Old Master & 19th Century Art, 14 April at 11:00

Tuesday 14 April 2026, 11:00

Old Master & 19 th Century Art

Tuesday 14 April 2026, 11:00

Viewing exclusively at the Barley Mow Centre, W4 4PH

Tuesday 7 April

10:00 - 17:00

Wednesday 8 April 10:00 - 17:00

Thursday 9 April

Friday 10 April

10:00 - 17:00 (Evening Preview - 17:00 - 20:00)

10:00 - 17:00

Saturday 11 April 11:00 - 16:00

Sunday 12 April 11:00 - 16:00

Monday 13 April 10:00 - 16:00

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.

Sophie Hetherton

Head of Department

sophie.hetherton@chiswickauctions.co.uk

+44 (0)20 3089 6886

Ellie

Smith

Junior 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

Circle of Jan Brueghel II and Peeter von Avont (Flemish, 1601-1678) and (Flemish, 1600-1652)

The Flight into Egypt oil on copper

Unframed: 17 x 22.5 cm. (6 3/4 x 8 7/8 in.) Framed: 26 x 31.5 cm. (10 1/4 x 12 3/8 in.)

£1,000 - 1,500

Italian School (early 18th Century)

Unframed: 41.5 x 40.3 cm. (16 1/2 x 17 in.)

£1,500 - 2,000

St. Jerome oil on panel

After Pietro Perugino (Italian, 19th Century)

Portrait of Francesco delle Opere oil on panel

Unframed: 52 x 43 cm. (20 1/2 x 17 in.)

£2,000 - 3,000

Circle of Karel Dujardin (Dutch, 1626-1678)

Shepherds in the Campagna oil on canvas laid on panel

Unframed: 28.5 x 33 cm. (11 1/4 x 13 in.) Framed: 42.5 x 46.5 cm. (16 3/4 x 18 1/4 in.)

£1,000 - 1,500

Provenance

Private collection, Switzerland, from the 1960s until 2024

Andrea Locatelli (Italian, 1695-1741)

Landscape in Latium with two fishermen (c.1730) oil on canvas

Unframed: 43.8 x 34.2 cm. (17 1/4 x 13 1/2 in.)

Framed: 58 x 48 cm. (22 7/8 x 18 7/8 in.)

£2,000 - 3,000

Provenance

Sale; Dorotheum, Vienna, 2 June 1967, lot 76

With Colnaghi, London

Theodora Gertrude Winter (née Barlow) (1912-1968)

Thence by descent to the present owner

Literature

Andrea Busiri Vici, Andrea Locatelli e il paesaggio romano del Settecento, Rome, 1976, cat. no. 158, n.p., reproduced (as location unknown).

Locatelli was the son of the painter Giovanni Francesco Locatelli, under whom he trained until 1708, before he continued his studies with Monsù Alto (d. circa 1712). In 1712, at the age of seventeen, Locatelli, together with Paolo Anesi (1697-1773), entered the studio of Bernardo Fergloni, a specialist in marine genre painting.

Locatelli broke from the traditions of sacred, historical or mythological themes that were popular among academic artists of the time and instead showcased his skill for combining peasant figures with landscape painting. Andrea Busiri Vici stated, ‘Locatelli’s landscapes are remarkable for the sense of solitude they convey despite the fact that they are populated by figures.’ A frequent feature throughout his works is the presence of broken trees or stumps, such as the example that runs through the present composition which dates to about 1730. (1)

This work by Locatelli can be compared to other examples by the artist which now reside in the Ashmolean Museum, Oxford (Accession number: WA1851.14 and WA1851.13). In describing the present work Vici notes that ‘the paint is applied to the canvas ground as if it were tempera, like the technique used in the two Oxford canvases’. (1)

Theodora Gertrude Winter (née Barlow) was the daughter of Sir Thomas Dalmahoy Barlow (1883-1964), a British businessman, banker, and art collector and historian. In 1936, she married Carl Winter (1906-1966), a British art historian and museum curator. He worked at the Victoria & Albert Museum’s collection of English watercolours and miniature portraits before becoming a director and Morley Curator at the Fitzwilliam Museum in Cambridge in 1946. He published Elizabethan Miniatures in 1943 and The British School of Miniature Portrait Painters in 1948.

References

1. Vici, Andrea Busiri, Andrea Locatelli e il paesaggio romano del Settecento (Rome, 1976), pp. 110-11, Cat. No.: 158.

Jan Peeters I (Flemish, 1624-1677)

Traveller Directing Two Horsemen Along a Rocky Path initialled ‘IP’ (lower right)

pen and ink with wash on paper

Unframed: 6.5 x 10.2 cm. (2 1/2 x 4 in.) Framed: 26 x 32.5 cm. (10 1/4 x 12 3/4 in.)

£1,000 - 2,000

Provenance

Sale: Phillips, London, 17 February 1987, lot 98 Where purchased by a Private Collector, UK, By whom gifted to the present owner

Known predominantly for seascapes and topographical drawings, Jan Peeters I was a Flemish Baroque artist, widely engraved by contemporary printmakers. (1) He was born in Antwerp and studied with his brothers Bonaventura and Gillis. In 1645, he became a master of Antwerp’s Guild of St Luke.

We are grateful to Dr Gerlinde de Beer for endorsing the attribution.

References

1. Hans Vlieghe (1998). Flemish Art and Architecture, 1585–1700. Pelican History of Art. New Haven: Yale University Press, pp. 198–199.

Circle of Pietro da Cortona (Italian, 1596-1669)

Two women of Rome

Pen, ink and wash on paper

Unframed: 21 x 17 cm. (8 1/4 x 6 3/4 in.) Framed: 42.5 x 38 cm. (16 3/4 x 15 in.)

£300 - 500

Provenance

Private Collection, London

Anton Joseph von Prenner (German, 1683-1761)

The Holy Family with St. Anne and St. John the Baptist inscribed ‘V.Prenner del...’ (verso) red chalk

Unframed: 23.5 x 17 cm. (9 1/4 x 6 5/8 in.) Framed: 49 x 43 cm. (19 1/4 x 16 7/8 in.)

£400 - 600

Provenance

Sale; Sotheby’s, London, Old Master Drawings, 13 December 2001, lot 254, where purchased by the present owner

This work is after the painting by Jan van Hemessen (b. 1500), held by Wawel Casle, Krakow, no. ZKWawel 1151.

John Alfred Arnesby Brown R.A. (British, 1866-1955)

Virgin and Child, c.1580-1600

inscribed and stamped with collector’s marks (verso) chiaroscuro woodcut printed in black and ochre

£300 - 500

Provenance

Sir Joshua Reynolds (Lugt no. 2364)

R. Alianello (Lugt no. 5K)

After Giulio Romano (Italian, c.1499-1546)

Venus and Vulcan, Cupid and Putti numbered ‘33’ (upper left) black crayon

Unframed: 30 x 21 cm. (12 x 8 1/4 in.) Framed: 39.3 x 30.3 cm. (15 1/2 x 12 in.)

£400 - 600

Provenance

Private Collection, UK

A similar example by Giulio Romano can be found in the V&A Museum, London, no. D.844-1886.

Sir Godfrey Kneller (German/British, 1646-1723)

Study for the Head of an Old Man signed ‘G Kneller’ (lower left) pencil and chalk on paper Unframed: 19.8 x 14.8 cm. (7 3/4 x 5 3/4 in.) Framed: 37.5 x 30.5 cm. (14 3/4 x 12 in.)

£2,000 - 3,000

Provenance

Sale; Sotheby’s, London, 24 April 1986, lot 294 Where purchased by a private collector, UK By whom gifted to the present owner

A similar composition is held by Städel Museum, Frankfurt (inventory number 3885).

Kneller studied under Ferdinand Bol and most likely Rembrandt. He spent the years 1672 to 1675 in Rome and Venice, painting portraits of members of the Venetian nobility, before moving to England in 1676. There, he established a thriving studio that produced replicas and copies of his work. Following an introduction to the Duke of Monmouth, he secured sittings with the king and began his career as a court artist, building a strong reputation as a portrait painter in the grand style.

References

1. Stewart, J.D. and National Portrait Gallery, Sir Godfrey Kneller; catalogue of an exhibition at the National Portrait Gallery, London, London, 1971.

Venetian School (mid-18th Century)

Study of a bearded man’s head pen with black ink on blue laid paper

Unframed: 19.7 x 15.6 cm. (7 3/4 x 6 1/8 in.) Framed: 34.2 x 29.2 cm. (13 1/2 x 11 1/2 in.)

£400 - 600

Italian School (mid-late 17th Century)

Allegory of Wisdom oil on canvas

Unframed: 50 x 65 cm. (19 5/8 x 25 1/2 in.)

£1,200 - 1,800

Giovanni Battista Salvi, called Sassoferrato (Italian, 1609-1685)

Madonna at Prayer oil on canvas

Unframed: 47.5 x 38.5 cm. (18 3/4 x 15 1/8 in.)

Framed: 63 x 54 cm. (24 3/4 x 21 1/4 in.)

£20,000 - 30,000

Provenance

Collection of Carl (Charles) Frederick August Breul (1836-1898), Vienna and London

Thence by inheritance to the present owner

Previously unknown to modern scholars, this Madonna at Prayer is an exciting addition to Sassoferrato’s body of work. Having remained in the same private collection since at least 1898, the painting emerges to the market after nearly 130 years. The refined palette, the meticulous attention to detail and typical compositional format is characteristic of Sasssoferrato’s hand, exhibiting the full range of stylistic hallmarks for which he is most renowned.

The captivating Madonna is set against a dark and plain background highlighting the vibrant blues and red pigments of her garments; focusing the viewer on her act of devotion and humble appearance. Due to their widespread popularity in Rome during the seventeenth century and during Sassoferrato’s lifetime, this composition was repeated on multiple occasions by the artist.(1) By 1990, at least fifteen other examples are recorded, with three portraits belonging to the Louvre, the private collection of Lord Yarborough and the Staatliche Kunstsammlungen, Dresden.(2) A preparatory study for this composition can be found in the Royal Collection Trust, Windsor Castle (RCIN 906050).(3)

Named after the town in which he was born, Sassoferrato trained with his father, Tarquinio Salvi, before travelling to Rome where he studied the works of Guido Reni (1575-1642), Domenichino (1581-1641), and most notably, Raphael (1483-1520), who he is known to have copied directly (see Sassoferato’s Madonna and Child in the Galleria Sabauda, Turin, no. 482, which is directly based on Raphael’s Madonna of the Pinks, National Gallery, London, no. NG6596).

Although the influence of these masters is evident throughout Sassoferrato’s oeuvre, he developed a highly individual style that resists simple classification within any specific region or movement, thereby establishing him as one of the most significant contributors to Italian seventeenth-century art.

Note on Provenance

Carl (Charles) Frederick August Breul (1836-1898), born in Germany, relocated to Vienna where he became an Austrian citizen in 1857. He subsequently settled in London and, in 1868, established the antiques firm Breul & Co. It appears likely that Breul acquired the Madonna at Prayer at some point in the late nineteenth century, he is also noted as the owner of Velasquez’s The ‘Pope’s Barber’, which was sold after his death to Sir Edmund Davis of Chilham Castle, now held in a private collection, New York. After Breul’s death in 1898, the Madonna at Prayer remained in the same family collection, until its presence today at auction.

We are grateful to Professor Massimo Pulini for endorsing the attribution on the basis of digital images.

References

1. Blunt, A., Cooke, The Roman drawings of the XVII & XVIII centuries in the collection of Her Majesty the Queen at Windsor Castle. London, 1960, p.86.

2. Voss, Hermann, and Thomas Pelzel, Baroque Painting in Rome, San Francisco, 1997, pp. 175-178.

3. Alaux, D., Musée de Peinture de Bordeaux. Catalogue, Bordeaux, 1910, p. 21 ; Ch. Manciet, Le Musée de Bordeaux, Paris, 1931, p. 10, n. 29; J. Habert, Bordeaux, Musée des Beaux Arts, Peinture Italienne, pp. 134-135, n. 86.

15

Gaspar Peeter Verbruggen II (Flemish, 1664-1730)

Still life of flowers against an ornamental stone cartouche oil on canvas

Unframed: 68.8 x 79.5 cm (27 x 31 1/4 in.)

Framed: 91.5 x 104 cm. (36 x 41 in.)

£3,000 - 5,000

Provenance

Lady Ayres

Sale; Christie’s, London, 17 July 1984, lot 33 (as Follower of Gaspar Peeter Verbruggen II) Sale; Roseberys, London, 12 March 2025, lot 72 (as Circle of Jean-Baptiste Monnoyer)

Son of Gaspar Peeter Verbruggen I (1635-1681), Verbruggen was born in Antwerp in 1664 and trained under his father from an early age, becoming a master of the Guild of Saint Luke of Antwerp at age 13. In 1705, he fled to Amsterdam and settled in The Hague to escape his debts at home. He received numerous commissions during his time in The Hague and collaborated with Mattheus Terwesten (1670-1757) on many of them, but despite his commercial success, he returned to Antwerp in 1723.

We are grateful to Dr Fred Meijer for endorsing the attribution based on digital images and suggesting a date to the first half of the 1690s.

Attributed to Jean-Baptiste Oudry (Paris 1686- Beauvais 1755)

Etude de Fleurs oil on canvas

Unframed: 71 x 59 cm. (28 x 23 1/8 in.) Framed: 80 x 67 cm. (31 1/2 x 26 3/8 in.)

£2,000 - 3,000

Provenance

With Galerie Lestranger, Paris, where purchased by the present owner

Exhibited Paris, Galerie Lestranger, Salon des Beaux-Arts de Paris, 1997

Literature

Galerie Lestranger, Salon des Beaux-Arts de Paris, exh. cat., 1997, pp.6-7.

The attribution to Jean-Baptiste Oudry was suggested by Mrs. Marianne Roland-Michel in 1997. Born in Paris, Jean-Baptiste Oudry was well known for his naturalistic pictures. He joined the Académie de Saint-Luc, an art school founded and set up by his father. He went on to become assistant professor, and eventually professor in July 1717.

Notably, in the 1720s, Noël-Antoine de Mérou, director of the Royal Beauvais Tapestry Manufactory, commissioned Oudry to create designs for what would become one of the most iconic tapestry series of the era. This series was titled The Pastoral Amusements (Les Amusements Champêtres) and has now become known as one of the most significant series of tapestries of the period.

The present work, which appears to be a preparatory oil sketch, features a collection of lilies, poppies and roses, highlighting Oudry’s ability to capture natural beauty.

George William Sartorius (British, 1759-1828)

Still life of a parrot, with grapes, peaches, melon and apricots oil on canvas

Unframed: 55 x 84 cm. (21 5/8 x 33 1/8 in.) Framed: 67.5 x 96.5 cm. (26 5/8 x 38 in.)

£2,500 - 3,500

Provenance

Private Collection, UK

A herdsman on a rural track in an Italianate landscape with washerwomen and men beside, villas beyond oil on canvas

Unframed: 72 x 110 cm. (28 1/4 x 43 1/2 in.) Framed: 103 x 141 cm. (40 1/2 x 55 1/2 in.)

£600 - 800

Provenance

Private Collection, UK

Circle of Francesco Zuccarelli (18/19th Century)

Follower of Étienne Duperac (French, 1525-1604)

A View of the Forum, Rome inscribed ‘Vue du derrière du Capitole’ (verso)

pen and ink on laid paper

Unframed: 15.3 x 21.8 cm. (6 x 8 1/2 in.)

£200 - 300

Italian School (mid-17th Century)

The Basilica of Santi Cosma and Damiano pen and ink with grey wash on laid paper

Unframed: 22.5 x 29.5 cm. (8 7/8 x 11 5/8 in.)

£600 - 800

Provenance

Private collection, France

This drawing was executed after 1632, as this was the year that Urban VIII commissioned the church’s restoration, at which point the small cupola was added to the building.

Pietro Fabris (Italian, active 1756-1779)

Illustrations for William Hamilton’s ‘Campi Phlegraei’ (1776-1779) etchings with original hand-colouring in watercolour Each unframed: 19.6 x 37.7 cm. (7 3/4 x 14 7/8 in.) Each framed: 38.5 x 55 cm. (15 1/4 x 21 5/8 in.) (6)

£2,000 - 3,000

William Hamilton (1730-1803) spent a large part of his life in Naples, observing the volcanic activity, collecting antiquities, and leading travellers, including royalty, to the summit of nearby mountains. Present for the eruptions of Mount Vesuvius during the mid-late eighteenth century, Hamilton wrote Campi Phlegraei in two parts, based on his Observations on Mount Vesuvius (1772) for the Royal Society. To illustrate these volumes, Hamilton commissioned the English-born Neapolitan artist Pietro Fabris; fifty-nine of the resultant gouaches were engraved and hand-coloured to accompany Campi Phlegraei.

Circle of Abraham-Louis-Rodolphe Ducros (Swiss, 1748-1810)

The Tomb of Caecilia Metella pencil and watercolour heightened with white on laid paper

Unframed: 39.5 x 54 cm. (15 1/2 x 21 1/4 in.) Framed: 57 x 70 cm. (22 1/2 x 27 1/2 in.)

£800 - 1,200

Provenance

Sale; Sworders, Stansted, 27 June 2017, lot 308 (as Circle of Paul Sandby), where purchased by the present owner.

Abraham-Louis-Rodolphe Ducros (Swiss, 1748-1810)

A trial proof for ‘A view over the gulf of Bala’ and ‘A view towards Nisida from the coast of Pozzuoli’ each watercolour with pencil over etched outlines on laid paper (w/o margins)

Each unframed: 31 x 47 cm. (12 1/8 x 18 1/2 in.) (2, a pair)

£1,000 - 1,500

Literature

Images of the Grand Tour: Louis Ducros 1748-1810, exh. cat., Geneva, 1985, appendix II, p. 104, ‘Catalogue des Vues de Rome et des environs... Vues du Golfe de Naples à sequins’, numbers 2 and 3, (as Vue du Golfe de Baye et des Etudes de Neron and Vue du Golfe de Pouzzel, et de l’isle d’Ifchia)

Ducros was a Swiss painter trained in Geneva who moved to Rome in 1776. He spent the next 30 years in Italy, travelling widely to Naples, southern regions, Sicily, and Malta.

