26th January – 3rd February
24 East 64th Street, New York
Preview 3-8pm Friday 26th January
Daily 11am-6pm | Sunday 1-5pm

15th February – 9th March
30 Museum Street, London WC1A 1LH
Drinks Reception
5-8pm Thursday 15th February

Publishing a monthly, online catalogue* of new stock brings with it many pleasures, not least handling a great variety of pictures from the
eighteenth to twentieth centuries. But working this way does not always allow for lengthy research or reflection. So, I have greatly enjoyed putting this exhibition together; to have slowly set works aside, to have considered, researched and corresponded with many specialists, all of whom have been generous with their time and knowledge.

I have been a regular visitor to Master Drawings New York. So, it is exciting to be taking part for the first time and in the first year of the event’s new ownership under Christopher Bishop. I hope the many friends of A and H in the US will enjoy seeing the exhibition in New York, and that those of you in the UK will visit once it returns to London.

Tom Edwards

*Our ‘Lists’ introduce 100 new works to stock every month. If you would like to receive them do contact us, or you can can sign-up via the menu above.

An illustrated catalogue is available on request, or you can use the digital version at the bottom of this page, where you will also find a video of the exhibition when it was on view at East 64th Street, New York.

  • Adam F.R.S.A., Robert (1728 – 1792)
    Capriccio Landscape. Pencil, pen, ink and watercolour. c.1780. On the artist’s distinctive wash-line mount. Provenance: Adam’s landscape drawings appeared in the dispersal of his collection at Christie’s 20th May 1818 and 9th July 1821; […] Sotheby’s 21st December 1937 (lot 21); to Bernard Squire; from whom acquired by L. G. Duke (D37) February 1938; Colnaghi; Arnold Fellows. 12×19.5 inches. Framed: 27×20 inches.
  • Hudson, Thomas (1701 – 1779)
    Portrait of a woman in profile. Pencil. c.1750. Provenance: William Howard, Viscount Andover (1714-1756); by descent to his grand-daughter, Mary Greville Howard (1785-1877) of Elford, Staffordshire, Castle Rising, Norfolk, Levens Hall, Westmoreland and Ashtead Park, Surrey; bequeathed with the Elford Estate to Howard Francis Paget (1858-1935); by descent to his great-grand-daughter, Mrs Caroline Charlotte Peters, née Paget, her Sale, Sotheby’s, 16th July, 1987, part of lot 22; Bill Drummond. 3.5×2.5 inches. Framed: 6.5×5 inches.
  • Bampfylde, Coplestone Warre (1720 – 1791)
    Three Views of Fawley Court on the Thames, Buckinghamshire. Including a View up the Course of the Henley Royal Regatta. These watercolours show Fawley Court built in 1684, its gardens laid out by Capability Brown (1716-1783) from 1764-66 and Temple Island folly, designed by James Wyatt P.R.A. (1746-1813) as part of his 1770-71 improvement works at the house. Pencil, pen, ink and watercolour. c.1775. Provenance: Sambrooke Freeman F.R.S.A (c.1721-1782); Strickland Freeman; and by descent in the Strickland family of Apperley Court, Gloucestershire. a. Fawley Court from the East, the River Thames in the foreground. b. Fawley Court from the North, the town of Henley in the distance. Showing the River Thames and Temple Island with Wyatt’s 1771 folly. This view includes the whole course of the Henley Royal Regatta, which begins at Temple Island. c. A lock and weir on the Thames near Fawley Court. This is possibly the lock at Hembleden, which was built in 1773. 18×25.5 inches. Framed: 23×30.5 inches.
