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Thursday 12 November 2026, 11:00 Old Master & 19th Century Art

Chiswick Auctions

Old Master & 19th Century Art Thursday 12 November 2026, 11:00 Viewing exclusively at the Barley Mow Centre, W4 4PH Sunday 8 November

11:00 - 15:00

Monday 9 November

10:00 - 17:00

Tuesday 10 November

10:00 - 17:00

Wednesday 11 November

10:00 - 17:00

Glossary of Terms Sir Thomas Lawrence A work by the artist. Attributed to Sir Thomas Lawrence A work of the period, which may be in whole or part, the work of the artist. Studio of Sir Thomas Lawrence A work by an unknown hand, which may have been executed in the studio of the artist. Circle of Sir Thomas Lawrence A work from the period of the artist and showing their influence. Follower of Sir Thomas Lawrence A work executed in the style of the artist, but not necessarily by a pupil.

Manner of Sir Thomas Lawrence A work executed in the style of the artist, but at a later date. After Sir Thomas Lawrence A copy of any date after a work by the artist This one doesn’t end in a full stop like the others. Signed / Inscribed / Dated Sir Thomas Lawrence The work has been signed / inscribed / dated by the artist. Bears signature / inscriptuon / date of Sir Thomas Lawrence The signature / inscription / date are probably not by the hand by the artist.

Front cover Lot 65 / Opposite page Lot 130 / Specialists page Lot 104 / Inside back cover Lot 80 / Back cover Lot 20

Old Master & 19th Century Art

Meet the Specialists Sophie Hetherton

Head of Department sophie.hetherton@chiswickauctions.co.uk +44 (0)20 3089 6886

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Ellie Smith

Specialist ellie.smith@chiswickauctions.co.uk +44 (0)20 3343 0528

Luke Price

Specialist Consultant luke.price@chiswickauctions.co.uk +44 (0)20 8992 4442

Megan Peters

Department Coordinator megan.peters@chiswickauctions.co.uk +44 (0)20 3089 6855

Old Master & 19th Century Art

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Attributed to Gaspard Dughet, called Gaspard Poussin (Italian/French, 1615-1675) Italianate landscape with resting figure and mountains beyond oil on canvas Unframed: 49 x 66.5 cm. (19 1/4 x 26 1/4 in.) Framed: 62 x 80 cm. (24 1/2 x31 1/2 in.) £4,000 - 6,000 Provenance Collection of Rev J. Cavalier-Chester, according to label attached verso. The Property of a Gentleman Born in Rome in 1615, Gaspard Dughet was exposed to the artistic milieu of the Eternal City from an early age. His sister had married the renowned painter Nicolas Poussin in 1630, and the young Gaspard went to live and apprentice in the workshop of his brother-in-law for the next three years, adopting his teacher’s surname.1 Enchanted with the Roman Campagna, Gaspard devoted his entire career to painting Italianate landscapes of the countryside. Although his style can be described as a combination of Poussin’s classicism and the poetic atmosphere of Claude Lorrain, Gaspard did not populate his scenes with religious or mythological figures.2 Present instead are hunters, travellers, and shepherds going about their daily routines, or sometimes no figures at all. Gaspard’s landscapes were in high demand throughout his lifetime and beyond. He produced frescos for various palaces throughout Rome, and a room bearing his name in the Palazzo Doria Pamphilj displays more than a dozen of his large-scale canvases. Gaspard’s fame continued well into the eighteenth century, when Grand Tour collectors acquired his paintings in large quantities and brought them back to England for display in stately country homes. Equally outspoken in their admiration for Gaspard’s work were the leading figures of British landscape painting. John Constable once proclaimed that the paintings of Gaspard Dughet ‘contain the highest feeling of Landscape painting yet seen - such a union of patient study with a poetical mind.’3 The composition of the present painting echoes several of Dughet’s works now in various institutions and private collections. The use of a tree to frame the left side of the scene, along with the body of water nestled amongst rocky cliffs topped with buildings, recalls a canvas in the Columbus Museum of Art (inv. no. 1981.001) and one offered at Sotheby’s London in 1981,4 while a similar reclining figure in the foreground appears in a painting in Burghley House (inv. no. PIC462). References 1 J. Bryant, Kenwood: Paintings in the Iveagh Bequest (Swindon 2012), p. 40 2 J. Bryant, p. 40 3 J. Bryant, p. 42; R.B. Beckett, John Constable’s Correspondence VI (Suffolk 1968), p. 66 4 Sotheby Parke Bernet, London, 8 July 1981, lot 31.

Old Master & 19th Century Art

Circle of Salvator Rosa (Italian, 1615-1673) Travellers on a rocky coastal path oil on canvas Unframed: 41 x 65 cm. (16 x 25 1/2 in.) Framed: 56 x 81 cm. (22 x 32 in.) £800 - 1,200 Provenance Private Collection, U.K.

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Follower of Jan Josefsz. van Goyen (Dutch, 1596-1656) A view of the city of Leiden oil on canvas Unframed: 97.3 x 141 cm. (38.3 x 55.5 in.) Framed: 113 x 163cm. (44 1/2 x 64 1/8 in.) £2,000 - 3,000 Provenance Sale; Sotheby’s, London, 11 July 2002, lot 164; Private Collection, U.K.

A prolific and highly influential painter, etcher, and draughtsman, Jan Josefsz. van Goyen (1596-1656) spearheaded the development of naturalistic landscape painting in seventeenth-century Holland. His oeuvre encapsulates the prosperity and adventurous spirit of the Dutch Golden Age, ranging from bustling village scenes to expansive seascapes replete with merchant vessels. Van Goyen frequently produced panoramic views of Dutch cities, including several of his native city of Leiden. The present painting, here attributed to a follower of van Goyen, depicts the master’s hometown with the Hooglandse Kerk on the right portion of the horizon. Autograph examples of van Goyen’s Leiden cityscapes can be found in the Alte Pinakothek, Munich, c. 1643 (Inv. no. 4892) and the Museum De Lakenhal, Leiden, c. 1650 (Inv. no. S115).

Old Master & 19th Century Art

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Continental School (17th Century) Landscape with cows oil on canvas Unframed: 88 x 83 cm. (34 1/2 x 32 3/4 in.) Framed: 114.5 x 110.5 cm. (45 1/8 x 43 1/2 in.) £2,000 - 3,000

Provenance Sale; Helbing, Munich, 23 March 1903, lot 3 (as Jan Asselijn), where purchased by the family of the present owner; Private Collection, U.K. The Property of a Lady Literature A.C. Steland, Jan Asselijn Nach 1610 Bis 1652, Amsterdam 1971, p. 145, no. 132 (as Jan Asselijn) It can be assumed that Dr Steland’s attribution to Jan Asselijn in her 1971 catalogue raisonné was based on the images and informatin provided in the 1903 sale. The present work is included on the RKD website with a handwritten remark by Joop Nieuwstraten stating; ‘in my opinion not Netherlandish’.1 Reference 1 https://rkd.nl/imageslite/318912

Old Master & 19th Century Art

Jacob van der Ulft (Dutch, 1627-1689) A capriccio of an obelisk and a classical temple; A capriccio of ships off a classical harbour each illustrated ‘J. van der Ulft’ (mount, lower centre) watercolour, pen and brown ink Each unframed: 24 x 33 cm. (9 1/2 x 12 7/8 in.) Each framed: 40 x 50 cm. (15 3/4 x 19 3/4 in.) (2, a pair) £1,500 - 2,500

Provenance Sale; Christie’s, London, 12 June 2005, lot 90; Private Collection, U.K. Jacob van der Ulft was most recognised for his architectural and topographical compositions. The present work, A capriccio of an obelisk and a classical temple, can be compositionally compared to Jan van der Ulft’s oil on panel painting titled ‘Italian harbour view’, held in the Rijksmuseum collection since 1809, no. SK-A-419 (https:// id.rijksmuseum.nl/20026434).1 Reference 1 Kabinet van Hereton, Rijksmuseum, Amsterdam 1809, cat. 1934, nr. 2334, https://rkd.nl/imageslite/201329

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Marc Baets (Flemish, active 1700-1749) Figures before a mill, extensive mountainous river landscape beyond oil on panel Unframed: 21.5 x 29 cm. (8 1/4 x 11 1/2 in.) Framed: 32.2 x 40cm. (12 5/8 x 15 3/4 in.) £800 - 1,200 Provenance Private Collection, London.

Old Master & 19th Century Art

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Cornelis Troost (Dutch, 1696-1750) Cavalry Skirmish graphite, pen and brushpoint with carbon ink and grey wash Unframed: 11.6 x 19.6 cm. (4 5/8 x 7 3/4 in.) £2,000 - 3,000 Provenance Private Collection, U.K. This animated drawing underscores Troost’s compositional brilliance, heavily emphasising the drama of an intense cavalry skirmish at close quarters. The dynamic tension focuses around the central horseman, caught mid-charge and facing his enemies whose horses rear in chaos. Troost’s characteristic theatrical flair is evident in the striking poses and the billowing clouds of artillery smoke around and behind them, from which the ghostlike drummer at the left gradually emerges. The technique is identical to that of a slightly more finished drawing similar in size (13.4 x19.2 cm) of a skirmish between cavalry and infantry, sold at Sotheby’s, Amsterdam for €2,369 (The Unicorno Collection, 19 May 2004, lot 244). In each case Troost applied dark fluid contour lines with the point of the brush. Strokes of soft grey wash layered onto the bodies of the horses establish their volume and musculature; their manes and tails are rendered with wild, curving strokes that rhythmically mirror the chaos of battle. The way Troost captures the muscular tension of the horses’ legs is highly distinctive. Whether their joints are taut or folded as horses rear, leap, or struggle to throw their riders to the ground, Troost paid great attention to outlining their precise skeletal structure and defining the muscles and tendons of the legs in dark wash with a fine brush, but without losing the rapid, fluid rhythm of the overall composition. Having initially trained as an actor, Troost turned to painting in 1723. He studied under the renowned portraitist Arnold Boonen, and rapidly won fame for his depictions of performances at the Amsterdam theatre, as well as designing stage sets. With his paintings, drawings and prints of witty and bawdy genre scenes - for example Prince Eugene of Savoy vetting Courtesans (Rijksmuseum RP-T-1899-A-4220) combined with his skills as a portraitist, Troost also became a favourite of the city’s élite. He occasionally created monumental grand-scale historical works, notably his famous masterpiece of 1737 depicting Alexander the Great at the Battle of the Granicus. As for the drawings under discussion, they possibly relate to the War of the Austrian Succession. His earliest known treatment of a military subject is dated 1736, while the others are dated post-1740. Most prominent among these works are depictions of soldiers relaxing in guardrooms and taverns. While Troost himself may have been familiar with the environments of guardrooms through personal encounters, his depictions of active military engagements and battles seem to rely on the visions of other artists, albeit superficially; Troost endows his works with his own personal touch and treatment of the figures. The present drawing is an important addition to Troost’s oeuvre, because up to now, only four drawings of battle scenes by him are known (see J.W. Niemeijer, Cornelis Troost; 1696-1750, Assen 1973, p. 93, cat. no. 776T). The inscription in the lower right corner is definitely autograph, as is clear upon comparing the calligraphic “I” with the vertical bar of the letter “T” in Troost’s signature on the Sotheby’s drawing, and the shape of the number “2”. Such notations are commonly found on 18th-century Dutch drawings. The first character is a conventional cursive capital “I” or “J”; the two letters were orthographically interchangeable in archival script of this period. The ‘fraction’ (½) confirms that this drawing had a companion sheet: either the second half of a two-part composition, possibly a continuous panorama of the skirmish; or part of a matching pair of tactical scenes, perhaps the aftermath to the skirmish or a counter-composition showing a secondary flank of the battle.

Old Master & 19th Century Art

After Willem van Nieulandt (Flemish, 1584-1635/36) Travelers and sheep in a rocky coastal landscape watercolour in monochrome Unframed: 20 x 31 cm. (8 x 12 1/4 in.) £200 - 300 Provenance Private Collection, U.K. After the etching by Willem van Nieulandt II, held in the Philadelphia Museum of Art (no. 1985-52-10528).

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Stefano della Bella (Italian, 1610-1664) Jeu de la Geographie (Geography Games) (1644-1698) etchings; state II (of IV) Set of fifty-two untrimmed playing cards commissioned by Cardinal Mazarin with texts by Jean Desmarets de Saint-Sorlin (1595-1676); de Vesme/Masar 543-594 Each card: 9 x 6 cm. (3 1/2 x 2 1/2 in.) Each sheet approximately: 27 x 22 cm. (10 1/2 x 8 3/4 in.) (5) £2,000 - 3,000 Provenance Private Collection, London.

Old Master & 19th Century Art

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Stefano della Bella (Italian, 1610-1664) The Arch of Constantine with part of the Colosseum etching plate 9 from ‘Paysages et ruines de Rome’, c.1646 Unframed: 12.5 x 12.5 cm. (5 x 5 in.) (tondo) (trimmed) £200 - 300 Provenance Private Collection, London. One example from a series of thirteen etchings created around 1646, after his stay in Rome. The drawings executed during his time in Rome from 1633 to 1639 served as his studies for the series.

Old Master & 19th Century Art

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Ubaldo Gandolfi (Italian, 1728-1781) The Virgin of Mount Carmel presenting the Scapular to Sant’Ubaldo, Bishop of Gubbio bears inscription ‘Skippe Collection 167b as Matteo Preti 939’ by A. E. Popham (to the mount) pen, ink and wash Unframed: 13.7 x 8.7 cm (5 3/8 x 3 3/8 in.) £3,000 - 5,000 Provenance John Skippe (1741-1812) (Lugt 1529a-b), Herefordshire, U.K.; Thence by inheritance to his sister, Penelope Skippe-Martin (1740-1830), Worcestershire, U.K.;

Thence by descent to her son, James Martin (1778-1870), Worcestershire, U.K.; Thence by inheritance to his granddaughter, Penelope Holland-Martin (d.1873), U.K.; Thence by inheritance to her stepson, Edward Holland (d.1916), Herefordshire, U.K.; Thence by inheritance to his sister, Julia RaynerWood (d.1955), Herefordshire, U.K.; Thence by inheritance to his nephew Edward Holland-Martin (d.1958), Herefordshire, U.K.; His sale; Christie’s, London, ‘The Skippe Collection of Old Master Drawings’, 20-21 November 1958, lot 167b, where purchased by Professor Raymond Pahl (1935-2011), London, U.K.; Private Italian Collection.

Devotion to the ‘Virgin of Mount Carmel’, also known as the ‘Madonna of the Scapular’, dated back to the 14th century and reached its zenith around 1726, when Pope Benedict XIII decreed that the Church would celebrate her Feast on 16 July. Carmelite tradition had it that on this day in 1251, the Virgin presented the scapular to the English friar St Simon Stock (1165-1265), Prior General of the Order. Pope Benedict’s edict gave rise to countless representations of this miracle, which promised eternal salvation. Paintings invariably portray Simon Stock in his monastic habit, receiving the scapular from either the Virgin or the Infant Christ. Some show the brown ‘monastic’ scapular, a long piece of fabric with a central opening for the head; others, the ‘devotional’ scapular - two small squares of cloth joined by cords - as in the present drawing. Both were designed to hang over the wearer’s chest and back. The crozier and heavy semicircular cope of the recipient in this drawing confirms he is a bishop. He cannot, therefore, represent Simon Stock, who was never ordained to that rank. A clue to this saint’s identity is the fact that Simon Stock and Ubaldo Baldassini (1084-1160), Bishop and protector of Gubbio, shared the same Feast day, 16 May. Combined hagiographies often merged them into a single narrative, and they were sometimes even conflated. Unlike his brother, Gaetano, Ubaldo Gandolfi was truly devout, consequently the figures in his dramas interact emotionally with each other as opposed to the onlooker. The recipient’s upward gaze - a common feature of Ubaldo’s drawings - conveys a sense of ecstatic religious devotion (Louvre, no. RF 41177). It is therefore logical to conclude that this vigorous sketch captures Ubaldo’s urge to celebrate his onomastic patron saint whose gaunt, sunken cheeks bear witness to a life of ascetic discipline. Ubaldo was celebrated for his dynamic use of pen, brown ink, and fluid washes. His hand was remarkably free, uniquely combining structural lines, impulsive loops, and dabs and pools of wash. Mary Cazort Taylor (Master Drawings, XIV, 1976, p. 164) defined some of the key characteristics of his hand, which are clearly reflected in the present drawing. Ubaldo typically used swift, sharp, straight lines to construct the broad geometry of drapery, but added tight cursive loops and decorative curlicues to mimic crumpled folds and deep shadows. Broad areas of wash suggest volume, not surface decoration. Sant’Ubaldo’s head, gazing upwards and tilted sideways, is virtually identical in handling to that in the lower register of Ubaldo Gandolfi’s Allegorical Scene (Louvre, no. RF 41177). Typically, an arc describes the wide expressive eyes and a circlet indicates the open mouth, each with a dab of wash. The nose is a tiny circumflex; the chin, a short dash. His shorthand for hair is evident in the rapidly drawn curls at the side of the head. Furthermore, when sketching open hands, Ubaldo used abrupt jagged strokes to define the palm and fingers, creating an angular, expressive silhouette. He has also marked the margins of the clouds with his signature calligraphic curlicues, adding pools of heavy wash to create a stark, dramatic chiaroscuro effect (Louvre, no. RF 38954). Finally, the summary rendering of the Virgin of Mount Carmel with the Christ Child, somewhat mischievously playing with the fluttering scapular, is characteristic of Ubaldo’s most rapid thumbnail sketches. Again, his calligraphic shorthand is saturated with fluid brown wash. The facial features are summary and the forms described through a succession of simple jagged lines, but these angular broken contours, reduced to two or three strokes, endow their limbs with a remarkable sense of energy.

Old Master & 19th Century Art

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Filippo Pedrini (Italian, 1763-1856) The Expulsion of Adam and Eve from Paradise (recto), Figure Studies (verso) pen, ink and wash (recto); chalk, pen and ink (verso), with watermark: armorial shield with lettering ‘PG’ below Unframed: 28.2 x 22.4 cm. (11 1/8 x 8 7/8 in.) £1,000 - 1,500 Provenance Possibly Charles-François-Joseph Libert de Beaumon (1741-1812) (Lugt 1679, 1703) Private Collection, U.K. Filippo Pedrini initially studied under his father, Domenico, a contemporary and follower of Ubaldo Gandolfi. At the age of 15 Filippo enrolled at the Accademia Clementina where he studied under Ubaldo and Gaetano Gandolfi. His precocious talent won him numerous prizes for excellence, and aged just 27 he was appointed professor. Filippo would emerge as one of the most successful artists in late 18th-century Bologna, carrying the Bolognese Baroque tradition into the 19th century. In 1821 he was elected member of the Accademia Pontificia in Rome, and in keeping with the times, he turned to a more marked neo-classical style in the latter part of his career. Like many artists before him, including his compatriot Francesco Albani, Filippo modelled his composition on Raphael’s ‘Expulsion from Paradise’ in the vault of the Vatican Loggia. His figures move dynamically along a steep diagonal across the picture plane. Brandishing a flaming sword, the angel drives Adam and Eve out of the Garden of Eden; as Eve attempts to conceal her nudity, Adam bows his head in shame. Inevitably Filippo’s drawings in pen and wash show clear affinities with the style of his master, Ubaldo Gandolfi, a factor that has often led to difficulties in attribution. While Filippo retained a number of stylistic features clearly derived from Ubaldo, he adopted a looser more flowing style with the result that his drawings are lighter and executed with fine, deliberate contour lines that shift slightly in weight. (see for examples; ‘Allegory of Fame’ (Modena, Galleria Estense 1090), ‘Allegory of Victory’ (ex-Ralph Holland Collection) and ‘Allegory of Victory’ (Milan, Museo Poldi-Pezzoli 4956)). When working at speed, as with the present drawing, the repetition of contours as the pen seemingly moves around limbs endows his figures with a palpable sense of movement. Filippo utilised his own distinctive formulae for facial and anatomical features: sharp triangular noses, alongside a highly stylised shorthand for hands and feet. Fine contouring delicately describes wings, shrubbery - including the fig leaves - and bodies. Though the interior modelling is intentionally minimal, the penstrokes are guided by his core foundation in anatomy. This is masterfully demonstrated in Adam’s muscular legs and the abrupt wavy line that pinpoints his collarbone. Filippo’s rather unique annotation for breasts serves as a virtual ‘signature’. Like Ubaldo Gandolfi, Filippo defines deep shadows with passages of heavy wash. On the whole, however, he is far more economical in his use of ink. Areas of paper are often left exposed, allowing the paper itself to provide the highlights. This sharp clear distinction between light and dark endows his drawings with a quality that is almost luminous.

