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Online Sale: The John and Eileen Harris Collection of Architectural Drawings and Works of Art (at Forum Auctions)
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Tim Knox, Director of the Royal Collection, shares his memories of John and Eileen Harris
Neoclassical British Architect Robert Adam
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London (George, c. 1640-1714), After. Design for the upper section of the great parterre at Longleat, Wiltshire, circa 1680s, for Viscount Thynne , pen and brown ink, grey ink, grey wash, on laid paper with Tullis Russell & Co. "Britannia" watermark [cf. Churchill, no. 229, dateable to c.1776], image approx. 125 x 370 mm (4 7/8 x 14 1/2 in), sheet 320 x 410 mm (12 1/2 x 16 in), old folds, the upper and lower section of the sheet folded over with toning, split to fold at the right edge with puncture in the central joining section of fold, minor surface dirt, unframed, [probably late 18th century] Provenance: Collection of John and Eileen Harris ⁂ Understood to relate to an early design for George London's first major commission at Longleat in 1681. Thomas Thynne, 1st Viscount Weymouth (1640–1714), who started Longleat's large book collection, was also impassioned by the idea of gardens, and inspired in particular by Versailles. He employed George London to lay out a vast complex of ornate terraced flower beds, with symmetrical paths and avenues, to furnish Longleat with a decorative environment, which stretched for the most part eastwards, across the leat (having diverted 'the long lete' with a canal), and on up into what is now the safari park. The whole family, when gathered, are said to have taken much delight in the home-grown fruit to be harvested at Longleat. The f ormal gardens, canals, fountains and parterres were created by George London with sculptures by Arnold Quellin and Chevalier David.
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![Whittell (William) Hampton Court com: Heref:, pen and ink, [c. 1700]](https://portal-images.azureedge.net/auctions-2024/drewea1-10508/images/fdb4173e-57ae-42ee-955a-b220009be2ea.jpg?h=175)
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1,500 - 2,500 GBP
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.
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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.
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Winstanley (Henry, 1644-1703) The Prospect of the dwelling house of Hen: Winstanley Gent: att Littlebury in the County of Essex, forty Miles distant from London, on the Road to Cambridge , etching on laid paper, pencil inscriptions in lower margin, on laid paper without watermark, image approx. 245 x 390 mm (9 5/8 x 15 1/4 in), under glass, faint tape stains to the upper edge, minor toning, framed, [ circa 1670-1690] Provenance: Collection of John and Eileen Harris Literature: cf . Taylor, Christopher, The House and Garden of Henry Winstanley, Littlebury , Landscape History, 2014, vol. 35, issue 2, 39-52. ⁂ Henry Winstanley was an English painter, engineer, and merchant who constructed the first Eddystone Lighthouse after losing two of his ships on the Eddystone rocks. Winstanley developed an interest in engraving after a grand tour of Europe between 1669 and 1674, where he was impressed by Continental architecture and the engravings in which it was portrayed; it is said he studied with Wenceslaus Hollar upon his return. Winstanley was well known in Essex for his fascination with mechanical and hydraulic gadgets. The present etching shows the house he had built for himself at Littlebury, which he filled with whimsical mechanisms of his design and construction, and the "Essex House of Wonders" became a local landmark that was popular with visitors. One contemporary account of a visit to the house explained, after "being taken into one particular room of his house, and there observing an old slipper carelessly lying in the middle of the floor, if, as was natural, you gave it a kick with your foot, up started a figure before you; if you sat down in a chair, a couple of arms would immediately clasp you in, so as to render it impossible to disentangle yourself till your attendant set you at liberty; and if you sat down within a certain arbour by the side of the canal, you were forthwith sent out afloat to the middle of the canal from whence it was impossible to escape …".