  • Blake, William (1757 – 1827)
    The Empress Maud in Bed; A Vision from the Blake-Varley Sketchbook. Pencil. c.1819. Page 25 from the ‘Blake-Varley Sketchbook’. Provenance: John Varley (1778-1842); William Mulready R.A. (1786-1863); Christie’s, 28th-30th April 1864, lot 86; purchased by ‘Kempton’; H. Buxton Forman; by whom given in 1870 to William Bell Scott (1811-1890); Penkill Castle, home of Miss Alice Boyd; by descent to Miss Eleanor Margaret Courtney-Boyd, 1897; by descent to Miss Evelyn May Courtney-Boyd, 1946; from whom purchased by M. D. E. Clayton-Stamm; the sketchbook was broken up and sold at Christie’s, 15th June 1971, (this sheet lot. 163, illustrated); bought by Colnaghi; from whom acquired by Edward Croft-Murray (1907-1980). Exhibited: Burlington Fine Arts Club, 1876 (the sketchbook); Tate Gallery, 1969-1971; Tate Gallery, William Blake, 1978, Cat. No.285. Literature: M. Butlin, The Blake-Varley Sketchbook of 1819 in the Collection of M.D.E. Clayton-Stamm, London, 1969, p. 24. David Bindman, Blake as an Artist, London, 1977 p.202; Martin Butlin, William Blake, Exh. Cat., Tate Gallery, 1978, Cat. No.285, ill. p.136; Martin Butlin, The Paintings and Drawings of William Blake, Yale, 1981, Vol.I, p.498, Cat. No.692.25. 6.25×8 inches. Framed: 13.75×15.5 inches.
  • Bonington, Richard Parkes (1806 – 1828)
    Picardie Coast Scene with Windmill and Buildings. Pencil. c.1824. Provenance: Spink (K3/1284); Brigadier A. C. Sykes, Corton, Wiltshire. To be included in any future addenda to Patrick Noon’s catalogue raisonnés. 3×7.5 inches. Framed: 11.5×16 inches.
  • Boys, Thomas Shotter (1803 – 1874)
    France; Rue Bailleul, Paris. Pencil. Inscribed and dated, 1832. Further signed and dated, 1833. 10×6.5 inches. Framed: 14.5×11 inches.
  • Burne-Jones Bt. A.R.A, Sir Edward Coley (1833 – 1898)
    Study for ‘The Nativity’ for St John’s Church, Torquay. Watercolour, gouache and gold paint. 1887. Provenance: the artist’s daughter Margaret MacKail (1866-1953); Abbott and Holder, 1956; Private Collection. 14×21.5 inches. Framed: 23×31 inches.
  • Calvert, Charles (1785 – 1852)
    A Woman in Profile. Watercolour en grisaille. Circa 1810. Signed. 4.75×4 inches. Framed: 10.75×9.75 inches.
  • Carwitham (1701/2-1745), Thomas
    Tobias and the Angel. Pen, brush and ink. c.1713. Inscribed verso: ‘Tobit ch. ye 6th, Ver ye 2’. Provenance: probably Thomas Osborne (1704-67); […] Iolo Williams; Leonard Duke (his sale, Sotheby’s 16th July 1970, lot 25); Colnaghi, Feb-Mar 1971, no.3; Stephen Somerville; Andrew Clayton-Payne. Literature: Richard Stephens, Thomas Carwitham (1701/2-45): His Life and Works with a Checklist of Drawings, Master Drawings, Vol. LXI No.4, 2023 (forthcoming). This drawing appears in the checklist as No.16 5.75×7.5 inches. Framed: 12.5×14 inches.
  • Chinnery, George (1774 – 1852)
    Three Children and their Dog. Pen and ink. c.1800. Exhibited: Andrew Wyld, 2011, Cat No.23. 4.25×4.25 inches. Framed: 8×8 inches.
  • Cotman, John Sell (1782 – 1842)
    An East Anglian Landscape. Pencil. Circa 1818/1819. Provenance: J. S. Maas, June 1970; J. Scupham, Hertfordshire; Andrew Wyld, 2010, Cat. No.22 (where noted that the verso of an old mount was signed ‘J. S. Cotman’ and inscribed ‘7646’). 2.75×6.75 inches. Framed: 6×10 inches.
  • Cotman, John Sell (1782 – 1842)
    Boats Moored at a Tower; a Reminiscence of Turner’s Tabley House Pictures. Pencil. Signed and dated, 1823. 9.25×13.25 inches. Framed: 15×18 inches.
  • Cooper Jnr, Richard (1740 – 1822)
    The Thames ‘from Richmond Hill’ with Wick House, the home of Sir Joshua Reynolds Pencil, pen, brush and ink. c.1789. Signed and inscribed. Provenance: An album of drawings by Cooper Jnr, probably compiled by a family member late in the artist’s life, or soon after his death. 7.75×12.5 inches. Framed: 17.5×21.75 inches.
  • Cox O.W.S., David (1783 – 1859)
    Derbyshire; Twilight at Hardwick. Charcoal and watercolour. c.1845. Exhibited: Agnews, Manchester; James MacKinnon. 7.5"x10.75" inches. Framed: 14.5"x17.75" inches.
