Chiswick-Auctions-Old Masters-Paintings-February-2020

Old Master Paintings & Drawings British & European Fine Art London, 17 March 2020

Paintings & Fine Art Department

Laetitia Masson Head of Sale Old Master Paintings & Drawings laetitia.masson@chiswickauctions.co.uk

Suzanne Zack Head of Sale British & European Fine Art suzanne.zack@chiswickauctions.co.uk

Luke Price Specialist Paintings & Fine Art luke.price@chiswickauctions.co.uk

Madeleine White Department Coordinator Paintings & Fine Art madeleine.white@chiswickauctions.co.uk

Adrian Biddell Head of Department Paintings & Fine Art adrian.biddell@chiswickauctions.co.uk

Krassi Kuneva Head of Sale Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk

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Catalogue Price £10

Old Master Paintings & Drawings Tuesday 17 March, 12pm

British & European Fine Art Tuesday 17 March, 2pm Selected highlights from both sales at South Kensington Thursday 5 March - Wednesday 11 March 10am - 6pm (closed Saturday & Sunday) Full Sale & Viewing of both sales at Chiswick Saturday 14 March 11am - 5pm Sunday 15 March 11am - 5pm Monday 16 March 10am - 6pm Tuesday 17 March 10am – 12pm Buyer’s Premium The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission.

Collection of Lots Buyers are asked to collect their lots on the day of the sale or between 10am - 6pm up until close of business on Friday following the sale.

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Photography Basak Ulukose

Front Cover Lot 16 Inside Front Covers Lot 270 Sale Calendar Lot 278 Index Lot 47 Back Cover Lot 249

Laetitia Masson Head of Sale Old Master Paintings & Drawings laetitia.masson@chiswickauctions.co.uk

Old Master Paintings & Drawings Tuesday 17 March, 12pm

1 VERONA SCHOOL (LATE 16TH CENTURY) Study of a Faun hiding behind a tree pen and brown ink with purple wash on blue paper 184 x 258 mm (7 x 10 in) PROVENANCE: Sale: Sotheby’s, Milan, 8th May 2002, lot 1295 Sale: Il Ponte Casa d’Aste, Milan, 23rd October 2018, lot 116 Bears inscription del Palma in pen and brown ink.

There is a study of a martyr by another hand in red chalk on the reverse. £700-£900

2 ROMAN SCHOOL (17TH CENTURY) Angel musicians in the clouds pen and brown ink and brown wash, over an underdrawing in black chalk 212 x 339 mm (8 ½ x 13 ½ in) PROVENANCE: The Estate of Giancarlo Baroni, Florence and Switzerland.

EXHIBITED: London, Colnaghi, Master Drawings, 1988, no. 29 (as Luca Giordano). £500 - £700

3 AFTER THEODOOR ROMBOUTS (ANTWERP 1579 – 1637) The Card Players oil on canvas 100 x 135 cm (39 x 53 in) The present work is a 19th-century copy (possibly Belgian), after a painting by Theodoor Rombouts in the Koninklijk Museum voor Schone Kunsten’s, in Antwerp. £2,500 - £3,500

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*See page 4 for information regarding fees

4 CORNELIS DE HEEM (LEIDEN 1631 ANTWERP 1695) Still life with flowers and fruits and a bow in a stone niche signed DE HEEM in the stone niche (right side) oil on canvas 69 x 56 cm (27 x 22 in) PROVENANCE: Sale: Sotheby’s, Amsterdam, 11th April 2003, lot 25 Private collection, Madrid (by 2005) The attribution of this work has been confirmed

by Fred Meijer as recorded in the Rijksbureau voor Kunsthistorische Documentatie database (R.K.D.) £10,000 - £12,000 5

5 FOLLOWER OF GERARD DAVID (OUDEWATER 1460 - BRUGES 1563) Crucifixion with the Virgin and St John the Evangelist oil on panel 58.4 x 37.8 cm (23 x 16 in) unframed Bears inscription christus heeft eens · voor vele sonde gheleede · die rechtveedighe voor · / · die onrechtveedighe · opdat hi mis god zoude · ende is ghedoot na · / · den vleelche · maer levendich gemaect na den gheest · 1 peteri 3 (lower edge) £1,800 - £2,500

6 JAKOB HEINRICH HELBIGK (HAMBURG 1640 - 1746) Trompe-l’oeil with an engraving, a comb and an almanac dated 1724 signed Monsieur Helbik/peint on the letter oil on canvas 75 x 61 cm (30 x 24 in) £3,000 - £5,000

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*See page 4 for information regarding fees

7 CIRCLE OF PIETER COECKE VAN AELST (AALST 1502 - BRUSSELS 1550), AFTER JAN GOSSAERT CALLED MABUSE Madonna and child playing with the veil, with the flight into Egypt beyond oil on panel 96.5 x 74 cm (38 x 29 in) PROVENANCE: Sale: Cornette de Saint-Cyr, Paris, 5th March 1993, lot 24 Private Collection, Spain There are many period copies (with variations) known after the now-lost composition by Jan Gossaert from 1520 (see: Friedlander, Early Netherlandish Paintings, vol. 8, Leyden, 1972, pl. 36 a/b) £15,000 - £25,000 7

8 FEDERICO BIANCHI (MILAN 1638 - 1719) Saint Joseph with the Christ Child oil on canvas 73 x 59 cm (29 x 23 in) unframed £4,000 - £6,000

9 FLEMISH SCHOOL (LATE 17TH CENTURY) Life study of a baby red chalk with stumping 260 x 165 mm (10 x 6 ½ in) PROVENANCE: Sale: Christie’s London, 16th April 1999, Lot 41 (part lot) £800 - £1,200 8

*See page 4 for information regarding fees

10 AFTER CESARE DE SESTO (SESTO 1477 MILAN 1523) Madonna dell’Albero oil on canvas 60.5 x 48.25 cm (24 x 19 in) The original is in the Brera Pinacoteca, Milan. £6,000 - £8,000

11 CIRCLE OF GIOVANNI BATTISTA GUERRIERI, IL GUERCINO (CENTO 1591 - BOLOGNA 1666) A young boy playing with a bird pen and brown ink on paper 14 x 10.5 cm (5½ x 4 in) PROVENANCE: Sale: Lempertz, Cologne, 16th May 2015, lot 1161 £2,000 - £3,000 9

12 ATTRIBUTED TO JEAN-BAPTISTE MARIE PIERRE (PARIS 1714 - 1789) Study of a nude from the back black chalk with white heightening on paper 393 x 308 mm (15 x 12 in) PROVENANCE: Private Collection, England £2,500 - £3,500

13 CIRCLE OF JACOPO VIGNALI (PRATOVECCHIO 1592 - 1664) Study of Isaac (recto); Male nude seen from behind with crossed arms (verso) black chalk with white heightening 267 x 341 mm (10 ½ x 13 1/3 in) PROVENANCE: Collection Cesare Frigerio, Milan (Lugt 4363) Giorgio dalla Bella, Milan (Lugt 3774) The present work may be a study of the figure of Isaac for the Sacrifice of Isaac. £1,500 - £2,500

14 LOMBARD SCHOOL (CIRCA 1600) Copy after and unknown engraving red chalk over black chalk under drawing 131 x 169 mm (5 x 6 ½ in) PROVENANCE: John Barnard, London (Lugt 1420) £500 - £700 10

15 ALESSANDRO MAGNASCO CALLED IL LISSANDRINO (GENOA 1667-1749) Hermit reading the Bible oil on canvas laid down on panel 15 x 15 cm (6 x 6 in) PROVENANCE: Private Italian Collection

Bears an old label attached to the reverse with an handwritten inscription by Giuseppe Beltrami garantisia opera del pittore Alessandro Magnasco/ Gius. Beltrami (see: Giuseppe Beltrami, Alessandro Magnasco detto il Lissandrino, Milano,1913) £1,500 - £2,500

*See page 4 for information regarding fees

16 STUDIO OF HANS ROTTENHAMMER (MUNICH 1564 - AUGSBURG 1625) Diana and Actaeon oil on copper 37.8 x 51.7 cm (15 x 20 in) PROVENANCE: Sale: Hôtel Drouot, Paris, 30th March 1981, lot 23 (as attributed to Rottenhammer) There is a smaller version of this painting by Hans Rottenhammer in the Alte Pinakotek, Munich, dating from 1602. £6,000 - £8,000

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17 CIRCLE OF GIOVANNI ANTONIO PELLEGRINI (VENICE 1675 - 1741) A Saint in Glory pen and brown ink over red chalk 271 x 206 mm (10 ½ x 8 in) £700 - £900

18 FLEMISH SCHOOL (CIRCA 1600) God in Glory surrounded by apostles and saints pen and brown ink and grey wash 95 x 145 mm (3 ½ x 6 in) PROVENANCE: Ferruccio Asta, Venice £700 £1,000

19 NEAPOLITAN SCHOOL (LATE 17TH CENTURY) The Cleansing of the Temple (Jesus expelling the money lenders) Dated al di 3 Dicembre 1680 in pen and black ink pen and black ink 230 x 286 mm (9 x 11 in) £600 - £800 12

*See page 4 for information regarding fees

20 LORENZO DE CARO (NAPLES 1740 - 1762) God the Father oil on canvas 63 x 50 cm (25 x 20 in) PROVENANCE: Sale: Christie’s, London, 18th February 1998, lot 17 £4,000 - £6,000

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21 GIOVANNI DOMENICO CERRINI (PERUGIA 1609 - ROMA 1681) Saint Mary Magdalene, in a feigned oval oil on canvas 73 x 61 cm (28 ½ x 24 in) PROVENANCE : Sale: Lempertz, Cologne, 14th November 2015, lot 1510 £4,000 - £6,000

22 SCHOOL OF FRANCESCO DE HERRERA (SEVILLA 1627 - MADRID 1685 ) Saint Joseph oil on canvas 76 x 63 cm (30 x 24 ¾in) £800 - £1,200 14

*See page 4 for information regarding fees

23 STEFANO MARIA LEGNANI, IL LEGNANINO (MILAN 1660 - BOLOGNA 1713) The Martyrdom of Saint Bibiana; The Martyrdom of Saint Agatha oil on canvas 73.5 x 62.5 cm; 95.3 x 101.4 cm (29 x 24 ½ in; 37 ½ x 40 in) (pendants)

PROVENANCE: Sale: Christie’s, London, 22nd April 1994, lots 222 and 223, (as Giambettino Cignaroli) Christie’s, London, 9th December 2009, lot 252 LITERATURE: M. Dell’Omo, Stefano Maria Legnani, il Legnanino, Ozzano Emilia, 1998, pp.180-181, nos. 44 & 45 £7,000 - £10,000

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24 ATTRIBUTED TO MATTEO ROSSELLI (FLORENCE 1578 - 1650) Study of a standing draped figure red chalk on buffed paper 400 x 265 mm (16 x 10 ½ in) Bears inscription Passignano in black chalk (lower left) £1,500 - £2,000

25 SPANISH SCHOOL (17TH CENTURY) Saint Teresa of Avila and Saint Isidore the Farmer pen and brown ink and brown wash 255 x 172 mm (10 x 6 2/3 in) £800 - £1,200

26 CIRCLE OF ANTONIO GIONIMA (PADUA 1697 - BOLOGNA 1732) The Holy Family pen and brown ink on paper 138 x 100 mm (5 ½ x 4 in) £600 - £800 16

*See page 4 for information regarding fees

27 GIUSEPPE CESARI CALLED IL CAVALIERE D’ARPINO (ROME 1560 – 1640) Study of a male figure in profile red chalk 171 x 186 mm (6 ½ x 7 in) Inscribed Ritratto di Genile Bellino, Pittore Veneziano fatto dà Sè (lower left) PROVENANCE: Private Collection, England LITERATURE: Herwarth Röttgen, Cavalier Giuseppe Cesari D’Arpino. Die Zeichnungen. I Disegni, 2013, p.154, no 62, illustrated £2,500 - £3,500

28 VENETIAN SCHOOL (MID-18TH CENTURY) Portrait of a gentleman presented by two putti pen and brown ink over black chalk 188 x 147mm (7 ½ x 6 in) PROVENANCE: Private Collection, England £1,500 - £2,500

29 NEAPOLITAN SCHOOL (LATE 18TH CENTURY) Crucifixion at the foot of a volcanic eruption gouache and black chalk on pig skin 21 x 42 cm (8 x 16 ½ in), (lunette) £800 - £1,200 17

30 CIRCLE OF IPPOLITO SCARSELLA, IL SCARSELLINO (FERRARA 1551 - 1620) Madonna and the Infant Jesus oil on canvas 85 x 70 cm (33 ½ x 27 ½ in)

32 ATTRIBUTED TO PIETRO MONTANINI (PERUGIA 1619 - 1689) Rocky landscape with figures oil on canvas 63.5 x 46.5 cm (25 x 18 1/3 in)

PROVENANCE: Family Suzzi Simonini, Bologna Private collection, Sienna

Bears inscription on the reverse This landscape was bought at the sale of Lord Charles...Salvatore Rosa

£3,000 - £5,000

33 BOLOGNESE SCHOOL (17TH CENTURY) Balaam’s Donkey oil on canvas, (fragment) 34.5 x 36 cm (13 ½ x 14 in) £800 - £1,200

£500 - £700

31 BOLOGNESE SCHOOL (17TH CENTURY) The Infant Jesus with the Cross in a landscape oil on canvas 34 x 32 cm (13 ½ x 12 ½ in) £600 - £800 18

*See page 4 for information regarding fees

34 GIACINTO GIMIGNANI (PISTOIA 1606 ROME 1681) Joseph and the Pharaohs oil on canvas 90 x 126 cm (35 ½ x 49 ½ in) PROVENANCE: Heim Galleries, London, 1976, as ‘Romanelli’ Sale: Bonhams, London.

