Issuu

British & European Paintings & Prints 11 NOVEMBER 2026

Printed Books, Maps & Documents 9 DECEMBER 2026

Ottoman Empire. Woelcher gstalt Künigklicher Majestet zu Hungern unnd Behem bottschafftenn nemlich Herr Sigmund weyxelberger und ein Hungerischer Herr zu dem Türckischen Kayser …, [Augsburg: Heinrich von Augsburg Steiner], 1529, 4 leaves, large woodcut vignette to title, woodcut initial, black letter text, early 20th-century vellum-backed paper boards with manuscript paper title label, small square 4to USTC 704764; VD16 W 1756. A rare account of the embassy of Johann Hobordanosky and Sigmund Weyxelberger to Constantinople, sent by Archduke Ferdinand I of Habsburg in April 1528 to assert his claim to the Hungarian throne and to counter rival efforts by János I Szapolyai, who had sought an alliance with Sultan Süleyman the Magnificent a few months earlier Estimate £600-800

For further information, and to consign, please contact Colin Meays colin@dominicwinter.co.uk

British & European Paintings & Watercolours Old Master & Modern Prints & Drawings 11 November 2026 at 10am VIEWING

Monday & Tuesday 9/10 November 9.30am-5.30pm Sale mornings from 9am (other times by appointment)

AUCTIONEERS

Nathan Winter Henry Headows

Light refreshments available on view days with extra lunch options on sale days

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 E: info@dominicwinter.co.uk www.dominicwinter.co.uk

IMPORTANT SALE INFORMATION CONDITION REPORTS Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 | E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50%

For the Portion of the Hammer Price (in Euros) up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details. For payment arrangements please refer to information for buyers at rear of this catalogue. We would kindly request that commission bids are submitted by 9.30am on the morning of sale. BIDDING Customers may submit commission bids or request to bid by telephone in the following ways: T: +44 (0)1285 860006. |. E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk Live online bidding is available on our website www.dominicwinter.co.uk (surcharge of 3% + vat): a live bidding button will appear 30 minutes before the sale commences. Bidding is also available at the-saleroom.com (surcharge of 4.95% + vat) and invaluable.com (surcharge of 3% + vat).

POST-SALE For payment information see our Information for Buyers page at the rear of this catalogue. For details regarding storage, collection, and delivery please see our Information for Buyers page or contact our office for advice. Successful bidders will not incur storage fees while current government restrictions remain in place. EXPORT OF GOODS If you intend to export goods you must find out in advance if: a. there is a prohibition on exporting goods of that character e.g. if the goods contain prohibited materials such as ivory. b. if they require an Export Licence on the grounds of exceeding a specific age and/or monetary value threshold as set by the Export Licensing Unit. We are happy to offer the submission of necessary applications on behalf of our buyers but we will charge for this service to cover the costs of our time. The typical cost of an application is £50 + VAT, but this price cannot be guaranteed or fixed. c. CITES permits: These documents may be required to ship some lots (e.g. ivory) out of the UK. Your shipper (DHL Express or other) can advise and apply for these on your behalf. It is the buyer's responsibility to ensure that the shipment is lawfully exported out of the selling location and can be lawfully imported to the country of destination.

All lots are offered subject to the Conditions of Sale and Business printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction ofﬁce. A buyer’s premium of 22% of the hammer price is payable by the buyers of all lots, except those marked with an asterisk, in which case the buyer’s premium is 26.4%.

CONTENTS FINE ART Old Master Prints, Drawings & Paintings The Andrew Farmer North Devon Collection: Part II 19th Century Paintings & Watercolours Japanese Prints 19th Century Prints George Mackley Woodblocks from the Jaffé Collection 20th Century Prints 20th Century Paintings & Watercolours Sculpture

Nathan Winter

Colin Meays

Rachael Richardson

1-71 72-114 115-182 183-193 194-205 206-231 232-322 323-411 412-422

Jennah Hart

Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Colin Meays BA Hons (Conservation) Rachael Richardson MA Jennah Hart BA Hons (Fine Art)

Cover illustrations: Front cover: lot 335 | Back cover: lot 436 Catalogue Produced by Jamm Design Ltd. - 020 7459 4749 info@jammdesign.co.uk

Photography by Darren Ball - 07593 024858 darrenball1989@gmail.com

A selection of items from the Lewis Carroll collection of Dr Selwyn Goodacre, to be offered in our sale on Thursday 10 December.

FORTHCOMING SALES Wednesday 9 December

Printed Books, Maps & Documents Travel & Ornithology, Philosophy Irish History & Topography, Railwayana

Thursday 10 December

Modern First Editions & Illustrated Books Original Illustrations & Vintage Games Lewis Carroll & Private Press

Wednesday 20 January

Printed Books, Maps & Documents Travel including the Storey China Library

Wednesday 10 February

Printed Books, Maps & Ephemera Medals & Militaria

Wednesday 3 March

Printed Books, Maps & Documents

Wednesday 10 March

British & European Paintings & Watercolours Old Master Prints & Drawings

Thursday 11 March

Antiques, Jewellery & Historic Textiles

Entries are invited for the above sales: please contact one of our specialist staff for further advice

OLD MASTER PRINTS, DRAWINGS & PAINTINGS To commence at 10am

1* Caraglio (Gian Giacomo, 1500-1565). Hercules Fighting Cacus, from Six engravings of Herculean Subjects, circa 1520-1539 [or slightly later], engraving on laid paper (no watermark), laid down onto later backing paper, trimmed to or just inside platemark, minor loss to upper left margin (repaired with later paper), minimal areas of superﬁcial soiling, framed, sheet size 22 x 18 cm, frame size 39.5 x 35.5 cm Bartsch, XV.86.49. (1)

£200 - £300

2* Circle of Domenico Beccafumi il Mecarino (1486-1551). Standing Male Figure holding a Book, pen and brown ink with light brown wash on laid paper, with watermark to upper left (unidentiﬁed), of a full-length standing male ﬁgure in robes, barefooted, holding a book in his right hand, outer blank corners replaced, sheet size 261 x 92 mm (3 5/8 x 10 1/4 ins), wash border mount, framed and glazed (57 x 36.5 cm) The present work, with its full-length standing pose and repeated diagonal pen strokes bears comparison with other similar works by Beccafumi, such as the Standing Saint holding a Cross sold at Bonhams Cornette de Saint-Cyr, Paris, 22 June, 2023, lot 2. (1) £400 - £600

Lot 2

4* Aldegrever (Heinrich, 1502-1562). Lust, from The Vices, 1552, engraving on laid paper (no watermark), some thread margins, trimmed inside platemark to lower and right margin, minimal superﬁcial holes, some skinning to verso, 10.5 x 6.3 cm, together with: Maes (Peter, ﬂ. 1560-1591). Hercules and Cerberus, from The Labours of Hercules, reverse copy after Heinrich Aldegrever, 1577 [or slightly later], engraving on laid paper laid down onto later wove paper (no watermark), a good impression (partly reinforced), trimmed inside platemark, some loss to lower margin, minor skinning to verso,9 x 6.6 cm, plus Aldegrever (Heinrich, 1502-1562). Master of Ceremonies with a Dog, from The Large Wedding Dancers, 1538 [a slightly later], engraving on laid paper (no watermark), trimmed to or just inside platemark, minor loss to left margin, minimal marginal closed tear, 11.6 x 7.8 cm, plus six other engravings by Aldegrever: Hercules Squeezing Antaeus to Death and Hercules Fighting the River-God Achelous, both from the Labours of Hercules, Fortuna, Joseph Explaining his Dreams to Jacob, Saint Mark, and Lot and His Daughters, a few later impressions (Lust) Bartsch VIII.402.127; New Hollstein 113.127; Hollstein I.60.127. (Maes) Hollstein 13; Bartsch IX.568.7. (Master) Hollstein I.70.160. (9) £300 - £400

3* Hopfer (Hieronymus, active 1528-1563). Combat between Horsemen and Foot Soldiers in a Forest (Kampf zwischen Reitern und Fußsoldaten), after Domenico Campagnola, 16th century, etching on laid paper, with initials ‘SA’ to lower margin and partly re-engraved, trimmed to or just inside platemark, large watermark of a double circular horn, minimal loss to lower left margin (not affecting image), margins reinforced to verso, 24.9 x 22.2 Bartsch 44; Hollstein 49 II. (1)

£300 - £500

5* Monogrammist Z (active 2nd half 16th century). The Peasant and his Wife [Der junge Bauer und seine Frau], after Albrecht Dürer, circa 1575-1600, copper-engraving on laid paper (without watermark), narrow margins, lightly soiled, tipped onto modern card mount, platemark size 11 x 7.7 cm, sheet size 11.4 x 8.1 cm Nagler, Monogrammisten, 2722-4. Monogrammist Z (or OZ) was an unknown copper engraver, active in the second half of the 16th century. This is a copy in reverse of Albrecht Dürer Der junge Bauer und seine Frau (circa 1497). (1) £200 - £300

Lot 4 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

7* Collaert (Adriaen, circa 1560-1618). Pharaoh’s Daughter Finding Moses, from Landscapes with Old and New Testament Scenes and Hunting Scenes, after Hans Bol, 1584, engraving on cream laid paper, indistinct watermark, the ﬁrst state of two (before the number in the lower right corner), published by Eduard van Hoeswinckel, Antwerp (active circa 1570-1583), a clean impression, trimmed to or just inside platemark, minimal loss to upper left corner, margins reinforced to verso, 14 x 20.5 cm Hollstein 484. (1)

£200 - £300

6* Collaert (Adriaen, circa 1560-1618). Fishing for Tuna, after Jan van der Straet, plate 89 from Venationes Ferarum, Avium, Piscium series, Antwerp: Philips Galle, circa 1596, copper engraving on laid paper, a strong impression, cross of Lorraine with intertwining letter Cs surmounted by a crown watermark, with countermark, plate number to lower left corner, with four lines of verse below the image: Parthenopææ vrbis Thynnus prope littora Magnis / Tempore certo anni solet aduentare cateruis / Piscator conto tensa hos in retia pellit / Fuscinula ﬁgit, vel acuti dente tridentis, lower margin trimmed inside platemark and lightly shaving caption, other sides with margins, upper margn lightly creased, platemark size 19.9 x 25.5 cm, sheet size 20.4 x 26.5 cm, together with: Galle (Philips, 1537-1612). Duck Hunt with Shotgun (Sic per fecta repens venator consita dumis, Torquet et undosos Anates, Fulicasque palustres), after Jan van der Straet, from Venationes Ferarum, Avium, Piscium series, Antwerp: Philips Galle, 1578 [or slightly later], copper engraving on laid paper (no watermark), probably 1st impression (before the number ‘72’ was added to lower left corner), trimmed to or just inside platemark, minor holes and superﬁcial abrasion to upper left corner, minimally creased, 20.6 x 29.4 cm (Collaert) New Hollstein, 494. (Galle) New Hollstein, Philips Galle, 547.I. (2) £200 - £300

8* Goltzius (Hendrick, 1558-1617). Christ, the Apostles and Saint Paul with the Creed, 1589, 11 engravings from the series of 14 (lacking Christ, St. Andrew, and Saint Jude Thaddeus), good impressions of the third state (of six), on laid paper, St. Bartholomew and St. Matthias with a watermark of a coat of arms bearing a crown, St. Peter lightly soiled and mounted to modern wove paper, a couple of minimal spots to blank margins, sheet size 22 x 15.3 cm (except St. Peter 16.9 x 12.4 cm), platemark size 15.1 x 10.1 cm, bound in modern marbled boards, with manuscript title in French to upper board, 8vo (22 x 15.3 cm) Bartsch, III, 44, 46-53, 55-56; Hollstein 35, 37-44, 46-47. (11) £700 - £1,000

Lot 7

9* Schön (Erhard, 1491-circa 1542). Portrait of Albrecht Dürer, 1527, Vienna: 1781, woodcut printed on heavy cream laid paper, a very good impression, with woodcut shield incorporating Dürer's initials and the date 1527 to upper left corner, and woodcut inscription to lower margin 'Alberti Dureri Efﬁgies, Edita ex lignea Tabula ab eodem A. MDXXVII incisa, quae Vindobonae in Aug. Bibliotheca Caes. Reg. asservatur. MDCCLXXXI', sheet size 340 x 255 mm, corner-mounted to 20th century card window-mount, together with Saenredam (Jan, circa 1565-1607). Scipio wounded in Battle, after Hendrick Goltzius' drawing of Polidoro da Caravaggio's fresco, 1593, engraving on laid paper, without watermark, published by Claes Jansz. Visscher II, collector's marks 'TSC' (probably late 18th or early 19th century, similar to Lugt 2419, unidentiﬁed) and Galerie Arnot (Lugt 124), art dealers, Vienna and Paris (founded in 1909) to verso, very slight loss to extreme blank edge of the sheert to centre of upper margin, trimmed near to plate margin, verso with a few small adhesive residues to upper outer corners, and two small patches of modern backing card adhered to the sheet, sheet size 256 x 350 mm (10 1/8 x 13 3/4 ins), and Lisebetten (Pieter van, circa 1630-1678). The Gypsy Madonna, after Titian, circa 1670, etching on laid paper, with a watermark of a foolscap with three balls, published by Jan Meyssen of Antwerp (1612-1670), blue oval collector's stamp of Collection d'Arenberg, Brussels to verso (Lugt 567), one or two small areas of paper thinning to verso, trimmed just outside the platemark, sheet size 181 x 221 mm (7 1/8 x 8 3/4 ins), plus Sadeler (Egidius, 1570-1629). Saint Narcissus, Patriarch of Jerusalem in a Landscape, engraving on laid paper, with two lines of printed verse in Latin to lower margin, trimmed to plate margins, laid down on modern backing card, sheet size 207 x 261 mm (8 1/8 x 10 1/4 ins)

10* After Jan Saenredam (1565-1607). Autumn, from The Four Seasons, circa 1600-1620, ﬁne pen and dark brown ink copy on laid paper after the engraving by Saenredam based on a design by Hendrick Goltzius (published around 1601), some minor staining and light discolouration, sheet size 232 x 188 mm (9 1/8 x 7 1/2 ins), tipped-on to later wove backing paper The original engraving by Saenredam is similar in dimensions (22.5 x 16 cm) to the present work. See Hollstein 91; Bartsch 89. Interestingly, the present work omits the trees and foliage in the upper part of the engraved scene, but adds imagery to the extreme left and right of the composition which are not present in the publsihed engraving. (1) £200 - £300

Lot 11

Schön: Hollstein 156 (copy a variant); Dodgson, Early German and Flemish Woodcuts, I, 361, 32d. According to Hollstein, this version was printed at the request of Adam von Bartsch from the original woodblock held in the Imperial Library, Vienna. Provenance: Saenredam: TSC (similar to Lugt 2419, unidentiﬁed) and Galerie Arnot, Vienna and Paris (Lugt 124) & Lisebetten: Duke d’Arenberg, probably Engelbert-Marie, born 1872 (Lugt 567). Bartsch III.230.31; Hollstein 117; New Hollstein 629 (Saenredam). (4) £200 - £300

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

11* Alberti (Cherubino, 1553-1615). The Taking of the Golden Apples, from Perseus and the Golden Apples, & The Assembly of the Muses and Poets on Mount Parnassus, after Polidoro da Caravaggio, circa 1600-1620, two engravings on thick pale cream laid paper, the ﬁrst work 136 x 293 mm (5 3/8 x 11 5/8 ins), the second a proof, without the inscription in Latin to lower margin, and the privaledge below, sheet size 152 x 233 mm (6 x 9 1/4 ins), hinged to modern card window-mount (one now loose)

13* Küchler (Balthasar). Repraesentatio der Fürstlichen Auffzug und Ritterspiel. So bei des...Herrn Johann Friderichen Hertzogen zu Wurttenberg …, Schwäbisch Gmünd: Balthasar Küchler, 1611, 10 copper engravings on laid paper from the series of 241, each with manuscript number to upper left corner, watermarks of a doubleheaded eagle and a coat of arms to some, one with contemporary printed caption in German script mounted to upper margin, one with pencil caption to lower margin, some fraying mostly to lower margins, pale marginal damp-stain to one (not affecting image), a few short closed tears to margins (not affecting image), light and mostly marginal occasional spotting, platemark size 19 x 22.5 cm, sheet size 28.5 x 34 cm

Bartsch 109 and 110 resepectively. An engraved record of two frescoes by Polidoro on the fascade of the Casino in the Palazzo del Bufalo, Rome of circa 1625, now lost. (2) £200 - £300

Lipperheide 2583 (complete set). A group of ten engravings by Balthasar Küchler commemorating the wedding celebrations of Johann Friedrich, Duke of Württemberg, and Barbara Sophie, Margravine of Brandenburg, held at Stuttgart on 6 November 1609. (10) £200 - £300

12* Bang (Hieronymus, 1553-1630). The Months of the Year, circa 1600, the set of 12 copper engravings on laid paper (complete), trimmed to or just inside platemark, imprint of January erased, mounted to later laid paper with an embossed coat of arms to margins, and tipped onto modern mount, image size 8 x 10.5 cm, sheet size 16.5 x 22 cm (12)

£300 - £400

14* Vorsterman (Lucas, 1595-1675). Gluttony, from The Seven Vices, circa 1622-28, engraving on laid paper, the 2nd state (of 3, according to Hollstein), with the two lines of verse in Dutch below the image ‘wat isser tussen ons o’vreck een vremde lot/want ghij die iaecht het in ick iaech het uijt den pot’, plate size 190 x 137 mm, sheet size 214 x 160 mm (8 1/2 x 6 3/8 ins), window-mounted Hollstein XLIII.118.123; Scholz 150.91.iii/iv. (1)

Lot 13

£200 - £300

15* Bosse (Abraham, 1604-1676). La Noblesse Francoise a l’eglise, after Jean de Saint-Igny, Paris: François l’Anglois, circa 1629, 10 etchings on laid paper after Jean de Saint-Igny (from the set of 13), trimmed to or just inside platemarks, one etching with a long horizontal repaired closed tear, two with minor repairs and retouched in ink to upper margin and to upper left corner respectively, one with imprint cropped, a few lightly soiled, three tipped onto modern card, each approximately 15.1 x 9.5 cm (or similar) Blum, L’Oeuvre gravé d’Abraham Bosse (1924), 926.II, 927-931, 933, 935, 937-938. A series of 10 etchings depicting the French nobility in church, dedicated to Claude Maugis (1600-1658), advisor and chaplain to Marie de’ Medici and Louis XIII. (10) £300 - £500

16* Vorsterman (Lucas, 1595-1675). Isabella Estensis, Francisci Gonzagae March. Mantovae Uxor, after Peter Paul Rubens, circa 1630, engraving on laid paper, trimmed to plate mark, sheet size 421 x 320 mm, together with: Voerst (Robert van, 1597-1636). George Carew, Earl of Totnes, circa 1633, engraving on laid paper (unidentiﬁed watermark), a good impression, trimmed to or just inside platemark, minimal repaired closed tear to upper left corner, 30.6 x 18.9 cm, plus Smith (John, 1652-1743). The Honorable William Cecil Esqr, after Willem Wissing, London: Edward Cooper, circa 1680-1700, mezzotint on laid paper, Strasburg Bend and Lily watermark, wide margins (trimmed to or just inside platemark to lower margin only), minimal repaired loss to upper left corner, minimal soiling to corners, stamp of E. M. H. (not in Lugt) and a few contemporary manuscript annotations to verso (including the name ‘Mariette’), platemark size 34 x 24.7 cm, sheet size 34.6 x 26.3 cm, plus Faithorne (William, 1669-1703). Mr James Thynne son of the Lord Weymouth, after Johann Kerseboom, circa 1690-1703, mezzotint on laid paper, faint coat of arms watermark, wide margins, two repaired closed tears to margins, upper margin lightly soiled, platemark size 34.4 x 25 cm, sheet size 40 x 27.5 cm, plus 12 similar portraits mostly by John Smith, including one by Samuel William Reynolds and one by Thomas Watson, mostly mezzotints (Voerst) Hollstein 25. (16)

Lot 16

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£200 - £300

Lot 17 17* Callot (Jacques, 1592-1635). Les Petites Misères de la Guerre, 1636, the full set of seven etchings on laid paper, including frontispiece by Abraham Bosse (only state), the ﬁrst state (of 2), without plate numbers, but with Israel’s address, very good, rich impressions, a few small marks, trimmed to plate marks, the title and plate 3 laid down on later backing paper

18 Luyken (Caspar, 1672-1708). Maria Milet takes revenge on the soldiers, 1579 (Maria Milet neemt wraak op de soldaten, 1579), 1699, engraving on laid paper (no watermark), trimmed to or just inside platemark, minimal loss to lower and upper left corners (only minimally affecting image), hinge-mounted to modern card, sheet size 18.3 x 13.5 cm, card size 40 x 27 cm, together with: Bossi (Benigno, 1727-1792). Head of a young man facing right, from Raccolta di Teste, Pensieri, Trofei, e Prove Varie d'Acqua Forte, circa 1754-1772 [or slightly later], etching on wove paper, trimmed inside platemark, corners lightly soiled, plate number partly abraded, hinge mounted to modern card, 9.5 x 7.1 cm, plus 11 other similar etchings and engravings by various artists, including Giovanni Domenico Tiepolo, Thomas Rowlandson (The Chemist’s Shop, after David Teniers), and Remigius Parr, some later impressions

Lieure 1333-1338 for the six plates by Callot: Le Campement, L’Attaque sur la Route, La Devastation d’un Monastère, Pillage et Incendie d’un Village, La Revanche des Paysans, and L’Hôpital. (7) £300 - £500

(13)

£100 - £200

19* Hollar (Wenceslaus, 1607-1677). Mulier Basiliensis, Mulier Generosa Coloniensis, Mulier Argentinensis, Virgo Nuptialis Argentinensis, and Navigatori Hollandici Uxor, from Theatrum Mulierum, 1643-1644, ﬁve etchings on laid paper, Mulier Generosa in 1st state, Mulier Basiliensis and Navigatoris Hollandici in 2nd state, mostly trimmed to or just inside platemark, a few thread margins, occasional light toning, minimal marginal soiling to one, four mounted to later laid paper, one tipped onto modern mount, 9.4 x 5.7 cm or similar

Lot 18

Pennington 1860, 1837, 1852, 1854A, 1827. (5)

£150 - £200

21* Hollar (Wenceslaus, 1607-1677). Dead Mole, 1646, etching on laid paper (no watermark), a later impression with the slipped strokes on the right hind foot and above the snout, with margins, Oswald Stein stamp and unidentiﬁed manuscript monogram M to verso (not in Lugt), light spotting, tipped onto modern card, platemark size 7 x 13.8 cm, sheet size 7.7 x 14.6 cm Pennington 2106; New Hollstein 908. The presentation of the small animal against a blank background reﬂects Hollar’s characteristic interest in close observation. This print forms part of his wider set of studies after animals and still-life subjects produced during his time in England. (1) £600 - £800

20* Callot (Jacques, 1592-1635). Vita Beatae Mariae Virginis Matris Dei, Emblematibus Delineata, [Paris]: François Langlois, [1646], the complete set of 27 etchings on laid paper, trimmed to or just inside platemark, minimal marginal losses to number I, VI, XXI, and XXV-XXVI (only very lightly affecting image), minimal marginal closed tear to number XX (actually unnumbered), minimal spotting to a few, number XXVI lightly stained to upper margin, all tipped onto album leaves (a few detached), 6 x 8.2 cm, plus four other etchings by Callot loosely inserted, including the title of Salvatoris Beatae Mariae Virginis Sanctorum Apostolorum Icones, Israël Henriet, 1631, and the Virgin Mary from the same series, minimal loss to margin, some toning to corners, 14.5 x 9 cm, all in a 19th-century green half morocco over marbled boards, rubbed, housed in a modern cloth-backed slipcase, 4to (23 x 18 cm)

22* Hollar (Wenceslaus, 1607-1677). Dead Mole, 1646, etching on laid paper (no watermark), a later impression with the slipped strokes on the right hind foot and above the snout, trimmed to or just inside platemark, light marginal soiling, tipped onto modern card, 7.1 x 12.9 cm Pennington 2106; New Hollstein 908. The presentation of the small animal against a blank background reﬂects Hollar’s characteristic interest in close observation. This print forms part of his wider set of studies after animals and still-life subjects produced during his time in England. (1) £500 - £800

(Vita) Lieure 626-652 II. From the second edition published in Paris in 1646 by François Langlois, with numbers added to the plates. Complete series of twenty-seven plates, including frontispiece and twenty-six emblems. Lieure attributes the ﬁrst four plates to Callot, but the other twenty-three are, according to him, of a different manner and should perhaps be attributed to Abraham Bosse. (31) £250 - £350

Lot 21 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 23 23* Hollar (Wenceslaus, 1607-1677). Muscarum Scarabeorum Vermiumq Varie Figure & Formae omnes primo ad vivum coloribus depictae & ex Collectione Arundelian, Antwerp, 1646, ﬁve etchings on laid paper (of 12), 1st state, trimmed to or just inside platemark, one with fragment of foolscap watermark, one with some marginal biopredation (not affecting image), one with short closed repaired tear to upper right margin, one lightly trimmed to upper margin, some minor spotting and soiling, three mounted to modern card, 8 x 11.8 cm or similar, plus one similar etching of moths, later impression, with margins, light soiling, tipped onto later paper, platemark size 20.5 x 15.5, sheet size 21.7 x 16.3 cm, together with: Saint Barbara, after Holbein, 1647 [or slightly later], etching on laid paper (no watermark), wide margins, Oswald Stein (not in Lugt) and Paul Davidsohn (Lugt 654) stamps to verso, minimal loss to upper right corner tip, platemark size 20.5 x 12.7 cm, sheet size 21.7 x 14.5 cm, plus The edge of the wood, after Jacobus Van Artois, 1649, etching on laid paper (minimal indistinct portion of watermark), trimmed to image, few minimal marginal soiling, Oswald Stein stamp to verso, tipped onto later card, 14.9 x 21 cm, plus Dordrecht, after Jan Peeters, Antwerp: Cornelis Galle, mid-18th century, a later impression of the second state on laid paper, Pro Patria watermark, with margins, Oswald Stein stamp to verso, platemark size 15.5 x 22.2 cm, plus 26 other etchings by Hollar, including: Ingolstadt, 1665 (Pennington 760), with margins, minimal soiling, platemark size 5 x 11.5 cm, sheet size 5.5 x 12 cm, Strasbourg, 1630, stain to lower margin, platemark size 5.5 x 11.5 cm, sheet size 8.5 x 13.5 cm, Mulier Basiliensis, Virgo Argentinensis, Civis Londinensis, Maioris sive Pretoris Londinensis uxoris, Mulier ex inferiori Palatinatu, Marcatoris Francofurrensis uxor, and Mulier Moguntiana, all later impressions (late-18th-century and early 19th-century), with wide margins, and approximately 10 etchings from Mores Ominum, 1660, 25.3 x 19.3 cm or similar (Muscarum) Pennington 2169, 2172-2175; (Saint Barbara) Pennington 176; (Edge of the wood) Pennington 1207; (Dordrecht) Pennington 839 (ﬁrst impression).

24* Hollar (Wenceslaus, 1607-1677). Ceres and Stellio, 1646 [but later], etching on wove paper, with two four-line stanzas in two columns to lower margin, few marks, 30.4 x 23.2 cm (12 x 9 1/8 ins), sheet size 32.4 x 25.4 cm (12 3/4 x 10 ins)

(Saint Barbara) Paul Davidsohn (1839-1924), began his collection of prints around 1870, focusing on Dürer, Ostade, Rembrandt, and on the masters of the sixteenth and seventeenth centuries. (35) £300 - £400

Pennington 273. (1)

£200 - £300

Lot 25 25* Bloemaert (Frederick, circa 1614-1690). A group of 15 engravings, from De Kleine Figuren, after Abraham Bloemaert, circa 1650-1660s, 15 engravings on laid paper from the series of 30, one with portion of fleur de lis watermark, mostly trimmed to or just inside platemark (two with some thread margins), each numbered to lower margin (including number 4, 5, 7, 9, 12, 14, 16, 17, 20, 21, 25, 27-30), including a later (and smaller) impression (number 27), a couple stained, some minor soiling, minimal holes to a couple, each with Oswald Stein stamp to verso (not in Lugt), 13 x 8.2 cm or similar, together with: Flamen (Albert, circa 1620-1669). Cortus. Le Chabot, Vero. Le Veron, Apua Cobilis Fluviatilis. La Loche, Aculeatus sive Spinachia. L’Escharde ou Espinoche, Gabius sive Fundulus. Le Goujon, from Diverse Espèces de Poissons d’Eau Douce. Seconde Partie, circa 1635-1669, five etchings on laid paper from the series of 12, one with grapes watermark, with thread margins, each numbered to lower right corner, minimal loss to upper right corner of Le Goujon (nor affecting image), minimal marginal closed tear to L’Escharde (not affecting image), a few with minimal superficial soiling, one mounted to later card, platemark size 10.2 x 17.4 cm, sheet size 10.5 x 17.7 cm, plus Kittensteyn (Cornelis van, 1598-1652). L’Alleman, after Dirck Hals, circa 1620-1630 [but later], engraving on laid paper, Strasburg bend and lily watermark, a later impression, with margins, hingemounted to modern mount, platemark size 20.4 x 15 cm, sheet size 21 x 15.6 cm, plus approximately 79 similar engravings and etchings by various authors, including a view of Malta by Lucas Vorsterman, Nicolaes Berchem (five etchings from Animalia), Adriaen van Ostade, Schelte a Bolswert, Johannes Wierix, Jacob Isaackszoon van Ruisdael, Wigerus Vitringa, Pieter van Avont, Jan Harmensz Muller, and David Deuchar, comprising several later impressions (Bloemaert) Hollstein 156-185 (full set). (Flamen) Bartsch V.179.50-54. (approx. 100) £400 - £600

Lot 26

26* Carpioni (Giulio, 1613-1678). The Virgin Bathing the Christ Child, mid-17th century, pen, ink and wash on laid paper, signed ‘Carpioni’ to lower left corner, depicting the Virgin holding the Christ Child, while one maidservant prepares the basin of water and another three others hold robes ready to dry the infant, and in the background, the Virgin is shown in bed attended by a maidservant, with a multitude of angels in the heavens above, damp-stain to upper right corner, a few stains and some spotting, tipped onto later laid paper with decorative stamped border, drawing size 27 x 19.5 cm, paper size 29 x 21.7 cm (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £500

27* Della Bella (Stefano, 1610-1664). Ten engravings of Soldiers, from a set of 16, ten engravings on laid paper, in the style of Callot, showing various images of soldiers on horseback, soldiers with weapons, ﬁgures on a boat, ﬁghting, etc., seven with brown ink ownership inscription to verso ‘G. Storck’ (Lugt 2318 or 2319), various sizes, largest 77 x 10.3 cm (3 x 4 ins) Provenance: early 19th-century ownership inscription to verso of seven prints in brown ink ‘G. Storck à Milano 1804...’ Giuseppe Storck (1766-1836), Germanborn print dealer who worked in Milan. His collection of early prints was acquired by Woodburn (see Landmarks in Print Collecting (1996), p.297) Ten of sixteen pieces in the style of Callot, attributed by Jombert to Della Bella, but rejected by De Vesme. (10)

£150 - £200

28* Pontius (Paulus, 1603-1658). Two anatomical studies of arms, from Drawing Book, after Peter Paul Rubens (1577-1640), Antwerp: Alexander Voet, after 1640, engraving on laid paper, with coat of arms of Amsterdam watermark and countermark RVS, wide margins, light creasing to right blank margins, a little spotting to upper left corner, platemark size 31.8 x 21 cm (12 1/2 x 8 1/4 ins), sheet size 41.7 x 32.5 cm (16 3/8 x 12 3/4 ins)

29* Vorsterman (Lucas, 1595-1675). St Peter ﬁnding the tribute money in a ﬁsh, after Peter Paul Rubens, circa 1622-1628, engraving on laid paper, with margins (lower margin partly trimmed to platemark), minimal fraying to margins repaired with archival tissue, light creasing to upper right and lower left blank margins, plate size 27.4 x 36.1 cm (10 5/8 x 14 ins), sheet size 29 x 36.6 cm (11 3/8 x 14 3/8 ins)

Catalogue des estampes gravées d'après P.P.Rubens, 238.65 (full set of 20).

£100 - £150

Schneevoogt 1873; Hollstein 13. (1)

Rubens is thought to have made a series of ecorché drawings to illustrate a neverpublished anatomy book. A number of the drawings were engraved, in reverse, by Paulus Pontius, one of the leading engravers associated with Rubens and his workshop; these were published in Antwerp after the master’s death in 1640. (1) £150 - £200

Lot 30 30* Ostade (Adriaen Jansz. van, 1610-1685). Man and Woman Conversing, circa 1673, etching on laid paper (no watermark), the fourth state (of ﬁve), with the border line strengthened, with margins, very faint imprint, minimal repair to lower right corner (not affecting image), a few minor spots to upper margin (not affecting image), stamp of Chevalier Joseph-Guillaume-Jean Camberlyn to verso (Lugt 514), platemark size 9.7 x 8 cm, sheet size 10.5 x 8.5 cm, together with: Mother with Two Children, circa 1675, etching on laid paper (no watermark), the third state (of six), with the border line strengthened, trimmed inside platemark, minimal areas of toning, stamp of the Soutzo Princes to verso (Lugt 2341), 8.8 x 7 cm, plus The Pater Familias, 1648, etching on laid paper (no watermark), the third state (of six), trimmed inside platemark, later pencil inscription ‘G. H. by’ to verso, 12.4 x 9 cm, plus seven other etchings by Ostade, including The Pigkillers, Three Grotesque Figures (with later copy in reverse), Saying Grace, The Dance under the Trellis, Peasant with Hands Behind his Back, and Peasant with his Hand in his Cloak, some later impressions Provenance: (Man and Woman) Chevalier Joseph-Guillaume-Jean Camberlyn (1783-1861), Belgian collector and scholar, friend of the great collector Baron Verstolk. His collection of prints, begun in 1815 with portraits by Nanteuil, became one of the richest. In accordance with the wish expressed by Camberlyn in his will, it was E. Guichardot who compiled the catalogue of his posthumous sale, an important catalogue of some 4,000 lots of prints.

31* Berchem (Nicolaes Pieterszoon, 1620-1683). Animalia ad vivum delineata, et aquaforti aeri impressa, [Amsterdam]: Frederick de Wit, circa 1680s, complete set of eight etchings on laid paper, numbered 1-8, number four with armorial watermark with two lions, with wide margins, closed marginal tear to number ﬁve, minor spotting and soiling, left corners faded, tipped unto modern thick paper, each 11.5 x 13 cm, together with: Visscher (Jan de, 1633-1712). Cattle with Women Shepherds, after Nicolaes Berchem, circa 1680s, etching on laid paper with foolscap watermark, a few minor spots and a minimal closed marginal tear, trimmed just inside the platemark, 27 x 21 cm

(Mother) The Soutzo princes were of Balkan origin and spent part of their lives in Paris. ‘Under this name we ﬁnd two sales … in addition, for Prince Nicolas J. Soutzo, there was a ﬁrst sale of his old and modern paintings, held in Paris on 7 April 1876, followed by a second, posthumous sale on 17– 19 December 1877, comprising modern paintings, two Guardis, works of art, furniture, books, and a group of old drawings without detailed description’ (Lugt). (Man and Woman) Bartsch I, 37; Hollstein 12.IV. (Woman) Hollstein 14.III. (Pater) Hollstein 33.III. (10) £300 - £500

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

(2)

£200 - £300

Lot 32 32* Umbach (Jonas, 1645-1700). Saint Magdalene in the Desert, late 17th century, etching on laid paper (no watermark), trimmed inside platemark, minimal loss to upper left margin, 12.2 x 8 cm, together with: Tubières (Anne Claude Philippe de, 1692-1765). The Virgin and Child, from ‘Recueil d’estampes d’après les plus beaux tableaux et d’après les plus beaux desseins qui sont en France, Cabinet Crozat’ after Pietro Antonio de’ Pietri, circa 1729, aquatint imitating a chiaroscuro woodcut printed in green over etching, on laid paper, with margins, minimal damp-stain to upper left corner, minimal short closed tear to upper blank margin (not affecting image), platemark size 42 x 23.4 cm, sheet size 42.8 x 24.3 cm, plus Oudry (Jean-Baptiste, 1686-1755). Vue du Port de Dieppe, Paris: Gautrot, circa 1727, etching on laid paper, wide margins, minor plate crack to right margin, platemark size 39 x 29.4 cm, sheet size 42 x 32 cm, plus Anonymous. Massacre of the Innocents, after Guido Reni, circa 1640-1700 [or slightly later], etching on laid paper, anchor watermark, trimmed to or just inside platemark, inscribed to lower left margin ‘Guid. Renus Bonon. inv. et Pinxit Bonon.’, 36.2 x 25.2 cm, plus approximately 142 etchings and engravings by various artists, including Stefano della Bella, Antonio Tempesta, Anne Claude Philippe de Tubières, Bernard Picart, Gabriel Perelle, Franz Edmund Weirotter, Maximilian Wachsmuth, Georg Conrad Bodenehr, Martin Engelbrecht, François Voyez (Le Jeune), Francesco Faraone Aquila, Pietro Santi Bartoli, and Philippe Thomassin, some later impressions (Umbach) Hollstein 133. (Tubières) Le Blanc II.543.9. (approx. 146)

33* Ertinger (Frans, 1648-1710). Vieue de Leuve, place tres forte dans le Brabant située au Milieu d’un marais, attaquée et forcée de nuit par les Francois, en l’année 1678, large-scale etched panorama by Ertinger after Adam Frans van der Meulen, published in Paris by the artist, at the hostel des Manufactures Royales des Gobelins, et en la rue St. Jacques, 1686, a few light marks and pale waterstain at head of centre fold, plate size 51 x 87.5 cm (20 x 34 1/2 ins), sheet size 63 x 94 cm (25 x 37 ins) Hollstein 64; Weigert 47. A ﬁne prospect of the capture of Zoutleeuw by the French army under Louis XIV on May 4th 1678. (1) £200 - £300

£500 - £700

34* Audran (Gérard, 1640-1703). The Rape of Ganymede, after Damiano Mazza, red chalk on octagonal cream laid paper, indistinct early ink inscription to verso in French, sheet size 203 x 208 mm (8 x 8 1/4 ins) Provenance: Estate of J. M. Whitaker, Shefﬁeld. Gérard Audran produced an etching with engraving in red of the same subject with octagonal border, after the painting by Damiano Mazza now in the National Gallery, London. The painting, acquired by the Ntaional Gallery in 1824, now rectangular in format, was originally shaped as an irregular ocatagon, but canvas was added to the picture in the eraly 18th century. In Greek mythology, Jupiter became infatuated with the handsome boy Ganymede, and abducted him in the guise of an eagle to Mount Olympus, where he was made there cup-bearer. During the Renaissance, the myth of Ganymede beame a symbol of homosexual love: Michelangelo famously gifted a drawing of Ganymede to the much younger object of his afections Tommasaso dei Cavalieri. (1) £400 - £600

Lot 34

35* Smith (John, 1652-1743). Monkeys Playing Cards, after Egbert van Heemskerck the Elder, early 18th century, mezzotint on laid paper (no watermark), some thread margins, minor loss to upper right corner (not affecting image), some minimal fraying to right margin, hinge-mounted onto modern card, 21.5 x 17.5 cm, together with: Bauer (Marius Alexander Jacques, 1867-1932). The Tomb of Akbar, 1902, etching on laid paper, wide margins, signed and numbered ‘28’ in pencil, platemark size 13 x 17.5 cm, sheet size 22.6 x 32.5 cm, plus Beardsley (Aubrey, 1872-1898). The Toilette of Salome I, 1907, black and white line block print on Japanese vellum, some minimal spotting, later manuscript inscription in black ink to lower margin ‘no. 59 of 75 copies’, image size 17.5 x 12.5 cm, sheet size 23 x 18 cm, plus approximately 40 various mezzotints, engravings, etchings, woodcuts and lithographs by various artists, including Johannes Wierix, Adriaen van Ostade, Cornelius Bloemaert, Edward A. Wilson, Pierre Brissaud, Louis-Léopold Boilly, Paul Gavarni, and Maxime Lalanne, some later impressions (approx. 43)

Lot 35 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£200 - £300

36* Swiss or French School. The Martyrdom of Saint Stephen, circa 1700s, gouache on paper, laid onto laid paper, highlighted in gilt, coat of arms to lower margin (probably of the Swiss, French and Corsican Faesch family), upper and lower margins lightly trimmed, minimal areas of light superﬁcial discolouration, tipped onto modern card, 10.6 x 17.5 cm (1)

38* Hogarth (William, 1697-1764). Southwark Fair, copper engraving, plate size 36.5 x 47 cm (14 3/8 x 18 1/2 ins), 39 x 49 cm (15 3/8 x 19 1/4 ins) mount aperture, framed and glazed (55.5 x 66 cm), together with The March to Finchley, 1761, copper engraving, eighth state, plate size 43.4 x 55.1 cm (17 1/8 x 21 3/4 ins), 44.5 x 56 cm (17 1/2 x 22 ins) mount aperture, framed and glazed (59 x 71 cm)

£200 - £300

Paulson: Southwark Fair 131, and The March to Finchley 237. (2) £150 - £200

37* Tubières (Anne Claude Philippe de, Comte de Caylus, 16921765). A crayfish turned to the right, a crayfish facing front, and a crayfish seen from above, after Edme Bouchardon, [Paris]: Mariette, 1720-1765, three etchings on laid paper, mostly trimmed to platemark with some thread margins, watermark of a coat-ofarms with three stars surrounded by scrollwork (crayfish turned to the right, and crayfish facing front), lightly soiled, one with a few minor spots, tipped onto modern card, platemark sizes 12.6 x 19 cm, 19 x 12.5 cm, and 18.7 x 12.6 cm

39* Manglard (Adrien, 1695-1760). Veduta della Girandola a Castel Sant’ Angelo, circa 1750, monochrome watercolour with traces of ink on laid paper, watermarked ‘J. Honig & Zoonen’, laid down onto canvas, several repaired closed tears mainly to margins (two with very slight loss), some restoration to edges, light overall toning, 45 x 72.5 cm (17 3/4 x 28 1/2 ins), canvas size 46.5 x 73 cm (18 3/8 x 28 3/4 ins), titled in brown ink to verso ‘Chateau d’ange pendant le feu d’arleﬁre’, framed and glazed (52 x 79.5 cm)

Inventaire du Fonds Français, 80.II; British Museum 1938,0502.22.106-108. (3) £200 - £300

This accomplished monochrome watercolour appears to be the original drawing for the etching by Adrien Manglard (Robert-Dumesnil 41) published circa 1750-52, entitled Veduta della Girandola a Castel Sant’Angelo (Fireworks Display over the Castel Sant’Angelo). An impression of the print is held by the National Gallery of Art, Washington (accession number 1982.49.2). (1) £200 - £400

41* Attributed to William Hogarth (1697-1764). Columbus Breaking the Egg, circa 1753, pen and brown ink study on laid paper with additonal pen and brown ink sketch of the chin of a bearded man, and pencil sketch of a waterfall to verso, collectors stamp (Karel A. Cervenka umělecké sbírky), sheet size 88 x 114 mm (3 1/2 x 4 1/2 ins), pale blue-grey wash mount, 19th century beaded gilt frame, with artits name and title of the work to small gilt plaque to the lower edge (52 x 35.5 cm) Provenance: Karel A. Cervenka, Czech business man and historian of the Sokol athletic and nationalist movement (ink stamp to verso of the sheet, not in Lugt). William Hogarth published an engraved subscription ticket for his treatise The Analysis of Beauty in 1753. The story depicts Christopher Columbus, having challenged his friends (or enemies?) to stand an egg upright on a table, breaking an egg on its base to stay upright. The drawing is loosely based on Leonardo’s Last Supper. See Paulson, Hogarths Graphic Works, 194. (1) £300 - £500

42* After Louis Carrogis de Carmontelle (1717-1806). Group portrait of the Mozart family: The seven year old Wolfgang on the cembalo accompanied by his father Leopold on the violin and his sister Maria Anna, a landscape in the background, engraving in crayon manner, with contemporary hand-colouring, 317 x 192 mm (12 1/2 x 7 5/8 ins), laid onto late 19th century backing card, 19thcentury moulded black frame, with printed label to P. D. Colnagh & Comp., circa 1850, manuscript note attached to verso quoting from letter from Leopold Mozart dated 1764 relating to the execution of the portrait by Carmontelle, (41 x 28.5 cm) The letter adhered to the verso of the frame is written in brown ink on brown paper. There are some closed tears and some small areas of loss. It reads ‘Extract of a letter written by Leopold Mozart from Paris Feb 1764 ‘’Our portraits have been very well painted by M. Von Carmontelle, an amateur. Wolfgang is playing the clavier; I, behind his chair, the violin, Nannet leans with one arm on the clavier & holds... the other music, as if ‘singing’’’ (Holmer’s Life of Mozart). The portraits described above came lately into the possession of Messrs Colnagh...’

