John Sell Cotman (1782-1842)

Boats off Cologne

John Sell Cotman


Boats off Cologne
Signed and dated l.r.: .S Cotman 1832, numbered and inscribed verso: 14 Boats off Cologne, watercolour over pencil with scratching out
23.2 x 32.6 cm

Baron François Adolphe Akermann, régent of the Banque de France and his wife Louise Marie née Boquet de Saint-Simon, the Chateau de Coulonges, Rahay, Sarthe, France, by descent until 2018

The Great Saint Martin church, Cologne can be seen from the Rhine. In the late 18th century the northwestern tower was taken down and Cotman’s drawing shows the church with only two towers on the east side. After the twenty year occupation of the city from 1794 by the French, the archbishopric was ended in 1801 and the cloister at Saint Martin’s disbanded in 1802. The deserted abbey was lived in by French veterans and was later demolished.The two missing towers of the church were finally rebuilt in 1875.

This drawing, which has not been on the market since the time of its creation, comes from a friendship album started by Baron Akermann (1809-1890) for his wife Louise Marie Bouqet de Saint-Simon after their marriage in 1836. There was a vogue for such albums in the nineteenth century and visitors would bring a drawing or watercolour as a symbol of friendship or to commemorate a visit. The magnificent leather bound album album contained an unmounted group of drawings and watercolours by artists such as Richard Parkes Bonington, Francia, William Wyld, Decamps, Vernet, Granville, Garneray, Coignet and others. The subjects ranged from marines to genre scenes, landscapes, still lives and interiors.

Baron François Adolphe Ackerman (1809-1890) was born in Paris and followed his grandfather and father into the world of finance becoming receveur général des Finances for the department of the Dordogne in 1834 at the age of twenty five. He was an able financier and rebuilt the family estate at Coulonges, Rahay, Sarthe also becoming mayor of Rahay. He became deputy governor of the Banque de France in December 1870 and régent of the Banque de France on 27 January 1871, holding the office until his death. He was painted by Winterhalter. He and his wife had two daughters one of whom, Henrietta, married vicomte Henri de Bouillé.

His grand father André Joseph Bernard Ackerman (1743-1824) was receveur general des finances of Namur and his father François Joseph Ackerman (1772-1833) held the same office for the department of Sambre-et-Meuse (1808-1814) and Ardennes (1815-1833).

Luke Elwes

Waterline series, 2017

Luke Elwes, Waterline 5
Waterline 5
Luke Elwes, Waterline 8
Waterline 8
Luke Elwes, Waterline 9
Waterline 9
Luke Elwes, Arbor


This group of work explores the artist’s physical connection to the material world. Made in all weathers by the riverbank, and executed without correction in one sitting on one day, each image refers both to the immediacy of this encounter and the recollection of past experience. This singular occurrence becomes one of a sequence, forming over time a living record that reflects on the fluid interaction of water and ground while simultaneously employing the elements – rain, silt, river water - as both the medium and material in their making.

Mixed media on paper

57 x 76 cm

June 2017

Edward Lear, R.A. (1812-1888)




The Bay of Naples with Vesuvius, Italy

Signed, dated and inscribed l.r.: Napoli./EdwardLear./7.07.1840.-, pencil with white on blue paper

17 x 24 cm

Private Collection, London until 2017

Lear lived in Rome from December 1837 until 1848 as part of an international community of artists, a happy and productive time in his artistic development. During the summers he travelled to other parts of Italy. This characteristic, crisp drawing heightened with white on blue paper is typical of his work of the period.

31 lear amalfi_31 lear amalfi_-800

Amalfi, Italy


Inscribed and dated l.r.: Amalphi./8 June. 1844, pen and brown ink on buff paper

50 x 36 cm

Lear lived in Rome from 1841 until 1848 as part of an international community of artists. He had a comfortable income, as sales of his work went well. During the summers he travelled to other parts of Italy, producing fluent drawings such as the present example. His love of nonsense can be seen in the spelling of ‘Amalphi’.

Provenance: Nicolas Powell (1920–86); thence by descent until 2017

John White Abbott (British 1763-1851)





Dated l.r.: July 27. 1833, pen and grey ink and wash

35 x 23.5 cm

This is a charming example of White Abbott’s celebrated and ‘modern’ style of drawing, with its use of clear pen and ink outline and flat washes, derived from the style of his teacher Francis Towne. A Devonian with a particular love of trees, the artist exhibited from time to time in London as an honorary member of the Royal Academy of Arts, but he never sold any of his work.

