Price on requestWatercolour over traces of pencil heightened with bodycolour
17.3 by 26.1 cm. 6 ¾ by 10 ¼ in.
Provenance:
Anonymous sale, Sotheby’s, 21 September 1988, lot 34, where bought by the present owner
Lewis was mainly an animal painter before he visited Spain in 1832. A childhood friend of Landseer, they both sketched animals at the menagerie at Exeter Change. He exhibited mainly animal subjects at the Royal Academy from 1822 which led to a commission from George IV to draw sporting subjects at Windsor.
A study of a dead plover (also known as a lapwing or peewit), signed and dated 1826, is in the Victoria and Albert Museum. One of the two watercolours is likely to be the work exhibited at the Royal Academy in 1827, no. 567 as `A shot plover’ and at the Society of Painters in Water-colours in 1828, no. 356 as `Peewit’.
We are grateful to Briony Llewellyn and Charles Newton for their help in cataloguing this work.
Price on requestWatercolour over touches of pencil, heightened with bodycolour
39.2 by 27.6 cm., 11 ½ by 10 in.
This is a study of a dancer wearing the colourful costume of the Arberesche, an Albanian ethnic minority who lived in the area known as the Piana dei Greci or Piana degli Albanesi, near Palermo in Sicily. Lewis attempted to sail to Palermo from Naples in October 1838, but was shipwrecked and returned to mainland Italy, so he never visited Sicily. The traditional full-skirt of the women has been shortened to make it suitable for the dancer.
Portraits of theatrical dancers are rare in the work of Lewis. However, a watercolour portrait of the popular dancer Pauline Duvernay as Florinda in Le Diable Boîteux, signed and dated lower left, J.F.Lewis / 1837, was reproduced as a lithograph; the original has not come to light. An impression, printed by Charles Hullmandel, and dated Feb y 14 th 1837, is in the Victoria and Albert Museum, no. S.2608-1986.
We are grateful to Briony Llewellyn and Charles Newton for their help in cataloguing this work.
Price on requestWatercolour over pencil and black chalk heightened with bodycolour
Sheet 37.3 by 27.3 cm., 14 ¾ by 10 ¾ in.
This intriguing portrait of a European man in Oriental dress by John Frederick Lewis is likely to have been made during the artist’s decade-long sojourn in Egypt, 1841-51. During this time, Lewis lived in a large wooden, Ottoman-style house, in a district of Cairo ‘far away’, according to William Thackeray, ‘from the haunts of European civilisation’. While his attitude to the company of fellow Europeans was sometimes ambivalent, Lewis was frequently happy to mingle among the expatriate residents of the city, notably pioneers of Egyptian and Arab studies such as Edward William Lane, Henry Abbott and Joseph Bonomi. All of these, as well as Lewis himself, habitually dressed in traditional Ottoman clothes, which were then still worn by many of the local inhabitants, though gradually being replaced by the Westernised dress decreed by the recent Tanzimat reforms.
Another prominent member of the expatriate community during the mid-19th century was Sir John Gardner Wilkinson (1797-1875), who by the 1840s had gained acclaim and fame for his ground-breaking studies in Egyptology. During and after his 12 year sojourn in Egypt between 1821 and 1833, when he was based mainly at ancient Thebes (Luxor), Wilkinson published several articles and books on the subject. His most famous work was Manners and Customs of the Ancient Egyptians, published in 1837, which established him as the ‘Father of British Egyptology’. Its description of ancient Egyptian society, with numerous illustrations, caught the popular imagination, and passed through many editions during the course of the 19th century. In 1839 his achievements were recognised with a knighthood.
Wilkinson revisited Egypt another four times between 1841 and 1856, and during the first of these return trips he met Lewis at least twice. On 8 December 1841, he was among those gathered at Lewis’s house for a séance of the notorious Egyptian Magician, Shaykh Abd al-Qadir al-Maghrabi. Later that month, a brief entry in Wilkinson’s Journal for 1841-42 reads: ‘Saty 18 Dec dined with Col. Barnet at 6. Met Mr Lewis and Mr Coste’ (The Griffith Institute, University of Oxford, Wilkinson MSS. 1.69). There are indirect connections too: in February 1842 both Lewis and Wilkinson are listed as members (the latter an honorary one, as he had by then left Cairo) in a pamphlet published by the Literary Association of Egypt, newly established as a forum for those interested in Egyptian antiquities. In January 1844 both men are in Cairo and moving in the same circles, since both are mentioned in a letter written by Bonomi to a friend (Private Collection of Bonomi Papers). Later in the decade, Murray’s Handbook for Travellers in Egypt was published (1847) and in it Wilkinson, who was its author, writes of the drawings of Cairo, ‘this truly Eastern capital, which we may shortly hope to receive from the hand of Mr. Lewis’. Most pertinent of all is the evidence in a sale from Lewis’s studio held in 1855, a few years after his return from Egypt, in which lot 129 is ‘Sir Gardiner[sic] Wilkinson, in Oriental Costume’ (Christie’s, 5 July 1855, bought by the dealer, William Vokins). A portrait of ‘Sir G. Wilkinson’ is also listed in a letter of 14 April 1857 from Lewis to another dealer, John Scott (Private Collection). Another similarly sized version of the portrait that is here identified as likely to be of Wilkinson, exists in the Ashmolean Museum, Oxford (WA.OA966), currently titled Study of a Seated Oriental Man, smoking. The figure is almost identical, but added, lower right, is a brass-mounted glass nargile (or hookah) from which the man is smoking.