Old Master & 19th Century Art

Florentine School (16th Century) Two philosophers pen and ink Unframed: 30 x 23.5 cm. (11 3/4 x 9 1/4 in.) Framed: 52.7 x 45cm. (20 5/7 x 17 3/4 in.) £800 - 1,200 Provenance Private Collection, U.K.

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After Leonardo da Vinci (Italian, 1452-1519) Study of a male head red chalk Unframed: 8.5 x 7.1 cm. (3 3/8 x 2 3/4 in.) £400 - 600

Provenance Private Collection, U.K. After the original drawing by Leonardo da Vinci titled ‘Tete De Vieillard Imberbe, Tourne Vers La Gauche’ (inventory no. 1325).1 Comparison of the present example can also be made with a red chalk portrait of the same sitter circa 1490, currently held in the British Museum (no.1900,0824.106). When commenting on this, A.E. Popham noted that ‘a prominent aquiline nose and jutting chin is a recurring one in Leonardo’s work’.2 References 1 Müntz, p. 522, repr. p. 414; B. Berenson, 1903, no. 1077; A. Venturi, Studi dal Vero, p. 61, repr. fig. 32; Popp, Leonardo, p. 41, repr. pl. 32; Commissione Vinciana, V, pl. 224 (3); B. Berenson, 1938, no. 1010 F (with an incorrect inventory number) 2 A.E. Popham, The Drawings of Leonardo da Vinci, London 1946 (and later editions), no. 140B

Old Master & 19th Century Art

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Northern Italian School (16th Century) Portrait of a Greek Goddess, possibly Hygieia numbered ‘108’ (upper right), with collector’s stamp (L.3400) (lower left) brown ink with heightening Unframed: 20.5 x 10 cm. (8 x 3 7/8 in.) Framed: 51.5 x 36.5 cm. (19 7/8 x 14 3/8 in.) £700 - 1,000 Provenance Wolfhart F. Bürgi (1901-1989) (L.3400); Private Collection, U.K. In Greek mythology, Hygieia is primarily recognised as the goddess of health, sanitation and hygiene.

Old Master & 19th Century Art

After Frederick Bloemaert (Dutch, 1616-1690) Holy Family bears inscription ‘4 S’ and later inscription ‘Maratta’ (verso) pen & brown ink, brown wash, white bodycolour on paper Unframed: 25.4 x 20 cm. (10 x 7 7/8 in.) £200 - 300

An early replica of Frederick Bloemaert’s engraving and chiaroscuro woodcut based on a drawing of the early 1620s by his father, Abraham (Dordrecht 1564-Utrecht 1651). The print was published in the mid-1650s in Het Tekenboek (plate number 75 of 173), an artist’s model book with engravings by Frederick after his father’s designs. While the published print is numbered ‘75’, this drawing is closest in scale, tone and handling to an unnumbered proof in the Rijksmuseum (no. RP-P-BI-1203), which measures 21.2 x 16.9 cm. This suggests that the draughtsman had access to the production of the Tekenboek prints in its early stages. The handling of ink, wash and bodycolour vividly replicate the impression of radiant figures emerging from a densely hatched background. The draughtsman skilfully mirrored Frederick’s use of tone blocks in beige and brown to sharpen the sculptural definition of forms. However, the warmer tonalities of the drawing render the composition more atmospheric, as though the figures are glowing in the light of an open fire.

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Italian School (18th/19th Century) Cherub reading red chalk Unframed: 16.9 x 10 cm. (6 5/8 x 3 7/8 in.) Mounted: 32.7 x22.9 cm. (12 7/8 x 9 in.) £400 - 600 Provenance Private Collection, U.K.

Old Master & 19th Century Art

Spanish School (late 18th Century) The Rest on the Flight into Egypt, after Anton Rafael Mengs (1728-1779) oil on canvas Unframed: 112 x 90 cm. (44 1/8 x 35 3/8 in.) Framed: 113.5 x 92 cm. (44 3/4 x 36 1/4 in.) £2,000 - 3,000

As the principal court painter to Charles III in Madrid, Mengs exerted a significant influence on other artists active in the Spanish capital in the last decades of the eighteenth century. The present painting was likely executed by one of these artists after Don Luis de Borbón died in 1785 and work began on producing an engraving after Mengs’ original. While the identity of the copyist is unknown, the high quality of this painting suggests that they were well trained.

Provenance Private Collection, London.

We are grateful to Prof. Dr. Steffi Roettgen for her assistance with the cataloguing of this lot based on digital images.

This painting is a later copy of ‘The Rest on the Flight into Egypt’ by Anton Rafael Mengs, dated 1768 and now in the Palacio Real, Madrid.1 The original, of which two preliminary drawings exist, is in the Uffizi Department of Prints and Drawings, first belonged to Don Luis de Borbón before passing to the Prince of Asturias, later Charles IV of Spain.2

References 1 S. Roettgen, Anton Raphael Mengs (1728-1779), Vol. I, Munich 1999, pp. 63-64 2 Anton Raphael Mengs (1728-1779), catalogue of the exhibition Madrid, Museo del Prado, 25.11.202501.03.2026, ed. by A. Úbeda de los Cobos and J. Jordán de Urries y de la Colina, Madrid 2025, cat. 15, pp. 210-213 (J. Jordán de Urries y de la Colina).

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After Bartolomé Esteban Murillo (Spanish, 1618-1682) The Madonna and Child oil on canvas Unframed: 158 x 107 cm. (62 1/4 x 42 1/8 in.) £400 - 600 Provenance Sale; Christie’s, London, 6 July 1995, lot 44; Private Collection, U.K. The original, executed circa 1650-55, is in the Palazzo Pitti, Florence (See Bartolomé Esteban Murillo, exh. cat., 1982/83, p.151, no. 11, illustrated).

Old Master & 19th Century Art

Domenico Robusti Tintoretto (Italian, 1560-1635) A young woman presenting a basket of fruits oil on canvas (fragment) Unframed: 122 x 69 cm. (48 x 27 in.) £10,000 - 15,000

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Provenance Sale; Sotheby’s, Monaco, 23 June 1985, lot 238 (as Attributed to Domenico Robusti Tintoretto); Where purchased by the present owner. Property from a Distinguished U.K. Private Collection

Domenico was the son and pupil of the eminent Venetian painter Jacopo Tintoretto (1518-1594). He managed the family workshop during his father’s final years (c.1580-94), playing a major role in the execution of numerous large-scale cyclical commissions, such as the decoration of the Council Chambers of the Doge’s Palace (notably the huge Paradise in the Hall of the Greater Council), and the so-called Fasti Gonzagheschi (Alte Pinakothek, Munich), a sequence of history paintings commissioned by Guglielmo Gonzaga (1538-1587), Duke of Mantua, to celebrate the glories of his dynasty. In collaborative works of this kind, Domenico was bound to integrate his own personal style with that of his father and the workshop style in general. Yet from the time of his early maturity he also received autonomous commissions, and while generically ‘Tintorettesque’, these show a number of distinctive stylistic characteristics, including a taste for more inky shadows than those of his master, and for a lowlife naturalism that reflects the influence of the rival family workshop of the Bassano. With his aptitude for sharply-observed detail he also quickly became highly successful as a portrait painter. As head of the Tintoretto workshop after the death of his father in 1594, Domenico ensured that it continued to flourish until his own death in 1635. The attribution of the present ‘Young woman’ to Domenico is supported by its stylistic resemblance to other works, by or generally accepted as by him. A telling comparison is with the ‘Dream of St Mark’ of c. 1585 (Gallerie dell’Accademia, Venice), one of a series of large-scale canvases painted by Jacopo and his team for the Scuola di San Marco in Venice over a period of twenty years or more. By the 1580s Jacopo’s own treatment of draperies was more broken, with the folds more consistently indicated with diagonal slashes of white, as in several of the canvases he painted in this decade for the Lower Hall of the Scuola di San Rocco. Here instead, the drapery falls into broader, more simplified planes of colour. The same may be said of the tall ‘Adoration of the Shepherds’ (El Escorial), which was commissioned from Jacopo for the retablo of the high altar of the Escorial, but executed by Domenico and dispatched to Spain in 1583. This last work also serves to give an idea of the likely subject and composition of which the ‘Young woman’ originally formed part. The Escorial Adoration includes a very similar figure of a young woman, forming part of the group of shepherds in the foreground, looking up towards the Virgin and the Christ Child placed deeper into the picture space. Around her are other rustic figures and farm produce (in this case pigeons rather than a basket of fruit), evidently intended as humble gifts to the Holy Family. Even more significantly, the figures in the upper tier are placed on a platform of straw, which provides the background the woman’s head - exactly as in the present work. The composition of the Escorial Adoration had an immediate precedent, albeit on a broader format, in the related subject of ‘Adoration of the Magi’ in the Scuola di San Rocco, completed by Jacopo in 1582, but in which Domenico may well have had a hand. This composition is already in two tiers, and it already includes a young woman, kneeing with a basket, looking upwards at the Christ Child. Another related composition is Domenico’s ‘Adoration of the Shepherds’ in the Courtauld Galleries, London, probably dating from only slightly later. In this case, because of its domestic scale (75 x 86 cm.) and horizontal format, the scene is shown with a high rather than low viewpoint. But it again includes the figure of a young woman in the immediate foreground, looking towards the Christ Child placed deeper into space, and again with a basket of fruit, apparently apples, and other genre-like details inspired the work of the Bassano family. All this suggests that the present fragment dates from about the same time: that is to say, the mid1580s, which although still in the lifetime of Jacopo, was the period in which Domenico’s powers of observation and execution were at their freshest and most vigorous. The scale of the figure implies that its original context was public rather than private, and that it was probably part of a church altarpiece. It is impossible to know the reason why the original canvas was cut down: perhaps it was damaged by fire or water, and this figure was all that could be salvaged. Or perhaps the painting would be more marketable in the form of attractive individual fragments than as a whole large altarpiece. In the latter case, it is possible that other fragments of the same work might still come to light. We grateful to Professor Peter Humfrey for his endorsement of the attribution based on visual inspection, and for his assistance with the cataloguing of this lot. To receive Prof. Humfrey’s full report, please email sophie.hetherton@chiswickauctions.co.uk.

Old Master & 19th Century Art

Circle of Bartolomeo Cavarozzi (Italian, 1600-1799) The Mystic Marriage of Saint Catherine of Alexandria oil on canvas Unframed: 114 x 185 cm. (44 7/8 x 72 7/8 in.) Framed: 131.5 x 204 cm. (51 3/4 x 80 1/4 in.) £4,000 - 6,000 Provenance Sale; Christie’s, New York, 26 January 2001, lot27 (as attributed to Bartolomeo Cavarozzi); Sale; Wilkinson’s Auctioneers, Doncaster, 21 June 2015, lot 448 (as attributed to Bartolomeo Cavarozzi); Where purchased by the present owner. Property from a Distinguished U.K. Private Collection

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After Cesare da Sesto (Italian, 1477-1523) Madonna and Child (Madonna dell’Albero) inscribed ‘Di Cesare da Sesto’ (on stretcher bar verso) oil on canvas Unframed: 50 x 40 cm. (19 3/4 x 15 3/4 in.) Framed: 59.5 x 52cm. (23 1/2 x 20 1/2 in.) £3,000 - 5,000 Provenance Private Collection, U.K. The original is held in the Brera Pinacoteca, Milan, inv. no. 326 and was painted c.1512-1520.

Old Master & 19th Century Art

After Raffaello Sanzio, called Raphael (Italian, 1483-1520) Madonna della Seggiola oil on tin Unframed: 69 cm. (27 1/8 in.) (tondo) Framed: 93 x 93 cm. (36 5/8 x 36 5/8 in.) £300 - 500 After the original painting held in the Palazzo Pitti, Florence.

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After Paolo Veronese (Italian, 1528-1588) Christ and the Centurion oil on canvas Unframed: 76 x 58 cm. (29 7/8 x 22 7/8 in.) Framed: 91 x 73cm. (35 3/4 x 28 3/4 in.) £600 - 800 Provenance Private Collection, U.K.

This painting is a loose copy after Veronese’s Christ and the Centurion of 1571, now in the Museo del Prado, Madrid (inv. No. P000492). It can be assumed that this painting is more specifically observing a German 18th century engraving after Veronese’s Madrid painting, by Phillipe Andreas Kilian (from ‘Index Historiam Veteris et Novitestamenti Picturarum Chalcographicarum’, 1758). For example, our painting features the second man to Christ’s proper left that appears in the engraving but not in Veronese’s painting in Madrid. Our painting also copies the armour and fabrics of the engraving rather than those of the Madrid painting. The vertical format of our painting follows that of the engraving, thus omitting the two marble columns and additional soldiers found at the far right of Veronese’s horizontal composition. The only observable differences between our painting and the engraving are the painting’s lack of two figures on the balcony in the top right, and the absence of the floor decorations below the foreground figures.

Old Master & 19th Century Art

After José Jusepe de Ribera (Lo Spagnoletto) (Spanish, 1591-1652) Virgin and Child oil on canvas Unframed: 60 x 46 cm. (23 1/2 x 18 in.) Framed: 82 x 68 cm. (32 x 26 3/4 in.) £300 - 500 Provenance Private Collection, U.K.

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After Jacopo da Ponte Bassano (19th Century) Lamentation by candlelight oil on canvas Unframed: 49.5 x 61.7 cm. (19 1/2 x 24 5/16 in.) Framed: 62 x 74.3 cm. (24 3/8 x 29 1/4 in.)

The composition of this painting is based on The Deposition of Christ by Jacopo Bassano, who repeated the scene on several occasions. Bassano produced these works on canvas (Musée du Louvre, inv. no. 433) and on slate (Sotheby’s, New York, 29 January 2021, lot 145), evidently catering to individual patron preferences. Jacopo’s eldest son, Francesco, also executed numerous variants of this composition (Sotheby’s, New York, 22 May 2025, lot 146).

£400 - 600

Old Master & 19th Century Art

Italian School (18th Century) Jacob and Rachel at the Well oil on canvas Unframed: 76 x 61 cm. (30 1/4 x 24 in.) £300 - 500 Provenance Property from a Distinguished U.K. Private Collection

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Manner of Leonardo Coccorante (Italian, 1680-c.1750) Capriccio landscape dated ‘1757’ (to the base of the column) oil on canvas Unframed: 71.5 x 54.5 cm. (28 1/8 x 21 1/2 in.) Framed: 85 x 66.5 cm. (33 1/2 x 26 1/8 in.) £400 - 600

Old Master & 19th Century Art

Albrecht Dürer (German, 1471-1528) The Holy Family with Three Hares, c.1580 woodcut with watermark ‘The Name of Jesus (4SH in a Shield)’ (Meder 306), Meder state F Unframed: 42.5 x 31.5 cm. (16 3/4 x 12 3/8 in.) (sheet), 28.5 x 39.5 cm. (11 x 15 1/8 in.) (plate) £2,000 - 3,000 Provenance Private Collection, U.K. The watermark visible in the sheet (Meder 306: “The Name of Jesus (4SH in a Shield).”), dates the paper to c. 1580.1

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The three hares in the present composition are particularly interesting because they add a playful, natural element to the otherwise devotional scene, highlighting Dürer’s skill for detailed observations of animals. Seated in the Hortus conclusus from the Latin Vulgate translation of the Song of Songs (4:12), which says, ‘A garden enclosed is my sister, my spouse; a garden enclosed, a fountain sealed up’. The woodblock for this print, c. 1497-98, is now in the Princeton University Art Museum (Inv. no. x1967-11). This is a very rare survival; only five woodblocks from Dürer’s large, single-sheet woodcuts are known to exist: two in the British Museum, two in the Met, and one at Princeton. 2 References 1 Joseph Meder, Dürer-Katalog: ein Handbuch über Albrecht Dürers Stiche, Radierungen, Holzschnitte, deren Zustände, Ausgaben und Wasserzeichen (1932), p. 318, no. 306, tab. XLV. 2 Robert A Koch., “A Woodblock by Dürer.” Record of the Art Museum, Princeton University, vol. 27, no. 2, 1968, pp. 63-65. JSTOR, https://doi.org/10.2307/3774486.

Hans Baldung Grien (German, 1484-1545) St. Barbara, c.1505 woodcut with unidentified partial watermark (lower edge); state II (of II), with Dürer’s monogram (to the seat) Unframed: 23 x 16.5 cm. (9 1/2 x 6 1/2 in.)

Although this woodcut is signed with the monogram ‘AD’ (Albrecht Dürer), the artist is Hans Baldung (later Hans Baldung Grien), who was Dürer’s student and who served his apprenticeship between 1503 and 1507. The monogram was added to the second state of the print. Using the master’s monogram in this way was a relatively commonplace studio practice.

£500 - 700 Provenance Private Collection, U.K. Literature Bartsch 24; Hollstein 134/Ii (Von Ii).

Old Master & 19th Century Art

Maarten Jacobsz Van Heemskerck (Dutch, 1498-1574) Christ Driving the Money Changers from the Temple, 1548 signed within the plate .’M. Heemskerck Inven’ (on the wheel at lower left) with an unidentified watermark etching Unframed: 24.5 x 19.5 cm. (9 5/8 x 7 5/8 in.) £120 - 180 Provenance Private Collection, U.K. From the series ‘The Fall and Salvation of Mankind(g) through the Life and Passion of Christ’, NH (Heemskerck) I.228.282; (Hollstein.VIII.232.8; TIB. 55, 25.10).

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After Peter Paul Rubens (Flemish, 1577-1640) Adoration of the Magi inscribed ‘Rubens... Musée du Antwerp...’ (lower margin) black ink and brown wash Unframed: 29.6 x 21.9 cm. (11 5/8 x 8 5/8 in.) Framed: 48 x 39cm. (18 7/8 x 15 3/8 in.) £300 - 500 Provenance Private Collection, U.K. The original location of Rubens’ painting was the church of St Michael’s Abbey in Antwerp. It is now held in the Royal Museum of Fine Arts Antwerp. This drawing is executed in reverse of Rubens’ painting, suggesting it is after Rombout Eynhoudts’s etching circa 1630-80. An impression of Eynhoudts’s etching is held in the British Museum (inv. no. R,3.47).

Old Master & 19th Century Art

Romeyn De Hooghe (Dutch, 1645-1708) Time of Peace Between the Peoples bears inscription ‘G. Storck a Milano 1798 / In. No. 4989’ (verso); bears unidentified collector’s mark ‘va’ (Lugt 2502) (verso) etching (Dallett 21) Unframed: 22 x 34 cm. (8 1/2 x 13 1/2 in.) (sheet) £150 - 250 Provenance With Giuseppe Storck (1766-1836), Milan, no. 4989, by 1798 (Lugt 2318-9); Private Collection, London.

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Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Christ Driving the Money Changers from the Temple, 1635 etching with touches of drypoint, on laid paper; with watermark Strasbourg Bend (Hinterding A-a-a); state I (of IV) (trimmed to or just inside the platemark) Bartsch, Hollstein 69; Hind 126; New Hollstein 139; Daulby 69 Unframed: 14 x 17.1 cm. (5 1/2 x 6 3/4 in.) (sheet)

Reginald Pole Carew (1753-1835) was a British politician. Notably, he was a friend of Sir Joshua Reynolds, and built a substantial collection of Rembrandt’s prints, many of which were sold after his death at Benjamin Wheatley’s auction on 13 May 1835, where 18 were purchased by the British Museum. The present etching is listed as being the first state of four in Wheatley’s 1835 catalogue where it was sold for £3.10 shillings.

£6,000 - 8,000 Provenance Reginald Pole Carew (1753-1835), Antony House, Cornwall; His sale; Benjamin Wheatley, London,13 May 1835, lot 73; Private Collection, London.

Old Master & 19th Century Art

Rembrandt Harmensz. Van Rijn (Dutch, 1606-1669) The Card Player, 1641 etching, state II (of V) Bartsch 136; New Hollstein 193 Unframed: 8.8 x 8.2 cm. (3 1/8 x 3 1/2 in.) (plate) 9.3 x 8.3 cm. (3 5/8 x 3 1/4 in.) (sheet) Framed: 34 x 29 cm. (13 1/2 x 11 1/2 in.) £2,000 - 3,000 Provenance Private Collection, U.K.

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Georg Friedrich Schmidt (German, 1712-1775) after Rembrandt Harmenszoon van Rijn (Dutch, 1606-1669) Portrait of a Persian man signed ‘Rembrandt pinx’ and ‘G.F. Schmidt fecit aquaforti 1756’ (within the plate), and lettered ‘du Cabinet du Sieur Godskoffsky’ (lower margin) etching Unframed: 21 x 16 cm. (8 1/4 x 6 1/4 in.) Framed: 28 x 23 cm. (11 x 9 in.) £200 - 300 After the 1633 painting by Rembrandt in the National Gallery of Art, Washington (inv. no. 499) (Bredius 180).

