Dominic Winter _Fine Art & Antiques_Low Res by Jamm Design Ltd

Fine Art & Antiques WEDNESDAY/THURSDAY 6/7 FEBRUARY 2013

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

Lot480â€˘FrontCover:Lot174

Dominic Winter SPECIALIST AUCTIONEERS AND VALUERS All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom. A buyer’s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium

BRITISH & CONTINENTAL PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS Wednesday 6 February 2013 Lots 1-509 commencing at 11am

Followed by

ANTIQUE FURNITURE & EFFECTS CHINESE JADE, SILVER & CERAMICS Thursday 7 February 2013 Lots 520-909 commencing at 11am

Viewing: Tuesday 5 February, 9am-7pm and morning of sales from 9am

Methods of Payment: For full details please refer to the information on page 265. Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on morning of sale Results will be posted on our website immediately after the sale.

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk

Fax: 01285 862461 info@dominicwinter.co.uk

For directions on how to find us, please refer to map at rear of this catalogue

Lewis M. Rutherfurd and Richard A. Proctor, 'The Moon', a portfolio containing three large-format albumen print photographs of the Moon, [Printed and Published by A. Brothers, Manchester], c.1870 Estimate ÂŁ2,000-3,000

FORTHCOMING SALES IN 2013 Wednesday 6th March

Printed Books, Maps & Prints The Prof. Pailin Collection of Antiquarian Philosophy & Religion

Thursday 7th March

Vintage Photography including Cuba, Film Posters Natural History, Sporting Books & Prints Fossils, Minerals & Taxidermy

Wednesday 10th April

Printed Books, Maps & Documents The Sir Henry Babington Smith Autograph Collection Autographs & Association Items

Thursday/Friday 11th/12th April

A Private Collection of Mountaineering Books

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

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk

Fax: 01285 862461 info@dominicwinter.co.uk

CONTENTS DAY ONE Watercolours Bristol, Bath & West Country Pictures Marine Art Sporting & Wildlife Art Paintings Old Master Drawings Old Master Prints Oriental Art Etchings, Lithographs & Woodcuts Modern Prints Original Illustrations & Artwork Modern Watercolours & Drawings Keith Henderson Reginald J. Lloyd Modern Paintings

1-66 67-90 91-116 117-125 126-177 178-197 198-210 211-236 237-319 320-361 362-378 379-435 436-443 444-463 464-509

DAY TWO Oriental Works of Art Chinese Jade Tribal Artefacts Sculpture Collectables Glove Stretchers Silver & Plate Watches Ceramics & Glass Samplers & Textiles Clocks, Boxes & Scientific Instruments Furniture

520-563 564-594 595-614 615-633 634-674 675-701 702-738 739-748 749-787 788-793 794-806 807-909

IMPORTANT NOTICES All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. A buyerâ€™s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyerâ€™s premium is 23.4% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium Artist's Resale Right Law ("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 For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% 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 for further details.

For enquiries concerning any lot in this sale, please contact a member of our specialist staff

Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation)

Furniture, Clocks, Ceramics & Glass Dominic Winter Henry Meadows MRICS

WATERCOLOURS To commence at 11am

2* Architectural designs. A collection of eight designs for architecture, furniture, carpets and ceilings, probably French, late 19th/early 20th c. together eight designs, probably more than one hand, comprising a pen, ink, and watercolour design for a pedimented doorway and panelling with trompe l’oeil view of a large Jacobean-style house above (sl. edge-frayed), two carpet designs, one in gouache and the other in pencil with some watercolour, a watercolour design for a ceiling, two pencil designs for furniture, one for a commode tombeau and the other for an ormolu hall table (latter dated 1911 and indistinctly signed), and two pen & ink studies of classical architecture, entitled ‘Ordre Dorique’ and ‘Ordre Corinthien’ (latter dated 1910 and indistinctly signed as before), sheet size largest 62 x 44.5cm (24.5 x 17.5ins), smallest 18.5 x 29cm (7.25 x 11.5ins), all mounted (8)

£200-300

1* Aitken (James, act.1880-1935). Study of Waves, watercolour with traces of bodycolour, of a seascape with turbulent waves, and seagulls, a few minor fox spots to extreme upper margin, signed lower right, 32 x 46.5cm (12.5 x 18.25ins), mounted, framed and glazed (1)

£200-300

3* Ball (Wilfrid Williams, 1853-1917). Near Christchurch, watercolour, signed and titled, 10 x 18cm (4 x 7in), framed & glazed (1)

£70-100

4* Barbaro (Giovanni, fl. 1890-1907). Still life of peaches, grapes, melon and jug, watercolour, heightened with bodycolour, signed lower right, 32 x 76cm (12.5 x 30ins), framed and glazed (1)

Lot 2

£100-150

Lot 5 5* Barclay (Ada, early 20th century). Mountain Pass in the Himalayas, large-scale gouache and watercolour on canvas, signed lower centre, 90 x 138cm (35.5 x 54.5ins), framed and glazed with Rowley Gallery label to verso (1)

7* Boddington (Henry, 1849-1925). A large collection of 58 watercolour views, comprising 49 watercolours laid into an album (on the rectos only), most titled and dated 1900 or 1901, comprising views mostly of Silverdale in Cumbria but also some other villages in Cumbria and Lancashire including Sandside, Arnsdale and Cartmel, also some Oxfordshire views including Godstow, Hampton Gay, Kidlington and Oxford, sizes vary but typically 245 x 360cm (9 1/2 x 14 in), the album bound in contemp. cloth lettered in gilt “Silverdale 1900”, plus ten separate slightly later French views dated 1904 including St Omer, Etaples, estuary views, etc.

£400-600

Henry Slater Boddington was born in Eccles, the son of the famous brewer Henry Boddington (1813-1886) who retired to Silverdale. Upon his father’s death Boddington bought the Pownall Hall estate in Wilmslow but retired from the chairmanship of the firm in 1891 and as a keen painter spent much of the rest of his life living at the house he bought at the artists’ colony at Etaples in France, becoming good friends with Ford Madox Brown and William Lee Hankey. He exhibited between 1908 and 1913 and Manchester City Art Gallery hold a number of his works. (58) £1000-1500

6* Barratt (Reginald, 1861-1917). View of Venice from the Armenian Monastery, watercolour heightened with bodycolour, titled and dated 1884 to mount, 21 x 54cm (8.25 x 21.25ins), framed & glazed (1)

8* Burns (G., 19th century). Portrait of a man smoking a pipe, watercolour head and shoulders portrait, of a Continental workman wearing a hat and a neckerchief, and smoking a pipe, signed right margin, 21 x 13.5cm (8.25 x 5.25ins), mounted, framed and glazed

£200-300

(1)

£100-150

Lot 7

11* Clements (Henry, late 19th century). Bristol harbour with shipping, 1884, watercolour on paper, signed and dated lower left, period oak frame, glazed, 35 x 53 cm (13.75 x 21 ins) (1)

£150-200

9* Capone (Gaetano, 1845-1920). Head of a woman from Maiori, Salerno, Italy, watercolour of a head of a Neapolitan woman in profile, from Maiori on the Amalfi coast, signed and inscribed Maiori, some heavy overall spotting, 34 x 16cm (13.5 x 6.25ins), framed and glazed (1)

£200-300

12* Creswick (Thomas, 1811-1869). Landscape with trees and river, watercolour heightened with bodycolour, of two female figures in a wooded landscape with a rocky stream, some dicolouration, especially to sky area, 30.5 x 23cm (12 x 9ins), mounted, contemp. gilt frame, glazed, together with a pencil sketch of a standing Arab figure on pale blue paper, possibly French, mid. 19th c., with collector’s circular ink stamp ‘J.H.’ lower right, 12 x 8cm (4.75 x 3ins), mounted, framed and glazed, plus an oval head and shoulders portrait of a young lady, watercolour, signed ‘Whalley’ lower right (beneath mount), 25 x 20cm (9.75 x 8ins), framed and glazed, plus an oval half-length portrait of a lady after John Downman, c.1800, grisaille watercolour, closed 3” tear to lower portion of image, 20.5 x 17cm (8 x 6.75ins), mounted, framed and glazed, plus a watercolour of three small children picking flowers, 14 x 24.5cm (5.5 x 9.5ins), c.1900, mounted, framed and glazed (5)

10* Circle of George Chinnery (1774-1852). View of the Harbour at Macau, pen, brown ink and wash, heightened with white bodycolour, on wove paper, unsigned, with an unfinished pencil sketch of a coastal view with boats and shipping to verso, one or two minor stains and remains of discoloured glue to corners on reverse, 162 x 213mm (6.3 x 8.4ins) (1)

£500-700

£200-300

13* East (Alfred, 1849-1913). “Landing Stage, Pangbourne”, 1885, watercolour on card, showing a cottage, punts, and figures, captioned, signed, and dated lower right, 32 x 50cm (12.5 x 19.5ins), mounted, framed and glazed Sir Alfred Edward East was born in Kettering in Northamptonshire and studied at the Glasgow School of Art. His romantic landscapes, with their tonal qualities, colour, loose brushwork and softness of form, show the influence of the Barbizon School of Art. He exhibited widely, and in 1906 he was elected President of the Royal Society of British Artists, a position he held until his death. He was awarded a Knighthood in 1910 by King Edward VII. East was elected an Associate of the Royal Academy in 1899, having been a regular exhibitor since 1883, and elected to full membership in 1913. (1) £200-300

15* English school. A wooded gypsy encampment, c.1800, gouache on paper, of a group of gypsies with a dog and a donkey, gathered round a pot cooking on a fire beside a tree, 39.5 x 48cm (15.5 x 19ins), framed and glazed, together with a full-length watercolour portrait of a gentleman in a blue frock coat with walking stick and canine companion in a landscape, heightened with bodycolour, possibly late 18th c., some marks and discolouration, 30 x 28cm (11.75 x 11ins), period maplewood frame, glazed (2)

14* English School. The Labourer’s Rest, c.1800, watercolour landscape on wove paper, in the manner of George Morland, with a farm worker in smock and gaiters seated on a bank holding a driving whip and drinking from a tankard, and a boy seated on a wooden bench eating bread and meat, with a small dog watching, against a brick outbuilding with open latticed window revealing a man smoking a clay pipe, one or two marks to surface, 33.5 x 44.5cm (13.25 x 17.5ins), mounted, framed and glazed (1)

£200-300

16* English School. View of a manor house, early 19th c., watercolour, of a large manor house with stone mullioned windows and studded oak door, with sweeping drive in front, 25 x 36cm (9.75 x 14.25ins), gilt moulded frame (1)

£300-500

£100-150

Lot 18

Lot 17

17* English School. “At the Brook”, mid. 19th century, watercolour, of a country girl seated in a landscape on a stone bridge with a clay pitcher beside her, early ms. title on verso, 37.5 x 26cm (14.75 x 10.25ins), mounted, framed and glazed (1)

£150-200

18* English School. Over the Stile, mid. 19th century, watercolour, of a young lady in a wooded landscape leaning on a rustic fence with a basket on the ground, 42 x 32cm (16.5 x 12.5ins), mounted, framed and glazed (1)

£150-200

19* English School. The Hermit reading outside his cave, late 18th/early 19th c., watercolour on paper, 34.5 x 43.5cm (13.5 x 17ins), framed and glazed (1)

£200-300

Lot 19

22* Fraser (Robert Winter, 1848-1906). Scene on the River Great Ouse, 1887, watercolour on paper, unsigned, period frame with pencil annotation to verso "My favourite river, Great Ouse Hunts/Cambs '87 R W Fraser’ (1)

£150-200

23* Fraser (Robert Winter, 1848-1906). The Three Pickerels, Ely, 1905, watercolour, depicting a boatman at the waterside inn, signed and dated lower left, 20 x 40 cm (8 x 16 ins), period gilt frame, glazed, with old label to verso bearing the title The Thirsty Tiddlers on the Lark nr. Ely (1)

£150-200

20* Fall (George, c.1848-1925). York Cathedral, watercolour, signed and titled lower left, 28.5 x 19cm (11.25 x 7.5ins) mount aperture, period gilt frame, glazed (1)

£100-150

21* Fayod (Charles, 1857-1932). Nervi, near Genoa, watercolour, signed and titled “Nervi” lower right, 24.5 x 36cm (8.5 x 14ins), framed and glazed (1)

£80-120

24* Gaskell (George Percival, 1868-1934). Hayrick building, 1918, watercolour, showing figures haymaking and hayrick building, with buildings in the distance, signed and dated lower left, 21.5 x 27.5cm (8.5 x 10.75ins), framed and glazed (1)

£150-200

27* Gibb (William, early 20th century). Saint-Cloud porcelain toilette pot, watercolour, signed in pencil, 31.5 x 20cm (12.5 x 8ins), together with a similar watercolour of a Kangxi vase, both framed and glazed, together with a copy of “A Book of Porcelain” (A & C Black, 1910) in which the former illustration was reproduced William Gibb was a respected book illustrator working in Edinburgh in the late 19th and early 20th century, illustrating Alfred James Hipkins’ “Musical Instruments” (1888) and A.C. Lamb’s “Dundee, Its Quaint and Historic Buildings” (1895). Both pictures have ink presentation inscriptions by the artist to the verso. (3) £200-300

25* George (Herbert, late 19th century). Italian Market scene with ancient gateway, watercolour, signed lower right, 53 x 36.5cm (21 x 14.5ins), framed and glazed (1)

£100-150

26* Gianni (Y., late 19th/early 20th century). The Rialto Bridge, Venice, gouache on paper, signed lower right, 30.5 x 48.2cm (12 x 19ins), framed and glazed, with old Frost & Reed label to verso (1)

28* Gould (David, 1871-1952). The Inner Harbour, Mevagissey, Cornwall, watercolour, of a harbour scene with houses, boats, and seagulls, signed lower left, 32.5 x 47cm (12.75 x 18.5ins), mounted, framed and glazed

£200-300

(1)

£150-200

Lot 30

31* Hall (George Lowthian, 1825-1888). A pair of landscape views, together two watercolours, one depicting a lake with a house on the shore, boats and figures, and hills in the background, signed and dated 1876 lower left, the other of a three-arched bridge over a wide river, with figures and boats, and a mountain in the background, signed lower right, both approx. 26 x 42.5cm (10.25 x 16.75ins), mounted, framed and glazed as a pair

29* Gray (William, 1819-1876). Bonchurch, Isle of Wight, fine watercolour, signed on the waggon to the right of the view, 172 x 254mm (6.75 x 10ins), framed and glazed William Gray was born in Ventnor, and exhibited regularly in London, including the Royal Academy. In the obituary recorded in the Isle of Wight Observer on 25th March 1876 his watercolours were described as ‘distinguished by a mellow richness of colouring’. (1) £200-300

George Lothian Hall was a watercolour painter of landscape and coastal scenes, particularly of Scotland, North Wales, Ireland and the South Coast. He exhibited eight watercolours at the Royal Society of British Artists, Suffolk Street, from 1856 to 1862, and seven works at the Royal Academy, from 1856 to 1875. (2) £300-400

30* Greaves (Walter, 1846-1930). Alldins Coalwharf on the River Thames, 1860, pencil and watercolour on paper, signed and dated lower right, 20 x 33cm (8 x 13ins), framed and glazed (1)

£500-800

Lot 33 33* Henderson (Edmund, 1821-1896). A collection of eight watercolour landscape studies, including three Australian landscape views, c. 1860s, watercolour on paper, unsigned, 177 x 254mm (7 x 10ins) and similar, loosely contained in later cloth album, one view entitled ‘South of the Medway’ framed and glazed Includes three photocopies of similar watercolour views of Australia by the same artist which appear to have been formerly part of the same group. A similar view was sold by Sotheby’s Melbourne on 26th August 2008 (lot 129). Edmund Henderson was educated at the Royal Military Academy, Woolwich and became comptroller of convicts in Western Australia, returning to England in 1886. (8) £700-1000

34* Herring (John Frederick, Senior, 1795-1865). Winter landscape with figures on a path, pen, ink & watercolour, signed lower right, 27.2 x 52.5cm (10.75 x 20.7ins) mount aperture, framed and glazed (1)

32* Harpignies (Henri Joseph, 1819-1916). River Landscape at Briare, with distant church, 1884, watercolour, signed, dated and titled Briare in ink, 150 x 216mm (5.85 x 8.5ins), framed and glazed (1)

£100-150

35* Interior design. Design for a wallpaper on an oriental theme, early 19th c., watercolour, elevation depicting a central door with curtain surround, against a wall with oriental design wallpaper, dado rail and panels below, unsigned, 19 x 20.7cm (7.5 x 8ins), framed and glazed, together with four others, including A Pair of Broad Bottoms [1810], hand-coloured etching by William Heath (1795-1840), creased where previously folded, approx. 32 x 23cm (12.5 x 9ins), framed and glazed

£500-800

(5)

£150-250

37* Langley (William, 1852-1922). A pair of North Italian views, together two watercolours, showing buildings, hills, and figures, one with a bridge over a river (sky lightly spotted), both signed lower right, both 17.5 x 26cm (7 x 10.25ins), mounted, framed and glazed (2)

£100-150

Lot 35

38* Martin (David Owen, active 1884-1935). Fishing Boats at Stonehaven Harbour, Aberdeenshire, watercolour, heightened with bodycolour, titled and signed lower right, 36.5 x 25.5cm (14.3 x 10ins), framed and glazed (1)

£100-150

36* Irish School. On the Road to Enniskillen, pen and ink with wash, initialled “RT” and dated 1834, inscribed to verso, 14 x 19.5cm (5.5 x 7.75in), framed & glazed (1)

£200-300

39* Attributed to Hubert James Medlycott, 1841-1920. Thames Shipping with the Tower of London, fine watercolour, unsigned, 21 x 31cm (8.25 x 12.25ins), framed and glazed, with Trim Bridge Galleries of Bath labels to verso Sir Hubert James Medlycott was Vicar of Milborne Port, Somerset and subsequently Hill, Gloucestershire, between 1870 and 1886. Primarily a landscape watercolourist, he is principally known for his Thames views. (1) £200-300

Lot 37

43* Morris (Garman, fl.1900-1930). St Michael’s Mount, Cornwall, watercolour, signed and titled in the image, 12.5 x 37cm (5 x 14.5in), framed & glazed (1)

£100-150

40* Mitchell (Philip, 1814-1896). Wooded landscape in Devon, with cattle watering, and figures resting, watercolour, heightened with bodycolour, signed Philip Mitchell, Plymouth, and dated 1853 to lower right, 52 x 73.5cm (20.5 x 29ins), gilt moulded frame, glazed Philip Mitchell (1814-1896) was born in Devonport and lived and worked in Plymouth. He exhibited numerous works at the New Water Colour Society, especially views in and around the south coast of Devon. (1) £200-300

41* Morello (Leonardo, late 19th/early 20th century). ‘The Proposal’, watercolour, heightened with touches of bodycolour, signed lower left, 21 x 30.5cm (8.25 x 12ins), gilt frame, glazed (1)

£150-200

44* Muller (William James, 1812-1845). Landscape with building, trees and windmill at dusk, watercolour, heightened with bodycolour, 295 x 207mm (11.6 x 8.2ins), old gilt frame, glazed, with previous owner’s label for Alfred A. Haley, Walton, Wakefield to verso, bearing the number 306, and the title ‘Sunset’, and with note ‘Bought at Swale’s Sale at York, May 1926’ (1)

42* Morris (Garman, fl.1900-1930). Sailing vessels on a misty night, watercolour, signed and titled in the image, 12.5 x 37cm (5 x 14.5in), framed & glazed (1)

£70-100

£200-300

45* Naive School. Large portrait of a young lady playing a square piano, c.1810, charcoal on paper, of an interior scene with a young lady seated at the piano, beside a large stone fireplace, against a backdrop of stencilled wallpaper, some repaired closed tears to lower margin, lower right corner inscribed ‘Aimé [indistinct surname] 19 ans’ with date 18[?], 82 x 60.5cm (32.25 x 24ins), period frame, glazed (1)

£300-500

46* Nixon (John, c.1750-1818). At the French Opera, Paris, 1802, pen, ink and wash, depicting a musician playing a cello, captioned, artist monogram and date to lower right, 12 x 9.7cm (4.75 x 3.75ins), framed and glazed (1)

£100-150

Lot 45 47* Nixon (John, c.1750-1818). Man loading a horse-drawn cart, pen and ink with wash, bears number ‘53’ to right border, 11.5 x 17cm (4.5 x 6.75in), framed & glazed Provenance: Formerly in the collection of Hospital de la Providence, London. Gallery label of William Drummond to verso. Sold at Dreweatt Neate 6th September, 2000. (1) £150-200

48* Nixon (John, c.1750-1818). Near Luss, Loch Lomond, watercolour and pencil, 13 x 24cm (5 x 9.5in), framed & glazed Provenance: Formerly in the collection of Hospital de la Providence, London. Purchased from Heather Newman Gallery in 1999. (1) £150-200

Lot 46

50* Palmer (Harold Sutton, 1854-1933). Ventimiglia, 1931, watercolour on laid paper, heightened with bodycolour, initialled H.S.P., titled, and dated January 1931 lower left, 20.5 x 28cm (8 x 11ins), framed and glazed, together with Borghetto, 1931, watercolour on laid paper, titled and dated January 1931 lower left, several spots of discolouration to edges due to strips of backing tape to verso, 18 x 29cm (7 x 11.5ins), framed and glazed, plus three other watercolours by the same artist, including On Dalmain River, signed with initials, and titled lower left, Clachtoll Bay, [Scotland], titled lower left, and one untitled, the latter two watercolours unsigned, 19.5 x 26cm (7.75 x 10.25ins) and slightly smaller, several spots of discolouration to edges, due to strips of backing tape to verso, all framed and glazed (5)

49* Norman (George Parsons, 1840-1914). Market Place, Valencia, Spain, watercolour, heightened with bodycolour, signed and dated lower right, and titled lower left, some overall toning 30.5 x 50cm (12 x 19.75ins), framed and glazed (1)

ÂŁ150-200

Lot 50

ÂŁ700-1000

51* Percy (Lady Elizabeth Susan, 1782-1847). “Castel di Lettere”, 6 August 1833, pencil and monochrome wash with traces of bodycolour, showing a view of the castle with a group of people gathered under a large tree in the foreground, titled and dated lower right, 27.5 x 21cm (10.75 x 8.25ins), mounted, framed and glazed, together with “Valle di Gragnano”, 22 August 1833, pencil and monochrome wash with traces of bodycolour, showing a viaduct and various figures, titled and dated lower left, 27 x 20.5cm (10.75 x 8ins), mounted, framed and glazed Lady Elizabeth Susan Percy was the second daughter of the 1st Earl of Beverley and niece of the 4th Duke of Northumberland. She travelled to Europe on the Grand Tour and was in Rome between 1834 and 1838. ‘She was a mirror of the topographical fashions of her time, beginning as an imitator of Hearne, and ending, by way of Girtin and Sir G. Beaumont, as an imitator of Leitch and Lear’. (Mallalieu, The Dictionary of Watercolour Artists up to 1920, 1988) (2) £250-350

52* Preziosi (Vittorio Amadeo, 1816-1882). Oriental woman and child with a street beggar, 1856, watercolour over pencil, signed and dated lower right, 24.5 x 17.5cm (9.6 x 6.9ins), together with Seated Oriental Man, watercolour and pencil, 27 x 18.5cm (10.5 x 7.25ins), plus two other similar watercolours by the same hand, including an oriental man at prayer, and a street entertainer with harnessed bear and tambourine, similar sizes, all black and gilt frames, glazed

Lot 51

(4)

£500-800

53* Richardson (Thomas Miles, 1813-1890). Mounted Highlander, pencil and watercolour sketch on toned paper, showing a highlander dressed in traditional tartan, holding a basket and sitting on a horse drawn in outline, signed and dated ‘TMR Junr. 1847’, 31 x 22.3cm (12 x 8.75ins), framed and glazed, with Malcolm Innes Gallery label to verso (1)

£150-200

54* Rowlandson (Thomas, 1756-1827). Prometheus, The Firebringer, pen and black ink with brown wash, on laid paper, with watermark D & C Blauw (according to note to verso), 23 x 19cm (9 x 7.5ins), framed and glazed Provenance: Lord Farnham Collection. Chrities, London, 25 October 2011, lot 370. (1) £400-600

Lot 53

55 Sketchbook. Sketches. Egypt & India &c. &c., by J.W.P., [covertitle], early 19th c., twelve leaves containing approx. thirty pen & ink sketches, most with watercolour, of landscapes, architecture, river craft, tombs, cannons, mechanisms for raising water from wells, etc., mostly mounted two to a page, most captioned and some dated 1824, e.g. ‘Brass Gun at Beejepoor’, ‘from the Upper Cave Temple Karli. 23rd July, 24’, ‘Desert one day from Corseir’, sheet size 23 x 34cm/9 x 13.4ins), orig. card wrappers, worn and frayed, titled in contemp. ms. on upper cover (with later pencilled note ‘Major Pringle RE’), oblong 4to (1)

Lot 54

£400-600

56* Smith (John, 19th century). On the Downs, Brighton, circa 1855, watercolour, apparently unsigned, 16 x 25cm (6.25 x 9.75ins), framed and glazed, old inscription to verso ‘On the Downs, Brighton’ by John Smith, companion & pupil of David Cox. About 1855, together with another watercolour by the same hand, showing the Thames near Oxford, 1850, similarly insribed to verso, 16 x 25cm (6.25 x 9.75ins), framed and glazed, plus three other various watercolours and drawings, including a 19th century study of a rustic young girl and boy stopping for refreshment, a 19th century pencil study of picturesque French architecture, and a sepia wash study of a nymph signed Annie Willdigg, and dated 1906 (5)

Lot 58

£100-150

57* Manner of Philip Wilson Steer (1860-1942). Boats and figures in an estuary, watercolour, 24 x 31cm (9.5 x 12ins), framed and glazed, together with Breanski (Alfred Fontville de) Landscape with river and mountains, watercolour, signed lower right, 25.5 mx 36cm (10 x 14ins), plus other various watercolours, mostly late 19th/early 20th c., incl. W. Burbidge and G.C.W. Clark (11)

£150-200

59* Stratton (Fred, active 1898-1932). Cows at rest, watercolour, unsigned, 13 x 17.5cm (5.25 x 7ins), framed and glazed

60* Varley (John, 1778-1842). View of Eton College Chapel, 1839, watercolour, showing a view of the chapel across the river, with a man on a punt and two cows in the foreground, signed and dated lower right, lightly toned, 17.5 x 25.5cm (7 x 10ins), mounted, framed and glazed, together with another watercolour by John Varley, of a landscape with river, trees, cows and a female figure, with a castle tower in the background, signed and dated lower right, lightly toned, size as before, in matching frame and mount

(1)

(2)

58* Stevens (Albert, active 872-1902). Sailing boats at sunset, watercolour, signed lower left, 22 x 32.5cm (8.5 x 12.75ins), framed and glazed (1)

£150-200

£70-100

£300-500

Lot 62

61* Ward (Herbert, 1863-1919). Head of an African man, 1901, watercolour, signed and dated lower right, 28 x 24cm (11 x 9.5ins), framed and glazed Herbert Ward was an explorer and painter-sculptor, and one of the first collectors of African art. From 1884 to 1889 he was in the Congo, as Commander of the Bangala Trading Post during H.M. Stanley’s expedition to reach Emin Pasha in the Sudan. In the 1890s he studied painting at the Académie Julian in Paris. (1) £150-200

62* Ward (William, 1829-1908). Jumieges, after J. M. W. Turner, watercolour and gouache on pale blue thick wove paper, inscribed in brown ink to lower right margin ‘Seen and approved, July 31. 1878. J. Ruskin’, and with additional marginal notes for improvements to the drawing in pencil (in another hand), image size 132 x 182mm (5.2 x 7.2ins), sheet size 19.5 x 25cm (7.75 x 9.9ins)

63* Warren (Emily Mary Bibbens, exh. 1900-39). Salisbury, watercolour, signed, 21.5 x 32cm (8.5 x 12.5in), framed & glazed (1)

A copy of Turner’s view of Jumieges, c. 1832, now in the Tate Gallery (Turner Bequest CCLIX 131). According to Ian Warrell, Turner on the Seine (1999) no. 127, a copy of Turner’s watercolour by Ward, approved by Ruskin for the Horsfall Collection on 13th July 1878, was sold at Sotheby’s 12th July 1984, lot 153. Another version is believed to have been owned by Lord Cowdray. (1) £300-500

£150-200

64* Watts (George Frederick, 1817-1904). Study of a Childâ€™s Head, coloured chalks on paper, mounted, some surface marks and glue stains to outer edges, 195 x 150mm (7.7 x 6ins) (1)

ÂŁ2000-3000

BRISTOL, BATH & WEST COUNTRY PICTURES

67* Alken (Samuel, 1756-1815). A North-East View of the City of Bath, taken from the Rising-Ground beyong the Villa-Gardens, together with A South-West View of the City of Bath, taken from a Field, adjoining the New-Wells Road, a pair of sepia aquatint etchings after John Parker, published by R. Richards, 15 October 1787, plate dimenisons of each 30 x 41cm (12 x 16in), framed and glazed (2)

£200-300

65* Watts (James T., 1853-1930). Autumn in Lord Latham’s Courts, watercolour, heightened with bodycolour, signed lower right, 39.5 x 29.5cm (15.5 x 11.75ins), gilt frame, glazed (1)

£300-400

68* Baynes (Thomas Mann, 1794-1854). Piercefield Mansion and Park, Chepstow, lithograph after G. Eyre Brooks, printed by Day & Haghe, 18 x 32cm (7 x 12.5in), together with a similar litho. by Baynes after Brooks titled “View from the Wynd Cliff”, 18 x 32cm (7 x 12.5in), plus another similar sized lithograph depicting the Oxbow bend on the Wye at Piercefield Park, all framed & glazed (3)

66* West (Edgar E., active 1857-1881). Rocky coast with seabirds, watercolour, signed, 54 x 74cm (21 x 29in), framed and glazed Lived in London and painted in Devon, Cornwall, Normandy and Norway among other places. He exhibited widely including RA, Royal Society of Artists and the Walker Art Gallery. (1) £200-300

£100-150

69* Cashin (Edward). Redland Chapel, Redland, Bristol, 1825, fine pen, ink and watercolour, signed, some toning, 115 x 165mm (4.5 x 6.5ins), gilt frame, glazed, with David Cross Gallery label to verso (1)

£100-150

71* Colville (G., early 20th century). The Old Fox Inn, Redcliff Street, Bristol, watercolour, signed, 35.5 x 26cm (14 x 10in), framed & glazed (1)

£70-100

70* Childs (G., late 18th/early 19th century). “Clifton”, after Samuel Jackson, hand coloured litho. published by O.C. Lane, 21.5 x 31cm (8.5 x 12in), together with another similar print titled “St. Vincents Rocks & Part of Clifton & The Hotwells”, the pair framed in matching period gilt frames with verre eglomise (2)

£150-200

72* Fagan (J., 19th century). St. Vincents Rocks, Clifton. Hotwell House and Baths, c.1850s, hand coloured lithograph, published by James Bolton, 31 x 45cm (12 x 17.5in), framed & glazed (1)

£150-200

73* Frank (William Arnee, 1808-1897). At Horfields, Downend, near Stapleton, Bristol, watercolour, heightened with bodycolour, signed lower left, 31 x 49cm (12.25 x 19.25ins) mount aperture, framed and glazed, with handwritten label to verso dated 1962 75* Hassell (John, 1767-1825). To the most Noble the Marquis of Worcester, this View of the City of Bristol is humbly Inscribed, aquatint etching, published T. Jones & J. Hassell, 1795, 27 x 34cm (10.5 x 13.in)

Provenance: Formerly in the collection of W. L. Child, with his handwritten note to verso, dated April 1962. (1) £200-300

(1)

76* Hill (John, 1770-1850). A General View of Bath from the Claverton Road, together with Old Ferry &c., two hand coloured aquatint views of Bath after J.C. Nattes, published by William Miller, dated 1804 & 1805 respec., each 26 x 36cm (10 x 14in), uniformly framed & glazed

74* Harding (E., early 19th century). Suspension Bridge, now erecting over the Avon at St. Vincent’s Rocks, Clifton, c.1820s, uncoloured lithograph after Samuel Jackson, 21.5 x 26cm (8.5 x 10.25in), framed & glazed (1)

£70-100

£100-150

Abbey, Scenery, 41. (2)

£100-150

79* Jackson (Samuel, 1794-1869). View of St. Vincent’s Rocks and the Old Hotwell House, pub. Rowney & Forster, 1823, hand coloured lithograph, printed title in aperture mount, image size 23 x 32.5cm (9 x 12.75in), framed & glazed

77* Hill (John, 1770-1850). Hot Wells, after J.C. Nattes, 1804, a pair of tinted aquatints, published by William Miller, each 20 x 28cm (8 x 11in), together with Hullmandel (Charles Joseph, 1789-1850), St. Vincent rock, near Bristol, hand coloured lithograph, 24.5 x 31cm (9.5 x 12in), and Bedford (T., pub.), Rownham Ferry, Hotwells, Bristol, hand coloured lithograph, 21 x 27cm (8.25 x 10.5in), plus Green (Nathaniel Everett), Rownham Ferry, Bristol, lithograph view, 24 x 38cm (9.5 x 15in), plus three related aquatints by John Hassell, all framed & glazed (8)

Very scarce. Published in a financially unsuccessful folio of three prints titled ‘Three Views Illustrative of the Scenery of Bristol and its Vicinity’, the other two prints being by Francis Danby and James Johnson. (1) £150-200

£300-400

80* Jackson (Samuel, 1794-1869). “The Suspension Bridge Intended to be Erected over the Avon at St. Vincent’s Rock, Clifton, near Bristol. Reduced from Mr Brunel’s Plan as Approved by the Bridge Committee...Drawn by W. Walton from a Sketch by S. Jackson & Published by J. Rees Book & Printseller, 34 College Green, Bristol, 1836”, uncoloured litho. printed by Hullmandel after Samuel Jackson, 14.5 x 19.5cm (5.75 x 7.75in), together with Haghe (Louis, 1806-1885), “Clifton”, mid 19th century tinted litho., 22 x 31cm (8.75 x 12in), plus Hulley (Thomas), Cookes Folly, Clifton, c.1830, uncoloured litho., 18 x 26cm (7 x 10in), plus one other lithograph of Clifton by N. Whittock, all framed & glazed

78* Holmes (S.C., 19th century). The Avon & Severn from Pen Pole Point, c.1850s, tinted lithograph published by George Davey, 23 x 29cm (9 x 11.5in), together with Hawkins (G.). The Avon from the Observatory, Clifton, tinted litho after S.C. Jones, published by George Davey, 25 x 31cm (10 x 12in), both framed & glazed (2)

£100-150

(4)

£200-300

83* Locker (Edward Hawke, 1777-1849). Clevedon Court, Bristol, pen and brown ink with watercolour, signed and dated 2 October 1809 on original mount (attached to verso), 20.5 x 31cm (8 x 12in), framed & glazed

81* Jackson (Samuel, 1794-1869). View in the Lake District, brown wash with stopping out, 19 x 28cm (7.5 x 11in), framed & glazed Provenance: Purchased from The Gallery Downstairs, Balham in 1991, with exhibition label to verso. (1) £300-400

Provenance: Sold at Christies, lot 86, 22 July 1986. An accompanying letter written at Clevedon Court in 1989 by Lady Margaret Ann Elton (1915-1995) observes that the picture was most likely originally sold by Arthur Brookfield, son of literary hostess and author Jane Octavia Elton Brookfield, and his wife Olive Hamilton “in their endlessly gentile poverty”. (1) £200-300

82* Jackson (Samuel, 1794-1869). Ross Castle, Killarney, pen and brown ink, inscribed with title, 19 x 29cm (7.5 X 11.5in), together with three other drawings by Jackson: Ullswater (19 x 26cm), Kennilworth Castle (16 x 18cm) and St Donat’s (26 x 18cm), all pen and ink except the latter in pencil, framed and glazed

84* Maggs (John Charles, 1819-1896). The London to Exeter stage coach at Bath, 1882, oil on canvas, depicting a rainy scene with a crowded stage coach in flood water outside the Blue Dragon inn at Bath, captioned ‘Bath’ and signed and dated lower left, 46 x 76cm (18 x 30ins), gilt moulded frame

Provenance: all purchased from The Gallery Downstairs, Balham in 1991 with exhibition labels to verso. (4) £200-400

Best known for his coaching scenes, John Charles Maggs was born in Bath and lived there all his life. (1) £500-800