The sitter in these two portraits is a fair-skinned man with a long flowing moustache and blue eyes, whose hooded eye-lids droop down at the corners. He wears a red fez over a white skull-cap, over the top of which is the hood of his large cloak or wrap. He seems to acknowledge this awkward accumulation of Oriental garb with wry amusement, accentuating his youthful looks. Another portrait by Lewis shows an unidentified man with the same features, notably the bushy moustache and the heavily-lidded eyes, wearing a fez and more conventional Ottoman attire (with Spink & Son, London, 1985-86, titled An Englishman in Greek Dress), who, on the basis of the argument made here, is also likely to represent Wilkinson.
Wilkinson’s fame during his lifetime resulted in several known portraits of him. Among these, made at around the same time as the Lewis portraits, are drawings by William Brockedon, 1838, and Alfred, Count d’Orsay, 1839 (both, National Portrait Gallery, NPG 2515(86) and NPG 4026(28)), and by Godfrey Thomas Vigne, 1844 (Victoria and Albert Museum, SD.1156). These show a man with very similar facial characteristics to the sitter in the portraits by Lewis, most significantly the fine walrus moustache, with the ends twirled upwards slightly to a point. The most widely known portrait of Wilkinson is a painting by Henry Wyndham Phillips, Sir John Gardner Wilkinson, aged 46, in Turkish Dress, 1844 (The National Trust: Calke Abbey, Derbyshire). His features, youthful, despite his 46 years, are also strikingly similar to those of the man in the Lewis portraits. Moreover, his waistcoat and shirt, and his left arm cradling the Ottoman curved sabre known as a kilij, seem to be reflected in the second portrait by Lewis (ex Spink’s), identified here as of Wilkinson.
While not conclusive, the evidence that the present portrait represents Sir John Gardner Wilkinson, seems compelling.
Briony Llewellyn, with thanks to Charles Newton
Sold Watercolour over pencil heightened with bodycolour on buff paper
37.3 by 53.9 cm., 14 ? by 21 inches
Provenance:
With Agnew?s, London;
Private Collection, U.K.
In 1840, Lewis travelled from London, via Italy, Greece and Turkey, to Cairo where he remained for the next ten years living as a local in an Ottoman house and dressing in Turkish costume. The sketches, such as the present drawing, which he made during this period gave him material for the rest of his life. Lewis often travelled into the desert to sketch the Bedouin people and their way of life. He liked the peace of the desert, the place where ?there were no crowds to jostle? (see Major-General Michael Lewis, John Frederick Lewis, R.A., 1978, p.23).
A similarly sized drawing by Lewis of the same encampment is in Leeds City Art Gallery and a fully worked-up watercolour of a Bedouin encampment with similar tents is in the Yale Center for British Art (see Baskett and Snelgrove, English Drawings and Watercolors 1550-1850 in the Collection of Mr and Mrs Paul Mellon, 1972, no.145, ill.).
Sold Watercolour and black chalk heightened with bodycolour
34.5 by 17.8 cm., 13 ½ by 7 in.
Provenance:
The Artist John Phillip (1817-1867), his sale, Christie's, 31st May 1867, lot 33;
Mr Wyatt, Poole
Lewis was in Spain from 1832 until 1834. This watercolour was in the collection of the artist John `Spanish’ Phillip, R.A. (1817-1867) who visited Spain three times in the 1850s and painted Spanish genre subjects. His figure studies are much influenced by Lewis.
Sold Inscribed lower right: Sorrento/Aug 21
Watercolour over pencil heightened with bodycolour
39.5 by 27.3 cm., 15 ½ by 10 ¾ in.
Provenance:
J.G.L. Goff
Lewis left London in 1837 and went to Italy via Paris where he remained for two years.
Dates on surviving watercolours by Lewis suggest he had arrived in Sorrento by 10th August 1839, was on Capri 12th to 14th and Procida 28th to 29th. The date of 21st August on the present work suggests he returned to Sorrento, on the mainland between Capri and Procida.
The sitter is probably a Franciscan monk from the monastery of San Francesco in Sorrento.