Old Master & 19th Century Art

Follower of Rembrandt Harmensz. van Rijn (Dutch, 1606-1669) Study of a lion brown ink Unframed: 8 x 12 cm. (3 1/8 x 4 3/4 in.) £300 - 500 This drawing of a lion in profile recalls those executed by Rembrandt throughout his career. In 1722, the inventory of the Dutch collector Jan Pietersz Zomer recorded a total of nineteen drawings of lions by Rembrandt, though only six autograph examples are known to survive today.1 Lions were a subject of intense fascination for Rembrandt, who likely drew some of these animals from life after their importation into the Netherlands from Africa and their exhibition at public fairs.

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Rembrandt’s extant drawings tend to display a heightened attention to the heads and upper bodies of the lions while depicting the lower portions in a looser manner.2 The present work, which presents the full body of the animal in confident stride, was likely produced by a later artist engaged in the broader language of Rembrandt’s draughtsmanship. Our artist was far from alone in their admiration of Rembrandt’s lions; the popular drawings were reproduced as engravings and published in Bernard Picart’s Recueil de Lions in 1729.3 References 1 P. Schatborn, “Young Lion Resting” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt (New York, 2020-23), p. 3. https:// www.theleidencollection.com/archive/ (archived December 2023) 2 The surviving drawings are in the British Museum (Inv. Oo,9.71; Inv. Oo,9.75), the Rijksmuseum (Inv. RP-T-1901-A-4524), the Musèe du Louvre (Inv. RF4721), the Museum Boijmans Van Beuningen (Inv. R 12), and Sotheby’s, New York, ‘Master Works on Paper from Five Centuries’, 4 February 2025, Lot 201 3 P. Schatborn, p. 3

Attributed to Pieter Neefs I (Flemish, c.1578-1656/61) Animated church interior (Intérieur d’église animé) signed ‘N E F S’ (centre right) oil on panel Unframed: 33.5 x 49.4 cm. (13 x 19 1/2 in.) Framed: 48 x 64 cm. (18 7/8 x 25 in.) £4,000 - 6,000 Provenance Private Collection, London.

The present work is published on the RKD as a work by Pieter Neefs (I) (R.K.D. neg. nr: 02.775-10x24). Neefs was admitted to the guild of Antwerp in 1609. Specialising in church interiors, particularly Antwerp Cathedral, Neefs explored and studied the plays of light within complex architectural spaces. He created many versions of such interiors, capturing a juxtaposition between light and dark; as seen in the present example where day light shines through the windows and candles glow, contrasting with the much darker areas. His works are often difficult to distinguish from those of his son, Peeter Neeffs the Younger (bapt. 1620 - after 1675). It is thought however, that Neeffs the Elder extenuates the depth of space by contrasting the foreground in brown and background in grey pigments, which is less pronounced in the work of his son.1 Reference 1 Bénézit, E. Dictionary of Artists, vol. 10, Paris : Gründ, pages 215-216

Old Master & 19th Century Art

Circle of Philips Wouwerman (Dutch, 1619-1668) Two travellers with horses and dogs in an extensive landscape oil on tin Unframed: 22 x 30 cm. (8 3/4 x 24 in.) Framed: 28 x 36 cm. (11 x 14 in.) £400 - 600 Provenance The Property of a Gentleman

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Manner of Nicolaes Berchem (Dutch, 1620-1683) Cows amongst a landscape, ruins beyond signed ‘J Hardor’ (lower left) oil on panel Unframed: 25 x 19.5 cm. (9 7/8 x 7 5/8 in.) Framed: 39 x 34 cm. (15 3/8 x 13 3/8 in.) £600 - 800

Old Master & 19th Century Art

Circle of Karel Breydel (Flemish, 1678-1733) A cavalier on horseback charging towards a cavalry skirmish inscribed ‘La Madeleine[...]’(verso) oil on copper Unframed: 9 x 12 cm. (3 1/2 x4 3/4 in.) Framed: 17 x 20 cm. (7 x 5 in.) £300 - 500 Provenance Private Collection, U.K.

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Manner of Jan Wijnants (Dutch, 1632-1684) An elegant hawking party with riders in an extensive landscape oil on canvas Unframed: 70.3 x 100.2 cm. (27 11/16 x 39 7/16 in.) Framed: 79.6 x 108.8 cm. (31 5/16 x 42 13/16 in.) £250 - 350

Old Master & 19th Century Art

Gerrit Malleyn (Dutch, 1753-1816) Luring a mare signed ‘G Mallein [...]’ (lower left) oil on panel Unframed: 35.5 x 45 cm. (14 x 17 3/4 in.) Framed: 52 x 61.5 cm. (20 1/2 x 24 1/4 in.) £1,000 - 2,000

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After Godfried Schalcken (Dutch, 1643-1706), after Peter Paul Rubens (Flemish 1577-1640) An old woman and a boy by candlelight inscribed, dated and numbered ‘Godfried Schalcken...1643-1706/No 78’ (verso) oil on panel Unframed: 63 x 45 cm. (24 3/4 x 17 3/4 in.) Framed: 79 x 62.5 cm. (31 1/8 x 24 5/8 in.)

The composition is after Rubens’ etching (Hollstein, vol. 20, 1978, p. 119, cat. 48) after an original painting now in the Mauritshuis (inv. no. 1150). The original painting by Schalcken is now held by the National Museum in Warsaw (inv. no. M.Ob.73).

£400 - 600 Provenance Private Collection, Oxfordshire.

Old Master & 19th Century Art

After Peter Paul Rubens (Flemish, 1577-1640) Self-portrait of the artist oil on canvas Unframed: 40 x 33.4 cm. (15 3/4 x 13 1/8 in.) Framed: 57.2 x 49.9 cm. (22 1/2 x 19 5/8 in.) £300 - 500 After the original located at the Uffizi Gallery in Florence, Italy.

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Jan Anton Garemyn (Flemish, 1712-1799) A pair of animated head studies first: dated ‘May 1745’ (upper left) black chalk on blue laid paper Unframed: 31.1 x 24.8 cm. (12 1/4 x 9 3/4 in.) Framed: 49.1 x 41 cm. (19 3/8 x 16 1/8 in.) second: dated ‘May 1745’ (upper right) black chalk on blue laid paper Unframed: 28 x 25 cm. (11 x 9 7/8 in.) Framed: 49.2 x 41 cm. (19 3/8 x 16 1/8 in.) (2) £300 - 500 Provenance Private Collection, Belgium.

Old Master & 19th Century Art

Jan Frans Van Bloemen, called l’Orizzonte (Flemish, 1662-1749) Villa with two statues signed ‘Fran : van Bloemen det :Horizonti’ within the plate (lower left, margin) etching Unframed: 25 x 18 cm. (9 3/4 x 7 in.) (sheet) £150 - 250

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Swiss School (18th Century) View of the Chateau Angenstein inscribed ‘Angenstein Chateau a la Birs/Contre Basle’ (upper right) pen, brown ink and grey wash Unframed: 15.5 x 21 cm. (6 1/8 x 8 1/4 in.) Framed: 33 x 38 cm. (13 x 15 in.) £300 - 500 Provenance Sale; Sotheby’s, London, 22 November 1974, lot 129; Private Collection, U.K.

Old Master & 19th Century Art

Étienne Delaune (French, 1518/19-1595) Chasse au cerf (Stag hunt) signed within the plate (lower right) etching; state III Unframed: 7 x 22 cm. (2 3/4 x 8 3/4 in.) £150 - 250 Provenance William Bell Scott (1811-1890) (according to later inscription, on the reverse); Private Collection, London. Scott assembled a collection of engravings and etchings, through which he established himself as a leading authority most notably on Albrecht Dürer and the group of sixteenth-century engravers known as the Little Masters.

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School of Fontainebleau (c.1580) Three dancing figures pen & ink, heightened with white lead on laid paper Unframed: 25 x 20.1 cm. (9 7/8 x 7 7/8 in.) Mounted: 32.7 x 25.8 cm. (12 7/8 x 10 1/8 in.) £1,000 - 2,000 Provenance Sir Jack and Lady Baer, Kensington; By whose estate sold; Sworders, 11 October 2022, lot 335, (as Italian School, 17th Century).

Old Master & 19th Century Art

Follower of Sébastien Bourdon (French, 1616-1671) The Death of Dido ink and wash on paper Unframed: 24.5 x 17 cm. (9 5/8 x 6 3/4 in.) Framed: 46.2 x 37.2 cm. (18 1/4 x 14 5/8 in.) £300 - 500 Provenance Private Collection, U.K. Visual comparison can be made between elements of the present composition and Sébastien Bourdon’s ‘The Death of Dido’, currently held in the Hermitage Museum, St. Petersburg (inv. no. ГЭ-1247).

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Master of the Die (Italian, act.c.1530-60), after Michiel Coxie I (c.1499-1592) Gods celebrating the wedding of Cupid and Psyche, from ‘The Story of Cupid and Psyche as told by Apuleius’ engraving (plate 31) Unframed (plate mark): 19.5 x 23 cm. (7 5/8 x 9 in.) Framed: 38 x 42.2 cm. (15 x 16 5/8 in.) £200 - 300 Provenance Private Collection, London.

Old Master & 19th Century Art

Giambattista Piranesi (Italian, 1720-1778) Tomb of Maria wife of Emperor Honorius; Egyptian sarcophagus (Labrum aegyptiacum) etchings Each unframed: 41 x 52 cm. (16 x 20 1/2 in.) (sheet) Each framed: 52.5 x 72.4 cm. (20 5/8 x 28 1/2 in.) (2) £400 - 600 Provenance Private Collection, London. Sarcophagi, from vol. 10 of Opere: Il Campo Marzio dell’antica Roma. Egyptian sarcophagus in porphyry discovered in the Baths of Agrippa, 1762, p.135; and sarcophagus of Maria, wife of Emperor Honorius, p.180

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Jean-Jacques Boissard (French, 1528/33-1598/1602) Roman bath signed ‘Boissard’ (within the plate, lower right) engraving (later edition) Unframed: 25.5 x 16.5 cm. (10 x 6 1/2 in.) £150 - 250 Provenance Private Collection, London.

Old Master & 19th Century Art

After Guido Reni (Italian, 1575-1642) Portrait of Beatrice Cenci (1577-1599) oil on panel Unframed: 25.2 x 20.3 cm (9 7/8 x 8 in.) Framed: 36.7 x 31.5 cm. (14 1/2 x 12 3/8 in.) £300 - 500

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After Justus Sustermans (Flemish, 1597-1681) Portrait of Eleonora Gonzaga (1598-1655) oil on copper Unframed: 7.2 x 5.7 cm. (3 3/4 x 2 1/4 in.) Framed: 10.8 x 8 cm. (4 1/4 x 3 1/4 in.) £500 - 700 Provenance With Galerie Claude Vittet, Paris; The H. George and Marianne Mandel Collection, USA; Private Collection, London.

The portrait is held in an oval form with cast, chased, and pierced decoration of interlaced scrolls, flanked by two winged female busts, all surmounted by a mask. Loop attachment, marked with the import (weevil) small guarantee mark for silver (minimum 800 standard), post1838. Born into the House of Gonzaga as a princess of Mantua, Eleonora Gonzaga (1598-1655) ultimately became the Holy Roman Empress, as well as Queen of Germany, Hungary, and Bohemia, through her marriage to Emperor Ferdinand II. Justus Sustermans depicted Eleonora Gonzaga on several occasions in both full-length and bust-length portraits. It can be suggested that the present work is after the original fulllength work by Sustermans, executed 1623/1624, currently held by the Kunsthistorisches Museum, Vienna, and on view at Schloss Ambras Innsbruck. Comparison can also be made between this example, and Sustermans bust-length portrait of Eleonora c. 1623/24, now in Palazzo Pitti (Galleria Palatina), Florence (no. 0900745801).

Old Master & 19th Century Art

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Circle of Pierre Gobert (French, 1662-1744) Portrait of a lady, three-quarter-length, in costume, holding a mask in her right hand, before a red curtain, in an interior oil on canvas Unframed: 131 x 98 cm. (51 5/8 x 38 5/8 in.) Framed: 138 x 106 cm. (54 3/8 x 41 3/4 in.) £3,500 - 4,500 Provenance Private Collection; Sale; Christie’s, London, ‘From Milan to Rome-The Collections of Two Italian Designers’, 16 November 2011, lot 327. The present portrait is traditionally held to be Françoise Marie de Bourbon. Françoise Marie de Bourbon was the youngest illegitimate daughter of King Louis XIV of France and his mistress Françoise-Athénaïs de Rochechouart, Marquise de Montespan.

Old Master & 19th Century Art

French School (mid 18th Century) Portrait of a gentleman wearing a grey curled wig and embroidered waistcoat, tied white lace cravat, holding an open trinket box oil on canvas Unframed: 79.3 x 62.8 cm. (31 1/5 x 24 3/4 in.) Framed: 100.1 x 83.5 cm. (39 2/5 x 32 7/8 in.) together with; Portrait of a lady in a blue dress and dark shawl, holding a small dog oil on canvas Unframed: 81 x 65.2 cm. (31 7/8 x 25 5/8 in.) Framed: 99.1 x 82.7 cm. (39 x 32 9/16 in.) (2) £500 - 700

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Follower of Jean-Marc Nattier (French, 1685-1766) Portrait of a young lady oil on panel Unframed: 18.2 x 14.7 cm. (7 1/8 x 5 3/4 in.) Framed: 26.5 x 22.5 cm. (10 3/8 x 5 3/4 in.) £200 - 300 Provenance The Dickinson Collection (according to the label on the reverse)

Old Master & 19th Century Art

After Jean-Baptiste Greuze (French, 1725-1805) A boy with lesson-book oil on canvas Unframed: 60 x 47 cm. (23 1/2 x 18 1/2 in.) Framed: 73 x 60 cm. (28 3/4 x 23 3/4 in.) £300 - 500 After the original painting from 1755-57, now in the National Galleries of Scotland (NG 436).

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Circle of Godfrey Kneller (British, 1646-1723) Portrait of a child oil on canvas Unframed: 77 x 64 cm. (30 1/2 x 25 1/8 in.) Framed: 98 x 85 cm. (38 1/2 x 33 1/2 in.) £800 - 1,200 Provenance The Property of a Gentleman

Old Master & 19th Century Art

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Michael Dahl (Swedish/British, 1659-1743) Portrait of Anne Spencer (née Churchill), Countess of Sunderland (1683-1716) inscribed ‘Lady Sunderland’ (lower left) oil on canvas Unframed: 110 x 104 cm. (43 1/4 x 41 in.) Framed: 127 x 121 cm. (50 x 47 3/4 in.) £6,000 - 8,000 Provenance Sale; Minerva Auctions, Rome, 12 March 2013, lot 51 (as Sir Godfrey Kneller); Where purchased by the present owner. Property from a Distinguished U.K. Private Collection Although Dahl was born in Stockholm, he spent most of his career in England painting portraits of aristocracy and royalty. We can assume that the woman in the present portrait is Anne Spencer (née Churchill), Countess of Sunderland (1683-1716), who married Charles Spencer, 3rd Earl of Sutherland, based on other depictions of her from this period.1 The arrangement of the figure and positioning of the vibrant drapery is typical of Dahl. See for example his portrait of Lady Anne Coventry, c. 1713, currently in the National Trust collection (NT 353023). In both portraits, the women are turned on a slight angle, with one arm resting on a surface, their fingers slightly overlapping one another, and the other hand gripping a small bouquet, in which the flowers are handled with loose fluid brush strokes. One can also observe that in many of his portraits, the sitter’s are presented with very defined and often quite angular facial features, in which the nose, full lips and eye areas are particularly accentuated. For example, the handling of the facial features of Lady Sunderland in the present painting can be closely compared to another portrait by Dahl, held by The Met Museum (no. 56.224.1), in which the shadowing around the nose and eye areas are particularly similar. Dahl also painted portraits of members of Anne Spencer’s family. He produced a large portrait of her sister, Sarah Duchess of Marlborough, which was last sold at Christie’s in 1993. Additionally, a full-length portrait of her son, Charles Duke of Marlborough (17061758), executed in 1737, which was last sold at Sotheby’s New York in 2005.2 References 1 See for example a portrait of the Countess of Sunderland by Sir Godfrey Kneller circa 1710 held by The National Portrait Gallery (NPG 803) 2 W. Nisser, ‘Michael Dahl and the Contemporary School of Painting in England’, 1927, p. 66

Old Master & 19th Century Art

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Sir Joshua Reynolds (British, 1723-1792) Portrait of Lady Fortescue, Anne Campbell, half-length (circa 1759-60) oil on canvas Unframed: 81 x 69 cm. (31 7/8 x 27 1/8 in.) Framed: 98.5 x 87 cm. (38 3/4 x 34 1/4 in.) £15,000 - 25,000 Provenance Possibly with Colnaghi, London; From whom possibly sold; Christie’s, London, 4 February 1860, lot 62: ‘Portrait of a Lady Fortescue, in a blue dress, leaning on a table. A beautiful early work’ (purchased by ‘Ross’ for 17 gns); Sale; Christie’s, London, 21 May 1971, lot 4; Where purchased by Kenneth Kendall; By whom sold; Heritage Auctions, Dallas, ‘From the estate of Kenneth Kendall’, 17 May 2011, lot 64011 (with endorsement from Prof. David Mannings); Where purchased by the present owner. Property from a Distinguished U.K. Private Collection Literature Possibly A. Graves and W.V. Cronin, A History of the Works of Sir Joshua Reynolds, London 1889, vol. I, p. 327 Lady Ann Fortescue (née Campbell) was the wife of Matthew Fortescue, 2nd Baron Fortescue (1719-1785), and the pair lived at Castle Hill, Devon, from 1752, where 17 generations of the Fortescue family have resided since 1454 when Martin Fortescue, the eldest son of Sir John Fortescue, Lord Chief Justice and Chancellor to Henry VI, moved to the estate with his wife, Elizabeth Denzell. The present painting was unknown to Mannings when his catalogue was published in 2000. However, at this time he did identify that Reynolds could have painted an additional portrait of Lady Fortescue between 1757 and 1760, supported by his ‘pocket book’ where he logged his appointments. He recorded six sittings with Lady Fortescue in May 1757 alone (cat. no. 663).1 This portrait is particularly important, as the first of these depictions was a full-length portrait that was destroyed alongside a portrait of the sitter’s partner, Lord Fortescue, in a fire at Castle Hill in 1934. Equally significant is the appearance of the sitter, whose pale complexion reflects Reynolds’ characteristic experimentations with pigments. Unlike the other known portrayals of Lady Fortescue, here she gazes directly at the viewer, set against vibrant red drapery, and adorned with pearls, gold rimmed material and jewelled buttons, highlighting her beauty and status. We could assume that the variation in presentations of the sitter may be due to the requests of the commissioner who could have been her husband, or perhaps Lady Fortescue herself. The present work was accepted by Prof. David Mannings as an autograph work by Sir Joshua Reynolds in January 2011. Reference 1 Prof. D. Mannings, Sir Joshua Reynolds. A Complete Catalogue of His Paintings, Yale University Press 2000, p. 200

Old Master & 19th Century Art

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George Romney (British, 1734-1802) Two standing figures brown ink and brush on paper Unframed: 29.5 x 16.3 cm. (11 5/8 x 6 3/8 in.) Framed: 45.5 x 31 cm. (17 7/8 x 12 1/4 in.) £1,000 - 2,000 Provenance Private Collection, London. The positioning and expression of the figures in this study could suggest that the present work is a preparatory sketch for Romney’s ‘Two Sisters Contemplating on Mortality’ (location unknown), painted between 1766-1767. While many sketches for the work are known, Robert Dunkarton’s engraving of 1770 provides the best evidence for its final appearance.

