one hundred drawings and watercolours

124 Pages·2017·10.67 MB·English

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Stephen Ongpin Fine Art Ltd.
Guy Peppiatt Fine Art Ltd.
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Riverwide House 7
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6 Mason’s Yard 2
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Duke Street, St James’s 18
London SW1Y 6BU
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GUY PEPPIATT FINE ART
STEPHEN ONGPIN FINE ART
ONE HUNDRED
DRAWINGS AND WATERCOLOURS
dating from the 16th Century to the 21st Century
WINTER CATALOGUE
2017–2018
to be exhibited at
Riverwide House
6 Mason’s Yard
Duke Street, St. James’s
London SW1Y 6BU
Stephen Ongpin Fine Art Guy Peppiatt Fine Art
Tel.[phone] Tel.[phone]
or + 44 (0)7710 328 627 or [phone]
[email protected] [email protected]
www.stephenongpin.com www.peppiattfineart.co.uk
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We are delighted to present our tenth annual Winter catalogue of One Hundred Drawings and
Watercolours, which includes a wide range of British and European drawings and watercolours, placed
more or less in chronological order, ranging in date from the 16th century to nearly the present day.
Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and
Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue
is to blur the distinction between these collecting areas. The works we have selected for this catalogue
will show that a fine drawing or watercolour – whoever the artist and whatever the date – is always
worthy of note.
As the enclosed price list shows, the prices of the drawings in this catalogue are equally broad in scope –
from well under £1,000 to around £15,000 – with most of the works at the lower end of this range. The
catalogue aims to show that drawings and watercolours by well-established artists can be affordable, and
interesting works by lesser-known artists especially so. We believe that there is much here for the novice
collector, as well as for the more experienced connoisseur or curator. Indeed, we are honoured that a
significant number of British, European and American museums have acquired drawings and watercolours
from these annual Winter catalogues over the past nine years.
Our respective individual catalogues of more significant drawings will be issued in January and May 2018,
accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this
Winter catalogue of moderately priced works. We hope you find something in it to interest you, and look
forward to greeting you at our gallery over the coming months.
Stephen Ongpin
Guy Peppiatt
Megan Corcoran
The following catalogue contains drawings and watercolours from the stock of Stephen Ongpin Fine Art
(SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFAand the latter GPFA
in red at the top of each page; please direct any enquiries as appropriate.
For reasons of space, only a brief account of each drawing is given in the catalogue. Further information,
artist’s biographies and full references, as well as high-resolution digital images of each of the works, are
available on request, as well as on our respective websites.
The drawings are available for viewing from receipt of the catalogue. A price list is included. Please note
that most, but not all, of the works are sold framed.
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CIRCLE OF PAUWELS FRANCK, he worked in the studio of Jacopo Tintoretto, specializing in
CALLED PAOLO FIAMMINGO landscape backgrounds. Known in Italy as Paolo Fiammingo,
Antwerp 1540-1596 Venice he remained in Venice for the rest of his career, establishing
a successful studio and painting religious scenes,
mythological and allegorical subjects. Among his most
Travellers Among Roman Ruins
important clients was the Imperial banker Hans Fugger, for
whom he painted several works for the palace of Schloss
Pen and brown ink and brown wash
Kirchheim, near Augsburg, in the 1580s. Together with his
A small square made up area at the lower centre of
slightly younger compatriot Lodewijk Toeput, known as
the composition Pozzoserrato, Paolo Fiammingo was instrumental in
220 x 301 mm., 8 5/8x 11 7/8in. establishing a new manner of landscape painting in Venice
and the Veneto in the second half of the 16th century.
Provenance
Possibly Sir William Forbes, 6th Bt. of Monymusk and The Scottish banker Sir William Forbes, 6th Baronet of
Pitsligo, Edinburgh and Colinton House Pitsligo (1739-1806) undertook a Grand Tour of Italy in
His son, Sir William Forbes, 7th Bt. of Pitsligo, Colinton 1791 and 1792. Although he did not acquire paintings or
House, Greenhill House and Fettercairn House, antiquities on his travels, he did purchase a number of
Kincardineshire drawings and prints. A cultured and learned man, Forbes
Thence by descent in the Forbes family at Fettercairn was a founder member of Royal Society of Edinburgh in
House, Kincardineshire 1783. His son, Sir William Forbes, 7th Baronet of Pitsligo
(1773-1828) was, like his father, a banker, and as a young
Recorded as a member of the painter’s guild in Antwerp in man began to assemble a fine collection of Old Master
1561, Pauwels Franck had by 1573 settled in Venice, where prints and drawings.
