Major-General Henry Hope Crealock, CB, CMG (1831-1891)

Sebastabol: The Evening Star that rises over Sevastapol at sunset

Major-General Henry Hope Crealock, CB, CMG


Signed and dated l.r.: HHopeCrealock/…18../September.6th/1855/The Evening Star that rises over/Sevastapol at sunset!!/visible from the Eagle’s nest with the naked eye of a clear evening/from my/ journal of/ the campaign/ in the Crimea, pen and brown ink, inscribed verso’ damp the back of it/will come straight

27 x 41.5 cm; 10 5/8 x 16 3/8 inches


The second son of William Belton Crealock of Langerton in Devon, the artist started at Rugby in February 1844 and obtained a commission in the 90th Light Infantry on 13 October 1848. He was promoted to lieutenant on 24 December 1852 and captain on 29 December 1854.

He landed at Balaklava on 4 December 1854 and served at the siege of Sebastapol. He was mentioned in despatches for gallantry during the attacks on Redan on 18 June and 8 September the following year and was appointed deputy adjutant quartermaster-general at headquarters on 17 September and at Constantinople in December.

On 26 December 1856 he was promoted to the rank of major and in March 1857 he was appointed deputy adjutant quartermaster-general to the Chinese expeditionary force during the Second Opium War; he was present during the operations in Canton later that year and in January 1858. On 20 July 1858 he was promoted to the regimental rank of lieutenant-colonel.

He served in India in the campaigns of Rohilkhand, Biswara and Trans Gogra in 1857, and from 1858-9 on the staff of Sir William Rose Mansfield.

In March 1860 he was appointed military secretary to Lord Elgin he was during his Chinese embassy. He was attached to the headquarters of the army during the war that followed and was present at the action of Sinho, the capture of the forts at Tangu and Taku and the capture of Peking; and received a medal with two clasps. On 6 July 1864 he received his colonelcy, and on 2 January 1870 was gazetted major-general.

During the Austro-Prussian War he was military attaché at Vienna and from 1874 to 1877 he served as quartermaster-general in Ireland. In the Anglo-Zulu War he commanded the first division, and for his services was created C.M.G. In 1869 he was created a Companion of the Order of the Bath in and made a Companion of the Order of St Michael and St George in 1879.

Crealock retired from the army on 4 September 1884 with the rank of lieutenant-general.

Crealock was an accomplished artist who made sketches of scenes in the Crimean War, the Indian mutiny and the China campaign which are valuable records. He sent many sketches of the Zulu campaign to the Illustrated London News. He illustrated Wolf-Hunting, or Wild Sport in Lower Brittany (1875), and George Whyte-Melville's Katerfelto (1875). In 1885 he republished a series of papers which had appeared between 1870 and 1879 on 'The Eastern Question' (London), written from a point of view hostile to Russia. At the time of his death, Crealock was engaged on illustrating his work Deer-Stalking in the Highlands of Scotland, which appeared in 1892 under the editorship of his brother, Major-General John North Crealock (1837–1895).

Charles West Cope, RA (1811-1890)


Charles West Cope

Signed with initials l.r.: CWC, inscribed and dated under the mount: Lessons 1861, black and red chalks, with a black line border, framed in a period gilt frame

15.5 x 17.4 cm; 6 1/8 x 6 7/8 inches

Frame size 30 x 27 cm.; 11 ¾ x 10 5/8 inches

By descent to Miss M. P. Burt, the great-granddaughter of the artist;

Sabin Galleries Ltd.;

Private collection U.K. until 2020


Shiva Lal (Patna c. 1820-1870)

A man being carried in a palanquin



Watercolour heightened with bodycolour and gum arabic

14 x 17.5 cm; 5 ½ x 6 ¾ inches

Covent Garden Gallery


Shiva Lal ran an art shop in Patna and his work is characterised by the elongated limbs seen in the bearers of the palanquin and the delicate watercolour horizon in this drawing. Means of conveyance were one of the subjects in which he specialised.

Further examples of his work can be found in the collection of the Victoria and Albert Museum.

Emily Reynolds-Moreton (d. 1900)

Self-portrait with her head resting on her hand

Lady Emily Dundass

Signed with initials l.r.: EM, pencil with red and white chalks on buff paper

30 x 22 cm; 11 3/4 x 8 5/8 inches

Framed in a gilt moulding, framed size 42 x 34.5 cm.; 16 1/2 x 13 1/2 inches


Augusta Raymond-Barker (1827-1900), Fairford Park, Gloucestershire; By family descent until 2016

The subject of this drawing, Lady Emily Dundas, née Reynolds-Moreton, was the fourth daughter of Thomas, 1st Earl of Ducie and the most talented artist of the five sisters.

In 1847 she married Admiral Sir James Whitley Deans Dundas, GCB, (1785-1862) as his second wife. He became the First Naval Lord in Lord John Russell’s ministry in July 1847 and they lived at Admiralty House and moved in court circles in London.

Lady Emily is recorded as accompanying her husband on many official engagements such as inspecting the fleet, from Cork to Malta. He was appointed Commander-in-Chief in the Mediterranean in 1852 and led all naval operations in the Black Sea, including the bombardment of Sevastopol in October 1854 during the Crimean War. She went with him to Turkey, as many wives did, and took a house at Therapia. Lady Dundas evidently enjoyed a good social life during the war and is recorded as attending a picnic for twenty-seven on the summit of the Giant’s Mountain, Therapia, organised by the Earl of Carlisle.