Old Master & 19th Century Art

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George Romney (British, 1734-1802) Portrait of Lady Laetitia à Court, half-length, in a white muslin dress with satin bows, 1786 oil on canvas Unframed: 76.5 x 63.8 cm. (30 1/8 x 25 1/8 in.) Framed: 100 x 87.5 cm. (39 3/8 x 34 1/2 in.) £15,000 - 25,000 Provenance Commissioned by the husband of the sitter, Sir William Ashe à Court, 1st Baronet (c.1747-1817); Thence by descent to their son, Sir William Henry Ashe à Court, 2nd Baron Heytesbury (1809-1891); From whom acquired by Thomas Agnew and Sons, London, by October 1899; T.W. Wright; With Thomas Agnew and Sons, London; Thomas Henry Ismay (1837-1899) and Margaret (Bruce) Ismay (1837-1907); Lieutenant-Colonel Charles à Court Repington (1858-1925); With Thomas Agnew and Sons, London, by December 1908; Frederick David Sassoon (1853-1917);

With Newhouse Gallery, New York; With Thomas Agnew and Sons, London, by November 1958; With Newhouse Gallery, New York, by March 1960; Private Collection, New Jersey; Sale; Christie’s, New York, 4 June 2014, lot 77; Where purchased by the present owner. Property from a Distinguished U.K. Private Collection Literature H. Maxwell, George Romney, London 1902, p. 170, no. 1 G. Paston, George Romney, London 1903, p. 191 H. Ward and W. Roberts, Romney: A Biographical and Critical Essay with a Catalogue Raisonné of his Works, New York 1904, vol. II, p. 1 A. Kidson, George Romney: A Complete Catalogue of His Paintings, New Haven and London 2015, vol. I, p. 32, no. 4, reproduced in colour Exhibited London, British Institution, 1863, no. 187 London, Agnews, ‘The Fourteenth Annual Exhibition on Behalf of the Artists’ General Benevolent Fund’, 1908, no. 4

By the time George Romney completed this charming painting in 1786, he had become one of London’s most fashionable portrait artists alongside Thomas Gainsborough and Sir Joshua Reynolds. The present portrait depicts Lady Laetitia à Court (1746-1821), daughter of Henry Wyndham of The Close, Salisbury and his wife Arundell Ashe, née Penruddock. Lady Laetitia married Sir William Pierce Ashe à Court MP (1747-1816) in October of 1777, and the couple had seven children together. Their eldest son, William à Court, was elevated to the peerage as Baron Heytesbury in 1828. As a leading portraitist of his day, Romney kept close records of his sitters and their payments in his account book. These lists, which have survived, mention seven appointments between Romney and Lady Laetitia in the artist's studio in the spring of 1786. Also recorded is the sale price; Lady Laetitia's husband paid £21 for the portrait in early June, at which point it was dispatched to the couple's home. The portrait remained in the family until the late nineteenth century, when Sir William Henry Ashe à Court, 2nd Baron Heytesbury (1809-1891), sold the painting. A copy of Lady Laetitia's portrait was made for the à Court family around this time to replace Romney's original. Romney began his artistic training as a cabinet maker before apprenticing in Christopher Steele’s portrait studio in Lancashire. After achieving enough fame to establish his own practice in London, Romney quickly became Joshua Reynolds’ rival in the Georgian portraiture market. Reynolds openly professed his disdain for Romney, dismissively referring to him as “the man in Cavendish Square.” The rivalry is said to have emerged in 1763, when Romney’s second-place prize in a Royal Society of Arts competition was cut in half through a suspicious request orchestrated by Reynolds. Romney enjoyed a successful career among British high society, though he never submitted his work to the Royal Academy despite the elite patronage opportunities one could anticipate from exhibiting at Reynolds’ prestigious institution.

Old Master & 19th Century Art

Circle of Sir Thomas Lawrence (British, 1769-1830) Portrait of Abel Rous Dottin ESQ., M.P. pencil Unframed: 21.5 x 16 cm. (8 1/2 x 6 1/4 in.) Framed: 47 x 39 cm. (18 1/2 x 15 3/8 in.) £300 - 500 Provenance With Mr E. J. Edward, The Edward Gallery, London; Private Collection, U.K. Literature C. R. Grundy, in The Connoisseur, vol. XXXI, September - December 1911, p. 234, illustrated (as Sir Thomas Lawrence)

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Exhibited ‘Exhibition of Sixty Drawings by Sir Thomas Lawrence PRA’, at The Edward Gallery, 26 King Street, London, April 1913, no. 22 and 27 (see lot 67), illustrated p. 10 (as Sir Thomas Lawrence) Private collection, UK Lawrence died very suddenly in January 1830 and left a great many paintings unfinished. Some of them were completed by other hands including a group portrait of Dottin with his wife, Dorothy, and his sister. The portrait is now at Shuttleworth Park in Bedfordshire, and it is listed in Kenneth Garlick’s Sir Thomas Lawrence: a complete catalogue of his paintings, Oxford 1989, p. 180, no. 250 repr. Garlick cites the stipple engraving by H. B. Hall of 1838.1 Reference 1 K. Garlick, Sir Thomas Lawrence: a complete catalogue of his paintings, Oxford 1989, p. 180, no. 250

After Sir Thomas Lawrence (British, 1769-1830) Portrait of Countess Gower, afterwards Duchess of Sutherland bears signature ‘T Lawrence’ and indistinctly dated ‘18..’ (lower right) pencil Unframed: 24 x 17.5 cm. (9 1/2 x 6 7/8 in.) Framed: 47 x 39 cm. (18 1/2 x 15 3/8 in.) £300 - 500 Provenance With Mr E. J. Edward, The Edward Gallery, London; Private Collection, U.K. Literature C. R. Grundy, in The Connoisseur, vol. XXXI, September - December 1911, p. 234, illustrated (as Sir Thomas Lawrence)

Exhibited ‘Exhibition of Sixty Drawings by Sir Thomas Lawrence PRA’, at The Edward Gallery, 26 King Street, London, April 1913, no. 22 and 27 (see lot 66), illustrated p. 10 (as Sir Thomas Lawrence) A full length painted portrait of the sitter with her daughter Elizabeth (later Duchess of Argyll) is still at Dunrobin Castle owned by the Earl of Sutherland and dates from 1828 (listed in Garlick’s catalogue, p. 197, cat. no. 343).1 Despite omitting the daughter, in the present drawing Lady Gower is in the same pose as in the painting.2 References 1 K. Garlick, A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence, Glasgow 1964, p. 197, cat. no. 343 2 R.S. Gower and A. Graves, Sir Thomas Lawrence, with a catalogue of the artist’s exhibited and engraved works, London 1900, pp. 58-59

Old Master & 19th Century Art

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William Etty (British, 1787-1849) Study of a young woman extensively inscribed (verso) oil on card Unframed: 28.5 x 17.5 cm. (11 1/4 x 6 7/8 in.) Framed: 40.7 x 29.7 cm. (16 x 11 3/4 in.) £600 - 800

Born in York, William Etty (1787-1849) enrolled at the Royal Academy Schools in 1807 where he studied under Sir Thomas Lawrence. He became a Royal Academician in 1828 and continued to exhibit his work there for nearly four decades. While Etty’s large-scale paintings focused heavily on classical and mythological themes, he dedicated much of his career to painting the female subject, especially the female nude. Today, he is best remembered for rich, sensual oil sketches, which famously shocked Victorian society.

Provenance Private Collection, London. The Property of a Lady

Old Master & 19th Century Art

Circle of Robert Smirke R.A. (British, 1752-1845) A tea-time tantrum oil on canvas within a feigned oval Unframed: 47.5 x 41 cm. (18 3/4 x 16 1/8 in.) Framed: 58 x 51.5 cm. (22 7/8 x 20 1/4 in.) £300 - 500 Provenance Private Collection, U.K.

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After Joseph Siffred Duplessis (French, 1725-1802) Portrait of Jacques Necker (1732-1804) watercolour on ivory Unframed: 6.2 x 4.8 cm. (2 1/2 x 1 7/8 in.) Framed: 7.4 x 6.1 cm. (2 7/8 x 2 3/8 in.) Ivory declaration: N8VJ4T8U £400 - 600 Provenance Private Collection, U.K. Jacques Knecker was a banker, financier and statesman who served as the finance minister of France. His dismissal on 11 July 1789 contributed to the uprising and storming of the Bastille on 14 July 1789.

Old Master & 19th Century Art

Thomas Stothard R.A. (British, 1755-1834) Augusta pen & ink and wash Unframed: 11 x 10.5 cm. (4 3/8 x 4 1/8 in.) Framed: 31 x 26.5 cm. (12 1/4 x 10 3/3 in.) £200 - 300 Provenance Private Collection, U.K.

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Nathaniel Dance Holland R.A. (British, 1735-1811) ‘He smash’d and fell’d the cloud capt towers and castles at one blow’ inscribed ‘He smash’d and fell’d the cloud capt towers, and castles at one blow!’ (lower edge); further signed ‘George Dance, RA’ (verso) pen & ink and wash Unframed: 23.5 x 27 cm. (9 1/4 x 10 5/8 in.) Framed: 43 x 45 cm. (16 7/8 x 17 3/4 in.) £300 - 500 Provenance Probably Iolo Williams, 1890-1962; Private Collection, London. The present work could possibly be in reference to Prospero’s speech from Shakespeare’s ‘The Tempest’ in Act 4, Scene 1 (“The cloud-capp’d towers, the gorgeous palaces...”).

Old Master & 19th Century Art

James Malton (Irish, 1761-1803) Horseman in a mountainous landscape pen & ink and wash on paper Unframed: 7.5 x 11.2 cm. (3 x 4 3/8 in.) Framed: 19 x 23.3 cm. (7 1/2 x 9 1/8 in.) £400 - 600 Provenance With Gorry Gallery, Dublin, May 1985; Private Collection, U.K.

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Francis Danby, A.R.A. (Irish, 1793-1861) Cader Idris, North Wales watercolour on paper Unframed: 18.7 x 29.8 cm. (7 3/8 x 11 3/4 in.) Framed: 37 x 47.5 cm. (14 5/8 x 18 3/4 in.)

Francis Greenacre dates this watercolour to circa 1820. An earlier view of Cader Idris by Danby is in the Courtauld Institute (inv. no. D.1952.RW.4553). Danby is recorded as visiting Wales in 1813 but there is little firm evidence to support it.

£500 - 700 Provenance With Thos. Agnew & Sons Ltd, London (no.47584), by 1986; Private Collection, U.K. Literature F. Greenacre, ‘Francis Danby 1793-1861’, exh. cat., 1988, p.168

Old Master & 19th Century Art

William Leighton Leitch (Scottish, 1804-1883) Fishermen at Howford, Balbochingle, Scotland signed and located ‘Leitch, Howford, Balbochingle’ (verso) watercolour Unframed: 14 x 20 cm. (5 1/2 x 7 7/8 in.) Framed: 36 x 41.5 cm. (14 1/8 x 16 3/8 in.) £200 - 300 Provenance With Peter Cardiff Fine Art, London.

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T. Lamey (German, active 1805) Figures walking through a forest signed and dated ‘T. Lamey f. 1810’ (lower right) watercolour and pen and black ink on paper Unframed: 22.5 x 34.5 cm. (8 7/8 x 13 5/8 in.) Framed: 42.2 x 52.2 cm. (16 5/8 x 20 1/2 in.) £200 - 300

Old Master & 19th Century Art

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William Beilby (British, 1740-1819) Five views of Scotland Bothwell Castle inscribed ‘Bothwell Castle’ (lower centre) Dairsie, West View inscribed ‘Dairsie, West View’ (lower centre) Tarvit Mill, no. 1 inscribed ‘Tarvit Mill N1’ (lower centre) Tarvit Mill, no. 2 inscribed ‘Tarvit Mill N2’ (lower centre) Mills at Rumgay inscribed ‘Mills at Rumgay’ (lower centre) each watercolour Each unframed: 12.2 x 18.6 cm. (4 3/4 x 7 3/8 in.) Two framed (the largest): 16.5 x 21.5 cm. (6 1/2 x 8 1/2 in.) (5) £700 - 1,000 Provenance The artist; Thence by descent to his son, William Turton Beilby (1796-1850); Thence by inheritance to Miss Clara Mottram, Hull; By whom gifted to the present owner’s grandparents on 14 March 1934; Private Collection, Scotland. Literature J. Rush, A Beilby Odyssey, 1987, p. 6, pp. 154-155, plates 117 (Tarvit Mill No. 1), 118 (Dairsie, West View), 119 (Tarvit Mill No. 2) and 124 (Bothwell Castle) The present watercolours were examined by James Rush, author of ‘A Beilby Odyssey’ (1987), in 1970, who confirmed the attribution to William Beilby in correspondence with the family of the present owner. William Beilby is predominantly known as an English glassworker, who became recognised for his enameld glass pieces during the late 18th Century. However, he was also a skilled watercolourist, producing views of England, and Scotland in his later career.

Old Master & 19th Century Art

Chiswick Auctions

Alexander Nasmyth (Scottish, 1758-1840) James Pillans (1778-1864) and his two sisters, in a landscape with a dog, mountains beyond inscribed on the label on the reverse of the stretcher oil on canvas Unframed: 112 x 153 cm. (44 x 60 in.) Framed: 126 x 167 cm. (49 1/2 x 65 3/4 in.) £15,000 - 25,000 Provenance Probably commissioned by the father of the sitters, James Pillans (b.1745); Thence by descent to his son, James Pillans (1778-1864); The collection of Lord Herschell; Sale; Christie’s, London, 20 November 1964, lot 125 (bought by ‘Bryant’ for 750 gns); With Frank T. Sabin, London, by 1967; Purchased by the current owner, late 1960s/1970s. The Property of a Gentleman Literature ‘Apollo Magazine’, December 1967, p. 1vii, illustrated J.C.B. Cooksey, Alexander Nasmyth H.R.S.A. 1758-1840, vol. I, Kranj 1991, p. 75, no. N46A. A pivotal figure in the history of Scottish painting, Alexander Nasmyth (1758-1840) began his career in London under the tutelage of the renowned portrait artist Allan Ramsay. Nasmyth returned to his native Edinburgh and produced portraits in the style of his teacher, though he soon began to specialize in conversation pieces for a variety of aristocratic clients. These works, a staple of eighteenth-century British painting that blends group portraiture with evocative landscapes and intimate domestic settings, afforded Nasmyth great favour with his patrons. A decisive trip to Rome in 1782 exposed the budding artist to the practice of landscape painting and the idyllic countryside views of Claude Lorrain. Nasmyth returned to Edinburgh three years later and continued his practice of conversation portraiture, but he suddenly and permanently abandoned the genre in 1792 in favour of landscapes. This abrupt shift, as Nasmyth’s son remarked, stemmed from the artist’s ‘frank opinions on political subjects’ and strong commitment to liberal and reformist views.1 This alienated Nasmyth from many of his elite clients, who withdrew their patronage in light of his increasingly negative attitudes towards the aristocracy and the arts that supported their image. Nasmyth would spend the rest of his career as a landscape artist, successfully combining a meticulous observation of nature with the classical language and arcadian mood of Lorrain. He is considered the founding father of Scottish landscape painting and a principal influence on future generations of Scottish artists, including his own children. His works can be found in the Ashmolean Museum, the Yale Center for British Art, and other leading institutions around the world. The present painting, one of Nasmyth’s finest conversation pieces, depicts James Pillans (1778-1864) and his two elder sisters. Pillans was an advocate for educational reform in Scotland and, like Nasmyth, a supporter of liberal politics. The boy’s youthful appearance tentatively dates the painting to the late 1780s, a period from which few of Nasmyth’s works survive.2 A similar conversation piece by Nasmyth can be found in the National Galleries of Scotland (inv. no. PG 2303).3 References 1 D. MacMillan, Painting in Scotland: The Golden Age, p. 143 2 D. MacMillan, Painting in Scotland: The Golden Age, p. 143. 3 https://www.nationalgalleries.org/art-and-artists/8210

Old Master & 19th Century Art

Anne Gibson Nasmyth (Scottish, 1798-1874) Goat herding in an Italianate landscape oil on canvas Unframed: 51.3 x 61.3 cm. (20 1/4 x 24 1/8 in.) Framed: 69 x 79 cm. (27 1/8 x 31 1/8 in.) £700 - 900 Provenance Gifted by A. Beattie to Mr Marsh, 25 March 1854, according to the inscription on the reverse; With Ealing Gallery, London; Private Collection, U.K.

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Anne was one of seven daughters born to artist Alexander Nasmyth (1758-1840) in Scotland. She first began learning to paint with some of her siblings at the art school established by her father. Indeed, she has been regarded as “best painter in this talented family”.1 As her career developed, she went on to exhibit at the Royal Academy, London, the Royal Hibernian Academy, Dublin, and the Royal Scottish Academy, Edinburgh. Reference 1 G. Greer, ‘The Obstacle Race: The Fortunes of Women Painters and Their Work’, Tauris Parke Paperbacks 1979. p. 20

British School (early 19th Century) An English country estate, a family with a sheepdog in the foreground inscribed ‘Middle[..] Lodge a. Nasmyth’ (on the reverse of the stretcher) oil on canvas Unframed: 45 x 66 cm. (17 3/4 x 26 in.) Framed: 60 x 73 cm. (23 1/2 x 28 3/4 in.) £600 - 800 Provenance The Property of a Gentleman

Old Master & 19th Century Art

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Daniel Turner (British, active 1782-c.1828) A view of Lambeth Palace, facing east with a view of the River Thames and Westminster Abbey signed ‘DANIEL TURNER’ (lower right) oil on panel Unframed: 30.8 x 48.6 cm. (12 1/8 x 19 1/8 in.) Framed: 39.7 x 57.8 cm. (15 5/8 x 22 3/4 in.) £800 - 1,200 Provenance With Leggatt Brothers, London; Private Collection, U.K.

Daniel Turner was a British artist active at the turn of the nineteenth century. He lived and worked in London, producing portraits, maritime scenes, and engravings. He is best known for his view paintings of London as seen from the banks of the Thames, exhibiting ten of these works at the Royal Academy from 1796 to 1801. Turner painted another view of Lambeth Palace from Millbank, circa 1808. It is now in the Museum of London (Inv. no. 87.76). Other London view paintings by Turner can be found in the Victoria and Albert Museum (Inv. no. 378-1888), the Yale Center for British Art (Inv. no. B2001.2.183), Tate (Inv. no. N01681), and various National Trust properties.

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Jacob Eichholtz (American, 1776-1842) Portrait of Mrs Benjamin Tevis (probably Mary Hunter), 1827 oil on canvas Unframed: 91 x 71.5 cm. (35 3/4 x 28 1/8 in.) Framed: 116.5 x 96 cm. (42 x 37 3/4 in.) £2,000 - 3,000 Provenance The sitter; Thence by descent to Miss Sallie Tevis (d. 1953), Shelbyville, Kentucky; Thence by descent to her nieces, the Misses Sarah C. and Miriam Stevenson, Ohio; Thence by descent to the present owner; Private Collection, U.K. Literature R. J. Beal, ‘Jacob Eichholtz, 1776-1842; portrait painter of Pennsylvania’, Philadelphia 1969, no. 827, p. 237; I.L.K. Hostetter, “A Short Preface to a Copy of a Memorandum of Jacob Eichholtz, the Artist” and “List of Portraits and Paintings of Jacob Eichholtz Taken from Account Book - May 30, 1817,” in ‘Papers Read before the Lancaster County Historical Society’, 6 November 1925 XXIX, No. 9 (1925), pp. 107-111; Smithsonian American Art Museum, ‘Inventories of American Painting and Sculpture’, no. 81080813. The portrait of Mrs. Benjamin Tevis most likely depicts Mary Hunter, who married Philadelphia auctioneer Benjamin Tevis in 1824. Benjamin (born 1790) was the son of Robert Tevis and the brother of Joshua Tevis. Both Robert and Joshua, along with Joshua’s wife, also had their portraits painted by Jacob Eichholtz in 1827. The present work was commissioned by relatives of the sitter and has been in the family ever since. Previously, the subject was mistakenly identified as Mary Carroll of Baltimore, the wife of a different Benjamin Tevis who may have been a cousin of the Philadelphia auctioneer.1 Reference 1 R. J. Beal, Jacob Eichholtz, 1776-1842; portrait painter of Pennsylvania, Philadelphia 1969, p. 237, no. 827

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Jean Boni (Italian, 1829-1912) Portrait of a lady, half-length, seated, wearing a black lace dress with gold jewellery signed, located and dated ‘J. Boni, Nice, 1861’ (lower left) oil on canvas Unframed: 53 x 45 cm. (21 x 17 1/2 in.) Framed: 67 x 23 cm. (26 1/2 x 23 in.) £300 - 500

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Robert Isaac Cruikshank (British, 1789-1856) Gustavus Vaghan Brooke (1818-1866) as Claude Melnotte in ‘The Lady of Lyon’ (c.1850) signed ‘Rt Cks’ (lower right) and titled ‘Mr Brook [sic] as Claude Mellat [sic] as Lady of Lyon’ (upper right/left) watercolour and pencil Unframed: 24 x 29 cm. (9 1/2 x 11 1/2 in.) Framed: 49 x 39 cm. (19 1/4 x 15 1/2 in.) £200 - 300 Provenance Private Collection, U.K. An original drawing for a ‘Penny Plain/Twopence Coloured’ theatrical print, depicting Brooke’s 1850 performance at the Olympic Theatre in London.

Old Master & 19th Century Art

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Edward Donovan (Irish/British, 1768-1837) Papilio (Ornithoptera) priamus- Priams Birdwing on Minosa grandiflora inscribed ‘Papilo Priamus, Mimosa Grandiflora. Papilo Priamus is found in Amboyna, it is extremely rare, next to Ulysses, is considered the most beautiful of this tribe of insects’ (lower centre) gouache and gum arabic on whatman paper Unframed: 27 x 20.5 cm. (10 5/8 x 8 1/8 in.) Framed: 41 x 35 cm. (16 1/8 x 13 3/4 in.) £300 - 500 Provenance Private Collection, U.K.

