The Property of the late Evelyn Joll (1925-2001) (Lots 386-399) Evelyn Joll combined a full-time career as a leading art dealer at Agnew's, of which he was Chairman from 1982-93, with a second career as an important art historian specialising in British watercolours and the works of J.M.W. Turner. He was co-author of the standard catalogue of Turner's oil paintings, chief editor of the Oxford Companion to J.M.W. Turner, and author of the catalogue of watercolours and drawings in the Cecil Higgins Museum, Bedford. He played a critical part in a whole series of major Turner exhibitions in London and abroad. He also continued the Agnew's tradition of specialising in that artist, mounting annual shows of watercolours including many Turners as well as three devoted to that artist. His own collection of watercolours played, unsurprisingly, a relatively minor role but reflected what was his more personal, private love of family, house and country, particularly the Isle of Wight.

Thomas Sandby, R.A. (Nottingham 1723-1798 Windsor)

The Moat Island, Windsor Great Park

Details

Thomas Sandby, R.A. (Nottingham 1723-1798 Windsor)
The Moat Island, Windsor Great Park
inscribed 'The Moat Island. Windsor Great Park' (lower centre) and numbered '137(?)' (upper centre)
pencil, pen and grey ink and watercolour
11 1/8 x 18¼ in. (28.3 x 46.3 cm.)

Provenance

H. Hollebone.
The Late Lt.-Col. L.F. Smeathman; Sotheby's, London, 28 October 1971, lot 12.
with Agnew's, London, 1972, where purchased by the present owner.

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Lot Essay

Thomas Sandby was the elder brother of Paul Sandby. Both artists were founding members of the Royal Academy and among the most important figures in the development of English watercolour. Thomas was Deputy Ranger at Windsor from 1765 until his death in 1798, and with the Duke of Cumberland he was directly involved with the development and improvement of the Great Park.

The present drawing was previously ascribed to Paul Sandby, but seems more likely to be by Thomas. The free, fluid drawing of the trees arranged in linear plains are characteristic as is the palette with its grey underdrawing, see J. Roberts, Views of Windsor Watercolours by Thomas and Paul Sandby, London, 1995, pp. 126-7, nos. 43 and 43.1.

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