Lot 86

85* Payne (William, 1755/60-c.1830). View on the Tamar, hand coloured etching, grey wash border, title in ink to lower margin, 20 x 25cm (8 x 10in), together with three others similar titled Ivy Bridge, Cottage near Milbrook and Cottage near Crabtree, all uniformly framed & glazed Abbey, Scenery, 286. These four prints along with two others were published as “Six Views near Plymouth” about 1810. (4) £200-300

86* Pocock (Nicholas, 1740-1821). Bristol Cathredral and the Quay from Wapping, together with View of Clifton Wood from Sea Banks, Avon Gorge with Cook’s Folly from near the New Hotwell, St. Mary Redcliffe from Sea Banks, set of four hand coloured aquatint etchings, image size 25 x 38cm (10 x 15in), uniformly framed & glazed See Francis Greenacre, Marine Artists of Bristol (1982) for a full description of this important series. (4) £700-1000

Lot 85

87* Prout (John Skinner, 1806-1876). “On Avon, Clifton”, watercolour, signed and inscribed in pencil, 11.5 x 22cm (4.5 x 8.75in), framed & glazed The nephew of Samuel Prout, he lived and worked mainly in Bristol working in a similar style to his uncle. Provenance: Purchased at Heather Newman Gallery in 1989. (1) £300-400

89* Sutherland (Thomas, c. 1785-c. 1820). A View of Exmouth, Devon, taken from Cock Wood, sepia aquatint after J. Fidlor, published by J. Wallis, Royal Marine Library, Sidmouth, 26.5 x 30cm (10.5 x 12in), framed & glazed (1)

£70-100

88* Rossiter (Walter, 1871-1948). Bathwick Hill, Bath, watercolour, signed, 245 x 350mm (9.75 x 13.75ins), early 20th c. frame, glazed (1)

£200-300

90* Wallis (E., pub.). Bristol Hot-wells, on the Avon, with Steam Packets, c.1823, uncoloured aquatint etching, plate dimenisons 25.3 x 35cm (10 x 13.75in), framed & glazed Depicting the George IV of Bristol and St. Patrick of Liverpool, rival steam packets on the Bristol to Cork route in 1823. (1) £100-150

MARINE ART

93* Brett (Donald, 20th century). “The Lightning”, oil on canvas of a square-rigged, three masted tea clipper, signed lower right, 49 x 75.3cm (19.5 x 29.5ins), gilt frame

91* Atkins (William Edward, 1842-1910). Coming Ashore with the Catch, watercolour, signed, 24 x 36cm (9.5 x 14in), framed & glazed Marine painter who lived and worked in Portsmouth and was for many years marine artist for The Graphic. (1) £200-300

(1)

£300-400

92* Beatty (R., 19th century). Bringing in the Catch, watercolour, signed and dated (18)79, 26 x 37cm (10 x 14.5in), framed & glazed (1)

94* Brooks (Robin, 1943-). “The Homeward Run”, oil on canvas board, showing a square rigged, three masted clipper, signed lower left, label to verso, 41 x 51cm (16 x 20ins), gilt frame

£150-200

(1)

£200-300

Lot 95

Lot 96 32

95* Cleveley (Robert, 1747-1809). French and British man-o’war engaged in battle, watercolour with pen & ink, 18.5 x 22.3cm (7.25 x 8.75ins), framed and glazed, with artist’s name inscribed in ink in an old hand to verso (1)

£500-800

96* Condy (Nicholas Matthew, 1793-1857). HMS Victory in Portsmouth Harbour, oil on canvas, relined, 23 x 30.5cm (9 x 12ins), framed (1)

£500-800

99* Duncan (Edward, 1803-1882). Vessels in a stormy sea, pen and ink with brown wash, signed and dated 1876, 21.5 x 32.5cm (8.5 x 12.75in), framed & glazed (1)

£200-300

97* Cooke (Edward William, 1811-1880). The Beach at Hastings, fine pen, ink and watercolour wash on wove paper, 98 x 146mm (3.8 x 5.75ins), with artist’s signature in pencil to verso, and later framer’s pencil notes (1)

£300-500

100* Ewbank (John Wilson, 1799-1847). Stranded Vessel, Morning, pencil drawing, signed and dated 1831, 13 x 18cm (5 x 7in), together with a small pencil drawing of figures on a river bank (7 x 11cm), signed “De La Voye”, both framed & glazed (2)

98* Duncan (Edward, 1803-1882). After the Storm: wreckage on the sand, watercolour over pencil, 18.5 x 26cm (7.25 x 10.25in), framed & glazed Provenance: Purchased at The Gallery Downstairs, Balham with exhibition label to verso. (1) £100-150

£100-150

101* Fielding (Anthony Vandyke Copley, 1787-1855). Sailing boat near Clam-shell Cave, Staffa, with Iona in the distance, watercolour on paper, signed lower left, 35 x 54.8cm (13.75 x 21.5ins), gilt moulded frame, glazed (1)

£300-500

103* Jackson (Samuel Phillips, 1830-1904). Beached coastal craft on the Mawddach Estuary, Barmouth, watercolour, signed and dated 1862, 24 x 48cm (9.5 x 19in), framed and glazed (1)

102* Hemy (Charles Napier, 1841-1917). Sailing yacht taking down its gib in a stiff breeze, uncoloured etching by Victor Focillon after Napier Hemy, published by Frost & Reed, 1907, signed in pencil by artist and etcher, etched remarque of a male head & shoulders portrait, slight cockling, 54 x 78cm (21.25 x 30.75ins) (1)

£100-150

£200-300

104* Attributed to Rowland Langmaid (1897-1956). Royal Yacht Victoria & Albert in Portsmouth Harbour, watercolour, 29.5 x 50cm (11.5 x 19.5in), framed & glazed (1)

107* Neapolitan School. Spanish merchant steamer “Sestao” at sea, late 19th century gouache, 49 x 79cm (19.25 x 31ins), contemporary wooden frame

£100-150

(1)

£150-200

105* Mackrill (Martyn R., 1962-). Yachts with other shipping, pen and ink with pencil on paper, signed, 18 x 33.5cm (7.25 x 13.25ins), framed & glazed (1)

£100-150

108* Newberry (R.B., 20th century). “In the Mersey circa 1900”, watercolour of a square-rigged brig with a pilot tug alongside, a lightship to the left, and a potting boat in the foreground, signed lower left, 36.5 x 51.5cm (14.25 x 20.25ins), mounted, framed and glazed, together with “Breezing On; The Barque Polly Woodside”, watercolour of a brig with a smaller sailing vessel in front, signed lower left, 33.5 x 49.5cm (13.25 x 19.5ins), mounted, framed and glazed (2)

£100-150

106* McAlpine (William, 19th-century). Coastal scene with ship in stormy seas, and another beached, and castle on a promontory, 1875, oil on canvas, signed and dated lower left, sl. surface loss in a couple of places, 29.5 x 60cm (11.5 x 23.5ins), gilt frame McAlpine “was interested in coastal views and the aftermath of battles and storms; all are treated in a very romantic stylised manner and are influenced, one might think, by Turner” (Archibald, Dictionary of Sea Painters, where a very similar composition by this artist is illustrated). (1) £300-400

109* Pearson (William Henry, fl. late 19th century). Off Dunkirk, watercolour heightened with bodycolour, signed and titled lower-left, 25 x 73cm (10 x 28.75in), framed & glazed (1)

£150-200

110* Perry (Roy, 1935-1993 ). A Coastal Trader, oil on board, signed, 32.5 x 55cm (12.75 x 21.5in), framed & glazed (1)

£200-300

112* Wood (Hunter, 1908-1948). Schooner ‘Henry Ford’ at Dawn, 1938, gouache on paper, signed and dated lower right, 26 x 36.3cm (10.25 x 14.25ins), framed and glazed, together with another similar gouache on paper study of a schooner in calm waters, signed lower right, 25.5 x 36cm (10 x 14.25ins), framed and glazed Hunter Wood was born in Babylon, Long Island, New York, in 1908, and was the son of the famous marine painter Worden George Wood. Wood was employed as an illustrator for several shipping lines and magazines, including the United States Lines, the French Line, The World, New York Herald, and Boston Herald. (2) £150-200

113* Wyllie (William Lionel, 1851-1931). Royal Yacht Squadron, Cowes, etching, signed in pencil, 12.5 x 38cm (5 x 15in), framed & glazed (1)

111* Simmins (C.B., 20th century). The Sydney Star, leaving Napier Harbour, watercolour, signed and dated 1940 lower left, 37.5 x 51.5cm (14.75 x 20.25ins), framed and glazed (1)

£100-150

Lot 113

£400-600

Lot 114

114* Wyllie (William Lionel, 1851-1931). Naval vessels on the Firth of Clyde, etching, signed in pencil, 9 x 36cm (3.5 x 14in), framed & glazed (1)

£200-300

115* Wyllie (William Lionel, 1851-1931). Torpedo Boats in Action, etching, signed in pencil, 17 x 30cm (6.5 x 12in), framed & glazed, together with Frecker (Henry E.), The Fifth Battle Squadron at Windy Corner, Jutland, 31st May, 1916, monochrome print, 15 x 42cm (6 x 16.5 in), framed and glazed (2)

£200-300

116* Yockney (Kenneth Allington, 1881-1965). Old Portsmouth, watercolour, 12.5 x 36cm (5 x 14in), framed & glazed (1)

Lot 115

Lot 116

£70-100

SPORTING & WILDLIFE ART

117* Cusa (Noel William, 1909-1990). Pair of Saddlebacks, watercolour and pencil, signed lower right, 20 x 29.5cm (8 x 11.75ins), framed (1)

119* Kelly (Richard Barrett Talbot, 1896-1971). Pinkfeet in Flight, watercolour, faint monogram lower right, 23 x 29cm (9 x 11.25ins), framed and glazed

£150-200

(1)

120* Kristupas (Richard David, 1954-). Goshawk perched on a branch, gouache on brown paper, signed lower right, 33.3 x 27.5cm (13 x 11ins), framed and glazed, backboard with artist and gallery exhibition label for Pierrepont Gallery, Thoresby Park, September 3rdOctober 4th 1993, to verso

118* Kelly (Richard Barrett Talbot, 1896-1971). Dabchick, watercolour, signed with monogram lower left, 27.3 x 18.2cm (10.75 x 7.2ins) mount aperture, framed and glazed, with Fine Art Society label to verso, dated December 1946 (1)

£150-200

(1)

£100-150

£150-250

Lot 122 121* Lodge (George Edward, 1860-1954). ‘Misty Cover’, watercolour and gouache, heightened with bodycolour, showing cock pheasants and a rabbit with trees and cover, signed lower right, 22 x 30cm (8.75 x 11.75ins), framed and glazed, William Marler Gallery, Ludlow, Shropshire label for the George Lodge Exhibition, 1979, Cat. no.23 (1)

£200-300

122* Pudlat (Pudlo, 1916-1992). Journey of the Loon, 1983, lithograph and coloured stencil, showing a great northern diver with sailing boat in the background, lower margin captioned and signed in pencil ‘Journey of the Loon, stonecut and stencil’ limitation 46/50, dated ‘Dorset 1983’, sheet size 62 x 85.5cm (24.5 x 33.5ins), framed and glazed, together with Loons Protecting Young, 1984, lithograph and coloured stencil, design showing red throated divers, lower margin captioned and signed in pencil ‘Loons Protecting Young, stonecut & stencil’, limitation 13/50, dated ‘Dorset 1984’, sheet size 61 x 80.5cm (24 x 31.75ins), framed and glazed (2)

Lot 121

£300-400

123* Salmon Trophy. A large-scale painting entitled “42 lbs., Killed by M.M. Johnson in Summerfoot Pool, River Wye, March 9th, 1935”, gouache and bodycolour on board, depicting a mounted cock salmon, printed caption label to lower left corner, image size approx. 35 x 122cm (14 x 48ins), framed and glazed (1)

Lot 123 39

£400-600

Lot 124

124*+ Shackleton (Keith, 1923- ). Tidal Creek, Chichester Harbour, 1969, oil on hardboard, showing wigeon flying over a tidal creek at twilight, signed lower right, 61 x 122cm (24 x 48ins), framed (1)

£1500-2000

125* Simpson (Jackson Henry, 1893-1963). “The Spaniel” and “Setters”, a pair of etchings, captioned & signed to lower margin, plate size, 13.5 x 22.5cm (5.25 x 8.75ins), matching frames, glazed (2)

£150-200

Lot 125

17TH-19TH CENTURY PAINTINGS

Lot 126 126* Barbizon School. Landscape with figure resting against poplar trees by a lake, oil on canvas, signed indistinctly lower right, and dated 1862, 30.5 x 56cm (12 x 22ins), framed

127* Batt (Arthur, 1846-1911). A Dark Bay Hunter in a Stable, with hay and spilled bucket of water, 1877, oil on canvas, signed and dated lower left, relined, 40.5 x 51cm (16 x 20ins), gilt frame

Similar in style to the work of Charles Francois Daubigny (1817-1878) and Narcisse Virgile Diaz de la Pena (1807-1876). (1) £500-800

(1)

£300-500

128* Bowen (Owen, 1873-1967). Cattle grazing at Robin Hood’s Bay, oil on canvas, showing cattle watering in a wooded landscape, signed lower right, 36 x 53.5cm (14.25 x 21ins), gilt moulded frame Owen Bowen was born in Leeds and studied at Leeds School of Art. He painted mostly in oils, typically landscapes with sheep and cattle, often set in Yorkshire. (1) £400-600

Lot 127

129* Follower of Giulio Carpioni (1611/13-1678). Bacchanal, oil on canvas, relined, 39.5 x 109.5cm (15.5 x 43ins), old gilt wood and gesso moulded frame, with acanthus leaf decoration Provenance: 19th century black wax seal with heraldic crest on a pelican vulning, on its nest, with gothic initials TEJB below to verso of stretcher, and old auction stencil 832 HC. Private Collection, Wiltshire. (1) £1000-1500

130* Continental School. Portrait of an old woman, 1884, oil on canvas, half-length portrait of a seated woman, wearing a buttoned white blouse, a green waistcoat trimmed in red, and a white lacetrimmed cap, monogram and date top right ‘18GT84’, some light surface damage, 51 x 41cm (20 x 16ins), framed

132* Cooke (Ernest O., 1862-1937). A Siesta (between Kegworth and Bradmore), 1910, oil on canvas, signed and dated lower left, with original inscription in pencil to verso giving the title and date May 20, 1909, 31 x 46cm (12 x 18ins), original gold-painted wooden frame, glazed

(1)

£150-200

131* Continental School. Group of young women and children in a landscape, possibly Italian, early 19th century, oil on canvas, showing three young women, one standing and two seated cradling young children, with another small child standing in a wicker girello, crazed, re-lined and re-varnished, with some restoration, old Christie’s stencil on verso, 39 x 51cm (15.25 x 20ins), framed (1)

£300-500

133* Cooper (Henry, fl.1910-1935). Autumn landscape with river & woodland at sunset, oil on canvas, signed lower left, 51 x 76cm (20 x 30ins), gilt moulded frame (1)

£200-250

134* Davis (J., early 19th century). A landscape with sheep and cattle, oil on board, signed lower left, 22 x 29cm (8.75 x 29.5ins), gilt moulded frame

£100-150

(1)

£200-300

Lot 131

Lot 133

Lot 134

Lot 130

Lot 135 135* De Zwart (Willem, 1862-1931). Still life with rabbit, oil on canvas, depicting a black and white rabbit, with a buddha statuette, flowers, and other objects, signed lower left, 33 x 70cm (13 x 27.5ins), elaborate gilt moulded frame Dutch artist Willem de Zwart attended evening class at the Royal Academy of Visual Art in The Hague and subsequently spent three years studying in the studio of Jacob Maris, where he rubbed shoulders with many of the leading lights of the Hague School of painters. De Zwart’s work shows a wide range of subjects: landscapes, genre paintings, cityscapes, portraits and still life. He painted in an Impressionistic style applying the paint thickly with bold brushstrokes, sometimes straight from the tube. He often used a sombre palette, but at other times painted in exuberant colours, and here he uses a mixture of the two. (1) £500-800

136* English School. Two portraits of English gentlemen, c. 1830s40s, a pair of oil on wood panel portraits, 18.5 x 15cm and similar (7.25 x 6ins), matching moulded gilt frames (2)

£300-500

Lot 136

137* English School. Still life studies of fruit, mid 19th c., a pair of oils on board, one depicting grapes, pear & apple, signed ‘J.S.’ to lower right and the other depicting grapes and plums, unsigned, 13.5 x 20.5cm (5.25 x 8.25ins), matching gilt moulded frames, glazed (2)

Lot 137

£200-300

138* Frame. A good late 19th/early 20th c. box frame, stained pine box frame with silver, red velvet, and gilt gesso slips, glazed, containing an overpainted photograph portrait of a seated gentleman, frame size 85 x 71.5cm (33.5 x 28ins)

139* German School. Portrait of a male peasant, late 18th/early 19th c., oil on wood panel, head and shoulders study of a rustic with a furrowed brow dressed in a dark brown tunic, re-varnished, 17 x 13.5cm (6.5 x 5.25ins), gilt frame

(1)

£100-150

£300-500

140* Goodwin (Albert, 1845-1932). Nightfall in the valley of Simplon, oil on wood panel, signed with monogram lower left, 17.5 x 20cm (7 x 8ins), period gilt frame, glazed, with original handwritten label to verso (probably in the artist’s hand), bearing the number 2, the title, the artist’s name and address ‘Montpelier, Ilfracombe’ (1)

Lot 140 45

£700-1000

Lot 141

141* Houston (George, 1869-1947). Summer landscape in the Ayrshire Hills, with sheep grazing, oil on canvas, signed lower right, 45 x 61.5 cm (17.75 x 24 ins), period moulded gilt frame (1)

£1500-2000

142* Hurt (Louis Bosworth, 1856-1929). Highland Cattle, near a Scottish Mountain Loch, 1880, oil on canvas, signed and dated lower left, relined, 61 x 91.5 cm (24 x 36 ins), gilt moulded Louis Bosworth Hurt was born in Ashbourne, Derbyshire, and became a highly successful painter of the Scottish Highlands and its native cattle. He exhibited at the Royal Academy from 1881, and at the Royal Society of British Artists, and Suffolk Street. (1) £6000-8000

143* Hurt (Louis Bosworth, 1856-1929). On Loch Awe, 1902, oil on canvas, stamped G. Rowney & Co. to verso, signed and dated lower right, title in pencil to verso of stretcher, 61 x 102cm (24 x 40ins), gilt moulded frame with label of M. Newman Ltd., 43a Duke Street, St. James’s, London to verso (1)

£6000-8000

Lot 142

Lot 143 47

144* Hurt (Louis Bosworth, 1856-1929). West Highlanders, Sgurr nan Gillean, Skye, Scotland, 1900, oil on canvas, signed and dated lower right, titled in pencil to verso of stretcher, 91.5 x 137cm (36 x 54ins), framed (1)

ÂŁ15000-20000

145* Italian School. Still lifes of birds, mid. 19th c., a pair of oils on canvas, one depicting a greater spotted woodpecker, a great tit, a chaffinch, and a kingfisher, the other depicting a green woodpecker, a blue tit, a sparrow, and a bullfinch, both 35 x 44cm (13.75 x 17.25ins), matching gilt frames (2)

147* Italian School. A classical marble bust of a female on a plinth, flanked by two putti surrounded by flowers, 18th century oil on wood panel, surface poorly cleaned and abraded, indistinct early painted inscription to verso, 29 x 33.5cm (11.5 x 13.25ins), gilt moulded frame, together with a 20th century oil still life of flowers, in the antique manner, signed E. Lacroix lower right, 61 x 51cm (24 x 20ins), framed

£300-500

146* Italian School. Still life of flowers, late 18th/early 19th c., oil on canvas of a gold urn on a marble plinth containing tulips, roses, paeonies, morning glory, narcissi, hollyhocks, delphiniums, and other flowers, re-lined and re-varnished, 86 x 167cm (34 x 65.75ins), framed (1)

(2)

£700-1000

Lot 143

£100-150

150* Koenemann (Hermann, 1871-1934). Coastal View with Fishing Boat and Paddle Steamer, and Figures on the Shore, oil on canvas, signed with monogram lower right, 31 x 44cm (12 x 17ins), gilt moulded frame (a little damage) Hermann Koenemann, a German landscape painter, was born in Bonn, and is known for his seascapes near Schwerin and the Mecklenberg region of Northern Germany. (1) £300-400

148* Attributed to William Adolphus Knell (1805-1875). Figures on a rocky coastline, oil on board, 15 x 20cm (6 x 8in), framed Sold at Phillips Bath saleroom on 21 September 1987. (1)

£200-300

151* Langley (William, 1852-1922). Landscape at sunset, with figure, thatched buildings and church tower by a river, oil on board, signed lower right, 40.5 x 60.5cm (16 x 24ins) (1)

£100-150

152* Leader (Benjamin Williams, 1831-1923). Mountain landscape, possibly North Wales, 1896, oil on canvas, of a stream and rocks, with mountains, sheep, and two figures, signed and dated lower left, 31 x 51cm (12 x 20ins), gilt moulded frame Benjamin Leader RA, was born in Worcester. His father was a keen amateur artist and a friend of John Constable, and Benjamin would often accompany him on sketching trips along the banks of the River Severn. Leader studied art in the evenings at the Worcester School of Design, and in his free time did a lot of ‘open air’ landscape painting. In 1854, at the age of 23, he was admitted as a student to the Royal Academy Schools in London, and, unusually, in his first year, had a picture accepted for exhibition there, “Cottage children blowing bubbles”, which was subsequently sold to an American buyer for the then large sum of £50. Subsequently his work appeared in every summer exhibition at the Academy until 1922, when Leader was 91 years old. (1) £400-600

149* Knell (Adolphus, act. c.1860-1890). Marine landscape, oil on canvas, showing yachts and small boats, signed lower right, 20 x 40.5cm (8 x 16ins), gilt frame (1)

£400-600

Lot 150

Lot 152 153* Lowth (Robert, 1710-1787). Portrait by an unidentified artist, late 18th century, oil on canvas, half-length, seated and with one hand placed upon a copy of his book ‘De sacra poesi Hebraeorum’ on the desk in front of him, a few scratches and marks, two tears including one with slight loss, both to background area away from the portrait upper left, 92 x 73cm, gilt frame This portrait is not a copy of the portrait by Robert Edge Pine, c. 1777, held at New College, Oxford, after which an engraving by John Keyse Sherwin was made. Robert Lowth, Biblical Critic, Grammarian and Bishop of London, was born at Winchester on 27 November 1710. He made a name for himself as a young man through his composition of verses in both English and Latin. In June 1741 he was elected Professor of Poetry at Oxford, a post he held for ten years, during the course of which he delivered the thirty-four “Praelectiones de sacra poesi Hebraeorum” that were to make his name and were published in 1753. ‘In 1762 Lowth published ‘A Short Introduction to English Grammar’, in which he extolled the simplicity of the form and construction of the English language while remarking that it could still not rival the most ancient of languages, Hebrew, in this respect. Lowth intended his work to provide a succinct guide to grammar and to overcome imperfect or imprecise usage, even when found in the Authorized Version of the English Bible. It proved immensely popular in Great Britain and America and was published dozens of times during the 18th century alone; more than 34,000 copies had been printed by 1781’ (DNB). (1) £200-300

Lot 153

154* After Ernest Meissonier (1815-1891). The Campaign in France, 1864, a late 19th century oil on canvas copy after Meissonier’s famous work, unsigned, two patch repairs to verso, 30.5 x 60.5cm (12 x 23.75ins), framed (1)

£150-200

Lot 156

155* Miniature. “Lady Playing the Viola da Gamba”, after Caspar Netscher, mid 19th c., gouache on thin ivory, backed with paper, of a seated lady playing a large stringed instrument, with a gentleman showing her a piece of music and a young boy holding a small stringed instrument, inscribed in ms. lower left ‘n. Netscher’, titled in pencil on verso, 12 x 10cm (4.75 x 4ins), framed and glazed After the original painting ‘Licao de Viola da Gamba’ (The Bass Viol Lesson) by Caspar Netscher (1639-1684), in the Louvre Museum in Paris. (1) £200-300

156* Miniature. “The honble Charlotte Viscountess St. Asaph”, c.1795-1812, gouache on thin ivory, oval bust portrait of the sitter as a young lady, 7.5 x 5.5cm (2.75 x 2.25ins), gilt moulded frame glazed, with contemp. ms. title label on verso

157* Miniature. Portrait of a young gentleman, English, early 19th c., gouache heightened with bodycolour, on thin ivory mounted on card, three-quarter length portrait of a young gentleman dressed in an embroidered velvet doublet, with elaborate lace collar, and scholar’s gown, holding a scroll, with a plumed velvet hat and book on the table beside, 17.5 x 14cm (7 x 5.5ins), framed and glazed, with early engraved framer’s label on verso

Charlotte Viscountess St. Asaph (1776-1862) married George Ashburnham, Viscount St. Asaph in 1795; in 1812 he succeeded as the 3rd Earl, whereupon Charlotte became Countess Ashburnham. Charlotte produced thirteen children and was 86 when she died. (1) £150-200

(1)

£200-300

158* Miniatures. A portrait miniature of a middle-aged woman, English, early 19th century, gouache on ivory, head and shoulders portrait of a woman in a black dress with white collar and lace cap, 6.5 x 5.5cm (2.75 x 2ins), ebonised frame glazed, together with another miniature of a matron in a white cap similar, sl. smaller, framed and glazed (2)

£100-150

160* Naive School. A vagrant and his dog in a landscape, early 19th c., oil on canvas, of a beggarman in ragged clothes, with a leather bag slung on his back, holding a knarled walking stick and proferring an upturned hat, with a dog sitting on its hind legs begging, paint surface crazed, and rubbed in a couple of places, with portion of old manuscript label on verso ‘painted by J. Smith... ‘, 60.5 x 48cm (24 x 19ins) (1)

161* Naive School. A mare and a foal in a landscape, oil on canvas, repair to upper margin and re-lined, indistinctly signed lower right (Freeman?), 44.5 x 63.5cm (17.5 x 25ins), framed

159* Myles (William Scott, fl. 1850-1911). Long-haired tabby cat resting, oil on canvas, signed lower left, 35.5 x 25.5cm (14 x 10ins), gilt frame (1)

£100-200

(1)

£150-200

£200-300

Lot 162 162* Naive School. At the forge, late 19th century large oil on canvas, signed Frederick Garner, 85.8 x 112cm (33.75 x 44ins), contained in contemp. gilt frame Frederick Garner is listed in an 1890s Bedford trade diretcory as a coach painter. Three local views by him are held at the Cecil Higgins Art Gallery in Bedford. (1) £500-700

163* Paice (George, 1854-1925). Boer Soldier and Horses, Masvingo, South Africa, 1901, oil on canvas, signed lower left, 50.5 x 61cm (20 x 24ins), indistinctly inscribed to verso of stretcher ‘My Camp at Masvingo ... 1901’, framed (1)

£300-500

Lot 163

165* Rolfe (Alexander Frederick, 1815-1907). The duel, oil on panel, showing two figures in 18th century costume, one standing with sword falling from his hand and the other on the ground, within a wooded landscape, signed lower left, 14 x 19cm (5.5 x 7.5ins), together with Mother & Child in a Garden, oil on panel, showing a child exploring in a country garden, with mother standing by, gate piers & trees in the background, signed lower left, 11.3 x 20.5cm (4.5 x 8ins), matching gilt moulded frames (2)

£300-500

164* Peel (James, 1811-1906). Wayfarers with Waggon and Horses at rest by farm buildings, oil on canvas, signed lower right, 30 x 50.5cm (12 x 20ins), Victorian moulded gilt frame (with some damage) (1)

£400-600

166* Silhouettes. A finely-framed 19th century silhouette portrait, showing an oval head and shoulders portrait of a gentleman, 13 x 9.5cm (5 x 3.75ins), in fine period frame consisting of red velvet mount and moulded gilt frame within a glazed box frame, with engraved label on verso ‘Chancellor & Son, Dublin’, overall size 51.5 x 46.5cm (20.25 x 18.25ins), together with three other oval silhouette portraits, comprising a head and shoulders portrait of a young man, named on verso as George Crofton (died 1851), a head and shoulders portrait of a gentleman, named on verso as E. Wales, 1820, and a half-length portrait of a young girl, all in ebonised frames, overall size 13.5 x 11.5cm (5.25 x 4.5ins), plus a head and shoulders portrait of a lady, named beneath image in contemp. ms. as the Honourable Mrs. Beilby Thompson, wooden frame, overall size 18 x 14.5cm (7 x 5.75ins) (5)

Lot 165

£200-300

Lot 167

Lot 168 56

167* Talmage (Algernon Mayow, 1871-1939). Cattle in Watermeadow, oil on canvas, signed lower right, relined, 45 x 61cm (17.75 x 24ins), moulded gilt frame (1)

£1200-1800

168* Thors (Joseph, 1843-1898). Summer landscape with women gathering wood by a wooded pool, oil on canvas, signed lower centre, relined, 50.5 x 76cm (20 x 30in), period gilt frame (1)

£500-800

169* Tippet (William Vivian, 1833-1910). Cattle watering in a river, oil on canvas, signed and dated (18)91, 51 x 76cm (20 x 30in), framed (1)

£100-200

170* Tuke (T., 19th century). “A Valentines Morn”, c.1840s, oil on canvas, of a young lady in a puff-sleeved silk gown and pearl necklace reading a letter by candlelight, some crazing and consequent surface lifting, re-lined, signed lower right, titled on stretcher, 28 x 23.5cm (11 x 9.25ins), gilt moulded frame

Lot 169

(1)

£200-300

171* Wallpaper panels. A pair of painted floral wallpaper panels, English, early 19th c., stencilled gouache and watercolour on thick paper, with hand-finishing, both panels depicting an arrangement of roses, chrysanthemums, morning glory, paeonies, hydrangeas, and other flowers, in pink, blue, yellow, cream, and green, on a patterned pink background, some damage with restoration and re-touching in places, 58 x 65cm (23 x 25.5ins), framed and glazed

Lot 170

(2)

£300-500

Lot 172

172* Wallpaper panel. A large papier peint landscape scene, for an overdoor, by Arthur et Robert of Paris, 1786 [but later], printed from woodblocks on paper, linen backed, showing a stylised landscape scene incorporating italianate and dutch architectural motifs and costume, image size 66 x 108cm (26 x 42.5ins), gilt frame, glazed (1)

ÂŁ500-800

173* Westall (John, act.1873-1893). Rural landscape with cottage, oil on canvas, of a wooded landscape with hills, a cottage, and figures, signed lower right, 25.5 x 41cm (10 x 16ins), period gilt moulded frame (1)

ÂŁ300-400

Lot 173

174* Westphal (Fritz, 1804-1844). The Huntsmen at Rest, 1843, oil on canvas, signed and dated lower right, with early stencil to verso of stretcher YJ709, 87.5 x 118cm (34.5 x 46.5ins), fine period moulded gilt frame Provenance: Private Collection. Christies, London, 19th Century European Art, 12 June 2012, lot 34. Sothebyâ€™s London, 12 June 1996, lot 42. (1) ÂŁ5000-8000

Lot 175

Lot 177 175* Willett (Arthur Reginald, 1868-1951). View of Arundel Castle, Sussex from the river, 1915, oil on board, scratched-in signature & date lower right, 46.5 x 31cm (18.25 x 12.25ins), together with View of St. Mary’s, Bramber, Sussex, oil on board, scratched-in signature lower right, caption and date 1916 in pencil to verso, 46.5 x 31cm (18.25 x 12.25ins), modern matching frames, with Minerva Gallery, Bideford framing label to verso of each (2)

£300-500

176* Willett (Arthur Reginald, 1868-1951). “Near Arundel, 1914”, oil on canvas, showing a river with cottage, sheep and figure, captioned, signed & dated to verso of canvas, and captioned in pencil to stretcher, 34.5 x 54.5cm (13.5 x 21.5ins), together with “On the Adur, 1914”, oil on canvas, showing river with cottage and trees, signed lower left, captioned, signed & dated to verso of canvas, 35.5 x 51cm (14 x 20ins), matching modern frames with Minerva Gallery, Bideford framing label to verso of each

Lot 176

(2)

£300-500

177* Circle of John Wootton (c. 1682-1765). Apollo with nymph and shepherds in Arcadia, oil on canvas, relined, with old restorer’s label of E. Facon Watson, 201, Piccadilly to stretcher verso, and numbered in ink 190, 41 x 50.5cm (16 x 20ins), gilt frame (1)

£300-500

OLD MASTER DRAWINGS 17TH-19TH CENTURY 178* Allegory of Plenty. Putti holding a sickle and sheaf of wheat, 18th century, pen & ink with wash, 15 x 12cm, contained in antique birdseye maple frame (1)

£70-100

179* Blanchet (Louis Gabriel, 1705-1772). Head of a bearded man looking upwards, black and white chalk on blue-grey paper, of an elderly man in clerical garb gazing aloft, signed lower left, 30 x 26cm (11.75 x 10.25ins), tipped onto paper, together with three other black and white chalk drawings on blue or grey paper, figure studies (a fulllength draped figure walking; a seated robed figure; head of a young woman in profile), similarly sized and mounted on paper. Blanchet was a French painter, active in Rome. He won second place in the Prix de Rome competition in 1727 and thereafter settled in Rome, where he enjoyed the patronage of Nicolas Vleughels, Director of the Academie de France, and the Duc de Saint-Aignan, French Ambassador to the Holy See. In 1752 Blanchet painted the ‘Vision of Constantine’ (Paris, Louvre), a copy of Giulio Romano’s fresco in the Sala di Costantino in the Vatican. He was, however, principally a portrait painter and his work has been compared with that of his Roman contemporary, the renowned portraitist Pompeo Batoni, plus Northern School. Head and shoulders portrait of a bearded man, red chalk on paper, with initials PA and date 1657 to right-hand margin, blue paper adhered to corners, together with a similar red chalk drawing on the verso, a profile portrait of a bearded man looking downwards, with additional study of his nose and lips, also dated 1657, 24.5 x 19cm (9.5 x 7.5ins) (5)

£400-600

Lot 178

180* Bolognese School. Study of a male figure with clasped hands, later 17th century, red chalk on laid paper, 180 x 182mm (7.1 x 7.2ins) mount aperture, modern aluminium frame, glazed Provanence: Christies, London, Fine Italian, French and Spanish Drawings, March 28, 1979, lot 39 (with a pen and ink drawing by Giordano). (1) £150-200

Lot 179

Lot 182

181* De La Rue (Philibert Benoit, 1718-1780). Putti treading grapes before a term, pen and black ink, with red-brown wash, inscribed La rue to centre of lower margin, 133 x 207mm (5.25 x 8.2ins), aluminium frame, glazed

183* Emilian School. Studies of the Infant Bacchus struggling with a putto, 17th century, pen and brown ink on laid paper, with brown wash, lightly squared in black chalk, 169 x 233mm (6.7 x 9.2ins), aluminium frame, glazed

Provenance: Christies, London, Fine Italian, French and Spanish Drawings, March 28, 1979, lot 104. (1) £200-300

Provenance: Christies, London, March 28, 1979, lot 23. (1)

182* School of Etienne Delaune (1518/19-1595). Bacchanal, fine miniature design for a frieze, pen & brown ink on laid paper, 71 x 212mm (2.75 x 8.3ins), aluminium frame, glazed

£200-300

184* Farington (Joseph, 1747-1821). Study of Trees and Bridge, September 1803, faint pencil on light brown wove paper, with one or two touches of bodycolour, signed and dated to lower margin, with handwritten note on colour to water area at lower edge, 29.5 x 36cm (11.5 x 14.2ins), framed and glazed, together with Cristall (Joshua, 1767-1847), Loch Vennachar, pencil study on laid paper, inscribed in ink over pencil Loch Vennacher lower right, unsigned, 22 x 34.7cm (8.7 x 13.7ins) mount aperture, framed and glazed

Provenance: Christies, London, Fine Italian, French and Spanish Drawings, March 28, 1979, lot 110. (1) £300-500

Provenance: Purchased by the present owner from Abbott & Holder, London. The second work depicts a loch near Callander and the Trossachs in the southern highlands of Scotland. (2) £200-300

185* Fenwick (Thomas, died 1850). A collection of eleven sketches and studies, pencil or crayon on paper, most stuck onto backing paper at the corners, various sizes with the largest 26 x 44cm (10.25 x 17.25ins), a few signed and titled including Duddington from Queen’s Drive, St Anthony’s Chapel, some dated 1826 (11)