LITERATURE: M. Fagiolo dell’Arco, Pietro da Cortona e i cortoneschi, Milan, 2001, p. 98 £8,000 - £12,000 35 GIOVANNI MARIA ARDUINO (NOVARA ca.1580 - MILAN 1647) Esther and Ahasuerus oil on canvas, monochrome 49 x 59 cm (19 x 23 in) PROVENANCE: Sale: Finarte, Milan, 22 October 2003, lot 57 £4,000 - £6,000

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36 ATTRIBUTED TO CORNELIS VAN POELENBURGH (UTRECHT 1594 - 1667) Riverscape with ruins populated with figures oil on panel 23.5 x 32.5 cm (9 x 13 in) £1,000 - £2,000

37 DUTCH SCHOOL (17TH CENTURY) Landscape with figures oil on canvas 45.5 x 63.5 cm (18 x 25 in) £2,000 - £3,000

38 THOMAS WIJCK (BEVERWIJK 1616 - 1677) Figures at a village gate signed TWijck (lower centre) oil on panel 50.8 x 42.5 cm (20 x 17 in) £2,000 - £3,000 20

*See page 4 for information regarding fees

39 PIETER DE MOLIJN (LONDON 1595 HAARLEM 1661) A wooded landscape with shepherds signed and dated 1686 (lower left) oil on canvas 97 x 140 cm (38 x 55 in) £10,000 - £15,000

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40 FRENCH SCHOOL (ca. 1800) Still life with a tea service and oranges pastel on paper 365 x 480 mm (14 x 19 in) £3,000 - £4,000

41 ALPHONSE NICOLAS MICHEL MANDEVARE (PARIS 1759 - 1793) The tomb of Jean-Jacques Rousseau at Ermenonville watercolour with white heightening 217 x 256 mm (8 ½ x 10 in) Bears date in pencil 1764 on the reverse £800 - £1,200

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*See page 4 for information regarding fees

42 PETER-MATHYS GILLEMANS (ACTIVE IN ANTWERP 1673 - 1692) A Still-Life with peaches, plums, grapes, figs, pomegranates and oranges, at a base of a column, with two rabbits, a kingfisher, a parrot and a butterfly signed Peeter:Gillemans (lower centre, stone ledge) oil on copper laid down on panel 17.3 x 23.8 cm (7 x 9 ½ in) PROVENANCE: Sale: Sotheby’s, London, 29th October 1980, lot 122 £3,000 - £5,000

43 PIETRO DELLA VECCHIA (VENICE 1603 - 1678) A Philosoper (Socrates) oil on canvas 60.5 x 43 cm (24 x 17 in)

44 VENETIAN SCHOOL (17TH CENTURY) Prudence warning Astronomy oil on canvas 50 x 66 cm (19 2/3 x 26 in)

There is another painting attributed Pietro della Vecchia and representing Socrates teaching two students with a mirror on the Italian art market.

£800 - £1,200

£2,000 - £3,000

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45 FOUR OVAL PORTRAITS (EARLY 19TH CENTURY) (i) Lucrece Borgia (ii) Vittoria della Rovere, Duchesse de la Victoire in the guise of the Allegory of the Victory (After Mario Balassi) (iii) Madame Mouchy en Habit de Bal (After Charles Coypel) (iv) Madame Champmesle, Maitresse de Racine (Afte r Jean-Baptiste Santerre) each: oil on copper each: 16.8 x 14 cm ( 6 ½ x 5 ½ in) £1,500 - £2,500 24

*See page 4 for information regarding fees

46 JOHN ELLYS (LONDON 1701–1757) Portrait of Charles, 1st Lord Whitworth and his nephew, three-quarter-length inscribed To our Right/Trusty and well/beloved Charles/Lord Whitworth/Our Ambassador and Plenipotent.’/at the Congress/at Cambray (on the letter) oil on canvas 118 x 159 cm (46 ½ x 62 ½ in) PROVENANCE: Sale: Christie’s, London, 2nd June 1972, lot 94, (as Jervas) Christie’s, London, 9th November 2005, lot 20 £4,000 - £6,000

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47 FLEMISH SCHOOL (MID-17TH CENTURY) Figures and animals in a hillside village pen and brown ink and brown wash over black chalk 200 x 267 mm (8 x 10 ½ in) mounted Bears inscription P. Bril in pen and brown ink and the number 2581 PROVENANCE: Charles Paul Jean Baptiste de Bourgevin Vialart de Saint-Morys, (Lugt 3620) Private collection, England £800 - £1,200 48 JOHANN ESAIAS NILSON ( AUGSBURG 1721 - 1788) Vignette with bust of Mercury on ornate foliate cartouche brush and black and grey inks 205 x 160 mm (8 x 6 in) watermark bears pencil inscription Nilson (lower left) PROVENANCE: Private Collection, England £500 - £700 49 STEFANO DELLA BELLA (FLORENCE 1610 1664) Design for a table ornament: a saltcellar(?) in the form of a child resting on a bundle of wheatstalks, holding a platter pen and brown ink over black chalk 177 x 80 mm (7 x 3 in) £300 - £400

50 LORRAINE SCHOOL (17TH CENTURY) Italianate landscape with a castle pen and brown ink 78 x 163 mm (3 x 6 ½ in) mounted PROVENANCE: Private Collection, England The present work shows similarities to the series of Italianate landscapes sketches by Jacques Callot in the collection of the Duke of Devonshire, Chatsworth. £800 - £1,200 26

*See page 4 for information regarding fees

51 CHARLES ABRAHAM CHASSELAT (PARIS 1753 - 1814) Four vignettes two of them signed and dated pen and black ink, brown wash and white heightening on paper 42 x 61 mm (1 ½ x 2 ½ in); 32 x 51 mm (1 x 2 in); 45 x 55 mm (1 ½ x 2 in); 32 x 52 mm (1 x 2 in) (4) £300 - £400

52 NEOCLASSICAL FRENCH SCHOOL Scenes and studies from the Iliad pen and ink on tracing paper laid down on paper each: 40 x 50 cm (15 ½ x 51 in) (2) £500 - £700

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53 CIRCLE OF MAARTEN VAN CLEVE (ANTWERP 1527 - 1577/81) Family portrait oil on panel 22 x 27.5 cm (8 ½ x 11 in) £3,000 - £5,000

54 ITALIAN SCHOOL (MID-19TH CENTURY) Madonna praying oil on canvas 37 x 30 cm (14 ½ x 12 in)

55 SPANISH SCHOOL (EARLY 18TH CENTURY) Nostra Signoria di Candalaria oil on zinc 16 x 12 cm (6 x 4 ½ in)

£400 - £600

Our Lady of Candeleria is the Patron Saint of Tenerife.

56 NEAPOLITAN SCHOOL (LATE 17TH CENTURY) Madonna oil on copper 16.5 x 14 cm (6 ½ x 5 ½ in) £300 - £400

£300 - £500

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*See page 4 for information regarding fees

57 CIRCLE OF FRANS FLORIS (ANTWERP 1516 - 1570) Head of an Apostle oil on panel 48 x 38 cm (19 x 15 in) £1,800 - £2,000

58 STUDIO OF LUIS DE MORALES (BADAJOZ 1509 - 1586) Ecce Homo oil on panel (in two parts) 38 x 30 cm (15 x 12 in) PROVENANCE: Pope Pius IX (1792–1878; Pope from 1846), his wax seal on the verso £3,500 - £4,500

59 VENETIAN SCHOOL (17TH CENTURY) The Transfiguration oil on paper laid down on canvas 56 x 36 cm (22 x 14 in) £1,500 - £2,000 29

60 JAN MEERHOUT (GORINCHEM 1633 AMSTERDAM 1677) Riverscape with a village to the right signed meerhout (lower left) oil on panel 26.4 x 40 cm (10 x 16 in) £1,000 - £1,500

61 NICOLAAS WICART (UTRECHT 1748 - 1815) River landscapes with figures fishing and a village in the background signed N. Wicart delineavit (lower left) pen and black ink and grey wash and watercolour, within drawn lines 352 x 447 mm (14 x 17 ½ in); 315 x 443 mm (12 x 17 in) mounted (2) PROVENANCE: Alfred Brod Gallery, London £400 - £600

62 TETHART PHILIP CHRISTIAN HAAG (KASSEL 1737 - THE HAGUE 1812) Figures in a carriage led by agitated horses signed and dated 1785 (lower right) oil on panel 47 x 39 cm (18 ½ x 15 in) Tethart Philipp Christian Haag was a portraitist and a horse painter, and in 1760 succeeded his father as court painter to Stadtholder Prince William V. In 1774, on the founding of the Prince’s picture gallery at the Buitenhof in The Hague, Tethart became the director and curator of this first public museum in the Netherlands, later known as the Prince William V Gallery. £4,000 - £6,000 30

*See page 4 for information regarding fees

63 FRANS SODAR (BELGIAN 1827 - 1900) Twelve interior views of the Church of the Holy Sepulchre, Jerusalem each: oil on canvas each: 50 x 37 cm (19 ¾x 14 ½ in) all unframed (12)

PROVENANCE: Sotheby’s, London, The Travel Sale, October 12th 2000, lot 525 Sodar’s set of views of twelve sanctuaries of the Church of the Holy Sepulchre in Jerusalem includes those of Christ’s Tomb, St Helena, and the Finding of the Cross. A group of Sodar’s works, presented to Pope Leo XIII (1810-1903) earned him the gold medal of Christian artists, with the congratulations and blessing of the pontiff. £7,000 - £9,000

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Suzanne Zack Head of Sale British & European Fine Art suzanne.zack@chiswickauctions.co.uk

Luke Price Specialist Paintings & Fine Art luke.price@chiswickauctions.co.uk

British & European Fine Art Tuesday 17 March,1pm Part I: 19th Century Works on Paper (lots 100-223) Part II: Oil Paintings and 20th Century Works on Paper (lots 225-327)

100 THOMAS ROWLANDSON (BRITISH 1757-1827) A French Ordinary pen, ink and watercolour 30 x 24 cm (11 ½ x 9 in) PROVENANCE: with Vicars Brothers, London £800-£1,200 101 Property from the Collection of Helen and Alfred Mignano THOMAS ROWLANDSON (1756-1827) The sermon pen and ink and watercolour 27 x 23 cm (10 ½ x 8 ¼ in) £600-£800 102 THOMAS ROWLANDSON (BRITISH 1757-1827) Macasser Oil, 1819 signed, titled and dated Macasser Oil, 1819, Rowlandson (lower edge) pen and ink and watercolour over pencil 28 x 21cm (11 x 8 ¼ in) £400-£600 34

*See page 4 for information regarding fees

103 THOMAS ROWLANDSON (BRITISH 1756-1827) A country scene pen and brown ink and watercolour over pencil on laid paper 20 x 26 cm (7 ¾x 10 ¼ in) £600-£800

104 Property from the Collection of Helen and Alfred Mignano ATTRIBUTED TO THOMAS ROWLANDSON (BRITISH 1756-1827) Bacchanalian scene at Don Luigi’s Ball bears signature watercolour 14 x 20 cm (5 ½ x 7 ¾in) together with a print of the same scene (2) £300-£500

105 Property from the Collection of Helen and Alfred Mignano THOMAS ROWLANDSON (1756-1827) The Pop Shop signed and dated Rowlandson 1807 (lower left); inscribed The Pop Shop / Uncle Gripe can you stand half a crown for my smock pen and ink and wash 28.5 x 23.5 cm (11 ¼ x 9 ¼ in) £500-£700 35

106 JOHN WHITE ABBOTT (BRITISH 1763-1851) Two peasants and a dog on a woodland walk dated Oct 27/1815 (lower right) pen and brown ink and monochrome wash 18 x 15 cm (7 ¾x 6 in) PROVENANCE: The artist’s family, by descent With Heather Newman, Cotswolds £500-£700

107 JOHN WHITE ABBOTT (BRITISH 1763-1851) Cattle and sheep at a river dated April 30 1809 (lower left) pen and brush and wash 17.5 x 28.5 cm (6 ¾x 11 ¼ in) PROVENANCE: The artist’s family, thence by descent£200-£300

108 JOHN WHITE ABBOTT (BRITISH 1763-1851) A family group by a river dated Nov. 10 1815 (lower left) pen and black ink wash 17 x 26 cm (6 ½ x 10 ¼ in) £400-£600 36

*See page 4 for information regarding fees

109 WILLIAM PAYNE (BRITISH 1760-1830) Travellers crossing a bridge by a waterfall signed W Payne (lower right); signed Payne (upper right) watercolour 25 x 35 cm (8 x 11 ¾in) together with two further watercolours by the same hand: A ruined abbey by the shore; Travellers beside a river, a castle beyond (3) £500-£700

110 NICHOLAS POCOCK (BRITISH 1740-1821) Shipping in a gale; Shipping off the coast - a pair signed and dated N Pocock 1795 (lower left); signed and dated N Pocock 1806 (lower left) each pen and ink and watercolour over pencil 41 x 58.5 cm (16 x 23 in) - each (2) £400-£600

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111 ANTHONY DEVIS (BRITISH 1729-1817) A view of Windsor Castle and The Long Walk from Snow Hill pencil, pen and ink and coloured wash on laid paper, in artist’s ink border 17.4 x 23.5 cm (6.9 x 9.3 in) £400-£600

112 FRANCIS NICHOLSON (BRITISH 1753-1844) Rivaulx Abbey titled (on the reverse) watercolour 29.5 x 41.5 cm (11 ¾x 16 in) PROVENANCE: Thomas Agnew & Sons Ltd., London Sale: Christie’s, 1947 EXHIBITED: Royal Academy, London, 1803, No. 418 £300-£500

113 NICHOLAS CONDY (BRITISH 1793-1857) Gathering shellfish on the beach; Clam digging at Carrickfergus both watercolour and bodycolour 10 x 14 cm (4 x 5 ½ in); 9.75 x 14.75 cm (3 ¾x 5 ¾in) a pair (2) PROVENANCE: Thomas Agnew and Sons Ltd., London£300-£500

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*See page 4 for information regarding fees

114 JOHN VARLEY OWS (BRITISH 1778-1842) Mount Snowdon, North Wales signed J Varley (lower right) watercolour over pencil with stopping out and scratching out heightened with gum arabic 26.2 x 38 cm (10 ¼ x 15 in) PROVENANCE: With Henry J. Mullen, Harrogate Sir Albert Bingham, 2nd Bt. (d. 1945) his sale, London, Christie’s, 4 March 1938, lot 69, (as Landscape with lake) J.L. Nevinson (purchased at the above sale) Thence by descent to the present owner£600-£800

115 JOHN VARLEY OWS (BRITISH 1778-1842) Cadair Idris, North Wales watercolour over pencil with touches of stopping out and scratching out 26.7 x 36.4 cm (10 ½ x 14 ¼ in) £600-£800

116 JOHN VARLEY OWS ( 1778-1842) Capriccio landscape signed J Varley (lower right) oil on paper laid on panel 13.5 x 18 cm (5 ¼ x 7 ¼ in) £200-£300 39

117 JAMES WARD (BRITISH 1769-1859) Study of pine trees at Hamilton Palace, Scotland signed with initials, dated August 13 and inscribed in the artist’s shorthand pencil 13.5 x 19 cm (5 ¼ x 7 ½ in) together with two further studies of Ragweed, Scotland and Dartmoor variously signed with initials and inscribed various sizes, unframed (3) £300-£500

118 JAMES WARD (BRITISH 1769-1859) Houses on the edge of the cliff at Pegwell Bay, Kent, c. 1820 pen and ink on laid paper signed with initials and inscribed with the artist’s colour notes 14 x 28.5 cm (5 ½ x 11 ¼ in) together with two further pencil studies, of a village street and implements all variously signed with initials and inscribed in the artist’s shorthand various sizes, unframed (3) £300-£500

40

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119 GEORGE CHINNERY RHA (BRITISH 1774-1852) Cattle in an Indian village inscribed with the artist’s shorthand and marked with a cross and dated 1816 pencil on wove paper 17 x 24 cm (6 ½ x 9 ½ in) PROVENANCE: Spink, St. James’s, London The present study shows Chinnery’s distinctive shorthand which he used on each sketch or sheet, using a cross (+) to mark those works he liked and wished to use again, and an ‘x’ to identify those with which he was less pleased. He used the common 18th-century system of shorthand devised by Thomas Gurney (1705-1770)

121 WILLIAM ALEXANDER (BRITISH 1767-1816) A folio of twenty-four drawings of English topographical subjects: fourteen by William Alexander, three by Edward Hughes and seven by various English 19th century hands. Subjects include: Leeds Caste; Conway Castle; Dover Castle; Eltham Church, Kent; Dent-de-Lion Gatehouse, Margate; Chapel of Joseph of Arimathea, Glastonbury; Canterbury Castle variously signed, inscribed and dated various sizes, all unframed (24) PROVENANCE: Edward Hughes (1823-1913), thence by descent LITERATURE: Susan Legouix, Image of China: William Alexander, London, 1980

See note to previous lot

Edward Hughes’ son Charles Hughes was married to Cordelia Alexander the daughter of Thomas Alexander and 1st cousin of William Alexander.