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Hulsbergh (Henry, 1670-1729) The East Front of Cannons in Middlesex, after John Price the Elder , from 'Vitruvius Brittanicus, Volume the Fourth. Being A Collection Of Plans, Elevations, and Perspective Views, Of` The Royal Palaces, Noblemen, and Gentlemens Seats, In Great Britain', engraving, platemark 390 x 640 mm (15 1/4 x 25 1/4 in), sheet 495 x 680 mm (19 1/2 x 26 3/4 in), under glass, central vertical fold, handling creases, minor surface dirt and browning, framed, [ circa 1720]; together with Umberslade Hall, including a perspective view, front elevation of the main house, and plan, all on one sheet, engraving, 415 x 450 mm (16 1/4 x 17 3/4 in), sheet 515 x 540 mm (20 1/4 x 21 1/4 in), under glass, marginal damp-stains and surface dirt, framed, [ circa 1730s] (2) Provenance: Collection of John and Eileen Harris
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Kent (William), After . Bust of Queen Caroline in an interior decorated with shells, an elevation of the Hermitage, Richmond, below , engraving, faint scratched date or number in the upper left '[?]06', 188 x 204 mm (7 3/8 x 8 in), under glass, minor surface dirt, framed, [ circa 1735] Provenance: Collection of John and Eileen Harris Literature: cf. Sicca, M, 'Like a shallow cave by nature made, William Kent's natural architecture at Richmond', Architectura (Munich, 1986), vol.16, pp. 68-82 cf. Bridgwater, David, Queen Caroline's Hermitage at Richmond and the 5 Marble Busts by Giovanni Battista Guelphi (1690-1736), see bathartandarchitecture.blogspot.com August 2015 ⁂ Scarce, with no other examples that we can trace at auction, or impressions held within institutional collections. Although her building and landscaping commissions were relatively few, Queen Caroline commissioned William Kent to build Merlin’s Cave (a thatched Gothic structure) and a hermitage in Richmond, the latter a subject in present print; neither of these two commissions survive. The Soane Museum hold a preliminary design by William Kent for Queen Caroline's Hermitage at Richmond Gardens, which was acquired by Robert Adam before being sold to the Soane, and shows a section of the interior with a table in a shell-decorated niche with a daybed on either side, as in present print
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Freeman (John Cooke, " merchant, dilettante and amateur architect", c. 1689-1752) Collection of 15 original architectural drawings and designs , including a design 'for the Gable end of a barn', 'Mrs Comptons Menagerie' with elevation and garden plan, three sheets with designs for arches, a decorative staircase with copious annotations, three sheets of columns, a large ornamental vase, and other sheets with designs for architectural details, some sheets with cost details, pen and ink, pencil, on various laid papers, various sizes between 170 x 115 mm (6 3/4 x 4 1/2 in) and 455 x 360 mm (17 7/8 x 14 1/8 in), scattered spotting and surface dirt, minor marginal nicks and tears, some handling creases and old folds, all loose and unframed, [early to mid-18th century] (15) Provenance: John Freeman of Chute Lodge, Andover, Hampshire, [nephew of the architect]; Thence by descent; cf. Sale. Christie’s, Property of A Gentleman , 30 November 1983, lots 170 and 191 Collection of John and Eileen Harris ⁂ The collection of designs by Freeman form part of a group of drawings of which the remaining part was bequeathed to the RIBA by Sir Howard Colvin (British architectural historian, 1919-2007), in 2008. It is recorded that following the death of Colonel William Freeman, who was the owner of Fawley Court, Buckinghamshire, the estate passed to John Cooke Freeman who was his nephew. Described as a merchant, dilettante and amateur architect, Cooke Freeman was also an early member of the Society of Antiquaries, and built the Gothic folly in the grounds, and also the Freeman family mausoleum in the village of Fawley based on the design of the tomb of Caecilla Metella in Rome.