40* Du Hamel (W., ﬁrst half 18th century). A group of four small Dutch landscape scenes, circa 1730-50, pen and brown ink and brown wash on laid paper, watermarked with a circle surmounted by a crown and the letters G R within, and another larger watermark of a double circle containing the motto 'Honi soit qui mal y pense', with four symbols of the British Isles in the centre, and surmounted by a crown, the largest signed to lower left edge of the sheet W. Du Hamel fecit, sheet size 128 x 132 mm (largest), 110 x 133 mm, 94 x 119 mm, and 80 x 80 mm (smallest), mounted together, framed and glazed (54 x 23 cm) (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

The present depiction of the Mozart family goes back to at least one of three well-known versions of a famous watercolour by Louis Carrogis de Carmontelle. They may have been made on the occasion of the two ﬁrst sojourns of the Mozart family in Paris (1763 and 1766). Leopold Mozart may have commissioned the print reproduction of the watercolour in order to promote the career of his son. The present print distinguishes itself through its particular ﬁne printing quality and its sensitive colour washes and may have been executed in the workshop of Carmontelle. The other three known watercolours are kept in the British Museum, London (Inv. Nr. 1994,0514.48), the Musée Carnavalet, Paris (Inv. D. 4496) and the Musée Condé, Chantilly (Inv. 346).

£200 - £300

The drawing and print made from it are documented in a letter from Leopold Mozart to Lorenz Hagenauer from Paris on 1 April 1764: ‘Meine Kinder empfehlen sich samt meiner Frau allerseits. M. de Mechel ein kupferstecher arbeitet uber Hals und Kopf unsere Portrats die H. von Carmontel ein Liebhaber sehr gut gemahlt hat. Der Wolfgang spiehlt Clavier, ich stehe hinter seinem Sesel und spiele Violin, und die Nannerl lehnt sich auf das Clavecin mit einem Arm, mit der anderen Hand halt sie musicalien, als sang sie.’ (‘Mozart: Briefe und Aufzeichnungen, Gesamtausgabe’ ed. W.A.Bauer and O.E.Deutsch, Basel 1962, I p.142). In another note about the engraving, it is stated that it was made ‘Gleich nach ihrer Ankunfte in Paris’ (ibid, III p.188). No print signed by Christian von Mechel (1737-1817) is known of this subject; the only known engraving is dated 1764 (of which there is an impression in the Department, 1864,0611.50) and is lettered as by Jean Baptiste Delafosse (1721-1806). Presumably Mechel abandoned the plate, or handed it on to Delafosse. On the variant drawn versions of this composition, see Martin Davies in the National Gallery catalogue of the French School (1957), p.22-3. The original was made in 1763-4 when the Mozart family was in Paris, but the present drawing and the Carnavalet version both bear the date 1777. The prime version is at Chantilly, along with the main archive of Carmontelle’s work. Another version is in the Musée Carnavalet, Paris (ex-Lord Revelstoke), presented by Maurice Baring in 1933. Others are said to be in Castle Howard and in several private collections. There is also a variant composition by Carmontelle with Leopold and Wolfgang only, shown four-square and with a footstool, in a unique version in a private collection in Paris. See correspondence in dossier. See Alec Hyatt King, ‘A Mozart Legacy: Aspects of the British Library Collections’, The British Library, 1984, p.23, plate II; A. Hyatt King, ‘Musical Pursuits 9’, selected essays, The British Library, 1987, pp.61ff. (1) £2,000 - £3,000

44 Earlom (Richard, 1743-1822). A group of 50 proof mezzotints from the Liber Veritatis, after Claude Lorrain, circa 1774-1817, 50 mezzotints on laid and wove paper, including one aquatint (plate 68), and one mixed method (plate 5, aquatint and mezzotint), various watermarks (including Dovecote watermark, similar to Heawood 1233, J. Whatman 1794, S. Lay 1798, S. Lay 1804, and 1805), good impressions, all rare proofs, including a proof before ﬁgures (plate 55), 38 proofs before titles, and 11 scratch letters proofs, plate 8 and 13 with error in imprints (‘Lorran’ instead of Lorrain; ‘Fectt’ instead of Fecit), some with mostly light marginal spotting (generally not affecting image), mostly with early 20th-century pencil inscriptions by Frank Hurlbutt to lower margins, each with Frank Hurlbutt Collection stamp to verso (Lugt 5906), smallest platemark size 13.3 x 20.6 cm or similar, largest platemark size 20.5 x 27.5 cm or similar, sheet size 29.7 x 43.4 cm

43 Earlom (Richard, 1743-1822). A group of 50 proof mezzotints from the Liber Veritatis, after Claude Lorrain, circa 1775-1817, 50 mezzotints on laid paper, including one aquatint (plate 88), mostly dated 1775-1776, various watermarks (including ‘D’, Dovecot watermark, and 1805), good impressions, all rare proofs, including 37 scratch letters proofs, and 13 proofs before title, plates 135 and 162 with error in imprints (‘Joh’ instead on John; ‘Publishid’ instead of Published), some spotting to margins (only occasionally lightly affecting image), plate 182 damp-stained, light marginal dampstain to one or two plates (not affecting image), early 20th-century pencil inscriptions by Frank Hurlbutt to lower margins, each with Frank Hurlbutt Collection stamp to verso (Lugt 5906), platemark size 20.7 x 26 cm or similar, sheet size 29.9 x 44 cm Provenance: William Pilkington (1758-1848), London architect; Redmond William Pilkington (1789-1844); Lionel Scott Pilkington (1828-1875); Unidentiﬁed collector; Frank Hurlbutt (1866-1941), Penyffordd House, Hartsheath, Mold, Flintshire, collector of English ceramics, and author of Old Derby Porcelain (1925), Bow Porcelain (1926), and Bristol Porcelain (1928). His important collection of English porcelain was sold by Sotheby's 11 April 1946. Hurlbutt also owned a smaller collection of drawings and prints which were also sold by Sotheby's shortly following his death, on 25 March 1942 and 20 May 1942.

A group of 50 rare proofs by Richard Earlom, mostly mezzotints, with two plates in aquatint. Plates included are: 1, 3, 5-13, 15-19, 20-21, 24, 26-29, 32, 34-38, 41, 43, 46, 49, 53-55, 62, 64, 67-68, 70, 73-74, 76, 78, 80, and numbers 7-8, 11 and 13 from a different volume (different images). A handwritten description by Frank Hurlbutt of this collection of Earlom's mezzotints after Claude on three sheets of headed letter paper (somewhat damp stained) accompanies this lot. (50) £1,000 - £1,500

A group of 50 rare proofs by Richard Earlom, including 49 mezzotints and one aquatint. Plates included are: 75, 83, 84, 87, 88, 90, 94, 95, 96, 97, 98, 99, 100, 103, 104, 105, 106, 109, 112, 113, 115, 116, 129, 133, 135, 138, 143, 144, 146, 147, 150, 153, 157, 161, 162, 164, 173, 175, 176, 178, 180, 182, 189, 199, and number 84, 94-96, 100 from a different volume (different image), plus the proof of the reworked state of plate 164. (50) £1,000 - £1,500

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

45* Burke (Thomas, 1749-1815). The Night Mare, after Henry Fuseli, 1783, fine hand-coloured stipple engraving after Henry Fuseli, published by John Raphael Smith, Oxford Street, London, January 30th, 1783, with printed caption to lower margin, including the verse: ‘on his Night-Mare, thro the evening fog/Flits the squab fiend o’er fen, and lake, and bog/Seeks some love-wilder’d maid, by sleep opprest/Alights, and grinning, sits upon her breast’, some creases and light soiling to outer blank margins, plate size 230 x 250 mm, sheet size 295 x 430 mm Weinglass 67. Rare hand-coloured issue. The four-line quotation is taken from the second part of Erasmus Darwin’s Botanic Garden, titled The Loves of the Plants, a philosophical poem which dramatizes in verse the newly established Linnaean sexual system of botanical taxonomy. Erasmus Darwin’s poem however was not published until 1789, indicating that Darwin and Fuseli were almost certainly in dialogue about the subject as early as 1783, the date this print was issued with its quotation. Indeed, Darwin published in 1783 the first part of his own translation of the works of Linnaeus. In Darwins poem, the four line quotation in Burkes engraving is followed by: ‘-Such as of late amid the murky sky/Was mark’d by Fusseli’s poetic eye; / Whose daring tints, with Shakespear’s happiest grace, / gave to the airy phantom form and place’. Fuseli’s painting The Nightmare caused a sensation when it was first exhibited at the Royal Academy in 1782, becoming his first commercial successful work, following which a number of engraved versions of the picture were widely circulated. The present engraving reportedly earned the publisher John Raphael Smith more than £500. Fuseli’s original painting is now in the Detroit Institute of Arts. (1) £700 - £1,000

46* German School. Tiresias appears to Ulysses in Hades, circa 1787, pen, ink, and watercolour with white bodywash on pink laid paper (‘ICLN’ watermark), depicting the apparition of the blind prophet Tiresias to Ulysses, kneeling before the hero to consume the blood of the sacriﬁcial sheep, in the background to the right, Ulysses’s companions bear ceremonial vessels to offer libations to appease the dead, while to the left, a multitude of ghostly shades manifest, summoned by the hero’s necromancy, minimal creases to corners, contemporary partly indistinct manuscript inscription in German to verso (‘N. 31, … 8ter Juny- 87’), 18.8 x 34.5 cm A closely comparable anonymous drawing in pen and ink with black and grey wash, dated circa 1770-1790, is in the Art Institute of Chicago; it crops the ceremonial offerings to the right and part of the ghostly ﬁgures to the left (https://www.artic.edu/artworks/85990/ulysses-in-hades). (1) £300 - £500

Lot 46

47* Stubbs (George, 1724-1806). A Horse Affrighted at a Lion, 1788, uncoloured etching on heavy wove paper, with extensive roulette work, a proof before title and letters, but with the etched publication line: Painted Engravd & Publishd by Geo Stubbs, 1 May, 1788, No. 24 Somerset Str, Portman Sq, London, a very ﬁne impression with good contrasts, plate size 252 x 330 mm, sheet size 277 x 360 mm, mounted Lennox-Boyd, Dixon & Clayton, George Stubbs, The Complete Engraved Works, 70, state II. Probably the most famous of all the prints made by George Stubbs, A Horse Affrighted at a Lion, is one of twelve etchings published by the artist on 1st May 1788 in order to publicise his work. All twelve of these prints display Stubbs's technical mastery of the medium, and ﬁnally-balanced tonal effects achieved through soft-ground etching, roulette and punch work. (1) £3,000 - £5,000

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

49* English School. Virgin and Child, circa 1790-1810, oval black chalk on pale brown wove paper, 25 x 19 cm (9.9 x 7.5 ins), together with Head-and-Shoulders study of a young boy wiping away a tear, circa 1800, oval black and white chalk on pale blue-grey wove paper, 25 x 19 cm (9.9 x 7.5 ins) (2)

£150 - £200

48* Attributed to Thomas Rowlandson (1756-1827). Assessing the Goods, circa 1790-1800, pen, black and brown ink and watercolour on wove paper, 212 x 260 mm, inlaid to modern backing paper, later Hogarth-style black and gilt frame, glazed Provenanc: Estate of J. M. Whitaker, Shefﬁeld, UK. (1)

£400 - £600

50* Goya (Francisco de, 1746-1828). Muchachos al avío, from Los Caprichos, 1799, etching with aquatint on pale cream wove paper, printed title to lower margin and plate numbers 11 to upper right corner, from the ﬁfth edition published by the Calcograﬁa for the Real Academia between 1881 and 1886 in an edition of 210 impressions, 235 x 170 mm mount aperture, framed and glazed (41 x 33.5 cm), Goldmark Fine Art printed label to verso (1)

Lot 49

£200 - £300

Lot 52

51* Goya (Francisco de, 1746-1828). Quien mas rendido?, from Los Caprichos, 1799, etching with aquatint on pale cream wove paper, printed title to lower margin and plate number 27 to upper right corner, from the ﬁfth edition published by the Calcograﬁa for the Real Academia between 1881 and 1886 in an edition of 210 impressions, 235 x 170 mm mount aperture, framed and glazed (41 x 33.5 cm), Goldmark Fine Art printed label to verso (1)

£200 - £300

52* Goya (Francisco de, 1746-1828). Tal para qual, A caza de dientes, & Esto si que es leer, from Los Caprichos, 1799, three etchings with aquatint on pale cream wove paper, each with printed title to lower margin and plate numbers 5, 12 and 29 to upper right corner respectively, from the fifth edition published by the Calcografia for the Real Academia between 1881 and 1886 in an edition of 210 impressions, plate size 197 x 148 mm, sheet size 325 x 225 mm (12 1/2 x 8 7/8 ins), or similar, hinged to card window mounts Provenance: Estate of J. M. Whitaker, Sheffield, UK. Harris 40, 47 and 64. Now revered for their phantasmatic imagery as well as their biting social satire, Goya’s Los Caprichos, first published by the artist in 1799, were initially a finiancial disaster, with only 27 copies of the full set beleived to have been purchased before they were withdrawn from circulation due to the Inquisition. The Spanish King Charles IV subsequently bought the original etching plates, from which subsequent editions were issued, printed directly from the plates themselves. The prints display Goya’s technical mastery, especially in the use of the newly invented process of aquatint. (3) £500 - £800

Lot 51

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

53* Veneto-Cretan School. Madre della Consolazione (Mother of Consolation), circa 1600, tempera on wood panel, some surface losses, 21 x 16 cm (8 1/4 x 6 1/4 ins), together with: Follower of Gerard David (circa 1460-1523). Madonna and Child, 18th century, oil on wood panel, some very small areas of ﬂaking with some paint loss to Madonna’s mantle, 40 x 32 cm (15 3/4 x 12 1/8 ins), in carved wood gilt frame with cherubic faces to upper and lower, (52 x 43 cm) Attractive example of ‘Madonnero’ work, a term of Venetian origin describing the workshops of painters in Venetian Crete, Dalmatia, and later Italy, of the 17th and 18th centuries, which supplied the popular demand in Italy for images of the Virgin in the old fashioned, or Byzantine style. Such works imitated the major Cretan masters of the 15th and 16th century such as Nikolaos Tzafouris (1468-1501). (2) £400 - £600

54* English School. Portrait of Elizabeth Browne (1558/9-1630), aged 58, 1617, oil on canvas, three-quarter length portrait of a woman, half-profile to the left, wearing a black gown with white cuffs, and a white ruff, a ruffled cap on her head, a gold crucifix suspended on a ribbon around her neck, a rosary on her left wrist, and a red leather-bound volume with clasps in her right hand, lettered to her left ‘Ætatis suæ 58 1617’, relined, stretcher with manuscript ownership label of ‘The Hon: Joseph Dormer’, and chalked ‘lot 167 19.2.97’, 103 x 89.5 cm (40 1/2 x 35 1/4 ins), framed (116.5 x 103 cm), black-lettered plaque to frame: ‘Elizabeth wife of Robert Lord Dormer D. of Anthony Viscount Montagu by Magdalen D. of William Lord Dacre of the North grt. grandaughter of Lucy d. and coheiress of John Nevill Marquess of Montagu brother of Warwick The King Maker both killed at Barnet 1471.’ Provenance: Joseph Spencer Philip Dormer, 16th Baron Dormer of Wyng (1914-1995); Collection of Michael Stanhope Dormer (1930-2019), Bowdown House, Berkshire; thence by descent. Elizabeth Browne (1558/9-1630) was the daughter of Anthony Browne, 1st Viscount Montagu, and Magdalen Dacre. She married Robert Dormer - later Baron Dormer of Wyng - in 1572, when she was only about 14 years of age. Her marriage was part of a double alliance between two powerful Catholic families: Robert’s sister Mary married Elizabeth’s brother Thomas on the same day. The poet and courtier George Gascoigne (circa 1535-1577) was commissioned to write an entertainment entitled A Devise of a Masque for the Right Honourable Viscount Mountacute to celebrate the occasion, which took place at either Montacute House in London or Cowdray Park in Sussex, both family residences. Inspired by his patron’s name the poet drew on Arthur Brooke’s 1562 narrative poem The Tragical History of Romeus and Juliet and interwove the feud of the Montagues and Capulets with two historical events which had recently taken place in the Mediterranean: the Siege of Famagusta in Cyprus, August 1570-September 1571, and the Battle of Lepanto (7th October 1571), which marked a defining victory of the major Catholic powers of Southern Europe over the Turks. It is interesting to note that Shakespeare didn’t write his version of the Romeo and Juliet story until the mid 1590s, and that Shakepeare’s primary literary patron, Henry Wriothesley, 3rd Earl of Southampton, was the son of Elizabeth Browne’s half-sister Mary Browne (Anthony Browne’s daughter by his first wife Jane Radcliffe) and her husband the 2nd Earl of Southampton. Henry Wriothesley was not born until after Elizabeth and Robert’s marriage, but he almost certainly grew up hearing about Gascoigne’s masque, perhaps at family get togethers such as the lavish celebrations held in 1591 when one of Queen Elizabeth I’s ‘Progresses’ around the country saw the monarch and her retinue visit Cowdray Park as guests of the Montagus. It has recently been suggested that when writing Romeo and Juliet Shakespeare not only used Brooke’s poem, itself a re-telling of the well-known story, but almost certainly drew on the Montagu masque, which had been written for his great friend’s family and had been printed in The Poesies of George Gascoigne Esquire, published in 1575. (Caroline Adams, Queen and Country: The Significance of Elizabeth I’s Progress in Surrey, Sussex and Hampshire in 1591, PhD Thesis, University of Southampton, July 2012; ‘Shakespeare and the Mediterranean, 1. Romeo and Juliet’, Supplement to SKENÈ, Journal of Theatre and Drama Studies, Edited by Silvia Bigliazzi and Emanuel Stelzer, 2022; Gabriel Egan.com, ‘Year’s Work in English Studies 2000: Shakespeare: Editions and Textual Studies’) (1) £5,000 - £7,000

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

55* Circle of Marcus Gheeraerts (1561/2-1535). Portrait of Sir Henry St George (1581-1644), circa 1625, oil on canvas, three-quarter length portrait of a bearded gentleman dressed in a gilt-trimmed black doublet and hose, with a large lace ruff and lace-trimmed cuffs, his right hand in his pocket, and his left hand resting on a swept hilt rapier, upper right with coat of arms of the St. George family, with St. George modern and ancient in quarters 1 and 2, and the quarters of heraldic heiresses in the remaining quarters, relined and restretched, with some retouching, revarnished, 129 x 102 cm (50.75 x 40 ins), 19th century black and gold painted frame (142 x 115 cm) Provenance: Collection of Michael Stanhope Dormer (1930-2019), Bowdown House, Berkshire; thence by descent. This painting has, by long-standing family repute, been understood to depict Henry St George (1581-1644). Henry St George was born at Hatley St George in Cambridgeshire, the eldest son of Sir Richard St George (1555-1635), a long-serving ofﬁcer of arms at the College of Arms in London, and his wife Elizabeth St John (married 1575). He entered the College of Arms as Rouge Rose pursuivant-extraordinary in 1610, and was created Bluemantle pursuivant-in-ordinary in 1611 and Richmond herald in 1616, carrying out heraldic visitations throughout the country. In 1625 he travelled to France in order to escort Queen Henrietta Maria to England, and in 1627 he was sent to Sweden to invest King Gustavus Adolphus as a Knight of the Garter. He was knighted by the Swedish king, and granted an augmentation of honour consisting of the Swedish royal arms on a canton in his personal arms (the augmentation not yet present on the armorial in this portrait). Between 1633 and 1635 Henry St George acted as his father’s deputy for the visitation of London, and following his father’s death he was appointed Norroy King of Arms. In April 1639 he was suspended and ﬁned by the Earl Marshal for forging his father’s signature on a faked grant of arms, but was pardoned a year later. During the English Civil War he accompanied King Charles I to Oxford where he was created a Doctor of Medicine in May 1643 and appointed Garter Principal King of Arms in April 1644, a post he held for only a short time due to his death at Brasenose College, Oxford, in November 1644. Henry St George was buried in Christ Church Cathedral. (1) £10,000 - £15,000

56* Dutch School. Still life with Tulips, a Rose, and a Peony, 17th century, oil on canvas, some superﬁcial craquelure, minimal surface soiling, 18th-century wood frame in Florentine style, painted and carved, canvas size 25 x 35.1 cm, frame size 47.5 x 36.5 cm (1)

£300 - £400

57* After Gabriël Metsu (1629-1667). Woman Reading a Letter, early 19th Century, attractive oil on wood panel, depicting a young woman seated in front of an open window, eyes cast downward upon a letter she holds in her lap, wearing a white coif, red bodice, a voluminous greyish-blue skirt, with pearl earrings and necklace, upon the cloth covered table in front of her sits an unlit candle and a seal stamp, a landscape painting showing a lone tree hangs in a gilt frame on the wall behind her, in the bottom right a feather quill has fallen onto the black and white tiled ﬂoor and a baseboard is made from Delftware tiles (a variation on Metsu’s companion work Man Writing a Letter of circa 1664-1666), some areas of restoration particularly concentrated to the woman’s head and skirt, gilt wood frame with minor chips to corners, (44.5 x 37.5 cm) Gabriël Metsu’s Man Writing a Letter, circa 1664-1666, and its companion piece Woman Reading a Letter, were famously stolen from Russborough House, County Wicklow, Ireland in 1974 and again in 1986. Following their recovery they were presented to the National Gallery of Ireland in 1987 by Sir Alfred and Lady Biet (object numbers NGI.4536 and NGI.4537). (1) £200 - £400

Lot 56

58* English School. Portrait of a Gentleman in Armour, late 17th century, oil on canvas, three-quarter length portrait of a gentleman in silver plated armour, wearing a periwig and a white lace jabot at his neck, his right hand resting on his helmet, and a commander's baton cradled under his left arm, relined and restored, canvas size 74 x 61 cm, framed (85.5 x 72.5 cm) Provenance: Aynhoe Park sale (1)

Lot 57

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £500

59* Italian School. Fighting Lion and Leopard, with lizard, 17th century, oil on canvas, some overall craquelure, minor surface soiling, small paint loss below ear of leopard, relined, 35.5 x 46 cm (1) £400 - £600

60* Attributed to Cornelis van der Velde (circa 1675-1729). Dutch Shipping in Rough Seas off a Rocky Coastline, oil on canvas, signed 'C V Velde f' lower right 47 x 72 cm (18 1/2 x 28 1/4 ins), three small canvas repairs to verso, previous chalk marks and printed auction label to verso of stretcher, blackpainted, wood frame with gilt inlays (58 x 83 cm) Provenance: Bonhams, London, Old Master Paintings, 29 October 2003, lot 21 (as Circle of Willem van de Velde). One of the sons of Willem van de Velde II (1633-1707), Cornelis was born after the family moved to England, circa 1672-1673. Little is known about the artist, but he worked in the Van de Velde studio alongside his father. In 1699 he married Bernada, daughter of the marine artist Johann van der Hagen at the Knightsbridge Chapel. The present work is, unusually for the artist, signed in the lower right corner. J.C. Weyerman described him in De levens-beschrijvengen der Nederlandsche Kunst Schilders (1729) as 'the best of all marine painters we could name. (1) £1,500 - £2,000

Lot 59

Lot 60

Lot 61

Lot 62

61* After Sir Peter Lely (1618-1680). Portrait of Prince Rupert (1619-1682), oil on canvas, probably 19th century, half-length portrait after the original portrait by Lely in the National Portrait Gallery, London, showing Prince Rupert facing left, with long dark brown curled wig, light blue lace cravat, and wearing dress of the Order of the Garter, with intricate gold chain decorated with an enamelled medal depicting Saint George on horseback slaying a dragon, canvas size 79 x 67 cm, in an oval gilt frame (92.5 x 80.5 cm) (1)

£200 - £400

62* Circle of John Riley (1646-1691). Portrait of a Lady, circa 1680, oval oil on canvas, head and shoulders portrait of a lady wearing a blue-green gown with split sleeves held by jewels, a jewelled drop brooch to the low cut neckline, and drop earrings, her fair hair swept up, overall craquelure, re-lined, 76.5 x 61.5 cm (30 1/8 x 24 1/4 ins), period carved giltwood oval frame (97 x 82 cm) (1)

£700 - £1,000

63* British School. A portrait of an ofﬁcer, thought to be Charles, 1st Marquess Cornwallis (1738-1805), Governor-General and Commander-in-Chief in India, 1786-1793, circa 1800, oil on copper, 28 x 22 cm (11 x 8 5/8 ins) oval, in ornate gilt frame (46 x 41 cm), remnants of contemporary label with 'Study' handwritten in brown ink and further contemporary handwritten 'Lord Cornwallis' to verso Provenance: From a Descendant of Charles Cornwallis, 1st Marquess Cornwallis (1738-1805); Bonhams, London, Islamic and Indian Art, 21 May 2026, lot 150. (1) £1,000 - £1,500

Lot 63

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

64* Seeman (Enoch, circa 1689-1745). Portrait of a Gentleman, early 18th century, oil on canvas, half-length portrait of a gentleman set against a twilit landscape, in a powdered wig, wearing a white cravat, red velvet coat with gilt buttons, the coat sleeves upturned to show a green silk lining and puffy white shirt sleeves beneath, his right arm bent and hand resting on his waist, his left hand holding his coat together at the buttons, relined, canvas size 76.5 x 63.5 cm, framed (87 x 74.5 cm) Provenance: Simon Carter Gallery, Woodbridge, Suffolk. (1)

£300 - £500

65* Manner of John Wootton (circa 1682-1765). The Stag Hunt, c.1730-1750, oil on panel, depicting a stag hunt in full ﬂight towards a river within a parkland setting, with stag hounds and riders on horseback in pursuit, country house in middle distance, with distant tree-lined hills, horizontal split evident across middle of painting where panel joins, previously cleaned and re-varnished, 72 x 158 cm (28 ½ x 62 ¼ ins), later moulded oak frame, 85 x 170 cm (33 ½ x 67 ins) Provenance: Admiral Sir Charles Edward Lambe, GCB, CVO (1900-1960). Private Collection, Herefordshire, UK. John Wootton (c.1682–1764) was born in Warwickshire. He studied painting under Jan Wyck in the 1690s, moving to London in 1706, where his reputation as a painter of horses and sporting subjects grew. Wootton was particularly well known for his paintings of horses at Newmarket, but he also produced paintings of decorative landscapes. His work was later overshadowed by artists such as Richard Wilson, Thomas Gainsborough and George Stubbs, and he retired circa 1760. This painting emulates his style depicting a typical stag hunt scene within a country park landscape. (1) £2,000 - £3,000

Lot 64

Lot 65

66* After Maurice Quentin de La Tour (1704-1788). Portrait of Marie Leszczyńska (1703-1768), Queen of France, 18th century, pastel on paper, half-length seated portrait, half-profile to the left, of Queen Marie dressed in a gold and red gown trimmed with lace and fur, a black lace cap, and a blue and red velvet cloak embroidered with goldwork fleurs-de-lys and lined with ermine, inscribed to lower left corner ‘Couvent de N.D.’, 77 x 64.5 cm (30 1/4 x 25 3/8 ins), gilt moulded frame, glazed (98 x 86 cm) Marie Leszczyńska was Queen of France from 1725, when she married King Louis XV, until her death in 1768, making her the longest reigning French queen. At the age of 22 she was chosen from a shortlist of 99 possible brides for the 15-year-old King, whom she first met on the eve of their wedding. The marriage was a happy one at first, but King Louis soon became a notorious womanizer, and a succession of mistresses followed. The Queen found occupation, and presumably solace, in her many charitable works, which included the founding of the Queen’s Convent (Couvent de la Reine) in the town of Versailles. Maurice Quentin de La Tour was a prominent pastellist of the French Rococo period, whose sitters included Voltaire, Rousseau, and Madame de Pompadour. The format of the present work draws heavily on his 1748 pastel portrait of Queen Marie, which was exhibited at the Salon of 1748 (and is now in the Musée du Louvre). However, a significant difference is the addition of a regal cloak of velvet and ermine, asserting more definitely the sitter’s identity and importance. The inscription ‘Couvent de N. D.’ refers to the Congregation of Notre-Dame at Compiègne. Queen Marie became acquainted with the teaching sisters there through her interest in the education of girls. It was with some of these sisters that she established the new convent at Versailles. This picture of the sisters’ patron, therefore, was likely commissioned to be hung in the convent at Compiègne. (1) £500 - £800

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 68

67* Mortimer (John Hamilton, 1740-1779). Alexander the Great contemplating the head of Darius, circa 1770, oil on panel, typed title and artist label to verso (erroneously attributing the work to Benjamin Haydon), panel size 25.5 x 19.5 cm (10 x 7 3/4 ins), framed (33 x 27 cm) Provenance: Sotheby’s, London, Eighteenth, Nineteenth and Twentieth Century British and European Paintings, 22 February 1978, lot 258. A work by the same artist on copper of an identical subject matter, and a very similar size, was sold at Dreweatt’s, Tales from the Art Crypt: Works from The Richard Feigen Collection, 2 July 2025, lot 27. This similar work had previously been offered at Christie’s, London, Fine English Pictures, 9 October 1981, lot 124. (1) £500 - £800

68* French School. Young Girl in a Hat, circa 1770-1780, halflength portrait of a rosy-cheeked girl with brown eyes and hair, her gaze directly at the viewer, wearing a low-cut red dress with rufﬂed sleeves and neckline, and a hat with feather-trimmed brim, further embellished with a blue silk bow, oil on canvas, re-lined, some minor surface blemishes, 55 x 46 cm (21 3/4 x 18 1/8 ins), gilt moulded frame (73.5 x 63 cm), with manuscript label on verso ‘ﬁllette chapeau a plumes bleues blondes et rouges’ (1)

£300 - £500

69* English School. Portrait of Robert Clive, 1st Baron Clive of Plassey (1725-1774), circa 1780s, oil on canvas, half-length portrait of Clive of India in military dress, annotated in ink on verso ‘Robert Lord Clive OB. 1774’, re-lined, 61 x 50.5 cm (24 x 20 ins), gilt moulded frame (81.5 x 70.5 cm)

Lot 69

The now controversial military leader Robert Clive, 1st Baron Clive of Plassey (1725–1774), known as Clive of India, was the ﬁrst British Governor of the presidency of Bengal, who laid the foundations for the rule of the East India Company in India. (1) £500 - £700

70* English School. Portrait of Joseph Barnett, early 19th century, oil on canvas, three-quarter length portrait of Joseph Barnett wearing a black frock coat decorated with a red badge on the lapel, his right arm resting on a red-clothed surface and his hands folded in front of him, old handwritten label to frame verso: Joseph Barnett died circa 1836, London, father [of] Emanuel Barnett; 76 x 63.5 cm, framed (95.5 x 84 cm) (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

71* English School. Portrait of a Gentleman, 1833, oil on canvas, three-quarter length portrait of a gentleman dressed in a white cravat, cream waistcoat, and a dark high-collared overcoat with brass buttons; ‘1833’ painted onto a stone column behind the sitter, 61 x 51 cm, in a moulded gilt frame with slight losses and cracks to corners (77.5 x 67.3 cm) (1)

£200 - £400

THE ANDREW FARMER NORTH DEVON COLLECTION: PART II Andrew Farmer (1940-2025) became interested in the topographical history and development of North Devon, especially Lynmouth and Lynton, Ilfracombe, Clovelly, Minehead, Porlock, Bideford, Appledore, Hartland, Westward Ho and the Valley of the Rocks, in the 1980’s, from which time he began to collect 18th and 19th century oil paintings, watercolours, drawings (both by professional artists and amateur tourists) as well as related prints and lithographs, photographs and postcards of the area. Andrew did not live to complete his projected history of Lynmouth and Lynton, or his survey of the artistic representation of North Devon, but his manuscript of the latter is now housed with the North Devon Record Ofﬁce (B1596: Works in Progress of Andrew Farmer). He also wrote a further two books; a substantial history and art history of Ilfracombe and a shorter similar account of Clovelly. These have also been added to the North Devon Record Ofﬁce collection. While Andrew Farmer’s collection is anchored in the imagery of North Devon, he inevitably collected, intentionally and incidentally, images of other locations, primarily South Devon, Somerset and Cornwall, with a smattering of other localities creeping in, especially in albums which inevitably contain a mixture of different locations. Further selections from his remarkable collection will be offered by Dominic Winter Auctioneers in 2027. 72* Sandby (Paul, 1730-1809). East Lyn River with Valley of the Rocks, pen, ink and wash on wove paper, signed to lower left, 28.8 x 22.5 cm (11 3/8 x 8 7/8 ins) corners of paper trimmed, mounted, framed and glazed (45 x 37 cm), previous printed Bonhams auction label to upper (1)

£200 - £300

73* Marris (Robert, 1750-1827). Lynmouth Bridge from the Quay, 1780, watercolour with pen and black ink on thick pale cream wove paper, with title, artist name and date in ink on a small slip of paper pasted to verso (presumably in the artists hand), sheet size 339 x 556 mm (13 3/8 x 21 7/8 ins) Provenance: Phillips, London, English and European Watercolours and Portrait Miniatures, 16 July 1996, lot 1. A similar view entitled Waterfall near Lynton, also dated 1780, and measuring 414 x 546 mm is held by the Yale Center for British Art (accession number B1975.4.2007). Robert Marris was the son-in-law and pupil of the painter Arthur Devis, and teacher of landscape artist and illustrator Richard Corbould (1757-1831). Marris exhibited at the Royal Academy between 1780 and 1784 (listed as R. H. Marris). (1) £400 - £600

Lot 72

Lot 73 37

74* North Devon. Two watercolour views, circa 1780s-1790s, pen and watercolour on wove paper, one depicting a view of River Torridge with Bideford in the background, a few minimal spots, 27.6 x 38 cm and 26.5 x 34 cm (2)

£200 - £300

75* Marris (Robert, 1750-1827). View in North Wales, watercolour with pen and ink, 37.5 x 54 cm (14 3/4 x 21 1/4 ins), mounted, framed and glazed (58.5 x 74 cm), printed Martyn Gallery label to verso Exhibited: Martyn Gregory, The World of Drawings and Watercolours, Park Lane Hotel, London, January 1987. (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £500

76* Nixon (John, 1750-1818). Dunster Castle, Devon, watercolour, initialled ‘JN’ to lower left, and titled in black ink to lower edge, 13.5 x 22.2 cm (5 3/8 x 8 3/4 ins) mount aperture, framed and glazed (28 x 36 cm), Thos Agnew & Sons Ltd printed label and short lot description including ‘Collection: The French Hospital of La Providence’ to verso, together with two others by the same artist, comprising: View from the Inn at Lynton, initialled and dated 1785; and Rotting Dean (?), similar sizes, unframed (3)

77* Attributed to Thomas Rowlandson (1756-1827). Lynmouth on the coast of North Devon, pen, ink and watercolour, title inscribed to lower left, previous printed Bonhams auction labels to upper margin, 15.8 x 25 cm (6 1/4 x 9 3/4 ins), framed and glazed (43 x 51.5 cm) (1)

£200 - £300

£300 - £500

78* Rowlandson (Thomas, 1756-1827). Lynton, Devon, watercolour with pen and black and brown ink, inscribed with title to lower left corner LYNTON, 149 x 240 mm (5 7/8 x 9 1/2 ins), window-mounted to later card, with wash double outer border, and hinged card mount with artist name and dates to lower margin, overall size 31 x 48 cm Thomas Rowlandosn made annual painting tours to Devon and Cornwall, often staying with his patron the banker Matthew Michell, who lived at Hengar near Bodmin. (1) £500 - £800

79* Walters (John, born 1748). Watermouth, the Seat of Joseph Basset, Esq:r 3 miles from Ilfracombe, pen, ink and watercolour, signed and titled in brown ink to lower margin, 28.5 x 46 cm (11 1/4 x 18 1/8 ins), contemporary painted wooden frame (40.5 x 57.5 cm) Provenance: Drewatts 1759, Clifton, Antiques, Bristol & West Country Pictures, Silver & Jewellery, 25th January 2005, lot 286. (1)

£700 - £1,000

80* Swete (Reverend John, of Ashburton, 1752-1821). Views of Devon and Somerset, including Dunster Castle, 1795; View of Ugbrooke; Tor Mohun Church, 1793; Plympton Mary, etc., circa 1793-1795, a collection of ﬁve watercolours, mostly on wove paper, all but two inscribed in pencil by the artist to margins, one with title to mount board, various sizes (largest 16.5 x 25 cm), some with previous auction labels including Bonhams, all framed and glazed, largest (42 x 46 cm) The Reverend John Swete (1752-1821) was born in Ashburton, Devon, the son of a surgeon by the name of Nicholas Tripe, but changed his name to Swete after inheriting a large fortune from an aunt. A talented gentleman artist and topographer, he made a series of tours across Devon while also keeping a journal of his travels under the title Picturesque Sketches of Devon, which he lavishly illustrated with watercolours in the style of his contemporary William Payne. Swete was appointed Prebendary of Exeter in 1781, and lived at Oxton House in the village of Kenton near Exeter. (5) £300 - £500

