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«Julia Korner Fine art Trained­originally­as­an­art­historian,­sculptress­and­graphic­illustrator­at­Cambridge,­Julia Korner, l.S.i.a.D., ...»

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His apprenticeship to a draper was curtailed and he went to study with the Pre-Raphaelite painters Arthur Hughes and Ford Madox Brown before accompanying Ruskin, in 1872, on a three-month tour of Switzerland and Italy. Ruskin urged him, no doubt, to absorb the lessons of Turner when observing the variety of landscape. Goodwin seems to have responded with a rare synthesis of styles, combining the mystery and mistiness of Turner with the exactitude of the Pre-Raphaelite, and with an engagement of light and colour at sunset and dawn that, at times, would not have shamed John Martin, Goodwin is recognisable instantly also from his use of pen-line with the coloured wash of watercolour.

Goodwin travelled extensively, not only within the British Isles but overseas as well, to the Continent, to Egypt (1876), to India (1895) to North America and the West Indies (1902, 1912) and even to New Zealand during the Great War. He participated in exhibitions at the Royal Academy (his first picture accepted at 15 years of age) and the Royal Watercolour Society with frequent shows elsewhere.

His pictures are to be found in all the major museums and galleries in the United Kingdom.

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27. John MacWhirter, R.A., A.R.S.A., R.S.W. (1839-1911) Taormina, Sicily signed ‘MacW’ pencil, watercolour and bodycolour 14 ¼ x 19 ¾ in. (36. x 50.2 cm.)

EXHIBITED:

The Scottish National Exhibition, Edinburgh, 1908

PROVENANCE:

John Hutchison, R.S.A.

John MacWhirter (1839-1911) was apprenticed originally by his parents to the Edinburgh booksellers, Oliver and Boyd. The engagement did not prove a success and, in 1851 he enrolled at the Trustees Academy where he was instructed by Robert Scott Lauder and John Ballantyne. He displayed an early talent for sketching and painting en plein air and first exhibited, when only fourteen, at the Royal Scottish Academy. He moved to London in 1867, settled in St. John’s Wood and secured election as a Royal Academician in 1893.

He travelled abroad, with numerous visits to the Continent and took especial pleasure in recording views of the Alps and the Italian countryside whilst happy to travel further afield to Turkey and the United States. MacWhirter flirted with PreRaphaelite approach before adopting a freer, if equally observant, colourful style by which he depicted landscapes from the Scottish Highlands to Sicily and beyond.

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28. Vincenzo Cabianca, (1827-1902) Twilight in the Campagna signed and inscribed ‘Cabianca, Roma’ oil on canvas 16 ¼ x 36 ¾ in. (41.2 x 93.3 cm.) in its original 19th Arts and Crafts frame Vincenzo Cabianca (1827-1902) was born in Verona and, a brief period in a seminary, became, in 1842, a pupil of Giovanni Callari at the Accademia di Belle Arti. After a brief spell at the Accademia in Venice, Cabianca turned aside to join the Italian rebellion against Austrian rule. His participation in the defence of Bologna may have led to his move in 1853 to Florence, outwith the Austrian sphere of influence. In Florence he formed friendships with Telemaco Signorini (1835-1901) and Odoardo Borrani (1835-1904) and, in due course, became part of the Macchioli group. The Macchioli were renowned for executing their landscapes en plein air and Cabianca appears to have been happy to put temporarily to one side the academic style he had been taught to devote himself to excursions into the countryside. His moves to Parma in 1863 and thereafter to Rome in 1870 appear to have encouraged a return to a more academic approach but he seems to have been adept at switching styles when the mood took him, with some impressive landscapes painted in the south of Italy. In 1893 he suffered a severe stroke which brought to an end his painting career.

64 28 65

29. Circle of Albert Bierstadt (1830-1902) Portrait Studies of ladies in local Italian costume, possibly from Nogara, in the Veneto one indistinctly inscribed ‘?Nogara’ oil on canvas 16 ½ x 11 in. (41.4 x 28.1 cm.) in their original plain gilded frames (2) a pair American artists travelled abroad, not only to live the life of an artist within a supportive community, but also to learn the artist’s craft. In the 1840s the National Academy of Design in New York offered students the most traditional form of art education in America. The Academy’s Antique School, for example, enabled students to copy casts after antique sculpture. However there were a few art schools in America where students could draw from live models and a few public art collections where artists could view paintings and sculpture. As a result, Americans, in the middle of the Nineteenth Century flocked to Italy. Had they lived in the Eighteenth Century, they would have gone specifically to study with a master or enrol in an Italian art academy. They travelled instead to view and copy works of art by the Old Masters and, in an effort to improve their eye, these artists studied the vast public art collections.