£80-120

188* Circle of Luca Giordano (1634-1705). The Mocking of Christ, pen and brown ink, on laid paper, with traces of grey wash, 237 x 324mm (9.3 x 12.5ins), aluminium frame, glazed Provenance: Christies, London, Fine Italian, French and Spanish Drawings, March 28, 1979, lot 39. (1) £200-300

186* French School. The Release of St. Paul from Prison, c. 1780, pen and black ink on laid paper, with grey and brown wash, with Hesse/Vorst watermark, 199 x 315mm (7.8 x 12.2ins), aluminium frame, glazed Provenance: Christies, London, Fine Italian, French and Spanish Drawings, March 28, 1979, lot 136 (the description for which includes the watermark and overall size). (1) £200-300

189* Godward (John William, 1861-1922, after). The Betrothed, charcoal on card, showing a young lady reclining on a leopard skin on a marble seat in a garden, toned, some marks and stains, image size 26.5 x 49cm (10.5 x 19.5ins), laid on card and mounted Godward’s oil painting ‘The Betrothed’ was completed in 1892, and donated to the Guildhall Art Gallery in London in 1916, where it still resides. (1) £400-600

187* Manner of Thomas Gainsborough (1727-1788). Landscape with Cottages and Trees, brown chalk and wash on paper, some waterstaining, 110 x 177mm (4.25 x 7ins), laid down on old card (1)

£150-200

190* Attributed to Margaret Holmes (1868-1961). Still life of apples, fine academic tonal pencil study on thick wove of an apple tree branch with two apples, with blindstamp E.S.K. at foot of image, sheet size 45 x 33cm (17.75 x 13ins) Margaret Holmes was one of the most successful pupils of the South Kensington Art School at the end of the 19th century, and won a Silver Medal and various other prizes and certificates. A similar group of her drawings were sold at Bonhams Knightsbridge on 21st June 2011 (lot 286). She taught art at Norwich Art School whose collections include a still life of geometric forms by this artist. (1) ÂŁ100-150

191* Horsfall (Charles Mendelssohn, 1865-1942). A pair of potraits of a lady and gentleman, pastel on paper, each signed and dated 1918, each 70 x 50cm (27.5 x 19.75ins), contemporary ornate gilt frames (2)

ÂŁ200-300

Lot 191

192* Jurres (Johannes Hendrikus, 1875-1946). The Death of Jezebel, charcoal & pastel on paper, signed upper right, 59 x 37cm (23 x 14.5 in), framed & glazed (1)

£200-300

193* Lear (Edward, 1812-1888). San Remo from a hillside, c. 1870, grey wash drawing on paper, titled ‘San Remo’ to lower left corner, 94 x 146mm (3.75 x 5.75ins), framed and glazed with Thomas Agnew & Sons label to verso, together with accompanying receipt of purchase dated 7th October 1983 This drawing is from the Tennyson Album (according to the Agnew’s label), and is therefore from the three series of two hundred small grey wash drawings designed to illustrate Tennyson’s poems which Lear presented to Tennyson (Sotheby’s, 21-22 July 1980, lot 400, bought Agnew’s). (1) £700-1000

Lot 192

Lot 193 65

195* Nicholson (Francis, 1753-1844). Loch Katrine, pencil drawing, inscribed and dated 12 June 1812, 20 x 26cm (8 x 10in), framed & glazed Provenance: acquired by the vendor from Peter Cardiff Fine Art, London, with gallery label to verso and date of purchase December 1989. (1) £100-150

196* Pether (Abraham, 1756-1812). Crummock Water and Buttermere from near Scale Force, pencil on grey paper heightened with scratching out, signed and inscribed in pencil, 15 x 20cm (6 x 8in), framed & glazed Exhibited widely and is known particularly for his moonlit landscapes. (1) £100-150

194* Lear (Edward, 1812-1888). Villa Tennyson, San Remo, c. 18801881, three albumen print photos, showing Villa Tennyson under construction, [1880], 94 x 146mm (3.75 x 5.75ins), Villa Tennyson completed [after June 1881], 95 x 149mm (3.75 x 6ins), and View from the Garden of Villa Tennyson [after June 1881], 148 x 105mm (5.75 x 4ins), minor marks and hinges to versos, mat mount With the same private provenance as the wash drawing of San Remo offered here, these photographs were loaned for the Royal Academy Exhibition on Edward Lear in 1985 and are reproduced in the catalogue as exhibits 110b, c, & d (pp. 197-98 of the catalogue). An exhibition catalogue and paperwork regarding the loan of the photographs to the Royal Academy accompanies the lot. (5) £300-500

197* Tuscher (Karl Markus, 1705-1757). Attalante & Meleagre, pen, ink and grey wash on laid paper, heightened with white bodycolour, with indistinct watermark, signed in brown ink lower right, with added handwritten title in brown ink on overlaid strip of paper to lower edge, image 142 x 190mm (sheet size 159 x 197mm), sheet size 159 x 197mm (6.25 x 7.75ins), laid on backing paper (1)

Lot 195

£300-500

OLD MASTER PRINTS

198* Boel (Pieter, 1622-1674). Hunting dogs attacking a wild boar, etching on wove paper, initialled in the plate, trimmed to plate margin, 19 x 32.7cm (7.5 x 12.9ins) (1)

£100-150

200* Delff (Willem Jacobsz, 1580-1638). Charles I, King of England, (after Daniel Mytens the Elder), 1628, fine engraving on laid paper, with indistinct watermark, with margins, generally in excellent condition, plate size 42 x 30cm (16.5 x 11.75ins), sheet size 45 x 32cm (17.75 x 12.5ins) Hollstein 2. (1)

199* Cooper (Anthony Ashley, 7th Earl of Shaftesbury). Six Etchings of Landscapes [titled to upper cover], 30 May 1799, six softground etchings on wove, with tissue-guards, plate dimensions 23 x 27cm (9 x 10.5ins), a little fraying to foot of spine, orig. paper wrappers with printed label to upper cover, oblong folio (28 x 45.5cm), together with the second series published 1st August 1800, containing six soft-ground etchings and similarly bound (2)

£200-300

£150-200

202* Goudt (Hendrick, 1582/88-1630/48). Jupiter and Mercury in the House of Philemon and Baucis (after Adam Elsheimer), 1612, copper engraving on laid paper, with short margins, some light spotting, mostly to margins, plate size 222 x 235mm (8.75 x 9.25ins) Hollstein 6. (1)

£100-150

201 Dusart (Cornelis, 1660-1704). Violin Player Seated in the Inn, etching, with etched title to lower margin “Rusticus ex animo, non pullus Hypocrita gaudet”, image size 26 x 24cm (10 x 9.5in), 19th century frame Bartsch 15. (1)

£100-150

203* Goudt (Hendrick, 1582/88-1630/48). The Mocking of Ceres (after Adam Elsheimer), 1610, etching and engraving on laid paper, a good dark impression, with watermark of a fleur-de-lys above a shield, trimmed within plate mark, closed tear repaired to lower lefthand margin, and lower edge restrengthened to verso, 32 x 23.5cm (12.5 x 9.25ins) Bartsch, Hollstein 5. The second of only seven prints by Goudt, all of which were engraved after paintings by the German artist Adam Elsheimer, who had established himself in Rome at this time. The story is taken from Ovid’s Metamorphoses, and illustrates an episode during the search by the goddess Ceres for her daughter Persephone. The goddess stopped at a cottage where she was offered a bowl of hot broth by an old woman. A little boy appears and mocks her for drinking so greedily, for which the goddess turns him into a lizard. (1) £300-500

Lot 202

205* Martin (John, 1789-1854). Bridge over Chaos, mezzotint on laid paper, a proof of the small plate version of Paradise Lost by John Milton, printed by J. Lahee, and published by Septimus Prowett, 1826, a good dark impression in good condition, with thread margins, plate size 193 x 267mm (7.65 x 10.6ins), framed and glazed with William Weston Gallery label to verso, together with The Appearance of the Arch Angel Michael, mezzotint on laid paper, a proof from the small plate version of Paradise Lost by John Milton, printed by Chatfield & Co., and published by Septimus Prowett, 1826, a good strong impression in very good condition, trimmed to margins, plate size 192 x 270mm (7.6 x 10.6ins), framed and glazed (2)

£200-300

204* Laporte (John, 1761-1839). A group of seven soft-ground etchings after landscapes by Thomas Gainsborough, pub. 1802-03, together seven soft-ground etchings on wove paper, full sheet, some marks and light soiling to edges, with stitchmarks where originally bound, plate size 32 x 24.5cm (12.5 x 9.6ins), and inverted, sheet size 42 x 33cm (16.5 x 13ins), and inverted (7)

£150-200

206* Neureuther (Eugen Napoleon, 1806-1882). Heute rot, morgen tot, etching on thick wove, plate size 385 x 280mm (15.25 x 11ins), with margins, some marks and discolouration to edges, with light waterstain to lower left corner, sheet size 533 x 365mm (21 x 14.4ins), together with Der wilde Jager, 1838, etching on thick wove, plate size 393 x 280mm (15.5 x 11ins), with margins, some marks and light spotting to edges and light waterstains to lower outer corners, sheet size 537 x 360mm (21.2 x 14.25ins), plus Am Wurm See, 1841, etching on chine colle on thick wove paper, plate size 215 x 265mm (8.5 x 10.5ins), with margins, some marks and light waterstain to upper left corner, sheet size 304 x 452mm (12 x 17.75ins), and four other sheets of etchings by Neureuther, including three with ornamental scroll work to borders printed in gold lithograph, and one image of the artist in his studio, mostly from the album Radirungen von Eugen Neureuther, published in Munich in 1845 (7)

Lot 205

£300-500

207* Pontius (Paulus, 1603-1658). Frederick, Prince of Arau, fine large engraved portrait by Pontius after Van Dyck, published by C. vander Stock, central horizontal crease, one or two short closed marginal tears, repaired, some restrengthening to central horizontal crease and edges, plate size 48 x 34.5cm (19 x 13.5ins), sheet size 50.5 x 37cm (20 x 14.5ins), with green collectors mark vB to verso, together with Jode (Petrus de), Johanna de Blois, fine etching on laid paper, with foolscap watermark, by De Jode after Van Dyck, published by Gillis Hendricx, trimmed to plate mark, 265 x 195mm (10.5 x 7.75ins), with green collectors stamp vB to verso, and rectangular stamp W.S.A. also, plus other similar engraved and etched portraits after Van Dyck, including Paulus Pontius, Jacobus de Breuck and Cornelius vander Geest (by Paulus Pontius), Maria Margareta de Barlemont, by Jacques Neefs (1610-1660), Thomas Howard, Earl of Arundel, by D. Vorsterman, Fredericus de Marselaer, by Adrian Lommelin, Anthonius van Opstal by Jacobus de Man, Rapin de Thoyras by George Vertue (1734), a pillage scene by Johann Sadeler and Jost Amman, and two etchings of cows by Schweickhardth, published by Josiah Boydell, 1788, many with collectors marks vB and W.S.A. to verso (13)

209* Van Dyck (Anthony, 1599-1641). Adam van Noort, etching on laid paper, with partial foolscap watermark, trimmed just inside platemark, some restoration and archival restrengthening to margins, 240 x 151mm (9.5 x 6ins), together with Vorsterman (Lucas Emil, 1595-1675), Anthony Van Dyck, copper engraving on laid paper, with shield and crown watermark, short margins, plate size 26 x 16.8cm (10.25 x 6.5ins), plus Vorsterman (Lucas II, 1624c.1670), Lucas Vorsterman, copper engraving by Lucas Vorsterman after Van Dyck, on laid paper, thread margins, 25.3 x 17.8cm (10 x 7ins), remains of tab mounts to top margin, lower outer corners thinned to verso, with very slight loss to lower left corner, and three other similar engraved portraits, including one other by Vorsterman (Lucas I, 1595-1675), Johann III, Count of Nassau-Siegen, copper engraving on laid paper, trimmed to plate mark, 24.4 x 20.3cm (9.6 x 8ins), and two copper engravings by Schelte Adams Bolswert, 1586-1659 after Anthony Van Dyck, of the artist Adriaen Brouwer, and the philosopher and scholar Justus Libsius, all on laid paper, the latter two plates with good margins A group of prints from Van Dyck’s celebrated Iconography, first published by Martin van den Enden in the 1620s and 30s, and re-issued by Gillis Hendricx in 1645. (6) £200-300

£300-500

208* Preissler (Johann Justin, 1698-1771). Fortsetzung der durch Theorie erfundenen Practic. Oder Grundlich-verfasste Reguln derer man sich als einer Unleitung zu beruhmter Kunstlere ZeichenWercken bestens bedienen kan, Vierter Theil, Nuremberg, Johann Joseph Fleischmann, 1778, printed title and 6 pp. of preliminary text, eighteen copper engraved studies of the human figure, some minor marks and light waterstaining, contemp. plain boards, somewhat worn with backstrip partly def., slim folio

210* Vernet (Carle, 1758-1836). Arabian horse running free, lithograph, 43 x 56cm (17 x 22ins), together with another similar litho. by Vernet depicting an Arabian being groomed, both in antique gilt frames (2)

The fourth part of this reprinted edition issued in four parts in Nuremberg between 1778 and 1783. (1) £70-100

£70-100

ORIENTAL ART 212 Barei (Kono). Bairei Hyakucho Gafu Zokuhen (Book of 100 Birds), one vol. only (of 3), Tokyo, 1880s, forty-four pages of tinted woodblocks of birds (oystercatchers, grebes, pheasants, birds of prey, passerines, chickens, etc.) arranged as twelve double-page and twenty single-page illustrations, a total of 10pp. text at front and rear including inside covers, stitched as issued, stitching broken and printed wrapper title label deficient, 24.5 x 16.5cm (9.75 x 6.5ins) The emphasis of Bairei Kono’s art work was on kacho-e, images of birds and flowers. (1) £150-200

211* Ba Thet (U, 1903-1972). Maymyo Bazaar, Burma, 1935, watercolour on wove paper, signed and dated lower left, 25.5 x 34.3cm (10 x 13.5ins), together with Minglun, Lower Burma, 1935, watercolour on wove paper, signed and dated lower left, 25 x 32.5cm (9.8 x 12.75ins) U Ba Thet (1903-1972), Burmese artist who worked in Mandalay, and one of the first to paint in the Western style. (2) £200-300

213* Chinese School. A large Chinese brush drawing scroll, late 19th century, ink and watercolour on cream silk, mounted on thick paper, depicting a stylised peach tree, orchids, and grasses, signed and with artist’s seals, water-stained, 74 x 226cm (29 x 89ins), Chinese hardwood batons detached

Lot 212

(1)

£300-500

Lot 215

214* Chinese School. A Chinese brush drawing scroll, early-mid 20th c., ink and watercolour on paper, mounted on textured green paper, depicting a crane on a branch with blossom and foliage, signed and with artist’s seals, some light foxing, 38 x 146cm (15 x 57.5ins), together with four others similar (5)

£200-300

215* Chinese School. A Chinese brush drawing, probably mid. 19th century, pen and watercolour on silk, mounted on card, depicting two male figures, one riding a mule, the other following on foot with a twiggy branch over his shoulder, titled and with artist’s seals, two small water-stains to left-hand margin, 34.5 x 26.5cm (13.5 x 10.5ins), mounted (1)

£150-200

216* Ethiopian illuminated miniature. St. George and the Dragon, probably mid. 20th century, gouache on vellum, 23 x 18cm (9 x 7ins), mounted, framed and glazed (1)

£100-150

Lot 216

Lot 217

217* Goyo (Hashiguchi, 18801921). Geisha Hisae with a Towel, dai oban tate-e colour 1920, woodblock print, with silver mica ground, in fine condition, 45.7 x 30.4cm (18 x 12ins) (1)

£1000-1500

218 Hokusai. Hokusai manga (Hokusai’s Ten Thousand Sketches), Series VII (of 15), 1817, 112 leaves of woodblocks printed in grey and pink, some illustrations double-page, first and last leaf somewhat frayed and soiled, original stitching, without letterpress leaves or wrappers, 22.5 x 16cm (9 x 6.25ins) together with a later printing of Kameda Bosai, Kyochuzan (Mountains of the Heart), [1816 but later printing],colour-printed woodblocks, old light waterstain to lower margins throughout, orig. stitched decorative wrappers with title label, tall 8vo, plus two uncoloured double-page Chinese woodblocks (4)

£150-200 73

219 Rajasthan School. Two miniature books, 19th c., each with gouache and gold painted scenes, probably from the Ramayana, with Sanskrit script, all within octagonal decorative borders, occasional light rubbing, one with embroidered silk binding (detached), the other in cloth, the largest 3.5 x 3.5cm (1.5 x 1.5ins) (2)

£100-150

221* Koson (Ohara, 1877-1945). Three Plovers on a Rock (Nami ni Chidori), 1926, colour woodblock kacho-e print, on laid paper, with Watanabe publisher’s seal, image size 36 x 23.7cm (14.25 x 9.3ins), sheet size 39 x 26cm (15.25 x 10.25ins) (1)

£70-100

220* Kalighat school. A collection of approx 300 hand-painted story cards depicting scenes from the Ramayana, Bengal, late 19thearly 20th c., each with pen, ink and opaque watercolour heightened in gold and silver, captioned, on thin card, occasional minor soiling, 13.5 x 8.5cm (5.5 x 3.5ins) (approx 300)

£200-300

222* Koson (Ohara, 1877-1945). Bird on a Branch with Blossom & Pair of Birds, together two colour woodblock prints, 33 x 18cm (13 x 7ins) (2)

Lot 221

£200-300

Lot 224

Lot 223

223* Kunisada (Utagawa, 1786-1864). Kabuki Actor, & Woman with sculptor and wooden stork, together two colour woodblock prints, 33.5 24cm (13.25 x 9.5ins), mounted, together with three colour woodblock landscapes by Hiroshige, probably early 20th-century (5)

£100-150

224* Kunisada (Utagawa, 1786-1865). Mother and Child from the series One Hundred Poems by One Hundred Poets (Ogura Hyakunin Isshu), c. 1845, oban colour woodblock print, signed, with Toshidama seal, 34 x 25cm (13.5 x 9.75ins) mount aperture, framed and glazed (1)

£100-150

225* Kunisada (Utagawa, 1786-1865). The Water Carrier, Surimono colour woodblock, 21 x 18.1cm, framed and glazed (1)

£100-150

Lot 225

226* Kunisada (Utagawa, 1786-1865). Scenes from the Chushingura (The Forty-Seven Ronin), c. 1850s, together three chuban colour woodblock prints, 21.5 x 34cm (8.5 x 13.3ins), matching fluted gilt frames, glazed (3)

£150-200

227* Kuniyoshi (Utagawa, 1797-1861). Warrior swimming in the sea, oban tate-e colour woodblock print, with artist’s seal, 36 x 25.5cm (14.2 x 10ins), together with twelve other Japanese prints by Kuniyoshi, Kunisada, and others, some soiled and with some wear to margins (13)

£300-500

Lot 226

228* Pai (Laxman, 1926-). ‘Flower woman’, uncoloured etching, signed in pencil by the artist, dated Paris ‘61 and inscribed ‘Epreuve d’Artiste’, sheet size 30 x 25cm (1)

Lot 227

£70-100

229 Qurâ€™an. Calligraphed by Syed Hafiz Omar Al Juhadi, pupil of Hafiz Mustafa Al Halawi, known as Mujalawi Zadeh, Turkey, 1207 A.H., 1792 A.D., neat Naskh script, fine illuminated title and opening suras embellished in gold and polychrome, sura headings in white on gold background, within gold, blue and red ruled borders, marginal floral decoration, occasional minor soiling, original calf with gold medallion and cartouche corners (joints chipped and repaired), 17.5 x 10.75cm (6.75 x 4.5ins) (1)

ÂŁ700-1000

230* Shotei (Takahashi, 1871-1945). Three Figures on a Moonlit path, colour woodblock print, 37.3 x 16.2cm (14.7 x 6.4ins), framed and glazed (1)

£100-150

231* Sozan (Ito, 1884-). Lilies with Bees, circa 1915-20, o-tanzaku colour woodblock print, with red artist’s seal, and red circular Watanabe seal, 38 x 17cm (15 x 6.75ins) (1)

£150-200

232* Surendranath (P.B., 20th century). Coastal scene with bullock carts, watercolour, signed lower left, 34.5 x 47cm (13.5 x 18.5ins), mounted, framed and glazed

Lot 230

(1)

£200-300

Lot 233 Lot 231

233* Tibetan School. Pandara Tara. The ‘lohit’ as red Tara representing ‘fire’, wife of Amitabha (so inscribed verso), finely executed goauche on linen, heightened with gold, 28 x 25cm, together with a similar image, finely executed in watercolour over pen and ink on paper, trimmed to image, 29 x 27cm (2)

235* Utagawa (Yoshiiku, 1833-1904). Triptych Scene of Women at a Bathhouse, colour woodblock print, 34.5 x 70cm (13.5 x 27.5ins), framed and glazed (1)

£150-200

£100-150

234* Toshikata (Mizuno, 1866-1908). Viewing a waterfall: Women of the Jokyo Era (1684-1688), from the series Thirty-Six Elegant Selections (Sanjuroku kasen), 1893, vertical oban colour woodblock, heightened with silver, some light spotting, mostly to margins, sheet size 35.5 x 24cm (14 x 9.5ins), mounted, together with ‘Enjoying the doll festival’: Women of the Bunkyu Era (1861-1864), from the series Thirty-Six Elegant Selections (Sanjuroku kasen), 1891-94, vertical oban colour woodblock, heightened with gold and silver, some light marginal spotting, sheet size 35.5 x 24cm (14 x 9.5ins), mounted plus a reproduction of a woodblock view of Mount Fuji by Watanabe Kwasan (3)

£100-150

236* Chinese School. Animated Chinese landscape with numerous figures, probably late 19th or early 20th century, a pair of pen, ink and watercolour paintings on thin paper, showing numerous figures at work, including slate cutting, farming, stage performance, fishing boats, a castle and pagoda etc., some marks and soiling, laid down on mount board, each 145 x 76.5 cm (57.25 x 30.25 ins), framed (2)

Lot 235

£500-800

ETCHINGS, LITHOGRAPHS & WOODCUTS

237* Anderson (Alfred Charles Stanley, 1884-1966). Farm landscape with thatched barns, c. 1913, etching, initialled in the image S.A., signed in pencil to lower margin, and inscribed ‘To my father, 1913’, some scattered light spotting and discolouration to blank margins, plate size 12 x 17cm (4.75 x 6.75ins), sheet size 16 x 21cm (6.25 x 8.25ins) (1)

239* Anderson (Alfred Charles Stanley, 1884-1966). Covent Garden, etching showing porters loading and unloading supplies in Covent Garden Market against the backdrop of St Paul’s Church portico, signed in ink to lower margin, plate size 17 x 20.5cm (6.75 x 8ins), framed and glazed

£100-150

(1)

£150-200

240* Anderson (Alfred Charles Stanley, 1884-1966). Old Mill and Haymakers, Norfolk, etching showing figures haymaking in the fields, with windmill in background, signed in ink to lower margin, plate size 16.5 x 34cm (6.5 x 13.5ins), framed and glazed (1)

£150-200

241* Austen (Winifred Marie Louise, 1876-1964). Wigeon dropping in, etching, signed in pencil to lower margin, plate size 22 x 30cm (8.75 x 11.75ins), framed and glazed

238* Anderson (Alfred Charles Stanley, 1884-1966). Self portrait, etching, trimmed to plate margins, with tab signature in pencil to lower margin, a little spotting, plate size 146 x 128mm (5.75 x 5ins), framed and glazed

(1)

Martin Hardie, The Etchings & Engravings of Stanley Anderson, Print Collectors Quarterly, XX, 1933, pp. 221-246. (1) £200-300

£100-150

242* Banting (John, 1902-1972). Explosion, 1931, colour linocut, signed and dated lower right, and numbered 39/45 lower left, sheet size 22.2 x 27.3cm (8.75 x 10.75ins), framed and glazed From the edition of six linocuts published by Alexander Postan in 1971, in an edition of 45, and printed by John Henn at the Camberwell School of Art under the artist’s supervision. (1) £150-200

Lot 244

243* Baskett (Charles Henry, 1872-1953). The Collier, uncoloured aquatint, captioned and signed to lower margin, plate size 17.2 x 30cm (6.75 x 11.75ins), framed & glazed, together with The Mill on the Downs, mezzotint, signed and captioned to lower margin, plate size 20.2 x 33cm (8 x 13ins), framed and glazed, with Browning (S.M., fl.1920-1950), ‘The Wallasey Float, Cheshire’, etching, signed and captioned in pencil to lower margin, plate size 16.5 x 25.2cm (6.5 x 10ins) (3)

£100-150

244* Beaver (Tessa, b.1932). Massachusetts Farm, etching with aquatint in colours, signed and titled in pencil, limited edition numbered 24/75, plate dimensions 50.5 x 40cm (20 x 15.75ins), together with a lithograph by the same artist titled “Dogwood” and measuring 40 x 46cm, signed and numbered 6/50, both framed & glazed

245* Blampied (Edmund, 1886-1966). Marriages, Births and Deaths, dryoint, dated October 1929, signed in ink, limited edition 87/100, plate dimensions 20.5 x 26cm (8 x 10.25ins), mounted Arnold & Appleby 140. (1)

Beaver attended the Slade and studied etching under Joan Buckland-Wright. She worked for many years as art editor of Children’s books at Oxford University Press before resuming painting and printmaking in 1962. She has since held exhibitions at the Royal Academy, Society of Wood Engravers, Royal Society of Painter Etchers and Engravers. (2) £70-100

£200-300

246* Bone (Sir David Muirhead, 1876-1953). Lifting an oil tank into a train ferry from On the Clyde, published by P. & D. Colnaghi & Obach, 1917-18, b&w lithograph, signed in pencil, image size 46.5 x 35.5cm (18.25 x 14ins), framed and glazed, together with Building a liner at Greenock, Scotland, & Building a cross-Channel train ferry: underneath the bows, together two b&w lithographs from the portfolio On the Clyde published by P. D. Colnaghi & Obach, 1917-18, each signed in pencil, image size 52 x 36.5cm (20.5 x 14.25ins) and 36.5 x 47cm (14.25 x 18.5ins) respectively, both framed and glazed (3)

£400-600

247* Brangwyn (Frank). Barques de Venise, 1908, etching, with drypoint on laid paper, watermarked F. J. Head & Co., signed in pencil, marked in pencil in a different hand to lower left corner ‘116. Venetian Boats’, plate size 16.3 x 22.5cm (6.4 x 8.8ins), sheet size 31 x 37cm (12.25 x 14.5ins) (1)

£100-150

Lot 246

248* Brangwyn (Frank, 1867-1956 ). A Beggar-Assissi, etching with aquatint, signed in pencil, an unnumbered artist’s proof, plate size 25.5 x 21.7cm (10 x 8.5ins), with margins, framed and glazed, with old handwritten label to verso, stating the title of the work and ‘Artist’s proof original etching by Frank Brangwyn, R.A., Only one state - edition limited’, together with another early 20th century etching by a different hand, showing three seated gentlemen, indistinctly signed, framed and glazed

Lot 247

(2)

£150-200

250 Dawson (Nelson, 1859-1941). A collection of approx. eighty etchings, comprising views of fishing harbours, Venice, etc., including nineteen etchings signed and numbered in pencil, the remainder unsigned, various sizes (approx. 80)

£400-600

251* Dicksee (Herbert, 1862-1942). “Footsteps”, etching depicing a West Highland White Terrier and a Scottish Terrier, signed in pencil, 37 x 55cm (14.5 x 21.5in), framed & glazed, original gallery label to verso marked “1st state” (1)

£100-150

249* Brockhurst (Gerald Leslie, 1890-1978). Xénia, etching, signed in pencil, plate size 20 x 15cm (8 x 6ins), framed and glazed (1)

£150-200

252* Dixon (Harry, 1861-1942). Kittens playing, etching, signed in pencil, plate dimensions 20 x 29.5cm (8 x 11.5in), framed & glazed (1)

Lot 250

£70-100

253* Dodd (Francis, 1874-1949). Waterloo Place, London, etching, signed in pencil to lower margin, plate size 20 x 36.2cm (8 x 14.25ins), framed and glazed, together with Farrell (Frederick, 18821935), Horse Guards Parade, etching, signed in pencil and blind stamp to lower margin, plate size 25 x 35cm (10 x 14ins), framed and glazed, with Sweet (Dorothy, 20th c.), St. Dunstan’s, Fleet Street, etching, signed and captioned in pencil to lower margin, plate size 25.7 x 16cm (10 x 6.25ins), plus Westminster Abbey, from Dean’s Yard, etching, signed and captioned in pencil to lower margin, plate size 27.3 x 16.2cm (10.75 x 6.25ins) (4)

254* Fantin-latour (Henri-Theodore, 1836-1904). Baigneuses (Troisieme planche), 1896, b&w lithograph, the second state, printed by Lemercier, signed in pencil to lower margin, some light spotting and minor marks to margins, image size 29 x 43.5cm (11.4 x 17ins), sheet size 38.3 x 52cm (15 x 20.5ins) Hediard 128, II. (1)

£150-200

Lot 255 84

£100-150

255*+ Foujita (Tsuguharu, 1886-1968). Three etchings of cats (from Les Chats), 1929, etching with aquatint, signed and dated in the image, additionally signed in pencil lower right, (the remaining two prints withouth pencil signature), plate size 195 x 260mm (7.75 x 10.25 in) and similar, matching frames, glazed (3)

£1000-1500

256* Gautier (Lucien, 1850-1925). Le Quai Jemmapes a Paris/Le Petit Bras de la Seine, le 3 Janvier 1880/La Place du Chatelet et le Boulevard du Palais/Rue Galande a Paris/Rue St. Julien le Pauvre, a Paris, c. 1880/81, together five uncoloured etchings, printed by Imprimerie Eudes, plate size 24.5 x 40cm (9.75 x 15.75ins) with margins, some light spotting and minor marginal waterstains (5)

Lot 257

£100-150

257* Gibbings (Robert John, 1889-1958). Tudor House, woodcut on japan, the full sheet, signed with initials, image size 120 x 84mm, sheet size 202 x 133mm (8 x 5.2ins), mounted to upper corners, together with The Mill, 1919, woodcut on japan, the full sheet, signed, dated and titled, image size 108 x 70mm (4.25 x 2.75ins), sheet size 167 x 122mm (6.5 x 4.8ins), mounted to upper corners only (2)

£200-300

258* Gill (Eric, 1882-1940). Adeste Fideles & Three Kings, 1916, a pair of proof wood engravings printed together on japanese paper, each image 5.2 x 5.2cm (2 x 2ins), framed and glazed Physick 72 & 73. These blocks were designed for Adeste Fideles, A Christmas Hymn, printed at the St. Dominic’s Press in 1916, pages 3 and 4. (1) £70-100

Lot 258

259* Gill (Eric, 1882-1940). An archive of 108 wood engravings by Eric Gill collated into an album formerly belinging to Douglas Pepler, Ditchling, 1911-22, all printed on paper and mounted into an album of 118 pencil-numbered pages of handmade, uncut white paper, mostly printed in black on white wover paper, one signed in pencil (P31), pasted as singles and multiples to rectos and some versos throughout, the majority neatly captioned in ink by (?)Pepler and at least one other hand, some with Ditchling (and a few A or E) numbers, additional pencil notes (?by Douglas Cleverdon) and Ditchling numbers with a full listing of numbers to first blank page, additionally six duplicate wood engravings (incl. three on a loosely inserted unnumbered bifolium), plus four engravings unattributed and six engravings by Elizabeth Gill and others, various sizes, orig. brown card wrappers, remains of mounted printed title ‘Engravings, Eric Gill’ to upper cover with ownership details below, ‘To be returned to Douglas Pepler, Ditchling Common, Sussex’, indistinctly struck through in pencil with the new ownership details below for Douglas Cleverdon, Q[ueen] Charlotte St, Bristol, covers soiled and worn, 4to (280 x 230mm, 11 x 9ins) An important collection of the full range of Gill’s wood engravings from his Ditchling period. ‘Gill had moved to Ditchling in Sussex at the end of 1907, whilst keeping his workshop in Hammersmith. It was at Hammersmith, where they were near neighbours, that Gill first met Douglas Pepler. Pepler, was among other things, a publicist and publisher. His involvement in the publication of the Hampshire House Workshops, which he founded, led him to commission Gill to engrave blocks for illustrations. In August 1911 the Diary records six hours of ‘wodd engraving for Pepler’. In 1915 Pepler decided to earn a living with a hand printing press and moved to Ditchling to do so, occupying the house which the Gills and their family of three girls had vacated on their move to the more self-sufficient environment of Ditchling Common. Pepler’s Press, his personality, his talents as publicist and publisher were all-importatn to Gill’s development as an engraver during the years 1914- to 1924. On a practical level alone Pepler’s establishment of his Press was especially helpful. Previously Gill had no access to a printing press for proofing his blocks, one reason why records of his early engraved work are so scanty. He now lost no time ... The years from 1916 to 1924 were for Gill those of the ‘Ditchling Community’ formalised in 1921 by the establishment of the craft Guild of St Joseph and St Dominic... A look through the engravings of these years, over 200 of them, shows his deep involvement with the St Dominic’s Press. Pepler must have been very dependent on Gill and used his skill almost as a printer uses a commercial block-maker for the production of verything that was not type. In fact Gill cut at least two alphabets of wood type for St Dominic’s Press, and a type specimen of the time shows Gill’s large capitals (P146a, last line) printed alongside Pepler’s Caslon’, Christopher Skelton (ed.), ‘Eric Gill: The Engravings’, (1990), pp. 8-9. This work provides a cross-reference for Ditchling and Physick numbers. The album contains 108 engravings referenced by Physick: Nos. 11 (red and black), 14, 18, 22, 30, 31 (signed in pencil), 36-42, 44-46, 48, 50, 51 (folding), 52-54, 57-62, 64-88, 89 (gold on black), 90 (red on white), 91111, 113, 135-140, 143, 144, 146 (Alphabet 1, folding), 150, 151 (red), 152-157, 163, 173, 179, 180, 183-187, 191, 201, 208-210. Of these the following are printed in pairs or threes on five sheets: Physick 44 & 57; 53, 58 & 62; 67 & 69; 68 & 70; 78, 109 & 139. Additionally, there are six duplicates: Physick 45, 100, 138, 150, 156, 157. Of the nine engravings not listed by Physick, four are unattributed: E14 The Good Samaritan for “God and the Dragon” (p. 105); Madonna and Child (p. 105); Christmas design with waving angel (p. 106); Chalice for title-page of Serving at Mass (p. 108). The five other engravings are Nativity by Elizabeth Gill; Nativity (Christmas 1916) by David Pepler; George Inn, Southwark letterhead design by Ralph Beedham from a drawing by Eric Gill; house and church on a hillside by Ronald Seal; Starlit church by David Pepler. (1) £2000-3000

262* Haden (Sir Francis Seymour, 1881-1910). Shepperton, 1864, etching on laid paper, as published in the portfolio Etudes a l’eauforte, signed, titled and dated in the plate, additionally signed in pencil to lower left, and numbered 71 lower right, some minor spotting to centre of image, plate size 140 x 120mm (5.5 x 4.75ins), sheet size 214 x 168mm (8.4 x 6.6ins), tab-mounted to top margin, together with Austin (Robert Sargent, 1895-1973), The Ponte Pietra, Verona, etching on cream laid paper, signed and dated 1928 in pencil to lower margin, plate size 134 x 123mm (5.25 x 4.85ins), sheet size 320 x 240mm (12.5 x 9.5ins), pale mount stain, tabmounted to top margin Schneiderman 74B and Dodgson 56 respectively. (2)

£200-300

260* Greaves (Walter, 1846-1930). Cremorne Gardens, 1870, etching on laid paper, with drypoint, some minor surface marks, plate size 17.8 x 27.3cm (7 x 10.75ins), signed and dated in the image, framed and glazed, together with Pennell (Joseph), Venetian Watergate, 1883, etching on wove paper, signed and titled in pencil, light waterstain across the image, plate size 20 x 29.5cm (8 x 11.6ins), framed and glazed (2)

£100-150

263* Harding (Frank, late 19th/early 20th c.). Harwich Harbour, drypoint etching, signed and captioned in pencil to lower margin, plate size 11 x 31.5cm (4.25 x 12.25ins), framed and glazed

261 Greuell (Arthur (1891-1966)). Les Poemes Condamnes de Charles Baudelaire, l’Edition du Cygne Noir, Brussels, 1927, seven etchings with aquatint, each signed by the artist in pencil beneath, sheet size 39 x 27.5cm (15.25 x 10.75ins), captioned tissue guards, a few spots to title, loose as issued in original wrapper contained in original box, light wear, lacking tie Limited edition, 48/100. (1)