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BARTOLOMEO PASSAROTTI A preparatory study for the figure of the Christ Child in
Bologna 1529-1592 Bologna Passarotti’s large altarpiece of The Adoration of the Magiof
c.1565-1580, originally in the church of San Pietro and now
in the Palazzo Arcivescovile in Bologna. In the painting the
Studies of a Young Nude Child
Child is seated on the lap of the Virgin, whose lightly
sketched hand is visible beneath His arm in this drawing.
Pen and brown ink
While the pose of the seated Child is similar in both the
Inscribed platiae(?) at the right centre, and faintly drawing and the painting, the angle of His head in the
numbered 135at the lower left painting differs slightly from that of the main figure in the
410 x 272 mm., 16 1/ x 10 3/ in. drawing. Passarotti chose to study the head of the Child in
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three subsidiary studies on the same sheet, and the final
Provenance result in the painting is a combination of the head at the
Lady Violet Crawley lower right of the sheet, and that of the main figure. Other
By descent to a private collection, England preparatory drawings for the painting are in the Teylers
Private collection, USA Museum in Haarlem and at Christ Church in Oxford.
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ANDREA BOSCOLI 1584, his earliest known painting is a Martyrdom of Saint
Florence c.1560/64-1608 Florence Bartholomew,painted in 1587 for the church of San Pier
Maggiore in Florence. Boscoli painted several works for
Florentine churches in the 1590s. Between 1600 and 1605
Judith Preparing to Visit Holofernes
he worked mainly in the Marches, painting frescoes and
altarpieces for patrons and churches in Fano, Fabriano,
Pen and brown ink and brown wash, over an
Macerata, Fermo and elsewhere, while the last years of his
underdrawing in black chalk
career were spent between Florence and Rome.
156 x 208 mm., 6 1/ x 8 1/ in.
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Relatively few paintings by Boscoli survive today, and it is as
Provenance a draughtsman that he is best known. His drawings were
Amédée-Paul-Emile Gasc, Joigny and Paris (Lugt 1131) highly praised by his biographer Filippo Baldinucci (who
William Bateson, London and Grantchester (Lugt 2604a) noted that ‘he drew so well...without lacking a boldness and an
Bernhard Himmelheber, Karlsruhe (Lugt 4035) extraordinarily skillful touch’) and were avidly collected. A
Thence by descent to a private collection, Germany closely related drawing by Boscoli of Judith Before
Holofernes, of similar dimensions and technique and also in
Andrea Boscoli visited Rome as a young man in the early the form of a lunette, is in the collection of the Albertina in
1580s, and between 1582 and 1600 worked primarily in Vienna. Both the Albertina drawing and the present sheet
Florence, with brief stays in Siena and Pisa. Although he was may be dated to the 1590s, but remain unrelated to any
admitted into the Accademia del Disegno in Florence in surviving painting or fresco cycle by the artist.
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JACOPO NEGRETTI, Palma Giovane was an inveterate draughtsman, and more
CALLED PALMA GIOVANE drawings by him survive than by any other Venetian artist of
Venice c.1548-1628 Venice the period. He seems to have drawn as much for pleasure
as to prepare his paintings, and many of his drawings
A Sheet of Studies with the Virgin or a Female Saint, A cannot be related to extant works. Indeed, although this
Man Kneeling Before a Priest, and Several Figures drawing is a fine and typical example of Palma’s spirited
draughtsmanship, none of the three separate studies on the
Before a Lion
sheet can be related to any surviving painting or fresco by
the artist. As one scholar has noted, ‘Palma effortlessly filled
Pen and brown ink
sheet after sheet with pen drawings showing constantly varied
226 x 137 mm., 8 7/ x 5 3/ in.