In her monograph, Image of China: William Alexander, London, 1980, Susan Legouix writes, ‘When Alexander died in 1816 he was staying with his uncle, Thomas Alexander, and it was Thomas’s grandson Edward Hughes who was responsible for keeping together a number of drawings and papers connected with the artist and who safely deposited in the British Museum his manuscript account of the embassy to China and his self portrait. In more recent times Gerald Hughes of York, a nephew of Edward, actively collected drawings by Alexander which he bequeathed to Maidstone Muesum.’ A number of the English drawings are reproduced in Legouix’s book including the Dent-de-Lion Gatehouse near Margate in the present lot.

£400-£600

£500-£800

£300-£500

120 GEORGE CHINNERY RHA (BRITISH 1774-1852) Studies of an Indian village two studies on one sheet, both inscribed with the artist’s shorthand and dated 1816 pencil on wove paper 24 x 17 cm (8 ½ x 6 ¾in) PROVENANCE: Spink, St. James’s, London

part illustrated

41

122 THE WORTHING DRAUGHTSMAN (BRITISH fl.1812-1832) Aldborough inscribed, numbered and dated Aldborough 1812 / 16 pen and ink and watercolour on laid paper 23 x 37 cm (9 x 14 ¾in) together with three further pen and ink sketches two of Aldborough dated 1812 and one of Bognor dated 1813 various sizes, all unframed (4) £300-£500

123 THE WORTHING DRAUGHTSMAN (BRITISH fl.1812-1832) Kenilworth Castle inscribed and dated Kenilworth Castle, Apr 14 1814 pen and ink and grey wash on laid paper 17.5 x 31 cm (7 x 12 in) together with three further sketches of, Warwick Castle, 1814; Mote Park, 1821 and Wroxton Abbey Oxfordshire, 1815 variously inscribed and dated various sizes, unframed (4) £400-£600

42

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124 THE WORTHING DRAUGHTSMAN (BRITISH fl.1812-1832) Great Malvern inscribed and dated, Great Malvern 1812 pen and ink and watercolour on laid paper 23 x 37 cm (9 ¼ x 14 ¼ in) together with two further sketches, a pen and ink sketch of Cheltenham dated 1812 and a watercolour of Avon various sizes, unframed (3) £300-£500 part illustrated

125 THE WORTHING DRAUGHTSMAN (BRITISH fl.1812-1832) Worthing inscribed and dated Worthing Oct 20 1820 pen and ink and grey wash on laid paper 23 x 37 cm (8 x 14 ½ in) together with another sketch of Worthing dated 1813 and three sketches of Compton Verney, Warwickshire variously inscribed and dated 1832 various sizes, unframed (5) £300-£500 part illustrated

126 THE WORTHING DRAUGHTSMAN (BRITISH fl.1812-1832) Cader-Idris, Dolgelly inscribed and dated Cader-Idris, Dolgelly, Sep 1813 pen and ink and grey wash on two sheets of joined laid paper 18 x 23 cm (7 x 9 in) together with a sketch of Pont Aberglaslyn, dated 1813; a sketch of Comer dated 1814 and another sketch inscribed Aviemore bearing initials N P but attributed to The Worthing Draughtsman various sizes, unframed (4) £300-£500

part illustrated

43

127 GEORGE SMITH (BRITISH 1829-1901) Study of an apple tree laden with fruit pencil 25 x 17.5 cm (10 x 7 in) £300-£500

128 GEORGE SMITH (BRITISH 1829-1901) Study of convolvulus inscribed convolvulus (lower left) black chalk heightened with white chalk on buff paper 23 x 33 cm (9 ¼ x 13 in) together with three further pencil sketches, study of a fence and branches, study of a cornfield, study of a path through trees various sizes, unframed (4) £300-£500

127

129 GEORGE SMITH (BRITISH 1829-1901) Study for a back yard with washing barrel and broom dated Dec 26 1849 (lower right); signed and indistinctly inscribed George Smith ...for original (on the reverse) pen and ink and pencil heightened with white 17.5 x 25 cm (7 x 9 ¾in) together with a three further sketches, Rottingdean, 1849; study of a graveyard at the Old Church, Brighton 1851, sheet of landscape studies various sizes, unframed (4) £300-£500 128 part illustrated

129 part illustrated

44

129

*See page 4 for information regarding fees

130 EDWARD WILLIAM COOKE RA (BRITISH 1811-1880) Pilot boat on the beach, Deal inscribed and dated Sept. 23. 1830 pencil 16 x 25.5 cm (6 ¼ x 10 in) unframed together with four studies of Kent coastlines, Sandwich, Hythe and Dover various sizes, unframed (5) PROVENANCE: E. W. Cooke Thence by descent in the family £500-£700 part illustrated

131 EDWARD WILLIAM COOKE RA (BRITISH 1811-1880) St John’s Gate signed with initials, inscribed and dated St John’s Gate / EWC Sep 30 1826 pencil 15 x 24 cm (6 x 9 ½ in) together with five further studies of towns including: Limehouse Church, 1827; Part of the Palazzo of the Prince of Monaco - from my window, 1845; Hotel de Ville, Rue de la Madeleine - Brussels; Hotel de Belle Vue, Rue Royale Brussels; Mont St Michel; and four sheets mounted with small studies of views and architectural details variously inscribed and dated various sizes, unframed (9 sheets) PROVENANCE: E W Cooke Thence by descent in the family £500-£700 part illustrated

45

132 part illustrated

133 part illustrated

132 EDWARD WILLIAM COOKE RA (BRITISH 1811-1880) The Porto Nizza signed, inscribed and dated E W Cooke, The Porto, Nizza , Aug. 1845, and another view of Nice mounted on one sheet pencil 9.5 x 17 cm (3 ¾x 6 ¾in) each together with ten further sketches mounted on five sheets with views of Vollendam, Naples, Rouen, Amsterdam, and two designs for details of a Gondola (12) £500-£700

133 EDWARD WILLIAM COOKE RA (BRITISH 1811-1880) The Customs House, Portsmouth inscribed and dated July 5 1831 pencil 18 x 18 cm (7 x 7 in) together with nine further studies including views of: Sandwich; St Katherines Docks; two of shipping and four studies of rigging variously inscribed and dated various sizes, unframed (10) PROVENANCE: E. W. Cooke, thence by descent £500-£700

46

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134 part illustrated

135

134 EDWARD WILLIAM COOKE RA (BRITISH 1811-1880) Kennedy 74 hulk, Chatham inscribed watercolour over pencil 9.5 x 13.5 cm (3 ¾x 5 ¼ in) together with eight further studies of shipping and rigging, including views of Voltri; Salmon nets, Bay of Nigg, Aberdeen, 1852; Boulogne fishing craft various sizes, unframed (9) PROVENANCE: E.W. Cooke Thence by descent in the family £500-£700

135 Property from the Collection of Helen and Alfred Mignano ATTRIBUTED TO EDWARD WILLIAM COOKE RA (BRITISH 1811-1880) Venice (recto); Sketches of the Campanile with figures (verso) extensively inscribed with place names and dated April 12th in pencil (lower edges, and verso) pencil on paper 18 x 52 cm (7 x 20 ½ in) (two sheets joined) £400-£600

136 Property from the Collection of Helen and Alfred Mignano EDWARD WILLIAM COOKE RA (BRITISH, 1811-1880) Street on Mont St Michel, Normandy watercolour 30 x 20 cm (11 ¾x 7 ¾in) £200-£400 136

47

137 WILLIAM CALLOW (BRITISH 1812-1908) Shipping at the mouth of a river, early morning signed and dated W. Callow 1837 (lower left) watercolour heightened with scratching out 51.5 x 72.5 cm (20 ¼ x 28 ½ in) £2,000-£3,000

138 PETER DE WINT (BRITISH 1784-1849) Netsmen on the Witham signed and dated P De wint 1811 (lower left) pencil and watercolour 28 x 48.25 cm (11 x 19 in) PROVENANCE: William Woodward (sale: Christie’s London, 14th February 1913, lot 25) Thomas Agnew & Sons, London (purchased at the above sale) Josiah Vavasseur Lord Fisher, D.S.C. Sale: Christie’s London, 9th November 1976, lot 33 Thomas Agnew & Sons Ltd., London (acquired at the above sale on behalf of the present owner) £500-£700

139 ATTRIBUTED TO WILLIAM WYLD (FRENCH 1806-1889) Beach scene with a careened boat signed W. Wyld in brown ink (lower left centre) pen and brown ink and brown wash 7.4 x 16.9 cm (2 7/8 x 6 5/8 in) unframed PROVENANCE: Paul Proute, Paris (by 1970) Guy Maugras, thence by descent (until 2012) Born in England but raised largely in France, William Wyld was greatly influenced by the work of Richard Parkes Bonington and Horace Vernet, the latter becoming a friend and travelling companion.

Following his debut at the Paris Salon in 1831, Wyld journeyed to Algiers in 1833, a trip that resulted in an illustrated publication Voyage pittoresque dans le régence d’Alger pendant l’année 1833 Careening is the practice of grounding a sailing vessel at high tide, in order to expose one side of its hull for maintenance and repairs below the water line when the tide goes out. £200-£300 48

*See page 4 for information regarding fees

140 JOHN MARTIN (BRITISH 1789 - 1854) Ariadne with a lyre looking out to sea Signed & dated J. Martin 1843 (lower left) watercolour and bodycolour 26.7 x 69 cm (10 ½ x 27 ¼ in) £5,000-£7,000

49

141 ENGLISH SCHOOL (CIRCA 1820) Figures on the river bank, Kingston-upon-Thames watercolour 44 x 58 cm (17 ¼ x 22 ¾in) £300-£500

142 ATTRIBUTED TO DAVID COX (BRITISH 17831859) London from Battersea Reach, Westminster Abbey in the distance watercolour over pencil 13.25 x 31.25 cm (5 ¼ x 12 ¼ in) £300-£500

143 CHARLES TATTERSHALL DODD (BRITISH 1815-1878) Snowdon signed and dated Dodd 1836 watercolour 16.5 x 25.25 cm (6 ½ x 10 in) PROVENANCE: Thomas Agnew and Sons Ltd., London together with two further watercolours: WILLIAM LEIGHTON LEITCH (BRITISH 804-1883) In the Highlands watercolour 9.25 x 14.25 cm (3 ½ x 5.75 in) and ENGLISH SCHOOL (LATE 18TH CENTURY) Woodland Scene watercolour and pencil 16.25 x 20.25 cm (6 ½ x 8 in) (3) part illustrated

£300-£500

144 WILLIAM CALLOW (BRITISH 1812-1908) In Glen Ettrick signed W Callow watercolour 13.25 x 20.5 cm (5 ¼ x 8 in) PROVENANCE: With Walker’s Galleries, London £200-£300 50

*See page 4 for information regarding fees

145 DAVID COX JUNIOR (BRITISH 1809-1885) Farm buildings in a wooded landscape signed D. Cox (lower right) watercolour over pencil 24 x 34 cm (9 ½ x 13 ½ in) £200-£300

146 WILLIAM JAMES MULLER (BRITISH 1812-1845) Fisherman on a rocky river signed with initials and dated 43 (lower left) watercolour and pencil 19.25 x 27.75 cm (7 ½ x 11 in) PROVENANCE: With Newman Fine Art, Cotswolds £300-£500

147 THOMAS MILES RICHARDSON JUNIOR (BRITISH 1813-1890) Figures on a river bank, a castle beyond signed and dated TMR 1853 (lower left) watercolour 21.25 x 30.5 cm (8 ¼ x 12 in) PROVENANCE: With Newman Fine Art, Cotswolds £400-£600

148 WILLIAM CALLOW RWS (BRITISH 1812-1908) Cottage beside a country road signed W Callow (lower right) watercolour and bodycolour 25.25 x 36 cm (10 x 14 in) PROVENANCE: Michael Appleby, St. James’s, London £300-£500 51

149 THOMAS MILES RICHARDSON JUNIOR (BRITISH 1813-1890) A heron monochrome wash over pencil 13.5 x 16.5 cm (5 ¼ x 6 ½ in) PROVENANCE: 3rd Earl of Encombe £150-£250

150 HEINRICH GOTTLIEB REICHENBACH (GERMAN 1793-1879) Myiobious - Crested Flycatcher, Brazil inscribed with detailed notes relating to species, Latin name and size watercolour and pen and ink 11 x 10 cm (4 ¼ x 4 in) together with five other fine bird studies by the same hand all unframed (6) £300-£500

52

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151 THOMAS CHURCHYARD (BRITISH 1798-1865) A roadside discussion black chalk 8.25 x 13.25 cm (3 ¼ x 5 ¼in)

152 THOMAS CHURCHYARD (BRITISH 1798-1865) Farming scene black chalk 10.5 x 13 cm (4 x 5 in)

PROVENANCE: Harriet Churchyard Album With David Messum Fine Art, London

PROVENANCE: Harriet Churchyard Album With David Messum Fine Art, London

EXHIBITED: David Messum Fine Art, London, Bicentenary Exhibition, 1998, no 96

EXHIBITED: David Messum Fine Art, London, Bicentenary Exhibition, 1998, no. 107

£300-£500

£300-£500

153 ATTRIBUTED TO SIR EDWIN HENRY LANDSEER RA (BRITISH 1803-1873) On deck titled On Deck pencil 23 x 18 cm (9 x 7 ¼ in) £150-£250

154 Property of a Lady, Paris CHARLES-EMILE JACQUE (FRENCH 1813-1894) The Ram stamped with the signature Lugt 1364; with the wax seal of the artist’s estate stamp on the reverse Lugt 4811 pencil 16 x 11 cm (6 ¼ x 4 ¼ in) £50-£100

155 SIR THOMAS LAWRENCE PRA (BRITISH 1769-1830) Studies of hands inscribed and dated, Sepr 19 1801 and Sepr 15 1801 pencil 20.7 x 17.7 cm (8 ¼ x 7 in) PROVENANCE: David Bindman, London With Abbott & Holder, London (2001) £200-£300 53

156 CHARLES BENTLEY O.W.S. (BRITISH 1806-1854) A figure by a windmill watercolour heightened with scratching out 27.5 x 20.25 cm (10 ¾x 8 in) PROVENANCE: Peter Cardiff Fine Art Born in London, Bentley was articled to the engraver Theodore Fielding. He travelled to Paris for Fielding in 1825 to work on a book with plates by Richard Parkes Bonington whose work greatly influenced him. In 1827 he set up as an engraver and produced watercolours of coastal and river scenes of Britain and Northern France.