This may well be a view of Fordland, the estate in Devon not far from Exeter which he inherited from his uncle James White, the lawyer and fellow pupil of Francis Towne, in 1825.

White Abbott’s work can be found in many public collections, including the British Museum, Victoria & Albert Museum, the Ashmolean, the Royal Albert Memorial Museum, Exeter and the Yale Center for British Art, New Haven.

John Chessell Buckler (British 1793-1894)


North-East view of Lyte’s Carey, Somerset and South view of Lyte’s Carey, Somerset A pair, each signed and dated l.r.: J.C. Buckler 1834, each inscribed with title on mount, pen and grey ink and grey wash over traces of pencil, in period burr maple frames stamped JB180 and JB186

Each 30 x 38 cm; 11 3/4 x 15 inches

Hartnoll and Eyre

The artist was an architect, the eldest son of the architect John Buckler, who drew Lyte’s Carey and the nearby church in 1834. A pair of unsigned sepia sketches of the same views, probably studies for the present works, hang at the house. These crisp works are typical of his meticulous draftsmanship and attention to architectural detail. 

Buckler specialised in the restoration of country houses, rebuilding Costessey Hall, Norfolk in 1825-6, a project acclaimed as an important instance of Gothic Revival in domestic architecture by Charles Locke Eastlake. In 1836 he came second in the competition to rebuild the Palace of Westminster after the fire. He also completed a number of restoration projects in parish churches including St Mary’s, Adderbury, Oxfordshire, St Nicholas’, Old Shoreham, West Sussex, St Mary’s, Steeple Barton, Oxfordshire and others. 

Buckler worked at a number of Oxford colleges, notably Brasenose, Oriel, Magdelen and Jesus and at the University Church of St Mary the Virgin. He also restored Oxburgh Hall, Norfolk, Hengrave Hall, Suffolk, and designed Butleigh Court in Somerset in 1845 and Dunston Hall, Norfolk from 1859.

Gainsborough Dupont (British 1754-1797)


Portrait of Anthony Atkinson reading a book

Inscribed and dated below: Anthony Atkinson-Obit 1785 , graphite with red chalk, the sheet laid on a purple wash line mount with a black border

Drawing 12 x 12.5 cm; sheet 19.6 x 14.5 cm

Frost and Reed, London, no. D9988, 171

Another very similar portrait drawing by the artist of Lord John Pelham-Clinton, M.P., inscribed in the same way, dated 1782, mounted on the same purple wash line mount and with a slightly torn edge is in the collection of the Yale Centre for British Art (B.1977.14.5013).

Gainsborough Dupont was born in Sudbury, Suffolk on 24th December 1754, the third son of Philip Dupont, whose uncle was the painter Thomas Gainsborough. Sometime in the 1760s Dupont was sent to Bath to be raised by Mary Gibbon who set up a millinery shop there, beside her brother’s studio in 1762. His move may have coincided with that of his widowed aunt and his wife, Sarah (née Gainsborough). The earliest evidence of Dupont working in his uncle’s studio is a portrait of about 1768 known as the Pitminster Boy (private collection on loan to Gainsborough’s House, Sudbury) which has recently been identified as a likeness of Dupont. On 12th January 1772 Dupont was formally apprenticed to Gainsborough; on 6th March 1775, some nine months after the Gainsboroughs moved to London, he joined the Royal Academy Schools. After his formal training he worked in his uncle’s studio and continued to live in Schomberg House, Pall Mall where he learnt to scrape mezzotints and made small copies in oil after his uncle’s portraits. In 1784 Gainsborough tasked him with a commission to copy a portrait of Queen Caroline to accompany a portrait of her husband George III by John Shackleton in Huntingdon Town Hall. It was not until after Gainsborough’s death on 2nd August 1788 that his nephew had the opportunity to develop his own practice.

After his uncle’s death Dupont continued to work in his studio at Schomberg House. Portrait commissions came, from amongst others, some of the children of his uncle’s friends. In 1793 he was given his most prestigious commission to paint a huge canvas, larger than any his uncle had painted, of the Elder Brethren of Trinity House: thirty-one figures placed across a canvas nine and a half feet tall and nearly nineteen feet wide ([6]). The group portrait — commissioned to decorate the newly completed headquarters of Trinity House on Tower Hill — took three years to complete. In 1794 Thomas Harris (d. 1820), a theatrical proprietor, commissioned a series of spirited portraits of actors that are, with a few exceptions, now in the Garrick Club. He exhibited at the Royal Academy from 1790-1795.