Lot 80

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

81* Walters (John, born 1748). A View of Ilfracombe, 1794, pen, ink and watercolour, signed, titled and dated lower left, 34.5 x 62.5 cm (13 1/2 x 24 5/8 ins), gilt moulded frame (44 x 72 cm), previous Sotheby’s labels to hanging wire, together with a smaller view in the same style, Ilfracombe, circa 1843, pen, ink and watercolour, on watermarked Whatman 1843 (?) wove paper, laid onto backing paper, ‘An Exact Copy’ in brown ink to left edge, some small worm holes to lower left, sheet size 24.1 x 33.3 cm (9 1/2 x 13 1/8 ins), adhered to thick backing paper at each verso corner, framed and glazed (35 x 44 cm) (2)

£700 - £1,000

Lot 81

82* Swete (Reverend John, of Ashburton, 1752-1821). Views of Devon, including Oxton House from the Octagon, Bathing Place at Ilfracombe and the Signal Post, Lime Kilns and Castle at Barnstaple, Pixton, The Quay, and part of the village of Clovelly, Ilford Bridge, about 2 miles from Lynton, Lynmouth, The Inn at Lynton, from the banks of the river at Lynmouth, From the Grounds of Holne Cottage, belonging to Sir Bourchier Wrey, In the Garden of a Cottage at Lynmouth, Near Trentishoe, etc., circa 1796-1810, a collection of 17 watercolours, mostly on wove paper, some inscribed in pencil by the artist to upper margin, others with title in brown ink to lower margin of backing paper, various sizes (largest 19 x 31.2 cm), sixteen in good-quality 20th century wash-ruled card mounts, one unmounted, all unframed Provenance: Many of the watercolours in this lot formed part of Christie’s Interiors Including Paintings, Drawings, Tuesday 1 March 2011, lot 352 (there were 18 views in that lot). The Reverend John Swete (1752-1821) was born in Ashburton, Devon, the son of a surgeon by the name of Nicholas Tripe, but changed his name to Swete after inheriting a large fortune from an aunt. A talented gentleman artist and topographer, he made a series of tours across Devon while also keeping a journal of his travels under the title Picturesque Sketches of Devon, which he lavishly illustrated with watercolours in the style of his contemporary William Payne. Swete was appointed Prebendary of Exeter in 1781, and lived at Oxton House in the village of Kenton near Exeter. (17) £700 - £1,000

83* Strickland (Charlotte, 1759-1833, attributed to). Large album of drawings, circa 1799-1819, containing approximately 134 pen & ink and wash drawings, 55 pen & ink drawings, 18 pencil, and 13 watercolour, the illustrations comprising mainly views, with a few architectural and caricature sketches, the views in England include: Stourhead Gardens, New Park Somerset, Glastonbury, Weymouth, Dawlish, Teignmouth, Chagford, Dartmoor, Heytesbury, Ramsgate, Sedburgh, River Lune, Dent Vale, Hardraw Fall, cotton mill at Askrig, Aysgarth Force, Nappa Hall, Ambleside, Windermere, Esthwaite Water, Rydal Water, Derwentwater, Lodore falls, Borrowdale, Coniston, the Welsh views include: Llangynidr, Blaenavon, Abergavenny Castle, White Castle, Raglan Castle, Monmouth, Conway Castle, Caernavon Castle, Pont Aberglasyn, Aberystwyth Castle, Hafod house (Cardiganshire), Devil’s Bridge, Cilgerran Castle, Newcastle on Tivy, River Usk, and in the Borders: Downton (Herefordshire) and Oswestry, also a selection of views in Italy (mostly smaller pen & ink drawings): Piedmont, near Siena, Armajola [Armaiolo], near the Porta Fontebranda, near Porta Pispini, Vietri with village Molina taken from a grotto, Posillipo, Franciscan Convent at Pozzuoli, Corpo di Cava, several dated either 1792, 1799 or 1819, very few with some spotting, occasional light creasing, one view double-page (with central vertical fold), scarce edge tears, various sizes, most tipped-in, original quarter leather, worn, boards detached, without spine, front cover with armorial bookplate of Algernon Augustine de Lille Strickland (1837-1914), large folio (63 x 44.5 cm (25 x 17 1/2 ins) Provenance: Chorley's Auctioneers, Gloucestershire, Fine Jewellery & Old Master Paintings, 27 June 2023, lot 254. Charlotte Strickland was born in Yorkshire, and Christened at Boynton, the daughter of George Strickland (1729-1808) 5th Baronet of Boynton, Yorkshire, and Elizabeth Laetitia Winn (1733-1813). His seat was Boynton Hall, Boynton, East Riding, Yorkshire, and he was High Sheriff of Yorkshire from 1768. Charlotte also produced some ﬁne botanical and other natural history drawings, sometimes in collaboration with her sister Juliana Sabina Strickland (1779-1849). Algernon A. de Lille Strickland (bookplate) was the grandson of their brother George Strickland (1760-1832). (1) £2,000 - £3,000

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 84 84* Walters (John, 1748-1826). Five watercolour views of Ilfracombe, Devon, circa 1799, a group of ﬁve watercolour views on heavy cream wove paper, each titled: A View of the Bathing Place, Call’d, Willdows Mouth Bay taken from Mrs. Downs Malt House, 1799 (signed J. Walters Delint to lower left), Ilfracombe: East View of Ilfracombe from Heilsborough Hill, Ilfracombe taken from the First Field in the Runna Cleaves as you come down the Back way from the Church, Ilfracombe from Heilsborough, and Watermouth, Ste of Joseph Basset Esqr 3 Miles form Ilfracombe, some marks and small defects (East View of Ilfracombe with small loss to centre right margin, Ilfracombe from Heilsborough with some overall discolouration and small stains to sheet edges, relined, Watermouth with some waterstaining to outer edges, with one or two small losses, relined with archival paper), various sizes, the largest (Ilfracombe from Heilsborough) 34 x 49.5 cm, smallest (Watermouth) 22 x 29 cm 85* Bauer (Ferdinand, 1760-1826). From the Ropery, Instow, towards Bideford, pen and ink, 33.5 x 53.5 cm (13 1/4 x 21 ins), previous Mallams label, framed and glazed (47 x 66 cm), printed Ruskin Gallery Ltd label with artist’s name, dates and ‘signed and inscribed ex collection of Iolo Williams’ handwritten in black ink

Rare group of late 18th century topographical views and panoramas in and around Ifracombe on the North Devon coast, then fast becoming a popular and fashionable sea-bathing location, by the Ilfracombe boat-builder and topographical draughtsman John Walters, whose pier-head views of the bay document with technical accuracy the sailing vessels using the port. Examples of his work are held by the Ilfracombe Museum. (5) £1,000 - £1,500

(1)

£300 - £500

88* Pocock (Nicholas, 1740-1821). View of the Bristol Channel from Lynton, watercolour with pen and black ink on laid paper, signed in black ink lower right and dated 1806 (the date appears to read ‘1606’), laid down on old backing paper, sheet size 334 x 476 mm (13 1/8 x 18 3/4 ins), together with another watercolour view by E. Pocock of Combe Martin, signed and dated 1806 to lower right, sheet size 19 x 29 cm, laid down on original grey card, with brown wash outer border and title to lower margin (by the artist Comb Martin, eastward from ilfracomb, North Devon) Nicholas Pocock, born in Bristol the son of a mariner of the same name on the 2nd May 1740, became a sea Captain working for the Quaker merchant Richard Champion unitl 1778 when Champion become insolvent. He undertook twelve major voyages to America and the West Indies during this period, and developed an interest in drawing and illustrating his logbooks. Thereafter he turned to painting, becoming one of the ﬁnest marine painters of the Napoleonic era. (2) £300 - £500

86* English School. A group of seven watercolours, and pen, ink, and wash drawings, mostly North Devon, circa 1800s-1840s, showing a view from the grounds of the Parsonage at Bideford, a view of Instow and Appledore, three views of Lynmouth, and Heanton Court near Barnstaple, one dated July 1827, mostly captioned, one mounted to paper, another mounted to modern card, smallest 16 x 27.5 cm, largest 34.5 x 47.7 cm (7)

£300 - £400

89* Rowlandson (Thomas, 1756-1827). Outside the Inn, Minehead, Devonshire, 1806, pen, ink and watercolour, on paper laid onto backing sheet, signed, dated and titled to lower, 14.5 x 23.3 cm (5 3/4 x 9 1/8 ins), framed and glazed (34 x 42 cm), printed Arthur Ackermann & Son Ltd label to verso (1)

£300 - £500

87* Smith (John ‘Warwick’, 1749-1831). Clovelly Pier from the West, 1803, watercolour with traces of pencil, signed and dated to lower right, 29 x 45 cm (11 3/8 x 17 3/4 ins), previous Bonhams auction label to upper right, framed and glazed (47 x 63 cm), printed John Manning label to verso (1)

£200 - £300

90* Lancaster (Reverend Richard Hume, 1773-1853). Coming into Harbour, oil on canvas, 19.5 x 29.5 cm (7 3/4 x 11 5/8 ins) mount aperture, framed and glazed (29 x 39 cm), typed label to verso ‘Inscribed on stretcher: “R W Lancaster” Rev Lancaster 33 R.A. Exhbts 1800 to 1827’, together with Bancroft (Elias, 1846-1924). Bideford, in Devon, oil on artist’s board, initialled ‘E.B’ to lower left, title and artist’s name in yellow to verso of board, 16.5 x 25.3 cm (6 1/2 x 10 ins), framed (34 x 41 cm) (2)

Lot 88 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £500

91* Fortescue (Henrietta Anne, circa 1765-1841) Valley of Rocks (Lynton), September 9th 1823, pen, brown ink and grey wash on wove paper, signed, dated and ttitled in ink to lower margin, sheet size 25 x 35.2 cm (10 x 14 ins), together with Lynmouth, three pen, brown ink and grey wash landscape watercolours, each signed and dated September 10th 1823, and titled (“Lynmouth”), the largest 25 x 35 cm, the two smaller views 17.7 x 26.4 cm, each numbered in brown ink to verso (presumably by the artist): 117, 116, 118 and 112 to verso, plus Holnicote, near Porlock, July 1819, large pen, ink and brown wash view with touches of pencil on wove paper, signed, dated July 1819 and titled to lower margin, mount stained, numbered in brown ink to verso 122 (in the artists hand), sheet size 32.5 x 49.3 cm, and one other similar pen, brown ink and grey-brown wash study of Lynmouth, signed and indistinctly titled in pencil to lower left; Lymouth Sepr..., small stain to lower left corner, sheet size 26 x 36 cm, mounted on later backing paper and a view of Luckham signed and dated Sep 25th 1819, 33.5 x 50 cm, in mounted in card frame (49 x 64 cm) Henrietta Anne Fortescue, née Hoare (circa 1763-1841), a talented artist who was a close friend and pupil of the painter Francis Nicholson (1753-1844), was the half-sister of Sir Richard Colt Hoare (1758-1838), the celebrated antiquarian and historian of Wiltshire. In 1785 she married Sir Thomas Dyke Acland (17521794) of Killerton in Devon, and in 1795 the Honourable Matthew Fortescue (1754-1842). A ﬁne portrait of her is on display at Killerton House, in Devon, now a National Trust property. (7) £400 - £600

92* Cozens (John Robert, 1752-1797). Ilfracombe, circa 1820, pen, ink and wash, 19.5 x 31 cm (7 5/8 x 12 1/4 ins) mount aperture, framed and glazed (40.5 x 51.5 cm), together with three other pen, ink and wash works comprising: Dunster Castle, attributed to George Barrett Jnr O.W.S (1767-1842); North Devon Coast by Thomas Sunderland (1744-1823); and Lynmouth, Devon by Jean Claude Nattes (1765-1822), various sizes, all framed and glazed, largest 50 x 60.5 cm (4)

£200 - £300

93* English School. View at Linton, Devon, & Mill in the Vale, Martinhoe, N.Devon from nature, circa 1810-20, a pair of attractive watercolour and gouache landscape views, laid down on contemporary backing card, unsigned, but each inscribed in a contemporary hand to verso in brown ink with title, sheet size 30.5 x 40.5 cm (12 x 16 ins) Lot 92

(2)

£300 - £400

Lot 93

94 Devon, Cornwall, and Dorset. An album of eight watercolours and 33 pencil drawings, July 1818-July 1823, comprising 41 views of Devon, Dorset and Cornwall, including Lyme Regis, Mount Edgcumbe, the Breakwater from Mount Edgcumbe, Cotehele House, Torrington, Bideford, Clovelly, Ilfracombe, Lynmouth Valley, all on rectos, many captioned and dated in pencil to opposite blank pages, one watercolour loosely inserted, later presentation inscription in black ink to front pastedown (‘Mary G. Armytage July 1902. From Mariette E. Brandling’), contemporary red half sheep gilt over blue boards, extremities lightly rubbed, some scufﬁng, oblong 8vo (14 x 23.5 cm), together with: Lake District. An Album of 36 pencil drawings by Mary Frances Crompton, September 1817, mostly pencil drawings, including one pencil and sepia wash drawing and one pen and ink sketch, mostly depicting locations in the Lake District and Yorkshire, such as Skipton Castle, Ingleton, Kirkby Lonsdale, Langdale Pikes, Windermere, Goody Bridge in Grasmere, Coniston, Buttermere, Derwentwater, Ullswater, Lyulph's Tower, Rydal Falls, Wasdale, Rydal Hall, mostly on rectos, a few double-page, light spotting to a couple, contemporary manuscript epigrams to rear pastedown, contemporary ownership inscription to front pastedown (‘Mary Frances Crompton Esholt Priory Sept 8 1817’), contemporary red half morocco over marbled boards, extremities rubbed, oblong 4to (21 x 27.5 cm), plus Devon, Wales, Warwickshire, and Herefordshire. A small album of 28 watercolours and 41 pencil drawings by Thomas William Webb, 18431851, including views of Goodrich Castle, Bishopton Chapel near Stratford upon Avon, Kenilworth, Gloucester Basin and Cathedral, Stanton Bury Hill from Kelston Knoll, Clevedon Old Church, Ilfracombe, Ilfracombe with Hillsborough, Lantern Hill and Ilfracombe from Swansea Packet, Mumbles Head, St. Donat’s Castle, Nass Point, Nass Valley, Dunraven Castle, Cwmbychan and Aberafon, Coast of Gower, Worm’s Head, near Milford Haven, S. Catharine’s in Tenby, Huntsham, Tretire Pool, Tretire, New Weir, Kenilworth Castle, and St. Kenelm's Chapel, several watercolours of trees, all on rectos, all captioned and dated in pencil or ink to opposite blank pages, contemporary ownership inscription in pencil to verso of front endpaper (‘Thomas Wiliam Webb. Goodrich Castle, August 8th 1843’), contemporary manuscript annotations to front and rear endpapers, contemporary red morocco, some rubbing and scufﬁng, 12mo (12 x 7.5 cm), plus eight other similar albums including approximately 395 mostly pencil drawings, including some pen and ink and a few pen, ink, and wash, many on Devon, comprising some continental views (11)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£400 - £600

Lot 94

Lot 95 96* Jackson (Samuel, 1794-1869). An Angler on the Lyn at Lynmouth, Devon, watercolour, with traces of pencil and scratching out, on paper, laid onto backing paper, 21.9 x 29.2 cm (8 5/8 x 11 1/2 ins), framed and glazed (42 x 48 cm), printed Martyn Gregory label with typed information including ‘inscribed verso as title, Samuel Jackson visited Lynmouth in 1826’ and previous Christie’s auction labels to verso

95* English School. A group of 12 watercolours and pen, ink, and grey wash drawings, mostly North Devon and Somersetshire, 18251844, depicting the Valley of Rocks from near Duty Point, a view of Ilfracombe from Coronation Terrace, Lynton and Lynmouth, Clovelly, Honicote, Dulverton, Hinckley Church, and a view of Grasmere with Helm Crag, many captioned, a couple dated, some mounted to card, a few on modern card mount, a few very lightly spotted, otherwise in good condition, smallest 13.3 x 20.5 cm, largest 27 x 42 cm (12)

Provenance: Christie’s, London, Old Master - 19th Century & British Drawings & Watercolours, 9th December 2010, lot 1209. (1) £700 - £1,000

£300 - £400

Lot 96 47

97* North Devon. An album of 28 watercolours and one pencil drawing, 1829, comprising 28 watercolours and pen, ink and watercolour drawings, and one pencil drawing, showing a view on the Torridge between Appledore and Bideford, a view from Porthill plantation, Westleigh Church from the grounds of Tapeleigh, Bideford Bridge, Instow Church, a view from Tapeleigh, Lynmouth, a view from Linton, Hartland Quay, Hartland Abbey, Rocks at Hartland Quay, Rocks near Peppercombe, Peppercombe, a view from the grounds of Clovelly, a view of Clovelly, Rocks at Mill mouth, Ilfracombe, a view from Watermouth, Capstone Ilfracombe, a view from the road to Watermouth, coast of Ilfracombe, Ilfracombe Quay, a view from the Lantern in Ilfracombe, all captioned in black ink to leaf (except pencil drawing), one mounted, minimal spotting to a few, a few blank leaves, marbled endpapers, all edges gilt, contemporary red half-morocco over marbled boards, with giltdecorated red morocco title label to upper board with gilt lettering ‘Sketches in North Devon 1829’, lightly rubbed with some scufﬁng, oblong 4to (22.5 x 28.5 cm) (1)

98* English School. View of Barnstaple, circa 1840-50, oil on canvas, some touch-ups to small areas, 84 x 121.5 cm (33 x 47 7/8 ins), relined, ornate moulded frame (96 x 134.5 cm), printed label to verso ‘145 B1201’

Lot 97

(1)

Lot 98

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £400

£400 - £600

Lot 99 Whichelo (Henry Mayle, 1800-1884). Capstone Hill, Ilfracombe, watercolour, 23.5 x 34 cm (9 1/4 x 13 3/8 ins) mount aperture, framed and glazed (38.5 x 48.5 cm), contemporary brown ink inscription on paper adhered to verso with artist’s name, and title, together with English School. On the Road to Watersmeet, circa 1840, watercolour, 13.5 x 20.5 cm (5 3/8 x 8 1/8 ins) mount aperture, preliminary ink sketch to verso, titled to lower margin, doubleglazed, framed (36.5 x 41 cm), old Bamfords auction label 99*

Provenance: Whichelo, Capstone Hill, Ilfracombe: Woolley & Wallis, Salisbury, Old Masters, British & European paintings, 12th September 2017, lot 168, and English School, On the Road to Watersmeet: Bamfords Auctioneers, Derby, The Lady Elizabeth Cavendish Country House, Estate and Antiques Auction, 30th October 2019, Lot 880; From the Estate of Lady Elizabeth Georgiana Alice Cavendish CVO (24 April 1926 -15 September 2018), daughter of Edward Cavendish, 10th Duke of Devonshire, Chatsworth House, Derbyshire. (2) £300 - £500

Lot 100 100* West (William, 1801-1861). Lynmouth, 1853, watercolour, signed, titled and dated to lower left, 47 x 67.5 cm (18 1/2 x 26 5/8 ins) mount aperture, mounted, framed and glazed (77 x 96 cm) William West was an English oil painter and watercolourist and member of the Bristol School of artists. West rented the old mill at Clifton after it had been derelict for 52 years He converted the building into Clifton Observatory, incorporating reﬂecting and achromatic telescopes and a camera obscura and opening it up to visitors for a shilling. (1) £300 - £500

101* Williams (Edward Charles, 1807-1881). Minehead Quay, 1854, oil on canvas, titled, dated and signed lower left, relined, 67 x 107 cm (26 3/8 x 42 1/8 ins), contemporary handwritten label with title and name of artist; previous lot number and date of auction in white chalk; black stencil PP217, and modern printed C.S. Studios label to verso, ornate moulded gilt frame (82 x 122.5 cm) Provenance: Christie’s London, Fine Victorian Pictures, 14 March 1997, lot 89. (1) £700 - £1,000

Lot 101 49

102* Riviere (William, 1806-1876). Lynmouth, North Devon, 1855, oil on canvas, 31 x 51 cm (12 1/4 x 20 ins), some overall craquelure, some light marks and rubs to edges from previous frame, title, and ‘sketch painted on the spot by William Riviere A.D. 1855’ in contemporary black ink to verso of stretcher, together with Goodrich (James, B. ﬂ. 1851-1858). Country Landscape, 1851, oil on board, signed and dated lower left, 15.5 x 31 cm (6 1/8 x 12 1/4 ins), framed (20 x 35 cm), and Willis (Henry Brittan, 1810-1884). Ilfracombe, oil on canvas, 30.5 x 40.5 cm (12 x 15 7/8 ins), in modern ornate frame (44.5 x 54.5 cm), remnants of contemporary label with title ‘No.9’ and artist’s signature to verso (3)

£300 - £500

Lot 104

103* Jackson (Samuel Phillips, 1830-1904). Lynmouth, North Devon, 1857, watercolour and gouache, signed and dated lower right, 50 x 75 cm (19 3/4 x 29 1/2 ins), in ornate gilt frame, glazed (60 x 85.5 cm) (1)

£200 - £400

104* Pitt (William, active 1851-1890). Mill on the East Lyn, 1861, and Waterfall at Juxta Neath, 1857, a pair of oil on canvas, both monogrammed to lower left, relined, 35.5 x 30.5 cm (14 x 12 ins), each with title in modern pen to verso of stretcher, in matching wooden frames (42 x 37 cm) (2)

£300 - £500

Lot 105 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 106

105* Cooke (Edward William, R.A 1811-1880). Porlock Weir, Sep. 9. 1862, pencil on paper, showing boats anchored in the harbour at Porlock Weir near Minehead, Somerset, titled and dated to lower right, 18.2 x 26.6 cm (7 1/8 x 10 1/2 ins), framed and glazed (37.5 x 45.5 cm), printed Sabin Galleries Limited label to verso, together with Turner of Oxford (William, 1789-1862). Bideford, North Devon, pencil on buff paper heightened with white chalk, titled and signed in pencil to lower right, Bonhams London auction label to lower glaze, 24 x 36 cm (9 1/2 x 14 1/4 ins), framed and glazed (42 x 53 cm), and Callow (William, 1812-1908). Lee, North Devon, Oct 7th 1847, watercolour with traces of pencil, signed, titled and dated to lower left, 24.2 x 36.5 cm (9 1/2 x 14 3/8 ins), small chip to lower right corner, laid onto backing paper with title in pencil, framed and glazed (43 x 54.5 cm) (3)

106* Gill (Edmund, 1820-1894). The Mouth of the Lyn, North Devon, 1863, oil on canvas, signed and dated lower left, relined, 61 x 86 cm (24 x 33 7/8 ins), gilt frame with plaque containing title and artist’s name to lower frame, previous printed Phillips auction label ‘141 Sale No 462’ to frame, (82.5 x 109.5 cm), (1)

£300 - £500

107* Partridge (Edward, 1800-1896). Near Lynmouth, oil on card, depicting a hilly countryside landscape with rocky stream, inscription in ink 'Near Lynmouth' and 20th-century Biddle & Webb printed label to verso, 313 x 235 mm (12 1/4 x 9 1/4 ins), together with Pill (William). Old Cottages at Combe Martin, North Devon, 1849, oil on board, contemporary inscription in brown ink with title, artist name, and date, and contemporary Winsor & Newton 'prepared mill-board' printed label to verso, some rubbing to edges (from previous frame), 152 x 205 mm (6 x 8 1/8 ins), plus English School. In the North of Devon, 19th century, oil on board, inscribed in black ink by artist with title and indistinctly signed 'J.W.T Jurd'? to verso, 172 x 257 mm (6 3/4 x 10 1/8 ins), and English School. Lynmouth Harbour, oil on waxed board, contemporary Alfred E. Knight, Fine Art and Antique Dealer label to verso, 365 x 517 mm (14 3/8 x 20 3/4 ins), all unframed

£300 - £500

(4)

Lot 107 51

£200 - £400

109* Cotman (Frederick George, 1850-1920). At Appledore, 1870, watercolour, signed and dated lower right, 17 x 34 cm (6 5/8 x 13 3/8 ins) mount aperture, old Sworders auction label to glaze, framed (37 x 51 cm), modern handwritten label to verso with artist’s name, dates, title, medium etc., and ‘exhibited 26 at R.A’, together with Herries (Herbert Crompton, 1815-1870). Scarbor’, Oct 1859, watercolour with traces of pencil, titled and dated lower right in pencil, old Toovey’s auction label to upper glaze, 29 x 44 cm (11 3/8 x 17 1/4 ins) mount aperture, framed and glazed (49 x 62.5 cm), printed The Hampton Hill Gallery Ltd label to verso Provenance: At Appledore, Sworders, Essex, The Winter Country Sale, 9th December 2014, lot 221, and Scarbor’, Toovey’s, West Sussex, Antiques, Fine Art & Collectors’ items, 8th August 2018, lot 23. (2) £200 - £300

108* Millais (William Henry, 1828-1899). Lynmouth, North Devon, watercolour, titled and signed in red lower left, 23 x 50 cm (9 x 19 6/8 ins) arched mount aperture, framed and glazed (47 x 75 cm) (1)

£300 - £500

110* Shields (Frederick James, 1833-1911). The Limestone Carriers, Lynmouth, Devonshire, watercolour and coloured chalk on buff paper, 38.5 x 84 cm (15 1/8 x 33 ins) mount aperture, verso with previous auction chalk number, contemporary printed label for Charles Nicholls & Son, Manchester, and contemporary handwritten label in brown ink with title, artist and owner’s details, gilt moulded frame (62 x 108.5 cm) Provenance: Stephan Welz & Co., Johannesburg, October 18th 1993, lot 12; Sotheby’s, London, The Cornish Torbock Collection, 14th April 1994, lot 499; owned by Chs. H. Mitchell, Clarence...Manchester. (1) £400 - £600

Lot 109

Lot 110

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

111* Millais (William Henry, 1828-1899). Lynmouth, North Devon, 1882, watercolour, titled and dated in red and signed in pencil lower left, 22 x 52 cm (8 5/8 x 20 1/2 ins) mount aperture, framed and glazed (51 x 79 cm), printed Sussex Fine Art label to verso (1)

£300 - £500

112* Goodwin (Albert, 1845-1932). Berrynarbor, North Devon, watercolour and pencil, heightened with body colour, pen and black ink on wove paper, signed (in full and with monogram) to lower right, and titled to lower left, sheet size 218 x 303 mm (8 5/8 x 12 ins), laid down on backing card Provenance: Sotheby’s, London, British Paintings, Drawings & Watercolours, 13 November 1990, lot 328 (estimate £1,500-£2,000). North Devon became subject of many of Albert Goodwins works, especially following his marriage to Alice Desborough of Gidleigh Park in Devon, in 1874, when the artist and his family moved to Ilfracombe. The seaside town and the surrounding coast and landscape become his inspiration for much of his later life. The village of Berrynarbor lies three miles east of Ilfracombe. (1) £400 - £600

113* Keene (Alfred John, 1864-1930). Barnstaple, watercolour heightened with bodycolour, 42 x 66 cm (16 1/2 x 26 ins) mount aperture, framed and glazed (65.5 x 89 cm), newspaper cutting and fragment of original backing board with artist’s name to verso Provenance: Bearnes, Hampton & Littlewood, Fine Art, 8th July 2014, lot 256. (1) £200 - £300

114* Compton (Anne F., 1872-1932). Lynmouth Bay, after Albert Goodwin, oil on canvas, of the coast at Lynmouth, showing Rhenish Tower and the herring ﬂeet coming home, with a family watching in the foreground, signed lower right, 61 x 91cm (24 x 36 ins), stamp to verso of canvas ‘copied by permission from the original picture in the Corporation of London Art Gallery, Guildhall, E.C.’, gilt frame (some damage), glazed (76 x 105.5 cm), printed The Ravensbourne Galleries label to verso Lot 113

(1)

Lot 114

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £500

19TH CENTURY PAINTINGS & WATERCOLOURS

115* Pocock (Nicholas, 1740-1821). British Frigate in the Avon Gorge, 1787, watercolour, signed with initials and dated ‘Bristol 1787’ in black ink to lower right, laid onto museum card by Colin Denny Ltd in 1989, some general fading particularly to sky and backdrop, 38.8 x 56.8 cm (15 5/8 x 22 3/8 ins) mount aperture, glazed, gilt moulded frame (66.5 x 83cm), Colin Denny Ltd label to verso Provenance: Colin Denny Ltd Fine Art Dealers, 18 Cale Street, Chelsea, London; Ivan Hunt, London; thence by descent. Purchase invoice and insurance valuation from Colin Denny Ltd dated 1989 both included with this lot. (1) £300 - £500

Hamilton Johnston’, mounted (38 x 32 cm), remains of Folio Fine Art label on verso with stock number only partly visible, together with: Continental School. Portrait of a young lady, circa 1820, watercolour on laid paper, head and shoulders portrait of a young woman with plaited and curled fair hair and blue eyes, wearing a high-waisted blue gown with ruched bodice and strapwork sleeves, a lacetrimmed white muslin collar at her neck, and a woven shawl around her arms, toned and a few small marks, edge-chipped in places, with short closed tear in upper blank margin, sheet size 20 x 16.5 cm (8 x 6.5 ins), laid down on green paper, mounted (31.5 x 27 cm) Provenance: Emile E. Wolf (1899-1996), art collector, donor, and philanthropist was born in Hungary but emigrated to the United States in 1938, settling in New York City. He assembled an important and eclectic art collection over many decades, during a lifetime’s commitment to the arts. Wolf’s passion and generosity meant that he became a major patron to a number of museums and galleries, including the National Gallery of Art, Israel Museum in Jerusalem, the Metropolitan Museum, and Chrysler Museum, as well as a donor of many works to a number of universities. An exhibition titled The Discovery of the Everyday: Seventeenth-Century Dutch Paintings from the Wolf Collection toured American museums between 1982 and 1983. In May 2017 Sotheby’s sold a small but signiﬁcant collection of Impressionist and Expressionist works, by Picasso, Renoir, Pissaro, Pechstein, and others, offered on behalf of the artist’s family. (2) £200 - £300

116* American Colonial School. Portrait of a young gentleman, circa 1780s, coloured chalks on pale blue laid paper, half-length portrait of a young man, half-proﬁle to the right, with curly auburn hair, wearing a pale green waistcoat, a light grey coat, and a white necktie, sheet size 22.7 x 19.6 cm (9 x 7 3/4 ins), previous owner’s manuscript note on mount below image ‘bt. by Emile Wolf - I suspect in New York ?American colonial (cf. [indistinct words] 18th c.

117* Cruikshank (Isaac, 1764-1811). ‘I Can Call Spirits from the Vasty Deep’ (from Shakespeare’s King Henry IV, Part 1, Act III, Scene 1, line 53), circa 1790, pen, brown ink and watercolour on paper laid down on card, with title handwritten in red-brown watercolour to lower blank margin, later pencil inscription with details of the Shakespearian subject to verso, 193 x 222 mm (7 5/8 x 8 3/4 ins), framed and glazed with Chris Beetles gallery label to verso Exhibited: Chris Beetles Ltd., The Illustrators, The British Art of Illustration 1800-1991, number 1.

119* Attributed to Thomas Girtin (1775-1802). Tattershall Castle, Lincolnshire, circa 1798, watercolour with traces of pencil, depicting the north east view of Tattershall Castle’s Great Tower against a stormy sky, with an ox lying down in the foreground and several ﬁgures, 31 x 26 cm (12 1/4 x 10 1/4 ins), neat ink inscription to mount (title, artist, dates), framed and glazed (53.5 x 48 cm), backboard with typed letter pertaining to provenance on J. Davey & Sons headed paper entitled ‘Extract from letter from Mssrs Frost & Reed Ltd., 41, New Bond Street, London, W. 1 dated 22nd September 1950’, and Frost & Reed label beneath with artist’s name (crossed through) and title of painting in manuscript

Fine satirical watercolour depicting the Welsh rebel leader Owain Glyndwr during the reign of Henry IV. Given the political climate in England immediately following the French Revolution, Glyndwr probablyrepresents a Jacobinite agitator against the political status quo. (1) £200 - £300

The extract from the letter from old established art dealers Frost & Reed, dated 1950, traces the painting’s history, stating that they purchased the work from an unnamed gentleman who acquired it in 1924 from the London dealer E. Permain of King Street, St. James’s: ‘The gentleman from whom we purchased this drawing formed his collection between the years 1910 and 1930. He is now over 80 years of age, and during the last few years we have purchased a number of works from him.’ The Whitworth Art Gallery, University of Manchester, has a watercolour of Tattershall by Girtin painted in 1798 which is larger, but otherwise very similar to that offered here (accession number D.1892.109). Both show the north east view of the imposing 15th-century red brick fortress known as the Great Tower, built by Ralph Cromwell, Lord Treasurer of England in 1434, which still stands today. In 1801 Bartholomew Howlett (1767-1827) published A Selection of Views in the County of Lincoln, containing 75 plates from drawings by various artists, including a north east view and south west view of Tattershall after Girtin. (1) £1,500 - £2,000

118* Varley (John, 1778-1842). Conway Castle, Wales, 1797, watercolour, signed and dated 1797 lower right, 10 x 18.5 cm (4 x 7 1/4 ins), mounted (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£200 - £300

120* Copley Fielding (Anthony Vandyke, 1787-1855). Clitheroe Castle, Lancashire, watercolour on paper, signed lower left, 106 x 157 mm, (4 1/4 x 6 1/4 ins), mounted, framed and glazed (29.5 x 42.5 cm) An engraving by William Floyd (1807-1882) was made from the drawing of Clitheroe Castle by Copley Fielding and published by Fisher, Son & Co for Thomas Allen in 1850. (1) £150 - £200

122* Munn (Paul Sandby, 1773-1845). Devil’s Bridge, North Wales, 1801, ﬁne watercolour with traces of pencil on paper, laid onto pale pink backing paper, signed and dated 1801 lower right, 45.5 x 32 cm (17 7/8 x 12 5/8 ins), some fading, mount with title, artist and dates in ink to lower edge, framed and glazed (65 x 52 cm), together with Jackson (Samuel Phillips, 1830-1904). English Coastal Scene, watercolour, signed to lower left, 24 x 41.5 cm (9 1/2 x 16 3/8 ins), gilt period frame, glazed (65 x 49.5 cm) An engraved version of this original watercolour of Devil’s Bridge by Sandby Munn, by Letitia Byrne, was published by Thomas Palser in 1809, a copy of which is held at the National Library of Wales (Welsh Landscape Collection, 99401499502419). (2) £150 - £200

121* Edridge (Henry, 1768-1821). Portrait of a Young Man standing before the city of Calcutta, circa 1800, pencil, grey wash and watercolour on paper, signed to lower right corner, stained to margins with some minor paint loss, laid on card, near contemporary inscription to verso (‘Mr B. Boulder’), framed (some superﬁcial losses), watercolour size 43 x 32.5 cm, frame size 54 x 45 cm (1)

123* Attributed to Thomas Butterworth (1768-1842). Shipping in Stormy Seas, oil on canvas, previous auction label to frame verso, framed (60.2 x 69.5 cm) (1)

£200 - £300

£200 - £400

126* Armytage (Lady Mary, 1773-1834). A group of 8 albums of pencil drawings, with a few watercolours and pen, ink and wash drawings, 1792-1830, comprising approximately 222 original drawings, mostly pencil drawings, with a few watercolours, pencil and grey wash drawings, and a couple of pen, ink and wash drawings, depicting mainly rural and some coastal scenes, with views of ruins and abbeys, including Byland Abbey, Holme Park, St. Asaph (Wales), Kirklees, Castle Howard, Hartlepool Cliffs, Hackness (North Yorkshire), Kendal, Appleton, Shotton Dene, and Black Rocks, with a few drawings after Claude Lorrain, mostly to rectos of album leaves, many captioned and dated in pencil to versos, many tissue-guards throughout, one or two leaves detached, a few drawings lightly stained, a couple of albums with ownership inscription of Mary Armytage to front pastedowns, contemporary half calf or half morocco over marbled boards (except one in contemporary full speckled calf), some rubbing to extremities, a few with some wear to spines, oblong 8vo, oblong 4to, oblong folio (smallest 11.5 x 19 cm, largest 26.5 x 35.7 cm), together with: Assheton (Mary, 1790-1871). An album of 29 pencil and pen, ink, and wash drawings, 1817, comprising 23 pencil drawings and six pen, ink and wash views, mostly rural and coastal scenes, including Bathampton Church and Glastonbury Abbey, near contemporary annotations in pencil to front endpaper, contemporary ownership inscription to front pastedown (‘Mary Assheton 1817’), contemporary black half calf over blue boards, with manuscript ownership inscription to upper board (‘M. A: Sept: 14.. 1815’), extremities rubbed, oblong 4to (21 x 27 cm), plus Armytage (John, 1792-1836). Two albums of juvenile pencil drawings, with a few pen and ink sketches, 1797 and later, comprising 52 pencil drawings, including a few pen and ink sketches, mostly naval scenes, human studies, and views of castles, contemporary ownership inscription to front pastedown of one (‘John Armytage’, and in a different hand ‘Begun 1797/8’), ownership inscriptions in pencil to verso of front endpaper of the other (‘My father’s drawing book M E L’; ‘John Armytage’), one in contemporary blue limp boards, the other in contemporary red half morocco over marbled boards, light wear to extremities, oblong 8vo and 4to (smallest 12.5 x 25 cm, largest 22.7 x 28.6 cm)

124* After Rembrandt van Rijn (1606-1669). Jan Lutma, Goldsmith, 1811, pen and ink, initialled C.R.C. and dated 1811 to right edge, 21 x 17 cms (8 1/4 x 6 5/8 ins), in carved painted wooden frame with foliate design to each outer edge, (45 x 42 cm) two sets of typed notes and near contemporary ownership label with ink handwritten ownership note ‘Mrs Brandbury Shotton Hall 1835’ to verso Provenance: Current vendor, purchased from Kenneth William Saunders Collection 1996; Mrs Brandbury, Shotton Hall, 1835; Charles Robert Cockerell, 1788-1863. (1) £200 - £400

125* English School. Album of watercolour and pencil landscape and ﬁgure studies, circa 1812-1830s, watercolour and pencil on wove paper, unsigned but several with pencil annotations by the artist to verso, including '2 Miles beyond Woodford on the Epping Road looking towards the Forest', 'Robsley Quarries, 17 August 1812', 'Looking from the Paddington Canal over towards Kensington Gardens', 'Epping Forest', several studies of the Thames, studies of shipping, etc., various sizes from 9 x 11 cm to 23.5 x 31.5 cm, loosely contained in old card folder (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lady Mary Armytage (1773-1834), was the daughter of Oldﬁeld Bowles (17401810), an amateur landscape painter and pupil of Thomas Jones. She was the second wife of Sir George Armytage (1761-1836) of Kirklees Park. These drawing books depict picturesque sites on the Kirklees Estate, as well as many rural and coastal scenes. The lot includes two albums of juvenile pencil drawings by Mary’s son John, and one album compiled by Mary’s daughter-in-law, Mary Assheton. (11) £400 - £600

£150 - £200

128* English School. Portrait of Michael Bryan, early 19th century, oil on canvas, half-length portrait of Michael Bryan wearing a white stock tie, white shirt with upturned collar, and a dark coat, relined, 71 x 58.5 cm, old printed label to verso 'Denning. 94. Portrait of Michael Bryan, the author of the "Dictionary of Painters"', in dark moulded wooden frame with gilt decoration (90 x 77.5 cm) Michael Bryan (1757-1821) was an art historian, dealer and author. He owned an art gallery in Savile Row, London, which became a fashionable place for artists and their patrons to gather. In 1812 he started writing his 'magnum opus' the Biographical and Critical Dictionary of Painters and Engravers in 2 volumes, published in 1816. (1) £200 - £400

127* Copley Fielding (Anthony Vandyke, 1787-1855). Rural landscape with cows, circa 1830s, watercolour on paper, ticket of W. M. Power Carver & Gilder, 121 Victoria St. Westminster to verso, framed and glazed, image size 28 x 40 cm, frame size 34.7 x 47 cm, together with Attributed to Claude-Joseph Vernet (1714-1789). Mediterranean harbour scene with a Dutch Man-o'-War ship off the coast with ﬁgures, dog and boats in the foreground, watercolour, some wormholes to lower left, 33 x 48 cm (13 x 18 7/8 ins) mount aperture, framed and glazed (50 x 63.5 cm) (1)

£200 - £300

129* Kirchhoffer (Henry, 1781-1860). Black Water Bridge, Derreenafoyle, County Kerry, Ireland, watercolour on cream wove paper, 31 x 25.5 cm (12 1/4 x 10 ins), titled and signed in brown ink to verso, framed and glazed (53 x 43.5 cm) Henry Kirchhoffer (1781-1860) was the son of a cabinet-maker working in Dublin. He entered the Royal Dublin Society Schools in 1797 after which he practised as a portrait painter in Cork. Returning to Dublin in 1816 he exhibited his work frequently and became an Associate of the Royal Hibernian Academy, being elected to the Royal Hibernian Academy in 1826. He continued to exhibit and, for a period, acted as secretary for the Royal Hibernian Academy. He moved to London in 1835 and exhibited at the Royal Academy. (1) £150 - £200

Lot 128

130* Sadler (William II, 17821839). Coastal Storm, oil on wood panel, some craquelure to lower right, some overall spotting, 50 x 75 cm (19 5/8 x 29 1/2 ins), framed (61.5 x 86 cm), previous auction labels to verso Provenance: Sotheby’s, London, The Irish Sale, 7th May 2008, lot 107. (1) £600 - £800

Lot 130

132* Devonshire. An album containing 29 pencil drawings and one original watercolour, circa 1823-1833, including 29 pencil drawings depicting Babacombe, Clovelly Pier, Ilfracombe Church (dated 1833 in pencil), Clovelly, Linton, Lynmouth, Valley of Rocks, farm house near Linton, Dunster Castle, Oakhampton, Remains of Tavistock Abbey, Ruins of Morwell Priory, Ivy Bridge, Ivy Bridge Church, Tor Church (near Torquay), Tor Abbey, farm house near Torquay, several cottages near Torquay, Sidmouth, Rocks near Sidmouth, a lane near Sidmouth, Branscombe, Salcombe near Sidmouth, and Dawlish, and one watercolour of Ilfracombe, inside the Pier (watermarked J Whatman 1823), loosely mounted to leaves, mostly captioned in blank ink to album leaf, watercolour with contemporary manuscript caption to verso, a few blank leaves, contemporary red half morocco gilt over marbled boards, with manuscript paper title label to upper board, extremities rubbed, oblong 4to (20.7 x 26.7 cm)

131* German School. An album of 10 watercolours, May-June 1821, comprising 10 watercolours on laid paper, depicting castles and towns in Thuringia and Saxony-Anhalt, including Wachsenburg Castle, a mill in the Schmalkalden Valley, Ilmenau, Paulinzella, Paulinzella Monastery, Schwarzburg Castle, Rudolstadt Castle, Wernigerode Castle, Jena, Ilsenburg, all drawn from nature, all captioned in German and dated in black ink, two signed ‘EWS’, some minor spotting (heavier to ﬁrst watercolour), one leaf detached, a few leaves minimally frayed to margins, stitched, oblong 4to (25.5 x 33.5 cm) (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

(1)

£300 - £400

£200 - £300

133* English School. Portrait of a Young Gentleman, circa 1830, oil on wood panel, half length portrait half proﬁle to the left, of a seated dark-haired gentleman in a black coat and white necktie, with a distant gaze on his face and his right hand resting on a leather-bound book, a curtain draped on the left, overall craquelure, 13 x 27 1/2 cm (33 x 10 3/4 ins), gilt moulded frame (42.5 x 36.5 cm) (1)

£150 - £200

135 Swaine (John Barak, 1815-1838). A collection of 50 original sketches and engravings, 1830-1835, including 43 pen and brown ink and pencil ﬁgure studies, landscapes, and small studies after Old Masters, including an eight-page printed biographical sketch of J. B. Swaine extracted from the Gentleman's Magazine for May 1838, and 7 engravings, mostly mounted on 17 album leaves (detached, some loose), some soiling and marginal fraying, various sizes, largest 19.5 x 15.5 cm (7 1/2 x 6 ins) John Barak Swaine (1815-1838) was the only son of engraver John Swaine (1775-1860). He studied at the Royal Academy schools and in 1833 was awarded the Isis gold medal of the Society of Arts for an etching. He took up oil painting and was employed in 1834 by an American named Jones. He travelled from Holland to Paris, mainly on foot, in order to copy some of the best pictures at The Hague and in the Louvre, painting in various mediums, including oils. He died at the age of 23 from a debilitating illness he had suffered with for three years. (a folder) £200 - £300

134* Purser (William, 1790-1852). The Pantheon, Rome, watercolour, signed to lower right, 6.3 x 9 cm (2 1/2 x 3 1/2 ins) mount aperture, framed and glazed (30.5 x 30.5 cm) (1)

£150 - £200

136* Attributed to Samuel Palmer (1805-1881). Arch of Constantine, Rome, 1837, brown ink and pencil with sepia wash on cream wove paper, sheet size 226 x 291 mm (8 7/8 x 11 7/16 ins), printed label with artist's name, title, and description of the work, stating 'From ''Honey-moon sketchbook", 1838., Purchased from RE Summerfield coll.' to verso The Ronald Ernest Summerfield Collection was collated by R.E. Summerfield an eccentric antiques dealer whose premises were located on Montpellier Avenue in Cheltenham. He died in March 1989 and his collection was sold at auction via Christie's on the 27 and 28 October 1989 at Cheltenham Racecourse.

