«Julia Korner Fine art Trainedoriginallyasanarthistorian,sculptressandgraphicillustratoratCambridge,Julia Korner, l.S.i.a.D., ...»
He began his travels in Europe with Paris as his base in 1835, travels which continued, both within the British Isles and on the Continent, after his return to London in 1841. Italy was one of his favourite destinations, with his last visit taking place when he was eighty years’ old. Callow’s corpus of work is considerable (more than 1400 items were submitted to the Royal Watercolour Society during his seventy years of membership), a measure of his longevity but nearly all of it is marked by calm observation, skilful composition and draughtsmanship coupled to a controlled sense of colour.
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13. William Callow, R.W.S. (1812-1908) The Italian Riviera signed and dated ‘W. Callow 1886’ and entitled ‘A Glimpse of The Riviera’ on an old exhibition label verso pencil and watercolour 11 ½ x 10 in. (29 x 25 cm.) See No. 12 for the biography of William Callow, R.W.S.
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14. William Callow, R.W.S. (1812-1908) ‘The Old Bridge, Verona’ signed, inscribed and dated ‘W. Callow / Vieu Pont a Verona / 22.Aout 1840’ watercolour over pencil heightened with white 10 ½ x 16 in. (26.3 x 36.9 cm.) EXHIBITED London, Walker Galleries, April 1927, No. 83; illustrated opposite page 44 in Walker’s Quarterly No. 22 (1928) PROVENANCE with Thos. Angnew and Sons, London, No. 20305 K.F. Banner Esq., Having visited London to view his watercolours hanging at the annual exhibition of the Old Water-Colour Society, Callow returned to Paris and shortly thereafter embarked on his first visit to Italy. His autobiography displays a sketch of the Piazza della Erbe, Verona, presumably executed at the same time as this drawing.
See No. 12 for the biography of William Callow, R.W.S.
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15. John Frederick Lewis, P.O.W.S., R.A. (1805-1876) L’Avvocatella a Cava, the convent near Corpo di Cava, Almalfi pencil and watercolour heightened with white, on buff paper 8 ¾ x 11 ½ in. (22.3 x 29.3 cm.) John Frederick Lewis (1805-1877) was the son and nephew of both painters and engravers and a close friend of Landseer’s father, John, also an engraver. Best known for his highly-prized – and highly-valued – scenes from the Near East, Lewis had far broader interests. His earliest, extant work comprises engravings of his own drawings of the scenery of SW England. Like Edwin Landseer, his early, great love was the depiction of animals and was employed by Sir Thomas Lawrence to fill the backgrounds of his portraits with exotic animals. A new chapter in his life was opened by a visit in 1832 to Spain, following an initial visit to the Continent in 1827/8. On his way back to London, he worked briefly with William Callow in France and continued to take every opportunity to travel overseas. He visited Italy in 1838, before making his way in 1840 to Constantinople and thence to Egypt. He resided in Cairo until 1850, the source of inspiration and imagery with which is work is so closely identified. On Copley Fielding’s death in 1855, Lewis was elected President of the Old Watercolour Society, but resigned within three years to devote himself to, by his own admission, more lucrative oil painting. He was elected a Royal Academician in 1865 and retired in 1876, shortly before his death the same year. Christie’s sold the contents of his studio in May 1877.
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16. William Leighton Leitch, R.I. (1804-1883) Outlook on San Giorgio Maggiore from the Doge’s Palace, Venice pencil and watercolour heightened with white 5 ½ x 9 in. (13.5 x 22 cm.) William Leighton Leitch (1804-1883) was the son of a soldier who settled in Glasgow. Leitch had various short careers before turning to painting theatrical scenery, originally for the Theatre Royal, Glasgow. In search of better fortunes, he moved with his wife and growing family to London, originally as a theatrical scene painter, thanks to his friends Clarkson Stanfield and David Roberts. He received lessons from Copley Fielding and, after exhibiting drawings in 1832 at the Society of British Artists, took himself off to the Continen, with Italy as his final destination. Here he spent the next four or five years; teaching and sales of watercolours apparently provided sufficient means for survival.
Upon his return to England, he concentrated on teaching once more and secured pupils from the right milieu. An introduction from Lady Canning secured the Royal Family as pupils and patrons.
Whilst Leitch occasionally exhibited pictures at the Royal Academy, his loyalties lay in the watercolour sphere and he exhibited, until his death in 1883, to exhibitions at the Institute of Painters in Watercolours (RI), of which he was the vice-president. His watercolours demonstrate his mastery of composition in which he combines close study with grace, colour and atmosphere.
