John Hamilton Mortimer

Eighteenth century Old Master drawing - St Jerome

c.1763

Pen, ink and wash Framed dimensions: 13 x 11 ¼ inches Drawn c.1765 Verso: a study of a hanged man Mortimer has filled this small sheet with action, depicting in the top right, Apollo and Artemis...

Collections: Sir Thomas Lawrence, who acquired the contents of Fuseli’s studio; Susan, Countess of Guilford, née Coutts (1771-1837), acquired from the Lawrence estate; Susan, Baroness North (1797-1884), daughter of the above; Mrs A. M. Jaffé, acquired in France, c. 1950 to 2016. Black chalks, on buff-coloured paper Stamped verso: ‘Baroness Norths Collection / of Drawings by H Fuseli Esq.’ Framed dimensions: 26.38 x 20.63 inches This boldly drawn sheet depicting a seated figure was made by Fuseli at an important and highly productive moment in his career. The monumental drawing is closely related to another sheet by Fuseli in the British Museum which Schiff published as subject unknown. Both drawings were made when Fuseli was designing his most important sequence of historical works, including scenes from Shakespeare and Milton, The Nightmare and The Death of Dido which was exhibited at the Royal Academy to great critical acclaim in 1781. The present drawing does not relate directly to any of Fuseli’s finished historical paintings of the period, but evidently the image of a slightly menacing, seated and covered old woman was precisely the sort of motif he was playing with. It is notable that the same figure reappears later in Fuseli’s work as the witch from Ben Jonson’s Witch’s Song which Fuseli produced as both a painting and engraving in 1812. Fuseli returned to London in 1779 from a highly creative and productive period in Rome and established himself as one of the leading history painters of the period. Fuseli re-established contact with his old mentor Sir Joshua Reynolds, becoming a regular guest at his dinner table and visitor to his studio. The earliest and most striking manifestation of this strategy was Fuseli's Death of Dido, exhibited in 1781 at the Royal Academy. Executed on the same scale as Reynolds's version (Royal Collection), Fuseli's vertically oriented picture was hung directly opposite Reynolds's with its horizontal orientation, inevitably inviting comparison between the two works and garnering Fuseli much publicity and favourable reviews in the newspapers. The present, previously unpublished sheet, relates closely to a drawing now in the British Museum. That sheet shows the same seated old woman, drawn on a smaller scale and more schematic in design, seated next to an anatomical drawing of a man. The pose of this figure is related to the pose of Dido in his Death of Dido; the foreshortened torso, arrangement of head, oblique view of Dido’s features and arms all suggest that the study can be viewed as an initial thought for the composition. Fuseli may have initially thought of including the figure of the hunched and covered old woman. Drawn on identical paper to the British Museum sheet, our study is an enlarged depiction of the same figure, more elaborately delineated and developed. The presence of a chain to the right of the figure, suggests that the iconography was related in some way to a scene of imprisonment. Fuseli had first explored the motif of the hooded old woman in an early Roman drawing, 'The Venus Seller'. The idea of a grotesque old woman, hooded and with angular nose and projecting chin seen in profile was most spectacularly used by Fuseli in his sequence of paintings depicting The Three Witches from Macbeth. Fuseli seems to have kept the present sheet and may have returned to it when preparing a painting of The Witch and the Mandrake from Ben Jonson’s Witch’s Song from his Masque of Queens in 1812. Here the same seated figure looks out from under her hood and picks a mandrake by moonlight. Jonson’s drama had been performed at the court of James I in 1609, inspired the subject. To throw the nobility of the queens into relief, the poet added a coven of witches, one of whom declares: ‘I last night lay all alone, On the ground, to hear the mandrake groan; And plucked him up, though he grew full low, And, as I had done, the cock did crow.’ The figure was reversed in the associated etching which was published in 1812. It seems likely that the present drawing remained as part of Fuseli’s working archive of figure studies. The present drawing was presumably purchased with the bulk of Fuseli’s drawings after the artist’s death by Sir Thomas Lawrence. Lawrence’s large group of Fuseli drawings were then acquired by Susan, Countess of Guildford (1771-1837). Lady Guildford was the eldest daughter of the banker Thomas Coutts (1735-1822), who himself had supported Fuseli’s journey to Rome in the 1770s and had remained one of the artist’s key...

Collections: Muir Hetherington; Sir John and Lady Witt, acquired 1974; By descent to 2015. Literature: Tom Jones (ed.), William Henry Hunt 1790-1864, exh. cat., 1981, no. 145 (Girl in a bedroom); John Witt, William Henry Hunt (1790-1864) Life and Work, London, 1982, no. 553, p. 194, colour pl. 16. Exhibited: Wolverhampton, Central Art Gallery, Preston, Harris Museum and Art Gallery and Hastings, Hastings Museum and Art Gallery, William Henry Hunt 1790-1864, 1981, no. 145 as Girl in a bedroom (Lent by Sir John & Lady Witt) Framed dimensions: 20 x 20.75 inches This unusually charming and well-preserved watercolour was painted by William Henry Hunt in around 1833. Almost certainly depicting his young wife, Sarah, possibly in the interior of her family home at Bramley in Hampshire. This work shows Hunt’s remarkable virtuosity as a watercolourist, Hunt, for example, articulates the profile of his young wife, by leaving a reserve of white paper to suggest the light modelling her features. Throughout the 1830s Hunt made a sequence of richly painted interior views of both domestic and agricultural spaces which pay scrupulous attention to detail. Hunt was born in London, the son of a tin-plate worker and japanner. J. L. Roget recorded the observation of Hunt’s uncle: ‘nervy, little Billy Hunt… was always a poor cripple, and as he was fit for nothing, they made an artist of him.’ At the age of sixteen he was apprenticed to the landscape painter John Varley for seven years, moving to live with Varley at 18 Broad Street, Golden Square, London. There he made close friends with both John Linnell and William Mulready. Hunt worked at the ‘Monro Academy’, at 8 Adelphi Terrace, London, the house of Dr Thomas Monro, an enthusiastic patron of landscape watercolourists. Through Monro, Hunt was introduced to the 5th Earl of Essex...