138* French School. Portrait of a Young Man, 1832, oil on card, signed and dated top right 'Canon, pinx, 1832', Binant Paris ink stamp to verso, 22.5 x 16.3 cm, in a dark green and gilt frame (35.2 x 29.2 cm)

In 1837, Samuel Palmer married his mentor John Linnell's oldest daughter, Hannah. During a 2-year long working honeymoon, the pair stayed in Italy where Palmer made studies of the Italian landscape. He remarked that it was here he felt that he was 'no longer a mere maker of sketches, but an artist' (E. Malins Samuel Palmer’s Italian Honeymoon, 1968, p. 73). (1) £300 - £500

Binant was founded in Paris by Louis-Alfred Binant (1822-1904). The company was a leading canvas supplier and framer. (1) £200 - £300

137* Attributed to Samuel Palmer (1805-1881). Syracuse, Sicily, 1838, brown ink and pencil with sepia wash on cream wove paper, sheet size 215 x 287 mm (8 1/2 x 11 1/4 ins), framed and glazed (38 x 44 cm), printed label with artist's name, title, and description of the work, stating 'From ''Honey-moon sketchbook", 1838., Purchased from RE Summerﬁeld coll.' to verso See lot 136 note. (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £500

Lot 139

141* Churchyard (Thomas, 1798-1865). Landscape with Rural Residence, overlooking River Deben with two ﬁgures, near Woodbridge, Suffolk, oil on board, image size 18 x 23 cm (7 x 9 ins), scratch marks to surface, revarnished, panel edges worn, wooden gilt frame 25 x 29 cm

139* After Rembrandt van Rijn (1606-1669). The Burgermeister, 19th century, oil on canvas pasted to board, head and shoulders tronie of a bearded man wearing a red cap, a copy after Rembrandt’s Bearded Man in a Cap, late 1650s, 24 x 27.5 cm (9 1/2 x 10 6/8 ins), ornate giltwood frame, small losses and overall cracking to decorative gilding, gilt inner slip cracked and repaired to right edge, inscribed faintly in pencil with title to top left rear of frame, 45 x 41.5 cm

Thomas Churchyard (1798-1865) was an English lawyer and painter whose real interest lay in painting landscapes of Woodbridge, Suffolk where he lived. (1) £200 - £300

Provenance: Sold by Biddle & Webb Auctioneers, Birmingham, 6th April 1973, lot 383. (1) £150 - £200

142 Edouart (Auguste Amant Constant Fidèle, 1789-1861). A collection of 10 silhouette portraits, black scissor-cut, full-length portraits, including: Lady Mary Lennox, London May 21st 1829, with contemporary handwritten label on card with Nevill Jackson Collection blue label to upper left; George Coombe Esq: W.S. phrenologist, with contemporary handwritten note 'married Cecilia, daughter of Mrs Siddous, actress, 25 North St, Edinburgh, June 1830', and August Edouart stamp in blue ink both excised from previous backing board; Miss Harriet Compton, Gloster, 10th December 1836, with contemporary handwritten title in brown ink, and Mrs F. Nevill Jackson collection stamp both on excised sections of paper; William C. Humphrey, Doctor of the 95th Regiment, June 11 1835, with contemporary handwritten title in brown ink, and Mrs F. Nevill Jackson collection stamp both on excised sections of paper, etc., each silhouette laid onto 20th century wove paper, various sizes, largest 27.9 x 22.9 cm (11 x 9 ins), plus 4 similar showing a column (x2), a table, and a dog, together with Roybert (Lieutenant Ferdinand George, early 20th century). A group of 59 French WWI-period silhouette portraits on paper, black scissorcut, side proﬁles of fellow prisoners of war held in Magdeburg Ofﬁcer POW camp, Germany, each silhouette laid onto 20thcentury wove paper, some with names in pencil to lower margin, all similar size 22.3 x 15.6 cm (8 3/4 x 6 1/8 ins)

140* Attributed to Thomas Churchyard (1798-1865). Post mill with roundhouse, oil on canvas, depicting a post mill with roundhouse, the miller looking out of the doorway, a woman and child outside, with a low house behind, a hedge and trees beyond, few ﬂakes of loss towards lower right corner, 17.8 x 25.5 cm (7 x 10 ins), on original stretcher (unframed), canvas verso with ink stamp of Reeves & Sons, 113 Cheapside, London Reeves and Sons had a shop and warehouse at 113 Cheapside between 1845 and 1940, when it was destroyed by bombing. (1) £200 - £300

Frenchman Augustin Edouart was one of the most famous silhouette artists of the nineteenth century. He came to London where he began his career making portraits from hair, going on to work as a silhouette portraitist. Edouart subsequently spent fifteen years touring England and also lived for three years in Edinburgh. Sitters included the exiled French royal family of Charles X, writer Sir Walter Scott and artist William Dyce. The National Portrait Gallery holds twenty-eight silhouettes by him. Lieutenant Ferdinand George Roybert was an officer in the 9th Cuirassiers, he was captured at the Western Front in 1915 and held in Magdeburg Officer POW camp in Germany where he learnt the technique of silhouette cutting. (a folder) £300 - £400

Lot 141

143* Hekking (Willem I, 1796-1862). Exotic Citron Fruit, watercolour over traces of pencil on cream wove paper, early handwritten inscription ‘Adams Een Cedir’ (?) in pencil to sheet verso, hinge mounted with tape along the upper sheet edge to modern mount, previous Sotheby’s auction label to mountboard verso, sheet size 110 x 134 mm (4 3/8 x 5 1/4 ins), 101 x 128 mm (4 x 5 ins) mount aperture, together with Peach, watercolour over traces of pencil on cream wove paper, early handwritten inscription ‘Nov. Lust de lusten’ (?) in pencil to sheet verso, hinge-mounted with tape along the upper sheet edge to a modern mount, Sotheby’s auction label to mountboard verso Born in Amsterdam the son of wallpaper painter and landscapist Theodorus Hekking (1766-1819), Willem Hekking I was trained as a painter and draughtsman under Anthonij van den Bosch. Between 1813 and 1838 Hekking exhibited highly ﬁnished still life subjects of ﬂowers and fruit in Amsterdam and Rotterdam. The two watercolours offered in this present lot were previously held in the Collection of Professor Egbert Haverkamp-Begemann; and sold Sotheby’s, London, 31st January 2018 (as part of lot 221). (2) £700 - £1,000

144* Mather (George Marshall, 1800-1887). Portrait of a Young Lady, 1843, opaque watercolour oval miniature portrait on ivory laid down on card, a half-length portrait of a young lady with tight ringlet curls framing her face and a white pearl headband, wearing a low-cut black velvet gown with lace-trimmed sleeves and a gold brooch at the neckline, with gold drop earrings and a thin gold chain necklace, 89 x 67 mm (3 1/2 x 2 3/4 ins), original printed label to verso: ‘Painted by, GEO. MARSHALL MATHER, MINIATURE PAINTER, 63 PRINCES STREET, EDINBURGH. 1843.’, ‘1843’ hand-written in black ink, housed in a red velvet-lined red morocco bookform case, some surface wear, rectangular gilt card mount and two brass clasps, glazed (115 x 95 mm) Ivory Act UK registration submission reference: SAYTT43L. Overseas buyers should note the information on our shipping page regarding the import/export of ivory and other CITES regulated items. CITES licence applications and any exportation/importation requirements are the responsibility of the buyer. (1) £200 - £300

Lot 144

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

145* Boggis (James, 1806-1847). An album of rural sketches and drawings, thought to be of the countryside around Essex, containing a total of 49 pencil and watercolour wash drawings, on rectos of each sheet only, depicting a variety of country scenes with figures and animals, including scything, pumping and drawing water, feeding workers in the fields, transporting cattle across water in a boat, ploughing (and mending a plough), bee keeping, milking, fishing, cooking on a tripod, hanging out the laundry, a horseback peddlar, etc., interleaved with tissue guards (generally creased and spotted, 1 or 2 missing), sewing weakening in places, hinges repaired with fabric tape, inscribed on the front free endpaper ‘Lucy Boggis from Arthur W. Weston May 15th 1879’, original pink cloth, gilt lettered ‘Drawings’ to upper cover, covers partially faded, upper joint split, spine frayed at ends, oblong 4to (sheet size 18 x 27.5 cm, approx. 7 x 11 ins), together with an autograph letter signed from P.J.S. Boggis relating to provenance dated 26th March 1979 Accompanied by a letter of provenance from P.J.S. Boggis to the current owner dated 26th March 1979, attributing the drawings to his great uncle James Boggis “who had artistic talents of a high order & was born in 1806 and lived at Earls Colne in Essex”, going on to say “Colchester was the family home of my ancestors (our family tomb is there as well as a museum named ‘The House of Boggis’) & since the drawings were more than likely a family handown I would think the scenes depicted were of the Essex countryside.” James Macdonald Boggis was the eldest of 4 sons of Isaac Rolfe Boggis and his wife, Elizabeth Mayor (née Stubbs). A semi-invalid owing to a heart condition, he was a scholar at Peterhouse College, Cambridge, and was known as ‘Blue Boggis’. He was an artist in oils and watercolours and exhibited his works at various London galleries. As well as the aforementioned Earl’s Colne, James Boggis also resided at Langham Hall and Little Horkesley Priory, both in Essex. The drawings are skilfully executed and clearly carefully observed from nature, suggesting the artist was well taught, perhaps by one of the Norwich School painters, several of whom at this time earnt a living as teachers of drawing. (1) £700 - £1,000

146* Arkwright (Captain Augustus Peter, 1821-1887). Two Naval Frigates, circa 1850, watercolour, depicting two Royal Navy squarerigged ships of the line in a choppy sea, some general fading, 29.8 x 47.6 cm (11 3/4 x 18 3/4 ins) mount aperture, glazed and framed (69.5 x 87.5 cm), Colin Denny Ltd label to verso with artist’s name ‘Captain A.P. Arkwright R.N.’ (1)

Lot 145 65

£200 - £300

Lot 147

147* Creswick (Thomas, 1811-1869). Mytholmroyd, Yorkshire, oil on canvas, relined, 62.5 x 75.5 cm (24 5/8 x 29 3/4 ins), contemporary label to verso of stretcher with artist’s name and title in brown ink, 20th-century ornate moulded frame (81 x 93.5 cm) Thomas Creswick was one of the best-known members of the Birmingham School of Landscapists. Born in Shefﬁeld, he was educated at Hazelwood near Birmingham. (1) £400 - £600

148* Hervier (Louis Adolphe, 1818-1879). Interior with Figures, 19th century, oil on panel depicting a barn? interior with women, children, and chickens, signed ‘HERVIER’ lower left, red stamp seal to verso with old label of authenticity from ‘Regent St. London. W.’ signed in ink by the artist and W.W. Sampson, old label from British Galleries to verso, old printed label to frame verso ‘From William B. Watson, Dealer in, High Class Oil Paintings and Water Colours, The Watson Gallery 144 ??? Street, Montreal’, and old printed article about the artist to frame verso, 20 x 24.2 cm, in a moulded gilt frame (41.5 x 47 cm) (1)

Lot 148

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £400

149* Follower of John Martin (1789-1854). The Day of Judgement, later 19th century, oil on canvas, relined, some marks to picture surface with some minor repairs, 142 x 104 cm (56 x 41 ins), old plain gilt frame (1)

£700 - £1,000

150* Leroux (A., 19th century). Ships on an American River, circa mid-19th century, gouache on paper, depicting a steam riverboat between two sailing ships, one ﬂying an American ﬂag, in the foreground a rowing boat carrying four man, all wearing broadbrimmed hats, a tree with Spanish moss on the left bank, the river probably in the Southern United States, or possibly Central or South America, signed lower right, small stain near top edge, tiny nick centrally, 22.7 x 30.3 cm (9 x 12 ins), laid down on card, framed and glazed (41.5 x 49.5 cm) Lot 149

(1)

£200 - £300

151* Rumbold (Karl, 1801-1875). A small album of original pencil drawings of Austrian scenes, 13 September-28 October 1852, comprising 46 pencil drawings, depicting alpine scenes in Fischbach, Treffauer Spitz, Teufels Spitz (Klangen), Klaussen, Kufstein, Niederau, Audorf, Ramersdorf, local ﬂora (including Spiracea Salicifolia) and fauna (deers, a domesticated bear, geese, a plow horse, and a cat), local costumes and alpine huts, mostly to rectos, some double-page, on a total of 42 leaves numbered 1-44 (lacking leaves 31-32), mostly captioned and dated in pencil, some spotting and light damp-staining to some leaves, signed and inscribed by author to ﬁrst leaf, contemporary ownership inscription (‘Bernh Girscher 1852’) to front pastedown, pencil scribbles and calculations to rear endpaper and pastedown, contemporary half sheep over marbled boards, with modern paper label with manuscript accession number to upper board, worn, spine detached but present, oblong 8vo (8.2 x 15 cm) Provenance: probably Bernhard Moritz Girscher (1822-1870), German landscape painter. A fascinating small album of pencil drawings by Karl Rumbold (1801-1875), Austrian landscape painter and educator who taught geometry and architecture at the lower secondary school of Salzburg from 1851 to 1858. Rumbold ‘was a high-quality landscape painter of the Biedermeier period, capable of precisely depicting his subjects. Of his 32 known works, 28 are oil paintings, three of which depict Salzburg scenes, while the rest are Carinthian landscapes’ (Österreichisches Biographisches Lexikon, 1815-1950, Vol. 9, n. 44, p. 324). The pencil drawings include scenes mostly from Tyrol and Styria, focusing particularly on mountains (including Treffauer Spitz and Teufels Spitz), alpine villages and local subjects. (1) £200 - £300

Lot 153

152* Attributed to Carl Haag (1820-1915). Portrait of an Arab Gentleman, oil on canvas laid onto panel, canvas size 16.1 x 12.8 cm (6 1/2 x 5 1/8 ins), panel size 16.6 x 13.3 cm (6 5/8 x 5 1/4 ins), in contemporary gilt moulded frame (40.5 x 37 cm) Provenance: Private Collection, London. (1)

£300 - £500

153* Vernon (William Henry, 1820-1909). On the Avon, oil on board, depicting cows grazing on a marshy riverbank in an overcast wooded landscape, signed lower right, very slightly chipped to top corners, 17.5 x 25.5 cm (7 7/8 x 9 7/8 ins), paper covering board verso inscribed with title and artist’s name in brown ink, and with framer’s label ‘A. Charles Savage & Son, Birmingham’, framed (28 x 36 cm) (1)

£100 - £150

Lot 154

154* Brookes (John Enoch, active 1864-1873). Rustic Landscapes, three oil paintings on canvas, two showing old farm buildings, both signed with monogram ‘JB’ to lower right, one showing a horse and cart on a rural road, one with two small areas of minor paint loss to wall of main building, panel sizes 18.5 x 23.3 cm (7 1/4 x 9 1/8 ins) and 30.8 x 41 cm (12 1/8 x 16 1/8 ins), in matching frames (31 x 38 cm and 43 x 52.5 cm) (3)

£200 - £300

Lot 155

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

155* Watercolour Album. An album of 49 original watercolours of coastal scenes in southern England and Northern France, 18651866, including 49 original watercolours with white bodywash, 30 of which depicting locations in Kent, Sussex, Devon and the Isle of Wight, such as North Foreland Cliffs, Broadstairs, Ramsgate Harbour, Pegwell Bay, South Foreland, Romney Marsh and Dover Cliffs, The Lovers Seat (Hastings), Ecclesbourne Cliff, Hastings, East Cliff and Hastings Cliffs, ruins at Hastings Castle, Martello Towers near St. Leonards, Pevensey Bay, Beachey Head, St. Leonards, St. Leonards from Bexhill, Culver Cliffs (Isle of Wight), The Needles (Isle of Wight), Torquay, Oddicombe Bay and Watcombe Bay (Torquay), Paignton, and 19 depicting locations in Normandy and near Boulogne-sur-Mer, including Port-en-Bessin, Sands at St. Aubyn, Luc sur mer, Le Havre Cliffs, Boulogne-sur-Mer, Chatillon Cliffs, Notre Dame de Boulogne-sur-Mer from the sea, the Jetty of Boulogne-sur-Mer, Wimereux, colonne Napoléon (Wimille), mostly signed I. C. L. and captioned, many dated, all mounted to album leaves, minor occasional spotting to a few album leaves (not affecting watercolours), one leaf detached, contemporary burgundy half morocco over brown cloth boards, with gilt spine, rubbed, oblong folio (25.5 x 36.3 cm), together with: Scotland, Isle of Wight and Yorkshire. An album of 38 original watercolours by Caroline R. O’Reilly, 1841-1866, including 17 views of Scotland, depicting Oban, Dunollie castle, Iona, Staffa (with Iona in the distance), Islands of Coll, Rum and Skye, Tobermory (Mull), Fingals Cave (Staffa), Ballachulish Slate Quarries from steam boat,Pass of Glencoe, Head of the Loch Fine, Spean Bridge, Inverary Castle, Ballochmyle, Balmoral from High Road, Invalair near the parallel roads, 17 views mostly of the Isle of Wight and Yorkshire, including Knaresborough Castle Bridge, Hampshire Coast, Robin Lythe’s Cave (Flamborough Head), King & Queen Rocks (Flamborough Head), Bridlington Quay (old pier), Scarborough south sands, the Needles, Hurst Castle, Luccombe Chine, Undercliff, Shanklin Chine (Isle of Wight), Brownsea Castle (Brownsea Island), and four Italian views (King’s Palace and Palazzo madama in Turin, light house of Genova, Ponte Vecchio in Florence, the Colosseum in Rome), some signed C. R. C. in pencil and a few captioned and dated in pencil, all captioned in pencil to album leaves (a few comments in pencil related to the places visited), all mounted to leaves (a few detached), some minor spotting to album leaves (not affecting watercolours), contemporary ownership inscription to verso of front endpaper (‘Caroline R. O’Reilly Scarborough’), marbled endpapers, contemporary half morocco gilt over marbled boards, with black morocco label with gilt lettering ‘Sketches C. R. C.’ to upper board, lightly rubbed at extremities, oblong folio (27 x 35 cm)

156* European School. Valley in the Bernese Oberland, 1867, watercolour on wove paper, depicting Haslital, an alpine valley in the Bernese Oberland region of Switzerland, inscribed by brush in brown watercolour ‘Upper Hasli Thal, 6. 67’ lower left, with margins, sheet size 408 x 310 mm (16 x 12 1/4 ins), pasted to verso of window mount, 350 x 227 mm (13 3/4 x 9 ins) mount aperture, framed (54 x 41 cm) (1)

(Scotland, Isle of Wight) Probably compiled by Caroline Rachel O’Reilly (ca. 1809-1885), Micklegate House, York, died in the seaside town of Scarborough. (2) £300 - £400

£200 - £300

157* Mitchell (E., 19th century). Portrait of a Black Heavy Horse in a landscape, 1867, oil on canvas, depicting a black heavy horse with white socks, standing in a ﬁeld with farm buildings beyond, signed and dated lower centre, overall craquelure, some spots and small lines of touching-up, right edge with small patch repair on verso, 48.5 x 64.5 cm (19 x 25 1/2 ins), gilt wood frame (60 x 76 cm) (1)

£400 - £600

Lot 157

158* Nibbs (Richard Henry, 1816-1893). Dutch Sailbarge off a Pier, watercolour, signed to lower right, 40 x 55.5 cm (15 3/4 x 21 7/8 ins) mount aperture, with artist’s name and dates printed to lower mount, framed and glazed (67.5 x 82 cm) (1)

159* Cooper (Thomas Sidney, 1803-1902). Shearing Hind Quarter, 1874, pencil drawing with watercolour wash on wove paper, titled in pencil ‘Shearing Hind Quarter’, and dated in black ink ‘April 22nd 1874 Henbury’, margins lightly toned, one minor stain, tipped onto card, 19.5 x 26.4 cm, card size 27.5 x 31 cm, together with: Scotland. View of Campbell Town, near Fort George and a distant view of Inverness, circa 1850s, pen, ink and wash on card, captioned in black ink to upper blank margin, blank margins lightly spotted, image size 14.7 x 23.5 cm, card size 24 x 32.5 cm, plus Wales. View of Valle Crucis Abbey, 1820, pencil drawing, signed and dated in pencil ‘G C 1820’, mounted to later card, 22.5 x 27.5 cm, card size 25 x 30 cm, plus approximately 87 drawings, mostly pen and ink, a few with watercolour wash, mainly depicting rural scenes, with a few continental scenes, including two watercolours of rural scenes, one pencil drawing of a dog, a pencil drawing of the ﬂower garden and conservatory at Hylands, Essex, views of Tintern, Sydenham, Kingston-by-Sea, and Bethgellert (Carnarron, North Wales), all 19th-century, various sizes

£150 - £200

(approx. 90)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£200 - £300

160* Anonymous. A View in Kashmir, July 1875, watercolour on wove paper, monogram of the artist and date (5.7.75) to lower left corner, laid down onto modern card, tipped onto modern card mount, sheet size 20.4 x 29 cm, mount size 35.5 x 45.7 cm (1)

£300 - £400

Lot 160

161* Bompard (Maurice, 1857-1936). Selfportrait, 1875, oil on canvas, craquelure, 24.5 x 19 cm (9 5/8 x 7 1/2 ins), canvas verso with ink manuscript inscription by the artist: Fait par moi vers 1875, Maurice Bompard 1919, also with another ink manuscript annotation in a different hand: Très heureux chère Madame de vous offrir se portrait, fait par votre mère il y a bien longtemps! B. Olivet [?] 1919, gilt frame (33 x 27.5 cm), together with: Westall (William, 1781-1850), Figures in a wooded landscape, oil on canvas, relined, 23 x 28 cm (9 1/8 x 11 ins), moulded gilt frame with artist’s name to gilt inner slip (37 x 41.5 cm), frame verso with white chalk number W631, with two other works: a head and shoulders portrait of a lady in proﬁle, oil on wood panel, 24 x 19 cm (9 1/2 x 7 1/2 ins), wood frame with moulded gilt surround (some damage) 42.5 x 34.5 cm), and a portrait in coloured chalks of an unknown man, signed Albert Toft, dated May 8th ‘11, aperture size 30.5 x 25.5 cm (12 x 10 ins), gilt frame and glazed (39 x 34 cm) (4)

£200 - £300

162* French School. Portrait of a Judge, 19th century, oil on canvas, half-length portrait of a seated judge facing slightly left with his gaze forward, dressed in a dark broadcloth frock coat with wide lapels, high-collared stock, and a white powdered wig with rolled curls framing his face, two old W. J. Irvine framer’s labels to frame verso (one torn with losses) addressed ‘38 & 40 ANN ST. BELFAST’, stretcher marks and surface cracks visible, in a gilt frame (94.8 x 82 cm) (1)

Lot 162

£200 - £300

163* English School. Portrait miniature of William Shakespeare, oval head and shoulders portrait of William Shakespeare after Droeshout, wearing a dark red doublet with gold details and a stiff white collar, minor overall craquelure, 85 x 69 mm (3 3/8 x 2 3/4 ins), inscription in pencil to top right frame verso ‘After Droeshout’, in a rectangular ebonised frame (146 x 122 mm) with brass oval aperture and grape hanging ring, together with Portrait of Lord Byron, oval head and shoulders portrait of Lord Byron, British poet, in side proﬁle facing left, wearing a deep red cloak over an open white collar, and a ribbon with medallion around his neck, 85 x 69 mm (3 3/8 x 2 3/4 ins), rectangular ebonised frame (146 x 122 mm) with brass oval aperture and grape hanging ring, plus Portrait of a Gentleman with Powdered Hair, oval head and shoulders portrait of a gentleman in three-quarter view facing left, one hand resting against his head, wearing a blue coat and white cravat, overall craquelure, 85 x 69 mm (3 3/8 x 2 3/4 ins), rectangular ebonised frame (145 x 121 mm) with brass oval aperture and grape hanging ring, and Portrait of John Milton, oval head and shoulders portrait of a gentleman in three-quarter view facing right, wearing a plain dark garment accentuated by a wide rectangular collar, 85 x 69 mm (3 3/8 x 2 3/4 ins), rectangular ebonised frame (146 x 122 mm) with brass oval aperture and grape hanging ring, minor chipping to lower edge (4)

£300 - £500

164* Attributed to Rudolph Ernst (1884-1932). Young Woman holding a Bendir, wearing traditional North African dress, oil on panel, some ﬂaking with loss, 28.5 x 17 cm (11 1/4 x 6 3/4 ins), in carved wooden gilt pierced geometric lattice frame with Rudolph Ernst to brass plaque pinned to lower section, 50 x 39 cm (1)

£300 - £400

165* Wirgman (Charles, 1832-1891). Akakura Echigo, Japan, watercolour, signed and titled to lower left, 14.5 x 44.5 cm (5 3/4 x 17 1/2 ins), framed and glazed (15.5 x 46 cm) Wirgman was an English artist and caricaturist. He settled in Japan in 1861, and was the creator of Japan Punch and illustrator in China and Japan for the Illustrated London News. (1) £200 - £300

Lot 164

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

167* Wortley (Archibald James Stuart, 1849-1905). Landscape with Figures, 1878, oil on board depicting two ﬁgures with walking sticks resting on a fallen log under a sunlit spot in a shaded woodland, signed in red with monogram and ‘78’ lower left, 14 x 29 cm (5 1/2 x 7 1/2 ins), inscribed in a modern hand with artist’s name in black ink to rear of frame, framed (24.5 x 29.5 cm) Archibald John Stuart-Wortley (1849–1905) attended Slade School of Art from 1871 to 1873, during which time he met and became the sole pupil of John Everett Millais. After his training he exhibited annually at the Royal Academy between 1874 and 1878. In 1891, Wortley founded the Society of Portrait Painters and in 1897 was elected its ﬁrst president. (1) £200 - £300

168* Dutch School. Barges on the River, 19th century, oil on canvas, some craquelure, canvas 39.5 x 57.5 cm (15 1/2 x 22 5/8 ins), in gilt moulded frame (56 x 71 cm), faint previous auction stencils and printed Thomas Cranﬁeld and Co., label to verso

166* Siebert (Hermann, 1847-1879). Portrait of a Young Girl, oval pastel, half length portrait of a girl with hazel eyes and long fair hair, wearing a white muslin dress with a lace-trimmed square neckline, gathered in at the waist with a wide blue sash, signed and dated lower left, 46 x 39 cm (18 1/8 x 15 3/8 ins), oval gilt moulded ribbon bow glazed frame (69 x 56 cm)

(1)

£300 - £500

Little is known of the talented German pastellist Hermann Siebert, who died tragically young at the age of just 32. (1) £300 - £500

169* Kilburne (George Goodwin, 1839-1924). The Artist’s Studio, watercolour, signed lower right, 18 x 26.5 cm (7 1/16 x 10 7/16 ins), mount aperture, gilt frame, glazed (37.5 x 44.8 cm) (1)

Lot 167

£100 - £150

170* Lucas (Edward George Handel, 1861-1936). Companions of Youth, 1880, oil on board, signed and dated lower right, 24.5 x 33 cm (9 3/4 x 13 ins), in ornate gilt-decorated frame (36.5 x 44 cm), inscribed in black ink by artist with title, artist's name, address and date to verso Edward George Handel Lucas (1861-1936) was born in Croydon and hailed as a child prodigy. He exhibited at the Royal Society of British Artists from the age of 14, and the Royal Academy of Arts from the age of 17. He is best known for his realistic still life works painted in the 1880s-1900s. He sold ﬂower paintings in a small lean-to by the family house and used the proceeds to fund some limited artistic study, including a life drawing class in the evenings at Heatherley School of Fine Art in London, as well as a short time spent at St John's Wood Art School. (1) £700 - £1,000

171* Lucas (Edward George Handel, 1861-1936). Companions of Age, 1880, oil on board, signed and dated lower left, 24.5 x 33 cm (9 3/4 x 13 ins), in ornate gilt-decorated frame (36.5 x 44 cm), inscribed in black ink by artist with title, artist's name, address and date to verso See note for the lot above. (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£700 - £1,000

172* Manner of Edouard Manet (1832-1883). Study of a Standing Male Figure in a Bowler Hat, red chalk sketch on wove paper, laid down on old backing card, indistinctly signed lower right, sheet size 283 x 220 mm (11 1/4 x 8 1/2 ins) Provenance: Dominic Winter Auctioneers, South Cerney, UK, July 2001, lot 1018. (1) £400 - £600

173* Orientalist School. Portrait of a North African dancer, holding a tambourine, late 19th century, oil on canvas, 31 x 26 cm (12 1/4 x 10 /4 ins), moulded gilt frame (58.5 x 54 cm) (1)

£200 - £300

174* Carlandi (Onorato, 1848-1939). Roman Campagna, watercolour and pencil in colours on wove paper, depicting a rural Italian landscape, a shallow river with grassy banks winds through lowland plains, behind a low grey stone wall stand groups of Italian stone pines, and on the horizon a hazy-blue mountain peak rises into a pale-blue sky, signed and located by brush in watercolour ‘Carlandi, Roma’ lower left, Niche Frames, Bristol framer’s label to frame verso, mount aperture 34.8 x 65.5 cm (13 3/4 x 25 3/4 ins), framed and glazed (56 x 86.5 cm)

Lot 172

(1)

£200 - £300

175* Attributed to Auguste Henri Musin (Belgian, 1852-1923). Coastal scene, oil on oval panel, showing ﬁgures scavenging a shipwreck on shore, oval framed, 39.9 x 47 cm (15 3/4 x 18 1/2 ins), in oval ornate gilt frame (50 x 58 cm)

Lot 173

(1)

£150 - £200

176* English School. Rustic Scenes, late 19th century, two oil paintings on thin wood panel, one showing a group harvesting, the other showing a woman and child walking away from a pond, both signed E.Hill to lower right, panel size 30 x 40 cm (11 3/4 x 15 3/4 ins), both in matching frames (55 x 65 cm) (2)

£300 - £500

177* Hart (Alfred Henry, 1866-1953). Mosaic at Monreale Cathedral, February 1892, pencil and watercolour on paper, signed and dated to lower right corner, minimal spotting to margins, framed and glazed, watercolour size 42.5 x 18 cm, farme size 53 x 28.5 cm (1)

£70 - £100

Lot 176

178* McColl (Dugald Sutherland, 1859-1949). Boating on the River, 1897, watercolour with traces of pencil, presentation inscription in pencil to lower left ‘To Charles Conder from his friend D S McColl ... 1897’, 21.3 x 28 cm (8 3/8 x 11 ins) mount aperture, framed and glazed (35 x 44 cm) (1)

£100 - £150

179* Fenson (Robert, active 1880-1920). Summer Landscape, 1899, oil on canvas, a pastoral scene with a shepherd and sheepdog guiding a small ﬂock of sheep down a dirt track, signed and dated 'R Fenson, 99' by brush in red to lower right, some minor superﬁcial craquelure, gilt frame, canvas size 27.5 x 36 cm, frame size 39.7 x 50 cm (1)

Lot 177

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£100 - £200

180* Bille (Vilhelm, 1864-1908). Danish Sailing Ship in a Moderate Sea, oil on canvas, signed lower right, relined with new stretcher, 92 x 137 cm (36 1/4 x 54 ins), antiquestyle moulded gilt frame Provenance: Colin Denny Ltd., Fine Art Dealers, 18 Cale Street, Chelsea, London, by 1988; Ivan Hunt, London (purchased from Colin Denny Ltd.); thence by descent. The present work is accompanied by a typewritten invoice and description of the work by Colin Denny Litd.: ‘Oil painting on relined canvas and new wood stretcher frame showing a Danish transitional sailing ship in a moderate sea. The ship is a three masted square rigged vessel which has had screw propulsion ﬁtted at a later date...’ (attached to verso). (1) £300 - £500

Lot 180

181* Wyllie (William Lionel, 1851-1931). Steamship at Sunset, watercolour over traces of pencil on wove paper, signed by brush in black lower left, 145 x 225 mm (5 3/4 x 8 7/8 ins) mount aperture, framed and glazed (40.7 x 47.8 cm) (1)

£150 - £200

182* English School. Kohat Fort, Bahadur Kheyl, India, 1904, four watercolours on thick paper, each with title and date, including: Bahadur Kheyl West, 4.12.04, Bahadur Kheyl East, 4.12.04, Kohat Fort, 30 Nov, etc., some damp staining to lower margin of backing paper, 18 x 25.5 cm (7 1/8 x 10 ins), all displayed in one frame, glazed (88 x 39.5 cm) The Kohat Fort housed the Kohat Brigade, a British Indian Army regiment, formed after the 1903 reforms of the British Indian Army by Herbert Kitchener, Commander-in-Chief, India. The brigade was part of the Northern Army and deployed along the North-West Frontier. (1) £700 - £1,000

Lot 182 77

JAPANESE PRINTS

184* Yoshikuni (Jukōdō, 寿好堂よし國画, active 1804–1843). Six Immortal Poets Represented by Contemporary Actors (Tōsei yakusha mitate Rokkasen), circa 1826-1827, colour woodblock print, signed Toyokawa Yoshikuni ga, horizontal fold line, verso lined with tissue, couple of small pinholes, minor loss/wear to two corners, oban tate-e, 37.3 x 25.5 cm (14 3/4 x 10 ins), upper corners tipped to thin backing card, together with: Kuniyasu (Utagawa, 歌川国安, 1794–1832), Kanadeon Chushingura diptych, 1822, two colour woodblock prints, depicting the 2nd scene ‘Denchu Matsunoma no ba’ (In the palace, scene in the room of the pine trees) of the 3rd act, actors Arashi Tokusaburo (left, as Shioya Hangan) and Bando Mitsugoro III (right, as Kono Moronao), signed Kuniyasu ga, published Otaya Takichi, the two panels adhered together at the join, some pale staining and minor marks, some minor worming near top, light ﬁnger-soiling to edges (one corner strengthened on verso), each panel oban tate-e, together 38.5 x 52.2 cm (15 1/8 x 20 1/2 ins), tipped in three places to thin backing card, plus: Iwai Kumesaburo as Courtesan Asagao, circa 1820s, colour woodblock print, signed Kuniyasu ga, probably part of a diptych or triptych, six small holes down the right side, some pale edge staining, oban tate-e, 36.7 x 25.8 cm (14 1/2 x 10 1/8 ins), tipped at top corners to thin backing card, with another 20 colour woodblock ukiyo-e, by artists including Utagawa Toyokuni I, Utagawa Yoshimune, Totoya Hokkei, Utagawa Kunitomi, Toyokawa Yoshikuni, Utagawa Kuniyasu, and others, at least two being later reprints, various sizes, generally good condition, and one framed and glazed triptych, by Nobukazu Yosai (1874-1944), depicting The Occupation of Port Arthur by Japanese Forces, not examined out of frame, 40 x 75 cm

183* Kunisada I (Utagawa, 歌川国貞, known as Toyokuni III, 三代歌川豊国, 1786-1865). Woman with a toothpick, circa 1825-1830, colour woodblock print, portraying a woman with a toothpick in her mouth in front of a building, a well outside, her under-kimono is decorated with bottle-gourds, a bundle tucked into the obi, signed Gototei Kunisada ga, old horizontal fold line to centre (tiny wear to ends), oban tate-e, approximately 36.8 x 25 cm (14 1/2 x 9 7/8 ins), together with: Act II Nidanme, from the series ‘Matching pictures with the Chushingura’ (Chushingura E-kyodai), 1859, signed Toyokuni ga, published Moriya Jihei, single very tiny tissue repair to right edge verso, left edge lightly stained, overall somewhat faded, oban tate-e, 35.9 x 24.5 cm (14 1/8 x 9 5/8 ins), plus two other by Kunisada I: the right panel only from a triptych of sumo wrestlers, circa 1840, signed (Kōchōrō?) Kunisada ga, and the right panel only from a kabuki diptych (or triptych?), circa 1850s, signed Toyokuni ga, both oban tate-e, with a colour woodblock print by Utagawa Kunisada II (歌川国貞, also known as Toyokuni IV, 1823-1880), depicting a woman (kabuki actor?), sitting in a garden, signed Kunisada ga, oban tate-e (partly adhered to backing card) (5)

£200 - £300

(25)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£200 - £300

Lot 185 185* Hokusai (Katsushika, 1760-1849). Sudden Shower Below the Summit, from Thirty-Six Views of Mount Fuji, colour woodcut, a later reprint, image size 25.5 x 37.5 cm (10 x 14 3/4 ins), sheet size 26 x 38.8 cm (10 1/4 x 15 1/4 ins), mounted into card frame at upper verso edges, framed and glazed (34.5 x 49.5 cm), together with another by the same artist, from the same series: Reﬂection in Lake Misaka [Koshu Misaka Suimen], colour woodcut, image size 25.6 x 37.5 cm (10 1/8 x 14 3/4 ins), sheet size 26.1 x 38.4 cm (10 1/4 x 15 1/8 ins), framed and glazed (34.5 x 50 cm) (2)