In Rome, some attended the costume schools, or ‘Public Schools’ as they were sometimes called, where they drew and painted costumed models in the evenings. Costumes appealed to the American sensibility and their descriptions frequently found their way into guidebooks to Italy. At the costume school, models dressed in colourful Italian regional clothing and posed for the artists.

John Frederick Kensett attended such a school as did Christopher Cranch, Thomas Hicks and, Albert Bierstadt, as well. Bierstadt was to produce a variety of studies which dated from his first trip to Italy in 1857. He later incorporated these into larger paintings. The Lyman Allyn Art Museum, New London, Connecticut, has some delightful sketches dating from 1857 similar to these small intimate oil studies.





Bierstadt arrived in Rome in 1856 after studying in Germany. In oil on paper, Bierstadt recorded three poses of a model dressed in an elaborate costume, topped by a red cloak. These studies were intended for later use in the studio where they served as an artist’s repertory of costumes and poses which might be inserted into studio compositions. While human figures seemingly play a small role in Bierstadt’s oeuvre, even a single figure could give a sense of scale and set the tone for an entire landscape.

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30. Donald Stuart Leslie Friend (1915-1989) Homage to Uccello.

signed ‘Donald Friend’ pen, black ink and bodycolour 21 ½ x 30 ¼ in. (54.6 x 76.8 cm.) Donald Stuart Leslie Friend (1915-1989), author as well as painter, was born in Sydney, Australia and studied art in his schooldays. After a brief period as a cattle-hand on the family estate, he went to London to further his artistic bent and enrolled at the Westminster School of Art in 1936. His artistic influences were eclectic: from Bosch and El Greco to Gauguin and Picasso, before setting off for Nigeria to try his hand at sculpture. He returned to Australia in 1940, enlisted as a gunner, volunteered as a medical guinea pig in the testing of new anti-malaria drugs before being commissioned as an official war artist. He returned to Europe in 1949 and lived at various times in England, Italy and Greece. He returned home for a short period before establishing himself in Asia, first in Sri Lanka between 1957 and 1962 and thereafter, following a short break, in Bali (1967-1979). He returned to Australia in 1979 as a result of health problems which led to severe strokes and, ultimately, death in 1989. The variety of his life had an impact on his artistic style, but firmness of line and pleasure in colour seem never to have left him. Robert Hughes described him as “one of the two finest draughtsmen of the nude in Australia” and his work is to be found in the major museums and art galleries in Australia.

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31. John Piper, CH (1903-1992) Variation: Scene from Raphael’s The Expulsion of Heliodorus.

signed ‘John Piper’ (lower right) and inscribed and dated “Raphael Variation 1954” verso ink and bodycolour 13 ½ x 17 ½ in. (34.3 x 44.4 cm.) PROVENANCE;

with Brook Street Gallery, London, Mr. W. Taylor John Egerton Christmas Piper (1903-1992) was one of the pre-eminent British artists of the Twentieth Century. Piper was a man on many parts: painter of landscape, architectural and

Abstract

compositions and master of mixed media (oil, watercolour, pencil, crayon and collage); designer of opera and stage productions as well as stained-glass windows; and writer on the arts.

His first exhibition (of wood engravings) took place in 1927 and thereafter few years passed without Piper works on public display. After a period of abstraction, he returned to representational painting, particularly to architectural subjects in romantic/pastoral settings. He was an official war artist during the Second World War, remembered particularly for his pictures of the heavily-bombed Coventry Cathedral. After the war, he continued to travel extensively whilst receiving official and private commissions, both at home and abroad. He died in 1992, highly revered and honoured.

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32. Edgar Millington-Drake (1932-1994) ‘Positano’ signed and inscribed ‘Teddy Millington-Drake, Positano’ pencil, pen, watercolour and bodycolour 21 x 28 in. (53.5 x 71 cm.) Edgar ‘Teddy’ Millington-Drake (1932-1994) was the younger son of Sir Eugen Millington-Drake, famous for convincing the Uruguayan authorities not to provide refuge to the Admiral Graf Spee during the Battle of the River Plate, the first serious naval engagement of the Second World War. Millington-Drake’s upbringing was unconventional and without material wants.

Millington-Drake took advantage of Wilfred Blunt’s inspired teaching at the Eton Art Schools but, after Oxford and National Service, took to a nomadic life, travelled extensively in the Near East, with pencil and paintbrush in hand, before settling in Italy in the 1950s. He visited Patmos in the 1960s, fell in love with the island and made Chora his base for the rest of his life.

Millington-Drake was a versatile artist in various media and, as The Observer remarked in its obituary: “He will be remembered for his many series of water-colours. They demonstrate his superb draughtsmanship: the control and flow of line admired by the artist Cy Twombly”.