Lady Emily Dundas was the sister of Augusta Raymond-Barker’s stepmother, Lady Catherine Reynolds- Moreton, who married John Raymond-Barker of Fairford Park in 1841 as his second wife. This drawing comes from a friendship album assembled by Augusta.

William Turner of Oxford (1789-1862)

Chale Bay - looking out to sea from St Catherine’s Down and Oratory, Isle of Wight

Turner of Oxford


Watercolour over traces of pencil

32.3 x 54.1 cm.; 12 ¾ x 21 ¼ inches

Spink, sold 11 October 1956;

Private collection U.K., until 2020

Turner of Oxford was in Sussex in 1846 from when this beautiful drawing may well date, as he made a large watercolour from near Portsmouth with the Isle of Wight in the distance in that year.1 He has chosen a calm day and the stillness of the shepherds amplifies the awe with which they are observing the beauty of nature.

The location has an interesting history. In 1313, a ship, the St Mary of Bayonne, was blown off-course and ran aground on the treacherous Atherfield Ledge in Chale Bay. Its cargo of white wine was sold illegally by the sailors and many barrels found their way into the cellars of Walter de Godeton, Lord of the Manor of Chale.

The ship came from Gascony, then part of King Edward II’s kingdom. He was not amused and Walter de Godeton was fined by an ecclesiastical court. The Pope heard of the incident and, in order to avoid excommunication, de Godeton was ordered to build an oratory and beacon on Chale Down as penance.

Philip Charles Trench (1809 - 1888).

A dancing party, Ghazepoor, India

PC Trench

Signed, inscribed and dated l.l.: P C Trench Ghazepoor July 1847, watercolour over traces of pencil

22.2 x 28 cm.; 8 ¾ x 11 inches



Philip Charles (later Chenevix) Trench was born in Dublin. He served as a civil servant in Bengal, retiring in 1871. He wrote A Sportsman in Ireland and illustrated the 1897 edition.

Ghazipur, 135 miles west of Patna, was a centre of opium trade of the East India Company.

Although only one dancer (at the back) seems to be wearing uniform, most of the young men are military officers from the town's cantonment, and the young women are likely to be daughters of the local officers.

Hugo Vilfred Pedersen (Danish 1870-1959)

Portrait of a man from Ceylon

Hugo Vilfred Pedersen


Signed l.r.: Hugo VP, oil on canvas board, in an antique hardwood frame

23 x 17.5 cm; 9 x 6 7/8 inches

Frame size 42 x 35 cm.; 16 ½ x 13 ¾ inches


H. V. Pedersen, ‘Door den Oost-Indische archipel’, 1902, ill. p. 122

This sitter is described in the artist’s book of 1902 as someone who worked for the Sultan of Deli in Medan, North Sumatra, at his annual party. It is a rare depiction of a servant portrayed with great sensitivity.

Pedersen was born in Copenhagen in 1870. Having studied at the Academy of Arts in Copenhagen he travelled for 20 years in India, Sri Lanka, Indonesia, Penang and Singapore. His older brother worked on a tobacco plantation in Sumatra and in 1898 he first visited Indonesia, travelling to Sumatra, Penang, Singapore, Java and Siam. He painted many portraits of native subjects which he clearly found interesting on his travels as well as landscapes and cityscapes. He worked for the Susuhunan (ruler) of Surakarta in Java, whose kraton or palace Von Pedersen visited (thanks to the Dutch Governor General) and whose portrait he painted and was subsequently given as a token of the Susuhunan’s loyalty to the Queen of the Netherlands. It is now in the Royal Dutch Collection.

Eight of the artists’ paintings were published in 1926 in "Peeps at many lands" ed. by J.F. Scheltema.

William Strutt (1825-1915)

A lioness

William Strutt

Signed and dated in pen and brown ink: William Strutt/Aug.t.31st./89., pencil

17.8 x 27 cm.; 7 x 10 5/8 inches


The Redfern Gallery Ltd. Summer Exhibition, 1955, no. 21; sold to
John Bensusan-Butt, September 7, 1955;
Private collection, U.K. until 2020

Strutt, born in Devon, was from a family of artists. He studied in Paris and made many drawings of animals throughout his career during which he travelled extensively. He visited Australia in 1850, New Zealand in 1856 and returned to England in 1862.

His work is highly prized in the Antipodes and his most famous painting Black Thursday, 6 February. 1851,  painted later in 1864, which depicts animals and men fleeing from a bush fire, is one of the treasures of the State Library of Victoria. His work can be found in several other Australian and New Zealand museums and several monographs have been written about his time there.

He was a Fellow of the Zoological Society and he drew animals throughout his career.

Sir William Rothenstein (1872-1945)

Three studies of a black man wearing a turban

Mounted picture

Signed and dated u.r.: Rothenstein 99, red, black and white chalk on brown paper
28 x 30.5 cm; 11 x 12 inches

Gloria, Countess Bathurst (1827-2018)



The artist’s training at the Académie Julian is reflected in this elegant and rather French looking drawing aux trois crayons drawn in 1899.

Countess Bathurst was a successful model for couturiers such as Jacques Fath and Christian Dior as well as featuring in Vogue.  Born Gloria Clarry, she married William Rothenstein’s nephew, the lawyer David Rutherston (1925-1975) in 1965, the son of the artist Albert Rutherston (1881-1953).

Following husband’s death in 1975, Gloria married Henry, 8th Earl Bathurst (1927-2011) in 1978 and moved to Cirencester Park, Gloucestershire.