187* Hiroshige I (Utagawa, 歌川広重 , 1797–1858, also known as Andō Hiroshige, 安藤広重). Crane, Ominaeshi, and Pampas Grass, circa 1840-1842, colour woodblock print, depicting a crane looking downwards, amidst autumn foliage, signed Hiroshige hitsu, couple of very small worming holes, faint stain to lower right corner, top right blank corner with small repair on verso, tipped to thin backing card at centre of top edge, chūtanzaku, 34.3 x 11.6 mm (13 1/2 x 4 1/2 ins), backing card 50 x 32.5 cm, together with: Hiroshige II (Utagawa, 二代目歌川広重 , 1826-1869), Saruwaka District (Saruwakamachi), from the Thirty-Six Views of the Eastern Capital, 1862, colour woodblock print, depicting two beauties gazing at a rooftops view from a window, signed Hiroshige ga, published by Ai-To, close-trimmed to left side (slightly cropping publisher’s stamp), shot closed tear to right blank margin (just touching line border, repaired to verso), some lower areas lined with tissue, few light creases, one area of green foreground very lightly worn, tipped to thin backing card at upper corners, oban tate-e, 35.6 x 24 cm (14 x 9 1/2 ins), backing card (with integral window mount) 50 x 37.5 cm

£200 - £300

186* Eisen (Keisai, 渓斎英泉, 1790–1848). Okegawa shuku, kūgen no kei (View of Barren Fields at Okegawa Station), no. 7 from The Sixty-nine Stations of the Kisokaidō Road (Kisokaidō rokujūkyū tsugi no uchi), circa 1835-1838, colour woodblock print, published Takenouchi Magohachi (Hoeidō), trimmed to border, previous print-seller’s ink stamp on verso, hinged at top to thin backing card, ōban yoko-e, 43 x 21.5 cm (17 x 8 1/2 ins), together with: Akasaka: Wakatake of the Wakanaya, from the series A Tôkaidô Board Game of Courtesans: Fifty-three Pairings in the Yoshiwara (Keisei dôchû sugoroku/Mitate Yoshiwara gojûsan tsui [no uchi]), circa 1821-1823, colour woodblock print, signed Keisai Eisen ga, published Tsutaya Kichizō (Kōeidō), old hortizontal fold to centre, tiny pinhole to screen door, tipped to thin backing card at upper corners, oban tate-e, 38 x 25.5 cm (15 x 10 ins), plus another colour woodblock print, signed Keisai Eisen ga, depicting a geisha fanning a smoking brazier (to repel mosquitoes?), two tiny pinholes near upper edge, one small wormhole to ﬂoor area, closed tear to ﬂoor area (repaired on verso), oban tate-e, 39 x 26 cm (15 1/4 x 10 1/4 ins) (3)

(2)

£150 - £200

£200 - £300

188* Kuniyoshi (Utagawa, 歌川国芳, 1797-1861). Chronicle of rise and fall of the Genji and Heike clans (Hiragana seisuiki - Senjin mondô), 1855, colour woodblock print from Collection of Humorous Scenes from Jôruri Drama (Dôke jôruri zukushi), signed Ichiyûsai Kuniyoshi giga ga, published Hirabayashi-ya Shôgorô, some faint creases, lightly ﬁnger-soiled to lower edges, chûban yoko-e, 18.2 x 25.2 cm (7 1/8 x 10 ins), hinged at top to thin backing card, together with: Kachikachiyama, circa 1840, colour woodblock print, depicting a scene from the Japanese folk tale: the tanuki carrying a bundle of ﬁrewood, alongside is the rabbit with his boat, signed Ichiyûsai Kuniyoshi ga, unknown publisher’s seal, single small woodworm hole to blank background, tiny loss to lower right corner, small yotsugiri yoko-e, 11.8 x 15.7 cm (4 5/8 x 6 1/4 ins), hinged at top to thin backing card, plus: two further colour woodblock prints from the series Collection of Humorous Scenes from Jôruri Drama (Dôke jôruri zukushi): They found a radish wrapped in a cloth (Genpei nunobiki no taki - sandanme no kire), and Imoseyama onna teikin, Act 4, Scene 4, the former with small rubbed area to one costume, and tiny remnant of old adhesive tape hinge at top edge, both chûban yoko-e, 17.9 x 25.7 cm (7 x 10 ins) and 19.2 x 25.1 cm (7 1/2 x 9 7/8 ins) respectively, each hinged at top to thin backing card, with another 8 Kuniyoshi colour woodblock prints, including one (with unknown title) from the series Genuine Instruction for Children in Mad Pictures (Jitsu go-kyô kyôgwa dôgaku), and one of Chapter 10: Sakaki, from the series Ukiyo-e Comparisons of the Cloudy Chapters of Genji (Genji kumo ukiyoe awase), generally good conditions (one with foxing and repairs to edges), most oban tate-e, most hinged or tipped at top edge to thin backing card, one adhered along top and bottom areas, plus a fan print, possibly by Kunoyoshi (unsigned) (13)

189* Kunichika (Toyohara, 豊原国周, 1835-1900). Tenmangu Iroha no Kakegaku, 1875, colour woodblock yakusha-e print, depicting Nakamura Shikan IV as Kengyu, left panel (only) of a triptych, signed Toyohara Kunichika hitsu, with Toshidama seal, backed with tissue, oban tate-e, 36 x 23.7 cm (14 1/8 x 9 1/4 ins), hinged at top to thin backing card, together with: Natsu Matsuri Naniwa Kagami, 1872, colour woodblock yakusha-e print, depicting Onoe Kikugoro VII as Giheiji, signed, with Toshidama seal, right panel (only) of a triptych?, lightly dust-soiled/rubbed in places, few tiny holes, lower left corner strengthened with tissue on verso (small closed edge tear repaired?), oban tate-e, 35.5 x 24.5 cm (14 x 9 5/8 ins), tipped at upper corners to thin backing card, plus: Kirare Yosa, 1882, vertical diptych colour woodblock print, depicting Yosaburo and Yasu the Bat (unknown actors), joined together and folded at join, some light creasing, few minor marks, o-ban vertical diptych, 73 x 24.6 cm (28 3/4 x 9 5/8 ins), hinged at top to thin backing card, with another 10 colour woodblock yakusha-e prints by Kunichika, including two panels of a triptych (Zenaku Ryowa Myoumyo Guruma, 1876), all oban tate-e

£300 - £400

(13)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£200 - £300

190* Shigemasa (Kitao, 北尾重政 , 1739-1820). Three shunga (erotic picture) prints, late 18th-early 19th century, three uncoloured woodblock prints, each depicting a couple making love, one showing a couple indoors with a screen open revealing the garden beyond, one couple on apparently a wooden veranda, the third couple probably indoors, unsigned, each with one or more edges strengthened on verso, some light ﬁnger-soiling in places, the ﬁrst print 88 x 273 mm (3 1/2 x 10 3/4 ins), the second 88 x 158 mm (3 1/2 x 6 1/4 ins), the last 87 x 134 cm (3 1/2 x 5 1/4 ins), the three all tipped to one backing card with integral window mount (33.5 x 48.5 cm) (3)

Lot 192

£200 - £300

191* Chikanobu (Toyohara, 1838-1912). Tea Ceremony, 2 (of 3) colour woodcuts on laid paper with decorative ﬂower/geometric patterned watermarks, together with Ogata (Gekko, 1859-1920). Medlar Tree in a Ball of Flowers, from the series Beauties Compared to Flowers, 1896, colour woodcut, with ink stamps to left margin and upper right, plus Shuntei (Miyagawa, 1873-1914). Temari, from the series of Kodomo Fuzoku, 1896, colour woodcut, with ink stamps, and six other similar colour woodcuts including: Young Women Relaxing (2 of 3), and The Flower Screen (1 of 3), by Nobukazu, 1889, etc., sheet sizes approximately 36.8 x 25 cm (14 1/2 x 9 7/8 ins), some creases to edges of blank margins, loosely contained in a black portfolio with Bertram Park embossed to upper cover (10)

£150 - £200

192* Yoshida (Hiroshi, 1876-1950). Spring Rain, from Eight Scenes of Cherry Blossom, 1935, colour woodcut, ink studio stamps to outer left margin and lower right, titled in english and signed by artist to lower right, image size 37.5 x 24.7 cm (14 3/4 x 9 3/4 ins) sheet size 26.6 x 39.6 cm (10 1/2 x 15 5/6 ins), together with Himeji Castle - Morning, 1926, colour woodcut, ink studio stamps to outer left margin and lower right, also titled in english and signed by artist to lower margin, lower corners a little stained and small crease to lower right, 36.8 x 24.6 cm (14 1/2 x 9 3/4 ins), sheet size 41 x 27.5 cm (16 1/8 x 10 7/8 ins) (2)

193* Shunsen (Natori, 1886-1960). Female ﬁgure, colour woodblock print, 38 x 25.5 cm mount aperture, framed (frame size 54 x 42 cm), together with Utamaro (Kitagawa, 1753-1806). Yamauba and her son Kintarō, colour woodblock print, [published by IwaiYa], 2nd state (with different patterns on clothing), a few small light creases, 35.5 x 25 cm mount aperture, framed (frame size 57.5 x 44 cm), plus Eisen (Ikeda, 1790-1848). Courtesan with two attendants, colour woodblock print, with kiwame date seal of 1790-1842, some light marks and spotting, 34.5 x 23.5 cm mount aperture, framed (frame size 44 x 41.5 cm, unexamined out of frame but possibly another 4mm of print at top extant under the mount)

£300 - £500

(3)

£100 - £200

19TH CENTURY PRINTS

194* Dutertre (André, 1753-1842). Saint Bartholomew, Saint Andrew, Saint Peter, Judas Iscariot, Saint Thomas, Saint Matthew, and Saint Simon, from Têtes de Caractère d’après La Cène, 1808, a group of seven ﬁne large-scale lithographs published in Paris, with publisher’s details printed to lower margin, a few with closed marginal tears repaired, 60.5 x 45 cm (23 7/8 x 17 3/4 ins) mount aperture, all in matching wooden frames with black inlay, glazed (75.5 x 59.5 cm) These seven large-scale lithographs are from The Heads in the Last Supper by Leonardo da Vinci published in Paris chez Jean Rue St. Jean de Beauvais, No.10, in 1808. The book contains fourteen plates showing a head-andshoulders portrait of Leonardo da Vinci, and the heads of Christ and the twelve Apostles, from Leonardo’s painting of the Last Supper, made for the Convent of Sta. Maria delle Grazie in Milan in 1495-7. Copied by Florentine painter Dutertre and engraved by Cazenave, Bouquet, J.F.A. Perrot or Louis Charles Ruotte. (7) £700 - £1,000

195* Dresden. Dresde avec ses édiﬁces et plus beaux environs grave et peintre en sepia par Eduard Harnap à Dresde, Dresden and Berlin: Caspar Weiss & Co., circa 1820s, 18 etchings ﬁnely painted with sepia wash, on wove paper, showing Dresden Elbbrücken, a view of Dresden from Elbberg, the Grand Garden Palace, the new restaurant in the Great Garden near Dresden, Zwinger Palace and gardens, Bad Schandau, Canapé viewpoint near Bastei, Bastei Bridge, Rathen, Moritzburg Castle, memorial of Prince Jozef Poniatowski in Leipzig, distant view of Königstein and Lilienstein, fortress and town of Königstein, Plauensche Grund, Meissen, Moreau Monument in Räcknitz, and a view of Dersden from Neudorf, all originally mounted to thick paper within black ink border (many detached, some soiling to paper mounts, etchings clean), all captioned in German to verso, a few with undated Whatman watermark, 9.5 x 14.5 cm, loosely contained as issued in a paper wrapper with manuscript title in French to upper wrapper, with a loosely inserted at front oval pencil drawing of Dresden, all housed in a modern portfolio with printed title label to upper boards, with laces, extremities rubbed, some spotting, 4to (34 x 23.7 cm)

Lot 194

A suite of 18 fine views of Dresden and its surroundings etched and finished in sepia wash by Eduard Harnap, an unidentified artist. (1) £200 - £300

Lot 195

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 196 196* Daniell (William, 1769-1837). The Dead Elephant - Scene in Ceylon, 1827, ﬁne uncoloured mezzotint, india proof on heavy wove paper, published by William Daniell and R. Ackermann, London, June 1st 1827, rich, velvety impression, with wide margins (with several closed tears and creases, generally not affecting plate area, except for crease to upper outer blank portion), plate size 39 x 56.5 cm, sheet size 50 x 70 cm (1)

197* Palmer (Samuel, 1805-1881, and others). Etchings for the Art-Union of London by the Etching Club, 1872, 20 original etchings on thick paper by various artists, including Samuel Palmer, The Mourning of Life, etching of chine appliqué laid onto heavy wove paper, the 7th state (of 7), with the artists name, title and numeral 13 etched below the image, in excellent condition (one small brown spot to upper left blank margin), plate size 146 x 215 mm (5 3/4 x 8 1/2 ins), sheet size 261 x 368 mm (10 1/4 x 14 1/2 ins), light spotting to margins of ﬁrst and last few plates, all edges gilt, original publisher’s rust-brown cloth gilt, a little rubbed (generally a very good copy), folio

£300 - £500

Lister E10. The complete album, containing original etchings by Thomas Creswick (The Old Bridge), J. E. Millais (Going to the Park), J. C. Horsley (Monsieur se chauffe, & Madame se chauffe), G. B. O’Neill (The 14th February), C. W. Cope (The Illuminator), Seymour Hayden (A River’s Bank), Frederick Tayler (Otter Hounds questing), J. E. Millais (The Baby-house), R. Ansdell (The Anxious Mother), J. C. Hook (Dort), Frederick Tayler (Dogs & Wild-boars), Samuel Palmer (The Morning of Life), R. Ansdell (Habitants of our Shores), R. Redgrave (Undercliff), Seymour Hayden (Old Chelsea), R. Redgrave (Silver Thames), J. C. Hook (Sea-urchins), G. B. O’Neill (Nestlings), and C. W. Cope (Summer-dreams). (1) £500 - £800

Lot 197

198 Piedagnel (Alexandre, Félicien Rops, and J. F. Millet). J.-F. Millet Souvenirs de Barbizon avec un portrait et neuf eaux-fortes par Charles Beauverie, Maxime Lalanne, Ad. Lalauze, Piguet, Félicien Rops, Saint-Raymond et Alfred Taiée, Paris: A. Cadart, 1876, title in red and black, limitation page, etched portrait by Lalauze, an etched frontispiece by Rops (but bound before p. 15), eight etchings after Millet by Beauverie, Lalanne, Lalauze, Piguet, Rops, Saint-Raymond, and Taiée (with tissue-guards), and a facsimile of an autograph letter, minimal spotting to a couple of text leaves, marbled endpapers, contemporary blue morocco gilt with gilt turn-ins by Kaufmann, upper margin of rear board lightly stained, large 8vo (26 x 16.8 cm), together with: Delatre (Auguste, and Félicien Rops). Eau-forte, pointe sèche et vernis mou. Préface de Castagnary, lettre de Félicien Rops. Gravures inédites par F. Rops, H. Somm, A. Point et Delatre, Paris: A. Lanier and G. Valet, 1887, half-title, engraved vignette to title, six etched plates, including four by Auguste Delatre, one by Félicien Rops, and one by Armand Point, all with captioned tissue-guards, partly unopened, original wrappers, with upper board printed in red and black, lightly soiled, 4to (26.5 x 20 cm), plus Darzens (Rodolphe). L’amante du Christ. Scène évangélique, en vers, représentée au Théâtre-Libre, le 19 octobre 1888. Préface de E. Ledrain. Frontispice gravé par Félicien Rops, Paris: Alphonse Lemerre, 1888, half title, etched frontispiece by Rops (with tissueguard), title page, occasional spotting, presentation inscription signed by the author to half-title (‘a Charles Friedlander tres amicalement aﬁn qu’il perde tout illusion sur le talent que j’aurais pu avoir Rodolphe Darzens’), original printed green wrappers bound in, with adverts to rear wrapper, lightly soiled, contemporary quarter cloth gilt over marbled boards, with black morocco title label gilt to spine, extremities lightly rubbed, 8vo (23.8 x 15 cm), plus four others similar: Erastène Ramiro, Supplément au Catalogue Descriptif de l’OEuvre gravé de Félicien Rops, Bruxelles: Edmond Demand, 1893, with an etched frontispiece by Rops, limited edition 97/120 on wove paper, signed by the editor ‘E. D.’, Camille Lemonnier, Félicien Rops: L’Homme et L’Artiste, Paris: H. Floury, 1908, La Plume, Numéro spécial consacré à Félicien Rops, n. 172, Paris: La Plume, 1896, and a duplicate of Rodolphe Darzens, L’Amante du Christ, 1888, in original printed wrappers (Piedagnel) Limited edition, 167/545, on Dutch laid paper. (7)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

199* Rops (Félicien, 1833-1898). Celle qui fait celle qui lit Musset, 1879, drypoint etching on pale cream heavy wove paper, signed in red pencil to lower margin, plate size 265 x 168 mm (10 3/8 x 6 1/2 ins), sheet size 470 x 288 mm (18 1/2 x 11 3/8 ins) Exsteens 355. (1)

£300 - £400

£500 - £800

Lot 200

200* Claretie (Jules, and Félicien Rops). L’Eau-Forte en 1880. Trente Eaux-Fortes Originales et Inédites par trente des artistes les plus distingués. Texte par Jules Claretie, Paris: Veuve A. Cadart, 1880, half-title, title in red and black, engraved headpiece, initial (in red), and tailpiece, table of contents with etched vignette, 28 etched plates (of 30) only, including one etching by Félicien Rops (La femme au Trapèze), tissue-guards throughout, half-title toned, some marginal spotting to Rops etching, signed by the publisher to verso of half-title, untrimmed, all loose as issued in contemporary red cloth portfolio, with gilt title to upper board, light soiling, laces broken, folio (51 x 37 cm), together with: Meryon (Charles, 1821-1868). Vue de l’Ancien Louvre du côté de la Seine, after R. Zeeman, 1866, etching on wove paper, blindstamp of Calcographie du Louvre Musees Nationaux to lower margin, some light spotting and minimal cockling, platemark size 17 x 27 cm, sheet size 30.5 x 37 cm, plus Lepère (Auguste Louis, 1849-1918). Le Centaure, 1897, woodcut on thin wove paper, hinge-mounted to modern card mount, 27.8 x 18 cm, plus approximately 24 lithographs, etchings and a few woodcuts by various artists, including Théophile Alexandre Steinlen, Muguette, uncoloured lithographic proof, some marginal spotting, Théophile Alexandre Steinlen, Ouvriers sortant de l’usine, Maurice de Vlaminck, Lucien Gautier, Jules Dupré, Eugene Isabey, Adolphe Rouargue, Henri Guérard, Raoul du Gardier, Edgar Chahine, Wijnand Otto Jan Nieuwenkamp, Henri Fantin-Latour, and others (approx. 27)

201* Manet (Edouard, 1832-1883). Berthe Morisot en noir, 18721874, lithograph on thin white wove paper, 1st state (of 2), without the address of Lemercier at foot, image size 187 x 130 mm, sheet size 279 x 190 mm, hinge-mounted to window mount (with small consequent stain towards upper left and right corners), mount size 48 x 32 cm Guérin 77; Harris 73, i/ii. One of ﬁve lithographs by Manet that were not issued in the artists lifetime, but published by Lemercier in 1884 at the request of Manet’s widow. According to Juliette Wilson Bareau (Manet, 1983) these lithographs ‘were printed in an edition of 250 impressions and paid for by Mme Manet. The designs thus printed were sold between 1886 and 1889 by Mme Manet to cover her expenses...’ indicating that each lithograph was issued in an edition of 50 impressions. Other impressions of this work without Lemercier’s address are held by Victoria and Albert Museum, Baltimore Museum of Art and Cleveland Museum of Art. (1) £700 - £1,000

£200 - £300

202 Rops (Félicien, 1833-1898). Dix eaux-fortes pour illustrer Les Diaboliques par J. Barbey d’Aurevilly, Paris: Alphonse Lemerre, [1886], one etched portrait by Paul Rajon, and nine etchings by Rops, platemark size 12.5 x 8.8 cm, sheet size 19 x 14.2 cm, tissueguards throughout, all loose as issued in the original cloth-backed portfolio with printed upper board and printed adverts to rear board, preserving original pink laces, lightly soiled, 8vo (19 x 14.2 cm) Important suite of etchings with one portrait by Paul Rajon and nine plates by Belgian artist Félicien Victor Joseph Rops. These include a Sphinx, six story plates (Le Rideau Cramoisi, Le plus bel amour de Don Juan, Le dessous de cartes, A un dîner d’athées, Le bonheur dans le crime, La vengeance d’une femme), and two Postface plates. (1) £400 - £600

Lot 201

204 Short (Frank, 1857-1945). Twelve Subjects from the Liber Studiorum of J. M. W, Turner, R. A., Etched & Mezzotinted by Frank Short, London: Robert Dunthorne, circa 1887, letterpress introduction, mezzotinted title, and 12 sepia mezzotints (dated 1885-1887), all signed in pencil by Frank Short, tissue-guards throughout, a few minimal spots to blank margins, all loose as issued in original cloth-backed portfolio with printed title to upper board, with laces, some soiling, lightly rubbed at extremities, folio (48 x 35.4 cm) (1)

£300 - £400

203* Rops (Félicien, 1833-1898). Les Cartes, circa 1887, etching on wove paper, platemark size 17.1 x 12.6 cm, sheet size 32.2 x 24.5 cm, together with: Le Sire de Lumey, circa 1869, etching on laid paper, minimal spotting to margins (not affecting image), platemark size 24 x 16 cm, sheet size 28.3 x 18 cm, plus La Colère, Paris: A. Delatre, 1895, etching on laid paper, platemark size 19.5 x 11.6 cm, sheet size 28 x 20 cm, and six other etching by Rops, including: Le Buveur, Griserie Flamande, Le Roman d’Une Nuit, Curieuse, and Très Vieille, plus an etching by Frédéric Chevalier after Rops (Les Cartes) Exsteens 972. (Le Sire) Exsteens 469. (La Colère) Exsteens 335. (10) £300 - £500

205* Rops (Félicien, 1833-1898). Masques Parisiens, 1889, heliogravure on mottled cream wove paper, a proof impression with printed remark below the image, light soiling to sheets edges, image size 291 x 172 mm, sheet size 500 x 323 mm, together with Frontispiece for Lupanie, Histoire Amoureuse de ce temps, 1867, etching (vernis mou) on thin ivory laid paper, a proof, signed by the artist with initials in blue pencil, plate size 130 x 69 mm (5 1/8 x 2 3/4 ins), sheet size 260 x 179 mm, window-mounted, plus La Dalécarlienne, 1874, etching, the 4th state (of 5), signed by the artist with intials in red pencil, plate size 230 x 155 mm, sheet size 50 x 34.5 cm Exsteens 522; Mascha 935 (Masques Parisiens); Exsteens 690 (Lupanie); Exsteens 222, Mascha 489 (La Dalécarlienne). (1) £300 - £400

Lot 204

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

GEORGE MACKLEY WOODBLOCKS From the Collection of Patricia Jaffé Original woodblocks from the collection of Patricia Jaffé, close friend of George Mackley. Patricia Jaffé had her own printing press called Old Dairy Press, from which she produced a number of Mackley's wood engravings in signed editions.

207* Mackley (George, 1900-1983). Laid Up for Winter, 1947, original engraved boxwood printing block, inscribed on one side in black ink ‘11’ and another ‘44’, wrapper in brown paper inscribed twice with ‘Laid up for the winter’ with a reproduction of the engraving attached with clear tape, surface size 53 x 102 mm (2 1/8 x 4 ins)

206* Mackley (George 1900-1983). Boats, 1946, original engraved boxwood printing block, with manufacturer’s ink stamp to verso, inscribed on one side in black ink ‘8. Fishing Boats’, and a label inscribed in pencil to another side ‘42’, 72 x 128 mm (2 7/8 x 5 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian.

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian.

George Mackley Wood Engraver, Gresham Books (1981), page 64. (1) £200 - £300

George Mackley Wood Engraver, Gresham Books (1981), illustrated on page 136. (1) £200 - £300

208* Mackley (George, 1900-1983). Moorings, 1951, wood engraving on thin laid paper, signed and titled in pencil, ‘Moorings - Artist’s Proof, George Mackley’, with margins, scattered spotting, image size 126 x 101 mm (4 7/8 x 4 ins), sheet size 185 x 160 mm (7 1/4 x 6 5/16 ins), plus Summer Flowers, 1944, wood engraving on thin laid paper, signed and titled, with margins, minor spotting, image size 102 x 77 mm (4 x 3 ins), sheet size 130 x 102 mm (5 1/8 x 4 ins), together with two other botanicals Lords and Ladies, 1963, wood engraving on wove paper, inscribed to right margin ‘Somerset - Adana - damped’, with margins, scattered spotting, image size 125 x 150 mm (5 x 6 ins), sheet size 175 x 222 mm (6 7/8 x 8 6/8 ins), and Cow Parsley, 1963, wood engraving on laid paper, signed, with margins, image size 198 x 154 mm (7 13/16 x 6 1/16 ins), sheet size 245 x 203 (9 5/8 x 8 ins), and 7 further wood engravings, Snatchblock, On the Beach, Dinghy, Willow Tailpiece, Waggon, Cut Haystack, and Wier, all unsigned, the largest sheet 159 x 191 mm Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. (11)

£200 - £400

209* Mackley (George, 1900-1983). The Ferry, 1951, original engraved boxwood printing block, inscribed on one side in black ink ‘38 The Ferry’, with handwritten note on paper attached to verso ‘[Patricia JAFFÉ], George Mackley: The Ferry’ (‘The Ferry underlined’), surface size 152 x 123 mm (6 x 4 7/8 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), illustrated on page 121. (1) £300 - £400

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian.

211* Mackley (George, 1900-1983). Breadwinner, 1959, wood engraving on wove paper, signed, titled, and numbered 39/50 in pencil, with margins, image size 125 x 150 mm (4 15/16 x 5 15/16 ins), sheet size 152 x 185 mm (6 x 7 5/16 ins), together with The Ferry, 1951, wood engraving on cream wove paper with Basingwerk Parchment watermark, signed, titled, and numbered 68/75 in pencil, with large margins, minor spotting mostly contained to margins, image size 150 x 127 mm (5 15/16 x 5 ins), sheet size 247 x 180 mm (9 11/16 x 7 1/16 ins), plus Litter Basket, 1963, wood engraving on cream wove paper, signed, titled, and numbered 31/60 in pencil, with margins, image size 98 x 72 mm (3 14/16 2 13/16 ins), sheet size 177 x 123 mm (7 x 4 14/16 ins), all unframed

George Mackley Wood Engraver, Gresham Books (1981), page 65. (1) £200 - £300

Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (3) £200 - £300

210* Mackley (George, 1900-1983). Watch Tower, 1958, original engraved boxwood printing block, with manufacturer’s blindstamp to base T N Lawrence, Manufacturer, Bleeding Heart Yard, Greville St. London E.C.1, cardboard cover cut to size inscribed ‘WATCH TOWER’ in blue ink, surface size 122 x 152 mm (4 3/4 x 6 ins)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

214* Mackley (George, 1900-1983). Design for a Christmas card, original engraved boxwood printing block, depicting sheet music ribboned around a trumpet and a cello, with calligraphic lettering ‘Ay and therefore... be merry’, surface size 70 x 50 mm (2 3/4 x 2 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), illustrated on page 130. (1) £200 - £300

212* Mackley (George, 1900-1983). Anchor, original engraved boxwood printing block depicting two anchors chained to a wooden post, minor chipping of wood to verso particularly top left corner (not affecting the printing surface), surface size 49 x 42 mm (1 3/4 x 2 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 59. (1) £200 - £300

213* Mackley (George, 1900-1983). Christmas Greetings, original engraved boxwood printing block depicting three sailing ships amongst a starry sky and ﬂowing sheet music with a carp lower left, inscribed on one side in black ink ‘MR. GENE BUDGEN’, surface size 32 x 23 mm (1 1/4 x 14/26 ins), together with accompanying greetings card, the printed design on medium-weight card watermarked Basingwerk Parchment, text stamped inside ‘CHRISTMAS GREETINGS, from George & Caroline Mackley’, 222 x 157 mm (8 x 6 ins), together with Peace on Earth, original engraved boxwood printing block likely a Christmas card design depicting a cluster of bells surrounded by radiating sunburst motif with ribboned text ‘PEACE ON EARTH’, inscribed on one side in black ink ‘MARIA WOODS’, surface size 52 x 33 mm (2 x 1 5/16) (3)

215* Mackley (George, 1900-1983). Hemingford Abbots, Cambridgeshire, original engraved boxwood printing block, with manufacturer’s blindstamp to base ‘LAWRENCE’, inscribed on one side in black ink ‘BARRATY’, surface size 52 x 48 mm (2 x 1 7/8 ins), contained in near-contemporary cardboard box with postage stamps and address of ‘MRS. A. M. JAFFÉ, GROVE LODGE, TRUMPINGTON STREET CAMBRIDGE, CB2 1RB,’ written in manuscript to upper lid (probably by the artist himself) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), illustrated on page 20. (1) £200 - £300

£100 - £200

216* Mackley (George, 1900-1983). The Engraver’s Hand, original engraved boxwood printing block depicting the artist’s hand holding an engraving tool, surface size 64 x 82 mm (2 1/2 x 3 1/4 ins), together with CR, original engraved boxwood printing block depicting ornate letters ‘CR’, inscribed in black ink to one side ‘Not in Engraved in the Wood’, surface size 25 x 26 mm (1 x 1 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), illustrated on page 10. (2) £200 - £300

217* Mackley (George, 1900-1983). The Little Bridge, 1960, wood engraving on thin wove paper, signed, titled, and numbered 23/50 in pencil, with wide margins, minor spotting to righthand sheet edge, sheet unevenly cut, image size 126 x 101 mm (5 x 4 ins), sheet size 223 x 202 mm (8 14/16 x 8 ins), together with Entrance to the Cut, 1957, wood engraving on cream wove paper with Basingwerk Parchment watermark, signed, titled, and numbered 24/75 in pencil, with wide margins, image size 102 x 126 mm (4 x 5 ins), sheet size 188 x 255 mm (7 6/16 x 10 ins), plus Keeper’s Cottage, 1955, wood engraving on cream wove paper with Basingwerk Parchment watermark, signed, titled, and numbered 31/75 in pencil, a deep impression, image size 126 x 150 mm (5 x 5 15/16 ins), sheet size 184 x 251 mm (7 1/4 x 9 7/8 ins), and Draining Mill, 1957, wood engraving on wove paper, signed and titled in pencil, tipped onto card at corners, thin margins, image size 100 x 125 mm (3 15/16 x 4 15/16 ins), sheet size 119 x 140 mm (4 11/16 x 5 1/2 ins), all unframed Lot 217

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. (4) £300 - £400

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 219

218* Mackley (George, 1900-1983). British Waterway, 1961, wood engraving on wove paper watermarked ‘1955’, signed, titled, and numbered 22/50 in pencil, a deep impression, with margins, image size 101 x 126 mm (4 x 4 15/16 ins), sheet size 156 x 192 mm (6 1/4 x 7 9/16 ins), together with Dead Trees by the River, 1950, wood engraving on thin laid paper, signed, titled, and numbered 37/75 in pencil, with wide margins, with but not attached to backing board, handling creases to lower sheet edge and small tear to upper left corner (not affecting image), image size 100 x 127 mm (3 15/16 x 5 ins), sheet size 194 x 253 mm (7 5/8 x 9 15/16 ins), and The Pump, 1958, wood engraving on wove paper, signed, titled, and numbered 19/75 in pencil, partial J Whatman watermark, with margins, image size 152 x 126 mm (6 x 4 15/16 ins), sheet size 230 x 145 mm (9 1/16 x 5 6/8 ins), all unframed

220* Mackley (George, 1900-1983). Genemuiden, 1964, original engraved boxwood printing block, with a reproduction of the printed image attached to the block, surface size 72 x 57 mm (2 13/16 x 2 1/4 ins)

Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (3) £200 - £300

219* Mackley (George, 1900-1983). Drawbridge, 1962, original engraved boxwood printing block, with manufacturer’s blindstamp to base T N Lawrence Manufacturer, Bleeding Heart Yard, Greville St. London E.C. 1, inscribed on one side in black ink ‘5. DRAWBRIDGE’, surface size 126 x 152 mm (5 x 6 ins)

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 107. (1) £200 - £300

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 112. (1) £200 - £300

223* Mackley (George, 1900-1983). Canal Boats in a Lock, 1965, original engraved boxwood printing block, surface size 53 x 61 mm (2 2/16 x 2 6/16 ins), together with Riverside Cottage, original engraved boxwood printing block depicting a brick cottage overlooking a moored rowing boat surrounded by ﬁelds and trees, cardboard cover taped to one side with clear tape, surface size 26 x 26 mm (1 x 1 ins), together with two trial proof wood engravings on a single sheet of thin laid paper, unsigned, Rowboat by the Bothy, image size 24 x 25 mm (1 x 1 ins), and Riverside Cottage, image size 26 x 26 mm (1 x 1 ins), sheet size 192 x 160 mm (7 9/16 x 6 5/16 ins)

221* Mackley (George, 1900-1983). Toren, 1964, original engraved boxwood printing block, covered in brown paper, with a printed impression of the work attached to the upper surface with adhesive tape, surface size 75 x 102 mm (3 x 4 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 106. (1) £200 - £300

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), Canal Boats in a Lock illustrated on page 93. (3) £200 - £300

222 Mackley, (George, 1900-1983). Coltsfoot, 1964, original engraved boxwood printing block, inscribed on one side in pencil ‘COLTSFOOT’, surface size 51 x 64 mm (2 x 2 1/2 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), illustrated on page 48. (1) £200 - £300

224* Mackley (George, 1900-1983). Barn at Giethoorn, 1966, original engraved boxwood printing block, inscribed on one side with ‘56. Barn at Giethoorn’, cardboard front cover cut to size previously attached with tape, cardboard attached to base and inscribed with black ink ‘[Patricia JAFFÉ], George Mackley, Barn at Giethoorn’, surface size 100 x 126 mm (4 x 5 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 109. (1) £200 - £300

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 226

225* Mackley (George, 1900-1983). Rocks, 1966, original engraved boxwood printing block, handwritten note on paper attached to base ‘[Patricia JAFFÉ], George Mackley: Rocks’ (‘Rocks’ underlined), surface size 160 x 235 mm (6 1/4 x 9 1/4 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), illustrated on page 63. (1) £300 - £400

227* Mackley (George, 1900-1983). Two-Horse Press, original engraved boxwood printing block depicting two rearing horses ﬂanking a central tree with two crossed gravers at the base, the engraving served as the ofﬁcial printer’s mark for Two-Horse Press for the publication of Engraved in the Wood, 1968, a collection of 68 Mackley engravings limited to 300 copies, inscribed on one side in black ink ‘2 HORSE PRESS MARK - Engraved in the Wood’, surface size 26 x 26 mm (1 x 1 ins)

226* Mackley (George, 1900-1983). Rocks, 1966, wood engraving on thin laid paper, signed, titled, and numbered 22/30 in pencil, with margins, minor handling creases to margins, image size 160 x 235 mm (6 5/16 x 9 1/4 ins), sheet size 204 x 262 mm (8 x 10 5/16 ins), together with Fishing Boats, 1939, wood engraving on laid paper, signed in pencil to lower right margin, thin margins, mounted onto thick grey-green card, scattered spotting, sheet unevenly cut, image size 134 x 159 mm (5 1/4 x 6 1/16 ins), sheet size 149 x 170 mm (5 7/8 x 6 11/16 ins), plus Footpath, 1968, wood engraving on thin laid paper, signed, titled, and numbered 9/75 in pencil, with margins, scattered spotting mostly contained to margins, image size 99 x 127 mm (3 7/8 x 5 ins), sheet size 138 x 188 mm (5 7/16 x 7 6/16 ins), all unframed

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. (1) £100 - £200

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. (3) £300 - £400

228* Mackley (George, 1900-1983). Haybarn and Lock, 1969, wood engraving on cream wove paper, signed, titled, and numbered 20/60 in pencil, partial Basingwerk Parchment watermark, with wide margins, image size 99 x 125 mm (3 7/8 x 4 7/8 ins), sheet size 153 x 255 mm (6 x 10 ins), together with Trees by a Bridge, 1955, wood engraving on cream wove paper, signed, titled, and numbered 21/75 in pencil, partial Basingwerk Parchment watermark, wide margins, image size 125 x 147 mm (4 7/8 x 5 3/4 ins), sheet size 181 x 253 mm (7 1/8 x 9 15/16 ins), plus, Memory of Montfoort, c. 1960s, wood engraving on laid paper, signed, titled, and numbered 16/75 in pencil, with wide margins, image size 126 x 100 mm (4 3/4 x 3 15/16 ins), sheet size 246 x 210 mm (9 1/2 x 8 1/4 ins), and The Pump, 1958, wood engraving on wove paper, signed, titled, and numbered 20/75 in pencil, with margins, image size 152 x 126 mm (6 x 4 3/4 ins), sheet size 230 x 147 mm (9 1/16 x 5 13/16 ins), all unframed

230* Mackley (George, 1900-1983). The Bridge of St. Boniface, 1969, original engraved boxwood printing block, signed ‘GM’ (in reverse) to lower left corner, with a reproduction of the printed image attached to the block, surface size 64 x 73 mm (2 1/2 x 2 7/8 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 104. (1) £200 - £300

Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. (4) £300 - £400

231* Mackley (George, 1900-1983). Three Peaks, 1969, original engraved boxwood printing block, inscribed on one side in black ink with ‘THREE PEAKS’ and also to base with ‘Not in Engraved in the Wood’ (‘Engraved in the Wood’ underlined), surface size 50 x 108 mm (2 x 4 1/4 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 80. (1) £200 - £300

229* Mackley (George, 1900-1983). Myndensesluis, 1969, original engraved boxwood printing block, inscribed on one side in black pen ‘GEORGE MACKLEY’ and also to base with ‘Not in Engraved in the Wood’, surface size 100 x 123 mm (4 x 4 7/8 ins) Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. George Mackley Wood Engraver, Gresham Books (1981), page 104. (1) £200 - £300

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

20TH CENTURY PRINTS 234* Unger (Wilhelm, 1837-1932). Bacchantenzug, 1902, etching with roulette on India paper after the painting by Franz von Stuck, an artist's proof, inscribed by Unger in pencil to lower left margin 'Probe, WU', some minor staining and discolouration to lower blank margin, image size 470 x 760 mm (18 1/2 x 30 ins), period Jugendstil decorative wood frame with brass inlays, glazed (94.5 x 121 cm) (1)

£150 - £200

232* Wyllie (William Lionel, 1851-1931). Thames Barges Racing on the Medway, 1896, etching, signed in pencil to lower left, 25.7 x 38.7 cm (10 1/8 x 15 1/4 ins) mount aperture, with margins, framed and glazed (48 x 60 cm) (1)

£200 - £300

233* Wyllie (William Lionel, 1851-1931). Westminster from Lambeth, etching with drypoint, signed in pencil to lower left, plate size 11.2 x 32.8 cm (4 3/8 x 12 7/8 ins), with margins, framed and glazed (34.5 x 56.5 cm) (1)

£100 - £150

235* Laurent (Ernest, 1859-1929). Toilette du Matin, colour lithograph on paper laid onto ﬁbrous tissue paper, signed in pencil to lower margin, image size 21.9 x 15.1 cm (8 6/8 x 6 ins), sheet size 44 x 30.5 cm (17 3/8 x 12 ins), together with Brouet (Auguste, 1872-1941). Le Tonnelier, etching, signed and limited ‘59/70’ in pencil to lower margin, monogrammed stamp ‘NC’ to lower right edge, plate size 16.2 x 14.1 cm (6 3/8 x 5 1/2 ins), sheet size 31 x 24 cm (12 1/4 x 9 1/2 ins), modern ownership stamp and ‘Douane Centrale Paris’ stamp in black ink to verso, plus another by the same artist Le Brocanteur, signed and limited 23/29 in pencil to lower margin, ‘NC’ stamp to lower edge, and Rocher (E, 19th century). La Songeuse, lithograph, image size 18.9 x 14.4 cm (7 1/2 x 5 5/8 ins), sheet size 25.3 x 18.6 cm (10 x 7 2/8 ins), and eleven other 19th-century prints, including Le Petit Hangar & Mendicants Anglais, etchings by M.A. Legros; Death and the Maiden, linocut by Alphonse Legros; The Cottar’s Family, etching by William Strang, Windmills near Rotterdam, lithograph by Joseph Pennell; two female portraits, lithographs by Ernest Laurent; and three others, various sizes, largest 29.4 x 41.5 cm

Lot 234

(15)