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Brown (Lancelot (Capability), 1716-1783), Manner of. Design for a three-arched bridge terminating in a sheet of water and set in a tree-lined landscape , pen and inks, wash, some pencil under-drawing, on laid paper with watermark of a Strasbourg bend and lily with initials 'VG', sheet 200 x 365 mm (7 7/8 x 14 1/4 in), under glass, some spotting and minor surface dirt, old folds and handling creases, associated toning in places, framed, [probably late 18th century] Provenance: Collection of John and Eileen Harris
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Barret the Elder (George, 1732-1784) Moonlit v iew of a woodland landscape with a house and boathouse, probably Claremont, Surrey , black and white chalks on prepared paper, sheet 405 x 530 mm (15 7/8 x 20 7/8 in), under glass, minor surface dirt, framed, [mid-18th century] Provenance: Collection of John and Eileen Harris ⁂ George Barret made a number of drawings of Claremont then the seat of Lord Clive. One was engraved by William Watts in April 1779 as part of The seats of the nobility and gentry in a collection of ...picturesque views. The print shows the Palladian house which Clive was having built to the designs of Capability Brown and his son in law Henry Holland, having demolished the vast Vanburgh mansion built by the Duke of Newcastle.
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![Harwood (Francis) Design for an urn, from the sculptor's time in Rome, pen and ink, [c.1750s]](https://portal-images.azureedge.net/auctions-2024/drewea1-10508/images/9acb5aaf-d572-4908-81ac-b220009b9db0.jpg?h=175)
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).
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θ Wright (Thomas) Universal Architecture, Book 1. Six Original Designs of Arbours , vol. 1 only (of 2), first edition , title in red and black with engraved vignette, list of subscribers also with engraved vignette, 11 engraved plates only (of 12; missing the plan for F), some nicks and tears, title with small repaired loss to upper right corner, some toning and surface dirt, all leaves loose, presented in modern green cloth oblong folio slipcase, 1755 ⁂ One of the great rarities of the literature of English eighteenth-century garden architecture. Thomas Wright (1711-1786) had had an initial career as a writer of books on astronomy, but had begun by the late 1740s to design garden buildings and to remodel country houses for a network of aristocratic English patrons. He announced in 1753 his intention to publish a volume of his designs for garden architecture, to be issued in three instalments covering “arbours, grottos and alcoves”, but the publication was dependent on his securing sufficient subscribers and it was not until 1755 that the present Book I, on arbours, appeared in print. The imaginative designs include a domed temple, an arbour “of the parasol kind”, an aviary, a hermitage and a platform for open air entertainment. Sadly he was unable to attract the required number of subscribers and although Book II, on grottos, followed in 1758, Book III, on alcoves, was never published.
"There are no other pattern-books of grottos, rustic buildings and ruined follies, nor at that time were there any books of architectural design so attractively presented in complete landscape settings." (Eileen Harris)
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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.
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2,000 - 3,000 GBP
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 Harris Literature: Harris, John, Sir William Chambers: Architect to George III , 1996, pp. 135-136, illus. fig. 191 cf. Harris, John, Sir William Chambers: Knight of the Polar Star, 1970 Exhibited: 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.
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10,000 - 15,000 GBP
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 Harris
Literature: 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.
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![Gilpin (William) Picturesque design with a ruined building [recto]; design for a fountain [verso], …](https://portal-images.azureedge.net/auctions-2024/drewea1-10508/images/82814eaa-19e1-4dd1-a3bc-b220009bcfef.jpg?h=175)
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Gilpin ( Rev. William, 1724-1804) Picturesque design with a ruined building [recto]; design for a fountain [verso] , pen and brown ink, monochrome wash, on laid paper without watermark, sheet 100 x 150 mm (3 3/8 x 5 7/8 in), hinged into mount, unframed, [late 18th century] Provenance: Collection of John and Eileen Harris
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6,000 - 8,000 GBP
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, framed, 1787 Provenance: Rupert Gunnis (collector and historian of British sculpture, 1899-1965); Collection of John and Eileen Harris Literature: P. Fogelman, P. Fusco and S. Stock, ‘J ohn Deare (1759– 1798): A British Neoclassical 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].