(1)

£100-150

£200-300

264* Holmes (Kenneth, A.R.C.A., 1902-1994). Pevensey Bay, drypoint etching, signed and numbered 1/6 in pencil to lower margin, plate size 15.8 x 34cm (6.25 x 13.25ins), framed and glazed (1)

Lot 262

£150-200

Lot 265

265* Holmes (Kenneth, A.R.C.A., 1902-1994). Ponte Palatino, Rome, drypoint etching, signed in pencil to lower margin, plate size 24.2 x 38cm (9.5 x 15ins), framed and glazed (1)

£150-200

266* Holmes (Kenneth, A.R.C.A., 1902-1994). Derwent Water, 1936, drypoint etching, published by James Connell in an edition of fifty proofs, signed in pencil to lower margin, plate size approx. 11.8 x 23.5cm (4.75 x 9.25ins), mounted (2)

£100-150

269* Kaby (A., fl. 1910-1930, French). Girl tending to a horse, oval colour etching, signed in pencil, 46 x 36cm (18 x 114 in), together with another similar, both framed and glazed

267* Hoyton (Edward Bouverie, 1900-1988). Low Tide, St. Ives, colour etching, signed, titled and numbered 1/75 in pencil, plate size 30 x 45cm (11.75 x 17.75ins), framed and glazed, together with another similar colour etching by the same artist, entitled The Kathleen & May of Bideford, signed, titled and numbered 6/75 in pencil, plate size 30 x 45cm (11.75 x 17.75ins), framed and glazed (2)

(2)

£150-200

270* Kasimir (Luigi, 1881-1962). Street scene in Vienna, colour etching, signed in pencil to lower margin, plate size 41.2 x 38.5cm (16.25 x 15.25ins), unframed, together with two colour etchings by Kasimar of St Stephen’s Cathedral in Vienna, measuring 34 x 27cm and 54 x 40cm, both framed and glazed

268* Jones (David, 1895-1974). Everyman, 1929, wood engraving, 13.8 x 16.3cm (5.5 x 6.5ins), framed and glazed (1)

£80-120

£100-150

(3)

£150-200

271* Knight (Loxton, 1905-1993). Nottingham Goose Fair, colour woodcut, signed and numbered 25/50, image size 233 x 287mm (9.2 x 11.35ins), sheet size 255 x 302mm (10 x 11.9ins) (1)

£200-300

273* Langmaid (Rowland, 1897-1956). Thames Embankment with St. Paul’s, etching, signed in pencil, with Academy Proof blindstamp to lower left corner, plate size 29.5 x 23.3cm (11.6 x 9.2ins), framed and glazed (1)

£100-150

272* Lambert (Andre, 1884-1967). Moonlight Serenade, 1921, colour etching, printed by Valce, and published by L’Estampe Moderne, Paris, 1921, signed in pencil, and numbered 86, plate size 32 x 41.5cm (12.5 x 16.25ins), framed and glazed (1)

£150-200

274* Langmaid (Rowland, 1897-1956). Hay’s Wharf, London Bridge Street, drypoint etching, signed in pencil, plate size 12.5 x 25cm (5 x 10ins), framed and glazed, together with Smart (Douglas, 1879-1970), Thames Barges and Warehouses, etching, signed in pencil to lower margin, plate size 20 x 30cm (28 x 11.5ins), framed and glazed, with old label to verso (2)

£150-250

277* Laurencin (Marie, 1885-1956). Frivolités ou La Marchande de Rubans, 1926, etching, as published in ‘Tableaux de Paris’, 2nd state (with corner of table obscured), some overall toning, plate size 20 x 14.8cm (8 x 5.75 in), framed and glazed, together with Chimot (Edouard, 1890-1930), Dancing Nudes, colour etching, plate size 22 x 16.5cm (8.7 x 6.5ins), framed and glazed

275* Langmaid (Rowland, 1897-1956). Ailsa Craig, together a pair of drypoint etched views of Ailsa Craig, signed and one captioned in pencil to lower margins, plate sizes 16.2 x 30cm (6.5 x 11.75ins) and 15.3 x 20.6cm (6 x 8ins), both framed and glazed (2)

£100-150

Marchesseau 92. (2)

£150-200

276* Langmaid (Rowland, 1897-1956). ‘Fantome’ & ‘Valhalla’ off Cowes, drypoint etching, signed in pencil to lower margin, plate size 18.5 x 35cm (6.75 x 14ins), printed caption label to verso of backing board, together with Thames Barges Drifting past the ‘Mouse’ Lightship, drypoint etching, signed in pencil to lower margin, plate size 13.8 x 22.5cm (5.5 x 9ins), printed caption label to verso of backing board, in matching frames, glazed (2)

278* Lindsay (Lionel Arthur, 1874-1961). Convent of Santa Eufemia, Antequera, Spain, etching, signed, printed in an edition of 100, plate size 25.5 x 34.5cm (10 x 13.75ins), framed and glazed

£150-250

(1)

£150-200

Lot 281

279* Lord (Elyse Ashe, 1900-1971). The Gift of Blossom, handcoloured aquatint, signed and numbered 15/75 to lower margin, 35 x 36.5cm (13.75 x 14.3 in), framed and glazed (1)

£150-200

282* Mason (Frank Henry, 1876-1965). Gun Boats, etching, signed in pencil lower right margin, plate size 9 x 24cm (3.5 x 9.5ins), framed & glazed (1)

£100-150

280* Mackey (Haydn Reynolds, 1883-1979). ‘The Return Home’, colour woodcut, signed in pencil, some marks, mainly to margins, image size 216 x 377mm (8.5 x 14.8ins), sheet size 260 x 408mm (10.25 x 16ins) (1)

£150-200

281* Marples (George, 1869-1939). Barnacle Geese in Flight, etching, signed in pencil, limited edition numbered 60/75, 20.5 x 31cm (8 x 12 in), framed and glazed, together with Megoran (Winston, 1913-1971), “The Inland Mere”, aquatint etching in colours of Mallards in flight, signed and titled in pencil, artist’s proof blindstamp, 25 x 34.5cm (9.75 x 13.5 in), framed & glazed (2)

283* Morton (Cavendish & Concord, 1911-). Medina Valley, Isle of Wight, colour woodcut, signed in pencil by both artists lower right, image size 39.5 x 51.3cm (15.5 x 20.5ins), framed and glazed

£100-150

(1)

£100-150

286* Osborne (Malcolm, 1880-1963). Admiralty Arch, drypoint etching looking through Admiralty Arch towards Buckingham Palace, signed in pencil to lower margin, plate size 21.9 x 26cm (8.75 x 10ins), framed and glazed, together with Holyrood Church, Stirling, drypoint etching, signed in pencil to lower margin, plate size 26 x 20cm (10 x 8ins), framed and glazed, plus Semur, Burgundy, drypoint etching, signed in pencil to lower margin, plate size 21 x 37cm (8.25 x 14.5ins) (3)

£150-250

287* Osborne (Malcolm, 1880-1963). H.N. Goddard, 1913, original etched copper printing plate, depicting H.N. Goddard seated on horseback, signed and dated lower right, captioned signed and dated to verso, plate size 25.2 x 20.2cm (10 x 8ins), together with a restrike taken from the plate, printed on wove paper Horatio Nelson Goddard (1806-1900) was active as a J.P. in dealing with the agricultural riots in north Wiltshire in 1830, and in 1860 was High Sheriff of the county. (2) £70-100

288 The Pageant, ed. C. Hazelwood Shannon & J.W. Gleeson White, 2 vols. [all published], 1896-97, numerous illustrations by Rossetti, Whistler (including an original lithograph), Ricketts, Millais, Burne Jones, Housman et al, a few leaves at front of vol. I detaching, a few light spots, endpapers designed by Lucien Pissarro, original cloth gilt, spines a little rubbed and marked, 4to

284* Nicolson (John, A.R.E., 1891-1951). Siesta, St. Jean de Luz, etching, signed in pencil to lower margin, plate size 17.8 x 22.7cm (7 x 9ins), framed and glazed, together with The End of the Day, etching, signed in pencil and limitation 15/50 in pencil to lower margin, plate size 26 x 26cm (10.25 x 10.25ins), framed and glazed, with caption and signature in pencil on trimmed card attached to back board (2)

(2)

£100-150

£80-120

285* Nixon (Job, 1891-1938). Spanish mountain village, etching with drypoint, signed in pencil, plate size 212 x 330mm (8.25 x 13 in), framed and glazed (1)

£70-100

289* Palmer (Samuel, 1805-1888). The Sepulchre, etching from Virgil’s Eclogues, with two-line prose to lower margin, plate size 13 x 19cm (5.25 x 7.5ins), framed and glazed, together with Blake (William, 1757-1827), Colinet departs in Sorrow, c.1880, wood engraving from The Pastorals of Virgil, originally published in 1821, image size 3.7 x 7.8cm (1.5 x 3ins), framed and glazed Lot 286

(2)

£100-150

290* Paunzen (Arthur, 1890-1938). Sechs Radierungen zum Lied von der Erde von Gustav Mahler, Vienna, buchhandlung Richard Lanyi, 1920, the complete set of six sepia etchings with aquatint, printed in an edition of 100, each signed and numberd 63 in pencil, some light spotting, with some marginal soiling, and creasing with minor damage to extreme lower outer corners, sheet size 50.8 x 39.7cm (20 x 15.7ins), with double-page printed title and list of contents, signed by the artist and numbered 63, loosely contained in orig. cloth-backed portfolio with ties, and orig. paper label to upper cover, rubbed and some wear to edges, folio

Lot 291

Arthur Paunzen studied in Vienna, and at the Academie Julian in Paris, he fled from Austria to England in 1938, but died of pnuemonia while interned on the Isle of Man in 1940. (1) £300-500

291* Peri (Peter Laszlo, 1899-1967). Pilgrim’s Progress Suite, pub. St George’s Gallery, 1958, complete set of eighteen etched plates, each signed and dated in pencil, each a limited edition numbered 1/75, plate dimensions 28 x 42cm (11 x 16.5ins), sheet size 38.5 x 56cm (15 x 22ins) Peter Peri was born in Budapest, joining the avant-garde Der Sturm group after moving to Berlin in 1920 where he acquired a reputation as a leading constructivist artist, though later in the 1920s he would produce realist sculpture. With strong socialist principles that would remain throughout his life, Peri was forced to flee Germany and became a British citizen in 1939. During WWII he developed an interest in etching, producing well-received series on Gulliver’s Travels and The Pilgrim’s Progress. He was later commissioned to produce many pieces of public art in Britain. (18) £400-600

292* Power (James P., exh. 1924-38). Amsterdam, proof etching, signed and captioned to lower margin, plate size 25.5 x 35.5cm (10 x 14ins), together with Church of St. Nicholas, Ghent, proof etching, signed and captioned to lower margin, plate size 25.5 x 35.5cm (10 x 14ins), plus Old Houses, Bayeux, proof etching, signed and captioned to lower margin, plate size 36.7 x 24.5cm (14.5 x 9.5ins) (3)

£150-200

293 Ravilious (Eric, 1903-42). The Wood Engravings of Eric Ravilious, Lion & Unicorn Press, 1972, introduction by J.M. Richards, numerous b & w illustrations, repeat pattern endpapers, original buckram, folio Limited edition, 183/500. (1)

£300-400

Lot 296

294* Renoir (Pierre-Auguste, 1841-1919). Berthe Morisot, 1892, etching on laid paper, plate size 108 x 90mm (4.25 x 3.5ins), gold leaf frame, glazed (1)

£200-300

295 Rops (Felicien, 1833-1898). Das Erotische Werk des Felciien Rops. Zweiundvierzig Radierungen des Meisters in Schwarzem und Farbigem Lichtdruck, privately printed, 1905, 42 colour, sepia and b & w mounted plates, contained in modern cloth foldover box (small splits at folds), 4to Limited edition, 407/500. (1)

£300-400

296* Rushbury (Henry George, 1889-1968 ). St. Martin’s-in-theFields, 1944, drypoint etching, signed in pencil to lower margin, plate size 29 x 26cm (11.5 x 10.25ins), framed and glazed (1)

297* Rushbury (Henry George, 1889-1968 ). Paris, etching showing Place Saint-Michel and western facade of Notre Dame, with caption and signature to lower edge of image, signed in pencil to lower left, some faint spotting, plate size 23.3 x 32.2cm (9.25 x 12.75ins), framed & glazed

£100-150

(1)

£100-150

298* Russell (Gyrth, 1892-1970). The High, Oxford, etching, signed in pencil to lower margin, plate size 23 x 31cm (9 x 12.25ins), framed and glazed, together with Maxwell (Tom, c.1860-1937), Albert Bridge, Glasgow, etching, signed and captioned in pencil to lower margin, plate size 22.8 x 31cm (9 x 12.25ins), framed and glazed, plus Houston (Robert, 1891-c.1942), Glasgow University, etching, showing Glasgow University from the River Kelvie, signed in pencil to lower margin, plate size 22 x 29cm (8.75 x 11.5ins), printed caption to verso (3)

£100-150

299* Sharp (Miles Balmford, 1897-c.1981). The Demolition of Devonshire House, London, 1925, etching, signed, dated and inscribed to Kenneth Holmes in pencil to lower margin, plate size 17.8 x 26.3cm (7 x 10.25ins), framed and glazed, together with Farrell (Frederick, 1882-1935), Horse Guards Parade, etching, signed in pencil and blindstamp to lower margin, plate size 25 x 35cm (10 x 14ins), framed and glazedDevonshire House in Piccadilly was the London residence of the Dukes of Devonshire in the 18th and 19th centuries. It was built for William Cavendish, 3rd Duke of Devonshire in the Palladian style, to designs by William Kent. Completed circa 1740, it became empty after World War I, and demolishion commenced in 1924. (2)

£80-120

Lot 301

300* Siccard Redl (Josefine, 1878-1938). Summer landscape with row of trees beside a track, colour woodcut, signed in pencil, image size 261 x 365mm (10.25 x 14.3ins), together with two other similar colour woodcuts of Austrian snow scenes by V. M. Praschnik (?), all framed and glazed (3)

£100-150

301* Sickert (Walter, 1860-1942). Little Sally Waters (The American Sailor’s Hat), [1907], lithograph on smooth cream wove paper, published in The Neolith, No. 3, May 1908, image size 32.7 x 22cm (13 x 18.75ins), framed and glazed (unexamined out of frame) (1)

£100-150

302* Smart (Douglas Ion, 1879-1970). The River Oñya, Gerona, Spain, drypoint etching, signed, sheet size 32 x 42cm, together with Baskett (Charles Henry, 1872-1953), Harwich, aquatint etching, signed on title by the artist, sheet size 24 x 36cm, plus Clilverd (Graham Barry, 1883-1959), untitled Cornish(?) quayside scene, aquatint etching, signed and numbered by the artist 3/75, sheet size 28 x 35cm, and four other etchings by Hester Flood, Jas. A. Grant and Norman Janes(2) (7)

£150-200

Lot 303

Lot 304

303* Southall (Joseph Edward, 1861-1944). Harbour Scene, 1913, etching on thick wove paper, signed with monogram and dated in the plate, plate size 135 x 94mm (5.25 x 3.75ins), sheet size 258 x 163mm (10.2 x 6.5ins), corner mounted From the artist’s collection, according to a pencil note to verso. (1)

£150-200

304* Spear (Francis, 1902-1979). John Laurie as Touchstone in As You Like It, Old Vic Company, 1928, lithograph, signed, dated, titled and numbered 14/18 to lower margin, some light scattered spotting and light waterstain to lower edge, some marks and creases to outer edges, sheet size 53.5 x 41.5cm (21 x 16.25ins), together with James Fitton, 1925, colour lithograph, signed, dated, titled and numbered 5/12, with margins, sheet size 32.5 x 32cm (12.75 x 12.5ins), plus three lithographs and three etchings by the same artist, all unsigned, various sizes (8)

£150-200

305* Spear (Francis, 1902-1979). The Horse Race, 1934, colour lithograph, signed and dated, some marks and creasing to edges, sheet size 40.5 x 53.5cm (16 x 21ins), together with The Countryman, 1926, colour lithograph, signed, dated and numbered 4/8, sheet size 21 x 28cm (8.25 x 11ins), plus two other similar colour lithographs, two woodcuts and two wood engravings by the same artist, all unsigned, of which four are mounted, various sizes (8)

£150-200

307* Tanner (Robin, 1904-1988). Martin’s Hovel, [1927], etching, reissued for The Memorial Portfolio, published by Merivale Editions in association with Garton & Co, 1989, printed in an edition of 110, plate size 16.5 x 21.3cm (6.5 x 8.5ins), framed and glazed (1)

£150-200

306* Stokes (George Vernon, 1873-1954). Buildings by a river, etching, signed and numbered 1/75 in pencil to lower margin, plate size 28.5 x 24.5cm (11.5 x 9.75ins), framed and glazed, together with Cain (Charles William, 1893-1962), Leaving the boat, etching showing children disembarking from a small boat, with mountainous hillside landscape in background, signed and numbered ‘34.77’ in ink to lower margin, plate size 25 x 32.5cm (10 x 12.75ins), framed and glazed (2)

£150-200

308* Tanner (Robin, 1904-1988). Full Moon, etching, as issued in Kenneth Guichard, British Etchers 1850-1940, published 1977, signed in pencil to lower margin, plate size 24.5 x 18.8cm (9.5 x 7.5ins), framed and glazed (1)

£200-300

Lot 309

Lot 310

309* Tanner (Robin, 1904-1988). Hedge Flowers, [1936], etching, reissued for The Memorial Portfolio, published by Merivale Editions in association with Garton & Co, 1989, printed in an edition of 110, plate size 23 x 16.2cm (9 x 6.25ins), framed and glazed (1)

£100-150

310* Timlin (William Mitcheson, 1893-1943). ‘Waiting’, etching, with drypoint, signed and titled in pencil, and numbered 8 to lower right corner, plate size 35 x 25.3cm (13.75 x 10ins), framed and glazed (1)

£100-150

311* Tunnicliffe (Charles Frederick, 1901-1979). Sitting Hare, published by H & G Gerrish in association with Larkhall Fine Art Ltd., 2007, wood engraving, printed in an edition of 112, image size 14 x 9cm (5.5 x 3.5ins), framed and glazed Includes “C.F. Tunnicliffe RA OBE, The Memorial Collection Part One”, published by Larkhall Fine Art, 2007. (1) £100-150

Lot 311

314* Walcot (William, 1874-1943). Old St. Pancras Town Hall, London, etching with drypoint, signed in pencil to lower margin, plate size 16.5 x 25cm (6.5 x 10ins), framed & glazed

312* Walcot (William, 1874-1943). Piccadilly Circus, etching with drypoint of Piccadilly Circus with the rebuilding of Swan & Edgar Ltd. department store, signed in pencil to lower margin, plate size 13 x 20cm (5 x 7.75ins), framed and glazed

(1)

£100-150

The department store Swan & Edgar Ltd. located at Piccadilly Circus, London, was established in the early 19th century. The premises were rebuilt and integrated in 1910-20 to a design by Sir Reginald Blomfield. The shop-front was targeted by the Suffragettes in their window-breaking spree on November 21, 1911 and hit by the last Zeppelin raid on London in 1917. The business was taken over by the Drapery Trust in 1927 and later by the Debenham Group, which closed it in 1982, due to the cost of modernization. (1) £100-150

315 Walcot (William, 1874-1943). The Arteries of Great Britain, pub. H.C. Dickins, 1922, five drypoint etched plates, each signed in pencil to lower margin, plate sizes 10 x 27 (4 x 10.5ins), 15 x 19.8cm (6 x 8ins), 12 x 33.3cm (4.75 x 13ins), 11.5 x 33.3cm (4.5 x 13ins), plates and commentary text by Neil Munro loosely inserted in original covers with cloth spine strip, folio

313* Walcot (William, 1874-1943). Oxford Street from Marble Arch, etching with drypoint, signed in pencil to lower margin, 14 x 22cm (8.5 x 5.5ins), framed and glazed (1)

£100-150

Includes images of the Clyde, Forth, Tyne, Mersey and Thames. (1)

100

£500-700

316* Walcot (William, 1874-1943). Stadium of Domitian, Palatine Hill, Rome, drypoint etching, showing the stadium in original state, with Roman guards and figures, signed in pencil to lower margin, plate size 34.5 x 56cm (13.5 x 22ins), framed and glazed (1)

Lot 318

£150-200

317* Whistler (James Abbott MacNeill, 1834-1903). The Menpes Children, etching, contained in Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black, 1904, sheet size 26.5 x 20cm (2.5 x 8ins), printed in a limited edition of 500 copies, signed by the author, rebound in modern quarter vellum, 4to (1)

£150-200

318* White (Ethelbert, 1891-1972 ). Le Pont Neuf, woodcut on japan, the full sheet, signed, titled and numbered 8/50, image size 15.5 x 21.5cm (6 x 8.5ins), sheet size 24.5 x 35.5cm (9.6 x 14ins), together with The Four Courts, Dublin, woodcut on japan, full sheet, unsigned, image size 14.3 x 18cm (5.6 x 7.1ins), sheet size 20.8 x 27.2cm (8.2 x 10.75ins), both mounted to upper corners only (2)

£150-200

319* Wright (John Buckland). Two female figures, c. 1936, copper engraving, designed for a Christmas and New Year’s greeting from Mary and John Buckland Wright, with the artist’s Paris address of 9 bis rue de Valence, Paris V, unsigned, some light spotting, plate size 130 x 85mm (5 x 3.3ins), framed and glazed (1)

Lot 319

£100-150

101

MODERN PRINTS

Lot 321

320* Adami (Valerio, 1935- ). Helmut Heissentuttel, Das Reich, Gelegenheitsgedicht nr. 27, Munich, Studio Bruckmann, 1974, ten colour silkscreen prints, each signed in pencil, orig. red cloth in d.j., with closed tear to lower outer corner of upper wrapper, and one or two short closed marginal tears elsewhere, contained in original publisher’s cloth bookbox, rubbed and a little fraying to extrems., folio (50.5 x 42.5cm) Limited edition of 635 copies, this copy numbered 115 of 150 copies with each of the ten screenprints signed by the artist. (1) £300-500

321* Appel (Karel, 1921-2006). Two Figures, colour lithograph, unnumbered artist’s proof, signed in pencil lower right, 38 x 52cm (15 x 20.5ins), framed and glazed, with Headrow Gallery, Leeds label to verso (1)

£150-200

322* Bawden (Richard, 1936-). ‘Birdwatcher’ II, etching with aquatint, signed, titled and numbered 21/75 in pencil, plate size 57 x 45cm (22.5 x 17.75ins), framed and glazed (1)

Lot 322

£150-200

102

Lot 324

Lot 323 323* Beuys (Joseph, 1921-1986). Stripes from the House of The Shaman, Anthony d’Offay, 13 August to 10 September 1980, colour screenprint poster by Heiner Bastian, incorporating a portrait of Beuys by Andy Warhol, signed in pencil by Joseph Beuys, 72.5 x 50cm (28.5 x 19.75ins) (1)

£200-300

324* Beuys (Joseph, 1921-1986). Dernier espace avec introspecteur 1964-1982, Anthony d’Offay Gallery, 27 March to 12 May 1982, offset lithograph poster by Aeneas Bastian, printed at the Curwen Press, signed in pencil by Beuys, 72 x 50cm (28.3 x 19.75ins) (1)

£100-150

325* Boshier (Derek, 1937-). ‘Artist’, 1975, colour screenprint and collage, signed, dated and titled, numbered 45/50, and inscribed ‘To Tony + June’, some marks and light soiling to margins, sheet size 56.5 x 78cm (22.25 x 30.75ins) (1)

Lot 325

£100-150

103

330 De Francia (Peter). Fables 1990-2001, Maruts Press, 2002, numerous b & w illustrations, original wrappers, slipcase, oblong folio Limited edition of 100. Signed by the artist to title. (1)

£70-100

326* Campigli (Massimo, 1895-1971). Folla di donne, 1959, colour lithograph, printed by Desjobert, proof on japon macré, signed and dated Noel 59 lower right, short tear with very slight loss to centre of upper blank margin, image size 25 x 17.5cm (10 x 7ins), sheet size 37.5 x 28.5 (14.5 x 11ins) Meloni 176. (1)

£200-300

327* Chapman (Jake). The Marriage of Reason & Squalor, proof copy, 2008, illustrations, original wrapper, 8vo, presentation copy, inscribed to title: “To Stan, with love and respect, Jake xxx”, together with Memoirs of My Writer’s Block, 1st ed., 2010, original wrapper, 8vo, inscribed to title: “To Stan with all my love and kisses and snot and shit, love Jake xxx”, plus an unopened copy of The Marriage of Reason & Squalor, 2008 (3)

£100-150

Lot 329

328* Chapman (Jake, 1966-). Primitive figure, c. 2008, etching on paper, plate size 15 x 20.5cm (6 x 8.25ins), framed and glazed Similar in style to the Chapman’s ‘Exquisite Corpse’ portfolio published in 2000. (1) £200-300

329* Chapman (Jake, 1966-). “Thank you for our Lovely House...”, c. 2008, etching on paper, inscribed in ink to lower mount: “To Stan, all my love, kisses, spunk and puss”, signed in pencil by the artist, plate size 20 x 15.5cm (8 x 6.25ins), framed and glazed (1)

331* Dorny (Bertrand, 1931-). Paysage, colour aquatint with embossing, signed and numbered from an edition of 35, plate size 44.5 x 49cm (17.5 x 19.25ins), sheet size 66.5 x 56.5cm (26 x 22.25ins), mounted

£300-400

(1)

104

£80-120

Lot 333

Lot 332

332* Edwards (John, 1938-2009). Siri Fort C.4, 2008, colour monotype, signed, dated, and titled in pencil, sheet size 76 x 56cm (30 x 22ins) John Edwards (1938-2009) was an important figure in British abstraction from the 1970s onwards. He was head of painting and sculpture at St. Martin’s School of Art, London, in the 1980s, he exhibited regularly in London (Rowan Gallery), the USA and India. (1) £100-150

333* Edwards (John, 1938-2009). Siri Fort C-11, 2008/09, colour monotype printed on Artistico Fabriano handmade paper, signed, dated and titled in pencil, sheet size 76.5 x 56cm (30 x 22ins) (1)

£100-150

334* Edwards (John, 1938-2009). Siri Fort C-18, 2008/09, colour monotype, printed on Artistico Fabriano handmade paper, signed, dated and titled in pencil, sheet size 76.5 x 56cm (30 x 22ins) (1)

£100-150

Lot 334

105

335* Edwards (John, 1938-2009). Siri Fort C-16, 2008/09, colour monotype, printed on Artistico Fabriano handmade paper, signed, dated and titled in pencil, sheet size 76.5 x 56cm (30 x 22ins), framed and glazed (1)

£100-150

336* Grimm (Pierre, 1898-1979). Composition, 1962, colour screenprint, signed and dated lower right, sheet size 65 x 50.5cm (25.5 x 20ins) (1)

£100-150

Lot 335

337* Grosperrin (Claude, 1936-1977). Autumnal river bank, colour lithograph, signed in pencil, numbered limited edition, 56 x 42cm (22 x 16.5in), framed and glazed (1)

£70-100

338* Heron (Patrick, 1920-1999). Recent paintings and selected earlier canvases, Whitechapel Art Gallery, 21 June-16 July 1972, printed exhibiton catalogue, colour plates, orig. printed wrappers, oblong folio, together with an autograph letter signed from Patrick Heron, Eagle’s Nest, Zennor, St. Ives, Cornwall, 23 June 1963, to [James] Ellwood, concerning Elwood’s concerns over the area around Zennor being used for troop-landing exercises, and suggesting officials to whom Elwood may write to further the cause, noting that the area should be twice protected, ‘First, under the National Parks Act; secondly, by Covenance to the National Trust. If the Admiralty can steal such an area, there is not much hope for the future of the British Landscape. Incidentally, the Admirality did not in any way approach myself or any of my landowner friends, who are affected by the proposal - contrary to their public statements made since we brought this thing into the open’, 2 pp., 4to, plus two related typed letters from the Admiralty and West Penwith Rural District Council, plus two news cuttings

Lot 336

(6)

106

£80-120

Lot 339

339* Hockney (David, 1937-). Two apples, one lemon and four flowers, 1997, offset colour lithograph on thin wove, light creasing to upper left, sheet size 37 x 57.5cm (14.5 x 22.5ins) (1)

ÂŁ200-300

340* Kokoschka (Oskar, 1886-1980). Golda Meir, published for The Jerusalem Foundation by Marlborough Graphics, 1973, lithograph, printed in light brown on handmade paper, signed in pencil, and numbered 18/150, 54.5 x 44.5cm (21.5 x 17.5ins), mounted, framed and glazed (1)

ÂŁ150-200

Lot 340

107

341* Kokoschka (Oskar, 1886-1980). Leutenant Glahn, 1977-78, colour screenprint on flecked japan, signed in pencil, 29.5 x 33.5cm (11.5 x 13.25ins), framed and glazed Wingler/Welz 560. (1)

ÂŁ200-300

Lot 342

Lot 344 108

342* Krejci (Jan, 1942-2001). ‘Border of Space’, 1971, etching, signed, titled and numbered 34/40 in pencil, plate size 32 x 23cm (12.5 x 9ins), framed and glazed, together with three other erotic etchings by the same artist, entitled ‘Giovanna Cenami a Giovanni Arnolfini’ (1969), ‘Mao-Lisa’ (1970), & ‘The Rainbow Gate’ (1970), each signed, dated, titled and numbered from an edition of between 30 and 40, 39 x 25.5cm (15.25 x 10ins), and similar, all framed and glazed (4)

£150-200

343* La Dell (Edwin, 1914-1970). Mason’s Farm, colour lithograph, published by Editions Alecto, 1964, signed and titled in pencil, 40.5 x 72cm (16 x 28.25ins) mount aperture, framed and glazed (1)

£70-100

344* Nash (John, 1893-1977). Fisherman on the River Stour, colour lithograph, published by Contemporary Lithographs in an edition of 400, 52 x 77cm (20.5 x 30.5ins), framed and glazed (1)

£200-300

346* Paolozzi (Eduardo, 1924-2005). Tag + Nacht, 1974, colour screenprint, signed and dated, and marked A/P, sheet size 97 x 72cm (38.25 x 28.3ins), framed and glazed (1)

347* Pasmore (Victor, 1908-1998). Points of Contact no. 1, 1965, colour screenprint in blue, brown and black, published by Marlborough Classics, signed with initials, and numbered 38/50, some marks and edges with some soiling and fraying, with one or two small stains, sheet size 685 x 1020mm (27 x 40.5ins)

345* Olympic Games 1972. A group of eight posters, including designs after Serge Poliakoff, Marino Marini, Tom Wesselmann, Charles Lapicque, Jan Lenica, Otl Aicher, Piero Dorazio and Pierre Soulages, all 101 x 64cm (40 x 25in) (8)

£400-600

Bowness & Lambertini 2. (1)

£100-150

109

£200-300

348 Petherbridge (Deanna, 1939-). The Iron Siege of Pavia, Camberwell School of Art and Crafts, 1975, three etched plates, each numbered and signed in pencil by the artist, sheet size 43 x 30.5cm (17 x 12ins), original cloth-backed boards, a few marks to lower cover Limited edition of 20. (1)

£100-150

349* Picasso (Pablo, 1881-1973). Portrait of Jacqueline, 1957, offset colour lithograph, numbered in pencil 78/250 to lower margin, image size 515 x 397mm (20.25 x 15.7ins), framed and glazed, with Savage Gallery label to verso (1)

£150-200

350*+ Piper (John, 1903-1992). Carew Castle, 1982, colour screen print on Arches, printed by Kelpra Studio, with their blindstamp to lower right outer corner, one of ten proofs aside from the edition of 100, signed in pencil, and numbered A/P 10/10, image size 44 x 64.5cm (17.25 x 25.25ins), sheet size 55 x 75cm (21.75 x 29.5ins), framed and glazed Levinson 334. A copy of John Piper’s Buildings and Prospects pub. The Architectural Press, 1948, in frayed and chipped dust jacket is included with this lot. (1) £600-900

351*+ Piper (John, 1903-1992). The Bathers, autolithograph printed in black on pale cream japan, signed in pencil lower right, one or two small archival tab repairs to margins verso, and with tab mount to each corner verso, sheet size 41 x 53cm (16 x 21ins) An extremely rare (possibly unique) early work by John Piper, which is not listed in the standard reference work on Piper’s prints by Orde Levinson. The composition bears similarities to Piper’s woodcuts entitled Figures in a Landscape and Adam and Eve (Levinson 2 & 3). Although Levinson dates these woodcuts to circa 1923, it is far more likely that the present work dates from circa 1928 when Piper had begun to study at Richmond College under Francis Spear (1902-1979), where printmaking was a speciality. Provenance: From the estate of Francis Spear (see examples of Spear’s prints elsewhere in this catalogue). (1) £2000-3000

Lot 348

352* Piper (Edward, 1938-1990). Dancing Nude, 1970, colour screen print, signed in pencil, and marked Artist’s proof, one or two light corner creases, sheet size 67.5 x 52.5cm (26.5 x 20.75ins), together with a colour poster for an exhibition of the work of Edward Piper, at the On The Wall Gallery, London, 1986 (creased and marked) (2)

£100-150

353 Spesshardt (Hans Joachim, 1935-). Fremde Madchen, Rembrandt Verlag, Berlin, 1969, six colour screenprints, each lettered and signed in pencil beneath by the artist, 47.5 x 35.5cm (18.5 x 14ins), loose as issue in original cloth folio (slight wear at corners) Limited edition of 10. (1)

Lot 349

110

£100-150

Lot 350

Lot 351 111

Lot 354

354*+ Steadman (Ralph, 1936-). Alice Through The Looking Glass, 1972, the set of four etchings, printed on thick wove, all unsigned proofs aside from the published edition of 65 signed, the full sheets in exellent condition, sheet size 58 x 79cm (22.8 x 31.1ins) The titles are: Through The Looking Glass, All the King’s Horses, Wool and Water, and Sunset. (4) £300-500

355* Topolski (Feliks, 1907-89). Three Judges, colour lithograph, signed in pencil, image size 39 x 56cm (15.25 x 22ins) Limited edition numbered 119/250. (1)

£100-150

Lot 355

112

356* Trevelyan (Julian, 1910-1988). Me & My Cats, coloured etching with aquatint, signed and titled in pencil, limited edition numbered 30/50, 48 x 35cm (19 x 13.75in), framed & glazed (1)

£300-400

357* Trevelyan (Julian, 1910-1988). Thames Barge, coloured etching with aquatint, signed and titled in pencil, limited edition numbered 50/50, 48 x 35cm (19 x 13.75in), framed & glazed (1)

£400-600

Lot 356

358 Tucker (William). Ten Variations, Leslie Waddington Prints Ltd. and Alastair McAlpine Esq., 1968, ten die cut colour screenprints collaged to paper, printed by Kelpra Studio Ltd., published by Leslie Waddington Prints Ltd. and Alastair McAlpine Esq., each marked in pencil ‘AP’ to lower right corner, and signed and dated in pencil on verso, sheet size 25.5 x 20cm (10 x 8in), loosely contained in orig. card portfolio with cloth spine, lettered in black on upper cover, corners a little rubbed and bumped, 4to Limited edition of eight numbered copies, this being an unnumbered set of artist’s proofs. (1) £500-800

Lot 357

113

359 Various artists. Ten Artists. Ten Digital Prints, The Integration of Computers within Fine Art Practice, Camberwell College of Arts & Chelsea College of Art and Design, The London Institute, 1998, 10 prints, each numbered and signed by the artist in pencil beneath, sheet size 47 x 33cm (18.5 x 13ins), loose as issued in original red cloth foldover box Limited edition of 20. (1)

£100-150

360 Various artists. Royal College of Printmakers, 1973, 25 prints, each signed and numbered to recto or verso by the artist, each 24 x 20cm (9.5 x 8ins), loose as issued in glassine box Limited edition of 100. Artists include Robin Bagilhole, Alan Bamford, Kurt Benning, Andre Bicat, Ruth Blench, David Brown, Peter Cunliffe, Alf Dunn, Martin Elliott and Alistair Grant. (1) £100-150

Lot 359

361* Wheeler (Jane, 20th century). Triptych, 1985, together three sepia etchings on wove, depicting horses, figures and Minotaur, signed, captioned and dated in pencil to lower margins, plate sizes 58.5 x 41cm (23 x 16.25ins), matching frames, glazed, printed label of the Coln Gallery, Cirencester & Fairford to verso of each (3)

