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FRENCH DRAWINGS.

ANTOINE WATTEAU. Study of a young woman's head in red and black chalk. 2 in. W. by 24 in. H.

Head and bust of Queen Henrietta Maria and child, after Anthony Vandyck. Red chalk. 9 in. W. by 12 in. H.

From the William Russell collection.

CLAUDE LORRAINE. Landscape. Two groups of large trees in the fore-ground, to the left and the right. Cattle in the mid-distance, and a town on the margin of a lake, and mountains in the extreme distance. Pen and bistre on blue paper. 14 in. W. by 98 in. H.

From the collections of Benjamin West, Esdaile, Holditch, Laurence, and Hawkins. There is a facsimile of this drawing.

11 in. H.

A Study of a large tree. Reed pen and bistre. 8ğ in. W. by

From the collections of Richardson, Esdaile, Wellesley, and Cheney.

Study of a tree in a slight landscape. Reed pen and bistre

washed. 7 in. W. by 5 in. H.

From the De Fries, Wellesley, and Cheney collections.

ENGLISH DRAWINGS.

PETER LELY.

The Portrait of a young Lady in coloured crayons,

with the monogram "P. L." 8 in. W. by 11 in. H.

From the Richardson, Hölditch, and Wellesley collections.

WILLIAM HOGARTH. Caricature Portrait of John Wilkes seated,
with the Cap of Liberty on a pole in his left hand. In free pen. 8 in. W. by
14 in. H.

The original sketch for the well-known engraving by Hogarth.
From the Wellesley collection.

JOSHUA REYNOLDS. A Collection of Fifty-two original sketches.
The Sketches are in pencil, ink, crayon and sepia, and are chiefly figures. Seventeen
are on folio paper, twenty-six on quarto, and nine on octavo.

Half Calf.

Note.-The Italian Sketch-book of Reynolds is described among the Autographs.

THOMAS GAINSBOROUGH. Chalk drawing, on grey paper, height-
ened with white, of a young girl, in profile, dancing. 7 in. W. by 12 in. H.

DAVID WILKIE. The old Commodore. Fancy sketch in coloured
chalks, of Captain William Locker, R.N., and of his youngest daughter,
Elizabeth. The lady is arranging a stool for her father's injured foot, while
an old serving man (Boswell) is entering the room with a tray. 20 in. W.
by 16 in. H.

See Edward H. Locker, in Charles Knight's Half-hours with the best authors.
JOSEPH M. W. TURNER. Landscape view of Dumbarton, finished in
Sepia. One of the unpublished drawings for the Liber Studiorum.
W. by 8 in. H.

This drawing was formerly the property of Mr. John Ruskin.
Also the original etching for this subject.

13 in.

JOHN FLAXMAN. "Come thou Blessed." Three female figures
ascending into Heaven. Indian Ink, washed. 4 in. W. by 131 in. H.
From the Hippesley collection. May, 1868.

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JOHN FLAXMAN-KATE GREENAWAY.

JOHN FLAXMAN, Illustration for the Pilgrim's Progress. Christian received by Discretion, Prudence, Piety, and Charity, at the House Beautiful. Pen and Indian Ink, in outline, signed "J. Flaxman, f June, 1792." 10 in. W. by 8 in. H.

From the Denman, and William Russell collections.

THOMAS STOTHARD. Three small water-colour drawings, viz. :— 1. A tiger, in colours, with the head of another tiger.

2. Cupid on the back of a leopard. Indian ink.

3. Peasants dancing under vines to the strains of a fiddle.

The last two drawings have been engraved.

EDWARD BURNE JONES. Water-colour copy of a fresco by Titian at Padua. 16 in. W. by 12 in. H.

Mr. Ruskin saw Mr. Locker's pen sketch by Titian (see Titian), and gave him this beautiful drawing.

FREDERICK WALKER. THE MIDSHIPMAN, a composition of five figures. A pen and ink drawing. 5 in. W. by 3 in. H.

Purchased at the artist's sale after his death.

GEORGE CRUIKSHANK.

"Fairy Connoisseurs inspecting Mr. Frederick Locker's collection of Drawings." Water-colours. 5 in. W. by 41 in. H.

The

The original Drawing for the etching which forms the title-page of this volume. WILLIAM M. THACKERAY. Scene from Mrs. Perkin's Ball. Mulligan dancing a Grand Polka with Miss Little. Exquisitely ridiculous. Differently treated from the illustration as it appeared in the published book. Water Colours.

JOHN E. MILLAIS. Small pencil sketch of a young lady seated with a book in her lap, a greyhound crouching at her feet.

Design for a woodcut that appeared in Once a Week.

RANDOLPH

CALDECOTT.

figures in water colour.

The Bride. A composition of four

This drawing was fac-similed for the Christmas (1883) number of the Graphic.

Also a 4to volume of pen and ink sketches by the same artist. In old French Red Morocco binding.

