• At the Races - circa 1790 -

    Pen and grey ink and watercolour  on laid paper with Whatman watermark

    41.4 by 72.6 cm., 16 ? by 28 ? inches



    Dover Street Arts Club, London


    Traditionally attributed to Robert Dighton (1751-1814), this may be attributable to William Mason (1724-1797) who produced a number of horse-racing scenes in the late 18th century, several of which were engraved.

  • Moulmein looking North from near the Talien Barracks, Burma -

    Signed on part of old mount, dated 10th October 1855 and inscribed with title

    Watercolour over pencil

    22.8 by 36.4 cm., 9 by 14 ? inches


    Moulmein (or Mawlamyine) was the first capital of British Burma between 1826 and 1852 after the area was ceded to Britain under the Treaty of Yandabo. It is situated in the Salween river delta and is flanked by low hills dotted with ancient pagodas. 


    It is mentioned in the opening line of Kipling?s poem `Mandalay?:


    "By the old Moulmein pagoda

    Lookin' lazy at the sea

    There's a Burma girl a-settin'

    and I know she thinks o' me".

  • Pa-an on the Salween river, Burma -

    Signed on part of old mount, dated 4th October 1854 and inscribed with title

    Watercolour over pencil

    24.9 by 36.4 cm., 9 by 14 ? inches


    Pa-an or Hpa-An is the capital of Kayin state in south-east Burma.

  • Study of Trees and Sky -

    Black and white chalk on blue laid paper

    167 x 258 mm., 6 ½ x 10 in.

  • Fonthill Abbey -

    Watercolour over pencil

    183 x 254 mm., 7 ¼ x 10 in.

    The present watercolour shows Fonthill Abbey, Wiltshire, from the south-west. Designed by James Wyatt (1746 – 1813) for William Beckford (1760 – 1844), work began in the grounds of the Fonthill estate in 1796 on what was initially to be a gothic folly. However, it rapidly evolved into a vast Gothic Revival house with a central tower that was 267 ft high. It was completed in 1819, but Beckford only lived in it for a short time, his lavish spending, and losses of income following the sale of interests in the West Indies, meant that he was forced to sell it in 1822. Just three years later, the tower collapsed; the builders had cut corners and had not built the tower with the foundations that Wyatt had specified. The tower had already collapsed twice during construction, but each time Beckford had insisted that it be rebuilt in a larger and grander style. The rest of the house was demolished in 1845.

    Despite only standing for such a short time, Fonthill proved a hugely popular subject with artists, engravers and the general public, all fascinated both by the building and the man responsible for it. Artists including J. M. W. Turner, John Buckler, George Cattermole, William Havell and Francis Danby, amongst others, produced views of Fonthill. Danby’s highly finished watercolour of the Abbey in its surroundings, now in a private collection, was with the Christopher Wood Gallery. The palette and treatment of the present work is reminiscent of Danby’s work.

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