Lot 360

114

£150-200

ORIGINAL ILLUSTRATIONS & ARTWORK

362* Armour (George Denholm, 1864-1949). ‘Mr. Mulliner, Mary & Betty’, humorous pastel sketch on brown paper (from a sketchbook), showing Mr. Mulliner sitting in a wheelbarrow, with Mary moving him and Betty following on behind, captioned to lower margin, image size 16.5 x 25cm (6.5 x 10ins), framed and glazed (1)

£150-200

Lot 365

363* No lot 364* De Saulles (George William, 1862-1903). Portrait of a man smoking a pipe, pen and ink on paper, signed, and inscribed to lower margin ‘Wishing you many happy returns of the day’, together with another similar pen, ink and wash drawing of the figure of Father Time, signed with initials, and dated 1886, 14 x 10.5cm (5.5 x 4ins) and similar, both framed and glazed George William De Saulles was born in Birmingham, and studied at the Birmingham School of Art. He moved to London in 1884, and worked for John H. Pinches, the metallist and dye-engraver, then in Oxenden Street, Haymarket. Provenance: By descent from John H. Pinches. (2) £70-100

365 Evans (Powys, 1899-1981). Caricature portrait probably of Winston Churchill, pen and ink on card, signed in pencil, 31.5 x 23cm (12.25 x 9ins) Evans worked under the name of “Quiz” and produced work for Saturday Review, London Mercury and other publications. (1) £150-200

366* Guinegault (Georges Pierre, 1893-1961). Heures Galantes, quatre poemes de Jean Noury illustrés par G.-P. Guinegault, fine hand-coloured pochoir illustrated title and four plates, published by Galerie Lutetia, an unnumbered copy, aside from the edition of 500 numbered copies, 35 x 22.5cm (13.75 x 8.75 ins), together with Tito (Ettore, 1859-1941), Quatre Proverbes par Tito, 1927 [but later], a set of four hand-coloured pochoir prints, sheet size 257 x 197mm (10.1 x 7.75ins) (5)

£150-200

Lot 367

367* Jacomb-Hood (George Percy, 1857-1929). Portrait of James McNeill Whistler standing, with hat and cane, pen & dark brown ink on paper, with inscription to upper margin ‘Mr Whistler is shortly to visit America - vide Daily Papers. I’m going to make other “Arrangements” - Comic Song’, signed by Jacomb-Hood to lower margin, image size 225 x 132mm (8.8 x 5.25ins), framed and glazed

368* Low (David, 1891-1963). Around & Around to Nowhere, Counter Brutality in Darkest Kenya, pen, ink and wash cartoon, heightened with bodycolour, showing military figures a big cat straining on a lead, signed lower left, 34 x 50cm (13.5 x 19.5ins), framed and glazed

(1)

£150-200

115

£100-150

369* Matania (Fortunino, 1881-1963). A small archive of drawings, together a collection of studies in watercolour, wash, pen, and pencil, incl. a framed allegorical pencil sketch entitled ‘Russia and Bolshevik’, a detailed pencil drawing of the Sacrifice to the Golden Calf (for an oil painting used as the basis for a scene in the film ‘The Ten Commandments’), a pencil sketch entitled ‘Rough for The Gift from Caesar’, and a pencil and watercolour study for the same work, sheet size 49 x 36cm (19.25 x 14ins) and smaller Born in Naples, the son of artist Eduoardo Matania, Fortunino Matania studied at his father’s studio, designing a soap advertisement at the age of nine and exhibiting his first work at Naples Academy aged only eleven. Only a few years later he was helping his father produce illustrations for books and magazines. In his 20s Matania worked first in Paris and then London, where he was asked to cover the coronation of Edward VII for ‘The Graphic’. Matania subsequently covered every major event concerning British royalty up to the coronation of Queen Elizabeth in 1953. In 1904, Matania joined the staff of ‘The Sphere’ where some of his most famous work was to appear, including his illustrations of the sinking of the Titanic in 1912. At the outbreak of the First World War, Matania became a war artist and was acclaimed for his graphic and realistic images of trench warfare. After the war, he switched to scenes of ancient high life for the British woman’s magazine, ‘Britannia and Eve’, and was praised for his depictions of voluptuous nudes. Matania exhibited regularly at the Royal Academy and Royal Institute from 1908 and his work appeared in most of the principal magazines in Britain and America. He was a popular illustrator for advertising, posters and catalogues, working for Ovaltine, Burberry’s and many others. Matania also worked on films, most notably ‘The Ten Commandments’, producing a number of paintings of Rome and Egypt from which authentic designs could be made. (6) £300-500

116

Lot 371

370* Matania (Fortunino, 1881-1963). First World War stretcher bearers under fire, [published in The Sphere, 16 September 1917], monochrome watercolour and wash drawing heightened with white, signed, 30 x 24cm, with another similar First World War wounded soldiers returning from the front, original pencil and wash drawing, heightened with white, signed, 32 x 24cm, both framed and glazed (2)

£100-150

371* Neilson (Harry B., 1861-1941). “Mince Pies!”, pen, ink, and watercolour illustration on card, of a jovial brown bear dressed in chef’s whites, with a sprig of mistletoe in his hat and bearing a large tray of mince pies, followed by a crowd of juvenile bears waving union jacks, signed lower right, sheet size 32 x 25.5cm (12.5 x 10ins) (1)

£400-600

372* No lot 373* Robinson (William Heath, 1872-1944). ‘Followed her with tottering gait’, an original illustration for The Story of Aladdin in The Arabian Nights Entertainments’, 1899, pen and black ink on paper, signed with initials lower left, and with title by the artist below ‘The Magician Followed the Princess’ ‘Aladdin’, 43 x 12cm (17 x 4.75ins) mount aperture, framed and glazed, with Chris Beetles Limited label to verso Published as an illustration to The Story of Aladdin; or The Wonderful Lamp, in The Arabian Nights Entertainments, published by George Newnes, 1899, page 369. Exhibited at Chris Beetles, 8 & 10 Ryder Street, London, The British Art of Illustration, 1800-2000. (1) £400-600

Lot 373

117

Lot 374

374* Searle (Ronald, 1920-2011). A collection of twenty-two original pen and ink designs for decorative letters and three sheets of pen and ink designs for the title ‘Crime in Store’, c. 1996, twenty-two humorous pen & ink designs on white card, mostly irregularly shaped around the image, various sizes, 11.5 x 11cm (and smaller), together with three card sheets of variant designs for the title Crime in Store, 32.3 x 50cm (12.75 x 19.7ins), and a little smaller, plus approx. sixty photocopied printed sheets of variations on the design, a quantity of further photocopies of the individual letters, and four related faxes from Searle, all contained in contemp. cloth-backed portfolio

375* Vanden Plas (Henri, late 19th/early 20th century). Original design for a bespoke motor car (possibly for a Lorraine-Dietrich), 1904, fine pen, ink & watercolour, heightened with gold and gum arabic, signed and dated lower right, 25 x 43cm (10 x 17ins) mount aperture, framed and glazed (1)

£400-600

376* Vanden Plas (Henri, late 19th/early 20th century). Original design for a bespoke motor car (possibly for a Lorraine-Dietrich), 1903, fine pen, ink & watercolour, heightened with gold and gum arabic, signed and dated lower right, 22 x 30.5cm (8.75 x 12ins) mount aperture, framed and glazed

A unique archive of original designs by the illustrator Ronald Searle, designed (but never used) for the shop sign of the specialist bookshop Crime in Store formerly in Charing Cross Road. Included with this lot is an original letter typed from Ronald Searle to Ann & Ralph Spurrier of Post-Mortem Books, dated 21st April 1996 in which the artist describes the possible use of his designs. (1) £1500-2000

Similar designs by the Belgian coach builder Henri Vanden Plas are illustrated in Brian Smith, Vanden Plas Coach Builders (1979), page 15. Provenance: By descent from Edwin Roland Fox, President of the Livery Company of Coach Builders, and owner of the Vanden Plas Motor Company. The Vanden Plas company was purchased by Edwin Fox Senior in 1923. (1) £400-600

118

Lot 375

Lot 376 119

378* Woodforde (Millicent Lisle, 1880-1962?). Four sketch books, c. 1900-16, all filled with pen or pencil sketches of the human figure, including nudes, anatomical studies plus sketches of dogs, birds, horses, rabbits, occ. landscapes and a few buildings, largely unsigned and undated, but two albums with ownership autograph and one oblong folio album signed and dated Paris, 13th January 1904 to front pastedown, a number of figures in this album being dated and some identified as drawn at Atelier Grande Chaumiere or Atelier Colarossi, some excisions, many leaves detached and occ. fraying, a total of approx. 180 leaves, the majority with sketches to recots and versos, various bindings, somewhat worn, 35 x 23cm (14 x 9ins) and smaller

377* Wise (Leslie, 20th century). A collection of ten commercial illustrations and advertising, 1930s, gouache and watercolour on artboard and paper, including P&O Line, Lilley & Skinner, Victoria Wine etc., two dog portraits in blue crayon, and three glamour illustrations, mostly signed or initialled and a few dated, 46.5 x 35 cm (18.25 x 13.75 ins) and smaller, loosely contained in portfolio (10)

The illustrator and artist Millicent Woodforde is best known for her portrait of the composer Gustav Holst at work in his composing room at St. Paul’s Girls’ School (1910), now in the National Portrait Gallery. (4) £400-600

£100-150

Lot 378 120

MODERN WATERCOLOURS & DRAWINGS

379* Austen (David, 1960-). Untitled, 1995, ten concentric blue circles with white outlines, gouache on handmade off-white Indian paper, signed and dated in pencil 1st October 1995 to lower margin, 25 x 20cm (10 x 8ins), framed and glazed with Contemporary Art Society Market printed label to verso (1)

Lot 381

£100-150

380* Belcher (Frank C., early 20th century). Wansford Bridge, on the River Nene, Northamptonshire, c.1930s, watercolour on paper, signed, framed, with caption to verso, 30 x 41 cm (12 x 16 ins) (1)

£100-150

381* Bermant (Judy, 1939-). Self Portrait, coloured pastels on paper, 45 x 28.5cm (17.75 x 11.25ins), framed and glazed Judy Bermant is a well known Jewish woman artist, and was married to the eminent Jewish writer and journalist Shaim Bermant. (1) £70-100

382* Blackburn (David, 1939-). ‘Green Hill’, 1999, pastel on wove, signed and dated in ink to lower margin, 45.5 x 35.5cm (18 x 14ins), framed and glazed (1)

£200-300

Lot 382

121

Lot 385

383* Brangwyn (Frank, 1867-1956). Studies of workmen at a Forge, pencil on japon paper, heightened with brown wash, with watermark ‘Boar’s Head English Bond’, initialled F.B. to lower right corner, folded over at edges, 274 x 198mm (10.75 x 7.75ins) (1)

£200-300

384* Clausen (Sir George, 1852-1944). Study for ‘The Forge’, pencil study on grey-green laid paper, 25 x 18.5cm (9.75 x 7.5ins), framed and glazed, together with Hayter (Sir George, 1792-1871), Study of figures, pen & brown ink on wove paper, signed ‘GH. 1847. Dec 23rd’, additionally inscribed ‘from Pietro Mazzetta?, Harris’s’, 34.5 x 26cm (13.5 x 10.25ins), framed and glazed (2)

£150-200

385* Cross (Tom, 1931-). Italian Still Life, 1983, gouache on paper, signed and dated lower left, 14.25 x 12.75 ins (cm ), framed and glazed, with Montpelier Studio label and Leon Suddaby St. Ives label to verso (1)

386* Crozier (William, 1897-1930). Mediterranean village scene, black crayon and watercolour, showing figures in a square by a fountain in front of buildings, signed lower right, 31 x 39cm (12 x 15.25ins), mounted, framed and glazed

£200-300

(1)

£200-300

387* Davis (Philip W., 20th century). Porchester Street, Paddington, 1950, watercolour and gouache, signed lower left (signature faint), 23.5 x 34.5cm (9.25 x 13.5ins), framed and glazed, together with Priddey (James, early 20th century), Chipping Campden, hand-coloured etching, signed and titled in pencil to lower margin, with Warwick Gallery’s oval blindstamp to lower right corner, plate size 22.5 x 30.5cm (9 x 12ins), mounted (2)

122

£70-100

389* Edwards (John, 1938-2009). ‘Orange Field’, 1971, coloured pastel on handmade paper, signed and dated 4/71 in pencil, short closed tear to extreme right margin, sheet size 56 x 76.5cm (22 x 30ins) (1)

£100-150

390* Edwards (John, 1938-2009). Biomorphic Figure, 1965, pen, ink & watercolour, with traces of pencil on paper, laid on larger handmade sheet, signed and dated in pencil, sheet size 51.5 x 65cm (20.25 x 25.5ins) (1)

£100-150

388* Edwards (John, 1938-2009). Head, 1964, collage on Steinbach handmade paper, signed and dated to lower centre, sheet size 72.5 x 54.5cm (28.5 x 21.5ins) John Edwards (1938-2009) was an important figure in British abstraction from the 1970s onwards. He was head of painting and sculpture at St. Martin’s School of Art, London, in the 1980s, he exhibited regularly in London (Rowan Gallery), the USA and India. (1) £150-200

391* Edwards (John, 1938-2009). Biomorphic Figure, 1965, gouache on handmade paper, signed and dated lower right, sheet size 51.5 x 64cm (20.25 x 25.25ins) John Edwards (1938-2009) was an important figure in British abstraction from the 1970s onwards. He was head of painting and sculpture at St. Martin’s School of Art, London, in the 1980s, he exhibited regularly in London (Rowan Gallery), the USA and India. (1) £100-150

Lot 389

123

392* English School. Cottages and boats, probably Cornwall, c.1930’s, gouache on paper, 45 x 75cm (17.5 x 29.5in) (1)

£200-300

394* French School. Boats in a harbour, early 20th century, pastel, indistinctly signed “Selincourt?”, 43.5 x 59.5cm (17.25 x 23.5in), framed & glazed

393* Falk (Hans Albert, 1918-2002). Composition, 1986, mixed media, watercolour, gouache and black chalk on paper, unsigned, dated 18/vii/86 lower left, sheet size 56 x 75mm (22 x 29.5ins), together with another similar abstract composition by the same artist, signed lower right, small snag near lower left margin, sheet size 56 x 79cm (22 x 31ins) (1)

(1)

£400-600

Lot 393 124

£100-150

395*+ Frink (Elisabeth, 1930-1993). Dead Cat, 1957, pen, black ink and monochrome wash on paper, signed, dated and titled, some scattered surface damage and loss, particularly to extreme upper left corner, 27 x 75.5cm (10.5 x 30ins), framed and glazed, with Royal Albert Memorial Museum, Exeter label to verso for the loan exhibition of Modern Art, held in 1960 (1)

£3000-4000

397* Grierson (Mary, 1912-2012). ‘Thrift Armeria maritime with shells and a view of the Snowdonia range from Angelsey’, watercolour study, monogram and dated ‘81’ lower right, 20 x 30.5cm (8 x 12ins), framed and glazed

396* Goodall (John Strickland, 1908-1996). La Promenade des Anglais, Nice, watercolour and gouache on paper, with traces of pencil, signed lower left, 14 x 18cm (5.5 x 7ins), framed and glazed (1)

From a series of paintings ‘Flowers of the Coast and other waterplants’, exhibited at Spink in 1982. Mary Grierson, who died on January 30th 2012 at the age of 99, was one of the world’s leading botanical artists, and worked at the Royal Botanic Gardens, Kew. She studied with John Nash at Flatford Mill, and went on to illustrate numerous books, including Orchidaceae (1973), The Country Life of Orchids, An English Florilegium, and Hellebores, receiving five gold medals for her illustrations from the Royal Horticultural Society. (1) £200-300

£200-300

125

Lot 398

Lot 399

398* Grierson (Mary, 1912-2012). ‘Autumn Fruits, spindle Euonymus Europaeus, privet and hawthorn with jay’s feather’, watercolour study, signed and dated ‘80’ in pencil, 46.7 x 31.5cm (18.5 x 12.5ins), framed and glazed, Spink exhibition label to verso From a series of paintings ‘Flowers of the Coast and other waterplants’, exhibited at Spink in 1982. (1) £300-500

399* Grierson (Mary, 1912-2012). ‘Autumn collection: fruits of wild arum (Arum maculatum), ivy, blackberry leaves, bracken and tree stump with stag beetle’, watercolour study, signed and dated 1980 in pencil, 50.5 x 35.5cm (20 x 14ins), framed and glazed, title label and remnants of exhibition label to verso (1)

£300-500

400* Hammond (Arthur Henry Knighton, 1875-1970). The Bedford Hotel, Brighton, 1908, black crayon and watercolour, heightened with bodycolour on grey paper, inscribed and initialled to verso, approx. 275 x 365mm (10.75 x 14.25ins), framed and glazed (1)

£200-300

Lot 400

126

401* Hart (Richard, 20th century). Mules in a market place, Corfu, watercolour, of a market-place with figures loading mules carrying goods, with shops in the background, signed and dated ‘Dick Hart 72’ lower right, 29 x 44.5cm (11.5 x 17.5ins), framed and glazed (1)

403* Hennell (Thomas Barclay, 1903-1945). Before a Thunderstorm, Ridley, Cheshire, 1943, watercolour, inscribed by the artist to verso with title and date June ‘43, 30.5 x 45cm (12 x 17.75ins) mount aperture, framed and glazed

£150-200

Provenance: Purchased by the present owner from Katherine House Gallery, Marlborough. (1) £300-400

404* Holmes (Kenneth, A.R.C.A., 1902-1994). Water’s edge in Venice, watercolour and pencil on paper, with San Giorgio Maggiore & dome of the Punta della Dogana in the distance, signed lower right, 30.5 x 44.5cm (12 x 17.5ins), framed and glazed (1)

402* Heath (Adrian, 1920-1992). North Bay, Barra (Outer Hebrides), 1972, coloured crayon, body colour and pencil on paper, signed, titled and dated lower right, 21.5 x 20cm (8.5 x 8ins), framed and glazed, together with a pencil study of trees in a landscape, by the same artist, signed with initials and dated ‘83, 26.5 x 20cm (10.5 x 8ins), both framed and glazed (2)

£100-150

127

£100-150

Lot 405 406* Manner of George Leslie Hunter, 1877-1931). Children Feeding Chickens, watercolour on card, mounted on card, showing a sunny outdoor scene with two children feeding a group of fowl, signed lower left, 39 x 40cm (15 x 15.75ins)

405* Holmes (Kenneth, A.R.C.A., 1902-1994). View of the Harbour and Cathedral, Palma, Majorca, watercolour over pencil, signed and titled lower right, 24 x 35.5cm (9.5 x 14ins), framed and glazed (1)

£200-300

(1)

£200-300

407* Jones (Barbara, 1912-1978). Encampment, watercolour on paper, signed lower right, 18 x 25cm (7 x 9.75ins), framed and glazed Provenance: Purchased from the Exhibition of Paintings and Drawings by Barbara Jones, Katherine House Gallery, Marlborough, July 1999. (1) £200-300

Lot 405 128

Lot 409 408* Kemp-Welch (Margaret, 1874-1968). Winter Landscape, watercolour, signed with monogram lower left, 19 x 16.5cm (7.5 x 6.5ins), framed and glazed (1)

£70-100

409* Leaver (Noel Harry, 1889-1951). Figures by a Mosque, watercolour, 25 x 38.5cm (10 x 15.5ins), mounted, framed and glazed Noel Harry Leaver is best-known for his evocative North African landscapes. He attended the Burnley School of Art from the age of thirteen, afterwards moving to London to study at the Royal College of Art, where he received a travel scholarship which took him to Italy in 1911. He subsequently studied at the Royal Institute of British Architects, where he received the Owen Jones travel scholarship which enabled him to return to Italy, and also visit North Africa in 1912. He taught at Halifax Technical College between 1912 and 1915 and, at the end of WWI, took up watercolour as a medium, painting extensively in Algeria and Morocco in the following two decades. (1) £300-500

411* Luce (Maximilien, 1858-1941). Rocky Promontory, Camares, France, black crayon on paper, signed and titled Camares in pencil lower right, 14.5 x 22.5cm (5.75 x 8.75ins), framed and glazed

410 Lowry (Laurence Stephen, 1887-1976). Drawings of L.S. Lowry, by Mervyn Levy, 1963, 64 b & w illustrations, original calfbacked boards, rubbed at spine ends, torn glassine wrapper, 4to, limited edition, 11/100 signed by L.S. Lowry, together with two vols. of Sir Russell Flint’s Catalogue Raisonne of Unsigned Limited Edition Works, 1994 (both vol. Ii only) (3)

(1)

£200-300

129

£200-400

412* McIntyre (Donald, 1923-2009). Morfa Nevin Seascape, North Wales, watercolour on thick wove paper, signed with initials lower right, 27 x 22cm (10.75 x 8.75ins), inscribed to verso with title, and inscribed D. McIntyre 9/2003, framed and glazed (1)

ÂŁ300-500

413* Methuen (Paul Ayshford, 1881-1974 ). Briost, 23 April 1917, watercolour and black crayon on paper, signed with initials lower left, titled and dated upper right, 28 x 38cm (11 x 15ins) mount aperature, framed and glazed, with Fieldbourne Galleries, London labels to verso Lot 412

(1)

Lot 414 130

ÂŁ200-300

414* Methuen (Paul Ayshford, 1881-1974 ). Station in quarry in Briost, sur somme, 24 April 1917, watercolour and black crayon on paper, signed with intials lower right, and titled and dated lower left, 28 x 39.5cm (11 x 15.5ins) mount aperture, framed and glazed (1)

£300-400

415* Nicholson (John Hobson, 1911-1988). View towards the Calf of Man, watercolour, signed lower right, 19.5 x 40cm (7.75 x 15.75ins), mounted, framed and glazed John Hobson Nicholson was the grandson of the Manx artist John Miller Nicholson. Although self-taught Nicholson went on to establish himself over the next fifty years as one of the most successful Manx painters. He exhibited regularly both on and off the Island, was elected to membership of the Royal Institute of Painters in Watercolours and the Pastel Society, taught at the Douglas School of Art and worked prolifically as a commercial artist. Nicholson was also a leading member of the Isle of Man Art Society and its President until his death. (1) £120-180

417* Piper (John, 1903-1992). Head and Shoulders study of a woman, and two studies of a female head, pencil drawings, on the recto and verso of the rear endpaper of a book entitled Beethoven, His Spiritual Development, by J. W. N. Sullivan, 1927, inscribed in pencil to front ‘John Piper, Dec 13 1927’, leaf size 203 x 134mm (8 x 5.25ins) bound in original black cloth Very early examples of pencil studies by John Piper dating from shortly before his 24th birthday. The signature is consistent with known examples of Piper’s early signature. (1) £200-300

416* Phillips (Aubrey, 1920-). Snowshill, Gloucestershire, coloured pastels and gouache on paper, signed lower right and indistinctly dated ‘68, 34 x 50.5cm (13.5 x 20ins), framed and glazed (1)

418* Pull (Geoff, 20th century.). Children on the beach, watercolour, showing two children with buckets and spades on a beach with a large rock in the background and a yacht in the distance, signed lower left, 33.5 x 52.5cm (13.25 x 20.5ins), mounted, framed and glazed

£100-150

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131

£100-150

Lot 421

421* Seddon (Richard, 1915-2002). The Botanical Gardens, Sheffield, watercolour and black ink, signed lower right, 24 x 52cm (9.5 x 20.5ins), framed and glazed, with Bankside Gallery label, and entry form for the Watercolours of the North Coloroll Art Competition to verso, signed by the artist, together with The Old Holly Drive at Thryft House, Sheffield, 1995, watercolour and black ink, signed and dated ‘95 lower left, 30 x 60cm (11.75 x 23.5ins), framed, with Bankside Gallery and Royal Society of Painters in Water-colours Exhibition labels to verso Richard Harding Seddon was born in Sheffield, and studied at Sheffield College of Art (1932-36) and at the Royal College of Art (1936-39). He was at one time president of the Royal Watercolour Society. (2) £200-300

419* Rechter (Norman, 20th century). The Fair at Bordeaux, watercolour on paper, signed and dated 1989, 12.2 x 27cm (4.75 x 10.5 in), framed and glazed, together with three other similar watercolours by Rechter in a single frame (2)

£70-100

422* Stanley (Sidney Walter, 1890-1956). Tower Bridge, pencil and watercolour on paper, signed and titled, 23.5 x 34cm (9.25 x 13.5ins), framed and glazed (1)

420* Rosenstock (Isidore, 1880-1956). Still life of roses in a vase, watercolour, signed, 42.5 x 59cm (16.5 x 23.25ins), framed and glazed (1)

£100-200

132

£100-150

425* Takafuji (Mari, 20th century). Climbing Clouds, 1987, watercolour, signed and dated lower right, 32.5 x 49cm (12.75 x 19.25ins), framed and glazed, together with Kilfoyle (Mike, 1937-), Seashore Path, Norfolk, East Anglia, 1991, watercolour, signed and dated lower left, 28.3 x 38.5cm (11 x 15ins), framed and glazed, captioned to backing board

423* Sykes (Charles Robinson, 1875-1950). Reclining sunbather, pencil on japan paper, image size 185 x 255mm (7.25 x 10ins), sheet size 250 x 430mm (10 x 17ins) Charles Robinson Sykes studied at the Royal College of Art, and is best known for his design for the Rolls-Royce mascot ‘Spirit of Ecstacy’. (1) £100-150

The first item was purchased at an exhibition at The Gallery, Handel House, Devizes in 1987. (2) £150-200

424* Syme (Eveline W., 1888-1961). Australian landscape, watercolour, initialled “E.W.S.”, 25 x 18cm (10 x 7ins), framed & glazed

426* Ward (Vernon de Beauvoir, 1905-1985). Young ballet dancer resting, pastel on dark grey paper, unsigned, 37.5 x 26cm (14.75 x 10.25ins), framed and glazed

Eveline Syme was born in Melbourne and was a founder member of the Melbourne Contemporary Group. Her work is represented in the Australian National Collection and the Victorian State Gallery. (1) £100-150

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133

£150-200

427* Watson (Geoffrey, fl.1920-1937). ‘A Sopwith Taking the ‘Long Jump’’ and ‘A Direct Hit’, a pair of monochrome watercolours with gouache, depicting a Sopwith biplane fighter and dogfight, signed and captioned, one dated 1918, image size 52 x 36cm (20.5 x 14.25ins), modern matching frames, glazed (2)

£250-350

428* Way (Thomas Robert, 1862-1913). View of a Street, 1911, pastel on paper, signed, dated and indistinctly titled, 21 x 17cm (8.25 x 6.75ins), period gilded wood frame, glazed (1)

£250-350

429* Wood (Robert Sydney Rendle, 1894-1987). A group of seven watercolours, depicting rural views and villages, three images signed, sizes vary but typically 26 x 37cm (10 x 14.5 in), all framed and glazed

Lot 427

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134

£300-400

Lot 431

430* Wood (Robert Sydney Rendle, 1894-1987). A group of eight watercolours, depicting rural and coastal views, four images signed, sizes vary but typically 24 x 34cm (9.5 x 13.5 in), five pictures framed and glazed (8)

434* Wyeth (Paul James Logan, 1920-1983). Portrait of a girl, 1964, sanguine pencil three-quarter length portrait of a girl wearing a hat, signed and dated lower right, 37 x 25cm (14.5 x 10ins), mounted, framed and glazed

£300-400

431* Wright (Bert, 1930-). Milton Creek, Sittingbourne, watercolour, signed lower left, 36 x 51cm (14.25 x 20ins), mounted, with Wapping Group of Artists label to verso

(1)

£80-120

432* Wyeth (Paul James Logan, 1920-1983). “Carrie”, 1966, red chalk half length portrait of a girl wearing a hat, captioned, signed, and dated lower left, 44 x 34cm (17.25 x 13.5ins), mounted

435 Wyeth (Paul James Logan, 1920-1983). Portrait of a young girl, red chalk study of a young girl’s head, signed lower margin, sheet size 47.5 x 35cm (18.75 x 13.75ins), mounted, framed and glazed, together with Portrait of a young girl, brown pencil study of the head of a young girl wearing a hat, sheet size 53 x 39.5cm (21 x 15.5ins), crudely mounted

(1)

(2)

(1)

£100-150

£80-120

£100-200

433* Wyeth (Paul James Logan, 1920-1983). “Carina Rose”, April 1963, sanguine pencil three-quarter length portrait of a young girl wearing a hat, captioned, signed, and dated lower right, 45.5 x 29cm (18 x 11.5ins), mounted, framed and glazed (1)

£80-120

Lot 432

Lot 433

135

Lot 435

KEITH HENDERSON (1883-1982) OBE, RWS, RSW A COLLECTION OF ORIGINAL ARTWORKS

436* Henderson (Keith, 1883-1982). The Rare Elusive Bongo, coloured pastels, heightened with white, on tinted paper, signed, 50 x 62cm, mounted, framed and glazed

438* Henderson (Keith, 1883-1982). White-headed Wood Hoopoe, 1978, watercolour over pencil on paper, signed, 32 x 40cm, framed and glazed

(1)

£150-200

439* Henderson (Keith, 1883-1982). Sagittarius near Lake Naiyasha, c. 1970s, oil on board, signed, 48 x 59cm, together with Two Coppers on the Table, 1976, oil on board, still life with two butterflies, signed, 27 x 49cm, plus two others by Henderson, Warthog, and Bisa Oryx, both c. 1970s, both oil on board, one signed, all framed with gallery label verso

437* Henderson (Keith, 1883-1982). ‘Amusement for Grace’ (so titled on verso), watercolour and gouache depicting roe deer in a forest, signed, 50 x 55cm, mounted, framed and glazed, together with Tropical Africa, Sunrise, A Bongo, coloured pastels on paper, signed, 55 x 63cm, framed and glazed, gallery label verso (2)

£70-100

(4)

£150-200

136

£150-200

442* Henderson (Keith, 1883-1982). The Scheherazade Orchid, c. 1975, coloured pastels on paper, signed and titled by the artist, 33 x 45cm, mounted, framed and glazed, together with Orange bough by a white wall, Sicily, January 1975, coloured pastels on paper, signed, 34 x 25cm, mounted, framed and glazed, manuscript label verso, with three other botanical studies by Henderson, in watercolour and pastel, all signed, framed and glazed

440* Henderson (Keith, 1883-1982). A group of three African Bustard in a landscape, oil on board, signed, 41 x 55cm, mounted, framed and glazed, together with A Wood Hoopoe Hesitates, oil on board, depicting a hoopoe on a tree trunk with four moths, c. 1974, signed, 49 x 59cm, framed, gallery label verso, plus African Yellow Finch with Foliage (untitled), oil on board, signed, 46 x 48cm, framed (3)

£100-150

(5)

443* Henderson (Keith, 1883-1982). Boy in a Blue Shirt, c. 1947, oil on board, signed, head and shoulders portrait of Jack Cardiff’s son aged about 4(?), 42 x 42cm, framed, gallery label verso, together with Youth-and Age!, 1969, watercolour on paper, signed, showing a group of teenagers and a group of older people exchanging glances, 26 x 46cm, mounted, framed and glazed, plus three similar late 1960s watercolour drawings by Henderson, all signed, plus Incomunicado - Portrait of Pharaoh Khnaton, 1977, oil on board, signed and inscribed by the artist ‘Who is he? You know his name, a poet, no longer at large’, 38 x 27cm, framed, gallery label verso

441* Henderson (Keith, 1883-1982). Vultures from Kyrenia Castle, c. 1970s, coloured pastels on paper, signed, 38 x 28cm, mounted, framed and glazed, gallery label verso, together with Pied Crow, Kenya, 1976, watercolour over pencil, signed, 36 x 27cm, mounted, framed and glazed, gallery label verso, plus Ground Hornbill in an African Landscape, c. 1970s, watercolour over pencil, heightened with bodycolour and crayon, signed, 41 x 49cm, mounted, and three other watercolour bird studies by Henderson, all signed, framed and glazed (6)

£100-150

Jack Cardiff (1914-2009) was a British cinematographer, director, actor and photographer. His amazing career spanned seven decades, from working as a child actor in Edwardian music hall and silent films to modern era camerawork for Conan the Destroyer and Rambo: First Blood Part II (1984). As a cinematographer his credits include A Matter of Life and Death (1946), Black Narcissus (1947) and the ravising The Red Shoes (1948), all directed by Powell and Pressburger. (6) £150-200

£150-200

137

REGINALD JAMES LLOYD (1926-) Reginald James Lloyd was born in Hereford and at the age of two the family moved to Dawlish in South Devon. After army service, he attended Exeter School of Art for one term, where he was taught by the artist George Adamson. After this he struck out on his own, and gradually developed his style independently. His impressive output includes painting, printmaking, sculpture, stained glass and large scale architectural projects. His work relates to the landscape of the South West and its ancient standing stones and hill forts, such as Avebury, Silbury Hill, Stonehenge and Maiden Castle. His strong individual style bears comparison to British Neo-Romantic painting of the 1940s and 50s. Lloyd and his family moved to Bideford, Devon in 1956 (where he has lived ever since), and in the following year he was invited to exhibit his work at the Fifth Devon Festival, alongside the work of Piper, Hitchens, Epstein, Gaudier Brzeska, Rodin and Picasso. The poet Ted Hughes was a close friend from the early sixties and a regular visitor to Lloyd’s home in Bideford. They collaborated on a series of silk screen prints for Hughes’ Crow poems: King of Carrion, That Moment, Crows Last Stand, and Crow and the Birds, in 1970 (see lot 462), and illustrated books of poetry including What is the Truth?, The Cat and the Cuckoo (see lot 463), The Mermaid’s Purse, and Earth Dances (see lot 461), all published between 1984 and 1995. Lloyd’s work with and for Ted Hughes forms an important part of the artist’s output.