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33. Victoria Crowe, OBE, RSA, RSW (born 1945) ‘Dog Plaque, Grand Canal’ signed and inscribed as title, verso mixed media 11 ¼ x 7 ¾ in. (28.5 x 18.5 cm.) Victoria Crowe (b. 1945) is considered to be among the most vital, original figurative and landscape painters currently at work in Britain. She studied at the Kingston School of Art from 1961 to 1965 and then at the Royal College of Art. She then moved to Edinburgh, at the invitation of Sir Robin Philipson, to teach at the Edinburgh College of Art.

Since then a number of popular exhibitions has brought her to the attention of the general public, particularly after her series of canvases, A Shepherd’s Life, produced in the 1970s and 1980s, was chosen as one of the National Galleries of Scotland’s Millenium exhibitions.

She is Deputy President of the Royal Scottish Academy, a member of the Royal Scottish Society of Painters in Watercolours and a Fellow of the Royal Society of Edinburgh. Her work is to be found in public and private collections: in the Scottish Gallery of Modern Art, in the National Portrait Gallery, in the Danish National Portrait Gallery and at the Fleming Wyfold Art Foundation.

74 33 75

34. Victoria Crowe, OBE, RSA, RSW (born 1945) ‘Fragile Virgin’ mixed media on a print base 7 ¼ x 9 ¾ in. (18.5 x 25 cm.) See No. 33 for the biography of Victoria Crowe, OBE, RSA, RSW 76 34 77

35. Victoria Crowe, OBE, RSA, RSW (born 1945) ‘Collections from a Small Museum’ signed and inscribed as title, verso mixed media 9 ½ x 15 ½ in. (24 x 39.3 cm.) See No. 33 for the biography of Victoria Crowe, OBE, RSA, RSW 78 35 79

TOPO G R A P H IC A L I N DE X

Amalfi, L'Avvocatella a Cava, the Convent near Corpo di Cava, by J.F. Lewis, No. 15 Ancona, Trajan's Arch, by Clarkson Stanfield, No. 21 Aosta, The Arc de Triomphe, by William Callow, No. 12 Castellammare with Naples and Vesuvius beyond, by James Duffield Harding, No. II Como, Lake, by John 'Warwick' Smith, No. 8a Maggiore, Lake, by John Skinner Prout, No. 22 Naples from Posillipo by Edward Alfred Angelo Goodall, No. 24 Naples, The Bay with Vesuvius beyond by Albert Goodwin, No. 26 Naples, Beneath the City walls, by Hercules Brabazon Brabazon, No. 25 Positano, by Edgar Millington-Drake, No. 32 Pozzuoli, Temple of Jupiter Sarapis by The Rev. Francis Russell Nixon, No. 23 Roman Campagna, by William Leighton Leitch, No 18 Roman Campagna at Twilight, by Vincenzo Cabianca, No. 28 Rome, Porta del Popolo, by Jan Asselyn, No. 6 Rome, Villa Savorelli and Battery in the Casa Merluzzo Bastion, No. 20 Riviera, (Italian), by William Callow, No. 13 Salerno, Gulf of, by John 'Warwick' Smith, No. 8b Sicily, Taormina, by John MacWhirter, Lot 27 Taormina, Sicily, by John MacWhirter, Lot 27 Venice, The Lagoon, by John 'Warwick' Smith, No. 9 (a pair) Venice, San Giorgio Maggiore, by William Leighton Leitch, No. 16 Venice, Santa Maria Della Salute, by William Leighton Leitch, No 17 Verona, The Old Bridge, by William Callow, No. 14 80

Julia­Korner­exhibits­annually­at­the­following­Fairs:

B.a.D.a. Fine art & antiques Fair,­Duke­of­York­Square,­off­Sloane­Square,­London.­SW3­held­in­March,­please­see www.bada.org­for­details.

l.a.P.a.D.a. art & antiques Fair,­Berkeley­Square,­Mayfair,­London,­W1­held­in­September,­please­see­www.lapada.org for­details.

All­sales­are­subject­to­terms­and­conditions,­supplied­on­request,­or­at­point­of­sale.­All­drawings­are­available­for­sale­on receipt­of­the­catalogue.­Contact­Julia­Korner­for­price­enquiries.­All­drawings­are­sold­mounted,­and­many­are­also framed.­Prices­quoted­exclude­shipping,­packing­and­insurance,­though­all­this­can­be­arranged­through­Julia­Korner.

JK01/13

Back cover illustration:

no. 17. William leighton leitch, r.i. (1804-1883) Santa­Maria­Della­Salute,­Venice

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