£150 - £200

237AR* Brangwyn (Frank, 1867-1956). Old Houses, Ghent, 1906, etching and drypoint with plate tone, the second state (of 2), one of 150 published proofs, signed in pencil lower right, 60.8 x 55.5 cm (23 3/4 x 21 3/4 ins) mount aperture, window-mounted Gaunt 64, ii/ii. ‘ “Old Houses at Ghent”... is known everywhere as a very fine achievement, uniting to-day’s industry with a lace-work of many-windowed architecture that used to be the Spanish Guild. A timber bridge, quite new, yet not discordant with old times, connects a busy foreground to the veteran houses, one of which has a stepped gable, while the other has a gable carved and adorned, such as we find in some Queen Anne buildings, so called. Windows are so numerous that the frontage has at least as many voids as solids, as much glass as wall. Yet Brangwyn, with his usual felicity, has revealed body and weight where most other etchers would have seen a sort of airy, fairy structure, unsubstantial as a dream almost. Body, weight, growth, rhythm, and the soaring flight of Gothic, that skylark rise and song of Christian architecture — these are attributes of great building that appeal most strongly to Brangwyn, as to Girtin, and he makes them real by various means in his finer plates.’ (Walter Shaw Sparrow, Frank Brangwyn and His Work). (1) £300 - £500

236* Menpes (Mortimer Luddington, 1855-1938). Thames Barges at Low Tide, etching, signed in pencil to lower right, plate size 20 x 25.7 cm (7 7/8 x 10 1/8 ins), with margins, framed and glazed (32.5 x 47.5 cm) (1)

£200 - £300

Lot 237 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 238

Lot 239

238AR* Brangwyn (Frank, 1867-1956). The Rialto, Venice, 1906, etching on pale cream wove paper, signed in pencil to lower margin, additionally signed in pencil by the printer Frederick Goulding, some scattered spotting, mount stained, plate size 390 x 330 mm, sheet size 510 x 380 mm Gaunt, Etchings of Frank Brangwyn 72. (1)

£150 - £200

239AR* Brangwyn (Frank, 1867-1956). Boatbuilders, Venice, 1907, etching, signed in pencil to lower margin, plate size 51.3 x 65 cm (20 1/4 x 25 5/8 ins), with margins, framed and glazed (78 x 88.5 cm) Gaunt, Etchings of Frank Brangwyn 112. (1)

£200 - £300

241* Barry (Claude, 1883-1970). The Château Gaillard, Church Street, Windsor and The Round Tower, Windsor, 1911-12, three etchings, all titled, dated and signed by artist in pencil to lower margin, 32 x 39.5 cm (12 1/2 x 15 1/2 ins) mount aperture, all mounted, largest (48 x 56 cm), pencil notes to verso of Chateau Gaillard Mount including ‘With best wishes for Xmas to Uncle Tannie & Aunt Marge - from Claude & Doris’ (3)

240AR* Raverat (Gwen, 1885-1957). Clerk Saunders, 1909, woodcut on wove paper, from the published edition of 100 impressions, image size 89 x 62 mm (3 1/2 x 2 1/2 ins), with margins, framed and glazed, Wolseley Fine Arts label to verso (frame size 23.5 x 20.5 cm) Selborne & Newman 19 [a]. (1)

£150 - £200

£200 - £300

242AR* Brangwyn (Frank, 1867-1956). Pont Neuf, Paris, no.1, 1911, etching on wove paper, one of 125 impressions (after which the plate was destroyed), signed in pencil lower right, 55 x 76 cm (21 5/8 x 29 7/8 ins), 58 x 77 cm (22 7/8 x 30 1/4 ins) mount aperture, framed and glazed (84 x 102 cm) (1)

£200 - £300

243AR* Brangwyn (Frank, 1867-1956). The Breaking Up of H.M.S. Duncan, 1911-1912, etching, one of 125 published impressions (the plate was later destroyed), signed in pencil lower right, plate size 54 x 81 cm (21 1/4 x 31 7/8 ins), with margins (mount aperture 67 x 99 cm), framed and glazed (frame size 79 x 110.5 cm), contemporary printed label of ﬁne art dealers and framers Grindley & Palmer, Liverpool, with handwritten title, medium and artist’s name, to verso Gaunt, Etchings of Frank Brangwyn 193. (1)

Lot 242

Lot 243

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£250 - £350

Lot 245

244* Greiner (Otto, 1869-1916). Gäa, 1912, etching on wove paper, signed and inscribed in pencil at bottom ‘O Gr. Roma 25.31.1912’, some minor marginal soiling, platemark size 41.5 x 35.5 cm, sheet size 55.5 x 40 cm Vogel 93 B XIX. (1)

£700 - £1,000

245AR* Brangwyn (Frank, 1867-1956). St. Peter’s of the Exchange, Genoa, 1913, etching, 56.5 x 65 cm (22 1/4 x 25 5/8 ins) mount aperture, title and artist name in black ink to mount, framed and glazed (87 x 90.5 cm), printed The Fine Art Society label to verso with handwritten title, artist and no. 209 in brown ink Gaunt, Etchings of Frank Brangwyn 216. (1)

£200 - £300

246* Hankey (William Lee, 1869-1952). France 1914, etching, signed and limited ‘trial proof’ in pencil with artist’s monogram blind stamped to lower margin, plate size 20 x 20.4 cm (7 7/8 x 8 ins), with margins, framed and glazed (38 x 33.5 cm), together with Baskett (Charles Henry, 1872-1953). Early Morning on the Thames, etching, signed and titled in pencil to lower margin, plate size 24 x 40.5 cm (9 1/2 x 16 ins), framed and glazed (37 x 52 cm) (2)

Lot 246

£100 - £150

Lot 248

247AR* Brangwyn (Frank, 1867-1956). The Last of HMS Britannia, 1917, etching, signed in pencil to lower margin, plate size 54.5 x 80 cm (21 1/4 x 31 1/2 ins), with margins, framed and glazed (92 x 122.5 cm) (1)

£300 - £500

248* Gill (Eric, 1882-1940). Slaughter of the Innocents, 1914, wood engraving on thin japan tissue, image size 60 x 51 mm, sheet size 250 x 193 mm, window-mounted, together with two others by the same artist, Elizabeth Gill, 1924, engraving on wove paper, from the published edition of 50 impressions, signed and numbered 1350 in pencil, some spotting and discolouration to upper portion of the sheet, image size 174 x 125 mm, framed and glazed, and Ave Jesu Parvule (Madonna and Child with Cruciﬁx), 1917, wood engraving on wove paper, signed in pencil, 65 x 60 mm mount aperture, framed and glazed (6)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

249AR* Brockhurst (Gerald Leslie, 1890-1978). Amanda No.1 (Marguerite), 1920, etching, depicting Brockhurst’s ﬁrst wife Anaïs Folin, from the edition of 55 signed proofs, signed in pencil to lower margin, plate size 87 x 60 mm (3 7/16 x 2 3/8 ins), with margins, framed and glazed (31 x 24.9 cm) Fletcher 19. (1)

£300 - £500

100

£150 - £200

Lot 250 250* Corinth (Lovis, 1858-1925). 8 Original Radierungen zu Goethe, Geschichte Gottfriedens von Berlichingen mit der Eisernen Hand, 1920-1921, the complete set of eight unsigned proof etchings on wove handmade paper, plate size 254 x 173 mm, sheet size 330 x 248 mm, four hinge-mounted to cream card passepartout mounts, the other four unmounted, with printed title, all loosely contained in original vellum portfolio, with upper cover lettered in gilt Lovis Corinth, some marks to edges and wear to lower portion of spine, folio (42 x 32.5 cm) Müller 513, 521-522, 526, 530-531, 535 and 538. The titles of the prints are: Goetz von Berlichingen, Der Bischof und Adelheid beim Schach, Weislingen und Adelheid, Kaiser Maximilian, Goetz widersetzt sich der Gefangenennahme, Goetz und Elisabeth, Adelheid by Beiden Zigeunern, Der Todd Gottfrieds von Berlichingen. (1) £300 - £500

251* Corinth (Lovis, 1858-1925). 8 Original Radierungen zu Goethe, Geschichte Gottfriedens von Berlichingen mit der Eisernen Hand, 1920-1921, the complete set of eight unsigned proof etchings on wove handmade paper, ﬁve hinge-mounted to cream card passepartout mounts, plate size 254 x 173 mm, sheet size 330 x 248 mm, together with: Grunenberg (Arthur, 1886-1952). Tamara Karsavina: Der Feuervogel, Berlin: Euphorion Verlag, 1922, four lithographies on cream laid Japanese thin tissue (of 17), two signed in pencil by artist (and with blind-stamp of euphorion Verlag to lower left corner), two unsigned, two tipped onto modern mounts, 19.4 x 16.8 cm, plus Cameron (David Young, 1865-1945). My Little Lady of Luxor, 1909, etching on laid paper, coat of arms watermark, signed by artist in pencil, with margins, minor spotting and pale damp-stain to lower half, minimal fraying to lower and left margins (not affecting image), tipped onto modern card, platemark size 30.4 x 15 cm, sheet size 31.1 x 15.6 cm, plus an etched portrait of a woman, possibly by Emil Orlik (Corinth) Müller 513, 521-522, 526, 530-531, 535 and 538. The titles of the prints are: Goetz von Berlichingen, Der Bischof und Adelheid beim Schach, Weislingen und Adelheid, Kaiser Maximilian, Goetz widersetzt sich der Gefangenennahme, Goetz und Elisabeth, Adelheid by Beiden Zigeunern, Der Todd Gottfrieds von Berlichingen.

Lot 251

(Grunenberg) A total edition of 300 copies, of which 125 deluxe copies were signed by the artist. (14) £300 - £500

101

252* Lang (Fritz, 1877-1961). A group of 10 coloured linocuts of animals, including two parrots, a dog, and a fox, circa 1920s, 10 coloured linocuts, including nine of thin Japan tissue, and one on laid paper, each signed ‘F Lang’ in pencil, nine with printed monogram ‘FL’, a few with pencil caption, a couple lightly spotted, smallest 12 x 10 cm (image size) and 14.6 x 13.7 cm (sheet size), largest 19.3 x 13.5 cm (image size) and 26.2 x 18 cm (sheet size)

253* Lang (Fritz, 1877-1961). A group of 12 coloured linocuts of animals, including a parrot, a bear and a fox, circa 1920s, 12 coloured linocuts, including 10 on thin Japan tissue, and two on laid paper, each signed ‘F Lang’ in pencil with printed monogram ‘FL’, many with pencil caption, a few lightly spotted, smallest 12 x 10 cm (image size) and 14.5 x 14 cm (sheet size), largest 19.3 x 13.5 cm (image size) and 26.3 x 18 cm (sheet size)

(10)

(12)

£200 - £300

254* Walcot (William 1874-1943). Bullfight, Seville, 1922, drypoint etching on cream wove paper, signed in pencil lower right, with margins, image size 145 x 346 mm (5 3/4 x 13 5/8 ins), sheet size 265 x 439mm (10 6/16 x 17 1/4 ins), 171 x 362 mm mount aperture, window mount inscribed ‘Walcot’ in pencil to rear, attached to backing board at top corners with brown tape, inscribed ‘Bullfight Seville’ in pencil to top left of board verso, together with Gooden (Stephen, 1892-1955). The Swan and the Cook (from Les Fables de la Fontaine), 1929, engraving on laid paper, signed and dated ‘Stephen Gooden, 1929’ in pencil to lower margin, several stickers to frame verso including old typewritten label ‘Stephen Frederick GOODEN, The Swan and the Cook. D.71 iv/v.’, a framer’s label of The Picture Workshop, and previous sold at auction labels from Dreweatts in 2018, plate size 131 x 80 mm (5 3/16 x 3 1/8 ins), 168 x 92 mm mount aperture, framed and glazed (48.1 x 33 cm), plus Austin (Robert Sargent, 1895-1973). Man with a Crucifix, 1924, etching on grey wove paper, signed in pencil to lower margin, title written faintly in pencil to board at frame verso, plate size 135 x 115 mm (5 5/8 x 4 1/2 ins), 148 x 127mm mount aperture, framed and glazed (48.2 x 32.8 cm), and Rosenberg (Louis Conrad, 1890-1983). Grand Bazaar, 1927, etching on laid paper, signed, image size 173 x 245 mm (6 13/16 x 9 5/8 ins), sheet size 217 x 282 mm (8 1/2 x 11 ins), 191 x 265 mm mount aperture, window mount inscribed ‘Rosenberg - Bazaar’ in pencil to rear, attached to backing board at top corners with brown tape, plus 12 other various etchings by Elizabeth Fyfe, Gijin Okuyama, George Percy Jacomb-Hood, Keith Mackenzie, Charles Bartlett, Philip Kappel, Luigi Lucioni, Hubert Andrew Freeth, and Walter Henry Sweet, 3 framed, 9 unframed (16)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£300 - £500

102

256AR* Dix (Otto, 1891-1969). Dame mit Reiher, Berlin: Euphorion Verlag, 1923, lithograph on simili-Japan paper, signed in pencil, with blind-stamp of Euphorion Verlag to lower right corner (faint), short closed tear to lower margin, some soiling, upper corners lightly creased, sheet size 41 x 31 cm Karsch, Otto Dix Das Graphischewerk (1970), 62, ii. (1)

255AR* Brangwyn (Frank, 1867-1956). Via Dolorosa No. 3, 1923, etching, signed in pencil to lower margin, plate size 38 x 35 cm (15 x 13 3/4 ins), with margins, some minor spotting, mounted, framed and glazed (69 x 60.5 cm) (1)

£700 - £1,000

257AR* Sherlock (Marjorie, 1897-1973). Scaffolding, Cairo, 1923, etching, signed in pencil to lower right, plate size 38 x 25.5 cm (15 x 10 1/8 ins), with margins, together with original drawing on which the etching is based, pen, black ink and grey wash on laid paper, signed and dated ‘23’, same size, framed and glazed together (62 x 78.5 cm)

£100 - £150

(1)

£300 - £400

258AR* Dix (Otto, 1891-1969). Dame mit Reiher, Berlin: Euphorion Verlag, 1923, lithograph on simili-Japan paper, signed in pencil, with blind-stamp of Euphorion Verlag to lower right corner (faint), two short closed tears to upper margin, pale damp-stains to right margin, some light spotting, upper margin lightly creased, sheet size 41 x 31 cm Karsch, Otto Dix Das Graphischewerk (1970), 62, ii. (1)

Lot 256

103

£600 - £800

260* Gill (Eric, 1882-1940). Lovers (Fragment), 1924, wood engraving on lightly textured off-white paper, being a triangular portion of the engraving Lovers of 1924 (Physick 294), inscribed in pencil to lower margin by the artist ‘fragment remaining after Puritan revolution of 1926 (but thank God for small mercies!)’, image size 27 x 34 mm, sheet size 143 x 177 mm (5 5/8 x 7 ins), framed and glazed Physick 294 (for the complete composition). Gill created this block during a pivotal year of upheaval. In 1924, he famously resigned from the Guild of Saints Joseph and Dominic in Ditchling and moved his family and workshop to a remote, abandoned Benedictine monastery at Capel-y-fﬁn in Wales. Physick, Engravings of Eric Gill (1960): 'Lovers (fragment) last print all sold but this EG (wood) Ed 8 £2.2.0. and numbered (23) Wood-engraving, intaglio print. Irregular. E.1138-1952' (1) £300 - £500

259AR* Anderson (Alfred Charles Stanley, 1884-1966). Landlopers, 1924, copper line engraving on wove paper, from an edition of 50 proofs, signed in ink to lower right, titled and edition in ink to lower margin, closed tear to lower right corner of plate (repaired to verso), plate size 19 x 17.8 cm (7 1/2 x 7 ins), sheet size 37.3 x 28.8 cm (14 3/4 x 11 3/8 ins) (1)

£150 - £200

261* Ury (Lesser, 1861-1931). Bäume am Ufer des Grunewaldsees, from the Berliner Impressionen series, 1924, etching on cream laid paper from an edition of 100, signed by artist and numbered 84/100 in pencil, margins lightly spotted, platemark size 11 x 14.5 cm, sheet size 35.5 x 26.5 cm Rosenbach 28. From the Berliner Impressionen series. The total edition was 130 numbered copies (including 30 on Japan paper), published by Euphorion-Verlag Berlin, with their blind stamp in the lower right. (1) £300 - £500

Lot 260

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

104

Lot 263

262* Ury (Lesser, 1861-1931). Junges Mädchen im Kaffee mit Straßenblick, from the Berliner Impressionen series, 1924, etching on cream laid paper from an edition of 100, signed by artist and numbered 4/100, with blind-stamp of Euphorion Verlag to lower right corner, platemark size 19.6 x 14.9 cm, sheet size 35.6 x 26.9 cm Rosenbach 22. From the Berliner Impressionen series. The total edition was 130 numbered copies (including 30 on Japan paper), published by Euphorion-Verlag Berlin, with their blind stamp in the lower right. (1) £500 - £700

263* Ury (Lesser, 1861-1931). Nächtliche Impression (mit Droschke vor Lokomotivendampf), from the Berliner Impressionen series, 1924, etching on cream laid paper from an edition of 100, signed by artist and numbered 8/100, with blind-stamp of Euphorion Verlag to lower right corner, a couple of minimal spots to margins, platemark size 17.7 x 12.7 cm, sheet size 35.7 x 26.8 cm Rosenbach 23. From the Berliner Impressionen series. The total edition was 130 numbered copies (including 30 on Japan paper), published by Euphorion-Verlag Berlin, with their blind stamp in the lower right. (1) £500 - £700

264* Ury (Lesser, 1861-1931). Schlachtensee, from the Berliner Impressionen series, 1924, etching on cream laid paper from an edition of 100, signed by artist and numbered 85/100 in pencil, with blind-stamp of Euphorion Verlag to lower right corner, platemark size 17.5 x 12.5 cm, sheet size 35.5 x 26.5 cm Rosenbach 27. Plate 6 of the Berliner Impressionen series. The total edition was 130 numbered copies (including 30 on Japan paper), published by EuphorionVerlag Berlin, with their blind stamp in the lower right. (1) £200 - £300

Lot 264

105

Lot 266

265* Ury (Lesser, 1861-1931). Sonnenuntergang am Grunewaldsee, from the Berliner Impressionen series, 1924, etching on cream laid paper from an edition of 100, signed by artist and numbered 1/100 in pencil, with blind-stamp of Euphorion Verlag to lower right corner, very lightly creased, margins very lightly spotted, minimal damp-stain to upper left corner (not affecting image), platemark size 22 x 16 cm, sheet size 36 x 26.5 cm Rosenbach 26. From the Berliner Impressionen series. The total edition was 130 numbered copies (including 30 on Japan paper), published by Euphorion-Verlag Berlin, with their blind stamp in the lower right. (1) £500 - £700

266* Ury (Lesser, 1861-1931). Spaziergänger am Landwehrkanal, from the Berliner Impressionen series, 1924, etching on cream laid paper from an edition of 100, signed by artist and numbered 40/100, with blind-stamp of Euphorion Verlag to lower right corner, a couple of minimal spots to margins, platemark size 17.7 x 13.9 cm, sheet size 35.5 x 27 cm Rosenbach 24. From the Berliner Impressionen series. The total edition was 130 numbered copies (including 30 on Japan paper), published by Euphorion-Verlag Berlin, with their blind stamp in the lower right. (1) £300 - £500

267AR* Blampied (Edmund, 1886-1966). Male Voice Choir, 1925-26, etching with drypoint, from the edition of 100 impressions, signed in pencil to lower right, numbered 85/100 to lower left, plate size 23 x 17.8 cm (9 x 7 ins), with margins, framed and glazed (54 x 43.5 cm) (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 267

£200 - £300

106

268AR* Sherlock (Marjorie, 1897-1973). Waterloo Station, etching, from the edition of 50 impressions, signed in pencil to lower right, numbered 11/50 to lower left, plate size 31.5 x 24 cm (12 1/2 x 9 1/2 ins), with margins, framed and glazed (52.5 x 43.5 cm) (1)

£200 - £300

269* Simpson (Joseph William, 1879-1939). The Mummer, circa 1927, etching on laid paper, signed and numbered 18/75 in pencil, stab-stitched holes to extreme margins, hinge-mounted to modern mount, platemark size 30.5 x 21.1 cm, sheet size 46.5 x 29.3 cm, together with: The Pastelist, circa 1927, etching on laid paper, signed and numbered 34/75 in pencil, stab-stitched holes to extreme margins, minor losses to left margin (not affecting image), hinge mounted to modern mount, platemark size 24.2 x 19 cm, sheet size 32.7 x 24.6 cm, plus Lady in a Hat, circa 1920, etching on laid paper, signed and numbered 35/75 in pencil, stab-stitched holes to extreme margins, minimal loss to left margin (not affecting image), hinge mounted to modern mount, platemark size 15.1 x 10.8 cm, sheet size 19.5 x 16 cm, plus Spence (Robert, 1871-1964). Rye, no date, etching on laid paper, signed in pencil, platemark size 12.5 x 30.1 cm, sheet size 26 x 39 cm, plus 19 auto-lithographies, woodcuts and etchings by various authors, including Alphonse Legros, Albert de Belleroche, Frank Brangwyn, Oliver Hall, Axel Herman Haig, Frederick Slocombe, and William Nicholson (23)

£200 - £300

Lot 268

270AR* Anderson (Stanley, 1884-1966). The Fallen Star, 1929, copper engraving on wove paper, from the edition of 85 proofs, inscribed ‘S. ANDERSON’ in the plate lower left, signed in pencil to lower margin, John Campbell Master Framers ink stamp to frame verso, plate size 182 x 216 mm (7 1/4 x 8 1/2 ins), with margins, mount aperture, framed and glazed (38 x 40.3 cm) Meyrick & Heuser 187. (1)

Lot 269

107

£200 - £300

272 Zola (Émile). Éd. Manet. Étude biographique et critique accompagnée d’un portrait d’Éd. Manet par Bracquemond et d’une eau-forte d’Éd. Manet d’après Olympia, Paris: E. Dentu, 1867, engraved frontispiece portrait of Manet by Bracquemond, original etching by Manet of his painting Olympia (6th and ﬁnal state), tissue guard to each plate, original pale blue paper wrappers, light wear to extremities of wrappers, lower outer corner of upper wrapper repaired with archival tape, 8vo Guérin 39, 6th state. This pamphlet comprises a defence of Édouard Manet by his friend Émile Zola, in particular his scandalous painting Olympia, which Zola considered a masterpiece. In 1867, excluded from the Paris Exposition and Salon, Manet set up a pavilion at his own expense near the Champs de Mars in Avenue d’Alma to exhibit his paintings, and this pamphlet was sold there. (1) £500 - £700

273* Briscoe (Arthur John Trevor, 1873-1943). Abandoned, 1930, etching, signed to lower right, numbered 21/75 to lower left, plate size 22 x 40 cm (7 7/8 x 15 3/4 ins), with margins, framed and glazed (48.5 x 64.5 cm)

271AR* Tanner (Robin, 1904-1988). Christmas, 1929, etching on pale green tinted handmade laid paper, from the edition of 50 published by MacDonald and Nicholson in 1929, signed in pencil to lower right ‘Robin Tanner fec. et imp.’, numbered ‘No. VIII’ to lower left, light spotting to margins, plate size 33.5 x 28 cm (13 1/4 x 11 ins), with margins, framed and glazed (54.5 x 47.5 cm)

(1)

Provenance: Abbott and Holder, Museum Street, London; Private Collection, Winchester, UK. Garton 9 ii. (1)

£800 - £1,200

Lot 272 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

108

£150 - £200

276* Laboureur (Jean Émile, 1877-1943). Le Brouillard, 1932, etching, from the edition of 32 impressions, signed in pencil to lower left, numbered 7/32 to lower right, light spotting to margins, plate size 11.2 x 15.6 cm (4 3/8 x 6 1/8 ins), with margins, framed and glazed (31 x 46 cm) (1)

274* Hentschel (William Ernst, 1892-1962). Two Doves, circa 1930, colour airbrush stencil (aquatone) on metal, limited numbered edition 6/200, small rubbed patches to feet and one or two other areas, sheet size 39.5 x 40 cm

£100 - £150

American artist William Ernst Hentschel (1892-1962) initially worked as a designer at Rookwood Pottery in Cincinnati from 1913, and in the late 1920’s developed a printing method using an airbrush and multiple stencils he termed ‘Aquatone’. (1) £200 - £300

275AR* Gross (Anthony, 1905-1984). Armourer’s Shop, 1931, etching, artist’s proof, signed, titled and marked ‘artist’s proof’ in pencil, plate size 19 x 28.5 cm (7 1/2 x 11 1/4 ins), with margins, framed and glazed (45 x 56 cm) (1)

£300 - £500

277AR* Gross (Anthony, 1905-1984). Kites in Battersea Park, 1934, etching, with plate tone, a trial proof, signed, titled and marked ‘trial’ in pencil, plate size 28.3 x 19.8 cm (11 1/8 x 7 3/4 ins), with margins, framed and glazed (56 x 45.5 cm) (1)

278 109

£200 - £300

No lot

279* Rushbury (Henry George, 1889-1968). Custom House, King’s Lynn, 1935, drypoint etching, signed in pencil, plate size 240 x 340 mm, sheet size 325 x 430 mm, small circular collectors stamp of J. M. Whitaker, Shefﬁeld to lower outer corner of verso, window-mounted, together with Sparks (Nathaniel, 1880-1956). St. Botolphs Church, City of London, 1914, drypoint etching on thin laid crean paper, signed in pencil, plate size 253 x 314 mm, sheet size 370 x 460 mm (14 1/2 x 18 ins), plus Robins (William Palmer, 1882-1959). The Shot Tower and Waterloo Bridge, London, etching on cream laid paper, watermarked FJH, signed in pencil, plate size 270 x 337 mm, sheet size 335 x 445 mm (13 x 17 1/2 ins), window-mounted, and other British etchings including W. P. Robins (1882-1959), The Stour near Manningtree, drypoint etching, one of 55 signed proofs, and Blythburgh, etching, signed, and Donald Shaw MacLauglan (1876-1938). Saint Sulpice, Paris: Le Grande Tour, 1900, etching on pale cream wove paper, plate size 298 x 235 mm, sheet size 315 x 253 mm, J. C. Robinson, Sunlight and MIst, Swanage Down, signed etching, most with small circular collector’s mark of J. M. Whitaker to lower outer sheet corner of verso Julia Rushbury, Henry Rushbury Prints: A Catalogue Raisonné, 75; Bruette 28 (MacLauglan). (7)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

110

£300 - £400

Lot 281

280* Briscoe (Arthur John Trevor, 1873-1943). Brixham, 1936, etching with drypoint, a trial proof, overall browning, signed and marked ‘trial’, plate size 19 x 25.2 cm (7 1/2 x 10 ins), with margins, framed and glazed (38.5 x 44 cm) (1)

£150 - £200

281* Mackley (George, 1900-1983). Ipswich Dock, 1937, wood engraving on wove paper, signed and titled in pencil, with thin margins, slight overall spotting, pasted onto grey-green card attached at top edge to window mount with white tape, mount inscribed ‘The only print I have. Very few prints made.’, thick card backing board attached to rear of window mount with white tape, image size 102 x 121 mm (4 x 4 3/4 ins), sheet size 111 x 130 mm (4 3/8 x 5 1/8 ins), together with Canal Boats 1960, wood engraving on wove paper, signed, titled, and inscribed ‘(Artist’s trial proof)’ in pencil to lower margin, a deep impression, with margins, image size 112 x 126 mm (4 9/16 x 4 15/16 ins), sheet size 152 x 190 mm (6 x 7 1/2 ins), plus The Sluice Gate, 1955, wood engraving on cream wove paper, a rich impression but with very slight ink bleeding to upper right and lower left corners, signed, titled, and inscribed in pencil to lower margin ‘(Defective Pull, not in edition, Edition of 75 sold to Print Collectors’ Club.’, with margins, tipped onto thick wove paper, image size 100 x 124 mm (3 15/16 x 4 7/8 ins), sheet size 121 x 143 mm (4 3/4 x 5 5/8 ins), all unframed

282 Gill (Eric, 1882-1940). Twenty-Five Nudes, 1938, wood engravings on wove paper, the full set of 26, as issued in TwentyFive Nudes, London: J. M. Dent & Sons Ltd for Hague & Gill Ltd, ﬁrst edition, each sheet 22.3 x 13.7 cm (8 3/4 x 5 3/8 ins), in the original red cloth, gilt decoration to front board and gilt lettering to spine, spine cocked, without dust jacket, slim 8vo

Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (3) £200 - £300

(1)

111

£200 - £300

283AR* Ardizzone (Edward, 1900-1979). Centaurs Hunting, & Centaurs Beside the Sea, 1953, a pair of soft ground etchings with aquatint, both limited 1/30, titled and signed by the artist in pencil to lower margin, plate size 12.7 x 18.1 cm (5 x 7 1/8 ins), sheet size 28.6 x 34 cm (11 1/4 x 13 3/8 ins), both tipped into card mounts (33.5 x 37.5 cm) NAP 67 & 68. (2)

Lot 285

£300 - £500

284* Simpson (Maxwell, 1896-1984). Isadora Duncan, lithograph, signed and limited 2/20 in pencil to lower margin, 24 x 34 cm (9 1/2 x 13 3/8 ins), framed and glazed (41.5 x 53 cm), original printed ‘The Art Institute of Chicago’ label with artist, title and price in black ink to verso (1)

£100 - £150

285* Ravilious (Eric, 1903-1942). Child’s Hankerchief, colour lithograph printed on cotton supplied by Mc Caw Allan & Co., Lurgan, Northern Ireland, together with the same design printed on Rivoli blanc, published Judd Street Gallery London in a posthumous edition of 500 copies in 1989, this being one of 200 sets with both the cotton and the printed paper version, numbered 105/500, both loosely contained in original publishers printed folder, the upper wrapper torn to lower margin, without loss, overall size 45 x 45 cm

286AR* Anderson (Stanley, 1884-1966). Chiltern Wood-Turners, 1945, copper line engraving on cream wove paper, a proof aside from the published edition of 75 impressions, signed in pencil by the artist to lower margin, light overall toning, plate size 214 x 159 mm (8 3/8 x 6 1/4 ins), with margins, 244 x 185 mm (9 5/8 x 7 1/4 ins) mount aperture, framed and glazed (43.5 x 36 cm)

Early in February 1941, Ravilious was approached by Gerald Holton, a Lancashire cotton manufacturer for designs for textiles. The Child’s Hankerchief design was taken to proof stage, but never issued commercially. Ravilious was lost on a ﬂight from Iceland in September 1942. The present work is therfore the ﬁrst published edition. (1) £300 - £400

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Meyrick & Heuser 244. A depiction of the itinerant craftsmen Owen and Alec Dean, the last of the bodgers to work in the ancient beech woods of the Chilterns. The caption is taken from Rudyard Kipling’s When Earth’s Last Picture is Painted. (1) £300 - £400

112

Lot 288

287AR* Grant (Duncan, 1885-1978). Window in Toledo, 1945, lithograph in colours on white wove paper, initialed in the plate lower left, from the unnumbered edition of 250 prints, published by Miller’s Gallery Lewes, 38 x 29 cm (15 x 11 3/8 ins) mount aperture, two old Manor Gallery labels to frame verso, one dated in ink ‘2311-74’, framed and glazed (52 x 41.5 cm) (1)

£150 - £200

288* Lock (Helen, 1884-1967). Hellebores, original engraved boxwood printing block, initials ‘H.R.L’ engraved in plate, an impression of the print on white paper with the block, surface size 140 x 103 mm (5 1/2 x 4 ins), plus Castle Ruins, original engraved boxwood printing block, initials ‘H.R.L’ engraved in plate, depicting a pastoral landscape with sheep grazing in the foreground and stone ruins under a dramatic cloudy sky, surface size 112 x 161 mm (4 3/4 x 6 3/8 ins), and Sighthound, original boxwood printing block, depicting the head of a sighthound in the foreground with several other sighthounds smaller in the background with a crowd of silhoutted ﬁgures, monogrammed ‘HLR’ in plate to lower left, with manufacturer’s blindstamp to base ‘T. N. LAWRENCE., MANUFACTURER, RED LION PASSAGE., FLEET ST. LONDON’, surface size 77 x 90 mm (3 x 3 1/2 ins), an impression of the print on white wove paper, with fourteen others including landscapes, botanicals, dogs, and bookplates, two blocks with printed impressions on card attached with tape, and one block also with T N LAWRENCE manufacturer’s blindstamp to base, accompanied by a proof of the print on white wove paper Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian. As a wood engraver, Helen came to the attention of Stanley Lawrence (artist and manufacturer of boxwood printing blocks) after her death in 1967. While some of Lock’s blocks were unused and others were engraved, Lawrence bought them with a view to publicise her talents as an engraver and establish her reputation posthumously. (17) £200 - £300

Lot 287

113

289AR* Anderson (Stanley, 1884-1966). Three Good Friends, 1950, copper line engraving on cream laid paper, from the published edition of 65 impressions, signed and inscribed ‘Ed. 65.’ in pencil to lower margin, old typewritten label to frame verso ‘Three Good Friends, Line engraving, Edition of 65 prints, Stanley Anderson’, plate size 172 x 268 mm (6 3/4 x 10 9/16 ins), with margins, 201 x 293 mm (7 7/8 x 11 1/2 ins) mount aperture, framed and glazed (38.7 x 46.5 cm) Meyrick & Heuser 257: ‘Unlike his earlier ‘craftsmen’ series, the four ﬁnal works of his career as a printmaker are noticeably less concerned with the documentation of traditional skills and manual labour than they are nostalgic in spirit.’ (1) £300 - £400

291* Ward (Leslie Moffat, 1888-1978). Coniston Water, copper engraving on heavy wove paper depicting sheep grazing on the water’s edge in the foreground, two sailboats gliding across Coniston Water, and on the opposite shoreline a house sits at the foot of the Old Man of Coniston, inscribed in plate ‘CONISTON WATER, With all Good CHRISTMAS WISHES from Mr & Mrs Leslie Ward & Roger’, with margins, pencil inscription to top right sheet corner ‘4786’, image size 135 x 176 mm (5 5/16 x 6 15/16 ins), sheet size 190 x 243 mm (7 1/2 x 9 9/16 ins), plus Upper Skiddaw, 1950, copper engraving on heavy wove paper depicting a rural farmhouse with grazing cattle nestled beneath the rolling hills and distant mountains of the Lake District, inscribed in plate ‘Christmas & New Year Wishes From Mr & Mrs Leslie Ward and Roger 1950’, inscribed in pencil to lower margin ‘LAKE DISTRICT MOUNTAINS FROM UNDER SKIDDAW.’ and ‘4781’ to top right sheet corner, with margins, image size 167 x 150 mm (6 5/8 x 5 7/8 ins), sheet size 260 x 193 mm (10 1/4 x 7 5/8 ins), and Nativity Scene, copper engraving on beige laid paper pasted onto heavy cream card, the card folded in half, inscribed in plate ‘Christmas and New Year Wishes from Leslie & Eleanor Ward. 22 GRANTS AVENUE, BOURNEMOUTH’, pencil inscription to top right corner of card ‘4783’, thin margins, image size 176 x 128 mm (6 7/8 x 5 ins), sheet size 232 x 332 mm (9 1/8 x 13 ins), together with Pennell (Joseph, 1857-1926). Mond Gas, Dudley Port, 1909, drypoint etching on cream laid paper, inscribed in the plate ‘Pennell, Mond Gas, Dudley Port, 1909’ lower left, signed ‘J Pennell’ in pencil to lower right margin, image size 174 x 278 mm (6 7/8 x 10 15/16 ins), with grey window mount, 197 x 295 mm mount aperture, two previous old auction labels to verso, framed and glazed (36 x 45 cm)

290* Mackey (Haydn, 1883-1979). Old Man, lithograph, signed to lower right, 37 x 27.6 cm (14 1/2 x 10 7/8 ins), loosely held in paper folder stamped with ‘Representative Art of Our Time, together with French (Cecil, 1879-1953). The Secret of the Forest, lithograph, signed and titled in pencil to lower margin, 37.5 x 27.5 cm (14 3/4 x 10 7/8 ins), plus thirty other prints, including: La Ruelle du Pecheur, etching by Donald S. MacLaughlan; Cowdray, etching by Sir Francis Seymour Haden; ten lithograph portraits of various late 19thcentury key ﬁgures in Manchester by William Rothenstein; A Street in Venice, lithograph by C.E. Holloway; Bridge of St. Martin, Toledo, etching by Joseph Pennell; The Mine, auto-lithograph by Frank Brangwyn; Oxcliffe Marsh, etching by Fred. Burridge, last three all individually contained in paper folder stamped ‘Representative Art of Our Time’, etc., various sizes, largest 41 x 28 cm (16 1/8 x 11 ins) (a folder)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

(4)

£150 - £200

114

£150 - £200

292AR* Anderson (Stanley, 1884-1966). Good Companions, 1951, copper line engraving on cream wove paper, from the published edition of 65 impressions, signed and inscribed ‘Ed. 65-’ in pencil to lower margin, plate size 181 x 264 mm (7 1/4 x 10 1/2 ins), with margins, 212 x 289 mm (8 5/16 x 11 3/8 ins) mount aperture, framed and glazed (40.3 x 46.5 cm)

Lot 294

Meyrick & Heuser 258: ‘Unlike his earlier ‘craftsmen’ series, the four ﬁnal works of his career as a printmaker are noticeably less concerned with the documentation of traditional skills and manual labour than they are nostalgic in spirit.’ (1) £300 - £400

293AR* Gross (Anthony, 1905-1984). Poissons, 1951, etching, from the edition of 200 impressions, signed in pencil to lower right, numbered 172/200 to lower left, plate size 24.4 x 34.4 cm (9 5/8 x 13 1/2 ins), with margins, framed and glazed (44 x 52.5 cm) (1)

£200 - £300

294AR* Anderson (Stanley, 1884-1966). The Clothes Peg Maker, 1953, copper line engraving on wove paper, from the published edition of 60 impressions, signed and inscribed ‘Ed: 60.’ in pencil to lower margin, old typewritten label to frame verso ‘The Clothes Peg Maker, Line engraving, Edition of 60 prints, Stanley Anderson’, plate size 175 x 227 mm (6 7/8 x 8 7/8 ins), with margins, 205 x 252 mm (8 1/16 x 9 15/16 ins) mount aperture, framed and glazed (35.8 x 39 cm)

295* Proctor (Patrick, 1936-2003). Lilies in a Vase, etching with aquatint, printed in colours, signed and limited '44/75' in pencil to lower margin, plate size 27.5 x 19.7 cm (10 7/8 x 7 3/4 ins), mounted, framed and glazed (64.5 x 47 cm)

Meyrick & Heuser 260: The Clothes Peg Maker is the ﬁnal engraving Anderson created after developing neuritis. It is the only print in the ‘craftsmen’ series to make overt reference to the commodiﬁcation of labour; alluded to by a few coins on the palm of an outstrecthed hand. Anderson dedicated this plate to his friend, the print collector John Hart, whose initials are incorporated into the artists’ monogram. (1) £300 - £400

Patrick Proctor (1936-2003) studied at the Slade School of Art during the late 1950's. He was inﬂuenced by Oriental art, this is reﬂected in much of his printmaking. (1) £150 - £200

115

296AR* Hogarth (Paul, 1917-2001). Santa Monica Beach, lithograph in colours on white wove paper with artist’s and publisher’s (Curwen Chilford) blindstamps, signed, titled, and editioned 41/150 in pencil to lower margin, image size 43 x 63.5 cm (17 x 25 ins), sheet size 54.5 x 73.5 cm (21 1/2 x 29 ins), framed and glazed (59.5 x 78.5 cm), together with a colour lithographic? poster featuring artwork by Hogarth for the retrospective exhibition Travels through the Seventies, 1980 at Francis Kyle Gallery, London, sheet size 71.5 x 41.5 cm (28 1/8 x 16 3/8 ins), framed and glazed (76.5 x 46.5 cm), and a video archive of the artist’s work on CD, titled Spirit of Place, The Art of Paul Hogarth OBE, RA (3)

298AR* Nash (John, 1893-1977). Dandelion-Leaved Evening Primrose, from Flower Drawings by John Nash, 1969, line block print on laid paper, signed in pencil lower right, 33 x 45 cm (13 x 17 3/4 ins) mount aperture, framed and glazed (46 1/2 x 61 cm), The Minories exhibition label for John Nash Book Designs, exhibition, 1986 to verso

£150 - £200

Exhibited: The Minories, Colchester, John Nash Book Designs, 1986. John Nash, prominent British artist and illustrator, was known as a dedicated ‘artist-plantsman’. This piece is a line-block print originally designed by Nash for the series of 12 prints, Flower Drawings, published by Warren Editions in 1969. (1) £150 - £200

297* Cross (Tom, 1931-2009). Saint Ivo. 3, 1969, screenprint, signed in pencil to lower right, titled, dated and marked ‘1/5’ to lower left, 73 x 50.5 cm (28 3/4 x 20 ins) mount aperture, framed and glazed (76 x 53 cm), together with: Gweek Quay, 1989, watercolour and pencil on paper, signed in pencil to lower right, 24 x 30.6 cm (9 1/2 x 12 ins) mount aperture, framed and glazed (44 x 50.7 cm), label with artist, title, date and medium to frame verso

299AR* Clarke (Geoffrey, 1924-2014). Mutual Thought, lithograph on white wove paper, signed and editioned 37/45 in pencil to lower margin, image size 125 x 125 mm (4 7/8 x 4 7/8 ins), sheet size 160 x 160 mm (6 1/4 x 6 1/4 ins), framed and glazed (19.2 x 19.2 cm)