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with series of rapid studies…including different subjects on the
Provenance
same sheet in a sprightly pen...Palma’s many drawings
The Earls of Crawford and Balcarres, Colinsburgh, Fife
produced visual resources he could use or revisit for years to
By descent to a private collection
feed the prodigious output of paintings from his hand, and from
his studio.’
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ALESSANDRO MAGANZA Alessandro Maganza spent most of his career in his native
Vicenza 1556-1632 Vicenza city of Vicenza. His large workshop came to dominate the
artistic scene there in the late 16th and early 17th century,
producing paintings for numerous churches and palaces in
Two Allegorical Figures (Bacchus and Ariadne?)
and around Vicenza and throughout Northern Italy. His
biographer Carlo Ridolfi noted that he ‘wielded the pen as
Pen and brown ink and brown wash, over an
easily as the brush’, and he is perhaps better known today
underdrawing in black chalk
as a draughtsman than as a painter. Maganza’s pen and
209 x 112 mm., 8 1/4x 4 3/8in. wash drawings, executed with a characteristic flair, show
the influence of the draughtsmanship of Palma Giovane,
Provenance and the drawings of the two have often been confused. In
Émile Louis Dominique Calando, Paris (Lugt 837) its rapid but assured handling of pen and the use of areas
His son, Émile Pierre Victor Calando, Paris and Grasse of light brown wash to create effects of chiaroscuro, the
Thence by descent to Marguerite Calando present sheet is typical of the idiosyncratic draughtsmanship
Stephen Ongpin Fine Art, London of the artist, and a fine addition to the corpus of drawings
Private collection, New York by Maganza.
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CIRCLE OF JACQUES CALLOT The present sheet is similar in size, medium and technique
Nancy 1592-1635 Nancy to several figure drawings made by Jacques Callot as studies
for the myriad groups of people in his large etching of The
Fair at Imprunetaof 1620. Callot made a significant number
Study of a Man with a Cane
of preparatory drawings for the etching, including a
distinctive group of figure studies in red chalk. The present
Red chalk
sheet is derived from the left half of a slightly more finished
Laid down on a thick board drawing by Callot of two standing peasants, both of whom
Inscribed Callotin a cartouche mounted below the appear in The Fair at Impruneta,in the Uffizi.
drawing
100 x 87 mm., 3 7/ x 3 3/ in. This drawing bears the distinctive mount and cartouche of
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the 18th century diplomat and collector Count Karl
Cobenzl (1712-1770), who owned around thirty drawings
Provenance
by Callot, which were acquired by the Russian Empress
Count Karl Cobenzl, Vienna and Brussels (Lugt 2858b)
Catherine II. In his 1962 catalogue raisonné of Callot’s
Acquired in 1770 by the Empress Catherine II of Russia,
drawings, however, Daniel Ternois noted that he regarded
St. Petersburg
most of the drawings from the Cobenzl collection to be
Her son, Czar Paul I of Russia, St. Petersburg
by a follower of Callot. Among stylistically comparable
Presented to The Hermitage, St. Petersburg (Lugt 2061)
red chalk figure drawings with the same Cobenzl and
Hermitage sale, Leipzig, C.G. Boerner, 29 April 1931,
Hermitage provenance is a study of a beggar in the Smith
part of lot 40
Lucien Goldschmidt, New York College Museum of Art in Northampton, MA.
Eileen and Herbert Bernard, New York
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GERMAN SCHOOL The present sheet bears an old attribution to ‘Sarazin’,
17th Century presumably referring to the 17th Century French sculptor
Jacques Sarazin (1588/90-1660). However, the style of the
drawing is unlike that of Sarazin’s own drawings, which are
Study of a River God
mainly in chalk, in a manner indebted to that of his
contemporary Simon Vouet, while the sculptor’s few
Pen and brown ink on buff paper
extant pen drawings are executed in a much more rapid,
Inscribed Sarazin.on the old mount
loose technique than is found in the present sheet. It is
127 x 177 mm., 5 x 7 in. possible, however, that this drawing may record a sculpture
by Sarazin.
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