444* Lloyd (Reginald J., 1926-). Screen Series (5), 1996, etching on thick wove, signed, dated and numbered 4/20, plate size 14.8 x 19.8cm (5.75 x 7.75ins), framed and glazed, exhibition labels for Waterside Gallery, 1997 and Cotehele, 2000 to verso (1)

£150-200

446* Lloyd (Reginald J., 1926-). Demolition, 1951, pen, ink and watercolour wash, signed and dated in pencil, 17 x 17cm (6.75 x 6.75ins) to mount aperture, framed and glazed

445* Lloyd (Reginald J., 1926-). Screen Drawing (4), 1995, together with Screen Drawing (7), 1995,pen and ink on light brown paper, signed and dated to image, mounted, 9 x 14.5cm (3.5 x 5.75ins) to mount aperture, framed and glazed (2)

(1)

£150-200

138

£150-250

Lot 447

447* Lloyd (Reginald J., 1926-). Metamorphic Figure, 1976, acrylic on hardboard, signed and dated lower left, 49.5 x 72.5cm (19.5 x 28.5ins), gilt moulded frame (1)

£250-350

448* Lloyd (Reginald J., 1926-). Morning Mist, 2011, acrylic on hardboard, signed and dated lower left, 45.7 x 34cm (18 x 13.5ins), gilt moulded frame (1)

£150-200

449* Lloyd (Reginald J., 1926-). Shore Figures Diptych, 1978, watercolour on thick card, heightened with bodycolour, signed and dated lower left, 16 x 37.2cm (6.25 x 14.5ins), framed and glazed (1)

£200-300

Lot 449

139

450* Lloyd (Reginald J., 1926-). Looking Through, 2010, acrylic on hardboard, signed and dated lower left, 46 x 31.5cm (18 x 12.5ins), gilt moulded frame (1)

£200-300

451*+ Lloyd (Reginald J., 1926-). View to the Mount (Mousehole), 2005, acrylic on canvas, signed and dated lower left, 99.6 x 80cm (39.25 x 31.5ins), framed (1)

£1000-1500

452* Lloyd (Reginald J., 1926-). Figures in a Lane, 1970, screenprint, signed, dated and numbered 7/20, 47 x 57cm (18.5 x 22.5ins) to mount aperture, framed and glazed (1)

Lot 450

Lot 452 140

£150-200

Lot 451 141

453* Lloyd (Reginald J., 1926-). Hill Fort Harvest, 1967, monotype and watercolour on wove paper, signed and dated to image and lower margin, 32.3 x 43.8cm (12.75 x 17.25ins) to mount aperture, framed and glazed (1)

£150-200

455* Lloyd (Reginald J., 1926-). Arbour Figures, 1965, black and brown ink and wash on wove, signed and dated, 24 x 34cm (9.5 x 13.25ins) to mount aperture, framed and glazed

454* Lloyd (Reginald J., 1926-). Spinster’s Rock, 1969, gouache on laid paper, signed and dated, 15.3 x 19.5cm (6 x 7.75ins) to mount aperture, framed and glazed (1)

(1)

£150-200

142

£150-200

458* Lloyd (Reginald J., 1926-). Emerging Figure, 1965, ink and watercolour on wove, signed and dated, 11.5 x 23.5cm (4.5 x 9.25ins) to mount aperture, framed and glazed (1)

£150-200

456* Lloyd (Reginald J., 1926-). Late Evening, 1994, pen, ink and watercolour on laid paper, signed and dated lower left, 16.2 x 21.2cm (6.5 x 8.25ins) to mount aperture, framed and glazed (1)

£150-200

457* Lloyd (Reginald J., 1926-). Red Wall, 1984, monotype and watercolour, captioned, signed and dated to lower margin, image size 16 x 21.3cm (6.25 x 8.25ins), framed and glazed (1)

£150-200

459* Lloyd (Reginald J., 1926-). Fishing boats at the harbour side, 1996, etching on wove, signed, dated and numbered 9/20, plate size 20.3 x 15cm (8 x 6ins), framed and glazed Possibly Porthleven harbour, Cornwall. (1)

143

£150-200

462* Lloyd (Reginald J., 1926-). Crows Last Stand, King of Carrion, Crow and the Birds, & That Moment, 1970, a set of four colour silkscreen prints, each signed and dated by R.J. Lloyd and signed by the poet Ted Hughes, numbered from an edition of 20, sheet size 56 x 77cm (22 x 30.25ins) and smaller

460* Lloyd (Reginald J., 1926-). Fishing boat PZ75, 1997, etching on wove paper, signed, dated and numbered 2/20, plate size 14.8 x 20cm (5.75 x 8ins), framed and glazed (1)

£100-150

(4)

£400-600

461* Lloyd (Reginald J., 1926-). A set of proofs for Earth Dances, Poems by Ted Hughes, published by The Old Stile Press, 1994, twenty-four proof linocuts on thirteen sheets, all signed/initialled and dated in pencil (except one), sheet sizes 43 x 31.5cm (17 x 12.5ins) and 31.5 x 21.5cm (12.5 x 8.5ins), contained in orig. thick paper folder with printed paper label on upper cover

463* Lloyd (Reginald J., 1926-). Four original illustrations for The Cat and the Cuckoo by Ted Hughes, published 1987, together four pen, ink, and wash drawings on paper, of a cat’s face, all signed and dated to lower margin, image size 18 x 15cm (7.25 x 6ins) and sl. smaller

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(4)

£100-150

144

£100-150

MODERN PAINTINGS

466* Barker (Neville, 1949-). Cattle Grazing on a Summer’s Day, oil on board, signed lower right, 20 x 25.5cm (8 x 10ins), framed and glazed

464* Bagnoli (Giulio, 1927-). Two Italian Nuns, 1970, oil on canvas, signed and dated lower left, 30 x 35cm (12 x 13.75ins), framed

(1)

£100-150

Bagnoli studied at Bologna Academy with Giorgio Morandi, and exhibited widely in Europe and England from the 1950s onwards, beginning with the group exhibition held at the Musée d’art Moderne in Paris, entitled Jeune Peintres, in 1954-1955. A similar example of his work is held by Reading Museum. Included with this lot is an original receipt for purchase from Liberty & Co., Regent Street, London, and a related printed sheet of exhibition details for the artist. (1) £100-150

467* Basset (Louis Charles, 20th century). Arc de Triomphe, Paris, oil on canvas, signed lower right, 61 x 91.5cm (24 x 36ins), framed (1)

465* Barclay (Colville, 1913-2010). South Downs, oil on board, with original handwritten label pasted to verso, and additionally inscribed (by the artist) (?), with title and artist’s name and address to back of frame, 19 x 24cm (7.5 x 9.5ins), gilt frame (1)

£300-500

145

£100-150

468* Bayly (Clifford John, 1927- ). Alignment Twelve, Les Alignments, Carnac, Brittany, 1985, large-scale acrylic on board triptych, signed to bottom right of left-hand panel, left and right-hand panel 91.5 x 122cm (36 x 48ins), the central panel 122 x 122cm (48 x 48ins) Provenance: Purchased by the present owner from the Royal Academy Summer Exhibition. (3)

£1000-1500

469* Baynes (Anthony, 1921-2003). Theatre of Dionysus, Athens, Greece, oil on canvas, unsigned, 56 x 68.5cm (22 x 27ins), framed, with a handwritten copy of an extract from Rambles and Studies in Greece by J. P. Mahaffy relating to this site pasted to verso Provenance: Purchased from the Studio Sale of Anthony Baynes, Dominic Winter Auctions, July 2007. (1) £150-200

470* Bell (William Lambert, early 20th century). Polperro Harbour, Cornwall, oil on canvas, signed, 59 x 49.5cm (23 x 19in), framed (1)

Lot 470

£150-200

146

472* Carline (Richard C., 1896-1980). Family group seated in the kitchen at number 47 [Downshire Hill, Hampstead, NW3], c. 1923-4, oil on canvas, unsigned, handwritten label verso identifies the figures at ‘George Junior, Hilda, Stanley Spencer, Mrs Carline (Anne) & Sydney’, 15 x 19 in (38 x 48cm), together with River Camp, oil on canvas, signed, depicting a canvas-covered river boat with figure seated on the bank, old handwritten label verso, 18 x 21 in (46 x 53cm), plus Still life with marble portrait bust, oil on canvas, signed verso, 18 x 15 in (46 x 38cm), matching modern wood and gilt frames Painter, writer and administrator, Carline was born in Oxford. His father, George Carline, his mother, Anne, and brother Sydney, his sister Hilda (Mrs Stanley Spencer) and his wife, Nancy, were all painters. Carline served in World War I and was appointed an Official War Artist. With his brother he became noted for war pictures from the air. In the 1920s the Carlines’ Hampstead home became a centre for artists such as Henry Lamb, John Nash and Mark Gertler. During this period Carline was clearly influenced by Stanley Spencer, transforming everyday scenes into something monumental. The Imperial War Museum holds his work, including the outstanding and pioneering series of paintings, from World War I, based on observations made from aeroplanes. (3) £150-200

471* Brown (Davina F., exh. 1904-38). Anemones in a glass vase, oil on canvas, signed, 41 x 36cm (16 x 14in), framed Exhibited at the Glasgow Institute of the Fine Arts and the Walker Art Gallery, Liverpool. (1) £200-300

473* Manner of Dora Carrington (1893-1932). A pair of glass and foil pictures, together two coloured glass paintings with crumpled foil behind, both depicting flowers in a vase and birds, 49 x 39cm (19.25 x 15.25ins), matching frames

Lot 472

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147

£100-150

Lot 474

Lot 476

Lot 475 474* Churchill (Alexandra, 20th century). Still life of poppies, 1996, oil on board, of a group of poppies in vibrant shades of pink and red, signed and dated lower left, 43 x 58cm (17 x 23ins), framed

477* Davies (Brian, 1942-). Still Life of Peaches in a Frankfurt blue and white bowl on a ledge, oil on canvas, signed lower right, 35.5 x 51cm (14 x 20ins), framed

(1)

£100-150

£500-800

475* Churchill (Alexandra, 20th century). Still life of tulips, oil on board, of a group of tulips and a butterfly in vibrant shades of red, orange, pink, and purple, signed and dated lower right, 44.5 x 59cm (17.5 x 23.25ins), framed

478* Desoutter (Roger Charles, 1923-). Still life of sweet peas and gipsophylia, oil on canvas, signed lower right, 40.5 x 50.5cm (16 x 20ins), framed, with E. Stacy-Marks Ltd. labels to verso and numbered 455. 14-9-’87

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Roger Desoutter developed his skills as a historical marine artist alongside his professional career as an engineer. He exhibited regularly at the Royal Society of Marine Artists. (1) £200-400

£100-150

476* Continental School. Female nude gazing into a hand mirror, 20th century, oil on board, signed “Kerenyi”?, 39.5 x 29.5cm (15.5 x 19.5ins), together with an oil on board still life of a vase and fruit signed “Westcott”, 49.5 x 63cm (19.5 x 24.75ins), both framed (2)

479* French School. The Mandolin Pierrot, c. 1900, oil on canvas (relined), unsigned, approx. 59 x 36cm, framed

£100-200

(1)

148

£100-150

Lot 477

Lot 478

Lot 479 149

480* Garstin (Norman, 1847-1926). Corner of a large garden with herbaceous border and greenhouse, oil on wood panel, showing part of a large Victorian greenhouse with a border of lilies, delphiniums, and poppies, and an evergreen in a terracotta pot, signed lower right, 27 x 20.5cm (10.5 x 8ins), period gilt moulded frame A leading figure of the Newlyn School, Norman Garstin is also famous for his work as an art critic and teacher as well as a painter. He was born in Ireland and vacillated about his choice of career before turning to art full-time, studying in Paris and Antwerp. He arrived in Newlyn in 1886, moving to Penzance in 1889 where he finally settled. Garstin’s work, often small oil panels in the ‘plein air’ style as here, in this snapshot of a country house garden, is characterised by soft, muted colours and Impressionistic brushwork. His most famous work is ‘The Rain it Raineth Every Day’ (1889), showing Penzance promenade on a rainy day (held at Penlee House Gallery & Museum, Penzance). The Tate Gallery holds several examples of his works. (1) £5000-8000

150

481*+ Gear (William, 1915-1997). Yellow Twist, November 1960, oil on canvas, signed and dated lower right, additionally signed, titled and dated to verso, 81.5 x 122cm (32 x 48ins), framed A characteristic example of Gear’s mature style, with ‘the introduction of splinters of dark angular forms into dappled fields of colour’ (John McEwen, William Gear, 2003, page 88). (1) £6000-7000

151

482* Guinness (May, 1863-1955). St. Malo from St. Servan, oil on canvas, signed lower left, additionally titled and signed to canvas verso, 65 x 51cm (25.5 x 20ins), gilt frame Exhibited: Museé des Beaux-Arts de Pont-Aven, Brittany, Peintres Irlandais en Bretagne (1870-1930), 26 June - 27 September 1999. Provenance: Christies, London, 20th century British & Irish Art Day Sale, 24 May 2012, lot 168. The Irish modernist painter May Guinness (1863-1955) was a friend and teacher of both Evie Hone and Mainie Jellet, and herself studied with the French cubist painter André Lhote between 1922 and 1925. She had first visited the Newlyn Art Colony in 1894 with fellow artist Mildred Anne Butler, where she studied under Norman Garstin. Her work was exhibited at St. Steven’s Green Gallery in 1922, at the Irish Exhibition of Living Art, and at Victor Waddington Gallery in Dublin. In the catalogue introduction to the May Guinness Memorial Exhibition, held at Dawson Gallery, Dublin, in 1956, James White described the artist as ‘The first of her race to paint her way into the heart and spirit of the new movement of the 20th century’. (1) £3000-5000

152

Lot 484

483* Harvey (Dawn, 1963-). Still life of a vase of flowers and leaves, acrylic with scratching through, signed left-hand margin, 53.5 x 37.5cm (21 x14.75ins), mounted, framed and glazed, together with Shtelman (Alex, 20th c.-), “Promenade II”, etching printed in colours and finished by hand, of two stylised figures walking, with birds and shell, Klim Gallery circular embossed stamp to lower margin, image size 49 x 40cm (19.25 x 15.75ins), mounted, framed and glazed, (limited edition, 102/150 copies, signed by the artist) (2)

£100-150

484* Hudisteanu (Victoria Constantinescu, c. 1900-1980). Christ on the Cross, oil on board, signed and dated upper right, 21 x 22cm (8.25 x 8.75ins), framed and glazed

485* Hudson (Willis K., exh. 1922-1934). Chipping Campden in Summer, with field of poppies, oil on board, signed and dated 1928 lower right, 40.5 x 51cm (16 x 20ins), framed

Constantinescu-Hudisteanu studied at the Fine Arts Academy, in Iassy in her native Romania, and exhibited there from 1928 until she settled in England in 1943. Here she exhibited at the Royal British Association and the Association of Women Watercolour Painters. A major retrospective of her work was held at the Gallery of Cultural Relations with Foreign Countries, in Bucharest in 1974. (1) £200-300

(1)

153

£100-150

486* Inlander (Henry, 1925-1983). Hillside landscape with figures gathering wood, oil on canvas, signed lower right, 81.2 x 64.8cm (32 x 25.5ins), inscribed to verso of stretcher Leicester Galleries 1956, and H. Inlander, 33 Green Croft Gardens, London NW6, framed The present work was exhibited at the artistâ€™s first one man exhibition, held at the Leicester Galleries in October 1956. (1)

154

ÂŁ800-1200

488* Kher (Mona, 20th-century). Untitled No. 7, 1994, oil and marker pen on gesso, arranged in four squares, 37.5 x 37.5cm (14.75 x 14.75ins), white painted backing frame, identified in pencil to verso with Contemporary Art Society Market printed label to verso (1)

£100-150

487* Jamieson (Charles, 1952-). ‘Fayence’, 1999, oil on canvas, showing a palm tree with white painted building and deep blue sky, signed lower right, 61 x 61cm (24 x 24ins), framed and glazed, artist label and gallery exhibition label for Duncan R. Miller Fine Arts, Hampstead, London dated 1999 to verso of frame Charles Jamieson studied at Glasgow School of Art from 1969 to 1974, and is a past President of the Paisley Art Institute. His work has been exhibited widely both in Scotland and throughout the UK, inclding Duncan Miller Fine Art, Thompson’s Gallery, Richmond Hill Gallery, John Davies, and elsewhere. (1) £300-500

489* Lamorr (Dulcie, 20th century). Portrait of a girl, half length portrait, oil on canvas board, signed lower right, 48 x 40cm (19 x 15.75ins), gilt moulded frame with Gale & Co. Ltd., Birmingham picture framers & restorers label to verso (1)

Lot 488

£100-150

490* Leuers (Jeanette, 1942-). Cottage Garden, Gigny-sur-Saone, 1987, oil on canvas, signed lower left, 50.5 x 61cm (20 x 24ins), framed, with Alexander Gallery, Bristol label to verso (1)

155

£200-300

492* Nicholson (Roger, 1922-1986). The Discarded Shoe, 1971, oil on board, signed with initials and dated lower right, 15 x 23.5cm (6 x 9.25ins), framed and glazed, additionally signed and titled by the artist to verso, and inscribed ‘To Robert Goodden on his retirement from the Royal College of Art 1974 from Roger’

491* Lyongrun (Arnold, 1871-1935). Heide im Winter, 1910, oil on canvas, signed and dated lower right, additionally inscribed by artist to verso, with address in Hamburg, 33 x 41cm (13 x 16ins), framed (1)

Roger Nicholson was born in New South Wales, but returned to England with his family in 1930. He studied at the Royal College of Art, and after the second world war set up a graphic design partnership with his brother Robert. An exhibition of his work was held at the Gloucester Gallery in 1995. (1) £100-150

£200-300

493*+ Paolozzi (Eduardo, 1924-2005). Leonardo, 1986, a 1:10 scale model in white plaster of the cast iron sculpture now displayed outside the Alte Pinakothek, Munich, dimensions length 69 x width 39 x height 13cm (27.25 x 15.25 x 5ins), mounted on a thick plywood base, some marks and surface soiling Leonardo is one of three heroic figures whom Paolozzi had explored, along with Vulcan and Newton, in his work of the 1980s. Exhibited: Eduardo Paolozzi, Mythologies, A Retrospective Survey 1946-1990, The Scottish Gallery, London, May 2-26, 1990, page 14. (1) £1500-2000

Lot 493

Lot 493 156

494* Podchernikoff (Alexis Matthew, 1886-1933). Early Spring, near Gaviota Pass, California, oil on canvas, signed lower left, additionally signed and titled to verso, 41 x 51cm (16 x 20ins), gilt frame with name plaque to lower edge Born into an artistic dynasty, Podchernikoff studied with his grandfather, Dimitri Zolotarieff, and later with Illya Repin and Verestchagin. After the Russo-Japanese War of 1904-05, he emigrated to the United States, and settled in San Francisco, moving to Santa Barbara in 1913 where he lived for the rest of his life. Many of his mature landscapes are of Southern California, and the countryside around Santa Barbara in particular. (1) ÂŁ700-1000

157

495* Pougnard (Marguerite, 20th c.). Head study of a chestnut horse, oil on canvas, signed lower left, 60.5 x 45.8cm (23.75 x 18ins), framed, together with head study of a bay horse, mid 20th c., oil on canvas, signed ‘Frey’ lower right, small repair to centre of image, 60 x 46cm (23.5 x 18ins), framed (2)

£300-500

496* Proudfoot (James, 1908-1971). Portrait of the actor Henry Oscar, oil on canvas, signed, Royal Society of Portrait Painters exhibition label to verso, 76 x 51cm (30 x 20ins), framed James Proudfoot studied at Heatherley’s School of Art, Goldsmiths and in Paris, becoming a member of the ROI in 1934. He exhibited widely including at the RA and NEA. (1) £100-200

497* Reeve (Russell Sidney, 1895-1970). Portrait of Kathleen Ferrier, 1936, oil on canvas, signed lower right, additionally inscribed with title and artist’s name and address to verso of stretcher, 50.5 x 75.5cm (1)

£400-600

498* Ribelli (Mary, early 20th c.). Mediterranean Fishing Boats off the Provencal Coast, oil on canvas, signed lower left, 65 x 81cm (25.5 x 32ins), framed with artist’s stamp to stretcher (1)

Lot 495

158

£200-300

499* Simington (Nicholas, 1930-). Figure in an interior, c. 1981, oil on canvas, signed with monogram upper right, 96 x 91cm (37.5 x 36ins), framed (1)

£200-300

500* Simington (Nicholas, 1930-). Figures by a window, 1971, oil on canvas, signed with monogram lower left, additionally inscribed to verso of stretcher ‘N.A. Simington ‘71’, 76 x 66cm (30 x 26ins), framed (1)

£100-150

Lot 499

501* Somogyi (Istvan von, 1897-1971). Portrait of a seated woman in a green dress, 1945, oil on canvas, signed and dated 1945.17.XI lower right, 120.5 x 94cm (47.5 ins x 37ins), framed Istvan von Somogyi (1897-1971), Hungarian painter, best known for his pictures of horses. (1) £150-200

Lot 500

159

502* Sonnabend (Yolanda, 1935-). The Mocking of Christ, after Caravaggio, oil on canvas, 183 x 122 cm (72 x 48 ins), framed A large-scale and typically theatrical variation by Sonnabend on the famous original by Caravaggio in the Museo Nazionale di Capodimonte, Naples. A painter and stage designer, Yolanda Sonnabend's work was exhibited at the Serpentine Gallery, London, 30 November 1985-5 January 1986. Provenance: Purchased by the present owner from the aforementioned exhibition of Yolanda Sonnabend at the Serpentine Gallery, 1985-86. (1) ÂŁ300-500 160

Lot 503

503* Spooner (Arthur, 1873-1962). “Castle Rushen, Castletown, Isle of Man”, oil on canvas, showing a view of the castle from the harbour, signed lower right, and titled on reverse, 41 x 63.5cm (16 x 25ins) Arthur Spooner studied in the traditional Victorian manner at Nottingham School of Art but went on to paint in the British Impressionist style, excelling at atmospheric effects of light. He taught landscape and figure painting at the Nottingham School of Art in the early 1900s and was a founding member of the Nottingham Society of Artists, becoming Vice President in 1924 and 1938. He exhibited locally as well as nationally at the Royal Academy and Royal Society of British Artists. (1) £700-1000

504* Van Donck (Jan, 20th century). View of Amsterdam, oil on canvas, signed lower right, 50.5 x 61cm (20 x 24ins), framed (1)

£150-200

Lot 504

161

507* Wesson (Edward, 1910-1983). Sailing barges at rest, oil on board, signed, 23 x 24.5cm (9 x 9.5in), framed Born in Blackheath and self-taught, Wesson exhibited at the Royal Academy and Royal Institute of Painters in Watercolour. (1) £200-300

505* Weight (Carel, 1907-1997). Portrait of a connoisseur, 1949, oil on canvas half length portrait, of a seated gentleman dressed in suit & tie, with gilt picture frame and landscape behind, 60.5 x 50.5cm (24 x 20ins), gilt frame (1)

£300-500

508* Williams (Frederick Ballard, 1871-1956). Trio, 1907, oil on canvas, signed and dated lower left, some cracking to paint surface, 26 x 23.5cm (10.25 x 9.25ins), ornate gilt moulded frame, glazed, with title plaque

506* Wellesley (Gerard E.). Portrait of a woman in black evening dress, 1901, oil on canvas, signed and dated 1901-5 upper right, 61 x 51cm (24 x 20ins), period moulded gilt frame, glazed Provenance: The Earl of Oxford & Asquith. (1)

Provenance: From the Samuel O. Buckner Collection. Formerly in the permanent collection of the Milwaukee Art Institute. (1) £300-500

£300-500

162

509* Witcombe (John, 1876-1918). The Chestnut Seller, 1915, oil on canvas, signed and dated lower right, relined, 64.5 x 44cm (25.5 x 17.5ins), framed According to a photocopied obituary in the Bath Herald, October 19th 1918, John Witcombe, R.B.A. taught at the Bath School of Art and at Downside Abbey school, and also acted for a time as curator of the Victoria Art Gallery in Bath. As an artist, Witcombe had become well known for his monotypes, particularly in the period up to the beginning of the first world war, and in the summer of 1914 had been invited to promote an exhibition of this work in Brussels. In painting, he became influenced by the work of the postimpressionists, and a painting in this new style was particularly well received at the International Exhibition of 1916. In the year of his death, another work of his at the International Exhibition of that year was apparently reproduced in the magazine Colour. (1) ÂŁ300-400

163

Lot 871

DAY TWO

ORIENTAL WORKS OF ART To commence at 11am 520* A 20th century Chinese automaton, carved as a humorous figure beating drums, with rotating handle extending his head and revealing the tongue of a grotesque head beneath, 17.5cm high together with various carved Chinese figures of souvenir quality (1)

£70-100

521* A 19th century Chinese gilt bronze and cloisonné bowl, decorated with flowers and scrolls in high relief, 11.25cm diameter (1)

£200-300

Lot 523

522* An early 19th century Chinese bronze buffalo, modelled in a recumbent position with crescent over two small figures each seated on a saddle cloth detailed with prunus blossom, the head of the buffalo well detailed with ring through nose and the tail neatly incised, archaic seal mark to base, 16cm long (1)

£200-300

523* A good Chinese bronze figure of a deity, modelled in a well detailed robe and holding a scroll, 21cm high together with another Chinese bronze of a Lohan (Disciple of Buddah), his hand raised to his head, seated on a rocky base with fish perched next to him, 15cm high, both probably 19th century

524* A 19th century Chinese bronze mirror, cast with two confronting dragons chasing a pearl within border of leaves and shaped edges, 18cm diameter

(2)

(1)

£400-600

166

£80-120

525* A 19th century Tibetan gilt bronze seated figure of Buddha Akshobya, in Virasana (lotus position) on a high double-lotus base, 11cm high (1)

£100-150

527* A modern carved Thai figure, carved as a dancing lady, painted in gold with coloured jewel decoration on a circular plinth, 104cm high, together with a similar kneeling figure of a female praying, 68cm high (2)

£150-200

526* A late 19th century Chinese ebonised table cabinet, the two tier cornice over two doors, each carved with figures within landscape enclosing six drawers, over two drawers on four carved supports

528* A Chinese pale celadon jade buffalo and rider, Republic period, nicely carved on hardwood stand, 7.5cm long, together with a Japanese ivory netsuke, carved as a chick hatching from an egg, signed, 4.5cm long, and various items of miscellany

(1)

(a carton)

£300-500

167

£100-150

531* An early 20th century Chinese porcelain bowl, the exterior decorated with a cloisonné effect, with iron red painted interior and blue fruit with gilt painted leaves, four character mark to base on a wooden stand, 16cm diameter, together with various miscellany including a Mason’s pottery blue and white ‘Willow’ pattern cheese dish and cover, plus an Edwardian circular aneroid barometer etc. (-)

£70-100

529* A Chinese brass peach form censer, with pierced cover, 11cm high, together with a bronze shoulder vase with shi-shi ring turn handles plus a brass incense burner and cover on an ovoid base with ring turn handles (3)

£150-200

530* A Chinese porcelain blue and white dish in the Kangxi style, painted with elders within red border, reverse with clouds and four character mark, 12cm diameter, together with a 19th century Chinese blue and white tea bowl, decorated with villagers preparing tea, 7.5cm diameter, various Chinese provincial pots including a hexagonal pottery pot, Qing Dynasty, the panels decorated with flowers and Chinese characters in relief and all over green glaze, indistinct characters to base, 15cm high, a Chinese crackleware jar, decorated with warriors in green and red, character mark to base, 13cm high, plus a Japanese porcelain Katani dish, Meiji period, typically decorated in an iron red with panels of flowers and buildings, two over painted characters to base and collection label, 18.5cm diameter

532* A fine Japanese cigarette case, circa 1920, with monogram in black circular cartouche beautifully detailed in gold throughout with leaves with artist signature, the interior with bronze finish, together with another cigarette case typically detailed with Mount Fuji on a bronzed ground

From the collection of Philip S. Rawson, late Oriental scholar and author of the books Sacred Tibet, and Tao: The Art of Change (both Thames and Hudson “World of Art” series. (-) £100-150

(2)

168

£200-300

535* A pair of 20th century giltwood panels, each intricately carved with figures and Pagoda’s, 78cm high (2)

£70-100

533* Various Japanese cloisonné, including a Meiji period Saki pot, decorated with butterflies, moths, grapes and vines on a turquoise ground, with domed cover bronzed finial and handle, 9.5cm high, together with a water pot and two napkin rings (4)

£80-120

536* An 18th century Japanese octagonal iron tsuba, finely detailed in gold with a tiger amongst bamboo shoots and leaves, the reverse similar detailed, 6.5cm high x 6cm wide (1)

£150-200

537* An ivory carving, probably Indian, of a young woman carrying a vessel, finely carved with detailed face, incised detailing to her robe, 14.5cm high, lacking base, together with an Chinese ivory tusk, carved as figures on a boat transporting prunus leaves, 22cm long on a carved hardwood stand, damaged

534* Three Northern or Eastern Indian terracotta female fertility figures, each in the Ishtar pose approx. 15cm long, inscribed in pencil on the reverse presented 1959, together with an early pottery tile, probably Indian, polychrome painted with a bird within foliage by a column, 24 x 24cm square

(2)

From the collection of Philip S. Rawson, late Oriental scholar and author of the books Sacred Tibet, and Tao: The Art of Change (both Thames and Hudson “World of Art” series. (4) £100-150

169

£200-300

539* A Chinese carved ivory tusk, intricately carved with figures and pagodas, 30cm overall on a carved wooded base, together with a Chinese papier-maché box, the lid painted in gold with figures, 13cm wide (2)

£70-100

540* A Japanese lacquered bowl, Meiji period, signed in gold lacquer above a spray of leaves, the base with Museum label for ‘Gulbenkian Museum, Durham’, 8.5cm diameter; a Japanese tortoiseshell and lacquer bowl depicting Mount Fuji, base signed in gold lacquer and with ‘Gulbenkian Museum’ label, 10.5cm diameter; a Japanese comb, Meiji period, bamboo with bone mounts, painted in gold, 11cm long; a circular Japanese plaque, probably a hand mirror decorated with cranes and bamboo trees in relief, 17cm diameter From the collection of Philip S. Rawson, late Oriental scholar and author of the books Sacred Tibet, and Tao: The Art of Change (both Thames and Hudson “World of Art” series. (4) £100-150

538* A late 19th century Chinese ivory puzzle, on stand, 19.5cm high, together with a carved Cantonese ivory card case, 11.5cm x 7.5cm, damaged (2)

£100-150

Lot 539

170

543* A Chinese porcelain boat, circa 1900, modelled with a seated figure on the deck with pierced hand rails and stylised dragon head to foredeck, with an iron red ground decorated with fish and sea in yellow, green and purple, 40cm overall, some damage (1)

541* A 19th-century Persian papier-mâché box and cover, finely painted throughout with hunting scenes and Kufic script, 17cm high x 19cm wide x 25cm deep (1)

£80-120

544* Two Chinese blue and white porcelain bowls, together with a pair of shallow bowls, all painted with medallions and scrolls with plain interior on a raised foot, each with six character ‘Ming’ mark but probably 18th century, 13cm diameter and smaller, plus a Chinese blue and white porcelain bowl, probably 19th century, painted with a dragon to the exterior and a fish to interior, with commendation mark to base, 20cm diameter, some damage

£150-200

(5)

£100-150

545* An early 20th century Chinese porcelain group modelled as two Kylin, painted in blue and turquoise on rounded plinth, 12cm wide, together with two Chinese porcelain bowls circa 1900, decorated with figures within landscapes, an early 20th century chess set, comprising sixteen ebonised and boxwood pieces, in a mahogany box and a Victorian glass decanter (5)

£100-150

542* A very fine and rare Chinese gilded cloisonné paste box and cover, Qianlong period, 1736-1795, with designs of meandering vines with wild flowers and a dragonfly and similarly decorated on the raised lower side, in mostly original condition with some minor dents around the foot but no enamel damage, approx. 6.5cm diameter (1)

£250-350

546* A 19th century Chinese porcelain tray in the famille-rose palette, painted with three panels of figures within a green vine and pink flowers, 26cm wide, together with a similar tray and leaf shaped spoon dishes each in the famille-rose palette, 19.5cm long, plus a Chinese blue and white oval dish painted with figures within pierced border, 25cm wide (4)

Lot 543

171

£100-150

Lot 547

548* A 19th century miniature cinnibar lacquer tripod form brushwasher, carved to the exterior with two Lohans (Disciples of Buddah) in a mystical grotto appearing to float in a cloudy sky, probably on a copper or bronze base, 7cm diameter For the scholar’s table. (1)

547* A 20th-century Burmese wooden box, of rectangular form, highly decorated in gold with mythical figures and geometric borders, containing an extensive double-sided text, possibly based on the Ramayama, bound concertina-style and having twenty large colourful gouache illustrations, some heightened with gold, dimensions of box, 28cm high x 80cm wide x 27cm deep (1)

£200-300

172

£150-200

549* A late 18th century rare and finely carved agate seal, in the form of the Goddess Kwanyin refreshing the oceans from a magical vase, whilst standing upon a dragon fish, the base as a seal of two characters within the body of a dragon, 10cm high Purchased from John Sparks Ltd., London, by the current owner in the 1970s. (1) £600-800

550* A collection of brass Tantric religious artefacts, including 19th century a ‘horrific offering’ vessel, brass with turquoise eyes on skull supports, 16cm high and other related items From the collection of Philip S. Rawson, late Oriental scholar and author of the books Sacred Tibet, and Tao: The Art of Change (both Thames and Hudson “World of Art” series. (-) £100-150

551* A late 19th century Chinese carved cameo glass snuff bottle, with four ruby coloured panels carved in high relief with faux ring turn handles, 6cm high, together with a Chinese miniature teapot decorated with two panels within faux cloisonné ground, 13cm long and a Chinese blue and white tea bowl, 9cm diameter (3)

£80-120

552* A 20th century Chinese porcelain stick stand, circular polychrome painted with exotic birds, 61cm high (1)

Lot 549

173

£50-70

553* A Japanese lacquer miniature table cabinet, detailed in gold with birds, insects and flowers, with two doors each with engraved brass hinges and catch enclosing four short and 2 long drawers, 9cm high x 9cm wide x 7cm deep, together with a Japanese oval hand mirror, the ivory panel carved with two Geisha girls on a reticulated ground within white metal and enamel border with suspension ring and black cord, 11cm x 7cm (mirror broken), plus a similarly worked Chinese box and cover, 9cm diameter (damaged) (3)

£150-200

Lot 555

554* A Japanese cloisonné table screen, formed as four panels, intricately detailed with birds and trees on blue ground, the reverse similarly detailed in gold, 16.5cm high x 31.5cm wide (1)

£150-200

555* A 19th century Anglo-Indian ivory thermometer, engraved with scales for Centigrade and Reamur, with reticulated top and base (1)

£100-150

556* A 19th century Tibetan bronze, modelled as a seated figure on a lotus base, the robes edged in enamels, 24.5cm high (1)

£400-600

Lot 556

174

558* An interesting carved circular form vase and cover, circa 1960s, carved with ferocious masks to each shoulder supporting loose rings, the speckled green material possibly Bowenite also called New Jade carved with stylised dragons rising to a double gourd finial with additional creatures also supporting loose handles, 23cm high, minor restoration to one ring (1)

£200-300

557* A 19th century Chinese silver trophy cup, the bowl embossed with squirrels amongst grapes and vines with shield cartouche engraved ‘S.L.H. Mounted Sports All Comers Prize Tent Pegging presented to the Troop Won by C. Oswald Liddell August 1885’, on an vine entwined pedestal with rocky circular base, stamped with Chinese characters and ‘L.W.’ (probably Luen Wo, Shanghai), 21cm high, 10oz, together with a small circular Chinese silver dish circa 1920 by Hung Chong, 7.5cm diameter and a Chinese silver coloured metal napkin ring Charles Oswald Liddell (1855-1941), born at Edinar, Midlothian, Scotland, he lived in China from 1877-1913, during which time he acquired porcelains from notable collections such as the Yikuand, Fourth Prince Qing, the last Regent of the Qing dynasty. Upon his return to England he settled at Shirenewton Hall in Chepstow, his collection was largely sold at Bluett & Sons, London in 1929. Liddell’s grandson was Captain Ian Oswald Liddell VC, Coldstream Guards (1919-1945), who was posthumously awarded the Victoria Cross, for his courageous actions at Rothenburg, Germany 21.4.1945. Sotheby’s Hong Kong 7.4.2011 refer. (3) £200-300

559* An early Chinese bronze hexagonal vase in the Ming style, with twin dragon handle with four attendants standing before an archway, with three scroll supports, 18cm high (1)

175

£100-150

560* An early Chinese bronze hexagonal vase, with twin scroll handle, and pierced and foliate scroll body, on three scroll supports, on a squat stand with four shaped supports, 19.5cm (1)

£100-150

561* A Chinese Han-Hu form vase, covered in a deep green glaze with faux ring handles mounted on T’ao T’ieh masks, 32cm high (1)

Lot 560

£500-700

562* A matched pair Japanese Satsuma pear shaped vases and cover, typically painted with figures and landscape, seal mark to base, 9.5cm high, together with a two bowls and a brush pot, all bearing seal and artist mark (5)

£200-300

563* Two Japanese Zushi, Meiji period, each with gilt lacquer case containing a carved wooden figure of a goddess on elaborate base (2)

Lot 561

176

£200-300

CHINESE JADE

Lot 564

Lot 565

Lot 566

564* A fine ladies pale celadon jade bangle, possibly late Qing Dynasty, of small size, the appearance of flawless material and of good colour, polished with a smooth gloss overall, 7.8cm diameter From the collection of Philip S. Rawson, late Oriental scholar and author of the books Sacred Tibet, and Tao: The Art of Change (both Thames and Hudson “World of Art” series). (1) £300-500

565* A large archaistic-style ‘Bi’, possibly Qing Dynasty or earlier, the mottled grey jade with darker inclusions and rivering throughout, carved on the face with eight signs and eight trigrams in shallow relief, the slightly bevelled surface with central hole and serrated edges on the outer lip, the reverse similarly decorated with additional archaic symbols on a cross-hatched surface, some symbols with remains of coloured pigments, 7.5cm d From the collection of Philip S. Rawson, late Oriental scholar and author of the books Sacred Tibet, and Tao: The Art of Change (both Thames and Hudson “World of Art” series). (1) £300-500

566* An extremely rare Ming Dynasty greenish-white jade finial, carved overall with an openwork design of lotus pods and flowers, bourne on leafy stems and entwined about to encase and hide the body of a sinuous dragon, his head appearing at the top if the flowers ready to fly skywards, 6cm high This jade is highly unusual as it is rare to find finials with the design of dragons. There are some minor losses but generally in excellent preservation for the Ming dating. Provenance: From the estate of General Sir John Hart Dunne (1834-1924). Sir John Dunne served through the Crimean campaign, and was the last survivor of the 36 of the 21st Fusiliers who landed on the Peninsula on September 14, 1854. Under Sir Hope Grant he served with the 99th Regiment - to which he transferred in 1856 - throughout the campaign of 1860 in the North of China, including the action of Sinho and the taking of Tangku. He was attached to the Army Headquarters Staff in the advance on and capture of the Taku Forts, August 11 to 27, and was with the advance guard at the actions of Chang-kin-Wan, and Paliatchow and surrender of Peking, receiving the medal with two clasps. (1) £2000-3000 177

