur 'Heinrich Zille' in Rot (Lugt 2676b). Um 1900. 3 auf dünnem Vélin, 1 auf festerem Papier, Papierformat 18,5-20 : 10,5-25,2 cm und 10,5 : 13,5 cm. Die vier kleinen Zillezeichnungen zeigen 3 Mütter mit Kindern auf dem Arm und ein kinderwagenschiebendes junges Mädchen. Die mit Bleistift hinterlegte Tuschezeichnung zeigt einen mit 4 Kleinkindern bevölkerten Kinderwagen, der von einem jungen Mädchen geschoben wird, im Hintergrund eine 'Probirstube'. Die drei Kohlezeichnungen mit Müttern unterschiedlichster Größe und verschiedensten Alters mit ihren Kindern auf dem Arm. - PROVENIENZ: Alle Zeichnungen mit Sammlerstempel Werner Eberhard Müller, Leipzig (Lugt 5075). - Seit 20 Jahren in nporddeutschem Privatbesitz. The 4 small Zille drawings show 3 mothers with children in their arms and a young girl pushing a stroller. 3 orig. charcoal drawings and 1 orig. ink drawing with pencil. 1 signed, 2 with stamp signature 'Heinrich Zille' in red (Lugt 2676b). Around 1900. 3 on thin wove paper, 1 on stronger paper, paper format 18.5-20 : 10.5-25.2 cm and 10.5 : 13.5 cm. - The 3 charcoal drawings mounted, 1 slightly light-margined, the other with 2 small brown spots. With collector's stamp Werner Eberhard Müller, Leipzig (Lugt 5075). - In Northern German private ownership for 20 years. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000377 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000377 This lot can be purchased subject to differential or regular taxation.
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