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A very similar composition is published as the 15th plate in Edward Donovan’s ‘An Epitome of the Natural History of the Insects of India’, within which he describes the butterfly as follows; “With the exception of Papilio Ulysses, which perhaps in point of splendour may excel Papilio Priamus is beyond comparison the most lovely creature of this tribe of insects hitherto discovered, either in India or any other country. It is a native of Amboyna, where we understand it is extremely rare”.1 Reference 1 Donovan, Edward. An Epitome of the Natural History of the Insects of India. London: T. Bensley, 1800, pl. 16.

Georges Putzys (late 19th Century) Paphiopedilum rothschildianum signed ‘Georges Putzys’ (lower right) watercolour Unframed: 46.5 x 28.5 cm. (18 1/4 x 11 1/4 in.) Framed: 63 x 44.5 cm. (24 3/4 x 17 1/2 in.) £300 - 500 Provenance Private Collection, U.K.

Georges Putzys provided the original watercolours for at least 84 plates which were published in Jean Jules Linden’s monumental ‘Lindenia:iconographie des Orchidées’ between 1897 and 1900. “Lindenia” remains perhaps the most celebrated catalogue of finely illustrated orchids from the height of the tropical orchid craze which swept Britain, Europe and North America in the 19th century. The orchid depicted here - also known as the Gold of Kinabalu or Rothschild’s slipper orchid was one of the most sought after orchids at the height of the 19th century orchid mania. The precise details of its location were kept a trade secret for decades and it was only in 1959 that two populations were rediscovered. In the wild it only occurs on Mt. Kinabalu on the island of Borneo where it remains critically endangered.

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British School (act. c.1838) Undress of the Royal Foot Artillery, Sept 15th 1838 (recto); Buttons and Regalia (verso) inscribed and dated ‘Undress of the Royal Foot Artillery Sept 15th 1838’ and initialled ‘AL’ (lower centre) watercolour pen and black ink (recto/verso) Unframed: 15 x 19 cm. (6 x 7 1/2 in.) Framed: 30 x 34 cm. (12 x 13 1/2 in.) £120 - 180 The Royal Foot Artillery was a historic branch of the British Army’s Royal Regiment of Artillery, renowned for its discipline, technical skill, and crucial firepower during the Napoleonic Wars at the Battles of Corunna, Bussaco, and Waterloo.

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Julius Caesar Ibbetson (British, 1759-1817) Landscape with figures in a horse-drawn carriage, farmhouse beyond oil on canvas Unframed: 36 x 46 cm. (14 x 18 in.) Framed: 50 x 62 cm. (19 3/4 x 24 1/2 in.) £1,000 - 2,000 Provenance The Property of a Gentleman Ibbetson produced several variations of this composition. One similar example from his London period (circa 1792), formerly with the Leggatt Brothers and sold at Christie’s, London, in 2008, shares the overall design but differs from the present work in the number and arrangement of the figures. We are grateful to James Mitchell for endorsing the attribution based on digital images.

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Follower of Julius Caesar Ibbetson (British, 1759-1817) Resting travellers by the wayside oil on canvas Unframed: 15 x 20 cm. (6 x 8 in.) Framed: 22 x 29 cm. (9 3/4 x 11 1/2 in.) £300 - 500

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Thomas Baker of Bath (British, 1769-1847) Wooded landscape oil on canvas Unframed: 79 x 61 cm. (31 1/8 x 24 in.) Framed: 89.1 x 71 cm. (35 1/8 x 28 in.) £600 - 800 Provenance Sale; Sotheby’s, London, 17 February 1988, lot 328; Private Collection, U.K.

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Attributed to Joseph Farington R.A. (British, 1747-1821) Anglers by Hoe Mill on the River Chelmer, Essex inscribed ‘Anglers by Water Mill by “Constable”, Presented as an heirloom/to the Hoe Mill Estate by Chas. Smith in affectionate remem/brance of the late Robert Marriage. 4th mo 1st 1862’ (verso) oil on canvas Unframed: 41 x 48.5 cm. (16 x 19 in.) Framed: 53 x 61 cm. (20 7/8 x 24 in.) £600 - 800 Provenance Chas. Smith, by 1862; Private Collection, U.K.

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Continental School (c.1780-1820) An expansive view over the Roman campagna and Rome oil on canvas Unframed: 33 x 25 cm. (13 x 9 7/8 in.) Framed: 39 x 31 cm. (15 1/3 x 12 1/5 in.) £600 - 800 Provenance Private Collection, France.

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French School (late 18th Century) Landscape with distant castle, possibly an Italian view oil on board Unframed: 27.5 x 44.2 cm. (10 3/4 x 17 1/2 in.) Framed: 34 x 49.5 cm. (13 1/2 x 19 1/2 in.) £2,000 - 3,000 Provenance The Collection of Thomas Barlow (1883-1964), Manchester; Thence by descent to his daughter, Theodora Gertrude Winter (née Barlow) (1912-2003); Thence by descent to the present owner. Literature B. Nicholson, ‘Current and Forthcoming exhibitions’, in The Burlington Magazine, vol. CX, no. 782, May 1968, p.295, reproduced no.90 (as attributed to Thomas Jones) Exhibited Manchester, Whitworth Art Gallery, Paintings from Sir Thomas Barlow’s Collection, 22 March - 4 May 1968, no.14 (as unattributed, with suggested attributions to Thomas Jones (1742-1803), Pierre-Henri de Valenciennes (1750-1819) and Jean-Joseph-Xavier Bidauld (1758-1846) This engaging panoramic landscape, dating from the late eighteenth century, exemplifies the distinctive handling of light and atmosphere characteristic of French artists who worked in Italy during this period. The painting was previously attributed by Francis W. Hawcroft to the renowned Welsh artist Thomas Jones (1742-1803), who travelled to Italy in 1776 and remained there for the following seven years. Alternative attributions have also been proposed, including Pierre-Henri de Valenciennes (1750-1819) and Jean-JosephXavier Bidauld (1758-1846), which have now been disregarded. In the eighteenth century, Rome was an important crossroads for European travellers and a source of influence for French artists who travelled to the Eternal City to begin their artistic careers. When Nicholas Vleughels (1668-1737) became the director of Académie de France in Rome in 1725, he encouraged young artists to paint and sketch in situ, leading many to travel and explore the surrounding countryside outside of Rome, which was a constant source of inspiration. While many drew on traditional methods of portraying the idyllic countryside, filling landscapes with historical, religious, or mythological scenes, others chose a naturalistic approach in portraying the land and the communities living there. The accomplished studies of light and atmosphere by Adrien Manglard (1695-1760), Claude-Joseph Vernet (1714-1789) and Pierre-Henri de Valenciennes (1750-1819) helped to bring landscape to the forefront in the following century, leading the way for artists of the Barbizon School.

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Attributed to Jules Dupré (French, 1811-1889) Forest glade oil on panel Unframed: 31.2 x 22.9 cm. (12 1/4 x 9 in.) Framed: 45.7 x 37.5 cm. (18 x 14 3/4 in.) £600 - 800 Provenance With Beaux Arts Gallery, London. Property from a Distinguished U.K. Private Collection

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Dupré began his career as a decorator at his father’s porcelain factory before turning to landscape painting in the 1830s. Following a visit to England in 1832, he encountered the work of British masters such as John Constable, J. M. W. Turner, and Richard Parkes Bonington, whose influence would shape his artistic practice. Although associated with the Barbizon School, Dupré preferred to work independently in l’Îsle-Adam, north of Paris. This view likely depicts the surrounding forest, a subject he returned to frequently, capturing trees silhouetted against richly coloured, intensely atmospheric skies, see for example Dupré’s ‘The Old Oak’ at The Walters Art Museum, Baltimore, (no. 37.61).

Henri-Joseph Harpignies (French, 1819-1916) Souvenir d’Ile de France signed and dated ‘H Harpignies 76’ (lower centre) oil on card laid down on canvas Unframed: 17.7 x 62.4 cm. (7 x 24 5/8 in.) Framed: 37.4 x 80.3 cm. (14 3/4 x 31 5/8 in.) £800 - 1,200 Provenance With H. Terry-Engell Gallery, London, by 1972; Sale; Sotheby’s, Billingshurst, 26 January 1999, lot 234; Sale; W.H. Lane & Son, Penzance, 9 June 2005, lot 356. Property from a Distinguished U.K. Private Collection Exhibited London, H. Terry-Engell Gallery, ‘Paysages de France’, 3 May - 31 May 1972, no. 26. Henri-Joseph Harpignies was a distinguished French landscape painter whose work is closely linked to the

Barbizon tradition. Born in Valenciennes, he studied under Jean-Achard and was deeply influenced by Camille Corot. From 1853 Harpignies exhibited regularly at the Paris Salon and earned numerous accolades, including appointment to the Legion of Honor. His style was ever changing throughout his career, however comparison can be made between the present work and View of the Château d’Hérisson held by the Van Gogh Museum, Amsterdam (no. s0450S1995) executed just 5 years earlier in 1871.1 Both works capture the soft tones of the French countryside, with traditional architecture scattered amongst them, set against a clear blue sky, consistent with the Barbizon school. In nineteenth-century France, red flags on tall poles were standard visual markers used by engineers and surveyors to map topography or outline land for major infrastructure projects, such as railways and canals, which is perhaps what is being depicted here. Reference 1 A. Vergeest, The French collection: nineteenth-century French paintings in Dutch public collections, Amsterdam, 2000, p. 197

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Henri-Joseph Harpignies (French, 1819-1916) A Shepherd herding his flock within a hilly landscape signed ‘H Harpignies’ (lower left) oil on panel Unframed: 23.7 x 31.4 cm. (9 5/16 x 12 5/16 in.) Framed: 47.5 x 55.1 cm. (18 11/16 x 21 x 11/16 in.) £400 - 600 Provenance Property from a Distinguished U.K. Private Collection

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Harpignies favoured a classical style of landscape painting, placing figures, houses and nature in harmony. Comparison can be made between the present example and his work ‘Landscape in Auvergne’ (currently in the National Gallery of Art collection, no. 2008.132.1).1 In each work, his handling of nature is often painterly and free, with a particular concentration of the manipulation of light, encouraging the viewer to experience a sense of the outdoors. Reference 1 K. Jones, “Henri-Joseph Harpignies, Landscape in Auvergne.” Bulletin / National Gallery of Art, no. 41 (Fall 2009): pp. 21-22, repro.

British School (early 19th Century) View of ruins watercolour Unframed: 26 x 37 cm. (10 1/4 x 14 5/8 in.) Framed: 48.4 x 56.2 cm. (19 x 22 1/8 in.) £300 - 500

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Peter De Wint (British, 1784-1849) Ruins of an abbey beside a river, eel-traps in the foreground watercolour and pencil Unframed: 26 x 39.5 cm. (10 1/4 x 15 1/2 in.) Framed: 45 x 57.5 cm. (17 3/4 x 22 5/8 in.) £400 - 600

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Thomas Miles Richardson Snr (British, 1784-1848) Conway Castle, North Wales signed and dated ‘T.M. Richardson Snr/1847’ (lower right) pencil and watercolour heightened with bodycolour and gum arabic, and with scratching out Unframed: 47.5 x 77.5 cm. (18 3/4 x 30 1/2 in.) Framed: 71 x 100 cm. (28 x 39 3/8 in.) £400 - 600 Provenance With Appleby Brothers, London; With Thos. Agnew & Sons Ltd, London, no.23640; Private Collection, U.K., since 2006.

Richardson was one of the most highly regarded painters in watercolours of the North East of England, and a fervent admirer of Davis Cox, working in the same style and tradition. He became well known as a contributor to London exhibitions from 1818 when his painting A view of Newcastle Fish Market was accepted by the Royal Academy. He proceeded to exhibit widely, contributing to the British Institution, the Suffolk Street Galleries, and both the Old and New Watercolour Societies. Richardson helped set up the Northern Society of Painters in Watercolours and this Society became a meeting place for a number of talented watercolourists. Today, his works can be found in the Victoria and Albert Museum and the Government Art Collection.

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Thomas Horner (British, 1785-1844) The Vale of Neath, Wales watercolour Unframed: 30.1 x 45.1 cm. (11 7/8 x 17 3/4 in.) Framed: 51.9 x 65.3 cm. (20 3/8 x 25 3/4 in.) £400 - 600 Provenance With The Fine Art Society, London, by August 1961; Private Collection, U.K.

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101

Diana Amelia (Emily) Sabine (British, 1775-1858) A group of Italian views (circa 1794) signed and variously identified (to backboard) each watercolour Lake Geneva Unframed: 15.5 x 23.7 cm. (6 1/8 x 9 3/8 in.) Framed: 34.9 x 41.8 cm. (13 3/4 x 16 1/2 in.) Mortello tower Unframed: 17.3 x 23.2 cm. (6 3/4 x 9 1/8 in.) Framed: 37.4 x 42 cm. (14 3/4 x 16 1/2 in.) Kilchberg on emme Unframed: 15.8 x 23 cm. (6 1/4 x 9 in.) Framed: 34.9 x 41.9 cm. (13 3/4 x 16 1/2 in.) La tour from Vevay Unframed: 15.7 x 23.3 cm. (6 1/8 x 9 1/8 in.) Framed: 34.7 x 41.8 cm. (13 5/8 x 16 1/2 in.) (4)

Provenance Inherited by descent to Mrs Baring-Gould (1849-1916) (part or larger album; album bore her bookplate); Sale; Christie’s, London, 20 March 1984, lot 1 (part or larger album); Private Collection, Southeast U.K. Daughter of Colonel Joseph Sabine and Sarah Hunt and sister of Arctic explorer Sir Edward Sabine. She married William Baring Gould (born Baring but changed his name with Royal License) and was thus grandmother of Revd Sabine Baring Gould, a celebrated scholar. These watercolours date to her youthful ‘Grand Tour’ which took in Switzerland, Italy (as far as Naples) and Germany.

£300 - 500

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James Stark (British, 1794-1859) Stream in a wooded landscape pencil Unframed: 11.5 x 31.5 cm. (4 1/2 x 12 3/8 in.) Framed: 36.5 x 55 cm. (14 3/8 x 21 5/8 in.) £300 - 500 Provenance With The Fine Art Society, London, no. 3, by November 1947; With Alice Dodge, London; Private Collection, U.K.

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103

William Parrott (British, 1813-1869) Roman ruins signed with initials and dated ‘WP/1864’ (lower left) watercolour Unframed: 28 x 42 cm. (11 x 16 1/2 in.) Framed: 46.5 x 59.5 cm. (18 1/4 x 23 3/8 in.) £600 - 800 Provenance With Abbott & Holder, London, where purchased by the present owner; Private Collection, London, U.K.

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104

Penry Williams (Welsh, 1802-1885) Lake Maggiore, with the Borromeo Palace and gardens, seen from the shore south of Baveno signed and dated ‘Penry Williams/1874’ (lower left) oil on canvas Unframed: 55.5 x 93 cm. (21 7/8 x 36 5/8 in.) Framed: 80.5 x 118 cm. (31 3/4 x 46 1/2 in.) £5,000 - 7,000 Penry Williams attended the schools of the Royal Academy to study under Fusili, and following this, between 1822-1869, he exhibited at the Royal Academy, British Institution, Suffolk Street and the Old Water Colour Society. From 1827 he lived in Rome where he became close with John Gibson (1790-1866), and remained for almost 60 years until his death.

Perfectly highlighting the uplifting palette, treatment of light and delicacy that can be observed in the present example, a visitor to his Italian studio is recorded to have remarked; ‘The view of scenery about Rome combined with the lovely groups of peasantry here to be seen, are unrivalled. No painter has better succeeded in representing with accuracy the magnificent outline of the distant mountains, the details of the ancient edifices, and the splendid colouring cast by an Italian sun over the Campagna, and the ruins scattered over it.’ 1 A watercolour by Williams which captures the same view of Lake Maggiore (dated 1868) is currently held by the Royal Collection Trust (RCIN 921459). Unlike that version, the present painting features a collection of figures on the shore, with a small boat moored on the bank. References 1 T.M. Rees, Welsh painters, engravers, sculptors (1527-1911), 1912, pp. 153-7 2 D. Millar, The Victorian Watercolours in the Collection of Her Majesty The Queen, 2 vols, London 1995

Old Master & 19th Century Art

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Penry Williams (Welsh, 1802-1885) A view across the Tiber with temple of Hercules Victor, Santa Maria in Cosmedin and the Ponte Rotto, seen from the Convent of San Barto signed and inscribed ‘Penry W. Rome’ (lower right) oil on canvas Unframed: 33.1 x 41.4 cm. (13 x 16 1/4 in.) Framed: 41 x 49.2 cm. (16 1/8 x 19 3/8 in.) £3,000 - 5,000 Provenance Sale; Sotheby’s, London, 22 November 1967, lot 14; Where acquired by Thomas Agnew & Sons, London; From whom purchased by the previous owner’s family in May 1968; Private Collection, U.K.

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106

Henry Parsons Riviere (British, 1811-1888) The Girandola above the Castle Sant’Angelo signed ‘H P Riviere’ (lower centre) watercolour with bodycolour Unframed: 46.9 x 59.9 cm. (18 1/2 x 23 5/8 in.) Framed: 56.3 x 69.1 cm. (22 1/8 x 27 1/4 in.) £2,000 - 3,000 Provenance Private Collection, Rome.

Old Master & 19th Century Art

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Pietro Fabris (Italian, active 1740-1792) Two plates from Sir William Hamilton’s Campi Philegraei Tufa, at the bottom of the crater of Monte Nuovo, near Pozzuoli (‘Campi Palegrei...’,vol. I, pl. XXVII) engraving with original hand-colouring in watercolours Unframed: 20 x 38 cm. (7 7/8 x 15 in.) Framed: 38.5 x 55 cm. (15 1/8 x 21 5/8 in.) together with; A view of Mount Veesuvius from the sea shore at Resina, between Portici and Torre del Greco (‘Campi Palegrei...’,vol. I, pl. VII) engraving with original hand-colouring in watercolours Unframed: 20 x 38 cm. (7 7/8 x 15 in.) Framed: 38.5 x 55 cm. (15 1/8 x 21 5/8 in.) (2) £400 - 600 Provenance Private Collection, U.K.

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108

Italian School (c.1760-1800) A panoramic view of the coastline of the north of Naples with a naval battle in the distance J. P. Hackert 177(4/9) / Isola d’Elba / vista da Piombino’ (to the stretcher) watercolour with pen & ink on paper laid onto canvas Unframed: 60 x 95 cm. (23 1/2 x 37 3/8 in.) Framed: 78.5 x 114 cm. (30 7/8 x 44 7/8 in.) £2,000 - 3,000

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Peter Birmann (Swiss, 1758-1844) Vue des Cascatelles de Tivoli signed and inscribed ‘Vue des Cascatelles de Tivoli. P. Birmann ad. nat. fecit’ (lower left) watercolour with pencil on laid paper Unframed: 85 x 66 cm. (33 1/2 x 26 in.) £2,000 - 3,000 Provenance Private Collection, Switzerland.

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Louis Aubert (French, 1720-c.1800) A young boy standing signed and dated ‘Louis Aubert f. 1745’ (lower left) chalk with pastel and white heightening Unframed: 27.5 x 18.6 cm. (10 7/8 x 7 3/8 in.) £300 - 500

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Carlo Spiridione Mariotti (Italian, 1726-1790) A gentleman with his barber bears collector’s stamp (lower right) [L.3561] pencil with pen & ink and wash Unframed: 19.7 x 13.8 cm. (7 3/4 x 5 7/16 in.) Framed: 34.9 x 28.7 cm. (13 3/4 x 11 5/16 in.) £200 - 300 Provenance Paul Mathias Polakovits (1921-1987), Paris (Lugt 3561); Susanna Agnelli (1922-2009), Rome; Private Collection, U.K.

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112

Nathaniel Parr (British, act.1739-67) after Giovanni Antonio Canal (Canaletto) (Italian, 1697-1768) A View of the Rotundo, House & Gardens at Ranelagh, published 1751 hand coloured etching and engraving Unframed: 23 x 40 cm. (9 x 15 3/4 in.) (sheet) Framed: 46 x 63 cm. (18 x 24 3/4 in.) £300 - 500 Provenance Private Collection, London.

Old Master & 19th Century Art

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Achille Vianelli (Italian, 1803-1894) Six views of the ruins at Pompeii etchings with hand-colouring Each approx. unframed: 13 x 19.3 cm. (5 1/8 x 7 5/8 in.) Framed: 28.8 x 33.9 cm. (11 3/8 x 13 3/8 in.) (6) £200 - 300

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Jean Antoine Théodore Gudin (French, 1802-1880) Pair of seascapes each signed and dated ‘Gudin, 79’ (lower right) each oil on panel Each unframed: 14 x 21.5 cm. (5 1/2 x 8 1/2 in.) Each framed: 32 x 24 cm. (12 5/8 x 9 1/2 in.) (2) £1,500 - 2,500 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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Jean Antoine Théodore Gudin (French, 1802-1880) Beached fishing vessels at shore signed and dated ‘Gudin, 1876’ (lower right) oil on panel Unframed: 13 x 21.5 cm. (5 1/8 x 8 1/2 in.) Framed: 21 x 29.5 cm. (8 1/4 x 11 5/8 in.) £1,000 - 2,000 Provenance Private Collection, U.K.