Lot 568

Lot 569

567* A very fine white jade openwork panel, late Qing Dynasty, possibly to be used as a mounted miniature table-screen for the scholars desk, delicately cut through to depict six exotic birds amongst trailing vines and lotus with pine and rocky outcrop, 9cm long This type of openwork carving was developed as early as the Ming Dynasty. (1) £500-700

568* A fine celadon jade openwork panel, Qing Dynasty or possibly earlier, of rectangular form with a rounded edge to one side, deeply carved on front with a sinuous four claw dragon cavorting in a background of scrolls formed of two distinct layers, the details neatly incised overall and with two prominent Chinese characters carved within two elaborately framed cartouches to each shoulder, 16cm x 6cm (1)

£600-800

569* A very finely carved pale celadon jade garment ornament, possibly 18th century, to depict a flower with two layers of overlapping petals and the centre drilled for a fixture to the garment, the reverse left smooth and undecorated, 5.5cm diameter

570* A decorative openwork pale grey jade “Pei”, late Qing Dynasty, the pendant with a border of joined convex beads and a bold rendition of conjoined characters read as “Double Happiness”, obviously given as a wedding gift, 5.5cm diameter

From the collection of Philip S. Rawson, late Oriental scholar and author of the books Sacred Tibet, and Tao: The Art of Change (both Thames and Hudson “World of Art” series). (1) £100-150

Purchased from John Crichton Limited, London in the 1970s. (1)

178

£300-500

571* A very fine white jade “Pei”, late Qing Dynasty to early Republic, well carved with a Dragon face suspended from confronting trifad tailed Chilongs, the stone of pure white tone and neatly incised overall 5.5cm diameter (1)

Lot 573

£400-500

572* A fine and rare carving of a recumbant ‘Kylin’, Ming Dynasty, the greenish jade with areas of natural ochre skin and darker rivering and areas of normal wear, the tail coiled up meeting the horny main and pierced for suspension, 8cm long Purchased from the Bond Street Galleries in the 1970s. (1)

£400-600

573* A boldly carved celadon green jade pendant, Republic period, depicting an endless knot hung with ribbons, the stone of good colour and with glossy polish, 6.5cm long (1)

574* A greyish-white jade carving of circular form with distinct foliate rim, the concave interior carved in shallow relief with archaistic dragons confronting and phoenix heads in opposing positions, 8.5cm diameter

£80-120

The design is unusual and is based on a Han Dynasty hand mirror usually made of Bronze. (1) £150-200

179

575* A pale celadon jade belt buckle, Republic period but carved in the Qing style, with a recumbant horse and a monkey seated on his back, 7.5cm long, although late the jade is of fine colour Representing a rebus with a wish for a rise in rank in the Civil Service exam. (1) £150-200

577* A Khotan jade pebble, early 20th century to Republic, carved in the raw to reveal a white-ish-green interior and carved with two Mandarin ducks, each holding sprigs of ‘Lingxi’, some areas of skin have been left to enhance the carving, 8cm long Representative of a blissful union as Mandarin ducks mate and stay together for life. (1) £500-800

578* A very fine white jade pendant, carved in the 18th century style but late Qing Dynasty, carved in bold relief with a stylised Chilong with bifad tongue displayed, the body entwined over a panel with bird head finial, 7cm long

576* An unusual pendant form celadon green jade carving, stylistically in the manner of the 18th century, but possibly a little later in the Qing Dynasty, of rectangular shape and carved in relief to the front with chilongs clambering on and around the edges, drilled from each side for suspension, 8cm long Purchased from B. Mansels, Shrewsbury, in the 1970s. (1)

(1)

£300-500

180

£300-500

580* A fine pale celadon green jade “Pei” blank panel, late Qing Dynasty, the colour of even tone throughout, carved on top to each side with confronting sinuous Chilongs, the panel without borders is more suited to incised calligraphy than being carved in relief, 7cm long (1)

£250-350

579* A lustrous white nephrite jade carving, late Qing Dynasty to 19th century, of a large ‘lingxi’ magic mushroom with a monkey sleeping at its edge, the reverse with entwined stems and areas of natural ochre skin with additional lingxi growing on the underside, 6.5cm long Purchased from B. Manser, Shrewsbury, in the 1970s. (1)

£400-500

581* A finely carved openwork white jade pendant, late Qing Dynasty, of circular form carved to the front with an exotic bird and a bat, the reverse similarly decorated with a deer and bat respectively, 5.5cm Often silk or cotton was placed inside with a pleasant perfume being absorbed and was worn around the neck. (1) £250-350

582* A celadon jade pebble, 17th-18th century, boldly carved as confronting catfish, each holding sprigs of ‘Lingxi’ magic mushroom in their mouths, 6.5cm long The magic mushroom represents a wedding gift and a wish to the recipients to have a happy marriage and a wish for a long life. (1) £250-350

Lot 580

181

585* A mottled and veined burnt or calcified jade circular archaistic style “Bi”, carved in the Ming style and possibly of the period, boldly carved in relief with two cavorting bifad tailed Chilongs, the detail neatly incised and the reverse decorated with beads and scrolls within raised linear borders, 6.3cm diameter

583* A very fine and rare white jade archaistic style “Bi”, carved in the Ming style but most likely 18th century Qianlong period, 17361795, of circular form carved around the edge with cavorting Chilongs, 5.5cm Purchased from John Sparks Ltd, London, in the 1970s by the present owner. (1) £2500-3500

(1)

586* An interesting white jade pebble toggle, late Qing to early Republic, carved to depict one of the “He He” twins holding a covered circular box, the Khotan jade of even colour and suspended from a silk cord with additional bead, 5cm long

584* A celadon jade belt hook, Qing Dynasty, typical of carvings of the 18th century, with dragon head, the stone of the pale tone with well carved archaistic decoration on the top, 10.5cm long With label ‘Collection Miramar, Geneve. No. 1182’. (1)

£700-1000

(1)

£500-700

Lot 584 182

£200-300

Lot 588

587* A very fine white jade snuff bottle, late 18th to early 19th century, formed as a Buddha’s hand fruit, the colour of even tones throughout, 6cm long (1)

£400-600

588* A very fine white nephrite jade “Pei” pendant, late Qing Dynasty, of rectangular form carved in shallow relief with twin fish hung from an endless knot with chimes and tassels, framed on each corner with stylised Lotus, the reverse with a cylical dated contained within eighteen “Lishu” official script characters, 6cm long Twin fish are symbolic of a happy marriage. Purchased from Manser Antiques, Shrewsbury, in the 1970s. (1) £700-1000 Lot 587

183

Lot 589

589* A delightful feline jade group, late 18th-19th century, Qing Dynasty, the pale celadon boulder carved with mother and her cub, its head turned towards her, whilst she holds a leafy branch and “lingxi” in her mouth, with a fine lustre and neatly inlaid hairwork, 5.2cm high From the E. Hancock collection, purchased in the 1970s. (1)

£1200-1500

184

592* A rare jade carving of a recumbant dog, Ming Dynasty or earlier, suffused throughout with black and ochre colouring, drilled for suspension, 4cm long Purchased from the Manser Collection, Shrewsbury, in the mid 1970s. (1) £300-500

590* A rare and desirable pebble jade, late Ming, the Khotan jade carved as a blank seal with a twin tailed Chilong on top, the sides with deep ochre skin and with a lustrous polish overall, 3.2cm high (1)

£150-200

593* A two piece dragon head belt buckle, late Qing Dynasty, the white jade carved with two circular panels each containing a single Chinese character within a bordered cartouche, the stone of even colour throughout, overall width 10.5cm (1)

591* A jade belt slide, late Ming to early Qing, carved in relief with a Chilong on top and bead design below, the stone of yellowish green with darker inclusions, 5.2cm long (1)

£300-500

185

£600-800

Lot 594

594* A white jade “Pei” or pendant, Qing Dynasty, of usual form with a scholar painting a scroll held by his attendants, all framed within a border of opposing dragons, the reverse with an addition bordered panel signed “Zigang” and a lengthy poem, the detail crisp with a lustrous polish, 5.8cm overall (1)

£1200-1500

186

TRIBAL ARTEFACTS 595* Three African Bashets, together with a group of six Native items including a carved coconut money box and a Chinese bronze bell, 15cm high (9)

£70-100

596* A Baule Goli mask (Ivory Coast), carved with horns and covered in pigment and paint, 58cm high, sold with certificate from the Gotham Gallery, New York Ex John Ousmong Collection. (1)

£70-100

597* A Cameroon Bangwa tribe figure, 34cm high, together with a large Cameroons figure, carved as a memorial dancer, 62cm high (2)

£100-150

598* A Chockwe mask (Angola), ebonised with carved incisions to forehead and chin, reverse backed with woven cord, 40cm high (1)

£100-150

599* A Dan mask (Liberia), typically carved with narrow eyes and protruding mouth, 26cm high, together with Papua New Guinea house mask pierced for wall mounting (2)

£60-80

Lot 596

600* A Dan mask (Liberia), the face inlaid with two shells and with black grass hair, 32cm long together with an ivory fly whisk the reeded handle intricately carved with a scarab terminal Lot 597

(2)

187

£70-100

601* An African carved hardwood head rest, typically curved over four carved uprights supported by central column carved with a geometric design on rectangular base, 23cm high x 46cm wide (1)

£100-150

603* A group of five Indian brass figures, including a seated bronze figure of the Elephant Hindu god Ganesa, 15cm high, and a cast bronze flatback figure of the Hindu Goddess Vrikshaka or tree nymph, 29cm high (5)

604* A 19th-century Indonesian hide shield, of circular form with spiked brass central boss surrounded by five further bosses, 35cm diameter

602* An Ibibio mask (Nigeria), carved with cicatrice scars behind the eyes, 36cm high (1)

£100-150

Used by the Aceh people of Sumatra. (1)

£70-100

188

£100-150

605* A Mende figure (Sierra Leone), carved as a bust on four block upright and block base, 26cm high, together with another similar, 22cm high, a Bamana tribe (Mali) figure of a maternity goddess, 46cm high, plus Fang Fetish (Gabon), carved with characterful face bound with bones 35cm high (4)

£100-150

Lot 607

606* A group of Nigerian currency, including a copper alloy torque from the Igbo tribe, 19cm wide (5)

£100-150

607* A large Senufo figure (Ivory Coast), carved as a Deble (rhythm pounder) 55cm high This type of figure was used to pound the ground during ceremonies. (1) £70-100

608* A pair of Senufo Ancestor figures (Ivory Coast), carved as an elongated male and female, 60cm high, together with a Baule figure (Ivory Coast) with a dark patina and carved with hands on stomach, 46cm high (3)

£70-100

Lot 608

189

Lot 609

Lot 610

609* A Songye kifwebe mask (Congo), carved with masculine central crest, all over incisions and protruding square mouth, 54cm high kifwebe translates ‘mask that dances’. (1)

£100-150

610* A Songye kifwebe mask (Congo), carved with masculine central crest, all over incisions and protruding square mouth with grass attached to the lower section, 48cm high (1)

£100-150

611* An Indonesian hardwood statue of a dancing girl, finely carved on a block plinth, 101cm high (1)

Lot 611 190

£200-300

Lot 612

Lot 614

612* Yaure tribal dance mask (Ivory Coast), the face carved with a bird on head encompassed by curled horns, 34cm high (1)

ÂŁ70-100

613* A Yoruba Ibeji figure (Nigeria), carved with archaic smile with glass bead earrings, 26cm high together with a Teke figure (Congo), carved as a standing figure with lines on face representing mbandjuala (facial scarification), 23cm high, plus a Bembe figure (Congo), carved as a seated elder 29cm high (3)

ÂŁ80-120

614* A Zaire Songye fetish, carved as a magical fetish with rope around neck and arm and a cattle horn protruding from his head, 28cm high, sold with certificate from the Gotham Gallery, New York Ex Claire Bernard Collection. (1)

Lot 613

191

ÂŁ60-80

SCULPTURE

615* Adams-Acton (John, 1830-1910). White marble bust of James S. Budgett, finely carved and attributed on base, verso carved ‘John Adam’s Acton Fect Roma 1861’, 63cm high, weathered James S. Budgett succeeded a well-established family run business of wholesale grocers, with shops throughout London and Bristol and the South-West. (1) £300-500

616* A late 19th century alabaster figure of a girl, in a bathing costume in diving pose, on a round plinth, approx. 67cm high (1)

£500-700

Lot 616

192

618* British School. A small bronze of a horse’s head, 20th c., mounted on a marble plinth, from which the off-side shoulder, foreleg, neck and head of the horse appears to emerge, plinth 13 x 17.5cm (5 x 7ins), horse length 15cm (6ins), height 13.5cm (5.25ins) (1)

617* Barbedienne (Ferdinand, 1810-1892). Nymphes de la Fontaine des Innocents, a pair of bronze relief plaques, with verdigris patina, each signed at foot, each 29 x 7.5cm (11.5 x 3ins) (2)

£100-150

619* A fine early 20th-century bronze Buddha, c. 1920, mounted on a substantial coloured marble base, 20cm high

£200-300

(1)

£400-600

620* Continental School. Head of a Young Woman, c.1930s, bronze, unsigned, height 20cm (8ins) (1)

Lot 618

193

£100-150

622* Herbinier (Arsene, 1869-c. 1950). Original copper-faced printing block for the month of November, c. 1900, Art-Nouveau copper-faced printing block for the month of November from a calendar, with floral decoration enclosing a central panel giving dates and Saints days, and with Novembre above, signed in the block to lower edge, 161 x 58mm Herbinier was a French printmaker and poster designer, who studied with Luc-Olivier Merson, Eugene Grasset and Alfred Jean Marie Broquelet. He produced a poster for the 38th Salon des Cent exhibition in 1898. (1) ÂŁ200-400

621* Ferville-Suan (Charles Georges, 1847-1925). La Danse, bronze relief sculpture, depicting figures in Renaissance costume dancing outdoors, with brown patina and verdigris, signed lower right, 30.5 x 40.5cm (12 x 16ins), in period walnut frame (1)

ÂŁ300-500

623* A late 18th century Continental ivory group, carved as a boy teasing a girl with an apple, on an ebonised socle, 25cm overall (minor damage) (1)

Lot 622

194

ÂŁ300-500

Lot 624

624* An Italian carved green serpentine marble columnar pedestal, circa 1880, the circular top over spiral carved stem on and octagonal base, 112cm high, together with two similar of differing sizes (3)

ÂŁ600-800

625* A pair of 19th-century white marble lions, each finely carved with one paw raised and resting on a ball, on a rocky base, 26cm high x 30cm long (2)

ÂŁ500-700

Lot 625

195

Lot 627

626* A 19th-century alabaster statue of a semi-nude female in classical wear, 19th c., finely carved holding drapery on a rustic base, 88cm high, (notable damage mainly to the base) (1)

£500-700

627* Morath (W.B., early 20th c.). The Blacksmith, bronze figure of a blacksmith with his hammer raised above an anvil, left hand lacking tongs and horseshoe, signed at foot, height 29cm (11.5ins), mounted on marble socle (1)

£100-150

628* Moreau (Mathurin, 1822-1912). Echo, an Art-Nouveau bronze sculpture of a female, with weathered patina, signed on lower edge, height 70cm on bronze socle (1)

£500-700

Lot 628

196

629* A pair of early 19th century patinated bronzes modelled as Father Time and his companion, Father Time standing on his right leg with scythe in his hand on a domed and rectangular base, 18cm high x 19cm wide, the other similarly modelled holding a torch, 16cm high x 15cm wide, together with a Grand Tour bronze modelled as a lion with a child in his mouth on a bronze rectangular base, 7.5cm high x 11cm wide (3)

ÂŁ200-300

630* Portrait. Head of a Man, 20th c., bronze, unsigned, height 22cm (8.5ins), mounted on marble socle (1)

ÂŁ100-150

631* Four bronze rectangular panels, each depicting a Cherub and musical instrument within geometric border, 57cm high x 21cm wide (4)

Lot 630

ÂŁ200-300

Lot 631 197

COLLECTABLES

632* An Art Deco spelter figure, modelled as a seated girl stroking a peacock, on an onyx rectangular base, 25cm high x 58cm long (1)

£100-150

634* An early 20th century Black Forest bear, 24cm long (1)

635* A Victorian Naughty Nellie cast iron boot jack 24cm long together with a 1920s bisque porcelain seated nude impressed ‘405 V’, 9cm high x 10cm wide plus two carvings and a glass bottle in the form of a female.

633* A pair of reconstituted stone lions, each on an octagonal base, 86cm high overall (2)

£70-100

£100-150

(5)

198

£70-100

636* A 19th century bronze bull, finely modelled with his head in a charging position, lacking horns, 9.5cm long (1)

£70-100

638* A pair of late 20th century bronze sculptures, modelled as a male and female torso on an integral circular base, 52cm high (2)

637* An Art Deco bronze figure of a female dancer, nicely detailed with outstretched arms and legs on a circular floral encrusted base and marble plinth, 37cm high, polished throughout (1)

£80-120

639* A late George III brass table candelabrum, c. 1820, the circular base with globe form on raised classical column with scrolled foliate pattern branches (older repairs), 43cm high

£200-300

(1)

199

£80-120

643 Fans. Advertising fan for Armenonville et Cafe de Paris, 1903, folding paper fan, the obverse of the leaf with chromo. illust. of a courting lady and gentleman with an older couple on the left and pink roses on the right, by Georges Redon, with printed artist’s signature and date, mounted on wooden sticks, with gilt decorated guardsticks, 25cm (9.75ins), together with Advertising fan for Veuve Clicquot Ponsardin champagne, c.1930s, folding paper fontage fan, the obverse of the leaf with chromo. illust. of a lady and gentleman in evening dress drinking champagne, with another couple dancing in the background, by Fernand Couderc, lettered on verso, sl. rubbed and creased, mounted on wooden sticks, with leading guardstick gilt lettered, 26cm (10.25ins), plus seven other fans (some defective) or parts of fans, incl. a late 18th c. hand-painted folding paper fan with scenes of Naples and Vesuvius, entitled ‘Eruzzione nouva del Vesuvio Accaduta nel Mye di Foro’, ‘Veduta della Grotta del Cane’, and ‘Veduta del Tempio di Sirapide in Pozzuoli’, dated 1785, mounted on tortoiseshell sticks, broken and worn with loss, contained in a cardboard fan box, with early ms. label inside lid ‘First prize for the best Hand Bouquet’, plus part of an early 19th c. fan box with printed paper label of P. Juchao, Fan Maker

640* A Staunton Chess Set by J. Jaques & Son, comprising 32 pieces, ebonised and boxwood, in original box with manufacturers label, 9cm x 20cm, plus two related books including Short (Bob), Bob Short’s Rules for Short Memories at the Game of Chess, printed 1822, Shackell and Arrowsmith , Johnson’s, London, 22 pp. (3)

£100-150

641* Eight E.II.R. graduated copper measures, each cylindrical with the largest being a Gallon and the smallest a Gill (8)

£70-100

(10)

£100-150

644* A Victorian gilt metal fire fender, with integral andirons, 137cm wide, together with various brassware including a set of three fire irons (-)

645* A late 19th century stained pine fishing box, rectangular with hinged lid enclosing six long and six short drawers, 15cm high x 90cm wide x 33cm deep, together with four early 20th-century brass fishing reels including one with ivory handle

642* An early 19th-century postal-carrier’s dispatch-box, c. 1820s, of barrel-shape, calico-covered and varnished wood construction, hinged-opening top with inset brass lock-plate and carrying handle, complete with original key, length approx. (46cm) (1)

£100-150

(5)

£100-150

Lot 644

Lot 645

200

646* H.M. Monitor Class Experimental Submarine “M.I.”. A fine 1/72nd scale museum quality display model, built by D. Simpson, finished in blue over grey with scalloped or ‘wavyline’ division on hull and conning tower, with well-modelled 12 inch gun and turret, with periscopes, radio masts, 3 inch aft gun, the forward and aft gun decking of simulated planking gold plated, the hull with numerous gold plated fittings including a derrick, guard rails, cleats, vents, torpedo doors and other fittings, with fore and aft stabiliser planes, rudder and twin gold-plated propellers, on mounting, in glazed oak display case, 64 in (162.5cm) long, with fore and aft simulated ivory builder’s plates, inscribed “H.M. Submarine “MI” Submarine Cruiser ‘M’ Class for the British Admiralty Constructed by Messrs Vickers Barrow-in-Furness Launched July 1917” In 1915 Lord Fisher suggested and proposed to the Admiralty the construction of a submarine capable of mounting a 12 inch gun. The idea was that the submarine could remain concealed beneath the sea surface, the gun once elevated could then be fired at a target. Four submarines of this type were ordered using the keels of four unfinished “K” class submarines. “M1” was completed in April 1918, three “M” class were completed, two by Vickers and one by Armstrong Whitworth, “M4” incomplete at the time of the Armistice was sold for scrap. “M1” was sunk in 1925 after being in collision with a collier at night approximately 35 miles south of Plymouth, she was lost with all hands. In 1990 the wreckage was discovered, but the location was not precise. In 1999 a diving team, after much research, relocated “M1”, so her final resting place is now known. (1) £1500-2500

201

648* 19th cetury bone prisoner of war dominoes, comprising 22 miniature pieces contained in a turned bone barrel, 5cm high, together with an ivory seal in the form of a Japanese inro another ivory seal carved with leaves, a pair of Victorian tortoiseshell lorgnettes, with silver coloured metal rims, various items of miscellany, sold in a small desktop diplay cabinet ()

£100-150

649* A Liberty Tudric lidded jug in the manner of Archibald Knox, hammered finish and stylised Art Nouveau handle, various marks to base stamped ‘Tudric Pewter’, ‘066’, 15.5cm high (1)

£100-150

650* A 19th-century brass Empire-style hanging lamp shade, formed as arrows with four glass panels (two missing), 84cm high 647* A late 18th century ivory bottle, carved with humorous panels of a man looking up a lady’s skirt sharply receiving a bowl of water, the other panel similarly carved each within foliate border, hollow throughout, 6cm high

651* A modern Tiffany style glass lampshade, typically decorated with dragonflies and coloured cabochons, 53cm diameter

(1)

£100-150

Lot 649

£100-150

Lot 651

202

652* A group of six Art Deco Tiffany-style leaded-light wallfittings, c. 1930s, of brass and soldered lead-edged pattern framework with alternating opaque panel and bulls-eye glass decoration: glazed shades without light-fittings (6)

£150-180

Lot 655

653* Masonic Regalia, including a gold coloured metal Masonic ball pendant, a 9ct rose gold pendant, Chester 1919, two cases of Masonic regalia, comprising, aprons, gloves, books and gilt and enamel jewels, two further aprons and a sash with silver mount, Birmingham 1937 (7)

£100-150

654* An early 20th-century mirror, probably Indian, rectangular with rosewood and ivory geometric inlay, 41cm x 37.5cm (1)

£70-100

Lot 656

655* An early and large white marble mortar, of circular form with four lugged buttresses, 32cm wide (1)

£100-150

656* An early 19th century tortoiseshell novelty necessaire, in the form of a knife box, the hinged lid enclosing mirror and apertures for six accessories but only retaining the bone aide memoire, 7.5cm high

657* A mid 19th century brass hanging oil lamp, manufactured by Veritas Lamp Co, complete with reservoir, burner with wick, glass chimney and smoke-shield, opaque white-glass shade (cracked), together with a late Victorian oil table-lamp having amber-glass reservoir, cast-iron base and decorative etched glass shade

(1)

(2)

£80-120

203

£80-120

658* A Victorian ivory page turner carved from an elephant tusk, plain with engraved monogram, 49cm long, together with an ivory rectangular gallery tray with twin pierced handles on block supports, 24.5cm wide plus a Victorian oval mirror with bevel edge glass and carved ivory frame 14.5cm x 12.5cm (3)

£150-200

659* A collection of 18th-century and later pewter, including seven plates with various touchmarks including ‘I.N’ bearing harp mark, probably Irish, 23.5cm diameter, six pint mugs and three Quarts etc. (25)

£70-100

660* An early 19th century German fruitwood pocket compass, the lid printed on paper with latitudes for major cities in America, England, Spain, France, Italy and Germany, the inner lid printed and coloured dial with hour ring, compass and ‘Negelein at Nuremberg in Bavaria’, 8 x 5.5cm (1)

£100-150

661* A substantial set of ten Victorian pole arms, each with shaped bronzed steel head formed as a three pronged spike over hollow starburst device applied with motto ‘Altum Peto’ (High Demand) to each side, oak haft and steel spike to terminal, 102 in (260cm) overall, sold with two modern ebonised stands Provenance: Believed to be ex Thoresby Hall, Nottinghamshire. (12)

Lot 660

£700-1000

Lot 661 204

Lot 665 662* A late 19th-century Polish axe, probably used by the Goral (Moutaineers) from the Tatra Mountains, the steel head engraved with geometric designs and sheathed in brass, long tapering wooden haft with applied brass mounts and fourteen rings terminating in a brass ferrule with steel point, 93cm overall

666* A treen sewing clamp and pincushion, intricately carved, 20cm overall, together with cased Art Deco suite comprising hat pin, brooches an three studs, each with Sterling and mother of pearl mounts

(1)

667* A Victorian mahogany shotgun case, rectangular with brass recessed handle, 10cm high x 83cm wide x 25cm deep, together with the remains of a leopard skin

(2)

£100-150

663* A pair of Victorian postal scales, stamped ‘Warranted Accuracy’ mounted on an oak serpentine base with three recesses for brass weights, inlaid with two brass plaques for ‘Letters’ and ‘Parcels’, with five brass graduated weights, 21cm high x 18cm wide

(2)

£100-150

£70-100

664* A Victorian posy holder, with ceramic flowers set in stylised gilt mount with green enamel leaves and carved ivory stem, 15cm long

668* A Victorian snuff box, made from a whales tooth with brass compartment, 9cm high, a Victorian clay pipe modelled as Bacchus with various indistinct manufacturers markings, 6cm high, a pipe made from a crabs claw bound in brass, 7.5cm long, three fountain pens and other items

(1)

(-)

(1)

£70-100

665* A finely carved mid-19th century Bavarian ivory powder horn, in the form of a boar’s tusk carved with hunting scenes, armorial for ‘Eberhard II’ and other symbols, 30.5cm overall (1)

£300-500

Lot 662 205

£100-150

669* A pair of 20th century electroplated tall twin branch table lights, with wreath handles, plain stems and flower tendrils on circular dished base, 93cm high (2)

£200-300

670* A late 19th century child’s tricycle, c. 1890, of proprietary manufacture built upon the penny-farthing principle, having tubular steel backbone frame with cast forgings to headstock and rear-axle support, with oval-format tapered forks front & rear, solid-tyred radial-spoked wheels with pedal-cranks to larger front wheel, and leather pan-saddle (1)

671* An unusual Regency period ivory miniature tripod table, the circular top engraved with Venus and Cupid ‘C.H. 1673’, over turned pedestal on three cabriole supports with ball and claw feet, 34cm high (1)

£200-250

206

£300-500

A PRIVATE COLLECTION OF ANTIQUE GLOVE STRETCHERS PART II

675* A pair of all silver glove stretchers byTiffany & Co, embossed with acanthus leaves and scrolls, stamped ‘Tiffany & Co, Patd June 20, 1873’, 19cm long, together with a similar all silver pair stamped ‘Sterling’, 19cm long, plus three further pairs of all silver stretchers, each with a hammered finish, various dates, approx. 14.5oz (5)

672* A collection of ten Victorian walking sticks and canes, including a Malacca cane with silver coloured metal top embossed with figures, 92.5cm overall, plus a Malacca stick with plain ivory handle and engraved silver collar, Birmingham 1893, 89cm overall (10)

£150-200

£100-150

673* A carved miniature whatnot stand possibly Prisoner of War work, intricately carved with three tiers displaying domestic vessels with single door cupboard beneath, 9cm high, together with an ivory puzzle and bone snuff box, all 19th century (3)

£100-150

676* A pair of Art Nouveau silver and steel glove stretchers, the silver grips decorated in stylised swirls, by Henry Williamson Ltd, Birmingham 1910, 21.5cm long, together with nine further pairs each with silver grips including a pair with hammered grips, Birmingham 1903 (10)

£100-150

674* A 19th century ivory dog head whistle, lacking glass eyes, 6.5cm long

677* A fine pair of Victorian all silver-gilt glove stretchers, plain with monogram in relief, 22cm long, London 1869, approx. 3.5oz

(1)

£100-150

207

£100-150

680* A pair of Edwardian silver and steel glove stretchers, finely embossed with cherubs within clouds and foliage, 19cm long, by Henry Williamson Ltd, Birmingham 1906, together with nine further pairs each with hallmarked silver grips including a pair with shaped grips cast embossed with scrolls, 19.5cm long, by Arthur Willmore Pennington, Birmingham 1904 (10)

£100-150

678* A pair of Victorian Aesthetic influence silver coloured metal glove stretchers, finely decorated with rushes and foliage, 19.5cm long, together with eight further pairs each with hallmarked silver grips including a pair with grotesque head grips, 18.5cm long, Birmingham 1908 (10)

£100-150

681* A pair of Victorian all silver glove stretchers, embossed with Mannerist style head and scrolls, 24cm long, by Horton & Allday, Birmingham 1891, together with three further all silver pairs including a pair by Asprey, London, plain with engraved monogram within ribbon border stamped ‘Asprey London’, 23cm long, London 1912, a silvergilt pair by Drew & Sons, Piccadilly, London, the grips embossed with a rose encrusted design, 21cm long, London 1902, 12oz (4)

£100-150

679* A pair of Victorian Aesthetic influence silver glove stretchers, finely detailed with flowers throughout stamped ‘Sterling’, 19.5cm long, together with nine further pairs including a pair with silver grips modelled as beasts heads with red glass eyes , stamped ‘German Silver Blades, Birmingham 1906 (10)

£100-150

682* A pair of Edwardian all silver glove stretchers by Tiffany & Co, plain with cupid within foliate decoration and engraved oval cartouche, stamped ‘Tiffany & Co, Makers, Sterling, 925-1000’, 20cm, together with five further pairs including a pair with silver beast head grips, stamped ‘German Silver Blade’ 18cm long (6)

Lot 680

208

£150-200

683* A pair of Regency ivory glove stretchers, the grips each carved with a hand clutching a ball, 23.5cm long (1)

£100-150

686* A pair of Cantonese ivory glove stretchers c.1900, intricately carved with figures before a pagoda and another panel carved with roses, 27cm long, together with a similar pair, 25cm long (2)

687* A pair of Japanese ivory and Shibiyama glove stretchers, Meiji period, detailed in lacquer with exotic birds resting on branches, 26.5cm long, together with another pair, similarly decorated, 20.5cm long

684* A pair of Victorian ivory glove stretchers, plain and carved with monogram beneath coronet, 21cm long, together with four further pairs of Victorian ivory stretchers including a pair carved with acanthus leaves and with heraldic crest, 20.5cm long (5)

£100-150

(2)

£150-200

685* A pair of Cantonese ivory glove stretchers c.1900, plain and carved with figures before a pagoda and roses, 24cm long, together with five further ivory pairs including a pair with each grip finely carved with birds of prey, 23cm long and a similar pair carved with dogs, 21cm long

688* Various glove stretchers, button hooks and shoehorns, including a bone pair the grips each carved with a hoof, 17cm long, an unusual rosewood pair with section for using measure, 32cm long

(6)

(a carton)

£100-150

209

£70-100

690* A Victorian papier-maché rectangular glove box, the Aesthetic influence lid printed with a Geisha girl within fan shaped panel amongst foliage and birds, 31cm long, together with four further glove boxes all very similar, printed and painted with wild flowers each with a pair of leather gloves (5)

£70-100

689* A Chinese silver coloured metal glove stretchers, modelled as crane, with assay mark, 18cm long together with three scarce pairs of Edwardian brass glove stretchers, various sizes (4)

£100-150

691* A pair of Victorian bone glove stretchers, in a red leather bellows case with knotted carrying handle within tooled gilt border, the hinged lid enclosing the stretchers and leather gloves within a blue watered silk lining 28cm long, together with two similar cases each with contents and another case lacking stretchers (4)

Lot 690

210

£70-100

694* A Victorian treen glove powderer, turned with long slender neck, 13cm high, together with an ebony powderer ovoid with long slender neck, 13cm high plus a treen powderer, pear shape with a long slender neck 13.5cm high (3)

£150-200

692* A pair of Victorian ivory glove stretchers, with silver spiral grips, 25cm long, by Stuart Clifford, London, date letter worn but probably 1896, in fitted brown leather case together with a pair of silver and steel stretchers, with shaped grips, 19cm long, by H. Pidduck & Sons, Birmingham 1925, in fitted case plus an unusual bellows glove case formed as simulated bark with shaped vacant brass cartouche and engraved staps with cut steel rivets, 24cm long (3)

£70-100

695* An ebony glove powderer, ovoid with long slender neck 13.5cm high, together with two further powderers, each approx. 13cm high (3)

693* A Victorian bone glove powderer, turned with long slender neck, 11.5cm high, together with a rosewood powderer with long slender neck, 14cm high plus a treen powderer by Dent & Company, 13cm high (3)

£150-200

211

£150-200

699* A collection of Victorian Tartan Ware glove stretchers representing eight clans, comprising, ‘M’Duff’, 18cm long, ‘M’Lean’, 18cm long, ‘Caledonia’, 16.5cm long, ‘Stuart’, 14.5cm long, ‘M’Pherson’, 18cm long, ‘M’Beth’, 20cm long, ‘Prince Charlie’, 14.5cm long, ‘Lorne’, 14.5cm long, in a Tartan Ware glove box in the ‘M’Beth’ pattern, 5.5cm high x 24cm wide x 9cm deep (-)

700* An unusual pair of Jugendstil WMF glove stretchers, with stylised grips, 24cm long, on a conforming stand with hinged compartment, stamped with ostrich mark for 1909

696* A Victorian ivory glove powderer, of ovoid pedestal form, intricately carved with geometric patterning, long turned slender neck and shaped and red painted cover, 13cm high, together with an ebony powderer, 13.5cm high and a small treen powderer, 8cm high (3)

£150-200

(2)

£100-150

697* A pair of Chinese treen glove stretchers c.1900, intricately carved with figures before pagodas, 27.5cm long together with two similar pairs of stretchers (3)

£100-150

698* A collection of nine ebony and hallmarked silver glove stretchers, various sizes and styles including a pair with floral embossed silver grips, William Warr, Birmingham 1896, 24.5cm long (9)

£70-100

701* Six Victorian Fernware glove stretchers, 20cm and smaller, in a Fernware rectangular glove box inset with a monogram, 6cm high x 28cm wide x 9cm deep (6)

Lot 699

212

£200-300

SILVER & PLATE 703* A George V silver capstan inkwell, of octagonal form, the hinged lid engraved with presentation inscription and dated 1924, by A & J Zimmerman Ltd Birmingham 1921, 12cm wide, weighted (1)

£100-150

704* A Victorian silver mounted and gilt metal Carriage Key, the double tapering silver casing engraved with a family monogram, enclosing foldout key, by Samuel Summers Drew and Ernest Drew, London 1901, 8.5cm overall (1)

£80-120

702 A 19th century Old Sheffield Plate centrepiece by Matthew Boulton, the pedestal trumpet shape upright cast with acanthus leaves with aperture to support a bowl (replacement), the base having four spiral branches each with detachable sconce, on a plain socle engraved with initals ‘M.A.’ and with acanthus supports, three marks to base including two stars, 33.5cm high (1)

£300-500

705* A George III silver chocolate pot, of baluster form with spiral twist embossing, domed cover with scroll finial, shaped spout and woven scroll handle, on raised foot, by Thomas Whipham & Charles Wright, London 1765, 28.5cm high, approx. 21oz (1)

Lot 703

213

£300-500

706* An Edwardian silver christening mug, of baluster form embossed with acanthus leaves and presentation inscription, shaped handle, by Fenton Brothers Ltd, Sheffield 1904. 10cm high, approx. 3.5 oz (1)

£70-100

707* A Victorian silver claret jug, of bulbous pedestal form, with sprung cover leading to handle, elaborately decorated in the high Victorian style with mermaids and mermen surrounding cartouches, one engraved with crest of a greyhound, sprays of flowers, swags and festoons and a raised head of a cat protruding from the front, on an egg and dart base, by James Charles Eddington, London 1853, 33cm high, approx. 35oz (1)

£800-1200

Lot 706

708* A Victorian Aesthetic silver mounted claret jug, tapered glass, etched with leaves, the silver gilt mount engraved with leaves, domed cover with acorn finial and scroll handle, by Frederick Elkington, Birmingham 1875, 31cm high (1)