  • Cozens, Alexander (1717 – 1786)
    Composition; Land and Sea. Pen, ink and monochrome wash. c.1760. Provenance: Andrew Wyld, c.1983; Nigel Jaques. 3.75"x6" inches. Framed: 10.75"x13.75" inches.
  • Craig (c.1787-1827), William Marshall
    Young Gardeners. Pen, ink and monochrome wash. Signed and dated, 1804. 4×2.75 inches. Framed: 12×10.25 inches.
  • Dance-Holland R.A., Nathaniel (1735 – 1811)
    ‘Regeneration’; a Tailor and his Dog. Pen and ink. c.1780. Titled by the artist. The open book inscribed ‘Toplad[?] / on / The New Birth’. Ex. Collection: Sir Bruce Ingram (1877-1963), his stamp (L.1405a) verso. 12×12 inches. Framed: 21.5×21.5 inches.
  • Edridge A.R.A., Henry (1769 – 1821)
    Portrait of a young woman playing a guitar; possibly Mrs J Williams. Pencil and watercolour. Signed and dated, 1808. Exhibited: Probably Royal Academy, 1808, no. 581 (‘Mrs J Williams’). 16×11.5 inches. Framed: 23×18.5 inches.
  • Etty R.A. (Attributed to), William (1787 – 1849)
    Drapery Study. Oil on paper. c.1810. Verso: part of a life study in red and white chalks. Provenance: F. R. Meatyard c.1955; John Manning; Arnold Fellows. 15.25×9.25 inches. Framed: 24.5×17.75 inches.
  • Francia, Francois Louis Thomas (1772 – 1839)
    Coastal Scene with a Beached Boat and a Buoy. Graphite and white chalk. Exhibited: Andrew Wyld, 2011 (as Richard Parkes Bonington). 2.5×4.5 inches. Framed: 6.5×8.75 inches.
  • Gainsborough R.A., Thomas (1727 – 1788)
    Landscape Composition. Pencil. c.1758. Literature: a previously unrecorded drawing, this is not listed in John Hayes, The Drawings of Thomas Gainsborough, 1970, in Hayes’ addenda of 1983 or Hugh Belsey’s addenda of 2008. Hugh Belsey will include this drawing in any subsequent addenda. Provenance: Squire Gallery, 1955; Diana Peyton; and by descent. 6.25×7 inches. Framed: 13.25×15.25 inches.
  • Gillray, James (1756 – 1815)
    Study of a Sailor. Ink and watercolour. 1794. Provenance: Inscribed in the backing sheet ‘From Miss Alleyne’s Collection 1945’; […] The Newall Collection, Christie’s, 14th December 1979, lot 249 (part). 6×4.5 inches. Framed: 9.5×7.75 inches.
  • Girtin, Thomas (1775 – 1802)
    A Landscape with a Distant Church. Pencil and monochrome wash. Signed. Provenance: Dr Thomas Monro (1759-1833); … Christie’s, 27 March 1936, lot 1 as one of ‘Six other Sepia Drawings of Landscapes and Sky Studies’; bought by Thos. Agnew & Sons; Norman Dakeyne Newall (1888-1952); his widow, Leslia Newall (d.1979); Christie’s, 14 December 1979, lot 249 (part). Literature: Greg Smith, ‘Thomas Girtin: The Art of Watercolour’, Tate, 2002, Cat No. 27, p.47; Greg Smith, ‘Thomas Girtin (1775-1802): An Online Catalogue, Archive and Introduction to the Artist’, Cat no. TG0185. 4.25×7.75 inches. Framed: 10.75×13.5 inches.
  • Glover O.W.S., John (1767 – 1849)
    Italy; Tivoli. Watercolour. c.1818. Inscribed ‘Tivoli/-No.15’ to an old backboard. Provenance: Heather Newman; Christies 10/12/2014 (lot 730). 8.25×12.75 inches. Framed: 15.5×19.5 inches.
  • Hamilton, Hugh Douglas (1740 – 1808)
    Portrait of a Young Man. Pastels. Signed and dated, 1775. Provenance: ‘Mrs Oppenheim’, 1903; thence by descent until 2016. 10.25×8 inches. Framed: 15×12.75 inches.
  • Hayter, Sir George (1792 – 1871)
    'Tisiphone'. Pen and ink. Signed and dated, 1861. 8.5"x7.25" inches. Framed: 14"x12.5" inches.