Franz Innocenz Kobell (German, 1749-1822)

An Arcadian Landscape pen and ink on laid paper

Unframed: 18.3 x 26.1 cm. (7 1/4 x 10 1/4 in.) Framed: 40.4 x 46.9 cm. (15 7/8 x 18 3/8 in.)

£300 - 500

Provenance

With Hal O’Nians, London

25 Luigi Mayer (Italian/German, 1755-1803)

Ruined church tower watercolour with pen & ink

Unframed: 17 x 19 cm. (6 3/4 x 7 1/2 in.)

£200 - 300

Provenance

Capain Iolo Aneurin Williams (1890-1962), thence by descent until 2024

Carlo Labruzzi (Italian, 1748-1817)

A view of Monte Circeo from the Temple of Venus, near Terracina, Lazio watercolour over pencil

Unframed: 41.6 x 56.2 cm. (16 3/8 x 22 1/8 in.) Framed: 58.8 x 73.5 cm. (23 1/8 x 29 in.)

£500 - 800

Provenance

With John Manning, London (by 1974); The Constable Family, Cambridge & Sherborn, Massachusetts, U.S.A.

Exhibited

London, Manning Gallery, Carlo Labruzzi (1748-1817): An Exhibition of Fine Watercolour Drawings of the Appian Way, June-July 1960, no. 74 (as ‘View of Monte Circeo, probably from the Temple of Venus near Terracina’)

Carlo Labruzzo (1748-1817) was an Italian landscape painter born in Rome. In 1798, he was appointed professor at the Academy of Fine Arts in Perugia, later becoming its director in 1812. He died in Perugia in December 1817 and was succeeded by Tommaso Minardi. His notable pupils included Silvestro Massari, Margherita Lazi, and Marianna Candidi Dionigi.

Carlo Labruzzi (Italian, 1748-1817)

View of Lake Nemi looking towards Rome pencil and watercolour with wash paper watermarked ‘[JHONIG/ &/] ZOONEN’ (Heawood 3345)

Unframed: 36.5 x 52.5 cm. (14 3/8 x 20 5/8 in.) Framed: 51 x 65.2 cm. (20 x 25 5/8 in.)

£600 - 800

Provenance

With Simon C. Dickinson Ltd., London

Private collection

Sale, Christie’s, London, 5 July 2022, lot 31

Exhibited

London, Simon C. Dickinson Ltd., Carlo Labruzzi: The Grand Tour, 12 June-13 July 2012

Raffaello Schiaminossi (Italian, 1572-1622), After Bernardo Castello (Italian, 1603)

Maria Immaculata (The Virgin of the Immaculate Conception) etching (1603) bears collection stamps (verso)

Unframed: 35 x 20 cm. (13 3/4 x 8 in.)

£120 - 180

Provenance

Dr. Raffaele Alianello, Lugt no, L.5k (Born in Luino on Lake Como, began collecting prints from all periods in 1935. The Italian and Dutch schools of the 17th century are particularly well represented.)

Klemperer, Lugt no, L.5268

Melchior Jusel (German, 1626-1683), After Gerard de Lairesse (Dutch, 1641-1711)

Frontispiece with allegory of the Peace of Westminster etching on paper

Unframed: 21 x 14.5 cm. (8 1/4 x 5 3/4 in.)

£100 - 200

John James Chalon, R.A. (Swiss, 1778-1854)

Harvesting

signed ‘J.J. Chalon’ (lower left)

pen & ink on laid paper

Unframed: 40 x 35 cm. (15 3/4 x 13 3/4 in.)

Together with;

William Hamilton, R.A (British, 1751-1801)

Study for a literary illustration

bears inscription to the margin ‘W Hamilton RA 1751’ (lower left) pen, ink and wash on paper

Unframed: 31 x 26 cm. (24 1/4 x 10 1/4 in.) (2)

£200 - 300

Provenance

John James Chalon: Captain Iolo Aneurin Williams (1890-1962), thence by descent until 2024

After Albrecht Dürer (German, 1471-1528)

Saint Peter and Saint John at The Gate of The Temple, after 1513 Engraving (in reverse)

Unframed: 11.5 x 7.3 cm. (4 1/2 x 2 7/8 in.) Mounted: 41 x 36 cm. (16 x 14 in.)

£200 - 300

Allaert Claesz (Dutch, 1508-c.1560) After Albrecht Dürer (German, 1471-1528)

Dance Of Death Iii, 1562; After Albrecht Dürer Christ Before Herod, From “The Small Passion” together with further etchings and engravings

Allaert Claesz (Dutch, 1495-1562) engraving

Unframed: 9 x 6.5 cm. (3 1/2 x 2 1/2 in.)

After Albrecht Dürer (German, 1471-1528)

engraving (bears later inscription (M Rota)

Unframed: 6.5 x 5.5 cm. (2 1/2 x 2 1/8 in.)

Hieronymus Wierix (Flemish, 1553-1619)

Landscape with St Sebastian

Unframed: 8.25 x 6 cm. (3 1/4 x 2 3/8 in.)

Théodor De Bry (Flemish, 1528-1598)

Moisi Golemi engraving

Unframed: 16 x 13 cm. (6 1/4 x 5 1/8 in.)

Nugent, Louis II de Bourbon, Prince de Conde (French, 1621-1686)

French general engraving

Unframed: 9 x 11 1/2 cm. (3 1/2 x 4 1/2 in.)

Conrad Waumans (Flemish, 1619-c.1675)

Ferdinand Charles Archduke of Austria etching and engraving (1650) (Hollstein 63)

Unframed: 18.5 x 14 cm. (7 1/2 x 5 1/2 in.)

German School (Georg Friedrich von Baden-Durlach) engraving

Unframed: 20 x 13 cm. (7 7/8 x 5 1/8 in.)

Benedetto Erid (Italian, 1750-1815)

Portrait of Jacques Callot engraving (1770)

Unframed: 20 x 16 cm. (7 7/8 x 6 1/4 in.) (8) (unframed)

£150 - 250

After Rembrandt van Rijn (Dutch, 1606-1669)

Landscape with a Cottage and Large Tree etching, circa 1641 on laid paper, without watermark

Unframed: 13.5 x 32.5 cm. (5 1/4 x 12 3/4 in.) (sheet)

Together with:

A View of Amsterdam from the North-West etching, circa 1640 on laid paper, without watermark

Unframed: 12 x 16 cm. (4 3/4 x 6 1/4 in.) (sheet) (2)

£300 - 500

Provenance

Private collection, London

Johannes Pieter de Frey (Dutch, 1770-1834) After Jan Livens (Dutch, 1607-1674)

Old Man Sleeping; together with further etchings and mezzotint by and after various hands

Johannes Pieter de Frey (Dutch, 1770-1834) After Jan Livens (Dutch, 1607-1674)

Old Man Sleeping engraving

Unframed: 16 x 14 cm. (6 1/4 x 5 1/2 in.) (sheet)

Johannes Faber (Dutch, c.1695-1756)

After Titian (Italian, d.1576)

Ignatius de Loyolo mezzotint

Unframed: 26.5 x 20 cm. (10 1/2 x 7 7/8 in.) (sheet)

Johann Anton Riedel (Swiss, 1736-1816)

An Unknown Man With A Tall Cap engraving

Unframed: 14 x 12.5 cm. (5 1/2 x 4 7/8 in.) (sheet)

Follower of Rembrandt van Rijn (Dutch, 1606-1669)

Portrait of a man engraving

Unframed: 8 x 6.5 cm. (3 1/8 x 2 1/2 in.) (sheet)

After Rembrandt van Rijn (Dutch, 1606-1669)

Landscape with Barn

Unframed: 9.5 x 15.5 cm. (3 3/4 x 6 1/8 in.) (sheet) (5)

£100 - 200

35

Jacques Callot (French, 1592-1635)

A collection of etchings and engravings including: Recruitment Of Troops, From The Suite The Miseries And Misfortunes Of War, 1633 Unframed: 8.1 x 18.7 cm. (3 1/4 x 7 3/8 in.)

Further prints to include: La Caverne De Brigands (The Cave Of Thieves), From “Les Caprices” Le Commandant A Pied Unframed: 6 x 8 cm. (2 3/8 x 3 1/8 in.)

The Shepherd And The Ruins Unframed: 5 x 8 cm. (1 7/8 x 3 1/8 in.) together with further etchings by various hands, various sizes (Each unframed)

Jacques Callot was a highly influential French printmaker and draftsman, known for his detailed etchings as can be seen in the present scenes. He captured scenes of war, everyday life, and grotesque fantasy. A critical period of his career in Florence, c.1612 to c.1621, where he worked under the patronage of the Medici family, specifically Grand Duke Cosimo II de’ Medici.

£200 - 300

Circle of Rembrandt van Rijn (Dutch, late 17th Century)

Portrait of Gentleman wearing a brimmed hat, bust length oil on panel

Unframed: 15 x 11.5 cm. (5 7/8 x 4 1/2 in.) Framed: 33 x 29.5 cm. (13 x 11 5/8 in.)

£2,000 - 3,000

Provenance

Sale: Galerie Koller, Zürich (Koller West), March 2007, lot 3054, where purchased by the present owner

Circle of David Teniers the Younger (Flemish, 17th Century)

Merry makers by the Tavern bears initials ‘DT’ (on the barrel) oil on panel

Unframed: 24.5 x 30 cm (9 3/4 x 12 in.) Framed: 41 x 46.7 cm. (16 1/8 x 18 3/8 in.)

£2,000 - 3,000

Follower of David Teniers the Younger (Flemish, 1610-1690)

The smoking drinker oil on board

Unframed: 30.8 x 26.3 cm. (12 x 10 1/4 in.) Framed: 40 x 32.5 cm. (15 3/4 x 12 3/4 in.)

£600 - 800

Provenance

Private Collection, London

After David Teniers the Younger (Flemish, 1610-1690)

Peasants drinking in a tavern oil on panel

Unframed: 36.5 x 45 cm. (14 1/2 x 17 3/4 in.) Framed: 60.5 x 50 cm. (23 7/8 x 19 3/4 in.)

£800 - 1,200

Provenance

Private Collection, London

Circle of Adriaen van Ostade (Dutch, 1610-1685)

Peasants drinking in a cellar oil on copper

Unframed: 35.3 x 28.8 cm. (13 7/8 x 11 2/8 cm.) Framed: 45 x 52 cm. (17 3/4 x 20 1/2 in.)

£500 - 700

Provenance

Private Collection, London

Manner of David Teniers the Younger (Flemish, 1610-1690)

The village festival oil on panel

Unframed: 42 x 57 cm. (16 1/2 x 22 1/2 in.) Framed: 64 x 74 cm. (24 1/4 x 29 1/8 in.)

£600 - 800

Provenance

Private Collection, London

Follower of Jan Havickszoon Steen (Dutch, 1626-1679)

The card game oil on panel

Unframed: 39.2 x 32.2 cm. (15 1/2 x 12 1/2 in.) Framed: 59.5 x 53 cm. (23 3/8 x 20 7/8 in.)

£300 - 500

Provenance

Private Collection, London

Northern European School (18th-19th Century)

Merry making oil on board

Unframed: 18 x 26.5 cm. (7 x 10 1/4 in.)

£400 - 600

Provenance

Private Collection, London

Framed: 24.5 x 33 cm. (9 5/8 x 13 in.)

After David Teniers the Younger (Flemish, 1610-1690)

Interior of a tavern oil on canvas

Unframed: 41 x 61 cm. (16 x 24 in.) Framed: 55 x 75 cm. (21 5/8 x 29 1/2 in.)

£400 - 600

Provenance

Private Collection, London

Manner of David Teniers the Younger (Flemish, 1610-1690)

Monkeys in a Tavern signed and dated ‘S. Wells, 1867’ (lower right), further signed and dated (verso) oil on panel

Unframed: 32.8 x 45 cm. (12 3/4 x 17 3/4 in.) Framed: 37 x 49 cm. (14 5/8 x 19 1/4 in.)

£400 - 600

Justus van den Nypoort (Dutch, c.1625-c.1692)

Tavern scene with a woman checking for lice signed ‘Nypoort’ (lower right) oil on copper

Unframed: 24.5 x 18.5 cm. (9 3/4 x 7 1/4 in.) Framed: 36 x 30.5 cm. (14 1/8 x 12 in.)

£800 - 1,200

Provenance

Sale; Dorotheum, Vienna, 16 June 2011, lot 357

Private Collection, London

Gillis de Winter (Dutch, c.1650-1720)

Interior scene signed ‘A Winter’ (left edge) oil on canvas

Unframed: 32.5 x 26.5 cm. (12 3/4 x 11in.) Framed: 43.5 x 39.5 cm. (17 1/8 x 15 1/2 in.)

£500 - 700

Provenance

Sale; Dorotheum, Vienna, 16 June 2011, lot 405, where purchased by the present owner

After Bernardo Strozzi il Cappuccino (Italian, 1581-1644)

Berenice II Euergetis, wife of Ptolemy III oil on canvas

Unframed: 100.2 x 84.5 cm. (39 1/2 x 33 1/4 in.)

£1,500 - 2,500

Provenance

Private Collection, London

This work presents one of Strozzi’s favourite subjects, which he revisited multiple times, including a version housed at the Castello Sforzesco in Milan. Additional signed variants can be found in Los Angeles, Munich, Bologna, El Paso, and Stuttgart. Berenice II, a queen of Egypt in the 3rd century B.C., is renowned for the legend of “Berenice’s Lock.” When her husband, Ptolemy III, embarked on a military campaign to Syria, Berenice vowed to sacrifice a lock of her hair for his safe return. Upon his safe return, she dedicated her hair in the temple of Aphrodite at Cape Zephyrium in Alexandria. The next day, the lock was mysteriously gone. The court astronomer, Conon of Samos, proclaimed that Aphrodite had placed it among the stars, creating the constellation Coma Berenices. This tale was celebrated by poets like Callimachus and Catullus, highlighting Berenice’s profound devotion.

After Bartolomé Esteban Murillo (Spanish, mid-late 19th Century)

The Virgin and Child oil on canvas

Unframed: 63 x 50 cm. (25 x 20 in.) Framed: 76 x 64 cm. (30 x 25 3/4 in.)

£600 - 800

Attributed to Karel Breydel (Dutch, 1678-1733)

Cavalry Skirmish bears inscription ‘Breydel...’ (verso) oil on panel

Unframed: 25 x 28 cm. (9 7/8 x 11 in.) Framed: 34.5 x 38 cm. (13 5/8 x 15 in.)

£400 - 600

Provenance

Private Collection, UK

After Philips Wouwerman (Dutch, late 18th Century)

The Encampment oil on canvas

Unframed: 37 x 48 cm. (14 1/2 x 19 in.) Framed: 56 x 66 cm. (22 x 26 in.)

£500 - 700

Provenance

Private collection, UK

Another version of the composition was sold by Sotheby’s, 7 July 1999.

Circle of William Ashford (British/Irish, 1746-1824)

Figures by a Mill oil on canvas

Unframed: 53 x 64 cm. (20 7/8 x 25 1/4 in.) Framed: 62 x 73 cm. (24 3/8 x 28 3/4 in.)

£400 - 600

Provenance

Private Collection, UK

Arie Ketting de Koningh (Dutch, 1815-1867)

A Woman and Child outside a Cottage, Cattle grazing in a Meadow beyond oil on panel

Unframed: 35.5 x 43.5 cm. (14 x 17 1/8 in.) Framed: 50 x 57.5 cm. (19 5/8 x 22 5/8 in.)

£400 - 600

Provenance

Sale; Christie’s, London, 18 February 1998, lot 102 (as Circle of Johannes Christian Janson) Private Collection, UK

The attribution to Arie Ketting de Koningh (1815-1867) was propsed by Dr Fred Meijer in 2003.

Circle of Eugène Verboekhoven (Belgian, 1799-1881)

Dappled grey horse with groom oil on canvas

Unframed: 24.3 x 33.2 cm. (9 1/2 x 13 in.) Framed: 42 x 51.5 cm. (16 1/2 x 20 1/4 in.)

£400 - 600

Provenance

Private Collection, UK

Spanish School, circa 1610/1620s

Portrait of a Noblewoman, wearing large, multi-layered lace-edged ruff, silk dress with embroidery, large, jewelled necklace with double string of pearls, her hair curled and worn with decorations. oil on card overall: 7 x 5 cm. (2 3/4 x 2 in.)

£600 - 800

Provenance

Theodora Gertrude Winter (née Barlow) (1912-1968)

Thence by descent to the present owner

Close comparisons to portraits of both Elizabeth of France (1602-1644) (also known as Isabel or Elizabeth of Bourbon) and Maria Anna of Spain (1606-1646) allow the present work to be attributed to the Spanish School, and to be dated to the second or third decade of the seventeenth century (see Portrait of Isabel de Bourbon, Museo del Prado, Madrid, no. P001037 and Portrait of Elizabeth de Bourbon, Queen of Spain, from the Buccleuch Collection). Using oil to paint portrait miniatures on either card or metal was more traditional in Southern Europe, in comparison to painting with watercolour on vellum.

The large, closed, and high ruff in this portrait also points to Spanish origins; this was not as common a fashion for women of the period, who often wore these accessories with gaps underneath their chin, but is known to have been worn in this manner by Spanish women specifically in the early decades of the seventeenth century.

It has not been possible to identify the hand of the artist, or the sitter depicted. She would have certainly been wealthy; large ruffs and jewels as she wears would have been particularly expensive and worn as a symbol of one’s status. The fact that her ruff has numerous layers, rather than just a few, as was more typical, particularly suggests this.

