Augustus Osborne Lamplough

AN EXTENSIVE DESERT LANDSCAPE WITH A WARRIOR ON CAMELBACK

GIOACCHINO LA PIRA (fl.1839–1870) VIEW OF AMALFI FROM THE GROTTA DEL CONVENTO DEI CAPPUCCINI Titled & signed verso Gouache on paper 45 x 30 cm La Pira was an Italian painter, active almost exclusively in Naples in the mid-19th century. He painted solely in gouache, like many of his fellow Neapolitan artists who catered to the burgeoning tourist trade in Naples, though he is one of the comparatively select few who rose above the anonymous mass of such artists. Such was his renown in this genre, he was mentioned in John Murray’s hugely popular A Handbook for Travellers in Southern Italy (from the 6th ed., London, 1869). Like his peers, La Pira painted the more popular panoramas and genre scenes from Naples, Capri and along the Neapolitan coastline; however, it was his distinctive knack for dramatic lighting and freshness of atmosphere that distinguished him from his contemporaries, as the present work’s moonlight shows to powerful effect. Gioacchino, for whom there is very little in the way of documentary biographical evidence, is known to have been one of three artist-brothers. While we do not know his birth and death dates, no paintings...

FIGURES BY A STREAM IN AN ARCADIAN LANDSCAPE Signed & dedicated l.l. a son ami Gallier / Ach. Benouville Pencil, brown washes, chalk & bodycolour on...

GABRIELE CARELLI (1820-1900) THE AMPHITHEATRE AT TAORMINA, WITH ETNA IN THE DISTANCE Signed, titled & dated l.r. 1891 Watercolour 51 x 72 cm 72 x 91 cm [Framed] Provenance: Privat...

CHARLES-LOUIS CLÉRISSEAU (1721-1820) THE GARDENS AT THE VILLA D'ESTE AT SUNSET, TIVOLI Signed l.r. Clérisseau Pen & black ink, pencil, and watercolour, heightened with bodycolour 45.1 x 59 cm 81 x 77 cm [Framed] Provenance: [Purchased by a previous owner in the U.S. for $34,000 according to an earlier label] Private Collection, Madison Avenue, N.Y. ‘I found out Clérisseau .. in whom tho’there is no guile, Yet there is the utmost knowledge of Architecture, of perspective, and of Designing and Colouring I ever Saw, or had any conception of; He rais’d my Ideas, He created emulation and fire in my Breast. I wish’d above all to learn his manner, to have him with me at Rome, to Study close with him and to purchase of his works ..’ (Robert Adam to his brother James, 19th February 1755) Clérisseau was born in Paris and studied there under the auspices of Germaine Boffrand, an architectural draughtsman. At just 25 years old, Clérisseau won the foremost architectural prize in France, the Prix de Rome, and so travelled to the French Academy in Rome (housed in the Villa Medici) to take up residence as a pensionnaire. He arrived in 1749, and began to study under Giovanni Paolo Pannini, the great painter of architectural capricci. Clérisseau befriended two other great architectural draughtsmen, Giovanni Battista Piranesi, and Claude-Joseph Vernet. Clérisseau remained in Rome for eighteen years, becoming an authority on antique Roman architecture, undertaking his own works, including his famous ruin room at the Trinita dei Monti convent, as well as teaching and acting as an artistic cicerone for other visitors. These visitors comprised a series of winners of the Prix de Rome, as well as French and British Grand Tourists, including some of the leading contemporary exponents of British neoclassicism, such as William Chambers and Robert and James Adam. For part of the 1750s, Clérisseau and Robert Adam shared lodgings in the Casa Guarnieri, near to the Spanish Steps. This was arguably one of the most important periods during Adam - who would become one of Britain’s most renowned architects. In his correspondence from this time, Adams mentions how Clérisseau suggested that he first learn to draw a plethora of ornamental motifs, often from Clérisseau’s own designs, before attempting full-scale architectural drawings. Clérisseau and Adam’s drawings from that time are largely rendered in pencil, pen and watercolour, and are either capricci or records of architecture, fragments and ornamental motifs from the buildings they encountered throughout Italy. The latter appear, on the whole, to have been drawn from life. On occasion, Clérisseau’s well-documented distortions of perspective, so as to show a piece of architecture to its best advantage, can be seen in Adam’s work too. The drawings utilise Clérisseau’s characteristic mode of depicting architecture in solid lines of ink but complement this with hazy watercolour backgrounds and imagined topographies. In 1757, Clérisseau even accompanied Robert Adam to Spalatro, Dalmatia (now Split, Croatia) for five weeks in order to survey the ruins of the Palace of the Roman Emperor Diocletian for publication. Following Robert’s departure from Italy, Clérisseau supervised the production of the engravings for his publication, Ruins of the Palace of the Emperor Diocletian at Spalatro… (1764). Moreover, many of the expedition drawings finally selected for engraving are thought to have been by Clérisseau himself rather than Adam or the other accompanying draughtsmen. However, he received no credit for this in Adam’s subsequent book, though this did nothing to stop his reputation’s ascendence. Clérisseau returned to Paris in 1767, a hugely respected artist in his own right. From the French capital, he cultivated a list of eminent clients, which included Catherine the great (who commissioned designs for a house and a triumphal bridge from the artist). The Russian Empress even gave Clérisseau the title Premier Architecte de Sa Majestée Impériale and made him an honorary member of the Imperial Academy of Fine Arts. In 1774, the 1st Marquis of Lansdowne commissioned Clérisseau to make designs for a library for Lansdowne House on Berkeley Square, London, but this was not executed. Soon afterwards, in 1785, Clérisseau was approached by Thomas Jefferson, then the United States Minister to France, to design the Virginia State...

A VIEW OF PART OF STENAY FROM BEYOND THE TOWN WALLS (MEUSE, FRANCE) Pen & ink on laid paper 11.5 x 23cm Provenance: Private Collection, France The present work likely relates to Israel Silvestre's Profil de la Ville et Citadelle de Stenay, engraved by F. Noblesse (Faucheux : 232.33 Etat : 1 / Baré : N° 659, see third and fourth images above). A more strictly topographical study by Silvestre, from which the print itself was derived, is in the Louvre Collections...

THE FALLS AT TIVOLI, WITH A DISTANT VIEW OF THE TOMB OF THE PLAUTII Signed to mount JPx Bidauld f. Pen & ink with monochrome washes on laid paper with Strasbourg Lily watermark 30 x ...

View of Paris: The Hotel de Ville banks and the statue of Etienne Marcel under Snow Watercolor Signed E. Galien Laloue, circa 1910-1920 Appraisal by Mr Noé Willer. (Will figurate in...

Estate stamp lower right

Baruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throughout his youth. During his military service Nachshon herded flocks for the IDF, an experience that imbued in him a love and appreciation for nature which figures prominently in his work until today. Upon completing his military service the young artist was torn between the temptation to travel to Paris, then the cultural center of the art world, and his deep love of the land of Israel, the spiritual center of the Jewish world. Opting to stay in Israel, Nachshon studied under Shlomo Nerani, Cezanne’s only pupil, with whom he had enjoyed a deep friendship extending back to his childhood. Nachshon, whom Nerani viewed as his spiritual heir, was the only one of his students allowed to see the master at work. Nachshon’s lifelong involvement in Lubavitch Hassidut began in his early adulthood, when he was drawn to the movement by its uniquely beautiful traditional melodies. In 1965 Nachshon was invited to an unprecedented three- hour private session with the Rebbe...

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this ...

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this ...

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this ...