  • Knight, Ellis Cornelia (1757 – 1837)
    Italy; ‘Rupe Tarpea’, the Tarpeian Rock, Rome. Ink and watercolour. c.1780. Inscribed verso. Provenance: John Abbott. 13.25×10.25 inches. Framed: 20×16.5 inches.
  • Lear, Edward (1812 – 1888)
    Italy; ‘Coast between Amalfi and Positano’. Chalk and white heightening. Signed, inscribed and dated, 1839. Exhibited: Fine Art Society, April 1969, where provenance given as Robert Hornby (1805-1857). Hornby and his cousin the Earl of Derby supported Lear on his first trip to Italy. 10.5×16.5 inches. Framed: 18×24 inches.
  • Leighton P.R.A., Frederick, Lord (1830 – 1896)
    Studies for Illustrations to George Eliot’s ‘Romola’ (1862/63). Black and white chalks. 1862. Studies for ‘The Visible Madonna’ and ‘A Dangerous Colleague’, Chapter 44. Provenance: Christopher Fry (1907-2005). 7.5×9.5 inches. Framed: 14.5×16.25 inches.
  • Lely (After), Sir Peter (1618 – 1680)
    A Reduced Copy of Lely’s Portrait of Jane Long (lost). Pen, brush, ink and white heightening. c.1670. Inscribed recto: ‘Nell Gwynn / Sir Peter Lely / From Thane’s Sale’. Inscribed verso: ‘NovEnath181[3/5]’, the mark of the collector and dealer Thomas Thane (L.811). Provenance: Thomas Thane (1782-1846); probably his sale 19/6/1846 lot 105; to ‘Newton’, possibly Sir William John Newton (1785-1869). 6×4.75 inches. Framed: 10.25×8.5 inches.
  • Linnell, John (1792 – 1882)
    Sunset: Cloud Studies. Watercolour. Signed. c.1811. Verso: Study of a mother and child. Pencil and watercolour. Provenance: John Linnell; William Linnell, and by descent; Private Collection, London. Exhibited: Colnaghi, ‘A Loan Exhibition of Drawings Watercolours and Paintings by John Linnell and his Circle’, 1973, No.53; Fitzwilliam Museum and the Yale Centre for British Art, ‘John Linnell – A Centennial Exhibition’, 1982, No.13b; The Fine Art Society, 2008. 6.25×9 inches. Framed: 14×17.75 inches.
  • Linnell, John (1792 – 1882)
    Saint John the Baptist Preaching in the Wilderness. Oil on paper laid on canvas. c.1818. Provenance: Diana Peyton and by descent. 10×14 inches. Framed: 14×18 inches.
  • Malton, Thomas (1748 – 1804)
    London; The Piazza, Covent Garden. Pencil, pen, ink and watercolour. c.1770. Exhibited: possibly Malton’s first Royal Academy exhibit, ‘A View in Covent Garden in Watercolours’, 1773. No.186; Spink; from where acquired by the previous owner. 14.5×23.25 inches. Framed: 23.5×32 inches.
  • Opie, John (1761 – 1807)
    Portrait of ‘G Cruikshank’. Pencil. c.1800. Inscribed recto, ‘Portrait of G Cruikshank [by JO?] / by J. Opie R.A.’. Inscribed verso, ‘Early drawing of the late / Mr Cruikshank’. Provenance: Christies, 6th December 2012, Lot 204. 9.75×8 inches. Framed: 18.75×15.5 inches.
  • Payne, William (1760 – 1830)
    Plymouth; ‘View near Mount Edgecombe’. Pencil, pen, ink and watercolour. c.1786. Signed. Inscribed by the artist verso. Original wash lines. Exhibited: Squire Gallery. 10.25×13.5 inches. Framed: 13.75×17 inches.
  • Renton, John (1770 – 1841)
    Young Girl in a Straw Hat and Apron. Pencil and watercolour. Signed and dated, 1807. Ex. Collection: Cyril Fry. 7.75×4.5 inches. Framed: 16.25×12 inches.
  • JR (Nineteenth Century)
    The Gathering of Manna; a Maiolica dish, made in Urbino c.1525 and now in the collection of the V&A [7680-1861]. Watercolour and gouache. Signed with initials. Illustrated: C. D. E. Fortnum, A descriptive catalogue of the maiolica, Hispano-Moresco, Persian, Damascus, and Rhodian wares in the South Kensington Museum: with historical notes, marks and monograms, 1873, Ill. opp. p.534. 4.5×4.5 inches. Framed: 9.5×9.5 inches.