It should be noted that the more delicate decoration in the sitter’s hair is more typically Italian but given Spanish Hapsburg control of Italy in the seventeenth century, it is possible that these fashions travelled and infiltrated into each culture. For a comparison for this accessory see Anthony van Dyck’s Portrait of a Lady in a Black Dress, circa 1625, previously sold by Philip Mould. Another close comparison from Italy is Lavinia Fontana’s Portrait of a Lady with a Dog, also previously sold by Philip Mould. That portrait is given a much earlier date, but is very similar in the use of pearls, the ruff, and detail on the sitter’s dress.

Theodora Gertrude Winter (née Barlow) was the daughter of Sir Thomas Dalmahoy Barlow (18831964), a British businessman, banker, and art collector and historian. In 1936, she married Carl Winter (1906-1966), a British art historian and museum curator. He worked at the Victoria & Albert Museum’s collection of English watercolours and miniature portraits before becoming a director and Morley Curator at the Fitzwilliam Museum in Cambridge in 1946. He published Elizabethan Miniatures in 1943 and The British School of Miniature Portrait Painters in 1948.

We are grateful to The Limner Company for their assistance with the cataloguing of this lot.

Dutch School (early 17th Century)

Portrait miniature of a Lady wearing a white lace ruff in a black dress with silver embroidery, blue background watercolour and bodycolour on vellum overall: 5.6 x 3.7 cm. (1 ¾ x 2 1/4 in.)

£1,000 - 1,500

Provenance

Sale; Veritas Auctions, Lisbon, December 2016

Circle of Bernard III Lens (British, 1680/82-1740)

Portrait of the Marquis d’Harcourt later inscribed ‘Marquis d’Harcourt’ (backing verso) watercolour on vellum

4.5 x 3.5 cm. (1 3/4 x 1 3/8 in.)

£300 - 500

Provenance

Private Collection, UK

Georges-Trevor-Douglas-Bernard d’Harcourt-Olonde (4 November 1808-30 November 1883) was a French aristocrat and 19th-century diplomat. Known formally as the marquis d’Harcourt, he served as France’s ambassador to London from 1875 to 1879.

British School (mid 19th Century)

Portrait of Joseph Frank William Jewson (1885–1965) of Islington, Middlesex, England watercolour on ivory inscribed ‘Joseph Jewson of St Clement Danes, Grandfather of Joseph Francis Jewson, grandson of Fransis Jewson, grandfather of John Raymond...’ (to the backing)

Unframed: 4.2 x 3.5 cm. (1 5/8 x 1 3/8 in.) Framed: 8 x 7.5 cm. (3 1/8 x 2 7/8 in.)

Ivory declaration: FLNBJRLW

£300 - 500

Provenance

Private Collection, UK

British School (19th Century)

Portrait miniature of Mrs J F Jewson’ (née Jane Chitton)

initialled ‘PG’ (lower right)

inscribed ‘Mrs J F Jewson’ (née Jane Chitton)’ (to the backing)

watercolour on ivory

Unframed: 4.7 x 4.1 cm. (1 3/4 x 1 7/8 in.) Framed: 9 x 8 cm. (3 1/2 x 3 1/8 in.)

Ivory Declaration: W9BVV2RS

£200 - 300

Provenance

Private Collection, UK

60

British School, (early 19th Century), purportedly by Scott of Brighton

Portrait of a lady wearing a black dress and red shawl; Portrait of a Gentle man

first inscribed: ‘Jessy (Burton) Fearson/wife of John Peter Fearson of Cuckfield/1835/by Scott of Brighton’ (on the backing)

second inscribed: ‘John Peter Fearson/of Cuckfield/1835/by Scott of Brighton’ (on the backing) watercolour on black

Unframed: 10 x 7.8 cm. (4 x 3 1/8 in.) Framed: 22 x 19.4 cm. (8 5/8 x 7 5/8 in.)

Unframed: 12 x 9.9 cm. (4 3/4 x 3 7/8 in.) Framed: 22.3 x 19.3 cm. (8 3/4 x 7 5/8 in.) (2)

£300 - 500

Ivory declaration (female portrait): K3VYR4AQ

Ivory declaration (male portrait): NRVKG91Y

Provenance

Private Collection, UK

British School (late 18th-early 19th Century)

Manner of Marcus Gheeraerts the Younger (1561/62-1635) and After Hans Holbein the Younger (1497-1543), Portraits of Elizabeth I and Henry VIII each oil on copper

Each unframed: 11.5 x 8 cm. (4 1/2 x 3 1/8 in.) Each framed: 23 x 25.5 cm. (9 x 10 in.) (2, a pair)

£600 - 800

Circle of Antonio David (Italian, 1698-c.1750)

Portrait of a young nobleman in uniform, with significant decoration, possibly wearing the star of Malta oil on canvas

Unframed: 75 x 59.3 cm. (29 1/2 x 13 3/8 in.) Framed: 94 x 73.3 cm. (37 x 27 7/8 in.)

£700 - 1,000

Provenance

Property of Sir Edward Gardner MP (1912-2001)

Private Collection, UK

Circle of Nicolas Lancret (French, 1690-1743)

Rejected advances oil on panel

Unframed: 41 x 29.5 cm. (16 1/8 x 11 6/8 in.) Framed: 46 x 36 cm. (18 1/8 x 14 1/8 in.)

£600 - 800

Provenance

Private Collection, London

The figures in the present work closely resemble the old man and young woman in Nicholas Lancret’s Old Age, from the series; The Four Ages of Man. (The National Gallery, London, no. NG104).

After Hugues Taraval (French, 1729-1785)

The village dance oil on canvas

Unframed: 97 x 146 cm. (38 1/8 x 57 1/2 in.) Framed: 113 x 162 cm. (44 1/2 x 63 3/4 in.)

£1,000 - 2,000

Provenance

Sale; Hampel Fine Art Auctions, Munich, 17 September 2010, lot 98 (as French School, 18th Century) Private Collection, London

The original version by Taravel, dated ‘1774’, was offered at Christie’s, Monaco, 7 December 1991, lot 62.

After François Boucher (Late 19th Century)

La belle cuisinière oil on canvas

Unframed: 68.5 x 48.5 cm. (27 x 19 in.) Framed: 79 x 59 cm. (31 1/8 x 23 1/4 in.)

£200 - 300

Provenance

Private Collection, London

After the original, held in the Museum of Paris Collection, Cognacq-Jay Museum, Paris, no. J 13.

Jan Galuszkiewicz (Polish, d.1896)

A Parisian Woman with her Dog signed and dated ‘Galuszkiewicz/ a Paris’ 1835 (lower right) oil on canvas

Unframed: 63 x 50 cm. (24 3/4 x 19 3/4 in.) Framed: 83 x 70 cm. (32 1/2 x 27 1/2 in.)

£500 - 700

Provenance

Private Collection, UK

French School (late 19th Century)

Elegant skaters in a frozen winter landscape oil on canvas

Unframed: 210 x 132 cm. (82 1/2 x 52 in.) Framed: 220 x 142 cm. (86 1/2 x 56 in.)

£500 - 700

Provenance

Private Collection, UK

French School (18th Century)

A washerwoman and A box maker watercolour and découpage on paper

Each unframed: 25 x 20 cm. (9 3/4 x 8 in.) (2, a pair)

£100 - 200

French School (mid 18th Century)

Portrait of an Artist at his easel gouache on card

Unframed: 37.9 x 27.5 cm. (14 7/8 x 10 7/8 in.) Framed: 44 x 34 cm. (17 3/8 x 13 3/8 in.)

£800 - 1,200

German School (circa 1830)

Portrait of Graf von Munich, bust length, wearing an embroidered jacket and waistcoat, orders and a blue silk sash oil on canvas

Unframed: 65 x 55 cm. (25 1/2 x 21 1/2 in.) Framed: 80 x 70 cm. (31 1/2 x 27 1/2 in.)

£400 - 600

Provenance

Sale; Christie’s, London, 21st September 2000, lot 241, where purchased by the present owner

Austrian School (mid-19th century)

Portrait of a Gentleman, bust-length, wearing a red waistcoat and fur trimmed dark coat oil on canvas

Unframed: 58 x 44 cm. (22 3/4 x 17 1/4 in.) Framed: 72 x 59 cm. (28 1/4 x 23 in.)

£400 - 600

Provenance

Private Collection, UK

Joseph Marcus Hermann (German, 1732-1811)

Bagpipe player in a landscape with two children in the background signed and dated ‘Joseph Hermann,1778’ (lower right) red chalk and stumping on paper

Unframed: 36 x 22.5 cm. (14 1/4 x 8 7/8 in.)

£200 - 300

Attributed to Jean-Henri-Alexandre Pernet (French, 1763-1789)

An Architectural Capriccio indistinctly signed (centre left) gouache with pen & ink on paper

Unframed: 20 x 15.5 cm. (7 7/8 x 6 1/8 in.) Framed: 26 x 21 cm. (10 1/4 x 8 1/4 in.)

£400 - 600

74

Jean-Pierre-Xavier Bidauld (French, 1743-1813)

The falls at Tivoli, with a distant view of the Tomb of the Plautii signed to mount ‘JPx Bidauld f.’ pen & ink with monochrome washes on laid paper with Strasbourg Lily watermark

Unframed: 29 x 46.5 cm. (11 3/8 x 18 1/4 in.) Framed: 46.4 x 61.3 cm. (18 1/4 x 24 1/8 in.)

£600 - 800

Provenance

Private Collection, Lyon; By whom sold in 2021 (as French School)

Exhibited Lyon, Salon des Arts de Lyon, 1786 (as Le Cascade de Tivoli)

75

Victor-Jean Nicolle (French, 1754-1826)

A Coastal Capriccio signed ‘Nicolle’ (lower left)

watercolour with pen & ink on laid paper paper watermarked ‘D&C Blauw’

Unframed: 28 x 36 cm. (11 x 14 1/8 in.) Framed: 50.5 x 58.5 cm. (19 7/8 x 23 in.)

£2,000 - 3,000

Victor-Jean Nicolle trained in Paris at the École Royale Gratuite de Dessin, the free drawing school founded in in Paris by Jean-Jacques Bachelier (1724-1806). Nicolle won the Grand Prix de Perspective in 1771 and, after graduating, he entered the architectural studio of Louis François Petit-Radel (1739-1806). Under the First Empire, Radel became Inspector General of civil buildings, a role with considerable responsibility, and his architectural legacy includes the Abbatoirs Roule, one of the five monumental slaughterhouses of Paris built under Napoleon I, among other accomplishments. Nicolle’s architectural specialism and training was put to great use during his lengthy sojourns in Rome, which appear to have been between 1787-1798 and 1806-1811. Often filled with anecdotal detail, Nicolle’s drawings from his Italian period are almost all rigorously accurate in their topography. They are, as such, important documentary evidence of the appearance of the sites he visited, many of which have changed significantly over the subsequent centuries. Like many artists in Rome before him, Nicolle was also inspired by Hubert Robert and Giovanni Battista Piranesi’s celebrated capricci, and drew a number of his own imagined landscapes, subterranean scenes and classical interiors, demonstrating an originality that comparatively few of his contemporaries attained. Nicolle would generally make his topographical drawings ‘sur le motif’ in pen and ink, which he would then finish with watercolour in his studio.

Victor Jean Nicolle (French, 1754-1826)

View of the Cloisters of the Duomo, Palermo signed ‘J Nicolle’ (upper left)

pen & ink with watercolour

Unframed: 19 x 13.5 cm. (7 1/2 x 5 1/2 in.) Framed: 33.5 x 27 cm. (13 1.4 x 10 5/8 in.)

£600 - 800

Provenance

A. Ernest-Moreau, his sale, Paris, 1 April 1924, lot 122

Sale, Sotheby’s, London, 22 April 1998, lot 119

Sale, Christie’s, London, 12 December 2003, lot 466

William L. Bernhard & Catherine Cahill, Southampton, New York (until 2024)

Victor-Jean Nicolle (French, 1754-1811)

Three Venetian Scenes pen & ink with wash

Each unframed: 13.4 x 10.8 cm. (5 1/4 x 4 1/4 in.) Each framed: 33.4 x 29.5 cm. (13 1/8 x 11 5/8 in.)

£600 - 800

78

Pierre-Nicolas Brisset (French, 1810-1890)

Portrait of Monsieur Merley, dressed as a dandy signed and inscribed ‘A Merley / par Brisset’ (lower left); bears inscription ‘Munificenza del Signor Merley’ (on the backing)

watercolour with pencil Unframed: 28 x 23 cm. (11 x 9 in.)

£600 - 800

Provenance

Charles Saunier (1865-1941), Paris (L.567b)

Seymour & Zoya Slive, Cambridge, Massachusetts, U.S.A.

Sale; Sotheby’s, New York, 25 January 2023, lot 294

Pierre-Nicolas Brisset (1810-1890) was a painter of historical, religious, and mythological scenes, as well as portraits and landscapes. A pupil of Louis-Charles-Auguste Couder and François-Édouard Picot, he won the Prix de Rome in 1840 with Caius Gracchus, Summoned by the Senate, Leaves for Rome and painted the acclaimed Saint Lawrence Displaying the Treasures of the Church during his stay at the French Academy in Rome (1841-1845). Back in France, he executed murals in Parisian churches, the Grand Théâtre in Geneva, and private hotels, helped restore Fontainebleau frescoes, and designed the 100-franc Banque de France note (1862-1923). Brisset was also an influential teacher, with pupils including Henri Gervex.

79

Louis Émile Dardoize (French, 1826-1901)

Hier signed ‘EMILE DARDOIZE’ (lower left)

charcoal on paper

Unframed: 40 x 52.5 cm. (16 1/2 x 22 1/4 in.) Framed: 70 x 82 cm. (27 1/2 x 32 1/4 in.)

£300 - 500

Provenance

Private Collection, Douai, until 2025.

Exhibited

Dieppe, Hôtel de Ville, Société des Amis des Arts de Dieppe, 1877, no. 3

Though little known today, Émile Dardoize enjoyed a long and successful career. He debuted at the Salon in 1845 at nineteen and exhibited there for fifty years, winning a prize in 1882. Internationally recognised, he earned bronze and gold medals at the Exposition Universelle and Exposition Universelle, and a further bronze at the Exposition Universelle.

Independent of any school, Dardoize was a devoted observer of nature who painted en plein air across France, favouring rustic landscapes such as woodlands, rivers, and ponds, especially in the Seine Valley and the Vauxde-Cernay in the Chevreuse region. Also an accomplished draftsman, he excelled in crayon on tinted paper, praised for its subtle tonal effects. The present charcoal drawing, Hier, shown in Dieppe in 1877, exemplifies his command of light and atmosphere. Depicting a looted village street with smouldering fire and scattered debris, its sombre mood likely alludes to the devastation of the Franco-Prussian War.

Thomas Frye (Anglo/Irish, 1710-1762)

A young man with a candle from the ‘Life Size Heads’ series mezzotint in black ink on laid ivory paper

Unframed: 48 x 35 cm. (19 x 13 3/4 in.) Mount: 59.7 x 46.2 cm. (23 1/2 x 18 1/8 in.)

£300 - 500

Follower of Sir Peter Lely (Dutch, late 17th-early 18th Century)

Portrait of Richard 2nd Son of Sir Henry Thompson, bust-length wearing a curled wig and dark coat and tied white lace cravat titled, ‘Richard 2nd Son of Sir Henry Thompson’ (lower left) oil on canvas

Unframed: 74 x 60 cm. (29 x 23 1/2 in.) Framed: 100 x 80 cm. (39 3/4 x 31 1/2 in.)

Held in a 17th century boldly carved, pierced and later gilded Bolognese Frame.

£400 - 600

Provenance

Private Collection, UK

Circle of Thomas Hudson (British, 1701-1779)

Portrait of a lady in profile, wearing a silver grey dress and blue shawl bears signature and dated ‘T HUDSON/ PINXIT 1772’ (lower right) oil on canvas

Unframed: 75 x 61 cm. (29 1/2 x 24 in.) Framed: 98 x 85 cm. (38 1/2 x 33 1/2 in.)

£2,500 - 3,500

Provenance

Collection of Robert Sheldon Bridges Jnr, San Fransico, California, according to label attached to the reverse Private Collection, UK

Manner of Christopher Steele (British, 1733-1768)

Portrait of a Gentleman half-length wearing an embroidered gold waistcoat, brown jacket and a tied white stock and grey wig oil on canvas

Unframed: 77 x 64 cm. (30 x 25 in.) Framed: 89.5 x 77 cm. (35 x 30 1/4 in.)

£200 - 300

Provenance

Private Collection, UK

Circle of Arthur Devis (British, 1712-1787)

Two gentlemen drinking and smoking oil on canvas

Unframed: 63.8 x 76 cm. (25 x 30 in.) Framed: 76.3 x 89 cm. (30 x 35 in.)

£1,500 - 2,500

Provenance

Sale; Christie’s, 20 November 1984, lot 150 With Spink, King’s Street, No. K2/3501, according to label verso Private Collection, London

Circle of Sir Henry Raeburn R.A. (Scottish, 1756-1823)

Portrait of a Gentleman bust-length, wearing a brown coat and a tied white stock oil on canvas

Unframed: 77 x 64 cm. (30 1/4 x 25 in.) Framed: 84 x 71 cm. (33 1/8 x 28 in.)

£300 - 500

Provenance

Private Collection, UK

After Sir Henry Raeburn (late 19th-early 20th Century)

Portrait of Mrs William Urquhart (c.1796-1864) oil on canvas

Unframed: 52 x 41 cm. (20 1/2 x 16 in.) Framed: 72 x 62 cm. (28 1/4 x 24 1/2 in.)

£300 - 500

Provenance

Private Collection, UK

British School, (early-mid 18th Century)

Portrait of a woman oil on canvas

Unframed: 45 x 34.9 cm. (17 3/4 x 13 3/4 in.) Framed: 60 x 52 cm. (23 5/8 x 20 1/2 in.)

£400 - 600

William D. Duffield (British, 1816-1863)

Portrait of a young lady, half-length, wearing a black dress with white lace cuffs and pear broach signed and dated ‘W D Duffield/1846’ (lower left) oil on canvas

Unframed: 84 x 63 cm. (33 x 24 3/4 in.) Framed: 100 x 80 cm. (39 3/4 x 31 1/2 in.)