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Charles-Théodore Frère (French, 1814-1888) A market in Cairo signed ‘TH. FRÈRE BEY.’ (lower right), and inscribed ‘AU CAÏRE’ (lower left) watercolour Unframed: 9 x 15 cm. (3 1/2 x 5 7/8 in.) Framed: 19 x 25 cm. (7 1/2 x 9 7/8 in.) £800 - 1,200 Provenance Private Collection, Chartres.

Charles-Théodore Frère had a fascination with the Orient, which began during a stay in Algeria between 1836 and 1839. He was a renowned painter of nineteenth-century Egypt, who employed a refreshing focus on the life of Cairo itself as opposed to the country’s celebrated monuments, which was a focus of many of his contemporaries. The present sheet belongs to a recurring group of intimate Cairo street scenes that occupied Frère throughout his Egyptian career. The watercolour is a carefully orchestrated study of light and atmosphere, evoking the intimacy of urban life in which he carefully manipulates the contrast between light and shade.

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Arthur Melville (Scottish, 1858-1904) A North African courtyard with guards signed and dated ‘Arthur Melville. 1897[?]’ (lower left) watercolour Unframed: 74 x 53 cm. (29 1/8 x 20 7/8 in.) Framed: 87.5 x 66.5 cm. (34 1/2 x 26 1/8 in.) £4,000 - 6,000 Provenance Purchased by the current owner from these Rooms in 1997; Private Collection, London.

Melville travelled to Egypt in 1880 and stayed in Cairo until March 1882, keeping a diary that is now untraced. From 1882 he was in Suez, followed by a voyage across North Africa and the Arab region. At one stage on his travels he also visited Baghdad and Babylon. He returned to London via Constantinople in August 1882. Based on comparison with similar compositions by the artist, we can assume that the present work is a view in North Africa or Cairo. His travels to the Middle East no doubt influenced his bold approach to watercolour painting. To create atmosphere and movement within his works, he layered pigments whilst the surface was still wet, creating a dynamic and fluid quality.

Old Master & 19th Century Art

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Attributed to François d’Orléans, Prince of Joinville (French, 1818-1900) Bataille de Samsa (Maroc) le 11 Mars 1860 watercolour, heightened with white and traces of pencil Unframed: 53 x 67.5 cm. (20 7/8 x 26 1/2 in.) Framed: 63.5 x 78.4 cm. (25 x 30 7/8 in.) £400 - 600 Provenance Private Collection, U.K. The mount is inscribed as follows: “Au moment du coucher du soleil les kabyles sont chassis de leurs dernieres positions par le regiment de Navarre, les Chasseurs de Chiclana et quelques officiers de l’Etat major general.” (At sunset, the Kabyles were driven from their last positions by the Navarre Regiment, the Chasseurs de Chiclana, and a few officers from the General Staff.)

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The inscription also suggests identification of the main subjects: M. Becker Officier Russe; Colonel Don Magenis; Don Mariano Lacy, Colonel de Regt de Navarre; Colonel Don Felipede Solis (Nolis?) ; S A A le Conte D’Eu and Capitaine Don Arsenio Pomba. The depiction of the Count D’eu in the present example, who wears a white uniform and rides a white horse, bears a striking resemblance to that on a “carte de visite” published by Franck from an original drawing by the Prince de Joinville 1818-1900 (the Count’s uncle), currently held by the Royal Collection Trust (RCIN 616232). This print also depicts the Count on the battlefield during the Hispano-Moroccan War (1859-60). Typical of his watercolours are the cartoonish expressions of the figures who are often portrayed with bright white eyes and single black dots as the pupils. Here the artist also employs these white highlights to depict gun smoke that hovers around the figures.

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Emmanuel Costa (French, 1833-1921) Chasseurs Alpins signed ‘E Costa’ (lower right) watercolour Unframed: 31.5 x 53 cm. (12 3/8 x 20 7/8 in.) Framed: 52.5 x 72.4 cm. (20 5/8 x 28 1/2 in.) £300 - 500 Provenance Possibly Le Corre Gallery, Bradford-on-Avon (according to label verso); Private Collection, U.K.

Old Master & 19th Century Art

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British School (late 19th/early 20th Century) Expedition climb up to the Matterhorn inscribed extensively (verso) pencil and pen and black ink on paper Unframed: 14 x 23 cm. (5 1/2 x 9 in.) Framed: 31 x 38 cm. (12 1/2 x 15 in.) £300 - 500 Provenance Private Collection, U.K.

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Joseph Cunningham Harker (British, 1855-1927) The Memnonium, Thebes signed ‘J Harker’ (lower right) watercolour and gouache Unframed: 35 x 24 cm. (13 3/4 x 9 1/2 in.) Framed: 52 x 39 cm. (20 1/2 x 15 in.) £150 - 250

Old Master & 19th Century Art

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Sir Charles D’Oyly (British, 1781-1845) Shipping on the Ganges watercolour Unframed: 6 x 10 cm. (2 3/8 x 3 7/8 in.) Framed: 27 x 30 cm. (10 5/8 x 11 3/4 in.) £300 - 500 Provenance With Appleby Bros. Ltd, London, where purchased by the family of the present owner. Born in Murshidabad, India, in 1781, Sir D’Oyly was born into a family that long served their country. His father was the East India Company’s resident at the Court of Nawab Babar Ali of Murshidabad.

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The artist spent a large amount of time with friend, George Chinnery, who no doubt influenced his artistic style. He served in the Bengal Civil Service of the East India Company from 1797 to 1838, holding a succession of senior administrative positions in Calcutta, Dacca, and Patna. Although his professional career was distinguished by his service within the colonial civil administration, he is principally remembered for his activities as an amateur artist and author. He produced and published a number of illustrated works incorporating engravings and lithographs depicting Indian subjects, such as the present example, reflecting his sustained interest in the visual documentation of the region. He was also a prominent figure in the artistic life of Patna, where he founded and served as president of the Behar School of Athens, an amateur society dedicated to the cultivation and practice of the arts.

123

Circle of Saverio della Gatta (Italian, act.1777-1829) An Italian family on a lake shore signed with monogram ‘J.W’ (lower right) watercolour on paper Unframed: 26.3 x 37.5 cm. (10 3/8 x 14 3/4 in) Framed: 34 x 44 cm. (13 3/8 x 17 3/8 in.) £400 - 600 Provenance Sale; Christies, London, 4 December 2003, lot 81 (as Turkish School), where sold with one further work.

Old Master & 19th Century Art

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William Gale (British, 1823-1909) A little Eastern signed with monogram (lower left); further inscribed and signed (verso) oil on panel Unframed: 12 x 9 cm. (4 3/4 x 3 1/2 in.) Framed: 25.7 x 22.5 cm. (10 1/8 x 8 3/4 in.) £1,000 - 2,000 Provenance Sale; Christie’s, London, 14 November 2013, lot 102; Private Collection, U.K. Gale was born in London in 1823. He exhibited annually between 1844-1893 at the Royal Academy and also at the British Institution and the Royal Society of British Artists.

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Reginald Arthur (British, fl.1881-1896) The watercarrier signed and dated ‘Reginald Arthur/1892’ (lower right) oil on canvas Unframed: 49 x 23.3 cm. (19 1/4 x 9 1/4 in.) Framed: 68 x 42.3 cm. (26 3/4 x 16 3/4 in.) £2,000 - 3,000 Provenance Private Collection, London.

Painted in 1892, the present work was completed the same year as Arthur’s monumental Death of Cleopatra ‘The Stroke of Death etc’, exhibited at the Royal Academy that year. Arthur lived at 47 Bedford Square, a stone’s throw from the British Museum, where he no doubt went to look for inspiration and ensure the historical accuracy of his classical compositions. Depictions of women carrying vases of wine and water appeared often in the late Victorian period; artists such as John William Godward,1 John William Waterhouse,2 and Lord Frederic Leighton would often include them in their classical scenes, the latter artist featuring vessels in ‘Captive Andromache’ as objects in their own right.3 References 1 ‘At the Fountain’, oil on canvas. Sale; Christie’s, New York, 13 October 2021, lot 27 2 ‘The Danides’, oil on canvas. Private Collection 3 I. Jenkins, ‘Frederick Lord Leighton and Greek vases’, in The Burlington Magazine, October 1983, p. 597-605

Old Master & 19th Century Art

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Thomas Couture (French, 1815-1879) Head study for ‘La Rêverie’, 1848 pencil Unframed: 44 x 36 cm. (17 3/8 x 14 1/8 in.) Framed: 68 x 55 cm. (26 3/4 x 21 5/8 in.) (oval) £1,000 - 1,500 Provenance Sale; Lyon & Turnbull, Edinburgh, 12 November 2015, lot 669 (as Follower of Dainel Maclise), where purchased by the present owner; Private Collection, London.

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The final oil painting for which this drawing is a study, was originally purchased by H.C.Newton c.1856, as the sitter had a likeness to his daughter Ellen Carter West (according to label) and was then sold at auction (Woolley & Wallis) in the UK in March 2026.

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Abraham Solomon (British, 1824-1862) “I love another!” signed with monogram and dated ‘1861’ (lower left) oil on canvas Unframed: 53.5 x 42.5 cm. (21 x 16 3/4 in.) Framed: 69 x 57 cm. (27 1/8 x 22 1/2 in.)

Born in London into a wealthy Orthodox Jewish family, Abraham Solomon’s prodigious artistic talents were noticed at a young age. He encouraged his siblings Simeon Solomon (1840-1905) and Rebecca Solomon (1832-1886) to also pursue a career in art. Although his masterpieces, Waiting for the Verdict, and Not Guilty (1857-9; Tate Gallery) are courtroom dramas strongly tinged with social realism, he was equally at home in with subjects drawn from literature, and lighter genre.

£1,500 - 2,500 Provenance Sale; Bonhams, London, 21 March 2017, lot 101, where purchased by the present owner; Private Collection, London.

Old Master & 19th Century Art

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Achille Mollica (Italian, 1832-1885) Portrait of an Italian lady initialled ‘A.M’ (lower right) oil on canvas Unframed: 90.5 x 75.1 cm. (35 5/8 x 29 1/2 in.) Framed: 103.2 x 87.9 cm. (40 5/8 x 34 1/2 in.) £2,000 - 3,000 Provenance Private Collection, U.K. A Neapolitan genre painter, Mollica was active in Naples in the second half of the 19th Century, and his depictions of figures such as the present example are typical of the Southern Verisimo style.

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German School (19th Century) Portrait of a lady, three-quarter length, wearing a white blouse and necklace oil on canvas Unframed: 54 x 49.5 cm. (21 1/4 x 19 1/2 in.) Framed: 76 x 72 cm. (29 7/8 x 28 3/8 in.) £400 - 600 Provenance Private Collection, U.K.

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Frederick Sandys (British, 1829-1904) Portrait of Augusta Jones (b.1843) signed and dated ‘F. Sandys/1864’ (lower left) pencil Unframed: 24.5 x 23.7 cm. (9 5/8 x 9 3/8 in.) Framed: 39 x 39 cm. (15 3/8 x 15 3/8 in.) £5,000 - 7,000 Provenance Sale; Sotheby’s, Belgravia, 20 November 1979, lot 59; Where purchased by J.S. Maas Gallery, London; Where purchased by the present owner; Private Collection, London. Literature B. Elzea, ‘Frederick Sandys 1829-1904 A Catalogue Raisonné’, Woodbridge, 2001, p. 182, no. 2.A.76, illustrated. Augusta was one of three sisters famous as Pre-Raphaelite models in the 1860s, the other two sisters being Mary Emma Jones and Emelie Eyre ‘Milly’ Jones. The sisters were from Hull but emigrated to London in about 1862-3. Mary became Sandys’ lover in 1867 and bore him twelve children, but they never married. The sisters modelled for artists including D.G. Rossetti, James McNeill Whistler, Frederic, Lord Leighton, Albert Moore, Edward Poynter, Simeon Solomon and Henry Holiday. Ausgusta also modelled on many occasions during the 1860s for Sir Edward Burne-Jones and appears as the musician in ‘The Lament’,1 the figure in ‘Astrologia’2 and ‘Princess Sabra, The King’s Daughter, St George and the Dragon series’.3 Georgiana Burne-Jones described her as ‘a noble looking girl’ for whom the artist had ‘much regard and respect.’4 Augusta seems to have ceased modelling in the later 1860s, perhaps when she married the designer and architect Frederick Vincent Hart. References 1 https://www.eb-j.org/browse-artwork-detail/NzMx 2 https://www.eb-j.org/browse-artwork-detail/NTYw 3 https://www.eb-j.org/browse-artwork-detail/MTUzMA== 4 G. Burne-Jones, ‘Memorials of Edward Burne-Jones’, London, 1904, p. 302, p. 360

Old Master & 19th Century Art

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131

Sir Lawrence Alma-Tadema R.A. O.M. (Dutch/British, 1836-1912) Two Studies of Drapery for ‘The Contrary Oracle’ signed with initials and titled ‘LAT/the Contrary Oracle’’ (lower right, by the artist’s daughter Anna) pencil with red and white chalk Unframed: 10.4 x 27.3 cm. (4 1/8 x 10 3/4 in.) Framed: 24.9 x 41 cm. (9 3/4 x 16 1/8 in.) £1,000 - 2,000 Provenance The studio of the artist; The artist’s brother-in-law, Sir Edmund William Gosse (1849-1928), London; By descent in the Gosse family until the 1920s or 1930s; Acquired by a private collector; Thence by descent until 2015.

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Literature S. Moser, Painting Antiquity: Ancient Egypt in the Art of Lawrence Alma-Tadema, Edward Poynter and Edwin Long, New York 2020, p. 513, note 26 Part of a group of early drawings by Alma-Tadema, all taken from a sketchbook, which may be dated to circa 18571858. The drawings may be related to a series of paintings of Egyptian subjects, entitled ‘Going to the Oracle’ and ‘The Contrary Oracle’, that Alma-Tadema planned in 1857 and 1858, but never executed. The first owner of these drawings was Alma-Tadema’s brother-in-law, the art critic and biographer Edmund Gosse (1849-1928). In 1882 Gosse, who was married to a sister of Alma-Tadema’s second wife, Laura Epps, published one of the first biographies of the artist, in which he noted that some of his paintings of Egyptian subjects ‘are to be counted among the highest expressions of Alma-Tadema’s genius.’ Reference E. W. Gosse, ‘Lawrence Alma-Tadema. R.A.’, in Illustrated Biographies of Modern Artists, edited by François Guillaume Dumas, London and Paris 1882, p. 78

132

Sir Edward Poynter (British, 1836-1919) A scene from ‘Sintram and His Companions’ signed with monogram and dated ‘Finished April 9. 1859’ (lower left), inscribed ‘”Worship, or Fly.”’ (lower centre) pencil Unframed: 23.5 x 17.5 cm. (9 1/4 x 6 7/8 in.) Framed: 49 x 42.5 cm. (19 1/4 x 16 1/4 in.) £1,500 - 2,500 Provenance Sale; Keys Fine Art, Aylsham, 5 December 2008, lot 602; With Sim Fine Art, Chislehurst, where purchased by the present owner; Private Collection, London.

An early example by Poynter, this drawing depicts a scene from Friedrich de la Motte Fouque’s 1814 gothic novel, ‘Sintram and His Companions’. The moment shows Sintram exclaiming to an evil presence; ‘Then Sintram drew the sword which Gabrielle had given him, held the cross of the hilt before the eyes of his evil guest, and said, calmly, but with a powerful voice, “Worship or fly!” And he fled, the frightful stranger, - he fled with such lightning speed, that it could scarcely be seen whether he had sprung through the window or the door.’1 Reference 1 https://www.gutenberg.org/files/2824/2824-h/2824-h.htm

Old Master & 19th Century Art

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133

Richard Caton Woodville Jr (British, 1856-1927) Portrait of a woman in profile signed ‘R. Caron Woodwille’ (lower right) watercolour Unframed: 19 x 24.5 cm. (7 1/2 x 9 5/8 in.) Framed: 51 x 44 cm. (20 7/8 x 17 1/4 in.) £200 - 300 Provenance Private Collection, U.K.

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134

Rose Fraser (Scottish, fl.1908-1916) Mother and child signed ‘Rose M Fraser’ (lower right) watercolour Unframed: 22.5 x 13 cm. (8 7/8 x 5 1/8 in.) Framed: 40 x 30 cm. (15 3/4 x 11 3/4 in.) £300 - 500 Provenance Private Collection, U.K.

Old Master & 19th Century Art

161

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135

Louis Anquetin (French, 1861-1932) Allegory of the Massacre of the Innocents bears studio stamp ‘Anquetin’ (lower right); bears studio stamp (verso) black chalk and graphite Unframed: 33.7 x 23 cm (13 1/4 x 9 in.) £800 - 1,200 Provenance By descent to the artist’s heirs, by whom sold at his studio sale ‘Atelier Louis Anquetin, 1861-1932’; Hôtel Drouot, Thierry de Maigret, Paris, 28 November 2008 (Anquetin’s drawings were marked with 2 Cachets d’atelier: Lugt 3815 (recto, replicating his signature) and Lugt 3816 (verso, his studio stamp)); Private Collection, U.K. Louis Anquetin, an extraordinary draughtsman, lithographer and painter, studied at the École des Beaux-Arts, Paris, where he developed a close friendship with Henri de Toulouse-Lautrec. Together they entered the studio of the academic painter Fernand Cormon, where they befriended Émile Bernard and Vincent van Gogh. Cormon prepared his students to meet the strict standards of the Salon jury, but in this respect these young nonconformists proved to be his least successful students. Having completed their studies, this band of radicals assembled at the café-cabaret hotspots in Montmartre where they enlisted Paul Gauguin. For his part, Anquetin emerged as a prime mover of the Parisian avant-garde. In 1887 he and Bernard developed Cloisonnism, rejecting naturalism for greater abstraction and symbolism.1 The present drawing is a comparatively rare example from around the mid-1890s when the artist’s focus shifted to the Old Masters - most notably Rubens. Here, the dramatic lighting and sweeping diagonal movement of the twisting, muscular figures are clearly inspired by Rubens’s religious paintings. Anquetin’s visionary allegorical scene of the Massacre of the Innocents is astonishing. The intense chalkwork captures the visceral physical struggle between the executioners - one bearing a knife, the other a mallet - and their victim, bound to the upright of the cross and desperately struggling to protect her newborn infants. Anquetin further developed the narrative in three studies in private collections. The first, executed in black and red chalks, shows the figure of Christ in full. He witnesses the event, his body counterpointing that of the mother as their gazes meet. The knife-wielding executioner has been moved to the right of the composition, while further victims of the massacre and a horseman, who stares up at Christ, have been added on the left. Directly above him, a Pope enthroned beneath a canopy raises his hand as though imploring the perpetrators to relent. The second study renders the narrative more dramatically in dense flurries of black chalk. Here a shaft of celestial light descends upon the mother at the foot of the cross. Finally, in the papal canopy is more fully realised, and by smudging the secondary areas of the composition, the primary figures are given greater prominence. At the foot of the drawing are colour notes, but it is not known whether a related painting was ever executed. Whether or not he was driven by religious devotion, Anquetin was evidently deeply moved by the tragic biblical narrative of the Massacre of the Innocents (Matthew 2:16-18). His anachronistic allegory - placing Christ and the Pope in the same chaotic scene - verges on surrealism. By depicting Christ, about to expire on the cross and witnessing the deaths of the very first martyrs who died in his place, Anquetin collapses centuries of history into what may be a uniquely powerful critique. Ultimately, however, the artist’s true intentions remain an enigma. Reference 1 Brame et Lorenceau, Anquetin, La passion d’être peintre, Paris 1991, p. 17

Old Master & 19th Century Art

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Rosa Bonheur (French, 1822-1899) Man stood with a sheep with stamped signature (lower right) pencil Unframed: 16 x 18 cm. (6 1/4 x 7 1/8 in.) Framed: 35.2 x 36.1 cm. (13 7/8 x 14 1/4 in.) £600 - 800 Provenance Sale; Phillips, London, 11 May 1990, where purchased with a further work by the artist; With Abbott and Holder, London; Private Collection, London. The Property of a Lady

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Marie-Rosalie Bonheur was born in Bordeaux, the eldest of four children who all became artists, and is known to have grown up with a love of animals, and a fascination with their relationships with people. In the 1840s she travelled around the French countryside, making detailed studies of each new breed she encountered, often depicting them with farmers such as the present example. Bonheur was decorated with the French Legion of Honour by Empress Eugenie in 1865, before being promoted to Officer of the Order in 1894. She was the first female artist to receive this award.

