Gustavo Mancinelli (Italian 1842-1906)

Portrait of a young man

Gustavo Mancinelli

Signed and dated u.r.: Mancinelli/Geny (?). 1882, pencil

16.8 x 14.3 cm; 6.6 x 5.6 inches

David M. Daniels and Stevan Beck Baloga, their sale at Sotheby’s 29 October 2002, lot 116

Shepherd Gallery, R.J.M. Olsen, ‘Italian 19th Century Drawings and Watercolours, An Album: Camuccini & Minardi to Mancini & Balla,’, Spring 1976, no. 155, ill. p. 45;

The American Federation of Arts, ‘Italian Drawings 1780-1890’, March 1980-January 1981, no 84

This is an exceptionally fine drawing by this Italian portrait painter who lived for most of his life in Naples where he was honorary Professor of the Institute of Fine Arts. His subjects included Umberto I and Margherita di Savoia (1884) and other Italian aristocrats, as well as Orientalist and historical work.

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, framed in a silk mount in a wooden moulding

18.5 x 27.2 cm: 11 1/4 x 10 3/4 inches


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.

Attributed to Samuel Shelley

A lady wearing a mob cap sewing

Attributed to Samuel Shelley


Grey wash over pencil with pen and brown ink, on laid paper with a partial Strasburg Lily watermark, indistinctly  inscribed verso: .amk(?)/.-.-., mounted, unframed

18.9 x 12 cm

The lady in this drawing appears to be using an embroidery frame.

English School late 18th Century

On the Tiber about 4 or 5 miles above Ponte Molle, Rome

On the Tiber


KT 148

Watercolour over traces of graphite, inscribed in pencil verso: On the Tiber about/4 or 5 miles above/Ponte Mole-/….

27.5 x 37.5 cm


Possibly Sir William Forbes, 6th Bt. of Moneymusk and from 1781 that of Pitsligo, Scotland (1739-1806);

His son, Sir William Forbes, 7th Bt. of Pitsligo (1773-1828), also of Colinton House, Greenhill House and Fettercairn House, Kincardineshire;

Thence by family descent at Fettercairn House, Kincardineshire

This fine watercolour shows a famous bend in the river Tiber with the torre lazzarone in the distance. It is reminiscent of the work of John ‘Warwick’ Smith in the handling of the landscape with its clear wash and the trees show the strong influence of John Robert Cozens with dryer more feathery brushstrokes. Both artists were in Rome at the end of the 18th century and it was common for sketching parties to be arranged with other members of the artistic circle active in Rome at this time. Stylistic influences were inevitably exchanged as the multiple influences visible in the present work reflects.

Sir William Forbes, 6th Bt., made a Grand Tour to Italy in 1791-1792 with his wife, Lady Elizabeth. They did not buy extensively but did purchase some drawings and prints on their trip. He was a founder member of the Royal Society of Edinburgh in 1783. His son, Sir William Forbes, 7th Bt., began acquiring old master drawings as a young man, travelled to Italy in 1827 and formed an important collection of Old Master paintings later in life. He bought extensively from the posthumous sales of John McGouan (L. 1496), another significant Scottish collector, in 1803 and 1804. He was also an enthusiastic patron of British contemporary watercolourists.

Mrs Augusta Innes Withers (British, 1792–1877)

A white hen with her chicks

8 withersmg_3557_8 withersmg_3557_-800

Signed and inscribed on pink ribbon: Mrs Withers 26 Grove Place. Delt., watercolour with gum arabic

12 x 23.9 cm

The artist was the daughter of a chaplain to the Prince Regent and became Botanical Painter to Queen Adelaide.

Henry Rogers Broughton succeeded his older brother, Urban Huttlestone Broughton, as 2nd Baron Fairhaven in 1966. He was born in the United States and was educated at Harrow before joining the Royal Horse Guards in 1920. Both brothers were great collectors, and Henry put together one of the largest twentieth-century collections of paintings, drawings, gouaches and miniatures. He left a large bequest of 120 flower paintings, over 900 watercolours and drawings and 44 volumes of drawings by botanical artists such as Redouté and Ehret to the Fitzwilliam Museum, Cambridge – the Broughton Bequest.

Provenance: Henry Rogers Broughton, 2nd Baron Fairhaven (1800– 1973)

Attributed to Frederick James Porter

A snowy square

Frederick James Porter


Oil on canvas, in an early 20th century gold painted wood frame 

46 x 30.5 cm; 60 x 45 cm framed 

This most probably depicts either the west side of Russell Square or Brunswick Square, which was demolished in the 1960’s to make way for the Brunswick Shopping Centre and the north wing of International Hall.  James Burton laid out both squares for the Duke of Bedford and the Foundling Hospital respectively, around 1800, and the buildings depicted are characteristic of his developments.   