£800 - 1,200

Provenance

With Ealing Gallery, London Private Collection, UK

Follower of Alfred De Dreux (French, early-mid 19th Century)

A Ride in the Park oil on canvas

Unframed: 41 x 33 cm. (16 x 13 in.) Framed: 61 x 53 cm. (24 x 20 3/4 in.)

£1,500 - 2,500

Provenance

Private Collection, UK

British School (19th Century)

Portrait of a young lady, half-length, wearing a red shawl oil on canvas

Unframed: 73 x 59 cm. (28 3/4 x 23 1/4 in.) Framed: 93 x 79 cm. (36 5/8 x 31 1/7 in.)

£300 - 500

Provenance

Private Collection, UK

Theodor Blake Wirgman (British, 1848-1925)

Portrait of a young Lady, bust-length, wearing a floral dress, red broach and a white fur stole sighed ‘T Blake Wirgman’ (lower right) oil on canvas

Unframed: 76 x 64 cm. (30 x 25 1/2 in.) Framed: 89 x 78 cm. (35 x 30 3/4 in.)

£400 - 600

Provenance

With Ealing Gallery, London Private Collection, UK

Thomas Blake Wirgman, a painter and illustrator of Swedish descent, was raised in London and began studying at the Royal Academy Schools at the age of fifteen. After spending a period working in Paris, he returned to London to continue his career. Wirgman created a series of portraits for The Graphic magazine and continued to produce portrait drawings and paintings throughout his life. He also illustrated a series of British sculptors for Century Magazine

John William Godward R.B.A. (British, 1861-1922)

Portrait of Mary Perkinton Godward, the artist’s grandmother (d. 1866) watercolour/gouache on paper

Unframed: 11 x 8.5 cm. (4 1/4 x 3 3/8 in.) Framed: 29.3 x 26 cm. (11 5/8 x 10 1/4 in.)

£800 - 1,200

Provenance

Sale; Christie’s, London, 18 November 2009, lot 90, where purchased by the present owner

Private Collection, London

Literature

Vern G. Swanson, John William Godward : The Eclipse of Classicism, Woodbridge, Suffolk, 1997. p.22

John William Godward belonged to the second generation of Victorian Aestheticist painters who followed in the footsteps of Lord Frederic Leighton and Sir Lawrence Alma-Tadema.

The present lot, a portrait of Godward’s grandmother, is the earliest known work by the artist.

Elizabeth Ann Briscoe (British, 1780-1842)

Study of a Lychee plant signed and dated ‘E Briscoe, 1821’ (lower right) watercolour

Unframed: 41.4 x 31.5 cm. (16 1/4 x 12 3/8 in.) Framed: 57 x 44.3 cm. (22 1/2 x 17 3/8 in.)

£600 - 800

Recently identified artist Elizabeth Ann Briscoe lived in Bombay from 1805 to 1813, before relocating to London and later New Brunswick, where she died in 1842. She exhibited at the Royal Academy in 1800 and was closely connected to Joseph Banks.

Born Elizabeth Ann Lawrance, she was the sister of Mary Lawrance (Kearse), a leading botanical illustrator of the late 18th and early 19th centuries. She was also the daughter-in-law of Peter Briscoe, who accompanied Joseph Banks on three expeditions and was one of only four survivors from Banks’s original party of nine on the Endeavour voyage of 1768.

The Briscoe family maintained a strong relationship with Banks, who offered them considerable support. Following their return from Bombay, after Elizabeth’s husband had been convicted of corruption, Banks intervened on their behalf, supporting Briscoe’s appeal to King George for a pardon. He also successfully lobbied Prime Minister Robert Banks Jenkinson, 2nd Earl of Liverpool, and later provided the family with an annuity through a codicil to his will in 1820.

British School (early-mid 19th Century)

Design for Puginesque Ink Well, Decorated Coffee Ewer and a Sword Scabbard

Design for Puginesque Ink Well

inscribed ‘Presentation inscription’ (lower left)

pencil

Unframed: 15 x 15 cm. (6 x 6 in.) Framed: 38 x 43 cm. (15 x 17 in.)

Decorated Coffee Ewer

pencil traces of black ink, watercolour and watercolour wash

Unframed: 19 x 12 cm. (7 1/2 x 4 3/4 in.) Framed: 43 x 38 cm. (17 x 15 in.)

Sword Scabbard

inscribed ‘gilt metal engraved and embossed’ (lower left)

Unframed: 22 x 17 cm. (8 1/2 x 6 3/4 in.) Framed: 43 x 38 cm. (17 x 15 in.) (3)

£500 - 800

Provenance

Gifted from a Private Estate to the present owner.

Alphonse Legros (French, 1837-1911)

A collection of etchings, to include Tete d’Homme 1877

Tete d’Homme 1877

signed ‘A. Legros’ (lower right, margin) drypoint (Bliss 166)

Unframed: 44 x 32 cm. (17 1/4 x 12 5/8 in.) (sheet)

Tete de Jeune Fille

titled ‘Extase Poetique’ (lower centre) etching

executed in front of an etching class in 1877, 50 proofs-plate destroyed published in L’Illustration

Nouvelle1875-Cadart and Gazette des beaux

Arts-April 1876

Unframed: 27 x 19 cm. (10 5/8 x 7 1/2 in.) (sheet)

Portrait of Miss Nora E Legros

signed ‘A. Legros’ (upper right) lithograph printed in sepia (Bliss 568) unidentified collectors marks (not in Lugt) (lower right)

Unframed: 42 x 26 cm. (16 1/2 x 10 1/4 in.) (sheet)

Le Moine a L’orgue etching 1870

Unframed:10 x 11 cm. (4 x 4 1/4 in.) (small plate)

La Bapteme etching 1870

Unframed: 25 x 35 cm. (9 7/8 x 13 3/4 in.) (sheet)

La Creche etching and drypoint signed in pencil to the margin (lower right)

Unframed: 38 x 58.5 cm. (15 x 23 in.) (sheet)

Viol Player (Le joueur de viole) etching and drypoint

Unframed: 20 x 25 cm. (7 7/8 x 9 7/8 in.)

Opfer de Brandes signed and further inscribed (verso) etching

Unframed: 24 x 33 cm. (9 1/2 x 13 in.) (sheet)

Le Refectoire published by Cadart and Chevalier Imprimerie Delatre Societe des aquafortistes 1863 etching

Unframed: 33 x 53 cm. (13 x 20 7/8 in.) (sheet)

La Lecture de L’Office drypoint published in 50 impressions signed and dated 1858 (within the plate)

Unframed: 46 x 33 cm. (18 1/8 x 13 in.) (sheet) (10)

£300 - 500

Alphonse Legros (French, 1837-1911)

Portrait of Sir Edward John Poynter, Self Portrait of the Artist, together with 10 further examples by Alphonse Legros

Portrait of Edward John Poynter signed within the plate etching

Unframed: 43 x 30 cm. (16 7/8 x 11 7/8 in.) (sheet)

Self Portrait of the Artist lithograph

Unframed: 36 x 27 cm. (14 1/8 x 10 5/8 in.) (sheet)

Self Portrait of the Artist 3rd Plate etching

Unframed: 53 x 32 cm. (20 7/8 x 12 5/8 in.) (sheet)

Leon Gambetta etchings various states

Each unframed: 41 x 34 cm. (16 1/8 x 13 3/8 in.) (2)

Sir Hiram S. Maxim signed (lower right) etching

Unframed: 34 x 25 cm. (13 3/8 x 9 7/8 in.) (sheet)

Portrait of a bearded man signed within the plate (upper right)

Unframed: 50 x 38 cm. (19 3/4 x 15 in.) (sheet)

Portrait of a man with Long White Beard signed within the plate lithograph

Unframed: 50 x 38 cm. (19 3/4 x 15 in.) (sheet)

Depuis ce Temps la signed within the plate etching

Unframed: 34 x 28 cm. (13 3/8 x 11 in.) (framed overall)

Job, 2nd Plate signed (lower right) etching

Unframed: 32 x 17 cm. (12 v5/8 x 6 3/4 in.) (framed overall)

Provenance: Abbott and Holder, London

Chickweed Merchant signed (lower right) etching

Unframed: 37 x 31 cm. (14 1/2 x 12 1/4 in.) (framed overall)

Together with:

A collection of photograph studio shots and several catalogues by William Rothenstien (11)

£200 - 300

Sir Edward John Poynter, Bt., P.R.A., R.W.S. (British, 1826-1919)

Studies of joined hands, for the address presented to Queen Victoria in 1897 on the occasion of her Diamond Jubilee black and white chalk on buff paper

Unframed: 34.5 x 25 cm. (13 5/8 x 9 7/8 in.) Framed: 55 x 44 cm. (21 5/8 x 17 3/8 in.)

£1,000 - 1,500

Provenance

Lady Valda Machell (1868-1951) (the great-niece of Queen Victoria) With Vermont Gallery, London (by 1952)

With Christopher Wood Gallery, London Sale; Christie’s, London, 8 November 2009, lot 40, where purchased by the present owner Private Collection, London

Exhibited

London, Vermont Gallery, An Exhibition of Drawings by Sir Edward J. Poynter, Bt., P.R.A., including his designs for coinage 1891-1892, 1952, no. 11

New York, Shepherd Gallery, (arranged by Christopher Wood and Julian Hartnoll), English 19th Century Pre-Raphaelite and Academic Drawings, Watercolours, Graphics and Paintings, 1986, no. 76

This drawing is a study for the frontispiece of an address presented to Queen Victoria by the Royal Academy to mark her Diamond Jubilee in June 1897 and was executed a year after Poynter became President of the Royal Academy (in succession to Leighton and Millais). As one of the most prominent members of the Victorian art establishment, it was entirely fitting that Poynter designed official documents and medals. A completed design study is in the Ackland Art Museum, U.S.A., no. 81.36.1. Another study of full-length figures and drapery was sold at Koller Auctions, 28 March 2014, lot 3497, now held in a private collection.

We are grateful to Simon Toll for his assitance with the cataloguing of this lot.

Frederic, Lord Leighton, P.R.A., R.W.S. (British, 1830-1896)

Study of a woman seen from behind (recto); Study of a kneeling man (verso) later inscribed ‘Sir Fred Leighton’ (lower right) black and white chalk on paper

Unframed: 44.5 x 20.5 cm. (17 1/2 x 8 1/8 in.) Framed: 65 x 41 cm. (25 5/8 x 16 1/8 in.)

£1,500 - 2,000

Provenance

Sale; Christie’s, London, 16 June 2010, lot 151, where purchased by the present owner

This drawing is possibly a preliminary study for Captive Andromache, 1888 (Manchester Art Gallery).

Philip Wilson Steer (British, 1860-1942)

Portrait of Muriel “Lily” Montgomery, circa 1912-1913

watercolour with traces of pencil

Unframed: 35 x 23 cm. (13 3/4 x 9 1/8 in.)

Framed: 57 x 48.5 cm. (22 3/8 x 19 1/8 in.)

£400 - 600

Provenance

Theodora Gertrude Winter (née Barlow) (1912-1968), Wendover

Thence by descent to the present owner

Exhibited

London, Tate Britain, Memorial Exhibition of the works of Philip Wilson Steer, June-August 1943, no. 95 (lent by Mrs Carl Winter)

The present work was painted by Philip Wilson Steer, circa 1912-1913, at 109 Cheyne Walk, Chelsea. Miss Muriel Hectorina Lilian (Lily) Montgomery (1890-1988), daughter of H.B Montgomery, married the Hon. Roger Brand (b. 1880), 5th son of the second Viscount Hampden, on 21 November 1913. A large oil on canvas of Miss Montgomery reading (circa 1908), by Steer, is held in the Art Gallery of New South Wales, Australia, no. 7842.

Theodora Gertrude Winter (née Barlow) was the daughter of Sir Thomas Dalmahoy Barlow (1883-1964), a British businessman, banker, and art collector and historian. In 1936, she married Carl Winter (1906-1966), a British art historian and museum curator. He worked at the Victoria & Albert Museum’s collection of English watercolours and miniature portraits before becoming a director and Morley Curator at the Fitzwilliam Museum in Cambridge in 1946. He published Elizabethan Miniatures in 1943 and The British School of Miniature Portrait Painters in 1948.

100

Hugh Collins (British, c.1834-1896)

Portrait of an artist, head and shoulders signed ‘H Collins’ (lower right) oil on canvas

Unframed: 43 x 40 cm. (17 x 15 3/4 in.)

£300 - 500

Provenance Private Collection, UK

Franz Seraph Von

Lenbach (German, 1836-1904)

Portrait of a young Lady, bust-length, wearing a fur coat signed ‘...Lenbach’ (lower right) oil on board

Unframed: 60 x 48 cm. (23 3/4 x 19 in.) Framed: 98 x 85 cm. (38 1/2 x 33 1/2 in.)

£3,000 - 5,000

Provenance

With Mawson, Swan & Morgan, Newcastle-on-Tyne, according to label verso With Ealing Gallery, London Private Collection, UK

102

Jan Matejko (Polish, 1838-1893)

Święty Stanisław karcący Bolesława Śmiałego (Saint Stanislaus Chastising Bolesław the Brave)

Preparatory sketch inscribed (upper right) pencil on buff paper

Unframed: 9 x 13 cm. (3 1/2 x 5 in.) Framed: 44 x 41 cm. (17 1/4 x 16 in.)

£3,000 - 5,000

Provenance

Private Collection, London

Jan Mateijko was known for his depictions of nodal events throughout Polish history. As outlined by ‘The principle of Matejko’s work falls within the Wilhelmine era…he favours historical themes’ (1).

Matejko spent most of his life in Kraków. At fourteen, he enrolled in the Kraków Academy of Fine Arts, studying under prominent artists like Wojciech Korneli Stattler and Władysław Łuszczkiewicz. His early experiences of the Kraków uprisings, along with his brothers’ military service, strongly shaped his artistic focus. After further training in Munich and Vienna, he returned to Kraków to establish his own studio. His work played a significant role in fostering Polish historical awareness and national identity during a period when Poland was partitioned.

References

1. Matejko, J. et al. (1982) Jan Matejko, 1838-1893 : Gemälde, Aquarelle, Zeichnungen. Nürnberg: Kunsthalle Nürnberg, p. 3

Jan Matejko (Polish, 1838-1893)

Saint Casimir inscribed (upper right) pencil on buff paper

Unframed: 13 x 9 cm. (4 3/4 x 5 in.) Framed: 43 x 41 cm. (17 x 16 in.)

£3,000 - 5,000

Provenance

Private Collection, London

104

Alfred Kingsley Lawrence R.A. R.P. (British, 1893-1978)

A study for a classical subject, possibly the return of Persephone oil on canvas

Unframed: 102 x 76.5 cm. (40 1/8 x 30 1/8 in.) Framed: 123 x 97 cm. (48 3/8 x 38 1/8 in.)

£800 - 1,200

Provenance

Private Collection, Southwest England

The present compsition closely resembles a complete work by the artist titled ‘The Return of Persephone’, sold at Christie’s 14th November 1986.

Lawrence was a painter, muralist, and draughtsman, born in Lewes, Sussex. He studied at the King Edward VII School of Art in Newcastle upon Tyne under Richard Hatton, then at the Royal College of Art with William Rothenstein, and later in Italy as a Prix de Rome scholar in 1923. He was elected a Royal Academician in 1938.

Lawrence was a distinguished figure painter and long-standing member of the Royal Academy, known for the strong draughtsmanship underpinning his work. He also exhibited with the Royal Society of Portrait Painters, of which he was a member, and showed widely abroad. His notable murals include works at the Laing Art Gallery, Newcastle, the Palace of Westminster, and the Bank of England.

John Keyse Sherwin (British, 1751-1790)

A pair of roundels; Female figure on a cloud & Cupid and Psyche pastels with chalk on paper

Each unframed: 33 x 33 cm. (13 x 13 in.) Each framed: 46 x 46 cm. (18 1/8 x 18 1/8 in.) (2, a pair)

£1,000 - 1,500

Provenance

With Francis Harvey, St James’s St., London

Born in East Dean, Sussex, Sherwin trained under John Astley and Francesco Bartolozzi and won Royal Academy medals for painting. He became a leading engraver, succeeding William Woollett as engraver to the king, and produced acclaimed works after Poussin, Murillo, Gainsborough, and others. Ambidextrous and technically skilled, he taught John Thomas Smith.

Louise

Lagerheim von Knorring (Swedish, 1819-1905)

A study of Chactas, from Girodet’s ‘The Burial of Attala’ signed and dated ‘Louise Lagerheim. / 1837’ (lower right), inscribed ‘CHACTAS’ (lower centre) black chalk on paper Unframed: 46 x 55 cm. (17 3/4 x 21 in.) Framed: 67 x 78 cm. (26 3/8 x 30 3/4 in.)

£800 - 1,200

Provenance

Gifted by the artist to her daughter, Sigrid von Knorring, 1871; Thence by descent, until; Sale; Höörs Auktionshall, Höör, Sweden, 21 August 2024, lot 8012

Drawn at just seventeen, Louise Lagerheim’s study depicts Chactas, the Seminole protagonist of François-René de Chateaubriand’s novella Atala (1803). The scene of Chactas mourning Atala was famously painted by Anne-Louis Girodet in 1808, a Salon success and a key transitional work between Neoclassicism and early Romanticism.

Lagerheim’s drawing copies an 1812 lithograph by Lepage and Reverdin after Girodet’s composition. Replicating celebrated works through prints formed a standard part of academic training, and given her age, she likely executed the drawing in such a setting. A comparable copy by Jean Hanssens won first prize at the Bruges Academy in 1818, though Lagerheim’s version is equally accomplished.

Although women were not formally admitted to the Royal Swedish Academy of Arts until 1864, some studied there by special permission; Lagerheim’s precocious skill suggests she may have done so. She exhibited there in 1838 with a black chalk copy after Ary Scheffer.