He exhibited at the Royal Society of British Artists, the Royal Society of Painters in Watercolours, the Royal Institute and the British Institution. £300-£500

157 GASPARD GOBAUT (FRENCH 1814-1882) Landscape with a mill signed, dated and dedicated à mon bon ami Sabourin-Gobaut 1870 in brown ink (lower right) watercolour, with touches of bodycolour 27 x 37.1 cm (10 5/8 x 14 5/8 in) PROVENANCE: M. Sabourin-Gobaut (acquired from the artist in 1870) £400-£600

158 WILLIAM COOK OF PLYMOUTH (BRITISH circa 1830-circa 1890) The Barrow Rocks, Cornwall signed with monogram and dated 1879 (lower left); inscribed with title and date on artist’s label attached to the backboard watercolour heightened with white 30 x 50 cm 12 x 19 ¾in) £300-£500 54

*See page 4 for information regarding fees

part illustrated

159 ADELAIDE LOUISA BURDETT (c. 1820 - 1890) A bound album of forty-two Swiss views in the Alps, circa 1850-1865 each variously inscribed with titles and locations watercolour each 28.5 x 20 cm (11 ¼ x 8 in), album size; 29.5 x 23 cm (11 ½ x 9 in) (42) The carved wood cover of the album painted with a scene of the Alps and indistinctly signed appears to be by a different hand £400-£600 55

160 DANIEL MCDOWELL (IRISH b.1820) Portrait of Albert Edward, Prince of Wales, later Edward VII pastel and coloured chalks signed and dated McDowell 1851 (lower left) 71.5 x 61 cm (28 x 24 in) The young Prince of Wales was first given a scaleddown version of a sailors uniform worn by ratings on the Royal Yacht, aged four. He wore it during a cruise off the Channel Islands and delighted his mother and public alike. Popular engravings spread the idea and by the 1870s the sailor suit became normal dress for boys all over the world. £500-£700

161 ATTRIBUTED TO CORNELIUS BEAVIS DURHAM (BRITISH 1809-1884) Miss Margaret Little watercolour on paper 34 x 27 cm (13 ½ x 10 ¾in) Miss Little`s father was Rev. T.W. Little of Fordingbridge, Hampshire. Durham is known for his portrait painting and miniatures, winning awards at the Society of Arts 1825-26 and a gold Isis medal in 1832. £600-£800

162 STEPHEN CATTERSON SMITH (BRITISH 18061872) A portrait of three boys, c. 1830 pencil heightened with white and pink watercolour 33 x 25cm (13 x 9 ¾in) Smith was born in England but made his name in Ireland. Before travelling to Dublin in 1839 he made sketches of members of the Royal family. In Ireland he painted many distinguished families. He was president of the Royal Hibernian Academy and director of the National Gallery of Ireland from 1868. £400-£600 56

*See page 4 for information regarding fees

163

165

167

164

166

168

163 CARL SIEG (GERMAN 1784-1845) Portrait of a lady, her hair upswept with ringlets, wearing a dress with frilled collar and sleeves signed and dated Sieg 1819 10 x 8.5 cm (4 x 3 ¼ in) pencil on paper £400-£600 164 GEORGE CHINNERY (BRITISH 1774-1852) Portrait of Mademoiselle Villars titled on an exhibition label attached to the backboard gouache 70 x 54 cm (27 ½ x 21 ¼ in) EXHIBITED: Paris, Galerie Barbazanges, Les Maitres Anglais 1740-1840, Exposition de Pastels-Aquarelles et Dessins, Dec 1919 - Jan 1920, no. 17 In the catalogue of the 1919/20 exhibition Charles Oulmont describes how the painter Elisabeth Louise Vigée Le Brun introduced the sitter to George Chinnery’s wife who sought a teacher for their children. Mme Villars lived with the Chinnerys for the following two years during which time, according to Oulmont, she became the cause of some disagreements between the Chinnerys.

165 FREDERICK CHRISTIAN LEWIS (BRITISH 17791856) Portrait of Miss Barton Executed circa 1829, after the same subject by Sir Thomas Lawrence stipple engraving with aquatint, heightened with chalk.

42.5 x 34 cm (16 ¾x 13 ¼ in)

167 SIR GEORGE HAYTER (BRITISH 1792-1871) Portrait of the Right Hon. Lady Adelaide Forbes inscribed Rt Hon Lady Adelaide Forbes (lower left) pencil and watercolour on laid paper 13 x 10 cm (5 ¼ x 4 in)

£150-£250

168 NORMAN PRESCOTT-DAVIES (BRITISH 1862-1915) Cornflowers signed PRESCOTT-DAVIES (lower left) watercolour 30 x 22 cm (11 ¾x 8 ¾in)

166 GEORGE PERFECT HARDING (BRITISH born 1780-1853) Portrait of Miss Rosamond Hester Elizabeth Croker, after Sir Thomas Lawrence watercolour 12 x 17 cm (8 ½ x 6 ¾in)

£200-£300

£400-£600

The daughter of William Pennell, British Consul General in Brazil, Rosamund was adopted by John Wilson Croker (1750-1857) - politician, man of letters and friend of King George IV. The couple later married, but none of their children survived infancy, and they subsequently adopted Rosamond’s younger sister (Pennell’s 18th child).

Croker commissioned Lawrence to paint his wife’s portrait in 1827, now in the collection of the Albright-Knox Art Gallery, Buffalo, New York. £300-£500

£500-£700 57

169 THOMAS MILES RICHARDSON SENIOR (BRITISH 1784-1848) Figures in a market place in Northern France watercolour heightened with white over pencil 23 x 30 cm (9 x 11 ¾in) PROVENANCE: With Abbott and Holder, London £600-£800

170 Property of Helen and Alfred Mignano JAMES HOLLAND RWS (BRITISH 1799-1870) Cathedral Interior watercolour and bodycolour over pencil 28 x 56 cm (11 x 22 in) PROVENANCE: Thomas Agnew & Sons Ltd., London Besterman Collection £300-£500

171 FREDERICK ARTHUR BRIDGMAN (AMERICAN 1847-1928) Under the Arcades in Thun, Switzerland dated Thoune / 5 Sept. 1904 in pencil (lower right); inscribed Schuhhandlung Steiner Walter in pencil on the arch (upper left); stamped with the studio stamp Atelier F. A. BRIDGMAN/ NICE 1954 in blue ink (lower right) pencil on paper; a page from the artist’s sketchbook 18.3 x 23.6 cm (7 ¼ x 9 ¼ in) unframed This present view is of the arcaded passageway in Thun in the Bernese Oberland, Switzerland. The inscription on top of the arch and the image of a boot on the right-hand pillar mark the shop as that of a shoemaker. £150-£250 58

*See page 4 for information regarding fees

172 SAMUEL PROUT OWS (BRITISH 1783-1852) Braubach on the Rhine watercolour 26.5 x 19.7 cm (10 ½ x 7 ¾in) PROVENANCE: Lady Stafford, (purchased in 1825) With Heather Newman Gallery, Cotswolds EXHIBITED: Old Watercolour Society, 1825, no. 191 LITERATURE: Timothy Wilcox & John Spink, Samuel Prout 1783852 A Grand Tour in Watercolour, London 2017, p. 60 £400-£600

172

173 SAMUEL GILLESPIE PROUT (BRITISH 1822-1911) The old well signed S Prout (lower left) watercolour and bodycolour 35.5 x 26 cm (14 x 10 ¼ in) £300-£500

174 SAMUEL GILLESPIE PROUT (BRITISH 1822-1911) Interior of a cathedral with column signed with monogram watercolour heightened with white 42 x 32 cm (16 ½ x 12 ½ in) £200-£300 173

174

175 SAMUEL GILLESPIE PROUT (BRITISH 1822-1911) Cathedral interior with figures signed S G Prout (lower right) watercolour heightened with white 33 x 24 cm (13 x 9 ½ in) £300-£500

176 ARTHUR MELVILLE (BRITISH 1855-1904) Study of a church interior signed ARTHUR MELVILLE (lower left) watercolour and bodycolour over traces of black chalk 75 x 45 cm (29 ½ x 17 ¾in) £600-£800 175

176

59

177 JOHN VARLEY Jnr. (BRITISH 1850-1933) Clay pot bazaar, Fatehpur Sikri, Agra signed and dated, John Varley 92 (lower left) watercolour over pencil 52 x 34.5 cm (20 ½ x 13 ½ in) £600-£800

178 SIR CHARLES D’OYLY (BRITISH 1781-1845) On the Ganges near Cawnpore bears the title on an old label attached to the backboard watercolour and bodycolour over pencil 18.5 x 27.5 cm (7 ¼ x 10 ¾in) PROVENANCE: Bostock Collection, London With John Spink Fine English Watercolours, London £800-£1,200

179 TRISTRAM JAMES ELLIS (BRITISH 1844-1922) Tiberius signed, titled and dated Tristram Ellis 1902/Tiberius (lower left) watercolour 16 x 37 cm (6 ¼ x 14 ½ in) £200-£300 60

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180 HERCULES BRABAZON BRABAZON (BRITISH 1821-1906) A Venetian Square signed H B Brabazon (lower left) black and coloured chalks with bodycolour 22 x 27 cm (8 ¾x 10 ½ in) £500-£700

181 Property from the Collection of Helen and Alfred Mignano HERCULES BRABAZON BRABAZON (BRITISH 1821-1906) Swiss gorge signed with initials HBB (lower right) watercolour and bodycolour 25 x 35 cm (9 ¾x 13 ½ in) The influence of Joseph Mallord William Turner’s The Schöllenen Gorge from the Devil’s Bridge, Pass of St Gotthard of 1802 is evident in the present work £500-£700 61

182 THOMAS BUSH HARDY (BRITISH 1842-1897) Santa Maria della Salute, Venice signed Hardy and indistinctly dated (lower left) watercolour and bodycolour 20 x 14 cm (7 ¾x 5 ½ in) PROVENANCE: Newman Fine Art, Cotswolds £400-£600

183 EDWIN HAYES RI (BRITISH 1820-1904) Fishing boats off the coast signed and dated E. Hayes ARHA/1860 (lower right) watercolour heightened with scratching out 30 x 50 cm (12 x 19 ¾in) PROVENANCE: With Newman Fine Art, Cotswolds £400-£600

184 CHARLES DIXON (BRITISH 1872-1934) The Thames at Rotherhithe signed and dated Charles Dixon/ 93 (lower left) watercolour 48 x 106 cm (19 x 41 ¾in) £600-£800

62

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185 VICTOR NOBLE RAINBIRD (BRITISH 1887-1936) Portail - Rouen signed (lower left); titled Portail - Rouen (lower right) watercolour 24 x 16 cm (9 ½ x 6 ¼ in) £150-£250

186 GEORGIJ K LUKOMSKIJ (RUSSIAN 1884-1954) Lisbon, Portugal; Figures at the entrance to a grand building in Lisbon, Portugal - a pair signed and titled Lisbon (lower left) and dated 1.8.37 (lower right); signed, titled and dated (lower left) both: black chalk and coloured chalks on buff paper 47.5 x 61 cm (18 ¾x 24 in) (2) £300-£500

63

187 ALEXANDRE BIDA (FRENCH 1813-1895) A standing woman in Renaissance costume signed with the initial B in pencil (lower right) black chalk, with touches of white heightening, on blue paper 24.8 x 15.8 cm (9 ¾x 6 ¼ in) unframed Alexandre Bida studied with Eugène Delacroix.

Early on he visited Syria and Constantinople; later he travelled more widely through Egypt, Greece, Turkey and the Crimea. He exhibited regularly at the Paris Salon, showing mostly drawings, for which he was highly praised. The present work is very probably a design for a book illustration. £500-£700 188 FRENCH SCHOOL (19TH CENTURY) Study of a standing man wearing a tricorne hat, with a separate study of a hand holding a rod black chalk on blue-grey paper 34.2 x 26.1 cm (13 ½ x 10 ¼ in) unframed £200-£300

189 SIR FREDERIC WILLIAM BURTON R.H.A. (IRISH 1816-1900) The widow of Wöhlm signed and dated FWBurton / MDCCCLIX upper left; signed, titled and dated on a label on the backboard watercolour 46 x 58.5 cm (18 x 23 in) Painted in 1859 PROVENANCE: J. Robinson Esq (by 1862) EXHIBITED: London, Old Watercolour Society, 1859 London, International Exhibition, 1862, no. 1211 In 1859 The Times wrote of the present work: ‘No early master, not Memling or Van Eyck, not Martin Schon, Cranach, or Holbein, ever painted an individual physiognomy more conscientiously than Mr Burton has painted his widow’. Whilst staying in Munich in 1844 Burton had been engaged

by Maximilien II, King of Bavaria. In subsequent years he returned there to produce detailed watercolours inspired by the local people and architecture. Other German subjects included Peasantry in Franconia waiting for Confession and The Procession in Bamberg Cathedral. * Please note that this lot is subject to import VAT at a rate of 5% on the Hammer Price and the prevailing rate on the Buyer’s Premium.

£2,500-£3,500 64

*See page 4 for information regarding fees

190 EDWARD POYNTER BT PRA RWS (BRITISH 1836–1919) A figure study for the knuckle player in When the World was Young with studio stamp (lower right) black and white chalk on terracotta paper 35.6 x 25.4 cm (14 x 10 in) PROVENANCE: Sale: Phillips, London, 15 April 1985, lot 52 (part) With Julian Hartnoll, London, 1997 (where purchased by the present owner).

LITERATURE: C. Monkhouse, The Life and Art of Sir Edward John Poynter, Art Journal Easter Annual, London, 1897, p. 8 £500-£700

191 Property from the Collection of Helen and Alfred Mignano GEORGE JOHN PINWELL RWS (BRITISH 1842-1875) Figures in a landscape signed with monogram GJP (entwined, lower right) watercolour on paper 16 x 14 cm (6 ¼ x 5 ½ in) £500-£800 65

193 CHARLES HENRY JEIDELS (GERMAN 1862-1900) The Gleaners signed (lower right) watercolour heightened with gum arabic 28 x 17 cm (10 ¾x 6 ¾in) £300-£500

194 EDWARD STOTT NEAC ARA (BRITISH 1859-1918) A shepherd with his flock watercolour 16.5 x 12.5 cm (6 ½ x 5 in) £200-£300

195 SAMUEL JOHN LAMORNA BIRCH (BRITISH 1869-1955) Near Paris Plage signed S J Lamorna Birch and inscribed Near Paris Plage - Slopes (lower left) watercolour 24 x 34.5 cm (9 ½ x 13 ½ in) Birch left for Paris in December 1895 and studied at Colorassi’s school until July 1896. Before leaving, his friend Stanhope Forbes suggested that he adopt the additional name Lamorna to avoid confusion with the Penzance painter, Lionel Burch.