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17. William Leighton Leitch, R.I. (1804-1883) Santa Maria Della Salute, Venice signed with monogram and dated ‘1842’ pencil and watercolour heightened with touches of bodycolour 11 ¾ x 16 ¾ in. (30 x 42.5 cm.)
with Thos. Agnew & Sons, Ltd., No. 16534, W. L. Leitch, ‘Santa Maria della Salute’, Cat. No. 60 See No. 16 for the biography of Willian Leighton Leitch, RI.
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18. William Leighton Leitch, R.I. (1804-1883) In the Roman Campagna pencil and watercolour heightened with white 5 x 9 ¼ in. (12.7 x 23.5 cm.)
The Estate of Jane Wilde Howe (1913-2006), wife of the distinguished American diplomat Walter Howe (1907-1966) See No. 16 for the biography of Willian Leighton Leitch, RI.
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19. John Ruskin, H.R.W.S. (1819-1900) Study of an Architrave inscribed ‘Over the door’ pencil and watercolour 6 ¼ x 8 in. (15.9 x 20.3 cm.) Ruskin had a somewhat paradoxical view of the art of watercolour. He regarded watercolour painting to be “in every way harmful to the arts; its pleasant slightness and plausible dexterity divert the genius of the painter”. Despite his reservations, Ruskin was a prolific artist with an output well in excess of two thousand drawings. Ruskin’s own watercolour style was based on Nineteenth Century professional work, rather than the picturesque approach of the gentleman amateur, and he received lessons from a number of outstanding instructors such as Copley Fielding and James Duffield Harding. In due course he was to form a collection of contemporary artists in watercolour second to none. Given his wide ranging interests and ideas, there are numerous themes incorporated into his watercolours. He was equally happy recording fauna and flora as much as mountainous terrain and Italian architectural features; his love of Venice is well known. Ruskin lived to the age of eightythree after a highly productive, but essentially sad, life punctuated by a series of mental breakdowns.
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20. Carl Friedrich Heinrich Werner (1808-1894) ‘The Siege of Rome, 1849’ with the Villa Savorelli and Battery in the Casa Merluzzo Bastion beyond inscribed and dated ‘Siege of Rome 1849’ verso pencil and watercolour with touches of white 7 ¼ x 10 in. (18.4 x 25.3 cm.) One of the drawings from the 1848/49 (Austrian) Siege of Rome.
“Garibaldi’s Defence of the Roman Republic” (1908) by G.M. Trevelyan (p.202) Carl Friedrich Heinrich Werner was a pupil of Hans Schnorr von Carolsfeld at the Academy in Leipzig before moving to Munich to continue his studies in 1829. In 1833 he settled in Italy for eight years before moving on to Spain in 1857, Palestine in 1862 and 1864, Greece in 1875 and Sicily from 1877-78 and finally, Rome in 1891. He travelled to England many times for prolonged visits and was finally he was appointed professor at the Leipzig Academy.
He exhibited at the Royal Academy in London, frequently at the New Water-Colour Society, and finally he became a member of the Academy in Venice. His work is very varied, decorative and with a lovely sense of light and colour.
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21. Clarkson Stanfield, R.A. (1793-1869) Trajan’s Arch, Ancona, Italy pencil and watercolour heightened with touches of bodycolour 4 x 6 in. (10.2 x 15.3 cm.) PROVENANCE with Agnew’s, London Clarkson Stanfield (1793-1867) was born in Sunderland and named after the famous abolitionist, William Clarkson. Originally apprenticed to a heraldic painter in Edinburgh, he found greater excitement in joining the Merchant Navy in 1808, but found himself, shortly afterwards, pressed into the Royal Navy. In 1818, disabled by a fall, he was discharged. To earn a living, he became a theatrical painter, alongside his friend, David Roberts. He gave up the profession to devote himself to oil painting and was elected a Royal Academician in 1835. He toured the Continent on a number of occasions and produced watercolours, engravings and oils, marked by high-quality draughtsmanship, of the sights he visited. Ruskin praised him as the “leader of the English realists” whilst Charles Dickens, a close friend, mourned the loss of “the soul of frankness, generosity and simplicity, the most loving & most lovable of men”.
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22. John Skinner Prout (1806-1876) Old Houses on the edge of Lake Maggiore pencil, watercolour and bodycolour 13 ½ x 10 in. (34.6 x 25.7 cm.) John Skinner Prout was the nephew of Samuel Prout and, although largely self-taught, was greatly influenced by his uncle in choice of subject matter and style. He became a member of the New Watercolour Society in 1838 but his membership lapsed as a result of his lengthy sojourn in Australia. On his return he settled in Bristol where he became a friend of Samuel Jackson and W.J. Müller, with whom he became a founder of the Bristol Sketching Club.