William Hoare of Bath (British 1707-1792)


KT 171


William Hoare of Bath (British 1707-1792)

A girl reading a book

Black chalk on laid paper with an unidentified oval watermark

14.8 x 19.8 cm

John Sutton

Hoare, a portraitist in oil and pastel settled in London in the 1720s and was apprenticed to the Flemish painter Giseppe Grisoni. In 1728 he returned to Italy and took Hoare with him. Hoare spent a decade in Italy, studying the Old Masters, meeting British ‘Grand Tourists’, many of whom became future patrons, and perfecting his technique in chalk and pastel.

On his return to England he settled in fashionable Bath around 1738, where he remained until his death. He was a founder member of the Royal Academy.  This portrait is a charming example of the intimate style Hoare adopted later in his career when painting his family and friends, with rapid, loose strokes which suggest form. It would have been intended as a private image of which very few were worked up into oil paintings.

Joseph Murray Ince (British 1806-1859)


KT 193


Clovelly, Devon

Signed and dated l.l.: JM Ince 1851, watercolour over traces of pencil with stopping and scratching out, touches of bodycolour and gum arabic, inscribed in pencil verso in a later hand: Clovelly town & bay North Devon by Joseph Ince 1851

22 x 34.5 cm

The Fine Art Society Ltd, 48th Exhibition, April 1968, no. 96;

Private collection, UK

This very fresh watercolour is a delightful example of a coastal view of one of north Devon’s most picturesque seaside villages, shown here as a busy working fishery.

Ince studied with David Cox in Hereford before moving to London in 1826 when he started to exhibit at the Royal Academy. He moved first to Cambridge and then back to Presteigne in Wales in the 1830s where he was based for the rest of his life. His characteristic work is included in the drawings collections of most major museums.

Stanley Inchbold, RBA (1856-1921)


KT 173

The Damascus Gate, Jerusalem

Signed l.r.: STANLEY INCHBOLD, watercolour over traces of pencil

37.3 x 26.5 cm

Stanley Inchbold studied art under Sir Hurbert von Herkomer. He exhibited at the leading London galleries from 1884, namely at the Royal Academy and New Watercolour Society, and was also a member of the Royal Society of British Artists. He became a skilled landscape painter in both watercolour and oil, and travelled to paint all over Europe, America and North Africa. During the first twenty years of the twentieth century he produced many beautiful book illustrations and illustrated A.C. Inchbold's - Under the Syrian Sun (1906) and Lisbon and Cintra (1907). Other publications included A Beckett, The Spirit of the Downs (1909) and G.N. Whittingham The Home of Fadeless Splendour (1921).

In The Literary World, 1906 Inchbold’s work was praised, ‘We do not remember to have seen before any such attempt as Mr. Inchbold makes to represent the wonderful variety of continually changing colour that is peculiar to the Holy Lands. Though these watercolours have their purely artistic value, they are specially interesting because of the vivid and sympathetic way in which they represent the cities and landscape of Palestine’.

This is one of the most beautiful and impressive gates among the gates of the wall of Jerusalem, which was built under Sultan Suleiman the Magnificent. This is a central gate in the wall which faces north towards Nablus and Damascus. In Arabic it is called “Bab El Amud” (“the gate of the pillar”), probably after the pillar that stood at the centre of the gate’s courtyard during the Romano-Byzantine era. Turban-like decorations decorate the gate, and due to its importance, many observations points and guard towers were built there.

During the Roman era, a stone-paved courtyard was added and at its centre stood the statue of the emperor. Two streets started from this courtyard, leading towards the south. To this day, two main streets split from Damascus Gate, preserving the Roman structure of this area: the right street is the Khan A- Zeit or Beit Habad street, and the left street is El Wad Street- or Hagai, commercial streets that cross the city from north to south.

John Ward, R.A. (British 1917-2007)


KT 187

Still Life with Marigolds

Signed and dated l.r.: John Ward/1995, watercolour over pencil with white chalk on grey paper

18.5 x 27.2 cm


Mall Galleries, ‘The Discerning Eye’, 1990

This charming drawing is a fine example of Ward at his fluent best.

The artist’s work can be found in the collections of the National Portrait Gallery and Tate Britain, amongst many others.