An album of two hundred and fifty-two drawings and watercolours, including; Sixty-nine studies of horse, cattle and other animals; Study of Muscicapa Grisola (woodland fly catcher); Two studies of shells; Forty studies of antique busts at Buckingham Palace; Four further studies from antique busts; Two drawings of a nude male figure; Forty portrait studies, including a Portrait of the father of Sir Joseph Banks, half-length; A tracing by the artist of a self-portrait; A Portrait of William Pitt the Elder; Five studies of military uniforms; A study of Flaxman's shield of Achilles; Two studies of figure compositions after Richard Cosway, R.A. (1740-1821); A copy of the self-portrait by Rubens in the Royal Collection; Two studies of cows after Sawrey Gilpin, R.A. (1733-1807); A study of crane; Twenty-nine landscape studies after George Barret, R.A. (1732-1784); Seventeen studies of Hindu antiquities, including the Kenery Cave and Salsetta; Two rock studies, Pembrokeshire, Wales; Two landscape studies, Carnac, Brittany; A drawing of the Great Pyramid at El Bellet from Waddington's Travels in Ethiopia; Two views in Ireland; Three views of Normandy after the Rev. Henry Engleheart; Five portrait busts of the Kings of England; Portrait of J.L. Burckhard, half-length, after Henry Salt (1780-1827); Four equestrian figure studies; A perspective study of a village street; and A pattern design

細節

George Engleheart (1752-1839)
An album of two hundred and fifty-two drawings and watercolours, including; Sixty-nine studies of horse, cattle and other animals; Study of Muscicapa Grisola (woodland fly catcher); Two studies of shells; Forty studies of antique busts at Buckingham Palace; Four further studies from antique busts; Two drawings of a nude male figure; Forty portrait studies, including a Portrait of the father of Sir Joseph Banks, half-length; A tracing by the artist of a self-portrait; A Portrait of William Pitt the Elder; Five studies of military uniforms; A study of Flaxman's shield of Achilles; Two studies of figure compositions after Richard Cosway, R.A. (1740-1821); A copy of the self-portrait by Rubens in the Royal Collection; Two studies of cows after Sawrey Gilpin, R.A. (1733-1807); A study of crane; Twenty-nine landscape studies after George Barret, R.A. (1732-1784); Seventeen studies of Hindu antiquities, including the Kenery Cave and Salsetta; Two rock studies, Pembrokeshire, Wales; Two landscape studies, Carnac, Brittany; A drawing of the Great Pyramid at El Bellet from Waddington's Travels in Ethiopia; Two views in Ireland; Three views of Normandy after the Rev. Henry Engleheart; Five portrait busts of the Kings of England; Portrait of J.L. Burckhard, half-length, after Henry Salt (1780-1827); Four equestrian figure studies; A perspective study of a village street; and A pattern design
with inscription 'Volume III for Lt Colonel Engleheart' (on an old label attached to the inside cover) and annotated with index (inserted at the front of the album), two variously signed, inscribed and dated, one signed with initials and dated 'GTE 1765/70' (lower left), fifty-eight variously inscribed
one hundred and thirty-five pencil; twenty-nine pencil and watercolour; forty-seven pencil, pen and ink; ten pencil and oil on paper; three pencil, pen and ink and wash; four pencil and grey wash; one pencil heightened with touches of white; nineteen on tracing paper, twenty eight on vellum, eleven squared for transfer
20 x 10 3/8 in. (50.8 x 26.2 cm.); and smaller; the album 17 x 13 1/8 x 2 in. (43.2 x 33.4 x 5.1 cm.) overall; and two etchings; and two figure silhouettes

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拍品專文

Primarily a miniaturist, George Engleheart studied first under George Barret, R.A. and then subsequently under Sir Joshua Reynolds, R.A., first exhibiting at the Royal Academy in 1773. The present album dates from early in his career and is an interesting overview of his early artistic influences and interests. His fascination for the natural, world which would lead him to continue to paint topographical watercolours throughout his career, is beautifully demonstrated in his sensitive animal studies painted while he was still a pupil of George Barret. Engleheart's future royal patronage, he was Miniature Painter to George III from 1790, is anticipated in the numerous studies of busts from the Royal Collection.