137

Henry le Jeune (British, 1819-1904) The butterfly monogrammed and dated ‘1865’ (lower right) oil on panel Unframed: 60 x 49.5 cm. (23 5/8 x 19 1/2 in.) Framed: 77 x 67 cm. (30 1/4 x 26 3/8 in.) £3,000 - 5,000 Provenance With Colin Stodgell Fine Art, Torquay; Sale; Bonhams, London, 20 March 2019, lot 161, where purchased by the present owner; Private Collection, London.

Le Jeune was born in London, where he lived in Hampstead for over forty years. He studied at the Royal Academy schools from 1834, first exhibiting at the Royal Academy in 1840, where he went on to exhibit 84 pictures between then and 1863. In his later career he predominantly became recognised for his playful and picturesque depictions of children, of which the present painting is an example.1 Reference 1 Lee, S.E. Dictionary of National Biography, Vol. 2, London, page 451

Old Master & 19th Century Art

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138

William Hatherell (British, 1855-1928) Romeo signed and dated ‘W.HATHERELL./1880.’ (upper left) oil on canvas Unframed: 51 x 41 cm. (20 1/8 x 16 1/8 in.) Framed: 84.5 x 74.5 cm. (33 1/4 x 29 3/8 in.) £3,000 - 5,000 Provenance Sale; Christies, London, 13 December 1978, lot 309, where purchased by the present owner.

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Born in Bristol, William Hatherall studied at the Royal Academy Schools from 1877-1879. Following his studies he created illustrations for a variety of magazines and books whilst also exhibiting work at the Royal Academy from 1879. He also became a member of several exhibiting societies including the Royal Institute of Painters in Water-Colours (1888), the Royal Institute of Painters in Oils (1898), the Royal West of England Academy (1903) and the Royal British Colonial Society of Artists. As evident in the present portrait, Shakespeare’s Romeo and Juliet was the inspiration for Hatherell’s work on multiple occasions; for example, he produced 22 watercolours for Hodder’s edition of the play. Another example of Hatherell’s interpretations of moments in the play is currently held in the Tate collection (Reference: N02937) where Juliet is presented on her balcony calling out for Romeo.

139

Cornelis Kruseman (Dutch, 1797-1857) The Serenade signed and dated ‘C. Kruseman 1835’ (lower left) pencil and graphite on paper Unframed: 24 x 20 cm. (9 1/2 x 7 7/8 in.) Framed: 44.8 x 42 cm. (17 5/8 x 16 1/2 in.) £200 - 300 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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140

After Richard Parkes Bonington (British, 1802-1828) Francois l (King of France 1515-1547) and his sister, Marguerite de Navarre inscribed (to the window) oil on canvas Unframed: 35 x 27 cm. (13 3/4 x 10 5/8 in.) Framed: 61.5 x 53.5 cm. (24 1/4 x 21 in.) £300 - 500 Provenance Private Collection, U.K. After the original, currently held in The Wallace Collection, West Gallery II, London.

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141

Pre-Raphaelite School (British, mid-19th Century) Portrait of a young woman with red hair indistinctly signed and dated ‘Oct./72’ (lower right) watercolour Unframed: 29.5 x 22.5 cm. (11 5/8 x 8 7/8 in.) Framed: 56.5 x 45 cm. (22 1/4 x 17 3/4 in.) £300 - 500

Old Master & 19th Century Art

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142

Valentine Cameron Prinsep R.A. (British, 1838-1904) Head Study inscribed (verso) pencil Unframed: 20.5 x 36 cm. (8 x 14 1/8 in.) Framed: 40 x 53 cm. (15 3/4 x 20 7/8 in.) £500 - 700 Provenance With Abbott & Holder, London, where purchased by the present owner; Private Collection, London.

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143

Marcella Walker (British, 1872-1901) Portait of a lady in a winter landscape signed ‘Marcella Walker’ (lower left), further signed (verso) watercolour and bodycolour on board Unframed: 19 x 16.5 cm. (7 1/2 x 6 1/2 in.) Framed: 38.3 x 33.5 cm. (15 x 13 1/8 in.) £300 - 500 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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144

Josep Maria Tamburini i Dalmau (Spanish, 1856-1932) Two ladies in a forest signed ‘J.M Tamburini’ (lower right) oil on canvas Unframed: 148 x 80 cm. (58 1/4 x 31 1/2 in.) Framed: 164.5 x 95.5 cm. (64 3/4 x 37 5/8 in.) £800 - 1,200 Provenance Private Collection, U.K.

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Tamburini trained in Paris under the academic painter Léon Bonnat and subsequently studied in Rome and Naples. He achieved recognition for his work as early as 1888 with a silver medal at the Universal Exposition in Barcelona. He later became a member of the Board of Museums of Barcelona and co-founder of the Artistic and Literary Society of Catalonia. He began his career in history painting and anecdotal realism, before moving towards a symbolist language influenced by Pre-Raphaelites. Consequently, much of his works took on a highly literary quality. Tamburini’s work is preserved in institutions such as the Museu Nacional d’Art de Catalunya.

145

Dudley Hardy (British, 1867-1922) To the bull ring signed ‘Dudley Hardy’ (lower right), titled ‘To the bull ring’ (verso) oil on canvas Unframed: 71.5 x 61.3 cm. (28 1/8 x 24 1/8 in.) Framed: 91.2 x 80.7 cm. (35 7/8 x 31 3/4 in.) £600 - 800 Provenance Sale; Christie’s, London, 6 March 1992, lot 10, where purchased by the present owner. The Property of a Lady The son of maritime painter Thomas Bush Hardy, he began his own artistic training at the Akademie der Künste in Düsseldorf. He continued his studies in Antwerp (1884-1885) and Paris before exhibiting regularly at the Royal Academy from 1884 until 1922.

Old Master & 19th Century Art

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146

Charles William Wyllie (British, 1853-1923) Kew Bridge from Strand on the Green signed ‘Charlie W Wyllie’ (lower left) oil on canvas Unframed: 46 x 82 cm. (18 1/8 x 32 1/4 in.) Framed: 63 x 100 cm. (24 3/4 x 39 3/8 in.) £800 - 1,200 Provenance Private Collection, U.K.

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147

Edward Aubrey Hunt (American, 1855-1922) Punting on the river signed ‘Aubrey Hunt’ (lower right) oil on canvas Unframed: 52.5 x 34.8 cm. (20 5/8 x 13 3/4 in.) Framed: 76.9 x 59 cm. (30 1/4 x 23 1/4 in.) £400 - 600

Old Master & 19th Century Art

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148

Attributed to George Hitchcock (American, 1850-1913) Woodland landscape bears signature ‘Geo W. Hitchcock’ (lower left) oil on canvas Unframed: 51.5 x 76.5 cm. (20 1/4 x 30 1/8 in.) Framed: 80.5 x 106 cm. (31 3/4 x 41 3/4 in.) £800 - 1,200 Provenance Private Collection, U.K.

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149

Thomas Walter Wilson R.I. R.O.I. (British, 1851-1912) Henley Royal Regatta signed ‘Walter Wilson RI’ (lower right) oil on canvas Unframed: 51.5 x 90.5 cm. (20 1/4 x 35 5/8 in.) Framed: 69.5 x 108 cm. (27 3/8 x 42 1/2 in.) £2,000 - 3,000 Provenance With M. Newman Ltd, London; Private Collection, U.K.

Thomas Walter Wilson was well known for his drawings and illustrations, which appeared regularly in The Graphic and The Illustrated London News, but enjoyed wider recognition for his landscapes and genre scenes. During the 1870s he exhibited at the Society of British Artists and the Institute of Painters in Water Colours, of which he was elected a member in 1879. He also exhibited at the Royal Academy. The present scene shows Henley Royal Regatta during the Edwardian period, possibly capturing the Grand Challenge Cup race (a crew of eight) in the distance; the oldest race duing the event. Walter Wilson appears to have been interested in high society events and also painted ‘The Lawn at Goodwood’ in 1886 (location unknown).

Old Master & 19th Century Art

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150

Alfred Robert Hayward (British, 1875-1971) Summer on the river bank oil on canvas Unframed: 129 x 108 cm. (50 3/4 x 42 1/2 in.) Framed: 147.5 x 126 cm. (57 7/8 x 49 5/8 in.) £2,000 - 3,000 Provenance Sale; Christie’s, London, 22 November 1994, lot 335; Private Collection, London. The Property of a Lady

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151

Henning Jørgensen (Danish, 1883-1973) Interior signed ‘HENNING/JØRGENSEN’ (lower right) oil on canvas Unframed: 48.5 x 48.1 cm. (19 1/8 x 18 7/8 in.) Framed: 50.9 x 60.5 cm. (20 x 23 3/4 in.) £300 - 500 Provenance With Saunder Fine Art, London; Private Collection, U.K.

Old Master & 19th Century Art

179

152

William Lee Hankey (Irish, 1869-1952) Portrait of Colonel RH Goldthorp (1939) signed and dated ‘W. LEE-HANKEY./39’ (lower left), further inscribed and dated ‘Col R H Goldthorp DSO/Painted by W Lee Hankey RWS/1939’ (verso) oil on canvas Unframed: 58.5 x 47.5 cm. (23 x 18 3/4 in.) Framed: 74.8 x 63.8 cm. (29 1/2 x 25 1/8 in.) £400 - 600 Provenance Sale; Mallams, Oxford, 8 October 2004, lot 531; Sale; Christie’s, London, 3 March 2005, lot 40; Where purchased by the present owner. Property from a Distinguished U.K. Private Collection

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153

Sir David Young Cameron R.A. (Scottish, 1865-1945) Cir Mohr, Isle of Arran (1922) oil on canvas Unframed: 34 x 44 cm. (13 1/8 x 17 1/8 in.) Framed: 59 x 68 cm. (23 x 26 3/4 in.)

Cir Mohr, Scotland, was a view much admired by Sir David Young Cameron, who produced multiple paintings of this area. A sketch of the same view by the artist (also recorded as being held by Barbizon House, no. 1190), could perhaps be a preparatory study for the present painting.1 Reference 1 Courtauld_030448_Witt_041427_0040

£3,000 - 5,000 Provenance Barbizon House, B.H. no 1922; David Croall Thomson (1855-1930), London; With Fine Art Society, London; With Ewan Mundy Fine Art Ltd, Glasgow; Sale; Bonhams, London, 14 April 1994, lot 6; Private Collection, U.K.

Old Master & 19th Century Art

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Paul Rudolf Heinrich Poetzsch (German, 1858-1936) Riverside view signed and located ‘P POETZSCH. DRSDN’ (lower right) oil on canvas Unframed: 66.5 x 84.5 cm. (26 1/8 x 33 1/4 in.) Framed: 92 x 110 cm. (36 1/4 x 43 1/4 in.) £400 - 600 Provenance Private Collection, London. The Property of a Lady

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155

Auguste Henri Musin (Belgian, 1852-1923) Habour at dusk signed ‘Augst Musin’ (lower right) oil on canvas Unframed: 78 x 129.5 cm. (30 3/4 x 51 in.) £600 - 800

Old Master & 19th Century Art

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156

Clara Montalba (British, 1842-1929) Shipping, Amsterdam signed, located and dated ‘Clara Montalba/Amsterdam 85’ (lower left) watercolour Unframed: 26.5 x 17.8 cm. (10 1/2 x 7 in.) Mounted: 47.5 x 34 cm. (18 5/8 x 13 3/8 in.) £300 - 500 Provenance Private Collection, London.

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157

James Edwin Meadows (British, 1828-1888) Hauling in the lobster pots signed and dated ‘1869 Jas E Meadows’ (lower left) oil on canvas Unframed: 30.5 x 56 cm. (12 x 22 in.) Framed: 43 x 68.4 cm. (17 x 26 7/8 in.) £400 - 600 Provenance Sale; Christie’s, London, 13 May 2009, lot 801

Old Master & 19th Century Art

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Charles Richardson (British, 1829-1908) Fishermen and sailors in choppy seas along a rocky coastline with a frigate lying at anchor signed ‘C Richardson’ (lower right) oil on canvas Unframed: 38.5 x 68.5 cm. (15 1/8 x 27 in.) Framed: 66.8 x 96.5 cm. (26 1/4 x 38 in.) £400 - 600

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159

Richard Barnett Spencer (British, 1854-1923) Admiral Duncan’s victory over the Dutch at Camperdown, 1797 oil on canvas Unframed: 47 x 71.5 cm. (18 1/2 x 28 1/8 in.) Framed: 64.5 x 90.5 cm. (25 3/8 x 35 5/8 in.) £1,500 - 2,500 Provenance Private Collection, London.

The Battle of Camperdown was fought on the 11th of October 1797. The battle took place between the British Royal Navy’s North Sea Fleet (led by Admiral Adam Duncan), and a Batavian Navy fleet (led by Vice Admiral Jan Willem de Winter). Duncan’s fleet achieved a decisive victory over de Winter’s in the most significant conflict between British and Batavian forces during the French Revolutionary Wars, seizing eleven ships while suffering no losses themselves.1 Reference 1 D. Stewart et al., Encyclopaedia Britannica, A. & C. Black.

Old Master & 19th Century Art

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Charles Thornley (British, fl.1858-1898) Margate and Whitby each signed ‘Thornley’ (lower left), and titled ‘Whitby’ and ‘Margate’ (lower right) respectively each oil on panel Each unframed: 25 x 20 cm. (9 7/8 x 7 7/8 in.) Each framed: 36 x 31 cm. (14 1/8 x 12 1/4 in.) (2) £500 - 700 Provenance Private Collection, U.K.

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161

British School (late 19th Century) A coastal scene with a windmill and busy harbour beyond oil on canvas Unframed: 24 x 31 cm. (9 1/2 x 24 1/4 in.) Framed: 47 x 54 cm. (18 1/2 x 21 1/4 in.) £200 - 300

Old Master & 19th Century Art

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162

British School (mid-late 19th Century) Shipping in a Mediterranean cove oil on panel Unframed: 18 x 35 cm. (7 x 13 3/4 in.) Framed: 30 x 50 cm. (12 x 19 3/4 in.) £300 - 500 Provenance Private Collection, U.K.

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163

John Christopher Bell (British, 1823-1892) A Yorkshire Terrier on the scent signed ‘J C Bell’ (lower left) oil on canvas Unframed: 38 x 56 cm. (15 x 22 in.) Framed: 52.3 x 70.1 cm. (20 5/8 x 27 5/8 in.) £1,000 - 1,500 Provenance Private Collection, London.

Old Master & 19th Century Art

191

164

English School (19th Century) Portrait of a gentleman oil on canvas laid on board Unframed: 78 x 64 cm. (30 11/16 x 25 3/16 in.) Framed: 100 x 90 cm. (39 1/2 x 35 1/2 in.) £300 - 500 Provenance Collection of the Hull and East Riding Hospital Trust; Their sale; Gilbert Baitson Auctioneers, Hull, 9 July 2025, lot 8.

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British School (early/mid 19th Century) Portrait of a gentleman, bust length, wearing a dark jacket and tied black stock oil on canvas together with; Portrait of a lady, wearing a bonnet and puffed sleeve dress oil on canvas Each unframed: 76 x 63 cm. (30 x 24 3/4 in.) Each framed: 97 x 84 cm. (38 x 33 in.) (2) £400 - 600 Provenance Private Collection, Solihull; Thence by inheritance to the present owner.

Old Master & 19th Century Art

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British School (late 19th Century) An artist’s self-portrait oil on canvas Unframed: 62.5 x 46.5 cm. (24 5/8 x 18 1/4 in.) Framed: 74 x 60 cm. (29 1/8 x 23 5/8 in.) £300 - 500

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167

John Frederick Hulk II (Dutch, 1855-1913) Village street signed ‘J Hulk’ (lower left) oil on canvas Unframed: 45 x 35 cm. (17 3/4 x 13 3/4 in.) Framed: 58 x 48.5 cm. (22 7/8 x 19 1/8 in.) £300 - 500 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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168

Louis Lasalle (French, 1808-1885) After school signed ‘Louis Lasalle’ (lower right), inscribed ‘ÉCOLE COMMUNALE’ (upper left) oil on canvas Unframed: 45.5 x 35.8 cm. (17 7/8 x 14 1/8 in.) Framed: 75 x 66 cm. (29 1/2 x 26 in.) £300 - 500

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169

£2,000 - 3,000

Rousseau exhibited at the Paris Salon from 1834, and his success at the Salon of 1845 “signified his breakthrough as a painter of still lifes and animals”.1 From 1843 onwards, “Philippe Rousseau never stopped painting still lifes”.2 His work “drew inspiration from seventeenth-century Netherlandish art, or from eighteenth-century French antecedents”, particularly the paintings of Jean-Baptiste Oudry and Jean-Siméon Chardin.3

Provenance The collection of Bernard Kelly (1930-2022); Thence by descent.

During his career, Rousseau received medals at the Salon in 1845, 1848, and 1855, and was appointed a Knight of the Legion of Honour in 1852, becoming an Officer in 1870.

Philippe Rousseau (French, 1816-1887) Still life of hanging game, eggs and onions oil on canvas Unframed: 64 x 48 cm. (25 1/4 x 18 7/8 in.) Framed: 92 x 76 cm. (36 1/4 x 29 7/8 in.)

References 1 R. de Leeuw, Philippe Rousseau 1816 1887, 19th Century Masters 1, Van Gogh Museum Amsterdam 1993, p. 10 2 R. de Leeuw, p. 34 3 R. de Leeuw, p. 34

Old Master & 19th Century Art

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Willem Rathjens (British, 1842-1882) Still life of flowers initialled ‘WR’ (lower right) oil on canvas Unframed: 56 x 50 cm. (22 x 19 1/2 in.) Framed: 82 x 76 cm. (32 1/8 x 30 in.) £600 - 800 Provenance The collection of Bernard Kelly (1930-2022); Thence by descent.

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171

George Frederick Hughes (British, active c.1859-1893) Cockatoo and kitten signed ‘G F Hughes’ (lower left) oil on canvas Unframed: 74.7 x 62.1 cm. (29 3/8 x 24 1/2 in.) Framed: 89.9 x 77.3 cm. (35 3/8 x 30 3/8 in.) £400 - 600 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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172

Ferdinand Victor Roybet (French, 1840-1920) The cavalier signed ‘F. Roybet’ (lower left) oil on panel Unframed: 59.5 x 43.5 cm. (23 3/8 x 17 1/8 in.) Framed: 78 x 62 cm. (30 3/4 x 24 3/8 in.) £1,000 - 2,000 Provenance With MacConnal-Mason Gallery, London; Private Collection, U.K.

200

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173

Edgar Bundy (British, 1862-1922) Provocation signed ‘Edgar Bundy’ (lower right) oil on canvas Unframed: 51 x 76 cm. (20 1/8 x 29 7/8 in.) Framed: 77 x 102 cm. (30 1/4 x 40 1/8 in.) £400 - 600 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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174

George Sheridan Knowles (British, 1863-1931) End of the journey signed ‘G Sheridan K [.....]’ (lower left) oil on canvas Unframed: 47 x 34 cm. (18 1/2 x 13 3/8 in.) Framed: 69.5 x 57 cm. (27 3/8 x 22 3/8 in.) £500 - 700 Provenance Private Collection, U.K.

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175

Joseph Thors (Dutch/British, 1835-1920) Countryside stroll signed ‘J.Thors’ (lower right) oil on canvas Unframed: 64 x 61 cm. (25 1/8 x 24 in.) Framed: 88 x 76 cm. (34 5/8 x 29 7/8 in.) £400 - 600 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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176

John Holding (British, act. late 19th Century) Poacher in a wood with gamebirds signed ‘John Holding’ (lower left) oil on canvas Unframed: 62 x 46 cm. (24 1/2 x 18 in.) Framed: 86 x 71 cm. (33 3/4 x 28 in.) £200 - 300 Provenance Private Collection, Oxfordshire.

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177

British School (early 19th Century) Pigs at the sty initialled ‘G M’ (centre left) oil on canvas Unframed: 28 x 36 cm. (11 x 14 1/4 in.) Framed: 33 x 41 cm. (13 x 16 in.) £300 - 500 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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178

British School (19th Century) Sheep in a pastoral landscape signed ‘M king’ (lower right) oil on canvas Unframed: 40.5 x 50.9 cm. (15 15/16 x 20 in.) £300 - 500 Provenance Property from a Distinguished U.K. Private Collection

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179

George Turner (British, 1843-1910) Duffield Church; Kirk Ireton, Derbyshire each signed ‘G Turner’ (lower left), each titled and signed (verso) each oil on panel Unframed: 24 x 36 cm. (9 1/2 x 14 in.) Framed: 34 x 46 cm. (13 1/2 x 18 in.) (2) £400 - 600 Provenance In the same family collection for over 100 years.