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Estimate
6,000 - 8,000 GBP
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, framed, 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].
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Smith Jnr. (George, Irish architect, 1782-1869) Design for a mausoleum of Egyptian architecture, believed to have been proposed to be erected on the site of the ancient Serapium, to the memory of Sir Ralph Abercromby, at the Lake Madie [Abukir], near Alexandria, Egypt, pen and black ink, watercolour, on wove paper, 245 x 320 mm (9 5/8 x 12 1/2 in), under glass, some toning and minor surface dirt, framed, [1801] Exhibited: London, Royal Academy, 1803, no. 887 Provenance: Collection of John and Eileen Harris ⁂ Lt. Gen. Abercromby (1734-1801) had a distinguished military career, which ended at the Battle of Alexandria, 1801, which also brought the end of Napoleon's control of Egypt. Abercromby commanded the British Forces at the Battle of Alexandria, and was shot through his thigh, but refused to leave the battlefield until fighting was over. He died a week later from the wound, and his body was taken to Malta where he was buried. Numerous projects were undertaken to commemorate this hero, which ended in Westmacott's vast monument in St. Paul's Cathedral. The project depicted in the present lot by George Smith was intended to be raised on the site of the battlefield and was exhibited at the Royal Academy two years after the General's death.
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39
Westmacott the Younger (Richard, 1799-1872 ) Design for a flower urn set on a pedestal, for the West Italian garden at Wilton House, Wiltshire, seat of the Earl of Pembroke , pen and brown ink, over pencil, inscriptions and measurements, lettered 'A' in the upper left, on wove paper, pencil plan of pedestal on verso, sheet 230 x 140 mm (9 x 5 1/2 in), minor surface dirt and browning, unframed, [ circa 1810] Provenance: Collection of John and Eileen Harris ⁂ The eldest son of Sir Richard Westmacott RA (1775-1856) and grandson of Richard Westmacott the Elder (1747-1808), he trained in his father's studio. After attending the Royal Academy Schools he went to Italy where he was the only British sculptor besides John Gibson. He returned in 1826 and worked for his father before setting up his own studio in 1830. Westmacott became Member of the Royal Academy in 1849, and succeeded his father as Professor of Sculpture in 1857 until his retirement in 1867. [BM]
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Rocque (John, 1704-1762) The Plan of the House, Gardens, Park and Plantations of Wanstead in the County of Essex, the Seat of the R.t Hon:ble the E.I Tylney , with inset views of Wanstead House, the Little Amphiteather, the Fortifications, the Mount in the Great Lake, the Gardners House, the Mounts, the Water House, the Stove House, the Green House, and the Great Stove House, with large cartouche in the upper right corner, engraving, on two sheets, not joined, total sheet approx. 655 x 1045 mm (25 3/4 x 41 1/8 in), under glass, trimmed to or within the platemarks, some toning and surface dirt, a few small nicks and tears, possibly on support, framed, 1735 Provenance: Collection of John and Eileen Harris ⁂ A finely detailed plan by the French Hugenot, John Rocque, which depicts the estate in 1735 just after Richard Child had become Earl Tylney. Some features included in the plan, specifically the wings of the house, were never completed. The grounds of Wanstead House were landscaped and planted with formal avenues of trees by George London, one of the leading garden designers of his day. John Rocque was commissioned by the 1st Earl Tylney in 1735 to carry out further work on the gardens, aimed to turn Wanstead into a mini Versailles.