The Colorassi students sketched along the banks of the Seine and attempted to paint like the Impressionists. £300-£500 66

*See page 4 for information regarding fees

196 JAMES HARDY JR (BRITISH 1832–1889) The day’s catch signed and dated J Hardy Jnr. 1868 (lower right) watercolour and bodycolour heightened with stopping out 26.5 x 40 cm (10 ½ x 15 ¾in) PROVENANCE: With Polak Gallery, St. James’s, London £600-£800

197 SAMUEL JOHN LAMORNA BIRCH RA (BRITISH 1869-1955) Fair haired girl wearing a red neck scarf signed with monogram (lower left) watercolour 16 x 13.5 cm (6 ¼ x 5 ¼ in) £300-£500

198 WILLIAM AFFLECK (BRITISH 1869-1943) Gathering wildflowers signed and dated Willian AFFLECK 98 (lower right) watercolour and bodycolour 39 x 29 cm (15 3/8 x 11 ½ in) £600-£800 67

199 THEODORE BLAKE WIRGMAN RP (BRITISH 1848-1925) Portrait of a lady pastel on buff paper 33 x 24 cm (13 x 9 ½ in) Provenance: With Abbott & Holder (1998) £200-£300 200 WILLIAM STRANG R.A. (BRITISH 1859-1921) Portrait of a man signed and dated W. STRANG / 1906 in pencil (lower right) red, black and white chalks on buff paper 41 x 26.1 cm (16 1/8 x 10 ¼ in) £300-£500 199

200

201 EUGENIE RICHARDS (BRITISH 1873-1941) Portrait of Dorothy Revell WAAC signed and dated 1919 (lower left); titled Dorothy Revell WAAC No 576 (upper centre) pencil and watercolour 36.5 x 26 cm (14 ¼ x 10 ¼ in) £200-£300 202 MILLICENT ETHELDREDA GRAY (BRITISH 1873-1957) Portrait of a girl in a blue dress signed and dated 1941 (lower left) watercolour over pencil 33 x 23 cm (13 x 9 in) £200-£300

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202

203 HARRY JOHN PEARSON RBA (BRITISH 18721933) Study of a girl with raised arms coloured chalks 29.5 x 16 cm (11 ½ x 6 ¼ in) PROVENANCE: Studio sale, Thomas Roddick and Metcalfe, Carlisle, 2007 £300-£500 204 ERICH WOLFSFELD (GERMAN 1884-1956) Study of a crying child signed Erich Wolfsfeld in pencil (lower right) oil, black chalk and coloured chalks, with traces of squaring for transfer in pencil, on paper 31.1 x 19.6 cm (12 ¼ x 7 ¾in) unframed PROVENANCE: Studio of the artist Dr. Max Block, Liverpool (stepson of the above) EXHIBITED: Derby, Derby City Art Gallery, Erich Wolfsfeld, 1953 £300-£500

203

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204

*See page 4 for information regarding fees

205 MAX SELIGER (GERMAN 1865-1920) Three Children Drawing; A Young Boy Drawing one signed and dated M. Seliger 1910 in pencil (lower left); the other signed with initials and dated M. S. 1909 in pencil (lower right) each: black chalk on light brown paper each: unframed; the old mount embossed with the artist’s circular monogram 33 x 25.2cm (13 x 9 7/8 in); 26.2 x 21.6cm (10 3/8 x 8 ½in) (2) £600-£800

206 EDUARD BENDEMANN (GERMAN 1811-1889) young boy reading at a table (recto); Head of a young boy (verso) inscribed and dated Df. July 68 (lower left) pencil 19.1 x 22.7 cm (7 ½ x 8 7/8 in) mounted, unframed PROVENANCE: (possibly) Richard Schöne, Berlin Friedrich Schöne, Essen and Berlin (Lugt 3622) Sale: Galerie Gerda Bassenge, Berlin, 1 December 2006, lot 5638 Dated 1868, this drawing bears the collector’s mark of the lawyer Friedrich Schöne (1882-1963),

part of whose collection of 19th century German drawings may have been inherited from his father, the archaeologist and museum director Richard Schöne (1840-1922).

Bendemann became professor at Dresden Academy in 1838, and was director of the Düsseldorf academy from 1859-67, succeeding Wilhelm Schadow. On Bendemann’s death a retrospective of his work was held at the Nationalgalerie, Berlin. A sizeable group of drawings by the artist is in the Kupferstichkabinett in Berlin, and the collection of the Museum Kunstpalast, Düsseldorf.

207 Property from the Collection of Helen and Alfred Mignano EDMUND JOSEPH SULLIVAN (BRITISH, 1869-1933) Gentleman and Dogs signed and dated Edmund Joseph Sullivan 1906 (lower right) black crayon on paper 33 x 23 cm (13 x 9 in) £300-£500

£500-£700 69

208 The Collection of Helen and Alfred Mignano AMBROSE MCEVOY (BRITISH 1878-1927) A seated lady wearing a hat and stole watercolour over traces of black crayon 44 x 28 cm (17 ¼ x 11 in) PROVENANCE: Princess Alice, Countess of Athlone (18831981) £800-£1,200 209 Property from the Collection of Helen and Alfred Mignano AMBROSE MCEVOY (BRITISH 1878-1927) Mrs B by her fireplace signed McEvoy (lower right) watercolour wash over traces of pencil 24.5 x 17 cm (9 ½ x 7 in) £600-£800 210 Property from the Collection of Helen and Alfred Mignano ARTHUR AMBROSE MCEVOY (BRITISH 18781927) Study for the thunderstorm titled (on the reverse) oil on canvas 59 x 43 cm (23 ¼ x 17 in) £1,500-£2,500 70

*See page 4 for information regarding fees

211 HENRY-JOSEPH HARPIGNIES (FRENCH 1819-1916) A circular landscape, surrounded by oriental lanterns and motifs signed and dated h. harpignies in grey ink (lower right) watercolour, pen and grey ink and grey wash 19.4 x 11.6 cm (7 5/8 x 4 5/8 in) unframed Harpignies exhibited his first watercolour landscapes at the Salon of 1864, where they were praised by the critic Théophile Thoré. The freshness and luminosity of his use of the medium soon gained him a wide audience, spreading as far as England where he was invited by Whistler to exhibit at the Royal Institute in London. The present work is unusual among his drawings in its use of Oriental motifs.

211

212

£200-£300

212 GISBERT COMBAZ (BELGIAN 1869-1941) Colocynth signed with the monogram in black ink (lower left centre) pen and black ink and watercolour on buff paper laid down on board 42.6 x 57.5 cm (16 ¾x 22 5/8 in) PROVENANCE: Louis and Berthe Wittamer-De Camps, Brussels (A pupil and collector of Combaz’s work, Berthe Wittamer De Camps lived with her husband in the Hôtel Solvay on Avenue Louise, Brussels, designed

by Victor Horta)

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EXHIBITED: San Francisco, California Palace of the Legion of Honor (and travelling), La Belle Epoque: Masterworks by Combaz, Léo Jo and Livemont. A Loan Exhibition from the Collection of L. WittamerDe Camps, 1980-1981, no. 39 (illustrated in the catalogue) Executed circa 1911-12. Colocynth (citrillus colocynthis) is a desert plant which bears small, hard fruits. Influenced by Les XX and an active member of La Libre Esthétique, Combaz taught at the Ecole des Arts Industriels et Décoratifs in Ixelles, and later at the Académie des Beaux-Arts in Brussels, where René Magritte was one of his pupils.

214

£400 -£600 213 JOHN REINHARD WEGUELIN (BRITISH 1849–1927) Racing nymphs signed J R Weguelin (lower left); signed and titled on a label attached to the backboard watercolour 36 x 53 cm (14 x 20 ¾in) £600-£800

214 JEAN-ADRIEN MERCIER (FRENCH 1899-1995) Two Women in a Cemetery in Rabat, Morocco signed and dated Jean A. Mercier - 5-22 (upper right) inscribed Rabat (upper left); signed, dedicated and dated a Madame Lecocq bien(?) affecteusement / souvenir de Maroc - on the backing sheet gouache and watercolour over pencil 19.2 x 24.5 cm (7 5/8 x 9 5/8 in) unframed PROVENANCE: Mme Lecocq (acquired from the artist)

Executed in Morocco in May 1922, the present work appears to depict a small cemetery on the Atlantic coast of Rabat, just north of the Kasbah des Oudaïas and to the north and east of the larger Cimitière As-Shouhada. Mercier’s subsequent career was as a successful graphic and commercial artist. He designed more than 120 cinema posters for such leading directors as Jean Renoir and Sacha Guitry, and contributed interior designs for the transatlantic ocean liner the SS France in 1961. £200-£300 71

215 Property from the Collection of Helen and Alfred Mignano SIR FRANK BRANGWYN (BRITISH, 1867– 1956) The old tavern pen and black ink, red chalk wash over traces of pencil 57 x 42 cm (22 ½ x 16 ½ in) £500-£700

216 Property from the Collection of Helen and Alfred Mignano STANLEY ANDERSON RA (BRITISH 18841966) Durer’s House, Nurnberg signed watercolour 37 x 28 cm (14 ½ x 11 in) £400-£600 72

*See page 4 for information regarding fees

217 HARRY TITTENSOR, R.I. (BRITISH 1887-1942) The Cafe, Honfleur signed Tittensor (lower right) watercolour 54.5 x 48.2 cm (21 3/8 x 19 in) EXHIBITED: London, Royal Academy, Summer Exhibition, 1929, no. 817 Glasgow, Royal Glasgow Institute of the Fine Arts, Annual Exhibition, 1929, no. 703 £300-£500

218 HAROLD CORNELIUS HEWARD (BRITISH 1881-1973) The railway station signed and dated H Cornelius Heward 1929 (on the reverse) watercolour and bodycolour over traces of pencil on a blue-grey paper 25 x 37 cm (9 ¾x 14 ½ in) £300-£500

219 Property from the Collection of Helen and Alfred Mignano CHARLES SIMS RA (BRITISH 1873-1928) Dawn, The First World War titled within an ornate boarder in pencil (upper centre) watercolour and pencil 33 x 42 cm (13 x 16 ½ in) £200-£400 73

220 PIERRE EUGENE MONTEZIN (FRENCH 1874-1946) Landscape with wheatsheaves signed P Montezin in brown ink (lower left) watercolour and gouache, over pencil on paper laid down on board 16.5 x 37.2 cm (6 ½ x 14 5/8 in) PROVENANCE: Sale: Doyle, New York, 24 May 2005, lot 95 Private collection, Naples, Florida Trained as a decorative mural painter, Montézin was strongly influenced by the Impressionists, and enjoyed a successful career as a landscape and 74

still life painter, equally adept in oils, pastels and gouache. Admitted to the Legion of Honour in 1923, he served on the jury of the Salon des Artistes Français in 1932. In the same year a large retrospective exhibition of his work, numbering over two hundred works, was held in Paris. In 1940 Montézin was elected to the Académie des Beaux-Arts, taking the place of Edouard Vuillard.

Montézin’s work is in the Musée d’Art Moderne de la Ville de Paris, the Musée du Petit Palais, Paris and the Städtische Kunsthalle in Mannheim. £600-£800

221 INGRID GERHARDT (GERMAN 1925-2002) A derelict farmhouse signed and dated I. Gerhardt / 1948 in brown ink (lower right) watercolour and gouache, with pen and brown ink and brown wash 17.6 x 26.6 cm (6 7/8 x 10 ½ in) Ingrid Gerhardt studied at the free art school established by the painter Jo Strahn in Düsseldorf in the 1940’s; she lived and worked for much of her later life in France, in the département of Ille-etVilaine, Brittany. £300-£500 *See page 4 for information regarding fees

222 INGRID GERHARDT (GERMAN 1925-2002) Study of foliage with white berries watercolour and gouache 22.1 x 16.7 cm (8 ¾x 6 5/8 in) unframed

223 INGRID GERHARDT (GERMAN 1925-2002) Landscape with a bridge over a stream watercolour and gouache, with pen and brown ink and brown wash, on pale grey paper 19.2 x 29.2 cm (7 5/8 x 11 ½ in)

See note to lot 221

There is a study of a haystack in pencil on the verso.

£300-£500

See note to lot 221 £300-£500

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Oil Paintings and 20th Century Works on Paper

225 ARR MARIE LAURENCIN (FRENCH 1883-1956) Project de tapisserie III oil over pencil on board 45 x 49 cm (17 ¾x 19 ¼ in) The present work was one of four designs for chair covers that Laurencin completed to decorate the Paris dining room of Eddie Wassermann. In 1935 Marie Laurencin also painted a portrait of Wassermann.

PROVENANCE: Eddie Wassermann, Paris (commissioned from the artist) Sale: Sotheby’s London, 30 March 1977, lot 124b Sale: Sotheby’s New York, 18 October 1985, lot 58 Purchased at the above sale by the present owner

226 ARR MARIE LAURENCIN (FRENCH 1883-1956) Femme à la guitare signed with initials and dedicated A Suzanne (upper left) pen and ink over pencil 19.5 x 17 cm (7 ¾x 6 ¾in) PROVENANCE: Suzanne Moreau-Laurencin., Paris (acquired from the artist) Sale: Sotheby’s London, October 1987, Lot 133 (purchased by the present owner) £1,000 - £1,500

LITERATURE: Daniel Marchesseau, Marie Laurencin, Catalogue raisonné de l’oeuvre peint, Paris, 1999, p. 74, no. 63, illustrated £1,500 - £2,500 78

*See page 4 for information regarding fees

227 ARR ANDRE LHOTE (FRENCH, 1885–1962) Paysage signed, dedicated and dated A Jacques Lassaigne, avec amitié A. LHOTE - 49 gouache 34 x 46 cm (13 ¼ x 18 in) PROVENANCE: Jacques Lassaigne, Paris (acquired from the artist).

Lassaigne (1911-1983) was an eminent art historian, curator and museum director. President of the International Association of Art Critics (1966-69) he was chief curator of the Musée d’Art Moderne de la Ville de Paris (1971-1978). A prolific author, he wrote extensively on artists ranging from El Greco and Goya to Miró and Matisse.