The daughter of nobleman and Supreme Court Justice Olof Johan Lagerheim, who died in the 1834 cholera epidemic, she later married Chancellor Jacob Henrik Edvard von Knorring in 1847. Also an accomplished musician, she was elected as an associate of the Royal Academy of Music in 1866.

Beyond Chactas, Lagerheim’s known corpus of graphic works is very small, consisting of three bustlength portraits in the Swedish National Museum and one similar work in the Grenna Museum.

107

Armando Spadini (Italian, 1883-1925)

David and Saul signed ‘A Spadini’ (lower right) pen and ink on paper

Unframed: 28 x 20 cm. (11 x 7 7/8 in.)

£300 - 500

British School (early 19th Century)

Cadmus killing the Serpent indistinctly inscribed (upper right) pen and ink and watercolour on paper

Unframed: 20.5 x 32.3 cm. (8 x 12 5/8 in.)

£200 - 300

After Raphael Lamar West (British, 19th Century)

‘As You Like It’, Act IV, Scene III oil on canvas

Unframed: 78 x 108 cm. (30 3/4 x 42 1/2 in.) Framed: 93 x 122 cm. (36 5/8 x 48 in.)

£300 - 500

110

George Chinnery (British, 1774-1852)

A Goat beside a Ruin watercolour

Unframed: 12 x 17 cm. (4 3/4 x 6 1/2 in.) Framed: 27 x 32 cm. (10 5/8 x 12 1/2 in.)

£400 - 600

Provenance

With Thos Agnew and Sons Ltd, London

Theodora Gertrude Winter (née Barlow) (1912-1968)

Thence by descent to the present owner

Exhibited

Thos Agnew and Sons Ltd, London, 100th Annual Exhibition of Watercolours and Drawings, 15 January-16 February 1973, no.35644/111, no.692

Theodora Gertrude Winter (née Barlow) was the daughter of Sir Thomas Dalmahoy Barlow (1883-1964), a British businessman, banker, and art collector and historian. In 1936, she married Carl Winter (1906-1966), a British art historian and museum curator. He worked at the Victoria & Albert Museum’s collection of English watercolours and miniature portraits before becoming a director and Morley Curator at the Fitzwilliam Museum in Cambridge in 1946. He published Elizabethan Miniatures in 1943 and The British School of Miniature Portrait Painters in 1948.

111

George Smith of Chichester (British, 1714-1776)

A capriccio river landscape with figures fishing, the Temple of Vesta on a hill beyond signed ‘Geo : Smith’ (lower left) oil on canvas

Unframed: 44.1 x 63.8 cm. (17 3/8 x 25 1/8 in.) Framed: 60 x 80 cm. (23 5/8 x 31 1/2 in.)

£1,500 - 2,500

Provenance

Held in a fine carved and gilded Maratta frame.

Sale; Christie’s, London, The Barratt Collection - From Crowe Hall, Bath, 16 December 2010, lot 148

Anne Gibson Nasmyth (British, 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.)

£3,000 - 5,000

Provenance

Gifted by A. Beattie to Mr Marsh, 25 March 1854, according to the inscription on the reverse With Ealing Gallery, London Private Collection, UK

Anne was one of seven daughters born to artist Alexander Naysmyth (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.

James Burrell Smith (British, 1822-1897)

Figures in an Extensive Wooded River Landscape, Bridge and Ruins beyond: Figures Crossing a Wooden Bridge Mountain Landscape beyond one example signed ‘J.B Smith’ (lower right) each oil on board (tondo)

Unframed: 32 x 32 cm. (12 1/2 x 12 1/2 in.) Framed: 48 x 48 cm. (19 x 19 in.) (Each tondo) (2, a pair)

£500 - 700

Provenance

Private collection, UK

Willem Hendrik Adriaan Wesselink (1808-1866)

Rio de Janeiro, 1864; View of the old harbour, in Guanabara Bay and Morro do Castello signed and titled ‘W.H.A Wesselink, Rio de Janerio’ (lower right)

Unframed: 21 x 42 cm. (8 1/4 x 16 1/2 in.) Framed: 46 x 67 cm. (18 1/8 x 26 3/8 in.)

£400 - 600

The buildings on the hill to the left (Castello Morro) are the Convent (the larger building) and the old cathedral. Wesselink was captain-lieutenant of the stream screw ship Amelia (known officially as the Princes Amelia) which underwent repairs in Rio de Janeiro between April and July 1864.

George Philip Reinagle (British, 1802-1835)

View of Constantinople, Istanbul, Turkey (1827) signed ‘Reinagle, 1827’ (lower left) pen, ink and watercolour

Unframed: 43.5 x 32 cm. (17 x 13 in.) Framed: 65 x 53 cm. (25 5/8 x 10 7/8 in.)

£1,800 - 2,200

Provenance

Sale; Christie’s, London, 08 April 1997, lot 94 Private Collection, UK

Born in 1802 to painter Ramsay Richard Reinagle, George Philip Reinagle would first exhibit his work at the Royal Academy just twenty years later. He developed his skills for painting, engraving and draughtsmanship through studying the works of Ludolf Backhuysen and William van de Velde, yet soon turned from portraiture to seascapes. This ‘View of Constantinople’ dates from a period in which Reinagle travelled to Greece and Turkey, witnessing the Greek War of Independence and Battle of Navarino first hand. Sadly, he died in 1835, eight years after the completion of this drawing, aged just 33.

Michel Martino (Italian, 1889-1969)

The Burnt Pillar, Constantinople signed ‘M Martino’ (lower right) watercolour heightened with white Unframed: 43 x 30 cm. (17 x 12 in.) Framed: 60 x 49 cm. (24 x 19 1/4 in.)

£150 - 250

117

British School (circa 1878)

The Port of Alexandria, Egypt inscribed and dated ‘Alexandria, 20 May 1878’ (lower right) watercolour

Unframed: 15 x 45 cm. (5 7/8 x 17 3/4 in.)

£200 - 300

Provenance Private Collection, UK

Andrea Gasparini (Italian, 1842-1844)

Feast at Thiseion, at the Temple of Hephaestus, Greece watercolour, bodycolour, point of brush

Unframed: 33 x 43 cm. (13 x 17 in.) Framed: 45 x 55 cm. (17 3/4 x 21 3/4 in.)

£3,000 - 5,000

Provenance

Private Collection

119

Brigadier-General Frederick William Lumsden (British, act.1900)

Paestum Temples, Salerno, Campania, Italy

signed, titled and dated ‘1900’ (lower left)

watercolour and bodycolour

Unframed: 52 x 74 cm. (20 1/2 x 29 in.) Framed: 80 x 102 cm. (31 1/2 x 40 in.)

£400 - 600

Provenance

Brigadier-General Frederick William Lumsden, VC, CB, DSO & Three Bars (14 December 1872 - 4 June 1918) who was a British officer in Royal Marine Artillery and during the First World War.

120

Anton Schranz II (German, 1801-1864)

A view of a harbour in Corfu signed ‘Schranz’ (lower right) watercolour and bodycolour

Unframed: 22 x 32 cm. (9 3/4 x 12 1/2 in.) Framed: 38 x 48 cm. (15 x 18 3/4 in.)

£600 - 800

Provenance

Private Collection, UK

Follower of Joseph Mallord William Turner R.A (British, 1775-1851)

The Fifth Plague of Egypt oil on paper laid to panel

Unframed: 24 x 29.5 cm. (9 3/8 x 11 5/8 in.) Framed: 32 x 37 cm. (12 1.2 x 14 1/2 in.)

£300 - 500

122

Edward Lear (British, 1812-1888)

View of a distant mountains pencil on paper

Unframed: 8 x 21.5 cm. (3 1/8 x 8 1/2 in.)

Together with a further drawing by Sir William Boxall (British, 1800-1879) View of Pozzuoli indistinctly inscribed (verso) crayon

Unframed: 8 x 21.6 cm. (3 1/8 x 8 1/2 in.); 10.8 x 14.6 cm. (4 1/4 x 5 3/4 in.) (2)

£250 - 350

Provenance

Private Collection, UK

123

Edward Lear (British, 1812-1888)

Lavello from Minervino Murge, Sunrise inscribed ‘from Minervino/Sept 24 1847/Sunrise’ (lower left), and extensively inscribed with notes watercolour over traces of pencil heightened with touches of white on buff paper Unframed: 10 x 29 cm. (4 x 11 1/2 in.) Framed: 32 x 50.5 cm. (12 5/8 x 19 7/8 in.)

£2,000 - 3,000

Provenance

With Guy Peppiatt Fine Art Ltd, London. Private Colletion, London

Edward Lear was a popular British artist, illustrator, musician, author, and poet most well-known for his ‘nonsense’ writings, which include ‘The Owl and the Pussycat’. A talented ornithological draughtsman, Lear was employed by the Zoological Society and the Earl of Derby to illustrate birds, publishing ‘Illustrations of the Family of Psittacidae, or Parrots’ aged just 19. He would continue to illustrate until his eyesight deteriorated too much to work with precision, at which time he turned to travel and landscape painting.

This charming watercolour of Lavello at sunrise, painted from Minervino Murge dates from Lear’s time in Italy, shortly after he published his ‘Illustrated Excursions in Italy’. Lear’s love of Italy would stretch from his first visit in 1842 until this death at his home in San Remo in 1888, where he had lived since the 1870s.

Edward Lear (British, 1812-1888)

The Village of Simplon, Switzerland inscribed ‘...mplon/ Sept. 1837’ and inscribed ‘H’ (lower right) pencil, heightened white on grey paper

Unframed: 32.4 x 22.6 cm. (12 3/4 x 8 3/4 in.) Framed: 54 x 44 cm. (21 1/4 x 17 3/8 in.)

£1,800 - 3,000

Provenance

With Guy Peppiatt Fine Art Ltd, Duke Street, London. Private Collection, London

125

Maurice Tranchant de Lunel (French, 1869-1944)

Phylee les bains, Egypt dedicated ‘Pour Jack, souvenoi de Phylee les bains, 1 Janvier. 98, Maurice’ (lower right) watercolour

Unframed: 37 x 54.5 cm. (14 1/2 x 21 1/2 in.)

£300 - 500

Provenance

Private Collection, UK

Maurice Tranchant de Lunel was the designer of the Grand Mosque of Paris (1). In 1912, he was appointed by Lyautey as director of the Department of Antiquities, Fine Arts, and Historic Monuments of the French Protectorate in Morocco. His task was to safeguard Moroccan monuments and create an official classification system for the country’s historic sites. Between 1920 and 1923, he served as Inspector of Fine Arts, Antiquities, and Monuments, as well as Architect for the Protectorate of Morocco.

References

1. Théliol Mylène, Le Service des beaux-arts, antiquités et monuments historiques, clef de voûte de la politique patrimoniale française au Maroc sous la résidence de Lyautey (1912–1925), Outre-mers, tome 98, n°370-371, 1er semestre 2011. Le contact colonial dans l’empire français : XIXe–XXe siècles, sous la direction de Maria Romo-Navarrete et Sarah Mohamed-Gaillard, pp. 185-193

126

Augustus Osborne Lamplough (British, 1877-1930)

Dhows sailing down the Nile signed ‘Lamplough’ (lower left) watercolour

Unframed: 32.5 x 50 cm. (12 3/4 x 19 5/8 in.) Framed: 61 x 76 cm. (24 x 29 7/8 in.)

£400 - 600

Provenance

Private Collection, UK

Augustus Osborne Lamplough was an English Orientalist painter and illustrator; known mostly for his topographical scenes of North Africa.

Charles Bargue (French, 1825-1883)

Bashi-Bazouk smoking (c.1870) oil on canvas

Unframed: 47 x 33 cm. (18 1/2 x 13 in.) Framed: 66 x 54 cm. (26 x 21 1/4 in.)

£2,000 - 3,000

Bargue began his career as a lithographer, first working freelance for the publisher F. Sinnet around 1847 before joining the prominent art dealership Goupil & Cie around 1858. A student of Jean-Léon Gérôme, he is best known for creating and publishing the Cours de dessin in the 1860s. This influential course was designed to lead students through a structured progression, from drawing plaster casts (Part I, 1868), to studying master drawings (Part II, 1870), and ultimately to working from the live model (Part III, 1873).

Nigel Lovett (British, 1900-198?)

A group of three Egyptian figurative studies

Field workers; Portrait of an Egyptian man; A Street Vendor the first initialled ‘N.L’ (lower right), the second signed and dated ‘N. Lovett, 29’ (lower right) all pencil, ink and watercolour

First unframed: 35 x 25.5 cm. (13 3/4 x 10 in.) Second unframed: 42.5 x 30 cm. (16 3/4 x 11 3/4 in.)

Third unframed: 26.5 x 19 cm. (10 3/8 x 7 1/2 in.) (3)

£200 - 300

Provenance

Private Collection of the artist, left to the family by descent

Nigel Lovett, the son of the late Brigadier General Alfred Crowdy Lovett, was an officer in The Gloucestershire Regiment. Like his father, Alfred Lovett, he was also a skilled painter, serving in various locations, including Continental Europe, Egypt, and Singapore.

Nigel Lovett (British, 1900-198?)

Egyptian views; Pyramid scene with camel study and Camping scene first initialled ‘N.L’ (lower right) watercolour

First unframed: 24 x 31 cm. (9 1/2 x 12 1/4 in.) Second unframed: 20 x 27.3 cm. (7 7/8 x 10 3/4 in.) (2)

£200 - 300

Provenance

Private Collection of the artist, left to the family by descent

Nigel Lovett (British, 1900-198?)

Egyptian topographical views; View of the Nile with Pyramids in the distance, View of the Colossi of Memnon, Thebes and a View of a town with a minaret first signed and dated ‘N.Lovett, 30’ (lower left), second initialled ‘N.L’ (lower left) watercolours

First unframed: 20.2 x 28.5 cm. (8 x 11 1/4 in.) Second unframed: 19.5 x 29 cm. (7 3/4 x 11 3/8 in.)

Third unframed: 30.5 x 20 cm. (12 x 7 7/8 in.) (3)

£300 - 500

Provenance

Private Collection of the artist, left to the family by descent

Nigel Lovett (British, 1900-198?)

Egyptian ladies collecting water signed ‘NL’ (lower left)

watercolour and black ink

Unframed: 39 x 28.5 cm. (15 3/8 x 11 1/4 in.) Framed: 53.5 x 43 cm. (21 x 16 7/8 in.)

£300 - 500

Provenance

Private Collection of the artist, left to the family by descent

132

Nigel Lovett (British, 1900-198?)

Indian views; British Army Officers leading Horses in Ralamandal, India and Pig Sticking, c.1930-32 first signed ‘N Lovett’ (lower right), and titled ‘Ralamandal’ (lower left); second signed ‘NL’ (lower right) pencil

Each unframed: 24.5 x 36.5 cm. (9 5/8 x 14 3/8 in.) (2)

£600 - 800

Provenance

Private Collection of the artist, left to the family by descent

From the city centre of Indore, Madhya Paradesh now a wildlife sanctuary of many diverse species.

Alfred Crowdy Lovett (British, 1862-1919)

Portrait of a Military Officer, Decorated for the Battles of Chillianwalla, Goojerat and Delhi watercolour, heightened with white Unframed: 34 x 24 cm. (13 1/2 x 9 1/2 in.)

£200 - 300

Provenance

Private Collection of the artist, left to the family by descent

Lieutenant Colonel Alfred Crowdy Lovett was a British military artist whose finely detailed watercolours capture both the landscapes of the British Empire and the richly varied uniforms of the Indian Army. His paintings are not only visually striking but also serve as important historical records. Born in Croydon, Lovett showed artistic promise from a young age, winning third prize in an art competition run by the Boy’s Own Paper. He joined the Gloucestershire Regiment in 1882, beginning a military career that would take him across British India, from Karachi to Aden.

Lovett’s most celebrated work, The Armies of India, was published in 1911. Illustrated by Lovett and described by Major G.F. MacMunn, the book offered a richly detailed visual account of the regiments that comprised Britain’s military presence in the Indian subcontinent. With a foreword by Field Marshal Earl Roberts, it aimed to inspire pride and confidence at a time when Britain’s imperial ambitions were facing competition from other European powers. Lovett’s watercolours, with their meticulously observed uniforms and regalia, brought these regiments to life and reflected the scope and complexity of the British Empire.

Alfred Crowdy Lovett (British, 1862-1919) After Edward Dayes (British, c.1792)

Soldiers of the 5th (Northumberland) Regiment of Foot, c1792; Buffs Royal East Kent Regiment of Foot and others each watercolours

Each unframed: 37.5 x 26.5 cm. (14 3/4 x 10 1/2 in.) (and similar) (6)

£200 - 300

Provenance

Private Collection of the artist, left to the family by descent

After the original plates published by John & Josiah Boydell. 1792-3, after a drawing by Edward Dayes. Joseph Mallord William Turner (1775-1851) was employed by Dayes for tinting the plates.

To include:

Soldiers of the 5th (Northumberland) Regiment of Foot, c.1792

Raised in 1674 as one of three ‘English’ units in the Dutch Anglo-Scots Brigade. In 1751, it became the 5th Regiment of Foot, with the regional title ‘Northumberland’ added in 1782; in 1836, it was designated a Fusilier unit and became the 5th (Northumberland Fusiliers) Regiment of Foot.

Buffs Royal East Kent Regiment of Foot

The Buffs (Royal East Kent Regiment), formerly the 3rd Regiment of Foot, was a line infantry regiment of the British Army traditionally raised in the English county of Kent and garrisoned at Canterbury. It had a history dating back to 1572 and was one of the oldest regiments in the British Army The Royal Fusilier East Norfolk Regiment of Foot

The Royal Norfolk Regiment

This infantry unit was raised in 1685 and subsequently served in many British Army campaigns during its long history. In 1959, it was amalgamated with The Suffolk Regiment to form the 1st East Anglian Regiment (Royal Norfolk and Suffolk).

A group of four World War One military officers watercolours

Each unframed: 32.5 x 22.3 cm. (12 3/4 x 8 3/4 in.)