KATE GREENAWAY. Babies and Blossoms, and Cradle Verses.

A Series of forty-five minute water-colour drawings, illuminating and illustrating four short MS. poems, by F. L.

A Rhyme of One.

Little Dinky.

The Twins.

From the Cradle.

Bound in white Vellum, the cover decorated with four figures, emblematical of the seasons, and enclosed in a green morocco case, by Bedford. Size 2 in. W. by 3 in. H. Also a 4to book of Sketches by the same artist. Old French Red Mor. binding.

PICTURES.

FRANCISCO GUANACCI. A circular oil picture on panel. The Virgin and child enthroned between the Archangel Michael and a pope. An aged male and female saint are kneeling in the foreground, holding books in their hands. Landscape back-ground.

A Florentine tondo of great beauty, and on an exceptionally small scale Circa 1500. Diameter 12 inches.

This picture has lately been exhibited at Burlington House.

SCHOOL OF MANTEGNA. Cupid and Psyche, a circular oil picture on panel. The composition is divided into two scenes, that to the left is an interior. Cupid lying on a couch and Psyche approaching him. The other scene, to the right, is a landscape. Cupid has escaped to the forked branches of a tree, and Psyche is on the ground imploring him on her knees. 10 in. in diameter.

This little picture is of the School of Mantegna.

MARIOTTO ALBERTINELLI. Four small panels, painted in oil, ont a gold ground. The Subjects are,-1, A sacra conversazione-2, the Virgin and child enthroned, with St. Anthony and St. James standing one on each side-3, The Crucifixion, with the Virgin and St. John-4, The Martyrdom of Saints Stephen and Sebastian. 1477-1520. 6 in. W. by 5 in. H.

These pictures are small, but they are painted with all the breadth of manner of the great works of the master. They were acquired in Florence, and are in their original pure state. They may have formed part of a framework of small panels to a larger picture. They are of the mature period of the painter, and recall the manner of his friend Fra Bartolommeo. The physionomic type of the figures, and other peculiarities, however, identify them as the work of Albertinelli.

This picture has lately been exhibited at Burlington House.

MEISTER STEPHAN, of Cologne. The Salutation of the Virgin, in oil, on panel. The Virgin, clad in blue drapery, is seated in her bed-room, which, doubtless, faithfully represents the modest chamber of a German

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MEISTER STEPHAN—ANTOINE WATTEAU.

maiden at the beginning of the 15th century. The winged messenger is arrayed in a white alb, with a cassock of scarlet and green. In the righthand upper corner of the composition, is seen the face of the Eternal, and from it golden rays are projected towards the Virgin. The beauty and feeling of this picture seem to put it on a level with the works of Fra Angelico. It is in its primitive frame, this and the panel being carved out of solid oak. It was originally the leaf of a folding diptych. 7 in. W. by 9 in. H.

There is great uncertainty respecting Meister Stephan, or Stephen Loethener, and as to the few works ascribed to him that have come down to us.

EARLY FLEMISH SCHOOL, circa 1480. A Crucifixion. On each side of the cross, on which the Saviour has just expired, the Virgin Mary and St. John are standing in attitudes of grief, while St. Jerome, and another Saint, kneel in front. The Earth is opening and discovers souls in purgatory. In the back-ground are represented the different scenes of the passion. The City of Jerusalem is in the distance. 7 in. W. by 9 in. H.

From the collection of Cardinal Fesch, in the catalogue of whom it is described as in the manner of Henry de Bles, which it is not.

SCHOOL OF BASLE. Portrait in oil, on panel, of "Anna Martoffin, &c., 1528. A beautiful Swiss or German Lady, clad in a rich dress. Three quarters bust, on a green back-ground. 4 in. W. by 5 in. H.

Although very small, and highly finished, it is painted with all the largeness of manner of a life sized picture. The back of the panel has the shield of arms of the lady. As a work of art this little picture is worthy of Holbein, but the technical execution is different. It shows the influence of the earlier masters of the Basle and Augsberg schools. It has been attributed to Christopher Amboyer.

This picture has been exhibited at Burlington House.

LUCAS CRANACH. A circular oil picture on panel. Eve presents the apple to Adam, the pair stand in the long grass and flowers of a meadow, under the spreading branches of an apple-tree laden with ruddy fruit. In the back-ground are a stag and hind. On the trunk of the apple-tree is the flying dragon of the Painter, and the date 1525. Diameter 5 in.

A refined and highly finished little picture.

ANTOINE WATTEAU. La Marieé de Village. A sketch in oil for the celebrated picture, which is best known by the engraving, it is painted on paper, and only gives the figure portion of the composition. 29 in. W. by 15 H. in.

Mr. Locker bought this work at the late Mr. Charles R. Leslie's sale. Mr. Leslie valued it, and quoting Joshua Reynold's dictum on Watteau, used to add that it looked as if it had been painted in honey and gold. It has lately been exhibited at Burlington House.

FINIS.

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