Purchased from the above by the present owner in the early 1980s £1,500 - £2,500

228 JULES PASCIN (BULGARIAN 1885-1930) Deux filles signed Pascin (lower right) pencil on paper laid down on card 45 x 35.5 cm (17 ¾x 14 in) £500 - £700 79

229 PAUL KLEE (GERMAN 1879–1940) Musique Diurne signed Klee in the plate (upper right); numbered 215/300 (lower left) screenprint printed in colours 35 x 52 cm (13 ¾x 20 ½ in) (image size) Printed by Atelier Arcay, Paris 1953, and issued in the series Maitres de l’Art Abstrait - Masters of Abstract Art - No 1 by Editions d’Art d’Aujourd’hui, Boulogne. £600 - £800

230 ARR MASSIMO CAMPIGLI (ITALIAN 1895–1971) La Figlia di Saffo, (Meloni/Tavola 73) signed and dated Campigli 44 (lower right); numbered in pencil 8/20 (lower left); signed and dated in the plate lithograph 15.2 x 21.3 cm (5 x 8 3/8 in) £600 - £800 80

*See page 4 for information regarding fees

231 ARR THORVALD HELLESEN (NORWEGIAN 1888–1937) Vue sur la cour interieure, Rue Delambre, 1914 signed T Hellesen (lower left); titled (on the reverse) gouache on paper 29 x 18 cm (11 ½ x 7 in) £2,000 - £3,000

232 JOZEF PEETERS (BELGIAN 1895–1960) Composition 1923 signed and numbered Jozef Peeters (lower right); numbered 96/104 (lower left); signed with monogram and dated 23 in the plate (lower left) woodcut 50 x 41 cm (19 ¾x 16 in) £200 - £300 81

233 ARR GEORGES BRAQUE (FRENCH 1882-1963) Profil grec (Vallier 146) signed in pencil G Braque (lower right) numbered 38/150 (lower left) lithograph printed in colours on Arches paper Published by Maeght, Paris, 1960 58 x 46.7 cm (22 7/8 x 18 3/8 in) PROVENANCE: Artek, Helsinki (Purchased by the previous owner circa 1970) £1,400 - £1,800

234 ARR GEORGES BRAQUE (FRENCH 1882-1963) Pommes sur fond noir (Vallier 89) signed G Braque (lower right); inscribed H C (lower left) lithograph on watermarked Arches paper 56.7 x 76.3 cm (22 1/8 x 30 in) An Hors commerce impression aside from the numbered edition of 75, published by Maeght, Paris in 1954 PROVENANCE: Artek, Helsinki (purchased by the previous owner circa 1970) £500 - £700 82

*See page 4 for information regarding fees

235 ARR PABLO PICASSO (SPANISH 1881-1973) Sueño y Mentira de Franco, 1937 (Bloch 297-298; BA 615-616) each stamped with the signature (lower right) and numbered in pencil 473/850 (lower left) on Montval laid paper, with full margins each: etching and aquatint each: plate size: 31 x 42 cm (12 ¼ x 16 ½ in) (2) Dream and Lie of Franco is a set of two prints (plates I and plate II) printed by Lacourière and published by the artist in Paris, this example without the text and the portfolio.

Picasso began this pair of prints in January 1937. Each is subdivided into three rows of three scenes that together form a series of 18 cartoon-like vignettes printed from two plates. Since Picasso worked on the images from left to right, the etched versions (printed in reverse) read from right to left. The print contains the image of the Weeping woman, a motif which Picasso subsequently incorporated into his monumental oil Guernica completed the same year.

The last four scenes were added on 7 June 1937, six weeks after the Basque town of Guernica had been destroyed by bombs. £5,000 - £7,000

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236 ARR MARCEL JEAN (FRENCH 1900-1994) L’île de fer signed Marcel Jean (lower right); signed, titled and dated MARCEL JEAN / L’île de fer/ 1970 (on the reverse) oil on canvas 81 x 100 cm (31 7/8 x 39 3/8 in) L’île de fer (Iron island) is one of Marcel Jean’s most ambitious paintings and shows many features that recur throughout his work, oblique vertical lines separate the painting and give the impression of a painting within a painting, all of which adds depth and a sense of mystery. Jean is an explorer and pioneer of the imagination whose works convey narratives of psychic spaces and landscapes.

Objects, and figures flow between layers of symbolic, subconscious meaning.

Marcel Jean studied at the Ecole Nationale des Arts Décoratifs, Paris, and in 1924 moved to the United States to work as a textile designer. He

84

returned to Paris two years later where he became influenced by Surrealism. A subscriber to the journal Révolution surréaliste published by André Breton, he participated in Surrealist meetings and contributed his works to Surrealist exhibitions.

In the 1930s he befriended many of its leading adherents including Breton, Paul Eluard, Benjamin Péret and René Crevel, and became one of the movement’s first chroniclers. After the War Jean embarked on an extensive analysis of the style in Histoire de la peinture surréaliste. He later edited Jours effeuillés, Jean Arp’s collection of writings.

By the end of the 1960s Jean held a pre-eminent position among Surrealist scholars and was invited to lecture on the subject at the Museum of Modern Art in New York. In 1976 he dedicated forty medal-effigies to Surrealist characters and motifs and two years later he published his Autobiographie du Surréalisme, an anthology of Surrealist writings. He published his memoirs Au Galop dans le vent paraît in 1991. £4,000 - £6,000

*See page 4 for information regarding fees

237 ARR MARCEL JEAN (FRENCH 1900-1994) Les yeux du vide signed, dated and titled Marcel Jean 59 Les Yeux du Vide (upper right) pen and black ink with gouache on buff paper 20 x 23 cm (7 7/8 x 9 in) PROVENANCE: Obelisk Gallery, London £1,000 - £2,000

238 ARR MARCEL JEAN (FRENCH 1900-1994) L’ Ordinateur signed and dated Marcel Jean 1970 (lower right); signed, titled and dated (on the reverse) gouache with pen and black ink on handmade board 22.5 x 30 cm (9 ¾x 11 ¾in) PROVENANCE: Obelisk Gallery, London (by May 1972) Marcel Jean’s pioneering use of the flottage technique remains unique amongst artists, and explores chance operation while advancing the Surrealist practice of the automatic painting. These intimate and complex works demonstrate the artist’s inextinguishable creativity in the creation of psychological dreamscapes and the founding of delicate, impossible worlds.

Wendi Norris, Marcel Jean, Stellar Games £1,000 - £2,000

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239 ARR MARCEL JEAN (FRENCH 1900-1994) La Trajectoire signed, titled and dated La Trajectoire / Marcel Jean 1929 (upper left) pen and black ink over gouache and black crayon 30 x 24 cm (11 ¾x 9 ½ in) PROVENANCE: Obelisk Gallery, London Blains Ltd, London £1,000 - £2,000 240 ARR MARCEL VERTES (FRENCH 1895-1961) Nude reclining signed Vertès (lower right) pen and blue ink and watercolour 24 x 20 cm (9 ½ x 8 in) £200 - £300 241 ARR MARCEL JEAN (FRENCH 1900-1994) La Glissière signed and dated Marcel Jean 1930 (lower left); titled La Glissière (lower right) pen and black ink over gouache and black crayon 30 x 24 cm (11 ¾x 9 ½ in) Provenance: Obelisk Gallery, London Blains Ltd, London £1,000 - £2,000 86

*See page 4 for information regarding fees

242 ARR KEES VAN DONGEN (FRENCH 1877-1968) La gala de costume de bain, Deauville (Juffermans JB 9) signed Van Dongen on the margin (lower right) signed with initials V D inscribed Deauville and dated 1930 in the plate (lower right) lithograph printed in colours 25.5 x 35 cm (10 x 13 ½ in) £400 - £600

243 EMILE OTHON FRIESZ (FRENCH 1879-1949) Reclining female nude signed E Othon Friesz (lower left) black and coloured chalks on buff paper 30 x 55 cm (11 ¾x 21 7/8 in) £350 - £450

244 ARISTIDE MAILLOL (FRENCH 1861-1944) Léda (Guérin 273) stamped with the initial M (lower right); numbered 10/35 in pencil (lower left) lithograph on cream laid paper 32 x 48 cm (12 ½ x 18 7/8 in) - (sheet size) £300 - £500 87

245 PIERRE EUGENE MONTEZIN (FRENCH 1874–1946) Le bouquet à la fenêtre signed Montezin lower left oil on canvas 65 x 54 cm (25 ½ x 21 ¼ in) PROVENANCE: Sale, Sotheby’s London, 24th May 1989, lot 192 (purchased by the present owner) The authenticity of this work has been confirmed

by Jean-Pierre Klein-Montezin, the artist’s grandson. £4,000 - £6,000

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*See page 4 for information regarding fees

246 ARR † Property of a Lady FERNAND TOUSSAINT (BELGIAN 1873–1955) Still life of Poppies in a blue and white vase signed F Toussaint (lower left) oil on canvas 81 x 100 cm (31 7/8 x 39 ½ in) PROVENANCE: Whitford & Hughes, London Acquired from the above by the present owner circa 1985 £12,000 - £18,000

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247 ARR † Property of a Lady GABRIEL DESCHAMPS (FRENCH b.1919) Provence signed G Deschamps (lower left) oil on canvas 50 x 65 cm (19 ½ x 25 ½ in) PROVENANCE: Acquired by the present owner circa 1985 £2,500 - £3,500

248 ARR † Property of a Lady PAUL LUCIEN MAZE (FRENCH 1887-1979) Still life with daffodils and guitar signed P Maze (lower left) oil on canvas 65 x 53 cm (22 ½ x 20 7/8 in) PROVENANCE: Acquired by the present owner circa 1985 £1,500 - £2,500

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*See page 4 for information regarding fees

249 ARR † Property of a Lady FERNAND TOUSSAINT (BELGIAN 1873–1955) In the garden signed F Toussaint (lower left) oil on canvas 65 x 80 cm (25 ½ x 31 ½ in) PROVENANCE: Whitford & Hughes, London Acquired from the above by the present owner circa 1985 £20,000 - £30,000

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250 Property of a Lady ROBERT PINCHON (FRENCH 1886–1943) The Canal signed Robert Pinchon (lower left) oil on canvas 100 x 80 cm (39 3/8 x 31 ½ in) PROVENANCE: Whitford & Hughes, London Acquired from the above by the present owner circa 1985 £6,000 - £8,000

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*See page 4 for information regarding fees

251 ARR Property from an English Private Collection PAUL LUCIEN MAZE (FRENCH 1887-1979) Still life of fruit in a basket signed P Maze (lower right) pastel on paper 32 x 32 cm (12 ½ x 12 ½ in) £1,000 - £1,500

252 Property from an English Private Collection JAN TOOROP (DUTCH 1858-1928) Flowers in a vase by a window signed and dated J Toorop / 1924 (lower right) pastel and charcoal 40 x 30.5 cm (15 ¾x 12 in) £1,000 - £1,500 93

253 Property of a Lady LUIGI LOIR (FRENCH 1845-1916) Au rendez-vous des canotiers signed and dated LOIR Luigi 1872 (lower right) oil on canvas 146.5 x 85.5 cm (57¾ x 33¾ in) The authenticity of this work has been confirmed

by Noé Willer on the basis of photographs. £3,000 - £5,000

254 FRENCH SCHOOL (MID 19th CENTURY) Buildings by a lake bears the signature Corot (lower right) oil on paper laid on canvas 34 x 42 cm (13 1/2 x 16 1/2 in) £250 - £350 94

*See page 4 for information regarding fees

255 THEODORE ROUSSEAU (FRENCH 1812–1867) Etang dans la forêt - La mare aux Evées oil on panel 33.7 x 45.6 cm (13 ¼ x 17 ¾in) PROVENANCE: Francis Petit (father of Georges Petit, founder of Galerie Petit) Mme Musard (her sale: Paris, Hôtel Drouot, 2nd July 1879, lot 53) Sale: Coutau-Bégarie, Hôtel Drouot, Paris, 25th May 2011, lot 108 Private Collection, USA (acquired at the above sale) The authenticity of this work has been confirmed

by Galerie Brame et Lorenceau, Paris, and is recorded in their archive on the artist. £4,000 - £6,000

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256 FRANCIS NYS (BELGIAN 1863-1900) Near the train tracks signed Francis Nys (lower right) oil on canvas 43 x 63 cm (17 x 24 ¾in) £1,500 - £2,500

257 HENRI OTTMANN (FRENCH 1877-1927) A summers evening signed Henri Ottmann (lower right) oil on canvas 46 x 55 cm (18 x 21 ½ in) £500 - £700

258 ARR LELIA PISSARRO (FRENCH b.1963) De la villa castel de mer signed Lélia Pissarro (lower right) pastel on paper 25 x 35 cm (9 ¾x 13 ¾in) £300 - £500 96

*See page 4 for information regarding fees

259 VICTOR VIGNON (FRENCH, 1847-1909) Winter morning signed and dated Vignon 1886 (lower left) oil on canvas 46 x 38 cm (18 x 15 in) £1,800 - £2,200 260 ARR LELIA PISSARRO (FRENCH b.1963) Reflect de Lélia dans la neige, et ombres d’ébène signed Lélia Pissarro (lower left); signed and titled (on the reverse) oil on canvas 41 x 33 cm (16 x 13 in) PROVENANCE: David Stern, London with an accompanying original certificate of authenticity issued by atelier Lélia Pissarro £800 - £1,200 261 ARR CONSTANTIN KLUGE (FRENCH 1912–2003) Rue Saint-Antoine, Paris signed C Kluge (lower left) oil on canvas 73 x 73 cm (28 ¾x 28 ¾in) PROVENANCE: Frost & Reed, New Bond St, London Rue Saint-Antoine runs from the Bastille to Rue de Sévigny through the heart of the Marais. £1,200 - £1,800 97

262 ADOLPH BACHMANN (GERMAN 1863-1956) View of Constantinople signed A Bachmann (lower left) oil on panel 20.5 x 31.5 cm (8 x 12 ½ in) £800 - £1,200

263 FRANZ XAVIER KOSLER (AUSTRIAN 18641905) A harem beauty signed F. Kosler (lower right) oil on canvas 60 x 40 cm (23 ½ x 15 ¾in) £6,000 - £8,000 98

*See page 4 for information regarding fees

264 VINCENT G. STIEPEVICH (AMERICAN / RUSSIAN 1841–1910) In the Harem oil on canvas 18 x 24 in. (45.7 x 61 cm.)

PROVENANCE: Sale: Christie’s East, New York, 15 October 1991, lot 287 with Mathaf Gallery, London * Please note that this lot is subject to import VAT at a rate of 5% on the Hammer Price and the prevailing rate on the Buyer’s Premium.

£6,000 - £8,000

265 LOUIS LOTTIER (FRENCH 1815-1892) By the Bosphorus signed Lottier (lower left) oil on panel 45.8 x 33.5cm (18 x 13 ¼in) PROVENANCE: Princesse Bousin, Château de Saint-Cloud (1853) £500 - £700 99

266 Property from the Collection of Helen and Alfred Mignano JAMES HOLLAND RWS (BRITISH, 1799-1870) Venice, St Mark’s Square signed with initials and dated 45 (lower right) oil on panel (tondo) 43 x 43 cm (17 x 17 in)

267 FREDERICK GOODALL RA (BRITISH 18221904) Portrait of a young man signed with monogram and dated 1853 (lower right) oil on canvas 31 x 25 cm (12 ¼ x 9 3/4) £1,000 - £1,500

£500 - £700 268 TERRICK WILLIAMS (BRITISH 1860-1936) Tétouan, Morocco signed Terrick Williams (lower left) oil on canvas 31 x 26 cm (12 ¼ x 10 ¼ in)

269 Property from the Collection of Helen and Alfred Mignano JAMES HOLLAND (BRITISH 1799-1870) Lake of Lucerne oil on panel signed, titled and dated Lake of Lucerne/James Holland 1851 (on the reverse) 24 x 29.5 cm (9 ½ x 11 ¾in) oval EXHIBITED: Municipal Art Gallery, Leeds, (on loan circa 1889) £700 - £1,000

£1,000 - £2,000 100

*See page 4 for information regarding fees

270 FREDERICK GOODALL RA (BRITISH 1822– 1904) A view of the pyramids with an oasis and an Arab village in the foreground signed with monogram and dated 1880 (lower left) oil on panel 51 x 24 cm (20 x 9 ½ in) PROVENANCE: Sotheby’s, Belgravia, March 21st 1972, lot 115 £1,000 - £1,500

271 WILLIAM JAMES WEBB (BRITISH 1817-1904) The homeward journey signed and dated 1869 (lower left) oil on panel 35 x 24 cm (13 ¾x 9 ½ in) Provenance: W. Pearce, London The Mass Gallery, London EXHIBITED: London, Society of British Artists (n.d.) £3,000 - £5,000 101

272 TENG-HIOK CHIU (CHOU TING-HSU CHINESE 1903-1972) Along the shoreline oil on board 35.5 x 45.5 cm (14 x 18 in) Born in Xiamen, Fujian Province, China in 1903, Teng-Hiok Chiu had an opportunity to study aboard in 1920 due to his prestigious family background. He became an active member in the art circles of Europe and the US, becoming the first foreign artist to be granted the membership of Royal Society of British Artists.