Born in Auckland, Frederick James Porter (1883 - Essex, 1944) studied painting with C. F. Goldie and then c.1907 went to Melbourne to study art and thence to Paris to the Julian Academy for three years. He worked in England as a professional artist and was a draughtsman and designer for the British Government during WWI. Porter was a member of the London Group from 1916 and Vice - President from 1925–35. He painted in France and England. He painted landscapes and still lives and snowscapes.  In 1927 he shared a show with Roger Fry at Lefevre Gallery and was associated with the Bloomsbury Group.  

His work is included in the collections of the Tate Gallery, London, Manchester City Art Gallery and other regional British museums, as well as national collections in New Zealand. 

There was a snowy winter in 1928-9, which may date this painting- Porter painted other snowscapes that winter.  


Frame is period and has the odd scratch commensurate with age.

Oscar Schafft German (fl. early 20th Century)

Bison in a landscape

Oscar Schafft


Signed and inscribed l.r.: O. Schafft/Berlin, pencil, in original wood frame with original exhibition labels attached verso

42.3 x 60 cm; 59 x 77.5 cm framed


Grosse Berlin Kunstausstellung 1905, 1033a

Schafft would appear to have been a talented illustrator active in Berlin in the early years of the 20th century.

Patna School, early 19th century

Dancing girls and Musicians

15 patna schl dancing girls_15 patna schl dancing girls_-800
15 patna school musicians_15 patna school musicians_-800

Two, bodycolour, one on paper watermarked: SMITH & ALLNUTT 1815

Each 20.5 x 33.5 cm

Provenance: Mrs Baldock

The Company School artists of the Patna School specialised in the depiction of everyday activities for their British patrons. The name Company School describes the unique genre which evolved as the painting styles of Western and Mughal traditions merged.

William Payne (British 1760-1833)


Group of four rural landscapes


Rustics by a ruined church at the water’s edge

Signed verso in pen and brown ink: W. Payne, watercolour over pencil

21.8 x 30.9 cm

Blair Castle, Blair Atholl, Scotland


A ruined castle on a hill in a river landscape

Signed verso in pen and brown ink: W. Payne, watercolour over pencil

21.1 x 29.7 cm

Blair Castle, Blair Atholl, Scotland


Travellers on a road through a rocky landscape near the sea

Watercolour over traces of pencil

21 x 29.5 cm

Blair Castle, Blair Atholl, Scotland


A thatched cottage in a wooded landscape

Sign in pen and brown ink verso: W. Payne, watercolour over traces of pencil with scratching out

21 x 29.5 cm

Blair Castle, Blair Atholl, Scotland

These watercolours are in exceptional condition as they have never been kept in the light and are picturesque composition based on the Devon landscape which Payne painted habitually. They are late works, executed without Payne’s characteristic pen and grey ink outline seen in his earlier watercolours, and probably date from circa 1810-1820.

The group was probably inherited by Lady Emily Frances Percy, daughter of the 2nd Duke of Northumberland who in 1810 married James, 1st Lord Glenlyon, and was the mother of George, 6th Duke of Atholl. The estate of Werrington, near Launceston was acquired by the 1st Duke of Northumberland and this may explain the family’s patronage of the artist.

John Linnell (1792-1882)

Portrait of Fanny Sheppard playing the guitar



Signed and inscribed l.r.: Miss Fanny Sheppard/J.Linnell fo./The Ridge Isley/Glostershr../Miss Fanny Sheppard, pencil and white and red chalks on grey paper

27.8 x 38.3 cm

A gift from the artist to the sitter

‘John Linnell, Truth to Nature: A Centennial Exhibition’, Martyn Gregory, London and New York, 1982-3, no. 78

A.T. Story, ‘The Life of John Linnell’, 1892, vol. 2, p. 257 (recorded in a list of his portrait drawings)

Linnell’s Portrait Sketchbook records a painting in oil on panel of this sitter in 1824 but a sketch of the painting shows that this drawing is not related to it. This drawing was made in 1825 when Linnell was employed to paint portraits of Fanny’s sister Caroline, and her brother, Edward, at their home in Isley, Gloucestershire. There are several references in Linnell’s Journal of 1825-7 of Miss Fanny Sheppard’s coming to watch Linnell paint in his London studio, and Linnell engraved portraits by Caroline Sheppard of the Rev. Rowland Hill (1827) and the Rev. William Marsh MA (1831). This drawing is the only known portrait given by Linnell to the sitter.