Examples of his work are to be found in the British Museum, the Victoria and Albert Museum and the Fitzwilliam Museum, Cambridge.
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23. The Reverend Francis Russell Nixon (1803-1879) Temple of Jupiter Serapis, Pozzuoli pencil and watercolour heightened with bodycolour, on buff laid paper 10 ¾ x 8 ¾ in. (27.5 x 22 cm.) Nixon was educated at Oxford, but in later life became Chaplain to the Embassy at Naples. After a number of years he returned to England and was made vicar of Sandgate and then Wingham. In 1842 he left England again and became the first Bishop of Tasmania where he ‘never spared himself in the pastoral oversight of his large diocese’, which included King Island, the Furneaux group and even Norfolk Island. In 1849 his yacht was stolen and never recovered, but he still contrived to visit the Bass Strait Islands and northern Tasmanian settlements. His Cruise of the Beacon, a narrative of a visit to the islands in Bass’s Straits, published in 1857 by London, Bell & Daldy, with his own illustrations, records one such visit’ (ADB). He returned again in 1863, but soon retired and went to live in a house he had built on the Italian lakes 54 23 55
24. Edward Alfred Angelo Goodall, R.W.S (1819-1908) ‘Naples from Posillipo’ signed ‘E.A. Goodall / RWS’ (lower right) and inscribed ‘Naples / from / Posillipo’ (lower left) pencil and watercolour heightened with touches of white 11 ½ x 20 ½ in. (29.5 x 52.4 cm.) Edward Alfred Angelo Goodall (1819-1908), the long-lived son of Edward Goodall, Turner’s engraver and brother to three other artists (Frederick, Walter and Eliza), made his name as a landscape and Orientalist painter. Clarkson Stanfield recognised Goodall’s precocious talent whilst still a teenager and Goodall first made his name as relief artist on a joint British/Prussian Schomburgk expedition to map and to collect natural history material in (British) Guiana in 1841. Goodall freely portrayed the landscape, peoples, plants and animals of the area, illustrations now to be found in the British Library. Upon his return Goodall continued to exhibit, at the Royal Academy, the British Institution, the Society of British Artists and, most notably, at the Royal Society of Painters in Watercolours, of which he was elected a member in 1864. Goodall led a peripatetic existence with frequent visits to France, Spain, Portugal and Italy with travels further afield to the Crimea (where he was engaged as a war artist by the Illustrated London News), Morocco and Egypt. He continued up to his death to exhibit in London.
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25. Hercules Brabazon Brabazon (1821-1906) Beneath the City Walls, Naples signed with initials ‘HBB’ and indistinctly inscribed pencil, watercolour and bodycolour on tinted paper 8 ½ x 10 ¾ in. (21.5 x 27.3cm.)
with Chris Beetles, Ltd., London
‘Art and Sunshine’ Hercules Brabazon Brabazon (1821-1906), May, 1997, No: 86 Despite the handicap of an education at Harrow, redeemed, in part by a degree in mathematics from Trinity College, Cambridge, Hercules Brabazon Sharpe decided to become an artist and spent three years in Rome studying with A.D. Fripp as one of his instructors. On the death of his elder brother he inherited the Brabazon estates (and name) in Ireland. Thanks to other inheritance of property in Sussex and Durham he was able to lead an artistic life free of material wants. Each winter he would abandon England and travel abroad, first to the Continent, (France, Spain, Germany and Italy) and thereafter to North Africa and India. It was only in 1891 that his work became known to a wider public and, with encouragement from John Singer Sargent, held an exhibition at the Goupil Gallery. He was influenced by a number of the renowned watercolourists of the 19th century amongst which were numbered Turner, Cox, Muller and de Wint and he took great pleasure in imitating their styles in an ‘impressionist’ manner. His career was encapsulated well by Sir Frederick Wedmore as “a country gentleman who at seventy years old made his debut as a professional artist and straightaway became famous”.
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26. Albert Goodwin, R.W.S. (1845-1932) 'Naples' signed and inscribed 'Albert Goodwin/Naples' pencil, pen, watercolour and bodycolour on buff paper 9 ½ x 14 ½ in. (24 x 37 cm.) Albert Goodwin (1845-1932) was one of nine children of a Maidstone builder and his artistic talents did not go unnoticed.