(4)

£500 - 800

Provenance

Private Collection of the artist, left to the family by descent

Alfred Crowdy Lovett (British, 1862-1919)

Alfred Crowdy Lovett (British, 1862-1919)

Views of Scarborough, including the British Fleet (HMS Scarborough) in camouflage and The Grand Hotel

each initialled ‘A.C.L (lower left) watercolour

First unframed: 25 x 40 cm. (9 3/4 x 15 3/4 in.) Second unframed: 24 x 39 cm. (9 1/2 x 15 3/8 in.) (2)

£500 - 800

Provenance

Private Collection of the artist, left to the family by descent

HMS Scarborough (L25) was a small escort warship (a Hastings-class sloop) built for the Royal Navy between the wars and best known for convoy protection during World War II. The present example captures Zeppelin under attack by the British Biplanes.

Alfred Crowdy Lovett (British, 1862-1919)

View of Whitby Abbey and town and Robin Hood’s Bay first signed ‘ACL’ (lower right), second signed ‘ACL’ (lower left) watercolour

Each unframed: 26.3 x 36 cm. (10 3/8 x 14 1/8 in.) (2)

£300 - 500

Provenance

Private Collection of the artist, left to the family by descent

Alfred Crowdy Lovett (British, 1862-1919)

Three landscape views, including Walberswick Harbour Suffolk watercolour

First unframed: 27 x 37.5 cm. (10 5/8 x 14 3/4 in.) Second unframed: 25.5 x 36 cm. (10 x 14 1/8 in.)

Third unframed: 26.5 x 37 cm. (10 x 14 1/2 in.) (3)

£100 - 150

Provenance

Private Collection of the artist, left to the family by descent

Alfred Crowdy Lovett (British, 1862-1919)

Views of Blois, France

first signed ‘A C Lovett’ (lower left), second with a preparatory sketch (verso) watercolour

First unframed: 37 x 26 cm. (14 1/2 x 10 1/4 in.) Second unframed: 25.5 x 36 cm. (10 x 14 1/8 in.) (2)

£300 - 500

Provenance

Private Collection of the artist, left to the family by descent

Three views of the Alps watercolour

First unframed: 36 x 25 cm. (14 1/8 x 9 7/8 in.) Second unframed: 26 x 36.2 cm. (10 1/4 x 14 1/4 in.)

Third unframed: 25 x 36 cm. (9 7/8 x 14 1/8 in.) (3)

£300 - 500

Provenance

Private Collection of the artist, left to the family by descent

Alfred Crowdy Lovett (British, 1862-1919)

Charles Wirgman (British, 1864-1922)

View of Fuji, Japan and Reed cutters each signed ‘C.A Wirgman’ (lower right) watercolour

Each unframed: 31 x 47.5 cm. (12 1/4 x 18 3/4 in.) First framed: 47 x 62 cm. (18 1/2 x 24 3/8 in.)

Second framed: 46.5 x 61.5 cm. (18 1/4 x 24 1/4 in.)

(a pair)

£600 - 800

Provenance

Private collection, UK

Overall, Charles Wirgman’s three decades in Japan (1861-1891) placed him at the heart of a pivotal historical moment. Wirgman was an English artist, caricaturist and editorial cartoonist, the creator of the Japan Punch, an English-language satirical magazine published in Yokohama, Japan, from 1862 to 1887, and illustrator in China and Meiji period-Japan for the Illustrated London News. He produced sketches of Japanese life and politics, during the transition into the Meiji era.

M. T. Hla (U Tun Hla) (Burmese, 1874-1946)

Dhammayangyi Temple and Shwezigon Pagoda, Burma first signed ‘MTHLA’ (lower left), second signed ‘MTHLA’ (lower right), each titled within the mount watercolours

Each unframed: 26.9 x 38.1 cm. (10 5/8 x 15 in.) Each framed: 48.5 x 59 cm. (19 1/8 x 23 1/4 in.) (2)

£800 - 1,200

Provenance

Private collection, UK

Albert Charles Dequene (French, 1897-1973)

Portrait of a Tahitian (Tane) signed, dated and located ‘A. Duquene / TAHITI. 7.33’ (lower right) pastel on paper

Unframed: 49.5 x 32.5 cm. (19 1/2 x 12 3/4 in.) Framed: 71 x 54 cm. (27 7/8 x 21 1/4 in.)

£400 - 600

Provenance

Bert Nordin, Antwerp

Clearly driven by an insatiable curiosity, Albert Charles Dequene benefited from an era when long-distance travel was increasingly accessible. Born in Lille in 1897, he studied there before continuing at the École des Beaux-Arts in Paris under Fernand Cormon. In 1932, a travel grant took him to French Sudan, Upper Volta, French Guinea, and Senegal. The following year, he joined a French mission to Tahiti led by parliamentarian Lionel des Tastes, traveling via New York and San Francisco.

Dequene later taught painting and drawing at the École des Beaux-Arts de Roubaix from 1936 to 1962, while also visiting Morocco (1946) and Madagascar (1953).

When Dequene arrived in Tahiti, by then a long-standing French protectorate and today part of French Polynesia, local dissatisfaction with French rule was growing. Des Tastes’ reform efforts ultimately contributed to the 1946 granting of French citizenship and voting rights to French Polynesians, and the islands’ change in status from colony to overseas territory.

Dequene’s Tahitian works include landscapes, Gauguinesque scenes of daily life, and a notable group of pastel portraits. These bust-length studies, often labeled with the sitter’s name, stand out for their individuality. One such portrait depicts a young man named Tane, shown facing the viewer with strong features set against a pale blue background.

Circle of Richard Wilson (British, 1713-1782)

Lodore Waterfall indistinctly signed (lower left) and titled ‘Lodore Waterfall’ (lower right) pencil on buff paper

Unframed: 28.3 x 44.3 cm. (11 1/8 x 17 3/8 in.)

£200 - 300

Circle of Sir Thomas Gainsborough (British, 1727-1788)

Study of goats with kids graphite, pencil and stump work

Unframed: 14 x 20 cm. (5 1/2 x 8 in.) Framed: 30 x 40 cm. (11 7/8 x 15 3/4 in.)

£200 - 300

Provenance

Private Collection, UK

The present work closely resembles Gainsborough’s Study of a Goat at the Yale Centre for British Art, no. B2006.14.20.

146

Matthew Haughton (British, 1766-1821)

Vide Shenston inscribed ‘Vide Shenston, M Haughton [...]’ (lower left) pen and ink with wash

Unframed: 22 x 15.8 cm. (8 5/8 x 6 1/8 in.)

£200 - 300

Provenance

Captain Iolo Aneurin Williams (British, 1890-1962), thence by descent until 2024

Henry Howard R.A. (British, 1769-1847)

Venus and Adonis signed and dated ‘H Howard, 1841’ (lower left) brush and ink with wash

Unframed: 42.2 x 34.9 cm. (16 5/8 x 13 3/4 in.)

£200 - 300

Provenance

Captain Iolo Aneurin Williams (British, 1890-1962), thence by descent until 2024

148

John Varley (British, 1778-1842)

Gatehouse at Morpeth, Northumberland 1811 titled and dated ‘1811’ (on the mount)

watercolour

Unframed: 19 x 26 cm. (7 1/2 x 10 in.) Framed: 37 x 44 cm. (14 1/2 x 17 1/4 in.)

£200 - 300

Provenance

With Trinity Fine Art, London, no. 697, according to label verso With Leger Galleries, Bond Street, London, December 1967

Theodora Gertrude Winter (née Barlow) (1912-1968)

Thence by descent to the present owner

A very similar composition exists as part of the National Galleries of Scotland collection, accession number: D 4779.

Theodora Gertrude Winter (née Barlow) was the daughter of Sir Thomas Dalmahoy Barlow (18831964), a British businessman, banker, and art collector and historian. In 1936, she married Carl Winter (1906-1966), a British art historian and museum curator. He worked at the Victoria & Albert Museum’s collection of English watercolours and miniature portraits before becoming a director and Morley Curator at the Fitzwilliam Museum in Cambridge in 1946. He published Elizabethan Miniatures in 1943 and The British School of Miniature Portrait Painters in 1948.

British School (mid-late 18th Century)

Study of a tree black crayon on buff paper

Unframed: 6.5 x 9.3 cm. (2 5/8 x 3 5/8 in.) Framed: 18 x 20 cm. (7 1/8 x 7 7/8 in.)

£150 - 250

Provenance

Private Collection, UK

150

John Claude Nattes O.W.S (British, 1765-1822)

Figure and horses by a watermill watercolour with bodycolour

Unframed: 32 x 46.5 cm. (12 5/8 x 18 1/4 in.) Framed: 50 x 63 cm. (19 5/8 x 24 3/4 in.)

£200 - 300

Rev. Hon. Daniel Finch (British, 1757-1840)

Cottages at Harpenden signed ‘R D Finch’ (lower left) pen, ink and wash on paper

Unframed: 15.4 x 22.1 cm. (6 1/8 x 8 3/4 in.)

£200 - 300

Provenance

With Abbott & Holder, London

Finch, the sixth son of the 3rd Earl of Aylesford, came from a family in which several grandchildren also developed notable skill as amateur artists. He served as a Prebendary of Gloucester and a Senior Fellow of All Souls, and produced both caricatures and landscapes after studying under J. B. Malchair (1731-1812). His brother, Heneage Finch, 4th Earl of Aylesford, was likewise a pupil of Malchair.

Coplestone Warre Bampfylde (British, 1720-1791)

Weymouth & Portland titled ‘Weymouth & Portland’ (verso)

watercolour with pen & ink

Unframed: 20.4 x 30.6 cm. (8 x 12 in.)

£300 - 500

Provenance

Captain Iolo Aneurin Williams (1890-1962), thence by descent until 2024

John Varley (British, 1778-1842)

View of Snowdon watercolour

Unframed: 16 x 25 cm. (6 1/4 x 10 in.) Framed: 37 x 44 cm. (14 1.2 x 17 1/4 in.)

£250 - 350

Provenance

Caroline Stroude, London

Private collection, London

James Baker Pyne (British, 1800-1870)

Mediterranean scene, possibly a view from Bellagio over Lake Como signed, dated and numbered ‘James Baker Pyne, 1866, No. 660’ (lower right) oil on canvas

Unframed: 53.4 x 86.4 cm. (21 x 34 in.) Framed: 76 x 110 cm. (30 x 43 1/4 in.)

£2,000 - 3,000

Provenance

With William Permain Fine Art, King’s Street London, between 1932-1933, according to label verso, Private collection, UK

155

Thomas Miles Richardson Junior (British, 1813-1890)

Dolbadarn Castle, Wales indistinctly inscribed ‘....castle....’ (lower right) pencil and watercolour, heightened with white

Unframed: 25.7 x 26.1 cm. (10 1/8 x 10 1/4 in.) Framed: 42.5 x 42 cm. (16 1/2 x 16 1/4 in.)

£120 - 180

Provenance

With Agnews & Sons, Old Bond Street, London, no. 42901

156

Henrietta Anne Fortescue (British, c.1765-1841)

A collection of three mountainous landscape views, circa.1818

Barèges, dans les Hanutes Pyrennèes

signed, titled and dated ‘1818’ (lower right)

Unframed: 27.5 x 40 cm. (10 7/8 x 15 3/4 in.)

Champetes nean Gavarnie Barèges

signed, titled and dated ‘1818’ (lower right)

Unframed: 33 x 48.5 cm. (13 x 19 1/8 in.)

Gavarnie

signed, titled and dated ‘1818’ (lower right)

Unframed: 32 x 49 cm. (12 5/8 x 19 1/4 in.)

each inscribed throughout each pen and ink on paper (3)

£300 - 500

Provenance

Private Collection, UK

157

Thomas Brabazon Aylmer (British, 1806-c.1856)

View of the port of Marsala, Italy signed and titled ‘Marsala, Nov 3 1836’ (lower right) pencil heightened with white bodycolour on grey paper

Unframed: 18.1 x 26.5 cm. (7 x 10 1/4 in.) Framed: 34 x 43 cm. (13 3/8 x 17 in.)

£120 - 180

Thomas Brabazon Aylmer was a general at the British Army, and a capable artist who exhibited at the Royal Academy.

William Callow, R.W.S. (British, 1812-1908)

The falls at Tivoli, from Sybil’s Grotto inscribed, signed and dated ‘a Tivoli prise de la Grotte de [...], 28 Jul 40, Wm Callow’ (lower left) pencil and watercolour, heightened with white Unframed: 36.2 x 25.7 cm. (14 1/4 x 10 1/8 in.)

£300 - 500

Provenance

Sale; Christie’s, London, 21 June 2000, lot 132

Thomas Allom (British, 1804-1872)

Mountain of the Grande Chartreuse from Grenoble pen and sepia wash

Unframed: 12 x 19 cm. (4 3/4 x 7 1/2 in.) Framed: 32 x 38 cm. (12 5/8 x 15 in.)

£120 -180

Provenance

Private Collection, London

160

John Callow (British, 1822-1878)

An Alpine Pass watercolour with traces of pencil

Unframed: 17 x 23 cm. (6 1/2 x 9 in.) Framed: 34 x 41 cm. (13 3/8 x 16 1/8 in.)

£150 - 250

Provenance

With Thomas Agnews & Sons, no. 43826, according to label attached verso.

161

English School (c.1840)

Bagneres de Bigorre inscribed and dated ‘Sep 6th Bagneres de Bigorre’ (lower right) pencil heightened with white

Unframed: 17.5 x 24.5 cm. (6 7/8 x 9 5/8 in.) Framed: 40 x 46.5 cm. (50 3/4 x 18 1/8 in.)

£120 - 180

Provenance Private Collection, UK

162

Friedrich Zimmermann (Swiss, 1823-1884)

The Ritzlihorn, from Grimsel signed and dated ‘Frdr. Zimmerman / gemälde 1880’ (lower left) Unframed: 72.5 x 59 cm. (28 1/2 x 23 1/4 in.)

£400 - 600

Provenance

Acquired by the father of the present owner. Private collection, London.

163

Thomas Allan (British, 1804-1872)

Bagnères de Luchon, Pyrenees inscribed on the mount brown wash, heightened with white Unframed: 12.7 x 19 cm. (5 x 7 1/2 in.) Framed: 33 x 39 cm. (13 x 15 3/8 in.)

£200 - 300

Provenance

Private Collection, UK

After Joseph William Mallord Turner (early 19th Century)

Lake of Thun, Switzerland

titled ‘The Lake of Thun, Switz’ (verso)

pen and ink with brown wash

Unframed: 17 x 25 cm. (6 3/4 x 9 7/8 in.) Framed: 32.5 x 39.5 cm. (12 3/4 x 15 1/2 in.)

£200 - 300

Provenance

Private Collection, UK

165

Edward William Cooke (British, 1811-1890)

View from the shore of Ventimiglia, castle beyond signed and dated ‘E W Cooke, 1845’ (lower right) oil on paper

Unframed: 25 x 35.5 cm. (9 7/8 x 14 in.)

£300 - 500

Provenance

Private Collection, UK

166

Alfred Vickers (British, 1786-1868)

Capriccio views inspired by Venice and the Grand Canal each signed ‘Alfred Vickers’ (lower left) oil on canvas

Each unframed: 20 x 41 cm. (8 x 16 in.) Each framed: 41 x 62 cm. (16 x 24 1/2 in.) (2, a pair)

£400 - 600

Provenance

Private Collection, UK

167

Samuel Williamson (British, 1792-1840)

Fisherfolk and cattle on the seashore, 1831 oil on panel

Unframed: 33 x 46.4 cm. (13 x 18.3 in.) Framed: 54.5 x 67 cm. (21 1/2 x 26 3/8 in.)

£400 - 600

Provenance

Private Collection, UK

168

John Warkup Swift (British, 1815-1869)

Ships off the Yorkshire coast, probably Scarborough signed ‘Swift’ (lower right); signed and dated ‘John Warkup / + 1869’ on the reverse oil on board

Unframed: 14.5 x 22 cm. (5 3/4 x 8 5/8 in.) Framed: 35 x 43 cm. (13 3/4 x 16 7/8 in.)

£300 - 500

Provenance

Private Collection, UK

169

John

James William (Scottish, 1818-1875)

Shipping off the Coast, possibly the White Cliffs of Dover signed and dated ‘J Wilson, 1874’ (lower left) oil on canvas

Unframed: 31 x 50 cm. (12 x 19 3/4 in.) Framed: 46 x 65 cm. (18 1/8 x 25 5/8 in.)

£600 - 800

Provenance

Private Collection, UK

170

Thomas Whittle (British, 1803-1887)

An old mill (Evening) near Beddgelert, Wales signed ‘T Whittle’ (lower right), further signed, titled and dated (verso) oil on canvas

Unframed: 35 x 46 cm. (13 3/4 x 18 in.) Framed: 42 x 52 cm. (16 1/2 x 20 1/2 in.)

£200 - 300

171

Joseph Paul (British, 1804-1884)

Figures in the countryside, windmill beyond oil on panel

Unframed: 32.5 x 41 cm. (12 3/4 x 16 1/8 in.) Framed: 45 x 52 cm. (17 3/4 x 20 1/2 in.)

£300 - 500

Provenance

Private Collection, UK

Antoine-Victor-Edmond Joinville (French, 1801-1849)

Sunset over Lake Nemi signed ‘Joinville’ (lower left), inscribed ‘Lago di Nemi’ (lower right) oil on paper laid to canvas

Unframed: 27 x 34 cm. (10 5/8 x 13 3/8 in.) Framed: 42 x 48 cm. (16 1/2 x 19 in.)

£800 - 1,200

Provenance

Private Collection, UK

Joinville studied at the École des Beaux-Arts in Paris and belonged to the second generation of classical landscape painters working in Italy alongside Édouard Bertin, Caruelle d’Aligny (1798-1871), Alexandre Desgoffe (1805-1882), and Corot (1796-1875). He first traveled to Italy in 1824 and, between 1831 and 1848, created numerous views of Genoa, Venice, Rome, and Naples. During this period, he also made at least one journey to North Africa.