(2)

(1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£150 - £200

116

£200 - £300

301 Gilbert & George (1943-, 1942-). Side by Side, London: Art for All, 1971, text with photographic and sketch images, signed by artists to page at front, numbered 430/600 to rear pastedown, front free endpaper and ﬂyleaf adhered together, marbled cloth boards, 8vo, with postcard from Anthony [d’Offay] addressed to ‘Dear Two in One Flesh’ [Julian Hartnoll and new wife] loosely inserted, together with: The Bar. A New Sculpture by George and Gilbert, Autumn 1972, invitation to a private view, photographic image tipped-in, plus Hume (Gary, 1962-). Fuzzy Snowman, 2000, machine-cut felt and baize-treated backing card, signed by artist to verso, 27.4 x 18.9 cm (10 3/4 x 7 1/2 ins), contained in card folder, plus Hirst (Damien, 1965-). Beautiful Inside My Head Forever, 5 volumes, London: Sotheby’s, 2008, numerous colour illustrations, original wrappers, large 8vo, in slipcase (4)

£300 - £400

300AR* Gross (Anthony, 1905-1984). Grape Pickers, etching, from the edition of 250 impressions, signed in pencil to lower right, numbered 59/250 to lower left, plate size 28 x 35 (11 x 13 3/4 ins), with margins, framed and glazed (54.5 x 58.5 cm) (1)

£150 - £200

302* Jones (Barbara, 1912-1978). Dropmore Aviary, 1971, lithograph in colours on white wove paper printed by Curwen Press and produced as an edition of illustrations for Jones’ book Follies and Grottoes (Constable and Co, 1953), signed, titled, and editioned 65/70 in pencil to lower margin, Pricelis Art framer’s label to frame verso, image size 60.5 x 48 cm (23 3/4 x 18 7/8 ins), sheet size 77.5 x 57 cm (30 1/2 x 22 1/2 ins), framed and glazed (84 x 64 cm) (1)

Lot 301

117

£150 - £200

304AR* Tyson (Ian, 1933-2021). The Pronouns, 1971, the complete portfolio of 8 screenprints in colours on thick wove paper, an artist’s proof aside from the published edition of 75, gifted to Tom Phillips, close friend and collaborator through the Tetrad Press, with original frontispiece Enough Red, 1971, screenprint on wove paper, titled, and signed in pencil to lower margin, a paper slip inscribed ‘for Tom Phillips, A/P 1971, Jackson Mac Low, an Tyson’ in pencil tipped onto the folio sheet, the screenprints included are Smoke, Boiling Glass, Matching Parcels, Roof Structure, Making a Bridge, Making a Garden, and Making Something Narrow and Yellow, all with margins, each signed and titled to lower margin in pencil, varied image sizes, the largest being 534 x 434 mm (21 x 17 ins), uniform sheet sizes 635 x 508 mm (25 x 20 ins), held in original cream cloth atlas portfolio, with overall soiling, (67 x 54.5 cm) Ian Tyson studied at Birkenhead School of Art and Royal Academy Schools. He was an artist, printer and poet. Tyson founded Tetrad Press in 1969 and organised and wrote the catalogue for the show British Artists’ Books 1970– 83 with Silvie Turner. ‘The Pronouns’, 1971, brings together Jackson Mac Low’s series of danceinstrucion poetry ‘The Pronouns: A Collection of Forty Dances for the Dancers’, 1964, with 8 screenprinted images by Ian Tyson. An edition of 75 copies, the screenprints were produced on 240lb J. Barcham Green mould-made paper with text handset by Walter Taylor and printed letterpress at Circle Press, Guildford. The images were screenprinted at Kelpra Studio Ltd., London, and the boxes hand-made by Keypoint Francke Ltd., London. Published by Tetrad Press, 103 Grove Park, London, S.E.5. (1 portfolio) £200 - £300

303* Jones (Barbara, 1912-1978). The Pineapple at Dunmore, 1971, lithograph in colours on white wove paper, an unnumbered proof from the edition of 70, signed and titled in pencil to lower margin, image size 63 x 46.5 cm (24 3/4 x 18 1/4 ins), sheet size 77.5 x 57 cm (30 1/2 x 22 7/16 ins), framed and glazed (88 x 67.5 cm) Reclining Nude, pencil on cream paper, signed in pencil lower right, sheet size 254 x 190 mm (10 x 7 1/2 ins), framed and glazed (28.5 x 22 cm) Racecourse?/Firing Range?, watercolour and pencil on laid paper, signed in pencil lower left, sheet size 250 x 350 mm (9 7/8 x 13 3/4 ins), framed and glazed (28.3 x 38.5 cm) Racecourse?/Firing Range? (Rear), pencil on cream laid paper, sheet size 175 x 225 mm (6 7/8 x 8 7/8 ins), framed and glazed (21.2 x 26 cm) Country Road, watercolour and ink on cream laid paper, sheet size 252 x 186 mm (10 15/16 x 7 6/16 ins), framed and glazed (28.3 x 22 cm) (1)

£150 - £200

305* Trevelyan (Julian, 1910-1988). Avignon, from the Provençal Suite, 1972, etching with aquatint in colours on white wove paper, an artist’s proof aside from the published edition of 65 impressions, signed, titled, and inscribed Artists Proof in pencil to lower margin, with wide margins, Rowley Gallery framer’s label to frame verso, plate size 480 x 347 mm (18 7/8 x 13 5/8 ins), framed and glazed (73.5 x 63.5 cm) Turner 250. (1)

Lot 304

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

118

£400 - £600

306AR* Blake (Peter, 1932-) Tattoed Man, & Bearded Lady, from Side Show, 1974-78, two wood engravings on cream wove paper, both artist’s proofs, one of 30 numbered artist proofs aside from the standard edition of 100 impressions, published by Waddington Graphics, each signed, marked A/P, and numbered 13/30, sheet size 262 by 212 mm (10 5/16 x 8 3/8 ins), light toning on the sheet size, framed and glazed

307* Wurtzel (David, 1935-2014). James Joyce, from the series For Portraits, 1976, etching on pale cream paper, from the published edition of 50 impressions, signed, dated, titled and numbered 8/50 in pencil, artist’s atelier blindstamp to lower right, plate size 185 x 145 mm (7 3/8 x 5 3/4 ins), framed and glazed with Michael Parkin Fine Art Ltd. label to verso

From the iconic set of ﬁve wood engravings made by Peter Blake in the 1970s, focusing on human ﬁgures outside the mainsteam of society. (2) £300 - £400

From the series of four portraits of cultural icons of the 20th century, also including Sigmund Freud, Alberto Giacometti and Thomas Mann, printed by the artist in his studio in Florence. (1) £70 - £100

Exhibited: Michael Parkin Fine Art, Artists and Writers, October/November 1976.

308AR* Scott (William, 1913–1989). Grapes, 1979, colour lithograph on wove paper, printed by Curwen Studio, published by Christie’s Contemporary Art in an edition of 150 impressions, signed and dated in pencil, and numbered 71/150, image size 498 x 645 mm, sheet size x mm (1)

Lot 308 119

£1,000 - £1,500

309AR* Gross (Anthony, 1905-1984). Pedestrians with Dog, 1980, etching, from the edition of 75 impressions, signed in pencil to lower right, numbered 31/75 to lower left, plate size 22 x 27.5 cm (8 3/4 x 10 3/4 ins), with margins, framed and glazed (32.5 x 38 cm) (1)

£200 - £300

311AR* Blake (Peter, 1932-). James Joyce in Paris, 1983-84, the complete suite of 9 etchings on wove paper, each signed in pencil, and inscribed A/P 9/18, aside from the numbered edition of 50, with full margins, printed by Aldo Crommelynck at Atelier Crommelynck in Paris, published by Waddington Graphics, one etching with overall toning, another with light overall spotting and small area of discolouration to upper outer blank corner, several with toning to extreme lower blank edge only, sheet size 330 x 250 mm (13 x 10 ins, and inverse), together with the original publisher’s portfolio

310* Van Niekerk (Sarah, 1934-2018). Brownea Grandiceps and Trapjets, c. 1982-3, linocut in colours on wove paper, signed, titled, and editioned ‘12/30’ in pencil to lower margin, 57 x 76 cm (22 1/2 x 30 ins), plus 4 others including Heracleum Mantegazzianum and Guinea Fowl, editioned ‘6/20’, Reimis and Chameleon, editioned ‘14/30’, Pandanus Baptism and Frog, editioned ‘10/30’, damp staining to lower sheet edge, and another Pandanus Baptism and Frog, editioned ‘14/30’, stain to upper edge, all on wove with Somerset England watermark, all titled, signed, and editioned in pencil to lower margin, the smallest sheet 57 x 76 cm, the largest sheet 76 x 57.5 cm, all unframed, and Black Steers, 1983, screenprint in colours on white wove paper with Somerset England watermark, signed, dated, titled, and editioned 2/6 in pencil to lower margin, image size 38 x 38 cm (15 x 15 ins), sheet size 57 x 48 cm, unframed (6)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

(9)

£150 - £200

120

£500 - £800

312* Field (Spencer and Sabra, 20th-21st century). Snow Geese, circa 1985, colour woodcut, signed and titled in pencil to lower margin, printed label of Blue Heron Gallery, 100 Dorset Street, South Burlington, Vermont and 128 Main Street, Stowe, Vermont to verso, image size 10 x 24 cm (4 x 9 1/2 ins), with margins, framed and glazed (26 x 40 cm) (1)

£300 - £500

313* Laignelet (Victor, 1955). Seated Man (Self-Portrait), lithograph in colours on cream wove paper, signed and editioned ‘81/100’ in pencil to lower right, sheet size 120.5 x 80 cm (47 1/2 x 31 1/2 ins), framed and glazed (130 x 89 cm)

Lot 312

(1)

£200 - £300

314* Tanner (Robin, 1904-1988). June, The Old Road: Elegy for the English Elm, Flowers of May, Hedge Flowers (2 copies), Wren and Primroses, & The Wicket Gate, from the Memorial Portfolio, 1989, seven etchings printed on Fabriano mould-made paper, published by Merivale Editions in association with Garton & Co., each blindstamped ‘Robin Tanner The Memorial Portfolio’ to lower right corner, one (The Old Road) numbered 39/100, and two others marked PP in pencil, sheet size 38 x 46 cm (15 x 18 ins) (7)

Lot 313

Lot 314 121

£300 - £500

315* Various Artists. Twelve European Artists, 1989, offset colour lithographs, ‘Amsterdam’ by Jeroen Henneman, ‘Athens’ by Achille Droungas, ‘Berlin’ by Rainer Fetting, ‘Brussels’ by Roger Wittevrongel, ‘Dublin’ by Robert Ballagh, ‘London’ by Tom Phillips, ‘Madrid’ by Alfonso Albacete, ‘Paris’ by Antonio Segui, ‘Rome’ by Ugo Attardi, ‘Stockholm’ by Ola Billgren, ‘Vienna’ by Mario Terzic, ‘Zurich’ by Hugo Schuhmacher, each signed by the artist to lower right, sheet size 59 x 79 cm (23 1/4 x 31 ins), contained in grey portfolio folder with facsimile artists’ signatures to front (1)

316AR* Ackroyd (Norman, 1938-2024). Wiltshire Morning, Wardour, 1992, colour etching with aquatint on thick handmade paper, from the published edition of 40 impressions, signed, dated, titled and numbered 30/40 in pencil, plate size 60 x 54 cm (23 1/2 x 21 1/4 ins), framed and glazed (84 x 76 cm)

£400 - £600

(1)

£200 - £300

317AR* Ayres (Gillian, 1930-2018). Juno and the Paycock, 1992, etching with carborundum printed in colours, hand-coloured with acrylic, on heavy wove paper, signed, dated, and inscribed ‘6/25’ in pencil to lower margin, from the numbered edition of 25 prints, printed by Jack Shirreff at 107 Workshop, Wiltshire, with margins, image size 91 x 90.5 cm (35 x 13/16 x 35 10/16 ins), sheet size 106.5 x 106 cm (42 x 41 3/4 ins), unframed (1)

Lot 317 Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

122

£700 - £1,000

Lot 318 318AR* Ackroyd (Norman, 1938-2024). Ten Etchings, 1997, the complete portfolio of etchings on Japanese laid paper, ‘Connemara Shore - Inishboﬁn’, ‘On Dingle Bay’, ‘Coniston - Ruskin’s House’, ‘September Sunrise - Windermere’, ‘Malhamdale’, ‘Piper Wood - Harewood’, ‘Windrush Moonrise’, ‘Cawdrey Old Hall’, ‘Lacock’ and ‘Wardour Revisited’, each one signed, titled and numbered 23/90 in pencil, occasional light spotting, various sizes, plate size 16 x 22.7 cm (6 3/8 x 8 7/8 ins) and similar, with margins, framed and glazed (33 x 39 cm and similar), and includes original solander box bound by Smith Settle of Otley (11)

319AR O’ Casey (Breon, 1928-2011). Linocuts, 1998, 35 linocuts on Somerset TP 300gsm paper, including one double-page, printed by Hugh Stoneman, with tissue-guards, published in an edition of 200, this copy numbered 38/200, and signed by the artist, original cloth portfolio (16 x 16 cm) Produced as an in memoriam for Denis Mitchell, the sculptor for whom O'Casey worked as an assistant when he ﬁrst moved to St. Ives in 1959. (1) £600 - £800

£700 - £1,000

320* Blackadder (Elizabeth Violet, 1931-2021). Orchidaceae Phalaenopsis, etching and aquatint in colours, published by the Glasgow Print Studio, signed and limited ‘45/50’ in pencil to lower margin, plate size 60 x 45.5 cm (23 5/8 x 17 7/8 ins), with margins, framed and glazed (89 x 71 cm)

Lot 319

(1)

123

£400 - £600

Lot 321 321AR* Banksy. Pulp Fiction, 2004, colour screenprint printed in black and yellow on heavy wove paper, from the published edition of 600 impressions published by Pictures on Walls, 12 April 2004, with circular embossed publisher’s stamp to lower right corner, numbered in pencil 467/600, in excellent condition, image size 41.5 cm x 63 cm (16 1/2 x 24 3/4 ins), sheet size 48 x 69 cm (18 7/8 x 27 1/8 ins), framed and glazed (71 x 51 cm) Provenance: Purchased by the current owner from Banksy’s Santa’s Ghetto concept store on Charing Cross Road, London in December 2004. Pictures on Walls was formed in 2003 by a collection of artists, grafﬁti writers and illustrators who wanted to have total control over their own art, as well as the distribution of it. The original image was painted in 2002 at night on a rooftop in Old Street, Shoreditch, London. In 2007 Transport for London painted over the mural and a local artist then spray-painted the words ‘Come Back’ in its place. Banksy then re-tagged Pulp Fiction in exactly the same location, but with the characters wearing banana costumes and holding real guns. (1) £10,000 - £15,000

322AR Blake (Peter, 1932-). The Sailors’ Arms, 2013, ink-jet print in colours on wove paper, signed by Peter Blake, printed by Ted Chau at Chaudigital, sheet size 39 x 29.5 cm (15 1/2 x 11 1/2 ins), as issued in Under Milk Wood, by Dylan Thomas, London: Queen Anne Press & Enitharmon Editions, 2013, signed by Peter Blake to the title page, publisher’s green cloth with inset illustration to upper board, gilt title to spine, large 4to (31 x 26 cm), with prospectus detailing the collaboration between Peter Blake and Michael Mitchell of Libanus Press to create the illustrations and volume, housed in blue solander box From the deluxe edition of Under Milk Wood, limited to 100 numbered copies and ten hors commerce copies numbered HC i/x to x/x, of which this is v/x. (1) £400 - £600

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Lot 322

124

20TH CENTURY PAINTINGS & WATERCOLOURS 323* Allan (Hugh, 1862-1909). Grazing in the Valley, circa 1900, oil on canvas, signed lower left, 80 x 99 cm (31 1/2 x 39 ins), ornate period gilt frame, glazed (122 x 140 cm) Hugh Allan was a Glasgow painter of rural countryside landscapes. He exhibited at the Glasgow Institute and at the Royal Scottish Academy. (1) £300 - £500

324* Dowie (Sybil M., active 1893-1904). Colonel Sir Colin William MacRae, 42nd (Royal Highland) Regiment of Foot (The Black Watch), oil on canvas, a fine portrait of this officer, wearing a scarlet cloth tunic with crossbelt plate and medals, including a Second Boer War pair, signed and dated 1915 lower right, 82 x 61 cm, period patinated gesso moulded frame, with a plaque inscribed ‘Captain Colin MacRae of Feoirlinn, 42nd Royal Highlanders 1915, frame size 95.5 x 75 cm Colonel Sir Colin William MacRae C.V.O., C.B.E., D.L., J.P. (1869-1952) was a British Army officer who served as a Captain during the Second Boer War. He took part in actions at Poplar Grove, Driefontein, Vet River, Diamond Hill and Belfast, as well as operations on the Zululand Frontier of Natal in October 1901. His son, Major John Donald Christopher Stuart MacRae, served with the Scots Guards during World War II and was killed in action at El Alamein in 1942. The family home was in Feoirlinn, Scotland. (1) £1,000 - £1,500

Lot 323

Lot 324 125

325* Italian School. View on the Italian Coast, possibly Campania, circa 1900, oil on canvas, indistinct signature to lower left ‘Wall.’, relined, 90 x 131 cm (35 1/2 x 51 1/2 ins), framed (96.5 x 137 cm), original printed label in Italian preserved to verso with neat handwritten ‘Maude Valerie White’

327* Auberge de Garcias (Laurent, 1865-1920). Rocky Coast, France, 1902, oil on canvas, signed and dated lower left, small handwritten label to verso of stretcher (now darkened and illegible), 54.5 x 65.5 cm (21 1/2 x 25 3/4 ins), later gilt frame

Maude Valérie White (1855-1937) was born in Normandy, France, but moved to England with her family when she was a year old. In 1864, she joined a boy’s school in Wolverhampton as the only female pupil. She began piano lessons in 1868, which began an interest in Italian opera. Combining composition and training with travel, she made her way through Europe. She wrote approximately 250 songs, composed a ballet, choral work, piano pieces, incidental music for plays and an unfinished opera. She became an influential figure within the English Musical Renaissance despite sexist prejudices, even from her own family. She remains one of the most performed female composers in Proms history. (1) £200 - £400

Laurent Augberge de Garcias was born in Perpignan. In 1911 he exhibited his Idylle bretonne at the Salon d’Automne, which had been co-founded in 1903, by the Breton painter Maxime Maufra. (1) £300 - £500

328* Lebasque (Henri, 1865-1937). Female Nude, picking ﬂowers, watercolour on pale blue paper, signed in pencil to lower right, some overall spotting, 36.8 x 38.5 cm (14 1/2 x 15 1/8 ins) mount aperture, mounted, framed and glazed (66 x 65.5 cm) Henri Lebasque (1865-1937) was a French post-impressionist painter, this work is likely to be a study for a painting. Educated at École régionale des beaux-arts d’Angers he moved to Paris and studied under Léon Bonnat and Ferdinand Humbert; around this time, he met Camille Pissarro and Auguste Renoir, who had a large inﬂuence over his work. Lebasque was a founding member of the Salon d’Automne in 1903 with his friend Henri Marisse and exhibited at the Salon des Indépendants. (1) £300 - £500

326* Rossi (Alexander Mark, 1840-1916). Portrait of a lady knitting, half-length portrait oil on artist board depicting a seated lady in black dress and lace cap, knitting, signed lower left, 32.5 x 23 cm (12 3/4 x 9 ins), gilt and ebonised moulded frame, 45 x 35.5 cm (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£200 - £300

126

329* Carlandi (Onorato, 1848-1939). Tivoli, watercolour and pencil in colours on wove paper, depicting the bushy undergrowth of Tivoli, Rome, shaded by a canopy of leaves that grow from a few strong tree trunks, a man and a woman carrying a basket on her head walk through a clearing in the distance behind a rustic stone wall, signed and located by brush in watercolour ‘Carlandi, Tivoli’, lower left, printed Francis Greenacre, art historian, label to frame verso, mount aperture 55 x 37.3 cm (21 5/8 x 14 5/8 ins), in a giltwood frame, framed and glazed (72.5 x 55.2 cm) (1)

£200 - £300

330* Clausen (George, 1852-1944). Stormy Landscape, watercolour and pencil, signed in brown ink to lower left ‘George Clausen to Miss Robinson’, 18 x 25 cm (7 x 9 7/8 ins) mount aperture, framed and glazed (38 x 47 cm) (1)

£200 - £300

Lot 329

331* Collingwood (William Gershom, 1854-1932). Lake District, watercolour on paper, depicting golden-yellow gorse bushes climbing up a steep valley-side reminiscent of the crags and fells around Coniston, Cumbria, signed ‘W. G. Collingwood’ in pencil to lower left, old Bernard J. Stone framer’s label to frame verso and pencil inscription including the date ‘22/11/32’, mount aperture 355 x 257 mm (13 3/4 x 10 1/8 ins), framed and glazed (54.5 x 44.5 cm)

Lot 330

(1)

127

£300 - £500

332* Parsons (Karl Bergemann, 1884-1934). The Annunciation, a pair of stained glass window designs, 2 large-scale black charcoal fulllength figure studies on heavy cream wove paper, with traces of pencil, the first depicting the Angel Gabriel in profile to the right, holding a Madonna Lily stem in his left hand, his right hand raised in a gesture of blessing and proclamation, with irises and crocuses at his feet, and part of a buttressed church or monastery in the background upper right, lettered to lower margin ‘Blessed Art Thou’, the second depicting the Virgin Mary in profile to the left against cypress trees, holding an illuminated manuscript in her left hand, her right hand slightly raised, a dove to her left, dog roses and irises at her feet, and the remainder of the church and associated buildings appearing upper left, lettered ‘Among Women’ to lower margin, some light dust-soiling and a few small marks to margins, some pin holes to blank margins (mostly to top), each 219 x 71 cm (86 1/4 x 28 ins), matching glazed frames (223 x 75.5 cm) Provenance: Estate of Karl Parsons (1884-1934); Jacynth Parsons (1911-1992), the artist’s daughter; purchased from Jacynth Parsons by Michael Mitchell in the early 1990s; Estate of Michael Mitchell (1939-2017), dental surgeon and founder of Libanus Press. (2) £2,000 - £3,000

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

128

Lot 333 333* Richards (Frank, 1863-1935). Rural landscape at Dusk, watercolour on wove, signed lower right, 16 x 26 cm (6 1/4 x 10 1/4 ins), moulded frame, glazed, 24.5 x 34 cm, together with: Ertz (Edward Frederick, 1862-1954). Pair of nocturne rural landscapes, watercolour on wove, the ﬁrst depicting ﬁeld ploughing with horse under a moonlit sky, artist’s monogram lower left, 20 x 26.5 cm (7 7/8 x 10 3/8 ins), and the second a pair of horned cattle standing beside water, with crescent moon above, 26 x 20 cm (10 1/4 x 8 ins), in matching gilt moulded frames, glazed, 24.5 x 30.5 cm and 30.5 x 24.5 cm respectively, back boards to each inscribed ‘E. Ertz R.B.A. Pulborough, Sussex’ (3)

£200 - £300

334* Parsons (Karl Bergemann, 1884-1934). St Margaret of Scotland, circa 1914, a stained glass window design for St Giles’ Church, Edinburgh, large-scale watercolour with charcoal, heightened with bodycolour, on heavy cream wove paper, depicting the full-length figure of Margaret of Wessex, Queen of Scotland, standing on a chequered floor, holding an open book in her left hand and a crucifix in her right hand, with entwined thistle and dog rose stems above, the whole within a cusped frame, toned, and with some marginal water-staining, several creases and closed tears to edges, and a number of pin holes, 195 x 82 cm (76 3/4 x 32 1/4 ins), framed and glazed (199 x 86.5 cm) Provenance: Estate of Karl Parsons (1884-1934); Jacynth Parsons (19111992), the artist’s daughter; purchased from Jacynth Parsons by Michael Mitchell in the early 1990s; Estate of Michael Mitchell (1939-2017), dental surgeon and founder of Libanus Press. Karl Parsons, one of the greatest stained glass artists of the early twentieth century, devoted his whole career to the art form, from the time of his apprenticeship to leading Arts and Crafts designer and master craftsman Christopher Whall in 1899, until his premature death at the age of fifty. His daughter Jacynth Parsons was herself an artist from a very young age, and the wife of architect Dennis Clough. A very successful exhibition of pictures executed by her between the ages of three and sixteen was held by the Medici Society in 1927. Amongst other books she illustrated works by William Blake, W.H. Davies, and John Masefield, as well as a book of her father’s poems, entitled Ann’s Book, published in 1929. This design, depicting St Margaret, Queen of Scotland, was part of an impressive scheme depicting four Scottish saints, executed for St Giles Cathedral, Edinburgh, in 1915 (the other three saints being Saint Columba, Saint Andrew, and Saint Mund [Mungo]. Margaret of Wessex, as she is often known, was Queen of Alba from 1070 to 1093 as the wife of King Malcolm III. She was sometimes called ‘The Pearl of Scotland’. (1) £1,000 - £1,500

Lot 334 129

335* Parsons (Karl Bergemann, 1884-1934). St George and the Dragon, a stained glass window design, 1918, large-scale watercolour with charcoal, heightened with bodycolour, on heavy cream wove paper, depicting the full-length figure of St George wearing chain mail and a flaming helmet, a sword lettered ‘Contentio Fortitudo’ in his right hand, and a spear with banner attached in his left hand, the dragon beneath his feet, lower portion of the picture with a lyre and laurel wreath against a dog rose bush, with vignettes either side: to the left a young woman and her small daughter waving a handkerchief outside a cottage; and to the right a soldier going off to war and looking back with a wave, the whole within a trefoil-headed frame enclosing the lettering ‘St. George’ at the top, right-hand side with 2 closed tears (17 cm and 2 1.2 cm), a few pin holes to margins, 237 x 51 cm (93 1/4 x 20 ins), framed and glazed (240.5 x 55 cm) Provenance: Estate of Karl Parsons (1884-1934); Jacynth Parsons (19111992), the artist’s daughter; purchased from Jacynth Parsons by Michael Mitchell in the early 1990s; Estate of Michael Mitchell (1939-2017), dental surgeon and founder of Libanus Press. This dramatic design, part of a three-light window featuring St George in the centre flanked by St Laurence and St Agnes, was executed in 1919 as a memorial to the fallen of WWI for St. Laurence Church, East Harptree, Somerset. (1) £3,000 - £4,000

336* Brown (Frederick, 1851-1941). Near Painswick, 1919, watercolour over traces of pencil on wove paper, signed and dated in pencil lower right, light spotting to upper sky area, old New English Art Club label to frame verso (torn with some loss), inscribed in ink: [Cha]rles Cheston..., old Alfred Stiles & Sons framer’s label to frame verso, 240 x 342 mm (9 1/2 x 13 1/2) mount aperture, framed and glazed (46.2 x 59 cm), together with another similar early 20th century oil landscape of trees in Autumn, unsigned, indistinctly inscribed ‘Cheston’ to frame verso, framed and glazed (45.5 x 56 cm) Provenance: Charles Sidney Cheston (1882-1960), artist; thence by descent. Frederick Brown was a founder member of the New English Art Club, an alternative venue to the Royal Academy, in 1886. In 1892, after 15 years of teaching at Westminster School of Art, he became professor of ﬁne art at the Slade School and presided over its golden period, retiring in 1917. (2) £100 - £200

Lot 335

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

130

Lot 339

337AR* Beerbohm (Max, 1872-1956). George Bernard Shaw, brown ink on blue paper, signed ‘Max’ in brown ink to lower edge, also signed by the sitter ‘G. Bernard Shaw’, framed and glazed (53.7 x 35.5 cm) (1)

£700 - £1,000

340* Sluiter (Willy, 1873-1949). Study of Dutch fishwives bringing in the catch, watercolour on cream paper, heightened with bodycolour, the work afterwards squared-off in pencil, depicting two fishwives in Dutch costume, carrying a basket of fish up from the shore, a Dutch fishing boat behind, signed lower right, light overall toning, narrow mount stain to long edges, few foxing spots to bottom edge, adhered to backing card along left edge, sheet size 18.8 x 12.3 cm (7 3/8 x 4 7/8 ins), mounted, gilt frame and glazed (40.5 x 31 cm)

338AR* Manner of Lucy Kemp-Welch (1869-1958). Moorland with wild horses, oil on canvas, artist initials lower right, small area of ﬂaked paint to right, 15 x 30.5 cm (5 7/8 x 12 ins), gilt frame, 20.5 x 35.5 cm (1)

This study by Jan Willem (Willy) Sluiter bears strong similarities to the two Dutch ﬁshwives portrayed in the larger watercolour work titled Dutch ﬁshwives bringing in the catch, sold at Dawson’s Auctioneers, Maidenhead, Berkshire, 29 June 2023 (lot 47) for £1,000. It is very likely that the study was a preparatory work for the larger watercolour, hence the pencilled squaring-off. It is also extremely similar to a pastel on paper work titled Katwijk, sold by Christie’s, Amsterdam, Netherlands, 13 March 2012 (lot 20) for €1,500 Euros. (1) £200 - £300

£200 - £300

339* Philpot, (Glyn Warren, 1884-1937). Sailors on the Quayside, North Africa, coloured pencils on white laid paper, signed with initials in pencil lower right, image size 150 x 125 mm (5 7/8 x 4 7/8 ins), 163 x 138 mm (6 3/8 x 5 7/16 ins) mount aperture, framed and glazed (36 x 32.6 cm) (1)

£200 - £300

131

341* Walcot (William, 1874-1943). Liner (Ship in Dock at Liverpool), c. 1920s-1930s, watercolour over traces of pencil on laid paper, signed in pencil lower right, inscribed in pencil to frame verso ‘Framed using ‘Tru Vue’ museum glass, Glastonbury Galleries framer’s label to frame verso dated 2/9/06, 238 x 342 mm (9 3/8 x 13 1/2 ins) mount aperture, in a gilt frame and glazed (50 x 59.7 cm) (1)

£1,000 - £1,500

342* Walcot (William, 1874-1943). St. Malo, 1921, watercolour on wove paper, signed, titled, and dated in pencil lower left, old Heather Newman framer’s label to frame verso, 33 x 43.2 cm (12 x 17 ins) mount aperture, framed and glazed (60.8 x 69.7 cm) (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£500 - £800

132

343AR* Dunbar (Evelyn, 1906-1960). Moses in the bulrushes, c. 1922, red chalk on wove paper, image size 240 x 305 mm (9 1/2 x 12 ins), overall spotting, black and gilt wood frame, glazed (26.3 x 32.7 cm)

344* After Georges Barbier (1882-1932). Au Revoir, 1920s, gouache, 13 x 20 cm (5 1/8 x 7 7/8 ins) mount aperture, in turquoise and gilt Art Deco style wooden frame, glazed (25.5 x 33 cm)

In her mid-teens, Dunbar became absorbed by modern-dress illustrations of Biblical scenes, a powerful theme which stayed with her in one elaboration or another until the end of her life. (1) £100 - £150

After the original pochoir print by George Barbier printed in Le Bonheur de Jour ou les Graces à la Mode, published by Jules Meynial, Paris in 1924. (1) £100 - £150

345* Cameron (David Young, 1865-1945). Blaven, Skye, watercolour and pencil on white paper, depicting Blà Bheinn on the Isle of Skye in Scotland, signed and titled ‘D.Y Cameron, Blaven, Skye’ in pencil to lower right, pencil inscription to frame verso: Cuillins by D.Y. Cameron, H&B/HB Wedding present from Robert F. Stewart., H. W. Mace picture framer’s label to frame verso, mount aperture 215 x 343 mm (8 1/2 x 13 1/2 ins), framed and glazed (44.2 x 59.4 cm) Blà Bheinn (anglicised as Blaven) translates from Gaelic as “Blue Mountain”, and is regarded as an outlier in the Black Cuillin mountain range. (1) £400 - £600

133

346AR* Epstein (Jacob, 1880-1959). Reclining woman, pencil drawing on paper, signed lower right, 38.5 x 55.5 cm, one or two very small marginal repairs, a few light creases, mounted (1)

£500 - £800

Lot 346

347* Naudé (Pieter Hugo, 1868-1941). In Namaqualand, oil on thin wood panel, signed lower right, additionally signed in pencil to verso Hugo Naudé, Worcester St., and titled ‘In Namaqualand’, old framer’s label of C. Soar & Son, Carvers & Gilders, 4 Launceston Place, Kensington, W. 8, to verso, 252 x 355 mm (10 x 14 ins), unframed Provenance: Private Collection, Hampshire, UK. ‘Namaqualand’s ﬂowers were a diverse blaze of colour with a sea of luminous orange and red, yellow and pastel colours which sparkled and shimmered over the extensive hills.’ (https://www.hugonaude.com online). Pieter Hugo Naudé, one of the leading painters of South Africa’s Cape Impressionist school, studied at the Slade School of Fine Art in London from 1889 to 1890 and the Akademie der Bildenden Künste in Munich between 1890 and 1894. He subsequently spent a year with the Barbizon painters in Fontainebleau, France. His initial works focused on portraiture, however, with his strong interest in nature and landscape, his oeuvre developed into what are his more renowned paintings en plein air. Naudé’s most celebrated paintings are of Namaqualand in spring, which bring together the vivid colours of the area’s wild landscapes. Naudé travelled throughout South Africa, but he lived mainly in Worcester in the Western Cape for the majority of his later life, moving there in 1904, where he designed and built his own double-storey house at 93 Russell Street, now the Hugo Naudé House. A similar scale work entitled Springtime, Namaqualand, was offered by Christie’s London, Three Private Collections: Belgravia, Berkshire and Guernsey, 25 May 2023, lot 184 (estimate £7000-10,000). (1) £3,000 - £5,000

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

134

348AR* Vertès (Marcel, 1895-1961). Après-midi, Bois de Boulogne, circa 1925, watercolour with traces of pencil, signed Vertès Paris lower right, with an unﬁnished pencil study of a gentleman and young female companions at a cafe table to verso, sheet size 355 x 445 mm (14 x 17 1/2 ins), with window mount (1)

350* Steer (Philip Wilson, 1860-1942). Barges, Harwich, 1929, watercolour on paper, signed in ink and dated 1929 lower left, sheet size 23.5 x 30 cm (9 1/4 x 11 7/8 ins), gilt frame, glazed, with original printed framer’s label to verso of Chas. A. Jackson, Fine Art Dealer, Carver & Gilder, Picture Frame Manufacturer, 7 Police Street, Manchester (inscribed in pencil ‘No. 3 Barges, Harwich), old black auction stencil 744WX, and recent Garton & Co. printed label

£200 - £300

Provenance: Collection of Robin Garton (1945-2015). (1)

349* Fisher-Prout (Margaret, 1875-1963). Still life of ﬂowers in a vase, 1926, oil on board, of blue cornﬂowers and various poppies, in a large blue and white vase, signed and dated lower left, 52.5 x 44 cm (20 5/8 x 17 3/8 ins), moulded gilt frame (62 x 54 cm)

£200 - £300

351* Gill (Eric, 1882-1940). Female Nude within an arched niche, pencil on pale cream japan paper, 28 x 28 cm (15 x 11 ins) mount aperture, small stain towards centre left of the composition, framed and glazed with handwritten label to verso “Provenance. René Hague sales in 1970s, online. Eric Gill”, overall frame size 61 x 48.5 cm

Margaret Fisher-Prout was the only daughter of the artist Mark Fisher. She studied with her father and at the Slade School of Fine Art (1894–1897) under Fred Brown, where she was considered an outstanding student. After World War I Fisher-Prout frequently exhibited both abroad and in London, including at the Royal Academy, the New English Art Club (elected 1926), the Royal Watercolour Society, and the Royal West of England Academy. (1) £300 - £400

Provenance: René Hague (1905-1981, printer, scholar, and son-in-law of Eric Gill, who married Gill's daughter Joanna. Hague founded the Pigotts Press with Eric Gill in 1930, which continued until 1956, and printed David Jones' In Parenthesis 1937; Christie, Manson & Woods, London, Impressionist and Modern Paintings, Drawings and Sculpture, June 27 1972; Estate of Michael Mitchell (1939-2017), dental surgeon and founder of Libanus Press. (1) £400 - £600

135

352* Parsons (Karl Bergemann, 1884-1934). The Virgin and Child & The Annunciation, 1930, a stained glass window design, largescale black charcoal full-length ﬁgure study on heavy cream wove paper, with traces of pencil, depicting the Virgin Mary with starstudded halo holding the Christ Child, standing beneath a radiant star, with lily of the valley ﬂowers at her feet, lower portion of the picture with a depiction of The Annunciation, showing the Angel Gabriel kneeling before the Virgin Mary in an arched setting, the whole within a pointed arched frame, 8 cm closed tear to upper left blank margin, some pin holes to margins (mostly to top), 202 x 49 cm (79 1/2 x 19 1/4 ins), framed and glazed (206 x 53.5 cm) Provenance: Estate of Karl Parsons (1884-1934); Jacynth Parsons (19111992), the artist’s daughter; purchased from Jacynth Parsons by Michael Mitchell in the early 1990s; Estate of Michael Mitchell (1939-2017), dental surgeon and founder of Libanus Press. Believed to be one of three windows made for St Mary’s Anglican Church, Potchefstroom, South Africa (the other two depicting St Michael and St Gabriel). (1) £1,500 - £2,000

353* Kennedy (Cedric J., 1898-1968). Halling Cement, Kent, 1931, watercolour on wove paper depicting a cement factory with a chimney beside the River Medway in the village of Halling, Kent, signed and dated in dark blue watercolour ‘C. J. Kennedy, 1931.’ to lower right, label inscribed in black pen ‘HALLING, Kent, Cement Phill & R, Medway, C. J. Kennedy’, and an old Chapman Bros framer’s label to frame verso, mount aperture 34.3 x 50.7 cm (13 1/2 x 20 ins), framed and glazed (52 x 68.5 cm), together with Medway, 1934, watercolour on wove paper, an elevated panoramic vista depicting a sloping hillside, small sailboats dotted on a river estuary, and low rolling hills at the horizon, signed and dated in watercolour ‘C. J. Kennedy. 1934.’ to lower left, mount aperture 31.5 x 48.5 cm (12 3/8 x 19 1/8 ins), framed and glazed (56.5 x 75 cm) (2)

£200 - £300

354* Gibbs (Thomas Binney, 1870-1947). Portrait of a young lady, 1934, oil on canvas head & shoulders portrait of a young lady, with red hair, blue eyes, mottled green top and pearls, signed and dated lower left, 51 x 41 cm (20 x 16 ins), later traditional style gilt moulded frame, 64.5 x 55 cm (1)

Lot 352

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

136

£200 - £300

356* English School. Chalk Downland Landscape, probably Sussex, circa 1930s, coloured conte crayon and watercolour wash on wove paper, indisctinctly signed lower left, laid down on artist board, 42.3 x 52.5 cm (16 5/8 x 20 5/8 ins), framed and glazed, 69.5 x 79 cm (1)

£200 - £300

Lot 354

357AR* Fisher-Prout (Margaret, 1875-1963). Birds of a Feather, watercolour and ink on laid paper depicting a ﬂock of farmyard chickens grazing beneath a tree, signed in watercolour lower left, old Royal Society of Painters in Water-Colours labels to frame verso, one inscribed in ink with old exhibition number, title, and artist name, another inscribed in ink ‘Charles Cheston. VP RWS’, old Chapman Bros. framer’s label to frame verso, 313 x 390 mm (12 1/4 x 15 1/4 ins) mount aperture, framed and glazed (52 x 57 cm)

355* Cheston (Charles Sidney, 1882-1960). Harbour Scene, France, watercolour on laid paper, depicting a riverside town possibly on the Seine, narrow townhouses line the esplanade busy with shop-front awnings and walkers, the colourful buildings reﬂect in the glassy harbour water dotted with masted boats, signed in black ink lower right, 245 x 347 mm (9 5/8 x 13 5/8 ins) mount aperture, framed and glazed (51.5 x 64.5 cm), together with ﬁve others, one on laid paper with ‘MICHALLAT’ watermark, four on wove paper including Edinburgh, from Calton Hill, European Market Street, Harbourside Promenade, Venice?, Countryside Landscape View, all signed to lower edge, one with overall foxing, all framed and glazed, the largest 51.5 x 64.5 cm, the smallest 46.7 x 57.2 cm

Charles Cheston trained at Malvern School of Art followed by the Slade School of Fine Art (1899-1902). His ﬁrst solo exhibition was at Colnaghi’s in 1929, also exhibited widely, including at the Royal Academy, Fine Art Society, and New English Art Club. (6) £200 - £300

Provenance: Charles Sidney Cheston (1882-1960), artist; thence by descent. (1) £200 - £300

137

360AR* Dring (William, 1904-1990). River with Stone-Arched Bridge, Hampshire, 1940, watercolour on heavy wove paper, signed and dated lower right, 47 x 33 cm (18 1/2 x 13 ins) mount aperture, framed and glazed (70 x 57 cm)

358AR* Vertès (Marcel, 1895-1961). Le Carrousel, 1935, gouache and black chalk on paper, signed, dated, and inscribed ‘à M. Rigaud’, sheet size 405 x 293 mm (16 x 11 5/8 ins) (1)

Dring studied at the Slade School of Fine Art between 1922 and 1925. In 1940 Dring was working as a teacher of drawing and painting at the Southampton School of Art until 1942 when he began working for the War Artists’ Advisory Committee. (1) £200 - £300

£300 - £500

359* Cheston (Charles Sidney, 1882-1960). High Street, Yorkshire, 1940s, oil on canvas, depicting a wide busy high street, possibly in Yorkshire, with trees down the centre and colourful buildings to the sides, many people walking and cycling along, some vintage vehicles such as a bus and lorries, in the distance gently undulating hillsides with ﬁelds and trees, signed lower left, 55 x 77.5 cm (21 5/8 x 30 1/2 ins), canvas verso with circular canvas supplier’s mark, glazed and moulded frame (72.5 x 96.5 cm (28 1/2 x 38 ins), frame verso with old British Railways label, also label printed in red ‘N.E.A.C. ofﬁcial agents James Bourlet & Sons, Ltd. …’ with another printed label for James Bourlet, together with: Town Square, France, oil on canvas, depicting a busy square surrounded by buildings and shops, including a pharmacie, a bury street disappearing into the distance, numerous walkers, some people on bicycles, a few sitting at a street café, signed lower right, 54 x 78.5 cm (21 1/4 X 31 ins), glazed and moulded frame (72 x 94 cm), frame verso with printed label of the New English Art Club

361* Rushbury (Henry George, 1889-1968). Landscape in Italy, watercolour with pencil on paper, showing a family standing at a roadside fence looking at the view, signed in pencil to lower right, scarce faint foxing spots to sky, 25.8 x 24.8 cm (10 1/8 x 9 3/4 ins), adhered to backing board. ﬂoat mounted, glazed and framed (54 x 51.5 cm), together with: White (Ethelbert, 1891-1972). Figure in a wooded landscape, watercolour with pencil on paper, showing a female ﬁgure reaching up to a tree, distant hills beyond, signed lower right, few foxing spots, mount aperture 38.5 x 29.5 cm (15 1/8 x 11 5/8 ins), glazed and framed (64.5 x 53.5 cm), verso with framer’s label of Alfred Stiles & Sons Ltd.