‘Since I used to play amidst the beautiful temples and pine trees or on the sandy beach, I have wanted to appreciate the best in nature and to be able to help everyone else to do so. As I go forward I realise increasingly that it is not a matter of East or West, someday there will be Art from a New World Civilisation, the creation of which, as a painter, I wish to contribute to. Art is a universal language that speaks to every human heart’.

The dialogues between Asian and Western art have long been recognised, shared characteristics and techniques that Teng Hiok Chiu developed on, with an appreciation for economy, elegance, and a sense of infinite space. He skilfully contrasts between blank and activated areas of the scene. The present work Along the Shoreline painted solidly with broad bands of yellow, green and blues, the sky and faraway rocks all tinged with faint purple.

Extract from Teng Chiu, A Chinese Painter’s Exhibition in Europe, Monitor, (August 1928), Museum School Library, Boston Teng Hiok Chiu’s Artistic Journey: West to East by Debra J. Byrne £1,500 - £2,500

273 GUSTAV KAMPMANN (GERMAN 1859-1919) Himmelreich bei Freiburg (Heaven near Freiburg) signed G Kampmann (lower left); signed, titled and dated 1902 (on the reverse) oil on canvas 31 x 55 cm (12 ¼ x 21 ¾in) £600 - £800

102

*See page 4 for information regarding fees

274 ARR † WILFRED GABRIEL DE GLEHN R.A (BRITISH 1870-1951) Venice oil on canvas 31.8 x 40.5 cm (12 ½ x 16 in) * Please note that this lot is subject to import VAT at a rate of 5% on the Hammer Price and the prevailing rate on the Buyer’s Premium.

£1,500 - £2,500

275 ARR AILEEN C. EAGLETON (BRITISH 1902-1984) Hampton Court bridge signed Aileen Eagleton (lower right) oil on canvas 51 x 61 cm (20 x 24 in) £800 - £1,200

103

276 ARR MAURICE CHAPUIS (FRENCH 1922-2010) Vase de Tulips signed Maurice Chapuis (lower right); signed and titled Maurice Chapuis / Vase de Tulips (on the reverse) oil on canvas 73 x 54 cm (28 ¾x 21 ¼ in) £400 - £600

277 ARR MICHEL KIKOINE (FRENCH 1892-1968) Marnay-sur-Seine signed kikoine (lower right) signed, titled and dated à tableaux été faite Marnay-surSeine/1952 (on the reverse) oil on canvas 55 x 74 cm (21 ¾x 29 ¼ in) £1,500 - £2,000

104

*See page 4 for information regarding fees

278 ARR † MIGUEL CANALS (SPANISH 1925–1995) Still life of birds, foliage and baskets of lemons signed with monogram (lower left) oil on canvas in the artist’s painted frame 123 x 174 cm (48 ½ x 68 ½ in) £4,000 - £6,000

105

279 ARR † THEO TOBIASSE (FRENCH 1927–2012) Pastorale à st Saint-Germain-l’Auxerrois signed and dated 67 Theo Tobiasse (upper left) titled Pastorale à st Saint-Germain-l’Auxerrois (upper right) gouache on paper 49 x 65 cm (10 ¼ x 25 ½ in) EXHIBITED: Musée de l’Athénée, Geneva, Switzerland Exposition de Cezanne a Picasso September 1967 (no. 324) £1,200 - £1,800

280 PRO HART (AUSTRALIAN 1928-2006) Captain Cook studying bird life signed (lower right) oil on board 90 x 120 cm (35 ½ x 47 ¼ in) PROVENANCE: Barry Stern Galleries, Paddington, NSW, Australia £800 - £1,200

280A PRO HART (AUSTRALIAN, 1928-2006) The head builders signed and titled (lower right) oil on board 75 x 60 cm (29 ½ x 23 ½ in) PROVENANCE: Barry Stern Galleries, Paddington, NSW, Australia £600 - £800 106

*See page 4 for information regarding fees

281 SHAKIR HASSAN AL-SAID (IRAQI 1925-2004) Two red cockerels signed and dated in Arabic SHAKIR / 53 (lower left) oil on paper laid on panel 33 x 62 cm (13 x 24 ½ in) Shakir Hassan Al Said, is considered one of Iraq’s most innovative and influential artists. At the beginning of his career in the early 1950s he sought to question notions of Iraqi national identity. During this period he co-founded the Baghdad Group for Modern Art with Jawad Selim (1919/21-1961), and was instrumental in the formation of the Art and Liberty Movement. Thereafter he travelled to study in Paris at the École nationale supérieure des Beaux-Arts. On his return to Baghdad Al Said taught at the Institute of Fine Arts and developed an art philosophy known as the One Dimension, forming an artists’ collective by the same name.

The present composition Two red Cockerels reflects the importance of the innovative works from Al Said during the late 1940s up until 1954, when he left for Paris. His works from this important period are characterised by a palette inspired by the tribal colours used in Iraqi ancient carpets. The organic, loose geometric lines suggest a more primitive period drawing on ancient iconography from quasi-Sufi imagery.

The Baghdad Group of Modern Art, alongside the Art and Liberty Movement in Egypt was one of the few to have published a manifesto expressing their vision and concerns: ‘At a time when Western Civilisation is using the most modern approach to express artistically its aspirations for freedom, our people do not realise the importance of painting as a stand of judgement when a country is in the process of awakening to real freedom. [...]

The convention that the creative idea is separate from the style is a relic of early 19th century Romanticism, and we feel under no obligation to adhere to it if it damages the coherency of the work of art. On the other hand, our efforts will be in vain unless they show evidence of innovation and creativity. What we are exhibiting today, is an example of many different trends of modern art – impressionist, expressionist, surrealist, cubist and abstract art – and it is the first kind to take place here since the Second World War. It is striving to define a creative identity for our country. [...] We, standing at the crossroads, have to decide what are the elements of our civilisation which we should integrate in our current work. In other words, we have to combine our experience of Western art with our ‘genius loci’. £30,000 - £50,000

107

282 ARR NOEL SLANEY (BRITISH 1915-2000) The pink dress oil on board 43 x 27 cm (17 x 10 5/8 in) £300 - £500

283 ARR CAPTAIN J.B. PEART (BRITISH active 19301938) Portrait of Marian Ada Peart signed J B Peart (lower right) oil on canvas 77 x 64 cm (30 ¼ x 25 ¼ in) Marian Peart (1892-1975) was a writer and book illustrator. £350 - £450

108

*See page 4 for information regarding fees

284 WILLIAM SHACKLETON (BRITISH 1872-1933) The embrace signed W Shackelton (lower right) oil on board 30 x 36 cm (11 ¾x 14 ¼ in) £400 - £600

285 WILLIAM SHACKLETON (BRITISH 1872-1933) Portrait of a girl signed indistinctly and dated W Shackleton (lower left) oil on board 30 x 16 cm (11 ¾x 6 ¼ in) together with Head study of a young girl signed with monogram and dated 1900 (lower right) oil on card 19 x 16 cm (7 ½ x 6 ¼ in) (2) £300 - £500

109

286 MICHAEL R.C. LAURIE (EARLY 20TH CENTURY) Earth’s Dilemma signed and dated R.C. LAURIE Nov 1934 (lower right) watercolour 40 x 59 cm (15v ¾x 23 /4 in) £300-500

287 Property from the Collection of Helen and Alfred Mignano RANDOLPH SCHWABE (BRITISH 1885–1948) Conversation piece, Donegal signed R Schwabe (lower right) oil on canvas 43 x 54 cm (17 x 21 ¼ in) £600 - £800

288 ARR HUBERTUS JOHANNES MENGELS (DUTCH 1921–1995) Bull fight signed Mengels (lower right) oil on canvas 30 x 40 (12 x 16 in) £800 - £1,200 110

*See page 4 for information regarding fees

289 ARR MASSIMO CAMPIGLI (ITALIAN 1895–1971) Young girl signed and dated Campigli 50 (lower right) oil on canvas 46 x 33 cm (18 x 13 in) £12,000 - £18,000

111

290 ARR JOHN ANTHONY PARK (BRITISH 1880-1962) Preparing the fishing boats in a Cornish village signed J A Park (lower right) oil on canvas 60 x 75 cm (23 ¾x 29 ½ in)

291 ARR JOHN ANTHONY PARK (BRITISH 1880-1962) Return of the fishing boats signed J A Park (lower left) oil on canvas 50 x 75 cm (19 ¾x 29 ½ in)

£1,500 - £2,000

£500 - £700

112

*See page 4 for information regarding fees

292 ARR JULIAN BARROW (BRITISH 1939-2013) Flower stall, Chelsea oil on canvas signed and dated Julian Barrow 93 (lower right) 30 x 26 cm (11 ¾x 10 ¼ in) PROVENANCE: The Chelsea Art Society £300 - £500 293 ARR JULIAN BARROW (BRITISH 1939-2013) Glebe Place, Chelsea oil on canvas signed and dated Julian Barrow 90 (lower right) 36 x 46 cm (14 x 18 in) PROVENANCE: The Chelsea Art Society £350 - £450 294 ARR LUDOVIC-RODO PISSARRO (FRENCH, 18781952) Hammersmith Road signed and titled Ludovic-Rodo (lower right); dated 1906 in pencil (lower left) watercolour and bodycolour over traces of pencil 23.5 x 31 cm (9 ¼ x 12 in) £300 - £500 295 ARR JULIAN BARROW (BRITISH 1939-2013) Cricket at Burton Court, Chelsea signed and dated Julian Barrow 93 (lower right) oil on canvas 23 x 41 cm (9 x 16 in) PROVENANCE: The Chelsea Art Society £300. - £500 113

296 JOSEPH THORS (BRITISH Active1863-1900) Summers evening signed J Thors (lower left) oil on panel 25.5 x 35.5 cm (10 x 14 in) PROVENANCE: Richard Green Gallery, London £600 - £800

297 CHARLES THOMAS BURT (BRITISH 1823–1902) A spring morning on the moorlands signed C.J. Burt (lower left) oil on canvas 61 x 99 cm (23 ½ x 39 in) £300 - £500

298 CIRCLE OF ELIAS PIETER VAN BOMMEL (DUTCH 1819-1890) Cattle resting; a Dutch harbour beyond oil on canvas 45 x 60 cm (17 ¾x 23 ½ in) £400 - £600

299 CIRCLE OF GEORGE CHINNERY (BRITISH 1774-1852) The food stall,Macoa oil on canvas 21 X 26 cm (8 ¼ X 10 ¼ in) £500 - £700 114

*See page 4 for information regarding fees

300 JOHN FRANCIS SARTORIUS (BRITISH 17751831) An engagement between English and French frigates signed and dated J F Sartorius 1794 (lower left) oil on canvas 40 x 66 cm (15 ¾x 26 in) £800 - £1,200

301 GEORGE CHAMBERS (BRITISH 1830-1890) Unloading a beached ship with cockle pickers on the beach signed and dated G Chambers 1860 (lower left) 34 x 54 cm (13 ½ x 21 ¼ in) together with: BRITISH SCHOOL (MID-LATE 19TH CENTURY) A steam yacht in heavy seas oil on canvas 27 x 37 cm (10 ½ x 14 ½ in) (2) £600 - £800

302 ENGLISH SCHOOL (EARLY 19TH CENTURY) Shipping in choppy waters signed with initials H L (on the barrel) oil on canvas 21 ½ x 30 1/8 in (54.6 x 76.5 cm) £400 - £600 115

303 ANGLO-CHINESE SCHOOL (LATE 18TH CENTURY) Macao, 1789; Bay view with buildings and shipping (a pair) oil on canvas 25 x 37 cm (10 x 14 ½ in) (each) (2) £800 - £1,200

304 A CHINESE PAINTING OF HMS EURYALUS, QING DYNASTY (19TH CENTURY) A three-mast frigate under full sails oil on canvas 46 x 61 cm (18 x 24 in) £500 - £600

305 A CHINESE PAINTING OF A JUNK IN CHOPPY WATERS, QING DYNASTY (19TH CENTURY) The junk fighting against strong winds and dark waves oil on canvas 51 x 38 cm (20 x 15 in) £1,000 - £2,000

116

*See page 4 for information regarding fees

306 A CHINESE PAINTING OF THE STRAITS OF BOCCA TIGRIS, QING DYNASTY (19TH CENTURY) Tall ships and fishing junks on calm waters, hills in the background oil on canvas 39 x 56 cm (15 3/8 x 22 in)

307 A CHINESE PAINTING OF THE HONGS OF CANTON, QING DYNASTY (19TH CENTURY) With a row of buildings on the shore under six flags including British, American and Dutch, docks cutting into the busy bay oil on canvas 40.5 x 58.5 cm (16 x 23 in)

£2,500 - £3,000

£2,000 - £3,000

117

308 LOUIS DOUZETTE (GERMAN 1834-1924) Moonlit river signed L. Douzette (lower right) oil on panel 44.25 x 76 cm (17 ½ x 30 in)

309 CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828) Market day oil on board 40.5 x 32 cm (16 x 12 ¾in)

310 LUDWIG EIBL (AUSTRIAN 1842-1918) Still life with radishes and cards signed (lower left) oil on panel 32 x 23 cm (12 ½ x 9 in)

£600 - £800

£400 - £600

£600 - £800

118

*See page 4 for information regarding fees

311 BERNARD DE HOOG (DUTCH 1867–1943) Tending the new born signed Bernard de Hoog (lower right) oil on canvas 51 x 64 cm (20 x 25 in) £1,500 - £2,000

312 BERNARD DE HOOG (DUTCH 1867–1943) Sewing by the gribb signed Bernard de Hoog (lower right) oil on canvas 61 x 76 cm (24 x 30 in) £1,500 - £2,000

119

313 ALEXIS VOLLON (FRENCH 1865-1945) The urgent news, interior with a lady handing a letter to her maid signed Alexis Vollon (lower right) oil on panel 48 x 37.5 cm (18 7/8 x 14 ¾in) £1,500 - £2,500

314 ANDRE CLUYSENAAR (BELGIAN 1872-1939) The artist’s family signed Andre Cluysenaar (lower left) oil on board 24 x 32.5 cm (9 ½ x 12 ¾in) £600 - £800 120