  • Romney, George (1734 – 1802)
    The Departure of Hector Provenance: possibly a sheet from one of the ‘Baroda Sketchbooks’, acquired by Marion Spielmann c.1910-15 for the Maharajah of Baroda (Baroda Museum, Vadodara, India). 7.5×6 inches. Framed: 20.25×18 inches.
  • Rooker A.R.A., Michael Angelo (1746 – 1801)
    Hampshire; Netley Abbey. Watercolour. c.1795. Signed. 11×14.5 inches. Framed: 18.75×22 inches.
  • Runciman, Alexander (1736 – 1785)
    ‘Oedipus’. Pencil, pen and ink. c.1770. Signed. Futher signed with initials and inscribed. Provenance: By descent to Walter Garrison Runciman, 3rd Viscount Runciman (1934-2020). 7×10 inches. Framed: 13×16 inches.
  • Stanfield R.A., Clarkson (1793 – 1867)
    An Albanian Merchant or Seaman Riding a Gondola. Pencil, watercolour and gouache. Signed and dated, 1830. Dedicated ‘C Stanfield / to George Morant Esq / May 1832’. 8.25×11.75 inches. Framed: 15.5×19.25 inches.
  • Sandby R.A., Paul (1731 – 1809)
    A Scene on the Lane to a Castle Town, Shipping in the Estuary Beyond Watercolour and gouache. c.1800. Exhibited: Spink. 14.5×20.75 inches. Framed: 23.25×29 inches.
  • Turner R.A., Joseph Mallord William (1775 – 1851)
    ‘The Grey Castle’; a view on the Mosel or the Rhine. Pencil and watercolour. c.1841. The verso prepared with a grey wash. Provenance: Probably Sophia Caroline Booth (1798-1875); John Ruskin (1819-1900); possibly Christie’s, 15th April 1869, one of lots 27-32, Sketches on the Rhine; […] H Tomalin, according to a note on a black and white photograph in A. J. Finberg’s files (Vol. X pp.82-3, Tate Study Room); either John Talbot de Vere Clifton (1868-1928) or Henry Talbot de Vere Clifton (1907-1979) of Lytham Hall, Lancashire; Spink & Son, London (K3/2285) as ‘The Grey Castle, a study of the Castle of Beilstein on the Moselle’; John Marshall (1911-1995), March 1966; and by descent. Literature: Andrew Wilton, The Life and Work of J.M.W. Turner, 1979, p.461, no.1341. 6.25×9.25 inches. Framed: 14.5×17 inches.
  • Smith (Attributed to), John ‘Warwick’ (1749 – 1831)
    Italy; Cetara on the Amalfi Coas. Pencil and watercolour. c.1795. Inscribed verso. 4.5×7 inches. Framed: 9.25×11.5 inches.
  • Vanderbank, John (1694 – 1739)
    A Portrait Study. Pen and ink. c.1730. Provenance: Iolo Williams. 7.75×5.5 inches. Framed: 13×10.75 inches.
  • Varley F.R.S.A., Cornelius (1781 – 1873)
    ‘Evening Light, North Wales’, probably Cader Idris. Watercolour. 1803 or 1805. Inscribed verso. Exhibited: Colnaghi; Lowell Libson, 2007. 5.5×8.5 inches. Framed: 14×17 inches.
  • Ward R.A., James (1769 – 1859)
    Wales; The Summit of Cader Idris. Pencil and monochrome wash. September 1807. Signed and inscribed in short hand. Inscribed by the artist on the old backing paper ‘Top of Caderidris’ [sic]. Provenance: ‘Knowles’ of Hanwell by 1951; Prudence Summerhayes (Mrs Turner), descendant of the artist; by descent until 2008. Exhibited: Andrew Wyld, ‘James Ward’, 2009, Cat No.39. 5×6.75 inches. Framed: 8×10 inches.
  • Wilkie R.A., Sir David (1785 – 1841)
    A Study for ‘Reading the Will’. Pencil, pen and ink. c.1819. Provenance: Probably Wilkie’s Sale, Christie’s 20th-21st June 1860, Lot 18 (Part); Diana Peyton, acquired 1955; and by descent. 4×5 inches. Framed: 8×9.25 inches.
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