1790s Figurative Drawings and Watercolors

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Richard Westall, R.A. (1765-1836) Venus signed and dated ‘R. Westall 1794’ (lower right) pencil and watercolour, with white heightening image 11 ⅞ x 15 ¼ in. (30.2 x 38.7 cm.) frame 22 ⅛ x 26 in. (56.3 x 66.1 cm.) Provenance: Private Collection, UK. Venus (1794) was produced during a highly creative and defining period of Richard Westall’s career and artistic development, when from 1790-95 the ambitious young artist was sharing a house at 57 Greek Street, Soho, with his friend Sir Thomas Lawrence, the future President of the Royal Academy. Whilst lodging together, Lawrence became an Associate of the Royal Academy in 1791, Westall the following year, and both were elected full-members in 1794 – the year Lawrence was appointed Painter-in-Ordinary to His Majesty King George III. Westall was to become Queen Victoria’s first Drawing Master, before her ascension to the throne. It was in this very year, 1794 - as the two young artists became Royal Academicians - that the present watercolour was executed, and it is exciting to speculate that Lawrence would have examined and given his thoughts on the work. Highly comparable to The Wallace Collection’s Nymph and cupids (c.1793, cat. P757), acquired by Francis Seymour-Conway (1777-1842), 3rd Marquess of Hertford, (who hung it in his bedroom), the mid-1790s saw Westall exhibiting and returning to similar subject-matter on a number of occasions. Two works with titles that could be applied to the present picture were exhibited at the Royal Academy, in 1794 (no. 341 Nymph and Cupids) and 1795 (no. 620, A Wood–nymph and Cupids). However, a print after the watercolour, engraved by F. Screen, entitles the piece Venus. Westall is regarded as a great virtuoso watercolourist, and Venus is evidence of the young artist’s mastery of the medium. Indeed, it is unusual to find a watercolour of comparable age so well preserved, and retaining such vibrancy - the superb condition providing an insight into his exceptional brushwork and use of colour. Venus languishes luxuriously on her woodland bed, the trunk of a tree resembling a curtain, while three winged putti play beside her, seeming to gesture to someone in the woods. Cupid draws back his bow and aims an arrow of love, perhaps about to pierce the heart of a hunting nobleman, or unsuspecting woodcutter. The striking contrast between the almost luminescent nymph, with the deep, rich, luxuriant forest, gives the glade an alluring sense of mystery – perhaps an allusion to the mysteries of the heart, a pre-occupation with Romanticism, central to the emerging thought of the time. Westall can be classified as one of the great Romantic artists, and even painted Lord Byron’s portrait...

Attributed to Francesco Casanova (1727-1803), A Mamluk fighting on his horse, watercolor and ink on paper 35 x 26 cm Framed 54 x 44 cm (vintage frame, the mount and the back have b...

RICHARD WESTALL, RA (1765-1836) Cupid Sleeping; from a poem of Mrs Robinson - The Duchess of Devonshire Discovers the Sleeping Cupid Watercolour on paper, oval 36 by 44.5 cm., 14 ¼ by 18 in. (frame size 55 by 66 cm., 21 ¾ by 26 in.) Exhibited: London, Royal Academy, 1792, no.448. Richard Westall was bon in Reepham, near Norwich. Initially apprenticed to a London silver engraving he began studying at the Royal Academy Schools from 1785 and exhibited regularly at the Royal Academy between 1784 and 1836. Westall became an Associate member of the Royal Academy in 1792 and a full member in 1794. Westall painted in both oil and watercolour, his works being romantic and neoclassical in style. He contributing to both Boydell’s Shakespeare Gallery and Fuseli’s Milton Gallery and was also a prolific book illustrator of both fiction and poetry including works by Sir Walter Scott and Byron, whose portrait he also painted. For a time he was also art master to the young Princess Victoria. This is probably Westall’s 1792 Royal Academy exhibit (no.448). The subject was inspired by the poem Cupid Sleeping by the poetess-actress Mary Darby Robinson, which had been published in the previous year. The poem was dedicated to Georgiana, Duchess of Devonshire and the picture show the Duchess discovering the sleeping cupid who she then relieves of his bow and arrows. Mrs Robinson was not only the Duchess’s protégée but also the first public mistress of the Prince of Wales. William Nutter’s engraving of Westall’s picture was also dedicated to the Duchess of Devonshire. Close in a woodbine's tangled shade, The blooming god asleep was laid; His brows with mossy roses crown'd; His golden darts lay scatter'd round; To shade his auburn, curled head, A purple canopy was spread, Which gently with the breezes play'd, And shed around a soften'd shade. Upon his downy smiling cheek, Adorned with many a "dimple sleek," Beam'd glowing health and tender blisses, His coral lip...