*See page 4 for information regarding fees

315 LOUIS WELDEN HAWKINS (1849-1910) Les Liseuses (The readers) Signed Louis Walden Hawkins (lower left) and dated 1898 (lower right) Watercolour heightened with bodycolour over traces of pencil 43.5 x 36cm (17 1/8 x 14 3/16in) Fig.1: A lithographic print of the present lot was published by L’Estampe Moderne, F. Champenios, vol. I in Paris £2,000 - £3,000 316 JOSEPH DYSON (BRITISH, active 1861) Home from the harvest signed and dated with a monogram JD/1861 (entwined, lower left) oil on canvas 57 x 47 cm (22 ½ x 18 ½ in) £400 - £600 317 ROBERT WALKER MACBETH RA (1848-1910) His last copper signed with initials (lower right) oil on canvas board 26 x 36 cm (10 ¼ x 14 in) EXHIBITED: Royal Academy, London, 1908, no. 792 £500 - £700 121

318 HARRY HUMPHREY MOORE (AMERICAN 1844-1926) Portrait of a young girl with her Cavalier King Charles Spaniel signed Harry Humphrey Moore, Paris (lower Right) 82 x 64 cm (32 ¼ x 25 ¼ in) £2,000 - £3,000

319 CONTINENTAL SCHOOL (19TH CENTURY) Floral still life oil on canvas 82 x 64 cm (32 ¼ x 25 ¼ in) £400 - £600

320 GEORGE ELGAR HICKS (BRITISH 1824-1914) Portrait of Ellen Harriet Maria Hartford, later Countess of Essex signed dated G Elgar Hicks 1880 (lower left) oil on canvas 112.5 x 86.4 cm (44 ¼ x 34 in) PROVENANCE: George Capell, 7th Earl of Essex (1857-1916) Thence by descent £4,000 - £6,000 122

*See page 4 for information regarding fees

321 ROBERT WILLIAM WRIGHT (BRITISH Active.1870-1906) The Flower Seller signed and dated Rob W Wright 1888 (lower right) oil on canvas 48.5 x 38 cm (19 1/5 x 15 in) £700 - £1,000

322 BRITISH SCHOOL (EARLY 20TH CENTURY) Portrait of a lady in profile oil on canvas 31 x 26.2 cm (12 ¼ x 10 ¼ in) £300 - £500

323 LAURENCE KOE (BRITISH 1868-1913) Portrait of the artist John da Costa signed LAURENCE KOE (lower right) oil on canvas 61 x 50 cm (24 x 19 ¾in) £400 - £600 123

324 STANHOPE ALEXANDER FORBES (BRITISH 1857-1947) Chyenhall Moor, Cornwall signed and dated Stanhope A Forbes/1920 (lower right) oil on canvas 53 x 54 cm (20 ¾x 21 ¼ in) Provenance: H Fisher & Son, Christ Church, New Zealand Piano Nobile, London Exhibited: Royal British Colonial Society of Artists, Dominions and States Exhibition, 1918 £3,000 - £5,000

325 ARR CHARLES F. MUDIE (AUSTRALIAN Active,1900-1950) Kangaroo Valley, New South Wales signed C F MUDIE (lower right) oil on board 28 x 38 cm (11 x 15 in) £600 - £800 124

*See page 4 for information regarding fees

326 PAUL LUCIEN MAZE (FRENCH 1887-1979) Two studies depicting Major-General Sir John Marriott, KCVO CB DSO MC (1947–1950 late Scots Guards on horse back commanding the Trooping of the Colour one signed and dedicated for John/Paul Maze (lower right); the other signed and dedicated for John in admiration and affection/Paul Maze (lower right) watercolour and black crayon 16 x 10 cm (6 ¼ x 4 in); 10 x 18 cm (4 x 7 in) (2)

327 FRENCH SCHOOL (MID 19TH CENTURY) A Grenadier in the Imperial Guard of Napoleon III oil on canvas 33 x 19 cm (13 x 7 ½ in) The Imperial Guard of Napoleon III formed as a re-establishment of Napoleon I’s Imperial Guard, with an updated version of the original uniforms £200 - £300

£400 - £600

125

OLD MASTER PAINTINGS Venetian School

28, 44, 59

Devis, Anthony

111

Aelst, Van

7

Verona School

1

35

13

184

Arduino

Vignali

Dixon, Charles

Wicart

61

Douzette, Louis

308

Wijck

38

D’oyly, Sir Charles

178

Dyson, Joseph

316

A

B Bella, Della

49

Bianchi

8

Bolognese School

31, 33

E Eagleton, Aileen C.

275

Eibl, Ludwig

310

Ellis, Tristram James

179

English School

141, 302

281

Forbes, Stanhope Alexander

324

216

French School

188, 254, 326

303

G

FINE ART

C Caro, De

20

Cerrini

21

A

Cesari, Called Il Cavaliere D’arpino

27

Affleck, William

198

Chasselat

51

Coypel, After

45

Alexander, William

121

Al-Said, Shakir Hassan Anderson, Stanley Anglo-Chinese School

D David, Follower

5

Dutch School

37

B

E Ellys

46

F Flemish School

9, 18, 47

Floris

57

French School

14, 40

G

Gerhardt, Ingrid

221, 222, 223

Bachmann, Adolph

262

Gobaut, Gaspard

157

Barrow, Julian

292, 293, 295

Goodall, Frederick

267, 270

Beavis Durham, Attributed To Cornelius

161

Gray, Millicent Etheldreda

202

Bendemann, Eduard

206

H

Bentley, Charles

156

Bida, Alexandre

187

Gillemans

42

Gimignani

34

Bonington, Circle Of Richard Parkes

309

Gionima

26

Brabazon Brabazon, Hercules

180, 181

Guerrieri, Il Guercino

11

Brangwyn, Sir Frank

215

Braque, Georges

233, 234

Bridgman, Frederick Arthur

171

British School

322

Burdett, Adelaide Louisa

159

Burt, Charles Thomas

297

Burton, Sir Frederic William

189

Bush Hardy, Thomas

182

H Haag

62

Heem, De

4

Helbigk

6

Herrera

22

I Italian School

54

L Legnani, Il Legnanino

23

Lorraine School

50

M

C Callow, William

137, 144, 148

Campigli, Massimo

230, 289 278

Magnasco, Called Il Lissandrino

15

Mandevare

41

Canals, Miguel

Meerhout

60

Catterson Smith, Stephen

162

Molijn

39

Montanini

32

Chambers, George

301

Morales

58

Chapuis, Maurice

276

Chinese Painting

304, 305, 306, 307

Chinnery, Circle Of George

299

N Neapolitan School

2,19, 29, 56

Neoclassical French School

52

Chinnery, George

119, 120, 164

Nilson

48

Chiu, Teng-Hiok

272

Churchyard, Thomas

151, 152

Cluysenaar, Andre

314

Combaz, Gisbert

212

Condy, Nicholas

113

Continental School

319

P Pelligrini

17

Pierre

12

Poelenburgh, Van

36

R Rombouts, After

3

Rosselli

24, 45

Cook, William Of Plymouth

158

Rottenhammer

16

Cooke, Attributed To Edward William

135

Cooke, Edward William

130,131,132,133,134,136

Cox, Attributed To David

142

Cox, David Junior

145

S Santerre

45

Scarsella, Il Scarsellino

30

Sesto, After

10

Sodar

63

Spanish School

25, 55

V

D De Glehn, Wilfred Gabriel

274

De Hoog, Bernard

311, 312

Van Cleve

53

De Wint, Peter

138

Vecchia, Della

43

Deschamps, Gabriel

247

126

Hardy, James Jr

196

Harpignies, Henry-Joseph

211

Hart, Kevin Charles “Pro”

280, 280a

Hayes, Edwin

183

Hayter, Sir George

167

Hellesen, Thorvald

231

Heward, Harold Cornelius

218

Hicks, George Elgar

320

Holland, James

170, 266, 269

J Jacque, Charles-Emile

154

Jean, Marcel

236, 237, 238, 239, 241

Jeidels, Charles Henry

193

K Kampmann, Gustav

273

Kikoine, Michel

277

Klee, Paul

229

Kluge, Constantin

261

Koe, Laurence

323

Kosler, Franz Xavier

263

L Lamorna Birch, Samuel John

195, 197

Landseer, Attributed To Sir Edwin Henry

153

Laurencin, Marie

225, 226

Lawrence, Sir Thomas

155

Lewis, Frederick Christian

165

Lhote, Andre

227

Loir, Luigi

253

Lottier, Louis

265

Lukomskij, Georgij K

186

M Macbeth, Robert Walker

317

Maillol, Aristide

244

Martin, John

140

Maze, Paul Lucien

248, 251, 327

Mcdowell, Daniel

160

Mcevoy, Arthur Ambrose

208, 209, 210

Melville, Arthur

176

*See page 4 for information regarding fees

Mengels, Hubertus Johannes

288

Tittensor, Harry

217

Mercier, Jean-Adrien

214

Tobiasse, Theo

279

Montezin, Pierre Eugène

220, 245

Toorop, Jan

252

Moore, Harry Humphrey

318

Toussaint, Fernand

246, 249

Mudie, Charles F.

325

V

Muller, William James

146

Van Bommel, Circle Of Elias Pieter

298

Van Dongen, Kees

242

N Nicholson, Francis

112

Varley, John

114, 115, 116

Nys, Francis

256

Varley, John Jnr.

177

Vertes, Marcel

240

O Othon Friesz, Emile

243

Vignon, Victor

259

Ottmann, Henri

257

Vollon, Alexis

313

P

W

Park, John Anthony

290, 291

Ward, James

117, 118

Pascin, Jules

228

Webb, William James

271

Payne, William

109

Weguelin, John Reinhard

213

Pearson, Harry John

203

Welden Hawkins, Louis

315

Peart, Captain J.B.

283

White Abbott, John

106, 107, 108

Peeters, Jozef

232

Williams, Terrick

268

Perfect Harding, George

166

Wirgman, Theodore Blake

199

Picasso, Pablo

235

Wolfsfeld, Erich

204

Pinchon, Robert

250

Wright, Robert William

321

Pinwell, George John

191

Wyld, Attributed To William

139

Pisarro, Ludovic-Rodo

294

Pissarro, Lelia

258, 260

Pocock, Nicholas

110

Poynter, Edward

190

Prescott-Davies, Norman

168

Prout, Samuel

172

Prout, Samuel Gillespie

173, 174, 175

R Rainbird, Victor Noble

185

Reichenbach, Heinrich Gottlieb

150

Richards, Eugenie

201

Richardson, Thomas Miles Junior

147, 149

Richardson, Thomas Miles Senior

169

Rickman, Philip

196a

Rousseau, ThĂŠodore

255

Rowlandson, Attributed To Thomas

104

Rowlandson, Thomas

100, 101, 102, 103, 105

S Sartorius, John Francis

300

Schwabe, Randolph

287

Seliger, Max

205

Shackleton, William

284, 285

Sieg, Carl

163

Sims, Charles

219

Slaney, Noel

282

Smith, George

127, 128, 129

Stiepevich, Vincent G.

264

Stott Neac, Edward

194

Strang, William

200

Sullivan, Edmund Joseph

207

T Tattershall Dodd, Charles

143

The Worthing Draughtsman

122, 123, 124, 125, 126

Thors, Joseph

296

127

128

*See page 4 for information regarding fees

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 reserves the right, in forming our opinion, to consult and rely upon any expert or authority considered by us to be reliable.

In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the list below: 1.

JMW Turner: In our opinion, a work by the artist. When the artist’s forname(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 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, contemporary or nearly contemporary, 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 a known work of the artist.

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.

The term ‘bears the signature’ and/or ‘bears the date’ and/or ‘bears the inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand.

Dimensions are given height before width.

Pictures are framed unless otherwise stated.

For editions, we measure the image where possible and sheet only when unframed ARR after the lot number stands for Artist Resale Right

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Terms 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.

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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 abovementioned 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,

*See page 4 for information regarding fees

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 25% on the hammer price plus VAT on that commission 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 EU 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.

In order to receive a refund of VAT amounts/Import VAT (as applicable) non-EU buyers must:

(a) have registered to bid with an address outside of the EU; and

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(b) export the lot from the EU within 30 days of collection for * lots and 3 months of collection for all other lots and immediately afterwards provide us with satis­factory proof of export. (c) Details of the documents which you must provide to us to show satisfactory proof of export/shipping are available from our Finance team.

A processing fee of £35.00 per invoice is charged to check shipping/export docu­ments. (d) No VAT amounts or Import VAT will be refunded where the total refund (after deducting the processing fee) is under £35. (e) If you are re-exporting a * lot outside of the EU, you must either use Chiswick Auctions Ltd TA Shipper or arrange for us to transfer the TA from our shipper to your own TA or bond account.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyer’s premium. The rate applicable shall be the legal rate at the date of the sale.

Goods such as books and antique books, music, maps and charts etc. are subject to zero-rated VAT. In addition, any import taxes that may be incurred shall be paid by the Buyer above hammer price, VAT and Buyer’s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.4 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%

4.5 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 charge interest at 4% per annum above the base rate of Lloyds Bank Plc. • 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 discretionarily 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.

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• 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. 4.6 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).

4.7 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.

4.8 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.

4.9 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.

4.10 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.

4.11 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.

*See page 4 for information regarding fees

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.

4.12 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.

4.13 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.

4.14 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. FURNITURE

8.1 Upholstered furniture after 1950 According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom.

Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale.

9. GLOSSARY OF PICTURE CATALOGUING TERMS

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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.

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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.

*See page 4 for information regarding fees

From the Curious to the Extraordinary 28 April 2020

An invitation to consign Enquiries rachael@chiswickauctions.co.uk

A fine 1930’s Japanese life-size anatomical model torso of the female figure produced in 1934 by the Shimadzu corporation, Kyoto, Japan Sold for £3,000 incl premium

Enquiries suzanne.zack@chiswickauctions.co.uk

Fine Portrait Miniatures including The Comerford Collection Wednesday 25 March 2020

Modern & Post-War British Art Tuesday 21 April 2020,1pm

TOM MERRIFIELD (B.1932) Dance feeling £800-1,200

Enquiries krassi.kuneva@chiswickauctions.co.uk

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AN INVITATION TO CONSIGN We are now accepting consignments to our fine art sales in June and July

2 June - Urban & Contemporary

penelope.sonder@chiswickauctions.co.uk

23 June - British & European Fine Art

suzanne.zack@chiswickauctions.co.uk

30 June - Old Master Paintings laetitia.masson@chiswickauctions.co.uk

7 July - Modern & Post-War British Art

krassi.kuneva@chiswickauctions.co.uk

The deadline for each sale is approximately 6 weeks prior to the sale date.

If you have items that you would like to be valued or consigned please email the relevant head of sale, or call 020 8992 4442 for a free, without obligation valuation.

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*See page 4 for information regarding fees

SALE CALENDAR MARCH

24

Tuesday

25

Wednesday

Interiors, Homes & Antiques Fine Portrait Miniatures including the Comerford Collection Silver & Objects of Vertu

26-27 30

Thursday & Friday

Wines & Spirits Monday

Photographica Watches

31

Tuesday

Books & Works on Paper Autographs & Memorabilia

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m