Charles Cheston trained at the Malvern School of Art followed by the Slade School of Fine Art (1899-1902). His ﬁrst solo exhibition was at Colnaghi’s in 1929, and he also exhibited widely, including at the Royal Academy, Fine Art Society, and the New English Art Club. (2) £200 - £300

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

(2)

138

£200 - £300

362AR* Yates (Peter, 1920-1982). Master Race Picking up Broken Glass, Paris, 1945, gouache and ink on paper, titled and dated in pencil to upper left, signed in pencil lower left, 24 x 31.5 cm (9 1/2 x 12 3/8 ins), framed and glazed (49 x 61.5 cm) (1)

£200 - £300

363AR* Feild (Maurice, 1905-1988). Spring on the Malverns, & Autumn on the Malverns, 1946, a pair of oil on canvas landscapes, each signed, titled and dated to verso by the artist in painted capitals, each 56 x 76 cm (22 x 30 ins), period painted white frames English painter Maurice Feild, a member of the Euston Road School, initially taught at a Quaker preparatory school in Colwall, near Great Malvern until after the second world war, and in 1954, at the invitation of Sir William Coldstream, joined the teaching staff at the Slade School of Art. Lawrence Gowing described Feild as 'among the unsung inﬂuences on British painting'. (2) £400 - £600

Lot 364

364* Jones (Harold, 1904-1992). Civilised Man, 1947, gouache on board, signed in red ink to lower margin, 50 x 40 cm (19 3/4 x 15 3/4 ins), framed and glazed 71.5 x 57.5 cm (28 1/4 x 22 1/2 ins), with typewritten gallery label by Sally Hunter Fine Art Limited, London to verso indicating that this work was ‘No. 86 in the exhibition Harold Jones, June 1988. Purchased by J. Hilton, Esq., June 1988’, also attached to verso of the frame is an autograph letter signed by Harold Jones, dated July 25th 1988, addressed to ‘Dear John...it is a great pleasure to me that both you & Nicola like my work - I have admired Nicola’s work for years. I do remember very well meeting you both chez the Gilis...Here with photocopies of the poem you seek & the title page of the collection’, together with a photocopy of a page and title page from Selected Poems by John Pudney, with decorations by Harold Jones, Gild Books no. 238, both contained in envelope The poem Civilised Man appears in John Pudney’s Selected Poems, a volume of poetry issued by Gild Books in 1947 (page 41, with a wood-engraved vignette by Harold Jones incorporating a similar motif of a chained young man as head-piece). Harold Jones studied at Camberwell School of Arts and Crafts under Albert Rutherston and later at the Royal College of Art under William Rothenstein and Edward Sullivan. Primarily known as an illustrator of children’s books and poetry, including Walter de la Mare’s This Year, Next Year (1937) and Lavender’s Blue (1954), as well as his own collection of stories, Enchanted Night, published in 1947. Jones’s paintings and illustrations offer a seemingly bright and innocent world, which is, however, touched with a silent eeriness, sometimes reminiscent of Italian quattrocento painting. (3) £300 - £400

Lot 363 139

367* Morgan (John Wynne, 1906-1991). Still Life of Roses, oil on canvas, signed to lower left, 40.5 x 51 cm (16 x 20 ins), in gilt frame (49 x 59.5 cm)

365AR* Bissill (George William, 1896-1973). Pollarded Tree Landscape with Fisherman, watercolour and black ink on laid paper, signed lower right, 27 x 37 cm (10 3/4 x 14 1/2 ins) mount aperture, framed and glazed (46 x 57.5 cm)

(1)

£200 - £300

George William Bissill was a British miner, painter, and furniture designer. Bissill’s paintings are held in a number of important public collections, including the Tate Gallery, National Museum of Northern Ireland and the Manchester Art Gallery. Bissill was known for his landscapes and ﬁgurative paintings in oil. He was given a solo show at the Redfern Gallery in 1924. (1) £200 - £300

366AR* Moiseiwitsch (Tanya, 1914-2003). Set design for Captain Carvallo, 1950, watercolour on cream paper, heightened with body colour, title to lower right, inscribed in pencil ‘For Pat with love from Tanya Moiseiwitsch’ to lower left, light vertical crease to offcentre right, 37 x 50.5 cm (14 1/2 x 19 7/8 ins) mount aperture, framed and glazed (56 x 68 cm)

368* Thistlewaite (Morwenna, 1912-2000). Mother and Child, oil on canvas, signed with artist’s monogram to lower right margin, 56 x 45.5 x cm (22 x 18 ins), light white-washed wood frame (55.5 x 66.5 cm)

Tanya Benita Moiseiwitsch CBE (1914-2003), an innovative costume, set and stage designer for the theatre, was responsible for over two hundred productions in England, Canada and the United States.

Morwenna Thistlethwaite studied at the St Ives School founded by Leonard Fuller, and enrolled as a mature student at Leamington Spa Art College in 1938 for two years, and then Birmingham College of Art for four years during the war, where she was a prize-winning scholarship student. (1) £300 - £500

Captain Carvallo was a highly successful satirical comedy written by Denis Cannan, premiering in the West End at St. James’s Theatre in August 1950, under the management and production of Sir Lawrence Olivier. The play takes place entirely inside a rural farmhouse where an enemy ofﬁcer is billeted. (1) £200 - £400

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

140

370AR* Goor (Gaston, 1902-1977). Minos’s Palace, 1954, coloured chalks on dark brown card, signed and dated lower right, inscribed with title in pencil to verso sheet size 32.5 x 43 cm (12 3/4 x 17 ins), framed and glazed (47.2 x 55.4 cm) (1)

369* Cheston (Charles Sidney, 1882-1960). Ancient Farm, c. 1951, oil on canvas, depicting a cluster of brick farmhouses nestled amongst lines of slender poplars, a haywain and figure in the middle distance to left, signed lower left, exhibited with the Royal Academy in 1951, old tape to frame verso with handwritten title inscription ‘ANCIENT FARM’, housed in a period ornate wooden frame and glazed (75.2 x 91 cm), plus Stoke by Nayland Town, oil on canvas, depicting the northern side of St Mary’s Church flying the White Naval Ensign from its tower, two figures stroll through the graveyard sun-dappled by trees in full bloom, signed lower right, old label with printed exhibition number ‘252’ to lower left corner of frame, old New English Art Club label to frame verso inscribed in ink with artist’s name, address ‘Polstead Colechester’, and title, framed and glazed (71.5 x 89.5 cm), and Summer ....?, oil on canvas, depicting tree-lined fields, dotted with the rooves of rural buildings, undulating towards the horizon, beneath an expansive cloudy blue sky, inscribed in ink to canvas at verso with title and dimensions, framed (65.7 x 89.7 cm)

£200 - £300

371AR* Cooper (William Heaton, 1903-1995). Scafell Pinnacle and Deep Ghyll, The Lake District, watercolour and pencil on wove paper, signed in ink ‘W. H. COOPER’ to lower left, inscribed in pencil ‘Scafell Pinnacle and Deep Ghyll, from Pisgah, Scawfell, (?), H+B notation, W Heaton Cooper’, to frame verso, mount aperture 375 x 270 mm (14 3/4 x 10 5/8 ins), framed and glazed (56.5 x 44.5 cm)

(1)

141

£700 - £1,000

374 Ibrahim (Abubakar, 1925-1977). Kampung and Paddy Field & Landscape with Malay with rocky outcrop, two watercolours on paper, each signed lower left, laid down on backing paper, sheet size 28 x 37.5cm (11 x 14 3/4 ins), window-mounted (48 x 61 cm)

372AR* Hilton (Roger, 1911-1975). Siamese Cat, pen and brown ink on pale cream, wove paper, sheet size 202 x 503 mm (8 x 10 ins), framed and glazed, with label attached to verso for an undated exhibition at The Royal West of England Academy, giving the artist’s name and title of the work

(2)

£300 - £500

Provenance: Collection of Mr & Mrs John Bull; a gift from the sculptor John Huggins (born 1938). (1) £200 - £300

373* Iselenov (Nicolas, 1891-1981). Group of six original Christmas card designs, 1955-61, gouache on blue or green folded thick paper, each with a deisgn of a Russian Orthodox church, signed and dated 1955 through to 1961-22, each signed and inscribed inside Bonne Nouvelle Année, Nicolas et Marie Iselenov, each 14 x 11 cm, together with Zyw (Aleksander, 1905-1995). A group of four original watercolour Christmas cards, circa 1952-55, pen, black ink and watercolour on thick paper, of which two are folded, various sizes (12)

£200 - £300

Lot 375

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

142

377AR* Cross (Tom, 1931-2009). Mountain Landscape 2, 1963, gouache on paper, signed and dated October 1963 in black ink to lower left, uneven torn margin to the upper edge of the sheet, a little damage and surface loss to extreme lower edge of the sheet, 53.3 x 73.6 cm (21 x 29 ins) mount aperture, framed (73.5 x 92.5 cm), printed label with artist, title, date and medium to frame verso

375AR* Lepri (Stanislas, 1905-1980). La Famille dans la Jungle, circa 1960, oil on canvas, signed lower right, inscribed to verso with artist’s name and title of the work (presumably in the artist’s hand), 55 x 38 cm (21 1/2 x 15 ins), wood frame Provenance: Private Collection, Worcestershire, UK. Stanislas Lepri was born into a wealthy Italian family, and grew up in Rome overlooking Bernini's fountain in the Piazza Navona. In 1942 he met the surrealist artist Leonor Fini. They lived together through the second world war, and in 1951 welcomed the Polish writer Constantin Jelenski into a ménage à trois. A friend of Picasso, André Breton, Max Ernst and others, Lepri's surrealist paintings are held by the Museum of Modern Art, New York, the Galleria Nazionale d'Arte Moderna, Rome, and in numerous private collections. He held one-man shows at the Trafford Gallery, London in 1961, 1963 and 1967. A copy of the second Trafford Gallery exhbition booklet (1963), as well as a catalogue for another exhibition of Lepri's work at the Alexandre Jolas Gallery in Geneva in 1971 are included with this lot. (1) £800 - £1,200

(1)

£200 - £300

378* Dabrowski (Henry, 1927-2006). St Michael’s Archangel Church, Debno, Podhale, 1963, black and red chalk on laid paper, signed, dated and titled to lower margin, small hole to lower margin, 63 x 46 cm (24 3/4 x 18 1/8 ins), framed and glazed (69 x 52 cm) (1)

£300 - £500

376* Pilawski (Wieslaw, 1916-1972). Boats in Harbour, oil on board, signed to lower left, 28 x 22 cm (11 x 8 5/8 ins) mount aperture, framed and glazed (43.5 x 36.5 cm) (1)

£200 - £300

379AR* Ardizzone (Edward, 1900-1979). Bathers, c. 1965, watercolour with pencil details on white wove paper, depicting two nudes, one laying on a grassy hill, another stood to the right under a large tree, both overlooking a blue horizon, studio stamp with initials ‘EA’ to lower right, image size 14 x 21.3 cm (5 1/2 x 8 3/8 ins), mount aperture 13.8 x 20.7 cm (5 7/16 x 8 3/16 ins), Wolseley Fine Arts sticker and Leonard Villa Frame Makers sticker to frame verso, framed and glazed (36 x 42.2 cm) (1)

Lot 377 143

£200 - £300

381* Thomson (William, 1926-1988). Portrait of Dame Elisabeth Frink, circa 1970, pencil on paper, signed and dated bottom right in pencil, 29 x 37 cm (11 1/2 x 14 1/2 ins) mount aperture, James Bourlet & Sons Ltd., framer’s label to frame verso, framed and glazed (47 x 56 cm) (1)

£200 - £300

380AR* Donaldson (Marysia, 1930-2018). Anemones, oil on canvas, signed lower left, 51 x 63 cm (20 x 24 3/4 ins), framed (69 x 80 cm), paper label with artist’s name and title in pencil to verso of frame (1)

£400 - £600

382AR* Dunstan (Bernard, 1920-2017). Dressing Striped Jersey, 1972, oil on board, initialled lower left, 30 x 17.5 cm (11 1/2 x 6 1/2 ins), framed (25.5 x 38.5 cm), Michael Parkin Fine Art Ltd., London, label to verso Exhibited: Thomas Agnew & Sons, London, 1972; Michael Parkin Fine Art, London, December 1983 (where purchased by Mrs Innes Bullard, according to Michael Parkin label). Bernard Dunstan studied at the Slade School of Fine Art, and was elected Associate of the Royal Academy (A. R. A.) in 1958 and Royal Academician (R. A.) in 1968. He exhibited widely from 1952, holding solo shows at Agnew Gallery, London. (1) £700 - £1,000

Lot 381

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

144

384* Barrett (Tom, 1936-2017). Dutch Barns near Hindon, oil on canvas, inscribed in ink to canvas verso 'Tom Barrett, Dutch Barns Nr. Hindon' framed (61 x 73.7 cm) Provenance: Estate of the artist. Tom Barrett (1936-2017) studied at Norwich School of Art, and at the University of Reading. He was appointed lecturer in Fine Art at Reading University in 1963 where he worked closely with Terry Frost, under the professorship of Claude Rogers. In 1975 he moved to Dorset where the landscape, particularly around Lulworth, became a major preoccupation in his work. He exhibited at King Street Gallery, Bristol in 1979, Austin-Desmond Fine Art in 1990, Ashgate Gallery, Barnham (with Terry Frost), Wiltshire Museum, Devizes, Contrasting Topographies, in 2005 and elsewhere. (1) £200 - £300

383AR* Bizon (Edna, 1929-2016). Still Life with Silver and Glass, oil on canvas, signed lower right, 46 x 36 cm (18 1/8 x 14 1/4 ins), gilt frame (63 x 53 cm), Guild of Norwich Painters Exhibition 2001 label to verso Exhibited: Guild of Norwich Painters Exhibition 2001. Edna Bizon studied at Camberwell School of Arts and Crafts where her teachers included Claude Rogers, John Minton, Lawrence Gowing and Victor Pasmore. Bizon emulated painters of the Dutch and Norwich schools, believing that “skill in painting is very important to express ideas”. She was a member of SWA and showed regularly at RA from 1973. (1) £300 - £400

385* Barrett (Tom, 1936-2017). Family Portrait, oil on canvas, depicting the artist’s wife picking fruit barefoot in the garden, a small black dog stands just behind her with a child that holds a red bag, another child peers forward from amongst the bushes, and another runs into the undergrowth behind, 91.5 x 91.5 cm (36 x 36 ins), unframed Provenance: Estate of the artist. See note for the lot above. (1)

Lot 384

145

£150 - £200

386AR* Berlin (Sven, 1911-1999). Genesis 80, 70 leaves of original manuscript poems in black ink, profusely illustrated throughout in watercolour with pen and black ink, with large half-page illustrations, head or tail-pieces, (at least 30 leaves with full-page watercolour illustration), at rear a manuscript explanation of Berlin's artistic philosophy titled The Route of Genesis. '80., signed by author in black ink to title, original black leather boards with illustrations in gold by the artist, 4to (29.5 x 20.6 cm), together with: Poems by Sven Berlin, circa 1983-1984, 92 leaves of original manuscript poems in black ink, profusely illustrated throughout in watercolour with black ink, one pen and black ink illustration tipped onto leaf, some words corrected with correction fluid, signed by author in black ink to title, original green faux-leather gilt with the artist monogram to centre of front and rear boards, 4to (29.5 x 21 cm), plus Time's Everest. Poem of Life by Sven Berlin, 1996, 57 leaves of original manuscript poems in black ink, profusely illustrated throughout with pen, black ink and watercolour and pen and black ink drawings, including many full page, numerous mounted to leaves, some words corrected with correction fluid, signed by author to title, original illustrated cloth, with original pen, ink and watercolour mounted to upper board, title and signature in white correction fluid to upper board, lower portion of upper joint split, 4to (29.6 x 20.5 cm) Sven Berlin (1911-1999) was an English painter, writer and sculptor. He led a bohemian life and after enrolling at Beckenham School of Art in 1928 decided to become a dancer in music halls. In 1934 and 1938 he resumed his art studies at Camborne-Redruth Schools of Art. He settled in St Ives, Cornwall post-war, where he co-founded the Crypt Group in 1946, and the Penwith Society in 1949. His second book The Dark Monarch: a Portrait from Within was a thinly disguised, irreverent and controversial memoir/novel about the St Ives artist colony and shortly after publication it was withdrawn due to legal action. After being forced to leave his studio in Cornwall, he and his wife settled in the New Forest and lived alongside gypsies. His oil paintings and drawings were exhibited in 2003 at the St Barbe Museum and Art Gallery in Lymington, and in 2012 at Penlee House, Penzance. (3) £800 - £1,200

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

146

387AR* Inshaw (David, 1943-). Wiltshire Landscape, pencil on wove paper with Hayle Mill watermark, signed lower right, old printed Waddington Galleries Ltd label to frame verso, 54.9 x 77.2 cm (21 1/2 x 30 3/8 ins), framed and glazed (76.5 x 97.5 cm) (1)

389AR* Michie (David, 1928-2015). Flowers, circa 1980, oil on canvas, signed lower left, 51 x 61 cm (20 x 24 ins), gilt frame (60 x 70 cm)

£100 - £200

David Michie studied at Edinburgh College of Art, 1946–53, under William Gillies. He lectured in painting at Gray’s School of Art, Aberdeen, 1957–61, then joined the staff of Edinburgh College of Art, being appointed head of drawing and painting, 1982–90. Michie was a member of Royal Glasgow Institute of the Fine Arts, president of the Society of Scottish Artists (SSA), and elected Associate of the Royal Scottish Academy (RSA) in 1972. (1) £500 - £700

388AR* Matthews (Michael, 1933-1995). Liverpool Docks in Moonlight, oil on board, signed lower right, 51 x 76 cm (20 x 30 ins), attractive antique-style moulded gilt frame (76 x 101 cm) (1)

£500 - £800

Lot 388 147

390AR* Reay (John, 1947-2011). Children playing on a jetty, oil on card, 17.7. x 26.7 cm, mounted, framed and glazed (34 x 48 cm), numbered and titled in black ink, red ink stamp ‘De-accessioned by Paintings in Hospitals’, and printed Thackeray Gallery label with typed artist, title, medium, size, owner and date purchased information to verso (1)

£150 - £200

392* Barrett (Tom, 1936-2017). Cliffs near Warbarrow, 1981, oil on canvas, handwritten inscription in green, brown, and red ink to canvas verso: Tom Barrett, 1981, version I, CLIFFS NEAR WARBARROW, No. 2, the painting being an early study for Cliffs at Warbarrow Bay with Dog, 1989, exhibited at Beldam Gallery, Brunel University, 1997, 69 x 51 cm (27 1/8 x 20 ins), unframed Provenance: Estate of the artist. (1)

391* Selby (William, 1933-). Harbour, South of France, circa 1980, oil on board, signed lower right, 61 x 49.5 cm (24 x 19 1/2 ins), framed (63.5 x 52 cm) (1)

£150 - £200

393AR* Bowey (Olwyn, 1936-). Study for Coultershaw Mill, 1983, pencil on paper, signed on verso of frame, 34 x 49.5 cm (13 1/2 x 19 1/2 ins) mount aperture, modern gold frame, glazed (64 x 52 cm)

£200 - £300

Study for the oil painting Coultershaw Mill, exhibited at Royal Academy of Arts, London, Summer Exhibition, 28 May-28 August 1983, no. 113. (1) £300 - £500

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

148

394AR* Inshaw (David, 1943-). Dramatic Evening, Silbury Hill, 1987, oil on canvas, signed, titled and dated by the artist to verso, Waddington Galleries Ltd label to verso (with stock number B16979), 81.5 x 91.5 cm (32 x 36 ins) Provenance: A gift from the artist to Michael Mitchell (1939-2017), dental surgeon and founder of the Libanus Press based in Marlborough, Wiltshire. David Inshaw is known for his enigmatic landscapes and ﬁgure paintngs in which memory, desire and the English countryside are intertwined. Silbury Hill has long been a particular preoccupation in the artist's work. (1) £2,000 - £3,000

149

395AR* Main (Lesley, 1959-2023). Irises, 1987, oil on board, signed and dated lower left, 18 x 23 cm (7 x 9 ins) mount aperture, remains of Main Fine Art gallery label to verso, framed and glazed (47 x 52.5 cm)

397* Barrett (Tom, 1936-2017). Berlin Wall, 1989, oil on canvas, inscribed in ink to canvas verso: TOM BARRETT, BERLIN WALL, framed (65.5 x 55.7 cm)

(1)

Provenance: Estate of the artist. (1)

£200 - £300

396AR* Main (Lesley, 1959-2023). Mykonos Landscape, 1988, mixed media, signed and dated in pencil lower left, 30.5 x 35.5 cm (12 x 14 ins) mount aperture, framed and glazed (60 x 65 cm), exhibition label Mason-Watts Fine Art, 16 Lansdowne Circus, Leamington Spa to verso

398* Barrett (Tom, 1936-2017). View Over the Berlin Wall, 1989, watercolour on white laid paper, signed and dated by brush lower left and inscribed in pencil ‘View over the Berlin Wall, 1989.’ to lower margin, label to frame verso inscribed in ink with artist’s name, date, and title, the painting exhibited at Austin/Desmond Fine Art, Sunninghill Gallery, Berkshire in 1990, 362 x 425 mm (14 1/4 x 16 3/4 ins) mount aperture, framed and glazed (67 x 54.3 cm)

Exhibited: Mason-Watts Fine Art, Leamington Spa, Christmas Show, 1988. (1) £300 - £400

Provenance: Estate of the artist. (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

£150 - £200

150

£150 - £200

399AR* Edwards (Malcolm, 1934-). Pennine Textures, circa 1989, watercolour on white wove paper, signed in black ink lower right, old artist label to frame verso inscribed with title and medium, gilt framer's label from 'The Gallery, Hawarden, Deeside' to frame verso, and old Mall Galleries exhibition label to frame verso dated 1989, 25 x 55.5 cm (9 7/8 x 21 7/8 ins) mount aperture, framed and glazed (43.5 x 72.7 cm) (1)

£300 - £500

400AR* Main (Lesley, 1959-2023). Flowers against an Apricot Background, 1989, oil on board, with traces of pencil, signed and dated lower right, 48 x 43 cm (19 x 17 ins) mount aperture, framed and glazed (76 x 71.5 cm) (1)

Lot 400

151

£300 - £500

401* After George Stubbs (1724-1806). The Grey Hunter with a Groom and Greyhound at Cresswell Crags, late 20th century, oil on canvas, after the original by George Stubbs, canvas size 51 x 60.5 cm (20 x 23 3/4 ins), framed (63 x 73 cm) (1)

£100 - £150

403AR* Lenaghan (Brenda, 1941-2020). Mermaid and Boy, 1990, watercolour on paper, signed and dated lower left, 50 x 64 cm (19 3/4 x 21 1/4), framed and glazed (69 x 85.5 cm) Brenda Lenaghan studied at Glasgow School of Art between 1958–63, and contributed to the design of innovative fashion fabrics working with the textile artist Bernat Klein (1922-2014). Her designs were featured in Chanel and Dior’s haute couture collections. (1) £300 - £500

404AR* Palmer (Simon, 1956-). To the Lighthouse, circa 1990, watercolour and ink on white wove paper, signed by brush in green lower left, 65.5 x 60.5 cm (25 3/4 x 23 3/4 ins) mount aperture, framed and glazed (98.2 x 91.7 cm)

402AR* Hogarth (Paul, 1917-2001). New Mexico, Plaza, 1990, watercolour and pencil on white wove paper with Strathmore blindstamp lower left, signed, dated and inscribed in ink 'New Mexico, A corner of the plaza, Taos' to lower right, also inscribed in pencil to lower right, sheet size 465 x 585 mm (18 1/4 x 23 ins), framed and glazed (51.3 x 63.4 cm) (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

(1)

£150 - £200

152

£2,000 - £3,000

Lot 404

153

Lot 406 405AR* Cross (Tom, 1931-2009). Blue Jug and Oysters, 1991, oil on canvas, signed to lower left, panel size 66 x 51 cm (26 x 20 1/8 ins), framed (77 x 62 cm), label with artist, title and date to frame verso (1)

£200 - £300

406* Mirkovic (Vlada, 1954-). Surrealist Composition, 1994, oil on canvas, signed and dated lower right, pencil inscription to frame verso ‘No. 22’ and dimensions, 98.5 x 81 cm (38 3/4 x 32 ins), framed (106.2 x 88.5 cm) Born in Serbia, Mirkovic studied at the University of Belgrade. The painting offered in this lot was likely exhibited at his ﬁrst solo show in Belgrade, 1994. Since then, he has exhibited in solo and group shows in Geneva, Firenze, Paris, Viechtach, Chaumont, and Saint Germain des Angles. (1) £400 - £600

407* Mirkovic (Vlada, 1954). Surrealist Composition, 1994, oil on canvas, signed and dated lower right, some soiling to top left, 55 x 45 cm (21 5/8 x 17 3/4 ins), gilt frame (63.5 x 53 cm) Born in Serbia, Mirkovic studied at the University of Belgrade. The painting offered in this lot was likely exhibited at his ﬁrst solo show in Belgrade in 1994. Since then, he has exhibited in solo and group shows in Geneva, Florence, Paris, Viechtach, Chaumont, and Saint Germain des Angles. (1) £200 - £400

Lot 407

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

154

408AR* Schilling (Patrick, 1949-). Bien avant ou longtemps après les Olmiques, circa 1999, oil on canvas, signed P. Schilling lower right, signed and titled in black pen to verso, image size 49 x 60 cm (19 1/4 x 6 3/4 ins), modern raised white wood frame mounted on dark blue board, 68.5 x 79.5 cm (27 x 31 1/4 ins) (1)

£300 - £500

410* Barrett (Tom, 1936-2017). Peonies, 2003, watercolour on laid paper, still life of three crimson peonies with vibrant green leaves in a glass vase against a brown background, signed and dated ‘10/03’ in pencil lower left, inscribed in ink with ‘Peonies, Top Light No.6’ and artist’s name to frame verso, framed and glazed (59.8 x 49.8 cm) Provenance: Estate of the artist. After studying at Norwich Art School and Reading University between 1954 and 1959, Tom Barrett became lecturer in Fine Art at Reading University in 1963, where he worked closely with Terry Frost under the professorship of Claude Rogers. In 1975, Tom and his wife Diana (also a painter), moved to Dorset where the landscape, particularly around Lulworth, became a major preoccupation in his paintings. In 1987, inspired by Llewelyn Powys’ lyrical descriptions of the Dorset Coast, Barrett and Robert Organ participated in a two-man exhibition Paintings & Drawings of the Dorset Coast at Parnham House, Beaminster. They described Dorset as ‘the most extraordinary landscape, with a unique light and colour, and astonishing juxtapositions of land and sea. In the evening, as the sun lowers, a mysterious ﬁligree of shaded lines and shapes appear across the forms of the downland, as the strips and enclosures of ancient agriculture become visible, right up to the cliff edge.’ Throughout his career, Barrett exhibited in numerous group and solo exhibitions across the UK, most notably with Austin/Desmond Fine Art at Sunninghill Gallery in 1990, and at King Street Gallery, Bristol; the Centre for Visual Arts, Cheltenham; Salisbury Festival; Town Mill Gallery; and the Wiltshire Heritage Museum. (1) £150 - £200

409* Barrett (Tom, 1936-2017). Marnhull, Dorset, oil pastel on paper, depicting a countryside landscape at dusk, signed and dated '3/2000' to lower margin, inscribed in pencil to frame verso with title and artist's name, 325 x 505 mm (12 1/2 x 19 7/8 ins) mount aperture, framed and glazed (51.5 x 68 cm) Provenance: Estate of the artist. (1)

£100 - £200

155

411* Meyer (John, 1942-). Back from the Sneeuberge, East Cape, South Africa, 2016, acrylic and mixed media on canvas, signed lower right, signed, titled, and inscribed on the stretcher, 115 x 155 cm (45 1/4 x 61 ins), deep recessed black frame (119 x 158 cm) South African painter John Meyer is best known for his realistic depictions of landscape, genre scenes, and portraits. Born in 1942 in Bloemfontein, South Africa, he went on to study at Johannesburg Technical College School of Art before working in advertising and as an illustrator in London. He then returned to Johannesburg where he lives and works. The South African landscape has long been a source of inspiration for Meyer. The present, monumental landscape, suffused with light, is executed in his characteristic hyper realist style – in his words ‘One could say I’m obsessed with the magical properties of paint, with the process that allows for and unlocks the magic.’ Meyer’s work has been exhibited internationally, most recently at Circa Gallery in Johannesburg (2021), the Saatchi Gallery in London (2018), and the Everard Read Gallery in London, Cape Town, and Johannesburg (2008 –2021). In 2015, Lost in the Dust – a body of ﬁfteen works addressing the effects of the AngloBoer War – was exhibited at Everard Read (Cape Town and Johannesburg) and Bonham’s (Edinburgh). (1) £15,000 - £20,000

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

156

SCULPTURE

412* After Donatello (1386-1466). Contessina de’ Bardi as Saint Cecilia in the robe of Artemis, later 19th century, painted plaster relief head and shoulders portrait, depicting a young woman with downcast eyes in proﬁle to the left wearing a red robe and gold coronet, 24 x 15.5 cm (9 1/2 x 6 1/8 ins), original frame (29 x 20.5 cm) Provenance: Collection of Antony R. Harris (1938-2024), dealer in 18th-20th century paintings, watercolours and prints in Birmingham during the 1970s who subsequently opened Oldswinford Gallery in Stourbridge (1980-2018). Donatello created a small bronze relief portrait of the Contessina de’ Bardi (1390-1473), who married Cosimo de’ Medici in 1414, in allegorical guise around 1412-1415, when he was in his early twenties. This lost bronze is only known through 19th century copies such as the present work. (1) £200 - £300

413* Ellis (Clifford Wilson, 1907-1985, & Rosemary, 1910-1998). A collection of Noah’s Ark figurines, 28 figurines, painted plaster over a metal framework, some with leather ears and string or wire tails, comprising Mr and Mrs Noah and pairs of animals and birds: elephants, giraffes, camels, zebras, swans, monkeys, lions, leopards, tigers, penguins, pigs, tortoises, and porcupines, some damage and slight losses (wire exposed in places), largest 17 x 27 cm, smallest 2.5 x 6 cm, accompanied by an old newspaper clipping, magazine articles, and an old photograph of other animal figurines displayed at the Children’s Art Exhibition, Victoria Art Gallery, Bath, Sept. 1937 A unique set of Noah’s Ark animals modelled by husband and wife team Clifford and Rosemary Ellis, who collaborated artistically over a period of five decades. Possibly best-known for their dust jacket designs for the long-running New Naturalist series, they produced a prodigious amount of other work, including posters for companies such as London Transport, Shell, and the General Post Office, mosaics for walls and floors, and a series of watercolours recording Bath, where they were based, during the Second World War. In 1936 Clifford Ellis became Head of Bath School of Art, later the Bath Academy of Art, which moved to Corsham Court in 1946, and both he and his wife continued to teach at the Academy after the war. Clifford and Rosemary Ellise were clearly interested in the medium of modelling, both as an artistic expression and as a vehicle for education. They published a number of papers on the subject in The Studio in the 1940s, as well as an article entitled 'An Experiment in School Modelling' published in Art & Craft Education, in August 1937. In the latter they describe in some detail how "newspaper animals", similar in appearance to these, could be produced by gluing paper over a wire framework. This set, perhaps made for an exhibition, or possibly for the amusement of the couple's two daughters, has a naive charm; the animals are carefully considered and formed, but have a freedom of pose which lends each a character which would have been extremely appealing to children. (28) £300 - £500

414* Grinling (Anthony Gibbons, 1896-1982). Reclining Female Nude, carved and polished kauri pine sculpture, hanging hook attached to verso, 33 x 74 x 15 cm (13 x 29 x 6 ins) Born at Stanmore and educated at Harrow, Anthony Gibbons Grinling studied carving and modelling with Lipari in Sicily in 1919-20 while recuperating after the First World War. (1) £400 - £600

157

416AR* Clarke (Geoffrey, 1924-2014). Form with Sphere, sand-cast aluminium maquette, height 135 mm, length 75 mm, width 32 mm Geoffrey Clarke studied at the Royal College of Art, and represented the UK at the Venice Biennale in 1952. From 1959 he began casting sculptures in aluminium. Clarke's work, alongside that of his contemporaries Lynn Chadwick, Reg Butler, Kenneth Armitage, William Turnbull and others, was described by the art critic Herbert Read as 'the geometry of fear', a phrase that has come to deﬁne this post-war generation of British sculptors. (1) £400 - £600

417AR* Wylder (Jonathan, 1957-). Antonia II, patinated gold-brown bronze sculpture of a female ﬁgure in a white slip dress, on a marbled base, from an edition of 18, this being number 14, signed and numbered, height 29 cm width 9cm, depth 9cm, with original signed certiﬁcate of authenticity

415* English School. Ecco la Primavera, carved wooden sculpture modelled as a nude female, standing against a support decorated with ﬂowers, her right hand raised to her ear as if listening, mounted on a stone base engraved and heightened in red ‘ECCO LA PRIMAVERA’ translated from Italian: Behold, the Spring; overall height 88 cm (34 5/8ins) (1)

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

Provenance: purchased from the Jonathan Wylder Gallery, 9 November 2000 (original invoice). (1) £400 - £600

£200 - £300

158

419* Bahouth (Candace, 20th century). Mosaic Shrine, sculpture modelled as a shrine, the arched niche lined with mirrored pieces inside, framed by a mosaic of blue and white china fragments and gold-coloured ceramic, adorned with a blue and white ceramic lid, overall height 36 cm (14 1/8 ins), depth 10 cm (4 ins) Provenance: Bought from the Blue and White exhbition at Victoria Art Gallery, Bath, in 2008. Born in New York and residing in Somerset, UK, Bahouth began using mosaic as a medium following a commission requested by a director of the Moorcroft pottery company after seeing a windowsill she had decorated with found china fragments. Since, she has contributed mosaic sculptures to various public art projects, including an empty tomb niche in Wells Cathedral as part of Wells Art Contemporary 2021, and a ﬂying pig to the King Bladud’s Pigs project in Bath. She has also exhibited at the Courtauld Institute and the Institute of Contemporary Arts. Two of her 1980 works are held at the V&A. (1) £500 - £800

418AR* Wylder (Jonathan, 1957-). Lara III, bronze, of a female seated on a marbled plinth reading a book, with gold, brown and verdigris patina, from the edition of nine, signed and numbered 1/9 to base, accaompanied by a signed certiﬁcate of authenticity, height 47 cm, width 12 cm (overall height 39cm, width 9 cm, depth 15 cm) Provenance: Purchased from Jonathan Wylder Gallery, London, summer 2006; thence by descent. (1) £700 - £1,000

420* Uht (John, 1924-2010). Crouching Female Figure, dark brown patinated bronze ﬁgure on a marble base, from the edition of 10, signed and numbered VI/X on the feet, height 23 cm, width 12 cm, depth 11cm (overall height 29.5 cm) Provenance: Barry M. Keene Gallery, Henley-on-Thames, by 1999; Ivor J. Hunt, Henley-on-Thames (purachsed from Barry M. Keene Gallery); thence by descent. American sculpture John Uht studied at the University of Illanois, and moved to New York in 1948. He moved to England permanently in 1963, exhibiting regularly at The Royal Academy summer exhibitions. He was a member of The Royal Institute of Painters in Water Colours. (1) £200 - £300

Lot 419

159

Lot 421

421AR* Schroeder (Dr. Viktor, 1946-). Memento Mori, circa 2013, mixed media sculpture with taxidermy barn owl, syringe, two leather bound books, pocket watch and taxidermy death’s-head hawkmoth, rectangular glazed glass case, height 36 cm, length 44 cm, width 32cm Dr Viktor Schroeder is another identity that half of The Connor Brothers, Mike Snelle has worked under in 2013. He created a ﬁctitious biography of the doctor, which entailed a compendium of mixed media vanitas set-ups both assembled and curated by the artists. (1) £1,500 - £2,000

422AR* Schroeder (Dr. Viktor, 1946-). One Anyway, circa 2013, mixed media sculpture with taxidermy cock-chafﬁnch, small pocket watch and one leather-bound book, glass domed case, height 42 cm, length 28 cm, width 28cm Dr Viktor Schroeder is another identity that half of The Connor Brothers, Mike Snelle has worked under in 2013. He created a ﬁctitious biography of the doctor, which entailed a compendium of mixed media vanitas set-ups both assembled and curated by the artists. (1) £1,500 - £2,000

Lot 422

Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)

160

INFORMATION FOR BUYERS AFTER THE AUCTION Online Results: If you weren’t present or able to follow the auction live, you can ﬁnd results for the sale on our website shortly after the sale has ended. Payment: The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the ﬁnal hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + VAT (Dominic Winter / Invaluable) or 4.95% + VAT (the-saleroom) will be added to your invoice. Please note that as from January 2025 all successful Invaluable bids are now subject to a minimum charge of the UK equivalent of $10 per lot.

METHODS OF PAYMENT Cheque: Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted. Cash: Payments can be made at the Cashier’s Office, either during or after the sale. Debit Card: There is no additional charge for purchases made with debit cards in the UK. Credit Cards: We accept Visa and Mastercard. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made. Bank Transfer: All transfers must state the relevant invoice number. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges. Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers. Collection/Postage/Delivery: If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made. Shipping: Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send we will recommend other shipping specialists. London Deliveries: We provide a monthly delivery service to Central London only, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is £1,000 or more. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50%

For the Portion of the Hammer Price up to £50,000 between £50,000.01 and £200,000 between £200,000.01 and £350,000 between £350,000.01 and £500,000

Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

CONDITIONS OF SALE AND BUSINESS 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account. 3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 22% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 22% and assents to the Auctioneer receiving the said commission. 4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared. 5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due. 6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded. 8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer. 9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to theAuctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions. 11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the lower estimate, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions. 12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses. 13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.

Printed Books, Maps & Documents 9 DECEMBER 2026

Bernardus Claravallensis. Homilia super Stabat mater, [Leipzig: Moritz Brandis, circa 1488-89], 18 leaves, capital letters handrubricated, bound between two other texts: Saint Athanasius. In librum psalmorum, translated by Johannes Reuchlin, Tübingen: Thomas Anshelm, 1515, title within decorative woodcut border, and Chacón (Alfonso & Pifferi, Francesco). Istoria del M.R.P. Fr. Alfonso Giaccone, Nella quale si tratta esser vera la liberazion dell'Anima di Traiano imperatore dalle pene dell'Inferno…, Siena: Luca Bonetti, 1595, woodcut armorial to title, 19th-century half calf marbled boards, rebacked and refurbished, 4to USTC 743390, 691768 & 821800. Estimate £1,500-2,000

For further information, and to consign, please contact Colin Meays colin@dominicwinter.co.uk