Old Master & 19th Century Art

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John W Morris (British, 1865-1924) The day’s catch signed ‘John Morris’ (lower left) oil on canvas Unframed: 39.5 x 59.5 cm. (15 1/2 x 23 1/2 in.) Framed: 52 x 72 cm. (20 1/2 x 28 1.4 in.) £1,000 - 2,000 Provenance Private Collection.

Old Master & 19th Century Art

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181

Frank Hider (British, 1861-1933) A farmer herding his cows signed ‘Frank Hider’ (lower right) oil on canvas Unframed: 51 x 76.5 cm. (20 1/8 x 30 1/8 in.) Framed: 79 x 105 cm. (31 1/8 x 41 3/8 in.) £200 - 300

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182

British School (c.1905) Two landscapes Pastoral summer’s evening oil on canvas Unframed: 35.8 x 51.1 cm. (14 1/8 x 20 1/8 in.) together with; Hunters with a bow and arrow flushing birds indistinctly signed and dated ‘GT 1905’ (lower left) oil on canvas Unframed: 40.7 x 56 cm. (16 x 22 in.) (2) £200 - 300

Old Master & 19th Century Art

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183

British School (19th Century) A pair of English landscapes each signed ‘R Percy’ (lower left) each oil on canvas Each unframed: 40.5 x 61 cm. (16 x 24 in.) Each framed: 62 x 82 cm. (24 3/8 x 32 1/4 in.) (2) £400 - 600

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184

George Blackie Sticks (Scottish, 1843-1938) Loch Long signed and dated ‘G B Sticks, 1893’ (lower right) oil on canvas Unframed: 38.5 x 46 cm. (14 1/8 x 18 1/4 in.) Framed: 61 x 69 cm. (24 x 27 1/8 in.) £400 - 600 Provenance Private Collection, U.K.

Old Master & 19th Century Art

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185

British School (19th Century) A highland landscape, with a bridge beyond oil on paper Unframed: 53 x 40.5 cm. (20 7/8 x 16 in.) Mounted: 68.5 x 51 cm. (27 x 20 1/8 in.) £300 - 500 Provenance With Stone Gallery, Newcastle (as Sir Edwin Landseer R.A.).

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186

Thomas Baker of Leamington Spa (British, 1809-1864) A collection of five British landscapes first: In Stoneleigh signed and dated ‘T. Baker, 1861’ (lower right) Unframed: 19.3 x 26.5 cm. (7 5/8 x 10 1/2 in.) Framed: 38 x 44.5 cm. (15 x 17 1/4 in.) second: On the Leam (Willows) signed and dated ‘T. Baker, 1855’ (lower right) Unframed: 20.7 x 30.3 cm. (8 1/4 x 11 7/8 in.) Framed: 41.5 x 49.5 cm. (16 1/4 x 19 1/2 in.)

fourth: Saxon Mill signed ‘T. Baker, 1859’ (lower left) Unframed: 24.5 x 36 cm. (9 5/8 x 14 1/8 in.) Framed: 45.5 x 56 cm. (22 x 18 in.) fifth: Weston Mill signed ‘T. Baker, Weston, May 1857’ (lower right) Unframed: 25 x 35 cm. (9 7/8 x 13 3/4 in.) Framed: 48 x 56.5 cm. (22 1/4 x 19 in.) Each watercolour (5) £200 - 300

third: Kenilworth Castle and Cottages signed ‘T. Baker 1864’ (lower left) Unframed: 25 x 34.5 cm. (9 7/8 x 13 5/8 in.) Framed: 47 x 60.5 cm. (18 1/2 x 23 3/4 in.)

Old Master & 19th Century Art

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187

John Gibb (British, 1831-1909) Herding geese signed and dated ‘John B Gibb/1906’ (lower left) watercolour Unframed: 37 x 46 cm. (14 1/2 x 18 in.) Framed: 55 x 64 cm. (21 5/8 x 25 1/4 in.) £150 - 250 Provenance Private Collection, Oxfordshire.

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188

Charles Paget Wade (British, 1883-1956) A collection of drawings and watercolours, including views of Bonnières 10 pencil drawings: Each approximately unframed: 15 x 10 cm. (5 7/8 x 3 7/8 in.) together with; 4 watercolours: Each approximately unframed: 13 x 18 cm. (5 1/8 x 7 1/8 in.) together with; 3 ink drawings: Each approximately unframed: 14.5 x 7.5 cm. (5 3/4 x 3 in.) (17) £400 - 600

Old Master & 19th Century Art

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189

Arthur Joseph Meadows (British, 1843-1907) A Venetian view across the Grand Canal with the Santa Maria delle Salute beyond signed and dated ‘Arthur Meadows, 1906’ (lower right) oil on canvas Unframed: 30 x 50 cm. (12 x 19 3/4 in.) Framed: 56 x 76 cm. (22 x 30 in.) £800 - 1,200 Provenance Private Collection, U.K.

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190

William Knox (British, 1862-1925) Venetian lagoon signed and dated ‘William Knox, 1915’ (lower left) watercolour Unframed: 25.5 x 36.5 cm. (10 x 14 3/8 in.) Framed: 52.2 x 58.6 cm. (20 1/2 x 23 1/8 in.) £200 - 300

Old Master & 19th Century Art

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191

Arthur Vidal Diehl (British/American, 1870-1929) A gondola on the Venetian lagoon signed and dated ‘Arthur V. Diehl 1908 -’ (lower left) oil on canvas Unframed: 35.7 x 53.5 cm. (14 x 21 in.) Framed: 59.5 x 76.5 cm. (23 3/8 x 30 1/8 in.) £300 - 500 Provenance Private Collection, U.K.

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192

Spyridon Scarvelli (Greek, 1868-1942) The Sail of Ulysses, Corfu. c.1900 signed ‘Scarvelli’ (lower left) watercolour Unframed: 34 x 56 cm. (13 3/8 x 22 in.) Framed: 52.5 x 74.1 cm. (20 5/8 x 29 1/8 in.) £800 - 1,200 Provenance With The Parker Gallery, London; Private Collection, U.K.

Old Master & 19th Century Art

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193

Andrea Biondetti (Italian, 1851-1946) View of the Palazzo Ducale and St Mark’s Campanile, Venice signed ‘ABiondetti’ (lower left) watercolour Unframed: 18 x 29 cm. (7 x 11 1/2 in.) Framed: 34 x 46 cm. (13 1/4 x 18 in.) £200 - 300 Provenance Private Collection, London.

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194

Alfred East R.A. (British, 1849-1913) Shipping on a Venetian Lagoon signed ‘Alfred East RA’ (lower right) oil on canvas Unframed: 51 x 62 cm. (20 1/8 x 24 3/8 in.) Framed: 59.9 x 69.8 cm. (23 5/8 x 27 1/2 in.) £300 - 500 Provenance The Property of a Gentleman

Sir Alfred East studied at Glasgow School of Art and then at the Ecole des Beaux-Arts under Robert-Fleury (French, 1837-1911) and Bouguereau (French, 1825-1905). His romantic landscapes show the influence of the Barbizon school. East became the president of the Royal Society of British Artists and was awarded a knighthood in 1910 by King Edward VII. The Alfred East Art Gallery in Kettering, U.K., the artist’s hometown, holds the largest and most significant collection of his work.

Old Master & 19th Century Art

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195

Vincenzo Ciappa (Italian, act.1900-1940) Fishing boats in the Bay of Naples, Mount Vesuvius beyond signed ‘V. Ciappa’ (lower right) oil on canvas Unframed: 55 x 77.5 cm. (21 5/8 x 30 1/2 in.) Framed: 69.5 x 92 cm. (27 3/8 x 36 1/4 in.) £500 - 700 Provenance Private Collection, U.K.

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196

Russian School (early 20th Century) Mimosa flowers in an urn signed indistinctly (lower left) oil on canvas Unframed: 56 x 47 cm. (22 x 18 1/2 in.) Framed: 73 x 63.4 cm. (28 3/4 x 25 in.) £300 - 500

Old Master & 19th Century Art

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197

Richard George Matthews (Canadian, 1870-1955) Portrait of a lady signed with initials and dated ‘R. G. M/1906’ (lower right) pastel Unframed: 57.5 x 38.5 cm. (22 5/8 x 15 1/8 in.) Framed: 68.5 x 50.5 cm. (27 x 19 7/8 in.) £200 - 300 Provenance Private Collection, U.K.

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198

Cecil Aldin (British, 1870-1935) ‘Sinks, but James Piggs a brick’ monogrammed ‘Cecil Alidin’ (lower left), inscribed and titled ‘Chap LV/Sinks but James Piggs a brick/3 1/2 high’ (lower margin) pen and black ink with watercolour on artists board Unframed: 27 x 19 cm. (10 1/2 x 7 1/2 in.) Framed: 42 x 31 cm. (16 1/4 x 12 1/4 in.) £300 - 500 Provenance Private Collection, Oxfordshire. The present composition is taken from chapter 55 of ‘Handley Cross or Mr. Jorrock’s Hunt’ by R. S. Surtees. It would have been executed for a later edition of 1911, published by Edward Arnold in the same year.

Old Master & 19th Century Art

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199

Alfred Chantrey Corbould (British, 1852-1920) Experientia docet signed and dated ‘A C Corbould, Dec 1892’ (lower left), further inscribed ‘Experientia docet. “Send her at it! You must go over!” And so he did. “Punch” Mar: 14, 85.’ (lower centre) watercolour Unframed: 25.5 x 16 cm. (10 x 6 1/4 in.) Framed: 40 x 29 cm. (15 3/4 x 11 3/8 in.) £300 - 500 Provenance Private Collection, Oxfordshire. ‘Experientia docet’ is Latin for ‘Experience teaches.’ moment where instinct, muscle memory, and raw courage take over. The phrase ‘Send her at it! You must go over!’ is a classic, high-stakes exclamation urging a rider to gallop a horse directly at a large obstacle such as a ditch, hedge, or stone wall with total commitment, leaving no room for hesitation.

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200

William Walcot (Russian/Scottish, 1874-1943) The Statue of King Charles I, Charing Cross (1919) signed ‘WWalcot’ (lower right) etching Unframed: 11 x 14 cm. (4 1/4 x 5 1/2 in.) Framed: 35 x 37 cm. (13 3/4 x 14 1/2 in.) £150 - 250 Provenance The Property of a Gentleman

Old Master & 19th Century Art

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201

James McBey (Scottish, 1883-1959) Group of etchings Carmarthen (A view in Wales) signed within the plate ‘James McBey’ (lower right), numbered ‘III’ (lower left), titled and dated ‘1911’ (lower centre) etching together with; A Norfolk village (Wells on Sea), 1915 signed ‘James Mcbey’ (lower right) and numbered ‘XXIV’ (24) (lower left) etching together with; Logie Buchan Ferry signed ‘James Mcbey’ (lower right), numbered ‘XXX’ (30) (lower left), and dated within the plate ‘12th August 1905’ (lower left) etching Each unframed: 16 x 23 cm. (6 1/4 x 9 in.) Each framed: 40 x 48 cm. (16 x 19 in.) (3) £400 - 600 Provenance The Property of a Gentleman

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202

Wenceslaus Hollar Von Prachna (Czceh, 1607-1677) Sir William Butts; Lady Margaret Butts, after Holbein (1647) etching later state with Bierling inscription Each unframed: 14.5 x 10 cm. (5 3/4 x 10 in.) (sheet) (2) £300 - 500 Provenance Private Collection, London. State I: Contains only the artists’ signatures (HHolbein inu: / WHollar fecit 1649). State II / III: The plate was updated by the publisher, adding A. Alexius Bierling exc., and often a plate sequence number (such as a 7.) in the bottom right corner.

Old Master & 19th Century Art

231

203

British School (late 18th-early 19th Century) A collection of six miniature portraits of gentleman to include a portrait of Rev. Edward Bankes by John Kirby Baldrey of Cambridge (1754-1828), c.1813 each watercolour on ivory (6, varying sizes) Submission reference E9WQRADO £400 - 600 Provenance Private Collection, U.K.

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204

A late 19th-early 20th Century Eastern Orthodox Icon The Virgin Mary (Theotokos) oil on panel Unframed: 29.2 x 21.5 cm. (11 1/2 x 8 1/2 in.) £400 - 600 Provenance Property from a Distinguished U.K. Private Collection

Old Master & 19th Century Art

233

205

A 19th Century Russian icon Virgin of Vladimir egg tempera on gesso with gold leaf Unframed: 30 x 26 cm. (12 x 10 1/4 in.) together with; A 20th century Russian icon St George slaying the dragon egg tempera with punch work gold leaf Unframed: 18 x 14 cm. (7 x 5 1/2 in.) (2) £400 - 600 Provenance Private Collection, U.K.

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206

A 19th Century Russian icon The Fiery Ascension of the Prophet Elijah egg tempera and gold leaf on panel Unframed: 38 x 32 cm. (15 x 24 1/2 in.) £300 - 500

Old Master & 19th Century Art

235

207

A 19th Century Russian icon Bishops before the Mother of God egg tempera on gesso with gold leaf Unframed: 21.5 x 17.5 cm. (8 1/2 x 6 7/8 in.) Framed: 33.3 x 27.9 cm. (13 1/8 x 11 in.) £400 - 600 Provenance Private Collection, U.K.

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208

A 19th Century Russian icon The appearance of the Mother of God to St Sergiy of Radonezh egg tempera on gesso with gold leaf Unframed: 27 x 23 cm. (10 1/2 x 9 in.) £250 - 350

Old Master & 19th Century Art

237

209

A 19th Century Russian icon Hospitality of Abraham egg tempera on gesso Unframed: 38 x 46 cm. (15 x 18 in.) £300 - 500 Provenance Private Collection, U.K. “The Hospitality of Abraham” is a famous biblical and Orthodox Christian subject based on Genesis 18:1-15. Abraham receives three mysterious visitors near the oak of Mamre. He welcomes them with extraordinary hospitality, offering them food and rest. In Christian tradition, the three visitors are understood as a manifestation of the Holy Trinity. The subject became especially famous through Andrei Rublev’s early fifteenth century icon, often simply called “The Trinity”, held in the Trinity Lavra of St. Sergius.

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210

A Florentine 17th Century carved, pierced, swept and gilded frame With C-scroll and leaf sight edge, scrolling leaf and entwined C-scroll on a painted ground, and continuous boldly carved flowerheads back edge sight edge: 22 x 18 cm. (8 5/8 x 7 1/8 in.) rebate: 23 x 19 cm. (9 x 7 1/2 in.) section width: 14 cm. (5 1/2 in.) overall: 52 x 48 cm. (20 1/2 x 18 7/8 in.) £1,200 - 1,800

Old Master & 19th Century Art

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211

An English 19th Century carved and gilded Salvator Rosa frame with cavetto sight edge, continuous flowerhead course, plain hollow, centred ribbon twist below a plain top knull, ribbon twist and stave back edge sight edge: 74 x 60 cm. (29 1/8 x 23 5/8 in.) rebate: 76 x 63 cm. (29 7/8 x 24 3/4 in.) section depth: 10 cm. (3 7/8 in.) overall: 94 x 81 cm. (37 x 31 7/8 in.) £250 - 350

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An English 18th Century style carved and gilded Carlo Maratta frame with plain sight edge, pearl course, plain hollow, shell corners, continuous ribbon and stave, reeded back edge sight edge: 126 x 100 cm. (49 5/8 x 39 3/8 in.) rebate: 128 x 102 cm. (50 3/8 x 40 1/8 in.) section depth: 8 cm. (3 1/4 in.) overall: 141 x 114 cm. (55 1/2 x 44 7/8 in.) £150 - 250

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Term and Conditions for Buyers at Chiswick Auctions 1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. 1.2 Definitions For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply.

below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. 1.9 Registration to the sale New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion. International bidders may be required to register 48 hours before the sale and to submit bank details. A deposit may be requested prior to each sale. Failure to register shall result in the impossibility for the bidder to purchase a Lot. 1.10 Proof of identity Bidders not previously known to CA Ltd will be required to provide:

1.3 Catalogue descriptions Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representation of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good.

• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable. • Proof of address of main residence. Only official documents showing name and address will be accepted. • Both landline and mobile telephone numbers • A bank reference for foreign bidders may be requested • Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above mentioned requirements for proof of identity.

1.4 Inspection Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.

2.1 Attendance at auction Attending the auction in person is recommended. CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises. Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

1.5 Condition report CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report. As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. 1.6 Electricals All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety. It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use. 1.7 Estimates Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates. 1.8 Reserves Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot

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Any Bidder that does not match the provided identity for registration may not purchase during the sale. 2. DURING THE SALE

2.2 Personal bidding Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale. 2.3 Commission bids CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it. Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot. In the event of multiple commission bids set at the same price, the first registered commission bid will take priority. 2.4 Telephone bids If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.

2.5 Internet bids Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or untilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible.

provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

2.6 Bidding on behalf of someone A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required.

4.1 Payment All purchased lots must be paid for within 7 days of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express. CA Ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers. Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA Ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer.

2.7 Bidding on an item Bid incrementation is at the auctioneer’s entire discretion. 2.8 Video transmission For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome. 2.9 Online-only auctions Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd. 2.10 Dispute resolution during the auction Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion. 3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale. 3.2 Transfer of property Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping. 3.3 Transfer of risks Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise. 3.4 Cancellation of the sale At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter. Under no circumstances can the Buyer cancel the sale. CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale. Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or

4. AFTER THE SALE

4.2 Buyer’s Premium The Buyer will pay CA Ltd a Buyer’s Premium calculated on the total hammer price of each Lot at the following rates: 27% plus VAT for Lots with a hammer price up to and including £10,000. 25% plus VAT for Lots with a hammer price exceeding £10,000 and up to and including £100,000. 20% plus VAT for Lots with a hammer price exceeding £100,000. The applicable percentage will be charged on the entire hammer price of the Lot, not on a sliding scale. A Buyer’s Premium of 24% plus VAT will apply to Wine & Spirits Lots. These rates apply to all sales held after 14 October 2026. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice. If you are re-exporting a * lot outside of the UK, you must use Chiswick Auctions Ltd TA Shipper.

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4.3 Online Bidding Surcharges Customers bidding through Chiswick Live are liable for a 1% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platform thesaleroom.com are liable for a 4.95% surcharge on the hammer price,plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platforms Invaluable.com, Artsy.net or Liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium. 4.4 Taxes VAT is payable on the buyer’s premium, and for some lots, VAT is payable on the hammer price. The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT, sales tax or any equivalent tax arising on sale of a particular lot. W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be charged VAT at the applicable rate and will not be able to claim a VAT refund. Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met: 1. Have registered to bid with an address outside of the UK 2. Provide immediate proof of export out of the UK within 90 days from the date of the auction Please note, we charge an administrative fee of £35 per invoice to check export documents and arranging VAT refunds. VAT refunds will be done to the original method of payment used by the buyer. No VAT will be refunded where the total VAT on an invoice is under £70. Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes. 4.5 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows: • From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25% 4.6 Remedies for non-payment If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: • To cancel the sale • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. • To offset against any sums which CA Ltd may owe the Buyer the 244

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outstanding sums unpaid by the said Buyer • Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionary apply any sum paid by the Buyer for discharge of any owed sums. • To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. • To exercise a lien over the Buyer’s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. • To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. • To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.7 Collection Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7). 4.8 Storage CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer. 4.9 Shipping Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. 4.10 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care. 4.11 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts.

The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. 4.12 CITES Import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations. 4.13 Limitation of liability regarding CITES export licenses Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. 4.14 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.

under the present section may be but not limited to: • Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only. 6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.

4.15 Authenticity warranty In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not authentic, CA Ltd will refund the purchase price. The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy.

6.3 Signatures ‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker. ‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. ‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client. ‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic. Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details.

5. ANTIQUITIES AND TRIBAL ART

7. CLOCKS AND WATCHES

5.1 Import and export restrictions and regulations Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest. Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value. Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration. CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

6. JEWELLERY 6.1 Gemstone treatment and estimates Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations. CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. Old Master & 19th Century Art

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8. FURNITURE 8.1 Upholstered furniture after 1950 According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale. 9. GLOSSARY OF PICTURE CATALOGUING TERMS Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1 JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. 2 Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category. 3 Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction. 4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. 5 Style of; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil. 6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8 The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. 9 The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated. 10. ASIAN ARTS 10.1 Import and export restrictions When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items. 10.2 Fine Chinese Paintings Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the 246

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intent to deceive. 11. BOOKS AND MANUSCRIPTS Books and manuscripts sold as incomplete are not subject to returns. Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level. For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd. CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc. 13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the above-mentioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result. 16. AMENDMENTS The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

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Old Master & 19th Century Art - 12 November 2026, 11:00