• View of a Bridge in a Mountainous Landscape -
    Price on request

  • St Vincent’s Rocks from Nightingale Valley, Clifton, Bristol -
    Price on request

    Black and white chalk on grey paper

    27.4 by 24.9 cm., 10 ¾ by 9 ¾ inches

     

    Provenance:

    With Suzi Quadrat, Clifton, Bristol;

    Private Collection until 2014

     

    This is a view looking down Nightingale Valley to St Vincent’s Rocks which stand over the Clifton Gorge. Above St. Vincent’s Rocks stands Clifton Observatory which from 1828 was used as a studio by Jackson’s friend the artist William West. Nightingale Valley was the part of Leigh Woods most favoured by the Bristol School artists. Jackson’s friend, the amateur artist the Rev. John Eagles recalled `those beautiful woods opposite Clifton, separated from it by the muddy Avon…. dividing…. the cares and toils of a busy world from the regions of Elysium. Beautiful as these woods are when seen from the opposite hill, those who only see them thus have little conception of their beauty. It is the very best artist’s ground and of a character unique.’

     

    A watercolour of this view by Jackson is in the Victoria and Albert Museum (see Francis Greenacre and Sheena Stoddard, The Bristol Landscape – The Watercolours of Samuel Jackson, 1986, no. 26, ill. p.46).

  • Clevedon Court, Bristol -
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    Signed lower right: Samuel Jackson/1822

    Watercolour heightened with bodycolour, stopping out and gum arabic

    24.5 by 38.5cm., 9 ½ by 15 inches

     

    Jackson was the son of a Bristol accountant and lived and worked there all his life. He is often called the father of the Bristol School. This dates from the early 1820s when he was producing his best work.

     

    Clevedon Court is a 14th century manor house outside the village of Clevedon, fifteen miles south-west of Bristol on the Bristol Channel. In the early nineteenth century, it was home to the Rev. Sir Abraham Elton (1755-1842), 5th Bart and heir to a Bristol mercantile fortune so the present watercolour is likely to have been a commission. His wife Elizabeth was the daughter of Sir John Durbin, Alderman of Bristol. Clevedon Court is now a National Trust property.

     

    Provenance:

    With Peppiatt Fine Art, 2006;

    Private Collection, Chicago until 2014

  • 'A Composition of the Natural Scenery of the West Indies, in which the Silk-Cotton, and Mountain Cabbage Trees are introduced' -
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    Watercolour over pencil heightened with bodycolour and stopping out

    55.5 by 85 cm., 21 ? by 33 ? inches

     

    Provenance:

    Charles Theobold Maud, his sale, Christie?s, 17th June 1853, lot 89, bt. Shirley;

    Anonymous sale, Christie?s, 10th July 1990, lot 143;

    Private Collection, Channel Islands

     

    Exhibited:

    London, Society of Painters in Water-colour, 1828, no.50

     

    This watercolour is based on sketches made by Jackson in the West Indies during his trip there in 1827 and was his first exhibited West Indies view in 1828. Jackson was one of the best known artists of the Bristol School. He was born in Bristol, the son of a merchant and worked for his father until 1820 when he became a professional artist. He became a well known drawing teacher in Bristol and travelled extensively in Britain.

     

    Boats to the West Indies from Bristol would have been frequent as the city was a trading centre at the time. Little is known of which islands Jackson visited but his exhibited works suggest he certainly visited Trinidad, Tobago and St Vincent and a Jamaican view is in Bristol City Art Gallery. The present watercolour is reminiscent of parts of Dominica but is clearly a ?composition? of the scenery he saw there. His West Indian views are rare as are watercolours by him on this scale ? the only comparable works, which are the same size, are in Bristol City Art Gallery (see The Great Age of British Watercolours 1750-1850, exhibition catalogue, 1993, nos.189 and 190, pls.294 and 302).

     

  • Lyme Regis and Charmouth -
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    Brown and blue washes over pencil heightened with scratching out
    24 by 36cm., 92 by 14 inches

    Provenance:
    George Weare Braikenridge (1775-1856)

    This is Jackson's interpretation of Turner's engraving published in `Picturesque Views on the Southern Coast of Britain' in 1814. There are a number of minor differences between the engraving and the present work. Turner's original watercolour for the engraving is in Glasgow Museum.
  • The Avon Gorge from Leigh Woods near Bristol -
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    watercolour heightened with bodycolour and stopping out

    21.9 by 29.8cm., 8 1/2 by 11 3/4 inches

     

    Jackson is looking down the Avon Gorge towards St Vincent?s Rocks with Windsor Terrace, Clifton in the distance. To the left on the horizon is the ruined windmill which was turned into an observatory by the artist William West in 1828 and it still exists as such today. Beneath it is visible the so-called Giant?s Cave.


    Jackson was born to a Bristol accountant and lived and worked there all his life. He is often called the father of the Bristol School

     

    Exhibited:

    London, Agnew?s, Watercolours and Drawings ? 129th Annual Exhibition, 13th February ? 8th March 2002, no.73

  • Mont Blanc and the Valley of Chamonix -
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    Signed lower right: S Jackson and inscribed in an old hand verso: Mont Blanc and Valley of Chamounix/by Sam.l Jackson

    Watercolour heightened with bodycolour

    33.8 x 51.8 cm., 13 ? x 20 ? in.

     

    Jackson painted this view of Mont Blanc from the top of the Chamonix valley above Argenti?re.  The Aiguilles de Chamonix, or Needles of Chamonix can be clearly seen to the left of Mont Blanc.  Jackson visited Switzerland twice, in 1854 and 1858, when Chamonix was still a small village. Although the first luxury hotel was built in 1816, it only gained proper road access in 1866 under the reign of Napoleon III, when the first horse-drawn coaches alighted in the village square.

  • View in the West Indies -
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    Watercolour over pencil heightened with scratching out

    18.8 by 24.5 cm., 7 ? by 9 ? inches

     

    Provenance:

    Bought by Alderman J. Fuller Eberle circa 1900;

    By descent until 2004

     

    Exhibited:

    Bristol City Art Gallery, The Bristol School of Artists ? Francis Danby and Painting in Bristol 1810-1840, Sept-Nov. 1973, no.168

     

     

    According to Roget, Jackson visited the West Indies for the sake of his health in 1827 (see J.L. Roget, History of the Old Water-colour Society, 1891, vol.II, p.97).

     

    This watercolour comes from a collection of 47 drawings and prints by Bristol School artists collected by Alderman Eberle in about 1900 which included 23 works by Jackson.

  • Harlech Castle, North Wales – Sunset -
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    Watercolour over pencil heightened with bodycolour and stopping out

    24.8 by 38.5 cm., 9 ¾ by 15 inches

     

    Jackson first exhibited North Welsh views at the Society of Painters in Water-colours in 1829 which would suggest he visited there in the summer of 1828. In June and July 1833 he travelled through Wales with his fellow artists William James Müller and John Skinner Prout. He exhibited many Welsh views in the 1830s and 1840s, the likely date of the present watercolour.

     

    This is a view of Harlech Castle from the south, on the road above the village of Harlech itself.  In the middle distance is the large tidal estuary of several Snowdonia rivers that spill into Tremadog Bay.  The strikingly prominent peak is Moel Hebog with its distinctive pointed summit, whose view of which was often favoured by artists visiting North Wales.

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