• The Dome and Campanile of the Church of Santa Maria Formosa from near the Palazzo Malipiero, Venice -
    Price on request

    signed with monogram c.l. and inscribed: Church/Venice

    watercolour over pencil heightened with white on buff paper

    26.1 by 16.5cm., 10 1/4 by 6 1/2 inches

     

    Holland first visited Venice in 1835 and returned there on many occasions between then and 1865

  • View at Greenwich Hospital looking across the Grand Square towards Queen Mary Court -
    Price on request

    Watercolour over pencil heightened with bodycolour and gum arabic 
    21.8 by 30 cm., 8 1/2 by 11 3/4 in.

    Provenance: With the Cotswold Gallery, London 1926; Paul J. Sachs (1878-1965); Lucy Weiss, a gift from her mother, December 1984

    Exhibited: On loan to Fogg Art Museum, Harvard, from 1929 to c.1965

    James Holland moved to London, from his native Staffordshire in 1819. He became captivated by the beauty and grandeur of the architecture of Greenwich and moved there in 1830. He remained there until 1845 and frequently studied not only the architecture of the Naval Hospital in numerous sketches and finished paintings, but also the surrounding landscapes of Greenwich and Blackheath. 
  • The Gateway to the Chigi Park, Ariccia, Italy -
    Price on request

    Inscribed verso: at La Riccia

    Watercolour over pencil heightened with watercolour on grey paper

    175 x 258 mm., 6 ¾ x 10 in.

     

    Provenance

    Andrew Wyld, his sale, Christie's, 10th July 2012, lot 188

     

    The town of Ariccia lies in the Alban Hills about 16 miles South-East of Rome and the Chigi family were the ducal family of the town. The road to the right of the gateway leads up the hill to the town and the church of Santa Maria dell’Assunta. The gateway had previously been drawn by Turner on his visit to Ariccia several decades earlier, in 1819.

  • Calle Regina, Venice -
    Price on request

    Signed centre right: J.H. '44 and inscribed on backing in a later hand: Corte della Regina/Venice

    Watercolour over pencil heightened with bodycolour

    227 x 150 mm., 8 ¾ x 6 in.

     

    Between 1835 and 1865 Holland undertook numerous visits to Venice. The architecture and landscape of the city provided the artist with endless inspiration and the works he produced as a result of these trips, were largely responsible for cementing his reputation.

     

    Calle della Regina is in the Santa Croce district of Venice. It is named after Caterina Cornaro, who became Queen of Cyprus in 1472 but following the Turkish invasion of 1489, returned to Venice and resided in the Castello di Asolo.

  • The Tombs of the Scaligeri, Verona -
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    Signed, inscribed with title and dated 1835 three times
    Watercolour over pencil heightened with bodycolour
    28.8 by 21.3cm., 11 1/4 by 8 1/4 inches

    This dates from Holland's first trip to Italy in 1835. He left London in July and reached Geneva in late October. On 29th October he reached Milan and stopped at Verona on his way to Venice. The Scaligeri were a dynasty who ruled Verona in the 13th and 14th century and their family tombs are just off the Piazza dei Signori in Verona. Holland may have been influenced in his choice of subject by Richard Parkes Bonington, an artist he much admired, who visited the city in 1826 and also drew the tombs.
  • A Street in Genoa, Italy -
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    Signed lower right: JH 1851/Genova

    Watercolour over pencil heightened with bodycolour

    27 by 16.4cm, 10 1/2 by 6 1/2 inches

     

    Holland had visited Italy and particularly Venice on numerous occasions from 1835 onwards but had never previously visited Genoa until 1851, the date of the present watercolour

     

    Provenance:

    H.C. Green, his sale, Sotheby?s, 18th October 1961, lot 87

  • The Bacino di San Marco, Venice -
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    watercolour over pencil heightened with bodycolour

    31.8 by 93cm, 12 1/2 by 36 1/2 inches

     

    This view is taken from near the Giardini Pubblici or Public Gardens in eastern Venice. To the left is the domed church of Santa Maria della Salute with the Doge?s Palace, the Campanile and the domes of the Basilica di San Marco to the right. A sketch by Holland taken from the same point is recorded with Anthony Reed in 1985.

     

    Holland was captivated by Venice ? he first visited the city in 1835 and returned on numerous occasions including four times between 1860 and 1865 alone. Randall Davies wrote:

     

    ?It is by the Venetian subjects of his later years that he will be best remembered and most highly regarded. In these he developed a style and treatment ? in which bodycolour was freely used ? almost as distinctive as Prout?s. For these he reserved a palette rich in delicious blues, rose madder and other rare delicacies not to be found in his earlier works?

     

    Provenance:

    With Thos. Agnew & Sons, 1897

     

    Exhibited:

    London, Society of Painters in Water-colour, 1862

  • The Ruins of the Church of St. Francisco, Lisbon -
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    Signed lower right: Ruins of S.t Francisco/Lisboa 37 JH/destroyed by....

    Watercolour over pencil heightened with bodycolour

    27.3 x 20.4 cm., 10 ? by 8 inches

     

    Provenance:

    The Artist?s studio sale, Christie?s, 26th May 1870, lot 149, bt. E. White for 7 gns;

    Sir Henry H. Houldsworth Bt., Coodham, Kilmarnock;

    Anonymous sale, Christie?s, 1st March 1977, lot 19;

    Anonymous sale, Phillip?s, 13th May 1987, lot 55

     

    Holland visited Portugal in the summer of 1837 and was probably the first British landscape artist to do so. He was sent by William Harrison who commissioned him to produce watercolours to be engraved for one of his Landscape Annuals. They were published two years later under the title The Tourist in Portugal. Holland?s Portuguese works are amongst his rarest and most celebrated works. He was in Lisbon in July. Another view of the ruins of San Francesco is in the Victoria and Albert Museum which has twenty of his Portuguese views.

     

    This shows the Convent of St Francisco which was destroyed during the Portuguese civil war in 1834. The church and convent was situated below the castle of S?o Jorge, behind the Naval Arsenal in the centre of Lisbon. There is a vivid description of the state of the church by a Captain James Alexander of the Royal Highlanders in his book ?Sketches In Portugal During The Civil War Of 1834?: ?the ruined walls of the Convent of St Francisco shattered as if the great earthquake had only yesterday visited this often devastated capital.?

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