173

Edmund John Niemann (British, 1813-1876)

The Old Lock signed and dated ‘Neimann, 59’ (rear of the boat) oil on canvas

Unframed: 30 x 46 cm. (12 x 18 in.) Framed: 52 x 67 cm. (20 1/2 x 26 3/8 in.)

£300 - 500

Provenance

Private Collection, UK

Circle of Henry Redmore (British, 1820-1887)

Fishing vessels off Dutch coast in heavy seas oil on canvas

Unframed: 30.5 x 40.5 cm. (12 x 16 in.) Framed: 39.3 x 49.5 cm. (15 1/2 x 19 1/2 in.)

£200 - 300

175

Alfred H. Vickers (British, 1834-1919)

Cattle grazing in a pastoral farmyard, farmhouse beyond signed and dated ‘A Vickers, 1916’ (lower right) oil on panel

Unframed: 29.5 x 39.5 cm. (11 5/8 x 15 1/2 in.) Framed: 42 x 52.5 cm. (16 1/2 x 20 5/8 in.)

£300 - 500

Provenance

Private Collection, UK

176

Henry

Bright (British, 1810/14-1873)

A traveller in a mountainous landscape signed ‘H Bright’ (lower right) oil on canvas

Unframed: 31 x 46.5 cm. (12 1/4 x 18 1/4 in.) Framed: 49 x 64.5 cm. (19 1/4 x 25 3/8 in.)

£400 - 600

Provenance

L.R. Nightingale, Paston House, Elm Hill, Norwich Private Collection, UK

Circle of Edward Charles Williams (British, mid 19th Century)

A rest by the wayside oil on panel

Unframed: 27 x 37.2 cm. (10 3/4 x 14 3/4 in.) Framed: 49.5 x 59.6 cm. (19 1/2 x 23 1/2 in.)

£300 - 500

Provenance

Private Collection, UK

178

Joseph Thors (Dutch, 1835-1920)

Figures in a landscape, cattle beyond indistinctly signed ‘Thors’ (lower left) oil on board

Unframed: 17 x 24 cm. (6 3/4 x 9 1/2 in.) Framed: 27 x 34.5 cm. (10 5/8 x 13 5/8 in.)

£200 - 300

Provenance

Private Collection, UK

George Wilhelm Opdenhoff (Dutch, 1807-1873)

A Dutch fishing boat in heavy seas off the cost signed ‘G.W Opdenhoff’ (on the large boat) oil on canvas

Unframed: 47 x 67.5 cm. (18 1/2 x 26 1/2 in.) Framed: 68 x 87 cm. (26 3/4 x 34 1/4 in.)

£400 - 600

Provenance

Sale; Dorotheum, Vienna, 8 February 1990, lot 11

Private Collection, UK

180

Hendrik Willem Mesdag (Dutch, 1831-1915)

Fishing boats in stormy weather signed ‘H.W Mesdag’ (lower right) oil on canvas

Unframed: 31.5 x 42.5 cm. (12 3/8 x 16 3/4 in.)

Framed: 54 x 64 cm. (21 1/4 x 25 1/4 in.)

£8,000 - 12,000

Provenance

Gifted by the artist to Johanna Croiset van der Kop (1861-1943) and Max Behrend

Thence by descent

By whom sold, Vendu, Rotterdam, 10 November 2020, lot 196

Where acquired by the present owner

Private collection, London

Literature

Johan Poort, Hendrik Willem Mesdag, 1831-1915, Wassenaar, 1997, no. 30.41, reproduced.

Hendrik Willem Mesdag became one of the Netherland’s most significant maritime painters of the nineteenth century and major contributor to The Hague School. Initially employed as a banker, Mesdag made the transition to an artist at the age of 35 and turned to his second cousin Sir Lawrence Alma Tadema for guidance. Mesdag studied under Willem Roelofs in Brussels from 1866, his plein-air painting developed an atmospheric appreciation of light and tone that contrasted with the romanticized seascapes created by earlier Dutch painters. In May 1869, Mesdag moved to The Hague, making the beach at nearby Scheveningen his main subject. International success soon followed, as he received a gold medal at the Paris Salon of 1870 for Breakers in the North Sea (Van Gogh Museum, Amsterdam).

Mesdag’s work is defined by a disciplined realism; his paintings often depict the North Sea’s harsh, untamed character through dense, textured brushstrokes and dark pigments as seen in the present example. The artist would frequently work outside in difficult weather, giving his paintings a sense of immediacy that was uncommon among many of his contemporaries.

In the second half of the nineteenth century, he and his wife, Sientje Mesdag-van Houten (also a celebrated artist), amassed an impressive collection of paintings, drawings and applied arts that now exists as The Mesdag Collection Museum, The Hague. His legacy also lives on through his and his wife’s panorama project, completed in 1881. The work is 14 metres high and about 40 metres in diameter (120 metres in circumference), and is housed in a purpose-built museum in The Hague. The panorama is now the oldest surviving panorama in its original location. (1)

This painting was gifted by the artist to his close friend, Johanna Behrend-Croiset van der Kop. Johanna was an artist and befriended the Mesdags during her time at the local art academy in The Hague where she graduated in 1884. Sientje Mesdag guided Johanna through the early stages of her artistic career and would go on to buy many of her works. Her first studio was a room in Museum Mesdag. It was here that she not only drew with Sientje but also learned the art of etching from Barbara van Houten. Later, she had her own studio on the Bazarlaan in The Hague. Johanna also regularly traveled to Paris with the Mesdags, where art was purchased for the couple’s extensive collection. In 1897, Johanna married the German actor Max Behrend and subsequently moved to Germany.

References

1. McKernan, Luke (2024), Christie, Ian (ed.), “Panoramic Space and the Mesdag Show”, Spaces, Exploring Spatial Experiences of Representation and Reception in Screen Media, Amsterdam University Press, pp. 23–28

181

Frederick Haynes (British, 1832-1897)

Fishermen in heavy seas off St Michael’s Mount, further shipping and a steam ship beyond bears heightened signature and date ‘F. HayNN/ 88’ (lower left) oil on canvas

Unframed: 51 x 75 cm. (20 x 29 1/2 in.) Framed: 69 x 95 cm. (27 1/7 x 37 3/8 in.)

£200 - 300

Provenance

Private Collection, UK

182

Stephen Ward (British, 1912-1963)

Two-masted barque in choppy waters signed ‘W.v.Stachowski, München’ (lower right) oil on canvas

Unframed: 82.5 x 131 cm. (32 1/4 x 51 1/2 in.) Framed: 106 x 153 cm. (45 1/2 x 60 1/4 in.)

£300 - 500

Provenance

Sale; Christie’s, South Kensington, London, 17 January 2002, lot 6

Clara Federica Montalba R.W.S. (British, 1840-1929)

Fishing boats on the Lagoon, Venice signed and dated ‘Clara Montalba/81’ (lower right) oil on canvas

Unframed: 45 x 35 cm. (17 3/4 x 13 3/4 in.) Framed: 68 x 58 cm. (26 3/4 x 22 3/4 in.)

£300 - 500

Provenance

With Ealing Gallery, London

Clara Federica Montalba RWS, was a British artist, known for her paintings of Venice. She studied art in Paris under Eugène Isabey, (1803-1886) for four years and at the Accademia di Belle Arti in Venice. The eldest of four daughters of the Swedish-born artist Anthony Rubens Montalba, between 1879 and 1889 she exhibited her work at the Grosvenor Gallery, London. An early feminist, in 1886 she was named by Millicent Garrett Fawcett as one of twenty successful and accomplished women who had given ‘warm help and support’ to the movement. In 1892, in recognition of her artistic talent, she was admitted into the Royal Watercolour Society. She died in Venice in 1929.

184

William White Warren (British, 1832-1911)

Four views of Venice Santa Maria della Salute, from the Molo signed with initials & dated ‘W.W. 60’ (lower right) oil on paper laid to artist’s cardboard

A wintertime view from the Dogana towards Santa Maria della salute and the mouth of the Grand Canal signed with initials & dated ‘W.W. 60’ (lower right) oil on paper laid to artist’s cardboard

A ship moored along the Zattere signed with initials & dated ‘W.W. 60 / JAN’ (lower right) oil on paper laid to artist’s cardboard

The Punta Della Dogana with San Marco signed with initials & dated ‘W.W.W. 60’ (lower right) oil on paper

Each unframed: 19 x 34 cm. (7 1/2 x 13 3/8 in.) Each framed: 26 x 41 cm. (10 1/4 x 16 1/4 in.) (4)

£600 - 800

Provenance

With P. Polak, 21 King St., London (by 1964) Private collection, U.K.

185

Arthur Vidal Diehl (British/American, 1870-1929)

View of Venice 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.)

£600 - 800

Provenance

Private collection, UK

186

Edward Gordon Craig (British, 1872-1966)

Florence, Piazza Emmanualli, 1915 inscribed ‘Florence, Piazza Emmanualli’ (lower left), and dated ‘Night of May 12.1915’ (lower right), further inscribed verso pencil on paper

Unframed: 6.5 x 10.5 cm. (2 1/2 x 4 1/8 in.)

Framed: 23 x 38 cm. (9 x 15 in.)

£120 - 180

Provenance

Sale; Bloomsbury Auctions, London, Important Books and Works on Paper Including a Collection of Edward Gordon Craig, London, 13 November 2014, lot 174 Private Collection, UK

187

After B. Meuris (Italian, 19th Century)

The Bay of Monte Carlo gouache

Unframed: 10 x 15 cm. (4 x 6 in.) Framed: 33 x 38 cm. (13 x 15 in.)

£300 - 500

Provenance

Private Collection, UK

188

Eduardo de Martino (Italian, 1838-1912)

Fishing vessels and a steam ship, off the coast of France signed ‘E De. Martino, 82’ (lower left)

watercolour on paper

Unframed: 12.5 x 16.5 cm. (4 7/8 x 6 1/2 in.) Framed: 29 x 35 cm. (11 3/8 x 13 3/4 in.)

£300 - 500

Provenance

Private Collection, UK

189

Attributed to Carmelo Galea (early 20th Century)

St Elmo, Valletta, Malta

watercolour and bodycolour

Unframed: 43 x 33 cm. (17 x 13 in.) Framed: 46 x 57 cm. (18 x 22 1/2 in.)

£300 - 500

Provenance

Private Collection, UK

190

Peter Nicholas Nikolaevich Krasnoff (Russian, 1869-1947)

Port of Malta

signed and dated ‘NK, Malta, 1919’ (lower right), further dedicated by a relative of the artist (verso) watercolour

Unframed: 24 x 33.5 cm. (9 1/2 x 13 1/4 in.) Framed: 38.5 x 49.5 cm. (15 1/8 x 19 1/2 in.)

£1,000 - 2,000

Provenance

Private Collection, Malta, thence by descent

Peter Nicholas Nikolaevich Krasnoff (Russian, 1869-1947)

Grandmaster’s Palace, Malta signed and dated ‘Malta, 1921, N.K’ (lower left), later dedicated by a relative of the artist to the backboard watercolour

Unframed: 35 x 24.5 cm. (13 3/4 x 9 5/8 in.) Framed: 49.5 x 38 cm. (19 1/2 x 15 in.)

£1,000 - 2,000

Provenance

Private Collection, Malta, thence by descent

Exhibited Kolomna, Kolomna Museum of Local History, Maltese watercolours by Architect N.P Krasnov, August 2023

192

Thomas Whittle Snr (British, 1803-1887)

Still life of fruit signed and dated ‘ T.Whittle, 1864’ (lower right) oil on canvas

Unframed: 15 x 25 cm. (5 7/8 x 9 7/8 in.) Framed: 25 x 34 cm. (9 7/8 x 13 3/8 in.)

£200 - 300

Provenance

Private Collection, UK

193

Dean II Wolstenholme (British, 1798-1882)

Horse drawn Royal Mailcoach in a Village Scene signed ‘D.Wolstenholme’ (lower right) oil on canvas

Unframed: 41 x 61 cm. (16 1/8 x 24 in.) Framed: 49.5 x 69.5 cm. (19 1/2 x 27 3/8 in.)

£1,000- 2,000

Provenance

Private Collection, UK

William Brassey Hole R.S.A. (Scottish, 1846-1917)

Jesus Amidst the Doctors in the Temple initialled ‘WH’ (lower left) oil on canvas

Unframed: 92 x 70 cm. (36 x 27 1/2 in.)

£500 - 700

William Hole, an Edinburgh-based artist, was known for his work in history painting and etching. This piece, Jesus Amidst the Doctors in the Temple, comes from a series of illustrations created for The Life of Jesus of Nazareth, published by Eyre and Spottiswoode around 1905.

Around 1895, Hole offered his services to decorate the chancel of St James’ Church on Inverleith Row with largescale murals. By 1897, although the project was still incomplete, it attracted the attention of John Ritchie Findlay, proprietor of The Scotsman. Findlay subsequently commissioned Hole to design the interior decorative scheme for the Scottish National Portrait Gallery, a building recently constructed with his financial support.

Hole was also a friend of the writer Robert Louis Stevenson and collaborated with him on several of his books.

John Augustus Attkinson (British, 1775-1833)

A Seaman pen, ink & brown wash

Unframed: 10 x 8.2 cm. (3 7/8 x 3 1/4 in.) Framed: 25 x 23 cm. (9 7/8 x 9 1/8 in.)

£200 - 300

Provenance

With William Drummond, St James, London, according to label verso

William Nicol (Scottish, act.c.1848-c.1865)

Portrait of an William Beaton (1756-1850), seated half-length, wearing a red hat and black coat, holding a cane

label attached verso reads ‘This is the portrait of William Beaton, [...] born May 16th 1756 died April 13th 1850, painted by William Nicol whose address in 1885 was South Blacket St, Edinburgh’ oil on canvas

Unframed: 90 x 70 cm. (35 1/2 x 27 1/2 in.) Framed: 115 x 94.5 cm. (45 1/4 x 37 1/4 in.)

£1,000 - 2,000

Provenance

Private Collection, UK

Circle of Erskine Nicol (Scottish, 1825-1904)

The last drop oil on canvas

Unframed: 33 x 25.5 cm. (13 x 10 in.) Framed: 46.5 x 39 cm. (18 1/4 x 15 3/8 in.)

£500 - 700

Provenance

Private Collection, London

Carl Heuser (German, 1827-1892)

A lady in an elaborate bonnet, reading a book signed ‘C.Heuser’ (upper right) oil on panel

Unframed: 16 x 22.5 cm. (6 1/4 x 9 in.) Framed: 21 x 18 cm. (8 1/4 x 7 in.)

£400 - 600

Provenance

Private Collection, UK

199

Edgar Bundy (British, 1862-1922)

That’s what she said signed ‘Edgar Bundy’ (lower right) watercolour

Unframed: 38.5 x 54.5 cm. (15 1/8 x 21 1/2 in.) Framed: 65 x 80 cm. (25 5/8 x 31 1/2 in.)

£300 - 500

Provenance

Sale; Christie’s, London, 29 October 1992, lot 69, where purchased by the family of the present owner

200

Edgar Bundy (British, 1862-1922)

The Report signed ‘Edgar Bundy’ (lower right) watercolour

Unframed: 38.5 x 54.5 cm. (15 1/8 x 21 1/2 in.) Framed: 65 x 80 cm. (25 5/8 x 31 1/2 in.)

£300 - 500

Provenance

Sale; Christie’s, London, 29 October 1992, lot 70, where purchased by the family of the present owner

201

French School (mid-late 19th Century)

The Assassination of Henry III oil on canvas

Unframed: 50 x 72 cm. (19 3/4 x 28 1/2 in.)

£300 - 500

Provenance Private Collection, UK

On 1 August 1589, while encamped at Saint-Cloud preparing to attack Paris, Henry III was approached by a Dominican friar, Jacques Clément, who gained access under the pretence of delivering documents. Requesting privacy, Clément fatally stabbed the king while speaking with him. Although the wound initially seemed survivable, Henry III urged his officers to recognise Henry of Navarre as his successor. He died the following morning, the day he had planned to launch his assault on Paris.

202

Follower of Ernest Meissonier (French, 1815-1891)

On Guard, The Pikeman, The Drum regiment guard each oil on panel

Each unframed: 27 x 16.5 cm. (10 1/2 x 6 1/2 in.) Each framed: 38 x 28 cm. (15 x 11 in.) (3)

£300 - 500

Provenance

Private Collection, UK

European School, (late 19th-early 20th Century)

The disappointed Jester oil on canvas

Unframed: 76 x 51 cm. (30 x 21 in.) Framed: 91 x 66 cm. (36 x 26 in.)

£800 - 1,200

Provenance

Private Collection, UK

After Eduard Grützner (German, 1846-1925)

Tavern scene signed ‘H. Rayer’ (lower left) oil on canvas

Unframed: 77 x 57.5 cm. (30 1/4 x 22 3/4 in.) Framed: 106.5 x 86 cm. (41 7/8 x 33 7/8 in.)

£400 - 600

Provenance

Sale; Merrill’s Auctioneers, Williston, 14 January 2012 (erroneously as Henri Paul Royer) Private Collection, London

205

Władysław Wankie, (Polish, 1860-1925)

Rest at the inn signed ‘Wł. Wankie’ (lower right) oil on panel

Unframed: 18.5 x 23.5 cm. (7 1/4 x 9 1/4 in.) Framed: 40.5 x 45.5 cm. (16 x 17 7/8 in.)

£200 - 300

Provenance

Sale; Christie’s, London, 25 September 1997, lot 210

Friedrich Ritter von Friedländer-Malheim (Austrian, 1825-1901)

Veterans signed ‘Friedr. Friedländer’ (lower left) oil on canvas

Unframed: 44 x 34.4 cm. (17 2/8 x 13 1/2 in.) Framed: 69 x 59 cm. (27 1/8 x 23 1/4 in.)