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Haydon (Benjamin Robert, 1786-1846) Portrait of the architect Charles Heathcote Tatham (1772-1842) , black, red and white coloured chalks on buff paper, signed with initials and dated '1823' in the lower right, further inscribed 'Mr C. H. Tatham by Haydon' in the lower left corner, sheet approx. 480 x 380 mm (18 3/4 x 14 7/8 in), under glass, small puncture in the upper left quadrant, just above the sitter's forehead, scattered spotting and surface dirt, framed, 1823 Provenance: Collection of John and Eileen Harris ⁂ The British Museum hold another portrait of Tatham, the English architect and collector of classical antiquities, also drawn by Haydon. The BM sketch, again also from 1823, was undertaken a year after Mrs Tatham attended Mrs Haydon at the birth of Haydon's son, Frank; the artist and architect are said to have waited together in the painting room. One of the two drawings must have been the drawing for which Tatham paid Haydon £10. [ cf. Brown and Woof, Haydon exh. cat., 1996, no. 105]. In 1802 Tatham designed the sculpture gallery at Castle Howard, Yorkshire, and did work at Naworth, Cumberland, for the Earl of Carlisle; and in 1807 the picture gallery at Brocklesby Hall, Lincolnshire, for Lord Yarborough. His etchings for the designs of these galleries, both in the severe classical style in vogue at the time, were published in 1811. He later designed the rebuilding of Roche Court at East Winterslow, Wiltshire for Francis Thomas Egerton in 1804–5, and the mausoleum at Trentham, Staffordshire for George Leveson-Gower, 1st Duke of Sutherland, 1807–08. Before 1816 he designed for the Duke of Bridgwater the portion of Cleveland House, St. James's, which lay to the west of the gallery.
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English School (circa 1840s) Elevation, plan and profile of an realised project for Emma Cust, Countess Brownlow (1791-1872), pen and ink, watercolour, on wove paper without watermark, inscribed in pencil to lower right corner 'Lady Brownlow', sheet 285 x 350 mm (11 1/4 x 13 3/4 in), old folds and handling creases, minor spotting and surface dirt, unframed , [ circa 1840]; together with a pencil study of a section of Harlaxton Manor House, dated Sept. 1855, before it was torn down in 1857, a pen and ink study of an unidentified ruined English castle by another hand, and three others, including a bust portrait of man attributed to Juan Antonio López, all unframed (19th century) (6) Provenance: Collection of John and Eileen Harris ⁂ Lady Emma Sophia Edgcumbe, Countess Brownlow (1792-1872), eldest daughter of Richard Edgcumbe, 2nd Earl of Mount Edgcumbe (1764-1839) and Lady Sophia Hobart (1768-1806), third daughter of John Hobart, 2nd Earl of Buckinghamshire (1723-1793), was married in 1828, as the third wife, to John Cust, 1st Earl Brownlow (1779-1853), but bore him no children. C ountess Emma Brownlow built Belton Lodge in the 1840s, on Higher Lincombe Road overlooking the sea and often went to stay in Torquay , Devon.