Pencil on paper Signed 'G.L. Brockhurst’ (lower right) Drawn c.1920 Collections: The Fine Art Society, London, 1981; Mr & Mrs Alan Fortunoff, acquired from the above; Private col...

Collections: J. Goodfriend, USA. Brown wash and pencil on laid paper Framed dimensions: 13.25 x 11.75 inches This powerful drawing was made at the time that Romney was painting the famous group portrait of the Gower Children now in Abbot Hall Art Gallery, Kendal. Romney was a bold and incisive draughtsman who made numerous rich brown ink studies, principally for historical compositions; by contrast, comparatively few studies linked directly to his portraits survive. The existence of a group of studies for the Gower Children underscores its importance to Romney. The sitters were the five youngest of the eight children of Granville, 2nd Earl Gower who, at the time the portrait was commissioned, was President of the Council in Lord North’s government and one of the best-connected and most influential people in England. The present drawing which is a large scale treatment of the composition in its final form perfectly distils Romney’s conceit: the younger children dancing whilst their elder sister, in the guise of a Bacchante plays the tambourine. The bold and dramatic study underlines both the artistic confidence and classical grandeur Romney gained during his trip to Italy between 1773 and 1775. The commission from Granville, 2nd Earl Gower to paint five of his children came shortly after Romney’s Continental tour. The initial idea, as represented by the present drawing, seems to have been to paint Lady Anne, the figure on the right of the composition playing the tambourine, who was the youngest of Gower’s first four children by his second wife Lady Louisa Egerton and who married the Rev. Edward Vernon Harcourt, later Archbishop of York, with three of her younger half-siblings by Gower’s third wife, Lady Susanna Stewart: at the left Lady Georgina, who became Countess of St Germans following her marriage to the Hon. William Eliot; at the right Lady Charlotte Sophia, later Duchess of Beaufort and in the centre Lady Susanna, later Countess of Harrowby. Romney added a fifth child to the finished portrait, Gower’s son: Lord Granville, later created Viscount Granville and Earl Granville. In Italy Romney had produced a large number of studies of classical antiquities and old master paintings. The commission from Gower offered Romney the opportunity to explore a complex multi-figural group, putting into practice the kind of ambitious classical quotations that Reynolds was currently exploiting. In 1773 Reynolds had completed the remarkable group portrait of the Montgomery Sisters, now in the Tate Gallery, London, which showed them adorning a herm of the Roman god Hymen; the composition used a garland to link the three figures who were shown in classical costume dancing at the foot of a Roman sculpture. Scholars have long pointed to a similar sources for the two compositions: the works of Nicolas Poussin. Whilst the Montgomery Sisters is based, in part, on a Bacchanal now in the Musée des Beaux-Arts, the Gower Children has always been associated with Poussin’s Dance to the Music of Time, now in the Wallace Collection, London. It seems more likely that Romney was looking to an antique source in the form of the Borghese Dancers, a Roman relief, then in Palazzo Borghese in Rome. Romney would have seen the relief of interlocking, dancing maidens and would also have known Guido Reni’s Aurora...

THE HON. MARY SHUTTLEWORTH, NÉE COCKBURN (D. 1777) and her sister ANNA MARIA, 9TH BARONESS FORRESTER (D. 1808) Pastel and gouache on paper laid on canvas, on their original backb...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

This powerful pen and brown ink wash drawing is a study for an altarpiece depicting The Martyrdom of Saint Bartholomew. Signed and dated 1604, it was painted at the end of his life b...

Provenance: Unidentified collector’s mark “D.G.R,” lower right (Lugt 757b) Wilhelm Suida (1877–1959), New York; by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA This impressive drawing of the Assumption of the Virgin is the work of the Genoese artist Giovanni Battista Paggi. The son of a nobleman, Paggi received a humanist education and was a self-taught artist. According to Paggi’s first biographer, Raffaele Soprani, it was only after encountering Luca...

Provenance: Elsie de Woolfe, Lady Mendl, Paris; by whom given in 1950 to: Arlene Dahl, New York (until 2021) Inventive, whimsical, and fantastic; delightful, imaginative, and maca...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

Pen and brownish black ink on grayish-cream laid paper, 6 1/2 x 8 inches (165 x 175 mm), irregular hexagonal sheet with margins. Some archival repairs along the top sheet edge, scatt...