£300 - 500

Provenance

Private Collection, London

207

Charles Martin Hardie (British, 1858-1916)

The Church Service signed and dated ‘C.M.Hardie/84’ (lower left) oil on canvas

Unframed: 85 x 66 cm. (33 1/2 x 26 in.) Framed: 92 x 74 cm. (36 1/4 x 29 in.)

£700 - 1,000

Provenance

Private Collection Scotland, thence by decent to the present owner

Charles Martin Hardie was born in East Linton, East Lothian. He initially joined the family business and worked as a carpenter, but a family connection with the artist John Pettie inspired him to pursue art instead. Hardie went on to study at the Trustees’ Academy in Edinburgh. He became known for his depictions of Scottish life, often featuring strong narrative elements such as the present example. Another example of a narrative composition by Hardie, titled Curling at Carsebreck 1899 is held by the National Galleries Scotland. (1) Throughout his career he produced portraits, landscapes, and genre scenes, as well as historical paintings, working in both oil and watercolour.

References

1. Charles Martin Hardie | National Galleries of Scotland, (ID: 500002710)

After George Balmer (British, c.1806-1846)

St Lawrence Cathedral, Rotterdam oil on panel

Unframed: 25.5 x 20 cm. (10 x 8 in.) Framed: 40.5 x 35.5 cm. (16 x 14 in.)

£300 - 500

209

Attributed to Samuel Gillespie Prout (British, 1822-1911)

Church Interior

watercolour

Unframed: 43 x 32.5 cm. (16 5/8 x 12 3/4 cm.)

£300 - 500

Provenance

Sale; Wilson55, 15 April 2021, lot 50, where purchased by the present owner

Private collection, London

Pierre Le Boeuff (French, act.1899-1920)

St Pierre Caen, Normandy, France signed ‘Pierre Le Boeuff’ (lower right) oil on canvas

Unframed: 60.5 x 73 cm. (23 3/4 x 28 3/4 in.) Framed: 80 x 93 cm. (31 1/2 x 36 5/8 in.)

£300 - 500

Provenance

Private Collection, UK

211

William Baptiste Baird (American, 1847-1917)

Queen Victoria inspecting the Scottish Volunteers, Edinburgh 1881, known as ‘The Wet Review’ signed and dated ‘25 Aug 1881 W BAIRD’ (lower right)

watercolour

Unframed: 35 x 50 cm. (13 3/4 x 19 3/4 in.) Framed: 55 x 69 cm. (21 5/8 x 27 1/8 in.)

£300 - 500

Provenance

Private Collection Scotland, thence by descent

On 25 August 1881, Queen Victoria reviewed around 40,000 Scottish Volunteer soldiers in Holyrood Park, Edinburgh, beneath the dramatic backdrop of Arthur’s Seat and Salisbury Crags as seen in the present example. Somewhere in their midst were the two companies from Easdale, commanded by Major Angus Whyte and Lieutenant Allan McNaughton. Despite heavy rain that soaked both troops and spectators, the event showcased the strength and discipline of Scotland’s volunteer military forces and became remembered as the “Wet Review.”

Hercules Brabazon Brabazon (British, 1821-1906)

The New Tron Church Steeple, Edinburgh signed ‘H B Brabazon’ (lower left) watercolour in monochrome, heightened with white Unframed: 32 x 30 cm. (12 1/2 x 7 3/4 in.) Mounted: 41 x 30 cm. (16 x 12 in.)

£150 - 250

Provenance Sale; Swann Auction Galleries, New York, 21 May 2020, lot 87

Hans Jacob Hansen R.S.W. (Scottish, 1853-1947)

The Highstreet, Edinburgh signed ‘Hans Hansen R.S.W.’ (lower left)

watercolour

Unframed: 25.5 x 18 cm. (10 x 7 1/8 in.) Framed: 41 x 33 cm. (16 1/4 x 13 in.)

£200 - 300

Provenance

With Malcolm Innes Gallery, London

Charles Edward Dixon (British, 1872-1934)

Cunard liner amongst busy shipping signed and dated ‘Charles Nixon, 09’ (lower left) watercolour heightened with white Unframed: 26 x 28 cm. (10 1/4 x 11 in.) Framed: 53 x 54 cm. (20 7/8 x 21 1/4 in.)

£600 - 800

Provenance

With Haynes Fine Art, no. 8375 Private Collection, UK

215

John Paul Cooper (British, 1869-1933)

Fortress tower signed ‘J Paul Cooper’ (lower left) watercolour

Unframed: 34 x 24 cm. (13.5 x 9.5 in.) Framed: 58 x 43 cm. (22 7/8 x 16 7/8 in.)

£120 - 180

216

Patrick Phillips (British, 19th Century)

Montoire sur Loir signed and titled ‘P Phillips, Lavardin’ (lower left) watercolour

Unframed: 23 x 35 cm. (10 x 14 in.) Framed: 47 x 58 cm. (18 1/2 x 22 7/8 in.)

£100 - 200

217

Benjamin Williams Leader (British, 1831-1923)

Woodland scene at sunset signed and dated ‘B W Leader/1916’ (lower left) oil on board

Unframed: 42 x 31 cm. (16 1/2 x 12 1/4 in.) Framed: 68 x 58 cm. (26 3/4 x 22 3/4 in.)

£700 - 1,000

Provenance

Private Collection, UK

The present work would have been executed by Leader whilst he was living in his large mansion in Shere near Guildford, Surrey, where he lived from 1889 until his death.

Alfred Fontville II De Breanski (British, 1877-1957)

The River Path signed ‘Alfred de Breanski’ (lower left), further signed and titled (verso) oil on canvas

Unframed: 40 x 61 cm. (15 3/4 x 24 in.) Framed: 48.5 x 68.5 cm. (19 1/8 x 27 in.)

£400 - 600

Provenance

Collection of Thomas Rigby Taylor, Mayor of Watford (1937-38), thence by descent to the present owner

Thomas Blinks (British, 1860-1912)

A study for Bread Winners signed ‘T Blinks’ (lower left), further inscribed and titled (label attached verso) oil on canvas

Unframed: 31 x 41 cm. (12 x 16 in.) Framed: 43 x 53 cm. (17 x 21 cm.)

£600 - 800

The present work is possibly a preparatory study for another painting by the artist; Bread Winners, oil on canvas (112 x 142 cm.), which was sold at Sotheby’s, Victorian Paintings & Sculpture, London, 17 Jun 1987, lot 96.

Thomas Blinks painted rural and sporting scenes, with a particular focus on hunting and shooting. He was highly regarded for his ability to capture the natural beauty and grace of animals, especially dogs, and for his attention to detail in depicting their behaviour and anatomy.

One of Blinks’ most famous works is “The Dead Shot” which portrays a hunter and his dogs after a successful day of shooting. The painting exemplifies Blinks’ talent for conveying the excitement and camaraderie of the hunt, as well as his skill in rendering the textures of fur and feathers.

Blinks’ paintings were popular among hunting enthusiasts and members of the British aristocracy, and he received numerous commissions from wealthy patrons. His works were exhibited at prestigious venues such as the Royal Academy of Arts in London, where he gained recognition for his talent and craftsmanship.

While Blinks is best known for his paintings of hunting dogs and game birds, he also painted other subjects, including domestic animals, rural landscapes, and genre scenes. His paintings are characterised by their warmth and charm.

Today, Thomas Blinks is remembered as one of the leading sporting artists of the late 19th and early 20th centuries, celebrated for his ability to capture the spirit of the hunt and the beauty of the natural world.

220

John Sanderson Wells (British, 1872-1955)

Going to the races signed ‘Sanderson Wells’ (lower right) oil on canvas

Unframed: 28 x 34 cm. (11 x 13 1/4 in.) Framed: 35 x 40.5 cm. (13 3/4 x 16 in.)

£300 - 500

Provenance

Private Collection, UK

A collection of Greek Icons (early 20th Century)

Depicting St John the Baptist, together with 4 further icons

A 19th/20th Century Icon, St John the Baptist oil on panel with white metal Oclad

Unframed: 24 x 18 cm. (9 1/2 x 7 in.)

A 20th Century Byzantine Style Icon, St Luke writing the Gospels oil on panel

Unframed: 12 x 10 cm. (4 1/2 x 4 in.)

A 19th/20th Century Icon, St John the Baptiste (Angel of the Desert) oil on panel

Unframed: 9 x 6.5 cm. (3 1/2 x 2 1/2 in.)

A 19th/20th Century Icon, The Raising of Lazarus oil on panel

Unframed: 9 x 6.5 cm. (3 1/2 x 2 1/2 in.)

A 18/19th Century Greek Icon, The Madonna and Child oil on panel

Unframed: 23 x 16 cm. (8 1/2 x 6 1/4 in.) (5)

£400 - 600

A Dutch 17th Century, reverse profile polishes fruitwood frame

with plain moulding sight edge, astragal, various further plain mouldings to the upper and outer edge

sight edge: 22.5 x 28 cm. (8 7/8 x 11 in.)

rebate: 25 x 30.25 cm. (9 7/8 x 12 in.)

section depth: 8 cm. (3 1/8 in.)

overall: 39 x 44 cm. (15 3/8 x 17 1/2 in.)

£600 - 800

A Bolognese 17th/18th Century carved and gilded reverse profile frame

with cavetto sight, imbricated husk coarse, the reverse ogee with alternating anthemion and acanthus carved in bold relief, running to leaf corners and bead back edge

sight edge: 63.5 x 56.5 cm. (25 x 21 3/4 in.)

rebate: 64.5 x 56.5 cm. (25 1/4 x 22 1/4 in.)

section depth: 14 cm. (5 1/2 in.)

overall: 89 x 81 cm. (35 x 32 in.)

£500 - 700

A Florentine 18th Century, carved and pierced giltwood frame

with cavetto sight edge, continuous running scrolling foliate course carved in bold relief, pierced scrolling foliate outer edge running to stylised leaf corners carved in bold relief alternating incised decoration

sight edge: 39 x 49 cm. (15 3/8 x 19 1/4 in.)

rebate: 41 x 51 cm. (16 1/8 x 20 1/8 in.)

section depth: 13 cm. (5 1/8 in.)

overall: 66 x 76 cm. (26 x 29 7/8 in.)

£800 - 1,200

An Italian 19th Century, carved and gilded frame

with lambs tongue sight edge, plain facia, applied continuous running pattern of triple-bead, flower head and stave, plain top taenia

sight edge: 59 x 49 cm. (23 1/4 x 19 1/4 in.)

rebate: 60 x 51 cm. (23 5/8 x 20 in.)

section depth: 7 cm. (2 3/4 in.)

overall: 72 x 62 cm. (28 3/8 x 24 3/8 in.)

£250 - 350

A carved and gilded 18th/19th Century Louis XIV frame

with schematic leaf sight, sanded frieze, the cross-hatched ogee with foliate, flowerhead scrolling strapwork running to foliate cartouche centers and corners, continuous bead outer edge

sight edge: 88 x 65 cm. (34 5/8 x 25 5/8 in.)

rebate: 90 x 67 cm. (35 1/2 x 26 3/8 in.)

section depth: 11 cm. (4 1/4 in.)

overall: 112 x 88 cm. (44 1/8 x 34 5/8 in.)

£400 - 600

A French late 20th Century gilded composition Louis XIV style frame

with white painted wedge slip and cavetto sight edge, schematic leaf ogee, plain hollow, with scrolling foliate and flowerhead strapwork and cartouche centers and corners

sight edge: 78 x 82 cm. (30 3/4 x 32 1/4 in.)

rebate: 81 x 64 cm. (31 7/8 x 25 1/4 in.)

section depth: 12 cm. (4 1/2 in.)

overall: 102 x 87 cm. (40 1/8 x 34 1/4 in.)

£200 - 300

A Louis XV Style carved, gessoed, pierced and swept frame

with leaf slip sight, leaf and flower scroll to the cushioned mid-section, scrolling leaf rail, rocaille cartouche corners joined by a scrolling leaf top rail, and ovolo back edge

sight edge: 67 x 50.5 cm. (26 3/8 x 19 7/8 in.)

rebate: 70 x 53 cm. (27 1/2 x 20 7/8 in.)

section depth: 6 cm. (2 3/8 in.)

overall: 79 x 62 cm. (31 1/8 x 24 3/8 in.)

£300 - 500

A Louis XV style carved, gessoed, pierced and swept frame

with leaf slip sight, leaf and flower scroll to the cushioned mid-section, scrolling leaf rail, rocaille cartouche corners joined by a scrolling leaf top rail, and ovolo back edge

sight edge: 80 x 60 cm. (31 1/2 x 23 5/8 in.)

rebate: 82 x 62 cm. (32 1/4 x 24 3/8 in.)

section depth: 12 cm. (4 3/4 in.)

overall: 105 x 83 cm. (41 3/8 x 32 3/4 in.)

£350 - 500

French Louis XVI style pierced composition frame

cavetto sight edge, stiff leaf course, pierced cartouche corners running to pierced cartouche centers, bead and bar outer edge

sight edge: 65.5 x 54.5 cm. (25 3/4 x 21 1/2 in.)

rebate: 70 x 58 cm. (27 1/2 x 22 7/8 in.)

section depth: 12 cm. (4 3/4 in.)

overall: 90 x 77 cm. (35 1/2 x 30 1/4 in.)

£200 - 300

A French empire style gilt and painted composition frame

with lambs tongue sight edge, plain stepped scotia, the hollow with applied anthemion running to acanthus corners, running pattern of stiff-leaf, plain top taenia

sight edge: 59 x 49 cm. (23 1/4 x 19 1/4 in.)

rebate: 61 x 51 cm. (24 x 20 in.)

section depth: 8 cm. (3 1/4 in.)

overall: 73 x 63 cm. (28 3/4 x 24 3/4 in.)

£400 - 600

A French neoclassical early 19th Century carved, gilded and applied frame

with cavetto sight edge, scrolling foliage on a cross-hatch ground, pearl course, the ogee with applied continuous running pattern of acanthus, raised husk and berry, bead and bar outer edge, plain top taenia

sight edge: 49 x 37 cm. (19 1/4 X 14 1/2 in.)

rebate: 50 x 39 cm. (19 5/8 x 15 3/8 in.)

section depth: 10 cm. (3 7/8 in.)

overall: 70 x 58 cm. (27 1/2 x 22 3/4 in.)

£200 - 300

An English 18th Century, carved and gilded pierced frame

with stiff leave sight edge, sanded course, scrolling foliage running to pierced foliate and sea shell corners

sight edge: 29 x 21 cm. (11 3/8 x 8 1/4 in.)

rebate: (30 x 22 cm) (12 x 8 3/4in.)

section depth: 7 cm. (2 3/4 in.)

overall: 43 x 33 cm. (17 x 13 in.)

An English 18th Century carved, pierced and gilded frame

Stiff leaf sight edge, the central panel with foliate strapwork running to pierced foliate corners

sight edge: 37 x 27 cm. (14 1/2 x 10 5/8 in.)

rebate: (38.5 cx 28.5 cm) (15 1/4 x 11 1/4in.)

section depth: 7 cm. (2 3/4 in.)

overall: 46 x 37 cm. (18 1/8 x 14 1/2 in.)

£200 - 300

An English 19th Century, pierced and swept gilded composition frame

with cavetto sight edge, scrolling foliage running to leaf cartouche centers and corners, C-scrolls on a cross hatched ground joined by a pierced scrolling top rail, and reverse stylised scotia back edge

sight edge: 39 x 49 cm. (15 3/8 x 19 1/4 in.)

rebate: 41 x 51 cm. (16 1/8 x 20 1/8 in.)

section depth: 13 cm. (5 1/8 in.)

overall: 66 x 76 cm. (26 x 29 7/8 in.)

Chapman Brothers, Frame Makers, King’s Road (‘opposite Carlyle Square’), Chelsea, (label attached verso)

£500 - 700

An English carved mid-late 19th Century Lely frame

with leaf sight, centres and corners decorated with flower sprays in shallow relief between shaped panels or reposes, schematic lamb’s tongue back edge

sight edge: 76 x 65 cm. (29 7/8 x 25 5/8 in.)

rebate: 78 x 67 cm. (30 3/4 x 26 3/8 in.)

section depth: 9 cm. (3 1/2 in.)

overall: 90 x 80 cm. (35 1/2 x 31 1/2 in.)

£150 - 250

An 18th Century British Palladian (‘Kent’) carved giltwood frame

with raking flute at the sight edge, architrave profile; outset corners; with egg-&-dart moulding beneath the top edge, astragal-&-triple bead, sanded frieze

sight edge: 80 x 66 cm. (31 1/2 x 26 in.)

rebate: 82 x 69 cm. (32 1/4 x 27 1/4 in.)

section depth: 9 cm. (3 3/4 in.)

overall: 103 x 90 cm. (40 1/2 x 35 3/8 in.)

£400 - 600

Early 20th Century art-deco style mahogany frame

central plate with in-laid parallel lines, running to four applied corners

sight edge: 80 x 56 cm. (31 1/2 x 22 in.)

rebate: 81 x 57.5 cm. (31 7/8 x 22 5/8 in.)

section depth: 8 cm. (3 1/8 in.)

overall: 95.5 x 71.5 cm. (37 5/8 x 28 1/8 in.)

£80 - 120

A collection of auction catalogues to include Old Master paintings, prints and drawings

A collection of auction catalogues and references, predominantly relating to Old Masters to include:

Treasures of The North, Christie’s 2000

Sotheby’s Old Masters, 2005

Impressionist and Modern, Christe’s 2004

Phillps 20th century and Contemporary, London 2018

Phillips Fine Old Masters, 1984 etc. (2 boxes)

£120 - 180

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.

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.

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.

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

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:

• 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.

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

2. DURING THE SALE

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.

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.

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.

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 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.

4. AFTER THE SALE

4.1 Payment

All purchased lots must be paid for on the day 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.

4.2 Buyer’s Premium

The Buyer will pay CA Ltd a premium of 26% on the hammer price plus VAT on that premium on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots.

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.

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 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.

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.

5. ANTIQUITIES AND TRIBAL ART

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.

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 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.

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.

7. CLOCKS AND WATCHES

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.

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.

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 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.