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1
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GBP
Estimate
1,500 - 2,000 GBP
Goodridge (Henry Edmund, 1797-1864) Elevation of a design for the Duke of Hamilton’s mausoleum, Hamilton Palace, Lanarkshire , pen and grey-ish black ink on wove paper, inscribed underneath 'Elevation of Hamilton Palace with Additions and Alterations', signed and dated 'Bath 1841', 225 x 920 mm (8 3/4 x 36 1/4 in), mounted onto canvas, under glass, toning and surface dirt, framed, 1841 Provenance: Christie's London, British Drawings and Watercolours , December 19th, 1989, lot 62; Collection of John and Eileen Harris ⁂ Elevation of Hamilton Palace including t he unrealised mausoleum, originally commissioned from Goodridge who had worked for the Duke’s father in law William Beckford. The commission for the mausoleum was subsequently given to David Bryce to complete. Alexander, 10th Duke of Hamilton (1767-1852) inherited Hamilton Palace from his father in 1819. He had been on the Grand Tour and had a passion for arts and antiquities, building up a vast and important collection. A number of architects were consulted about the planned mausoleum, including Goodridge. However, the final design resulted in a magnificent private tomb with a 36.5m (120ft) high dome. Influenced by the Duke's fascination by all things Egyptian, Hamilton had asked a specialist, Mr Pettigrew, to embalm his body after his death. He then wished to be placed in a sarcophagus which he had purchased. This casket, ‘executed by the most cunning workmen of the Pharoahs’ featured a female face and was thought to have been used in the burial of an Egyptian queen: according to one source the Duke ordered it to be further chiselled out to make room for his body
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![Wade (Charles Paget) Six studies of farmhouses in rural France, pencil [early 20th century]](https://portal-images.azureedge.net/auctions-2024/drewea1-10508/images/c4a0f933-50cd-4903-a5a8-b220009bbdb9.jpg?h=175)
Wade (Charles Paget, 1883-1956) Six studies of farmhouses in rural France , pencil and black chalk, six sheets between approx. 90 x 65 mm (3 1/2 x 2 1/2 in) and 100 x 140 mm (5 1/2 x 3 1/4 in), presented in one mount, minor surface dirt and light browning, framed, [early 20th century] Provenance: The Wade Collection, from Wade's library, Temple Fortune, North London; Ben Weinreb, London Collection of John and Eileen Harris ⁂ Charles Paget Wade was an English architect, artist-craftsman and poet of Afro-Caribbean descent; today he is perhaps best remembered for the eclectic collection he amassed during his life, a collection which can be seen at Snowshill Manor, his former home in the village of Snowshill, Gloucestershire, which he gave to the National Trust in 1951. In 1919, after service in France during World War I, Wade purchased the estate at Snowshill, which he restored – first the manor house, then the gardens – over the next four years. Having started collecting at the age of 7, Wade eventually built up a collection of more than 22,000 items of furniture, clothing, paintings, and many other pieces which reflected his interest in colour, design and good craftsmanship. He housed the collection in the manor house at Snowshill, choosing to live in a small cottage in the garden. He continued to add to his collection over the years. The objects he collected included musical instruments, clocks, bicycles, and 26 sets of samurai armour. During his lifetime, Wade gained some renown for his creation of a miniature 18th century Cornish fishing village, which he named Wolf's Cove. Wade rendered its houses, harbour, fishing boats and gear, and inhabitants, in 1:10 to 1:12 scale, from wood, straw, plaster, textiles and other materials. Over time, he expanded Wolf's Cove such that it attracted hundreds of visitors a year, including Virginia Woolf, Queen Mary, and the poet John Betjeman. [Wikipedia]
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![Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; …](https://portal-images.azureedge.net/auctions-2024/drewea1-10508/images/b68ea947-7892-420f-bbc3-b220009bc16d.jpg?h=175)
59
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
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.
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Italian School (18th century) View of a palazzo façade with doorway and balustrade , pen and brown ink, yellow, green and brown wash, on thick Italian laid paper without watermark, sheet 313 x 207 mm (12 3/8 x 8 1/8 in), arched top, ruled black ink borderline, minor surface dirt, unframed, [late 18th century] Provenance: Michael Mayr (1796-1870) [Lugt 1804a] Collection of John and Eileen Harris ⁂ Suggested attributions to Faustino Trebbi (1761-1836), or someone working in his circle, are recorded by Harris.
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English School (18th century) Plan of the Villa Adriana near Tivoli (Hadrian's Villa) , 7 miles around, oriented with north to the upper left corner, with key and list below plan, pen and brown ink, red ink, on laid paper with watermark of armorial device with cardinal's hat surmounting a shield with eagle, sheet 350 x 460 mm (13 3/4 x 18 1/8 in), handling creases, minor surface dirt, small nicks to extremities, one tear in the lower right edge, [late 18th century] Provenance: Collection of John and Eileen Harris ⁂ Rare survival of a plan, presumably by an English architect undertaken while on their Italian Grand Tour.
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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.
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