Lot 707

214

£150-200

709* A Victorian silver mounted claret jug, the glass etched with grapes and vines, and similarly engraved silver mounts, the cover with scroll finial, and curved handle, engraved ‘Surrey Bicycle Club One Mile Handicap’, ‘2nd Prize Won by Malm J.R. Dundas Kennington Oval Sep 9 1882’, by Charles Boyton, London 1880, 27cm high (1)

£150-200

710* An Edward VII silver hot water jug, of baluster form, with domed cover, scroll handle bound in cane, by George Nathan & Ridley Hayes, Chester 1907, 20cm high, approx. 15oz (1)

£150-200

711* Four cased sets of six silver coffee spoons, including coffee bean spoons, by William Suckling Ltd, Birmingham 1924, together with six silver grip tea knives with E.P.N.S blades by C.H. Beatson, Sheffield 1929

Lot 709

(5)

£100-150

712* Four cased sets of six silver coffee spoons, including a set of seal top spoons by William Suckling Ltd, Birmingham 1924, together with a cased set of six mother of pearl grip tea knives each with silver ferrule, Sheffield 1918 (5)

Lot 710

215

£100-150

715* A good Edwardian gentleman’s silver pocket watch by Edwin Clark, Stoke Newington & Islington, engraved and chased decorated case, hallmarked Birmingham 1905-6, maker’s mark stamped A.L.D. (A.L. Dennison) no. 799, having delicate enamel face with roman numerals; with complementary Albert curb-link chain having attached silver vesta, Birmingham 1903, stamped maker’s mark inscribed W.H.S. (possibly William Hutton & Sons) containing a silver dog-bone frog for buttonhole

713* A set of eight George III Irish silver grip dinner knives, the King’s pattern type grips embossed ‘W. Peter’, with modern stainless steel blades, Dublin hallmark circa 1800, 21cm long (8)

£100-150

(1)

714* Various silver items, including, a George V silver oval ring box, the hinged lid engraved ‘K’, enclosing fitted green velvet interior, on four cabriole supports, Birmingham 1913, 11cm wide, together with a George III silver and steel carving fork, Birmingham, 1787, 24.5cm long, a silver pedestal caster by William Suckling Ltd, Birmingham 1910, 12cm overall (6)

£100-150

716* A George V silver sauceboat, with flying scroll handle, shaped rim on four cabriole supports, by Herbert Edward Barker and Frank Ernest Barker, Chester 1915, together with various items of silver including a cased set of six coffee spoons, by Edward Viner, Sheffield 1929 plus a white metal tea strainer, and a napkin ring, approx. 10.5oz

£80-120

(-)

216

£100-150

717* A fine Edward VII silver table centrepiece, the finely cast oval base with bulbous pedestal supporting a cut glass bowl flanked by two classical maidens over ogee base with embossed and chased acanthus and foliate decoration on four scroll supports, by Walker & Hall, Sheffield 1902, 36cm long x 36cm high, approx. 91 oz (1)

ÂŁ1500-2000

217

720* A cased set of four Victorian silver salts, each of twin handle octagonal form, by Charles Boyton, London 1899, with three silver salt spoons each 1899, and an associated plated spoon (7)

£100-150

718* Matched silver flatware, comprising 6 serving spoons by George Wintle, London 1801, 6 table forks, by Charles Boyton, London 1836, 6 dessert spoons, various dates and makes including two by Hester Bateman, c.1789, 5 dessert forks probably William Sumner, London 1796 & 1797, 11 teaspoons, various dates including four, by John Langlands II, Newcastle, all plain with engraved griffin crest, weight approx. 41oz (28)

£400-600

721* A cased set of four Victorian silver salts, each circular and embossed with foliate decoration on three cabriole supports, London 1897, and three silver salt spoons, London 1895 (7)

£100-150

719* An Edward VII circular silver rose bowl, with shaped rim and scroll motifs, on three acanthus scroll supports, by Walker & Hall, Sheffield 1902, 20cm diameter, 18oz (1)

£200-300

722* A George V silver salver, with shaped edge over three cabriole supports by William Hutton & Sons, Sheffield 1916, 15cm diameter, approx. 6.5oz, together with various silver including a cigarette case, Birmingham 1924, 3.5oz, a navette salt with blue glass liner, plus three salt spoons, three pedestal pepperettes (11)

Lot 720

218

£100-150

Lot 724 723* A George III Irish silver sauceboat, gilded interior, with beaded border, scroll handle, engraved with faint crest on three scroll supports and pad feet, maker and date mark rubbed, Dublin, 18cm long, 8 oz (1)

ÂŁ200-300

724* AVictorian silver four-piece teaset of ogee form, the tea and coffee pot each with hinged cover and bird finial, grotesque head leading to griffin spout, all decorated with c-scrolls and flowers, on four pierced and scroll supports, coffee pot 1865, teapot, sugar bowl and milk jug 1868, by Richard Martin and Ebenezer Hall, approx. 72.5oz (4)

Lot 723

219

ÂŁ1000-1500

725* A set of six George III silver teaspoons, plain with engraved monogram, by Peter, Ann and William Bateman, London 1803, together with five silver mustard spoons including two fiddle pattern spoons engraved with winged crest by George Piercy, London 1821, approx. 5.5oz (11)

£100-150

726* A modern silver timepiece, in the form of an elephant, stamped ‘925’, 7cm long, together with another silver timepiece, London 1975, 7cm high (2)

£50-70

727* Five various silver top bottles, including a Victorian oval bottle with domed top engraved with monogram within foliate border, London 1885, 10cm overall, and a circular scent bottle with silver hinged lid engraved with monogram enclosing stopper with hobnail cut base (5)

£80-120

728* A heavy George VI silver twin handle tray, plain with ogee border, 55cm long, by John Rose, Birmingham 1942, approx. 70oz (1)

Lot 725

£800-1000

729* Various silver items including a plain circular bowl, 11.5cm diameter, by Miller Bros, Birmingham 1906, an ovoid cut glass scent bottle, the hinged silver top with vacant cartouche within bird and scroll decoration, with stopper, 11.5cm high, by T.W. & S., Birmingham, date letter rubbed c.1900, plus four silver condiments comprising, pedestal salt and pepperette, mustard pot and octagonal pepperette, various dates and sizes, weighable silver approx. 9.5oz (6)

£100-150

730* A collection of silver items, including a squat milk jug, with scroll handle, by Joseph Gloster, Birmingham 1907, 9.5cm wide, together with a baluster pepperette, half gadrooned, engraved with heraldic crest,makers mark rubbed, London 1882, 8cm high, another pepperette with domed cover, lattice work case and blue liner, Sheffield 1930, 7cm high, ten napkin ring, various, dates/sizes, assorted spoons etc. including King’s Pattern salt spoon ()

£100-150

731* A George III silver sugar bowl, the circular bowl with twin handles, embossed in C-scrolls and foliate decoration, by Richard Crossley, London 1801, 16cm wide, 8oz, together with a Victorian silver milk jug, of baluster pedestal form with scroll handle, embossed with foliate decoration and engraved with ‘P’ within scroll cartouche, stamped ‘Hunt & Roskell Late Storr & Mortimer’, London 1890,10.5cm high, 4oz (2)

Lot 727

Lot 728 220

£150-200

Lot 730

733* An Albert pattern silver soup ladle, by John James Whiting, London 1841, together with two sauce ladles by the same maker, 1842, combined weight 13oz (3)

£100-150

Lot 731

734* An early 19th century carved coconut sugar bowl, profusely carved with geometric decoration with silver band and lining, on three white metal cabriole supports, 11.5cm high, hallmarks worn

732* A collection of silver items, including a miniature chair made to commemorate Charles Dickens, stamped ‘Charles Dickens 18121870’ with registration number, by Levi & Salaman, Birmingham 1911, 5cm high together with a silver paper knife, by A.E. Kinman, Sheffield 1941, 18cm long with presentaion case, modern bottle labels for Rye and Gin, two salt spoons, marks worn but probably George III period (6)

(1)

£70-100

221

£70-100

736* An electroplated toastrack in the manner of Dr Christopher Dresser by Elkington & Co, of ball and bar construction, 18cm long, together with an Edwardian electroplated bread-board by Walker & Hall, of oblong form with shaped acanthus and gadrooned border supporting wooden board, 32.5cm wide, a pair of Old Sheffield plate scissor action grape scissors, a plated sauceboat with flying scroll handle, and plated navette salts (6)

£100-150

737* A fine pair of George III silver pointed oval boat-shaped sauce tureens, with gadrooned borders, plain angled handles , domed cover with reeded ring handles, on oval crested pedestal bases, by Joseph Dodds, London 1802, 23.76cm overall, 44oz (2)

738* A heavy silver Albert watch-chain, curb-link pattern with dog-bone and spring catch fittings, Birmingham 1852-3, together with a silver-plated sovereign-case with lidded stamp compartment

735* A George VI silver teapot, of ogee form on four bun supports, by Atkin Brothers, Sheffield 1937, 27cm long, approx. 20oz (1)

£1000-1500

(2)

£200-300

Lot 737

222

£80-120

WATCHES & FOBS ETC.

739* Victorian cycling fobs won by M.J.R. Dundas, comprising 18ct gold fob engraved ‘London Scottish Ten B.C. Mile, Stamford Bridge 29th May 1882, 1st Prize Won by M.J.R. Dundas’, 9g, another gold coloured metal fob engraved ‘Road Race 15 Miles Surbiton to Guildford Won by M.J.R. Dundas 26th Oct 1878’, (probably 18ct gold 15.5g), together with three various silver and silver-gilt fobs and a silver medal for Cycling, combined weight of silver approx. 3.5oz (6)

£300-500

740* A silver Victoria 1837-1897 Diamond Jubilee medal, 58mm diameter, in its red leather presentation case, another issue, 26mm diameter in its red leather presentation case, together with three further cased Commemorative medals, a cased silver Edward VII Commemorative spoon, pre 1947 silver coinage, approx. 3oz and various coins and medals (-)

Lot 739

Lot 740 223

£100-150

Lot 743

741* An 18ct gold vesta case, engraved with the crest and motto ‘Essayez’ of the Dundas Family of Blair Castle, Scotland, engraved ‘From Baby’, indistinct makers mark, London 1896, 23.8g (1)

£300-500

742 A ladies 18K gold wristwatch, serial number 511171 with crystal glass and leather strap, together with a ladies 9ct gold wristwatch on a leather strap, a gold coloured metal Prospectors brooch in the form of a shovel pick and ropes, stamped ‘South Africa’, various costume jewellery including a silver and malachite brooch and an oval silver and agate brooch (7)

£100-150

743* A Victorian 18ct gold open face pocket watch, the case with stopwatch function and engraved with monogram, the white enamel dial with roman numerals, serial number ‘63848’, maker ‘F.T.’, Chester 1893 (1)

£400-600

744* An 18ct gold open face pocket watch, circa 1920, with silvered dial, gold numbers and hands, seconds dial, the case engraved with a crest, stamped ‘18’, with a gold-plated watch chain and gold coloured metal lobster catch (1)

£300-500

Lot 744

224

Lot 745

745* A George III silver pair cased openface pocket watch, white enamel dial with gilt fusee movement, verge escapement, finely engraved back and cock piece by William Evans, Shrewsbury, number ‘2534’, case hallmarked for Birmingham 1792

746* A Victorian Samuel Mordan & Co. gold coloured metal propelling pencil, with swivel suspension loop the terminal inset with bloodstone, together with a gilt metal fob inset with an oval intaglio seal of Neptune

(1)

(2)

£150-200

£100-150

747* A good gentleman’s wristwatch by Junghans, Germany, c. 1950s, gold-plated and stainless steel backed case, inscribed shockproof and waterproof, having silver face with enamel quarter baton-segments, and sweep seconds-hand, with contemporary black leather strap (1)

£100-120

748* A good gentleman’s wristwatch by Girard-Perregaux, c. 1930s, Art Deco-style stainless steel case, having lacquered silver face with equidistant baton-segments: in good working order with contemporary high-quality expanding spring strap by “Spiedel” patent, contained in contemporary velvet & silk-lined case retailed by W. Hinds Ltd. (1)

Lot 746

225

£100-150

CERAMICS & GLASS 750* A large salt glazed stoneware bottle (Bellarmine), c. 1650, of ovoid with bearded face at neck, 45cm high (lacking handle) Originally known as Greybeards these bottles were produced in Germany and Netherlands c.1600-1650, the caricature is supposed to be Cardinal Bellarmine, an Italian Jesuit whose opposition to Protestantism turned him into a figure of hate. (1) £200-300

749* A collection of Antiquities, including a Roman terracotta bowl with two side handles, 7cm high, a shallow terracotta bowl with stirrup handle, 9.5cm diameter, terracotta oil lamp with repeating decoration, 10cm long, plus a lustre vase painted in blue and black, 9.5cm high (8)

£100-150

751* Two Beswick Horses, comprising ‘Hunter’ (minor damage to one ear) and ‘Arab’, each mounted on an oval wooden plinth (2)

£100-150

752* Beswick hunting figures, modelled as a huntsman (chip to ear of horse) and huntswoman on horseback, with six hounds and fox, some with original paper labels (9)

Lot 750

226

£300-500

753* A large collection of 18th-century and later English and European ceramics, including a Caughley blue and white porcelain sauceboat circa 1780, 15.5cm long, a pink lustre ‘London’ cup and saucer circa 1820, the shaped cup with spur handle (saucer 14.5cm diameter) a Worcester porcelain blue and white teabowl circa 1770, painted with sprays of flowers plus numerous other teabowls and coffee cups etc., all various ages and manufacturers, many of the pieces in this lot are damaged (45)

£200-300

754* A collection of 19th c. and later ceramics, mostly blue and white including a side plate in the ‘Fish Net’ pattern circa 1800, 18.5cm diameter, a shaped dish in the ‘Bamboo and Flower’ pattern, 20cm square, a quatrefoil dish with moulded thumb-piece in the Chinoiserie pattern by Turners Spode, Longbridge, 20cm wide, plus an array of decorative ceramics many early to mid 20th century (2 cartons)

£100-150

756* A Copeland Parian figure of ‘Beatrice’, c. 1880, classical style maiden with a gilt star on her forehead and exquisite gilt and red decoration to the neckline and hem of her gown, on integral circular base with impressed marks ‘Beatrice’, ‘Copeland’ and ‘Edgar Papworth SC. Pub March 1804 Copyright Reserved’ and date mark for 1880 (left thumb repaired), 54cm high The original statue by E.G. Papworth Jr. was exhibited in 1860. Beatrice was the love of Dante’s life and he wrote a great deal about her in his poetry, even though she died at the age of 24. The pair to this figure is ‘Maidenhood’. (1) £100-150

755* A cased Royal Doulton porcelain six-piece coffee set, of octagonal form with panels of gilt painted flowers and blue, green printed mark to base, with six silver coffee spoons by Mappin & Webb, Sheffield 1936

757* Various decorative ceramics, including a pair of Royal Worcester porcelain plates, each lozenge shape decorated in the Imari palette, printed ‘Royal Worcester Vitrous’ with purple puce mark to base for 1897, 26cm wide, plus a Victorian Jasperware pottery cheese dish and cover (damaged)

(1)

(6)

£100-150

227

£70-100

758* An 18th century Dutch Delft tile, painted in blue and white with religious view, 12.5cm square (1)

£70-100

759* A Royal Copenhagen ‘Orchid’ pattern dinner service, comprising tureens, three graduated meat plates, dinner plates, side plates, approx. 45 pieces (45)

£100-150

760* A collection of eight Dresden porcelain figures, each modelled as a soldier, including ‘Officer Grenadier Guards Summer Dress 1840’, 27cm high, ‘Ulster King of Arms’ 26cm high, ‘Tamborine 1st Guards 1830’, 33cm high, ‘Drummer First Guards 1792’ 29cm high, together with a pottery figure of a Grenadier Guard, the base painted in gold ‘Grenadier Guards. Off Guard Order’, and ‘To Billy Anson on his 21st birthday 4th May 1934 from Ronald Ida Spencer & Geoffrey Copeland’ 28.5cm high

761* A Victorian Vaseline glass epergne, the central trumpet vase surrounded by three small vases on a wavy base, 40cm high

(8)

(1)

£300-500

Lot 760 228

£100-150

764* A Royal Doulton Flambé figure of a stalking tiger, designed by Charles Nokes, black printed mark to base, 35cm long (1)

£150-200

765* Various early 19th-c. and later table glass, including a cut mallet shape decanter with mushroom stopper, 24cm high, a pair of square base rummers and a mitre cut glass rinser (19)

£70-100

766* Two Edwardian green-glazed earthenware planters, c. 1910, together with a Greek-style decorated cream & green glazed vase, and a Victorian Doulton Lambeth sprig-decorated stoneware ale-jug 762* A rare Royal Doulton figure, circa 1912, modelled as a nude seated child on a mottled circular base, impressed ‘H48’ and incised ‘EW’ (Emily Welch) mark to base, 13cm high (1)

(4)

£70-100

£200-300

763* Four Royal Doulton figurines, comprising, ‘Giselle’ HN 2139, ‘Hilary’ HN 2335, ‘The Love Letter’ HN 2149 and ‘Invitation’ HN 2170 (4)

£100-150

767* Leach (Bernard, British, 1887-1979). A St. Ives miniature ovoid vase, painted with grasses and a central flower stem on a brown ground, painted ‘B.L.’ mark and impressed with seal and ‘England’ mark, 7cm high (1)

229

£100-150

768* Leach (Bernard, British, 1887-1979). A St. Ives earthenware jug painted with a blue motif on a tenomoku ground, impressed seal mark to base, 15cm high, minor chips to top rim Given to the present owner by Michael Leach who was a neighbour and family friend. (1) £300-500

770* A pair of 20th century plaster figures of seated black boys, one with red blazer and striped trousers the other with green and red striped blazer and striped trousers, approx. 45cm high (2)

£150-200

769* A Continental pottery moonflask, by J. Fischer, Budapest circa 1900, in the Sevres style, with central panel printed with children picking flowers, the reverse similarly printed with spays of flowers, on a bleu celeste and gilt ground, printed mark to base (damaged), together with three Minton’s porcelain twin handle pedestal cups, each painted with flowers on a white, pink and green ground, 12.5cm high, printed mark to base

771* A pair of 19th century Samson Armorial porcelain vases, each with long slender neck painted with armorial and enamel sprays of flowers over bulbous body on pedestal base, 17.5cm high with faux iron red mark to base, together with a porcelain ginger jar and cover bearing the same crest, 12.5cm high (cover restored)

(4)

(3)

£80-120

230

£100-150

772* A large collection of Chinese porcelain 18th century and later, including a scroll form pen rest, painted with a teacher and student within blue ground, 9cm wide, an ovoid pedestal vase painted with figures within landscape, 12cm high, a square blue and white paste box and cover, painted with two geese, 3.5cm square, an octagonal plate in the Kakiemon style, numerous late 19thcentury blue and white vases and covers etc., many of the pieces in this lot are damaged (2 cartons)

775* A Dartington studio pottery dish by Alexandra Copeland, with vibrant polychrome abstract design, impressed seal mark to base and signed and dated ‘2002’, 32.5cm square, together with and a Wootton Courtenay, Somerset studio pottery vase, 27cm high (2)

£70-100

£200-300

773* A Victorian James Atkinson’s Bear Grease pot lid, printed in black, 6cm diameter (1)

£50-70

776* A Studio stoneware pottery vase in the manner of Lucie Rie (1902-95), of circular form in three tones of brown, impressed L.R. seal mark to base, 29.5cm high

774* A Roman pottery bowl, with a black glaze overall, centrally impressed with a mask surrounded by leaves within seven incised rings, on a deep pedestal foot, 18.5cm overall (1)

(1)

£70-100

231

£100-150

779* Five Victorian blue and white pottery soup bowls, each printed with exotic birds and foliate decoration, with gilt painted rims, printed ‘Patent Ironstone China’ mark to base, 24.5cm diameter, together with various other blue and white plates including a soup bowl and two side plates in the ‘Dresden’ pattern (9)

£70-100

780* A Victorian Staffordshire pottery bust of William Clowes, Primitive Methodist, wearing black waistcoat and jacket on pink lustre and green base with inscription ‘Wm Clowes Primitive Methodist’, 27.5cm high, together with two Victorian pottery Toby jugs, each polychrome painted, 23cm high, plus various Commemorative ware beakers, mugs etc. William Clowes (1780-1851) born at Burslem, Staffordshire, son of William Clowes, potter and of Ann, daughter of Aaron Wedgwood, Clowes was one the founders of Primitive Methodism. (-) £70-100

777* A pair of early 20th century Egyptian influence pottery vases, each octagonal with cover, painted with ancient scenes in vibrant colours, the covers modelled with a dog of Fo, painted J.H.’ mark to base, 45cm high (damaged) (2)

£100-150

778* A Wedgwood mug designed by Eric Ravilious, to commemorate the Coronation of Her Majesty Queen Elizabth II, 1953, a large mug, with firework design incorporating the date and the royal cipher, diameter 11cm (4.25ins), height 10.5cm (4.25ins)

781* A Royal Doulton Lambeth Faience vase, of baluster form painted with yellow flowers on a green and brown ground, with geometric pattern to rim and foot, impressed mark to base no ‘175’, and painted artist mark

(1)

£100-150

232

£100-150

782* A Dennis Chinaworks cockerel vase, by Sally Tuffin, 2003, flamboyant incised cockerel design in bold colours, 37cm tall, this vase (numbered 18) is still in production, 26 made to date Sally Tuffin, a ceramics and fashion designer famed for being half of the 1960s clothes partnership Foale & Tuffin, takes inspiration from nature, abstract art and the Arts & Crafts movement. She and her husband, Richard Dennis, started the Dennis Chinaworks in the converted stables of a Victorian Gothic rectory in Shepton Beauchamp, Somerset in 1985. Production was postponed between 1986 and 1993 while Sally returned to the Moorcroft Pottery as Art Director, managing to bring about a massive revival in the fortunes of this firm when it looked set to close in the mid-1980s. (1) £200-300

783* An 18th century Dutch Delft blue and white baluster vase, decorated with stylised flower heads, 17.5cm high (some damage restoration) (1)

£150-200

Lot 782 784* A Derby porcelain spill vase, circa 1820, painted in the imari palette, iron red mark to base, 11cm high, together with an 18thcentury Worcester porcelain blue and white saucer in the “Fence” pattern, 12.5cm diameter and a coffee cup in the same pattern, both circa 1760, blue crescent mark to base (3)

£100-150

785* Hyacinth Vases & Tea-Lights. A collection of late 19thcentury coloured glass bulb-vases, c. 1890s, together with a group of coloured glass Victorian Christmas-tree or tea-light holders (approx. 20)

Lot 783

233

£100-150

SAMPLERS & TEXTILES 788* A late 19th century cross-stitch picture of a hound chasing a bird, worked in coloured wools on canvas, in shades of brown, red, pink, cream, black, and blue, 280 x 370mm (11 x 14.5ins), framed and glazed (1)

£50-80

786* A pair of Royal Doulton pottery double gourd Leaf vases, each with impressed mark to base and ‘7569’, incised potters initials ‘RM’, 15.5cm high, together with a Royal Doulton pottery shoulder vase, with tubular fruit decoration on a blue and green ground, impressed mark to base and ‘9285’, incised potters initials ‘MB’, 28cm high, plus a Royal Doulton pottery pig, black printed mark to base, 16cm overall (3)

£100-150

789* A vintage grey mink coat, the silk lining embroidered with initials ‘R.V.P.’, together with a leopard skin coat, a National Fur Company musquash coat plus a stole (4)

787* A large pair of 20th-century pottery shoulder vases by Bartiguani, Italy, elaborately painted with flowers in red and blue within gilt painted borders on a cream ground, signed on side and painted in gold on base ‘Hectorato a Mano’, and ‘Bartiguani’, 45cm high (some restoration) (2)

£100-150

234

£100-150

790* A George III needlework sampler, by Frances Gear dated 1822, worked with a house surrounded by animals, angels, flowers and trees, with religious verse and ‘Frances Gear her Work Done in the 11th year of Her age 1822 taught by her Mother’, 35.5cm x 33cm in a birdseye maple frame, with label verso ‘Sold by the grandson of the embroidress’ sister. Mrs. Gear was a school-mistress and the house is Islington Hall, Tilney cum Islington, near Kings Lynn.’ (1)

792* An early 19th century sampler, worked with a house surrounded by stags with a poem by James Thomson (A Hymn) titles Adoration with Adam and Eve beneath flanked by a verse from Genesis within a foliate border, 42cm x 31cm in a birdseye maple frame, obvious signs of wear commensurate with age

£200-300

(1)

791* An Oriental carpet, circa 1900, with two panels of encompassing a repeating design within geometric borders, 226cm x 120cm, together with another with geometric design on a red ground, 150 x 120cm (2)

£150-200

793* A Victorian embroidered pin cushion, with sailor’s farewell ‘Forget Me Not’ applied with glass beads throughout, 26cm wide (1)

£100-150

235

£70-100

CLOCKS, BOXES & SCIENTIFIC INSTRUMENTS

794* An Edwardian barograph by M.W. Dunscombe Ltd., Opticians, Bristol, in mahogany case with four glass panels and column supports, with single drawer beneath, 25cm high x 38cm wide x 25cm deep (1)

£200-300

795* A French Art Deco onyx clock garniture set by Bollot Lemoine, St Quentin, the octagonal clock with square white enamel dial, flanked by bronzed panels and surmounted by a bronzed girl kneeling whilst cupping a peacock, 37cm high x 39cm wide, with a conforming pair of vases

796* A Victorian burr walnut decanter box, with brass mounts and Bramar lock with recessed handles, the hinged lid enclosing divisions for four bottles includes two associated bottles, 25cm high x 21.5cm square

(-)

(1)

£150-200

Lot 795 236

£100-150

797* An Edwardian mahogany grandmother clock, the brass and silvered dial with pierced brass spandrels surmounted by ‘Tempus Fugit’, the case with glass door enclosing pendulum, 165cm high (1)

£150-200

798* A late-19th c. Swiss musical box, the rosewood cover inlaid with flowers within boxwood strung border, enclosing original paper label and works under hinged glass cover, 15cm high x 43cm wide x 21cm deep (1)

£150-200

799* A George III Anglo-Indian stationery box, probably Vizagapatam, inlaid throughout with ivory panels, the hinged lid engraved with monogram within swags, festoons and geometric borders, with twin bow handles, enclosing segmented satinwood interior, 11cm high x 29.5cm wide x 24cm deep, (distressed) (1)

£100-150

800* A George III satinwood stationery box, veneered with oval cartouche within herringbone banding, single drawer beneath with key, 34.5cm wide (1)

£70-100

Lot 797 237

801* A George III mahogany tea caddy, the canted lid inset with brass lion mask handle enclosing twin division on four brass lions paw supports, 12cm high x 20cm wide x 11cm deep (1)

£50-70

Lot 804 805* A Victorian mahogany writing box, the lid inlaid with ebonised and boxwood paterae within stylised spandrels, enclosing velvet fall and divisional interior, with two ink bottles, brass key escutcheon and recessed handles, 35.5 cm wide, together with an Art Nouveau fire screen, circa. 1900, the copper plaque beaten with stylised flowers within a hammered finish, housed in an oak frame with brass carrying handle on splayed supports, 78.5 cm high x 56.5 cm wide, a Victorian walnut writing box, the lid inlaid with mother of pearl cartouche, within rosewood crossband border, the hinged lid enclosing velvet fall and divisional interior, 34.5 cm wide, a Victorian walnut workbox, the lid inlaid with a hexagonal mother of pearl cartouche within Tunbridge style inlay, enclosing lift out tray, 30 cm wide, and a pair of Victorian gilt-brass comports, each with pierced decoration encompassing a coloured image under glass of Crystal Palace and Buckingham Palace, with turned pedestal on foliate base, 21 cm diameter x 10 cm high (6)

£100-150

802* A Regency rosewood sarcophagus tea caddy, inlaid with mother of pearl, the hinged lid enclosing aperture for mixing bowl and two lift out cannisters, on four bun feet, 23cm high x 32cm wide x 17cm deep (1)

£150-200

803* A French brass carriage timepiece, c. 1900, the white enamel dial with black roman numerals within brass and enamel case and platform escapement (1)

£150-200

804* An Edwardian tortoiseshell timepiece, with silver carrying handle, the silver-gilt hinge enclosing French movement, on four bun feet, 9cm high by Dimier Brothers & Co, London 1903, notable damage to the case (1)

£100-150

806* A Victorian rectangular mahogany brass bound writing slope, inlaid with engraved name plate, key escutcheon, spandrels and stringing, with recessed carrying handles, the hinged lid enclosing tooled leather fall and divisional tray, 18cm high x 41cm wide x 26cm deep (1)

238

£100-150

FURNITURE

Lot 807

Lot 810

807* A Chinese rosewood altar table, early 20th c., the rectangular top over fretwork design, on four block supports, 109cm high x 174cm wide x 42cm deep (1)

£300-500

808* A Victorian Arts and Crafts ebonised armchair, possibly a William Morris Sussex design chair, the turned upright spindle back, over slender arms and turned uprights, on four turned supports united by cross stretchers, 90cm high x 57.5cm wide x approx. 83cm deep (1)

£200-300

809* An early 20th-c. stained oak armchair, c. 1900, with carved lion mask roundel back splat, downswept arms over cabriole supports each with claw and ball foot, 104cm high, together with a George III style oval occasional table, with pierced gallery top over single slide within blind fretwork frieze over four tapered supports, 100cm high (2)

£70-100

810* A 17th century style ‘Boys and Crown’ armchair, with downward scrolls, acanthus carved arms and cane seat, 122cm high (1)

Lot 808

239

£100-150

Lot 814

811* An early 20th century armchair in the Neo Classical style, the oval caned back centrally painted with Cupid surrounded by sprigs, with downswept arms on baluster supports, 96cm high (1)

£100-150

812* A 19th-century mahogany armchair in the Hepplewhite style, with shepherd’s crook arms, on four block supports, 92cm high, together with two side chairs in the same style, plus a pair of walnut carvers and two side chairs in the Queen Anne style (7)

£70-100

813* A Victorian tub-shape armchair, c. 1870s, having buttonbacked upholstery in aged gold velvet (1)

£100-150

814* A matched pair of Victorian bedroom chairs, each with beech carved showframe, striped upholstery on cabriole supports with ceramic casters, 100cm high (2)

£200-300

815 A Victorian Empire-style mahogany bookcase, the rectangular ogee cornice over twin covered doors enclosed shelved interior, within two turned columns each with brass capitals over protruding base with two drawers each with brass ring turned handle, leading to columns with two further panelled doors, 193cm high x 124cm wide x 67cm deep, possibly converted from a spinette (1)

£300-500

Lot 815

240

Lot 816

Lot 817

816* A Victorian figured walnut veneered bookcase, the ogee cornice over three glazed doors enclosing shelved interior over three panel doors enclosing shelves on block plinth with brass handles and classical urn key escutcheons, 225cm high x 232cm wide x 52cm deep (1)

£1500-2000

817* A Victorian mahogany bookcase, the ogee cornice over four glazed doors each with arched mahogany frames, enclosing shelved interior on plain base, approx. 204cm high x 207cm wide x 36cm deep (1)

£300-500

818* A George III mahogany secretaire bookcase, the stepped cornice over twin glazed doors, each with arched moulding enclosing shelved interior within reeded pilasters, on dummy drawer secretaire base, the hinged fall enclosing drawers and green baize, over three long drawers, each with brass ring turn handles, on bracket supports, 208cm high x 180cm deep x 54cm deep (1)

£500-700

819* A Victorian stained pine bookcase, with stepped cornice over twin glazed doors, each with shaped glass enclosing shelved interior on a base with twin panel doors enclosing shelved interior on block plinth, 205cm high x 90cm wide x 40cm deep (1)

£200-300

Lot 818

241

Lot 819

820* A Victorian mahogany breakfront bookcase, with four glass doors enclosing shelved interior over four panel doors enclosing shelved interior on block plinth, 240cm high x 215cm wide x 44cm deep (1)

ÂŁ700-1000

242

824* A pair of early 19th century pine low bowfronted commodes, each with frieze drawers over two panelled doors each caved with rosette, enclosing shelved interior, on splayed bracket supports, 78cm high x 110cm wide x 46cm deep (2)

£700-1000

821* A good William IV rosewood breakfast table, the circular top over geometric carved pedestal, on trifoil base, each with welldetailed paw feet on brass casters, 79cm high x 126 diameter (1)

£500-700

822* A George III mahogany fall front bureau, with divisional interior over four drawers each with brass handles on bracket supports, 110cm high x 100cm wide x 54cm deep (1)

825* A 19th century adjustable Campaign bed by Cox & Painter, Malvern, hinged for folding with webbing on four ring turned supports each with ceramic casters, stamped ‘Cox & Painter, Cabinet Makers & Upholsterers, Malvern’, approx. 190cm long x 56cm wide

£100-150

823* A 19th-century mahogany cabinet, adapted to allow the front panel to fall forwards, enclosing adjustable shelves, single drawer beneath twin brass handle, on turned supports with brass casters, 63cm high x 40cm wide x 30cm deep, together with a George III-style mahogany table, with twin drop flap ends, single drawer, on turned pedestal with three splayed supports, 74cm high x 33cm wide x 27cm deep (2)

(1)

£200-300

£70-100

Lot 823

Lot 824 243

826* An Edwardian mahogany card table in the George III style, the inverted breakfront top hinged to reveal green baize with four mahogany corners, over single drawer on four foliate carved cabriole supports each with claw and ball feet, 74cm high x 85.5cm wide x 42cm deep

828* A William Morris Sussex style chair, ebonised with spindle uprights over arms, rush seat on spindle supports united by cross stretcher, 80cm high

(1)

829* A George III provincial mahogany chair, in the Chippendale style, 96cm high

(1)

£80-120

827* A George III mahogany oval cellerette, of coopered construction bound in brass with brass handles, on four tapered supports with brass casters, 59cm high x 61cm wide x 45cm deep (1)

(1)

£100-150

£70-100

830* A Victorian button upholstered chaise longue, covered in blue velvet over four giltwood supports with brass cup casters, 165cm long

£200-300

(1)

Lot 830 244

£100-150

831* A 19th-century mahogany straight front chest of two short and three long drawers, on bracket supports, 87cm high x 104.5cm wide x 49cm deep (1)

ÂŁ150-200

832* An 18th-century walnut and pictorial marquetry chest of two short and three long drawers, the rectangular top inlaid with oval panel depicting birds and flowers, within a leafy border, with conforming inlaid spandrels, inlaid drawer fronts, brass handles and key escutcheons, on shaped bracket supports, 92cm high x 97cm wide x 52cm deep (1)

ÂŁ1000-1500

Lot 831

Lot 832 245

833* A Victorian mahogany chest of two short and three long drawers with fluted columns, shaped circular handles on four turned supporst, 104cm high x 115cm wide x 56cm deep (1)

£400-600

834* An 18th century oak chest on chest, the dentil moulded cornice over two short and three long drawers on a stand with three long drawers each with herringbone banding with brass handles and key escutcheons, on bracket supports, 188cm high x 102cm wide x 55cm deep (1)

£400-600

Lot 833

835* A George III mahogany chest on chest, with stepped cornice over two short and three long drawers, over base of three long drawers on bracket supports, 191cm high x 116cm wide x 55cm deep (1)

Lot 834

246

£400-600

836* A late 19th century mahogany straight front chest of two short and three long drawers, with brass handles and key plates, on bracket supports, 115cm high x 112cm wide x 56cm deep (1)

£150-200

837* An Edwardian mahogany straight front three drawer chest, of small proportions with brass handles on bracket supports, 74cm high x 57cm wide x 38cm deep, together with a 19th century X-frame stool, with caned top over mahogany frame applied with roundels, 46cm high x 52cm wide x 41cm deep (2)

£100-150

838* An Irish 18th century herringbone banded and yew crossbanded chest of two short and three long drawers, on a stand with two short and one long drawer, on cabriole supports with hoof feet, 182cm high x 108cm wide x 65cm deep (1)

Lot 838

£1000-1500

839* A Victorian mahogany bow front chest of two short and three long drawers, on bracket supports, 96cm high x 104.5cm wide x 51cm deep (1)

£70-100

840* A George III mahogany straight front chest of two short and three long drawers, with rosewood crossbanding, chamfered sides and brass handles and key plates, on ogee supports, 95cm high x 128cm wide x 56cm deep (1)

£400-600

841* A 20th century Chinese chest, with gilt lacquered decoration with figures on a background, within repeating border, the front panels similarly decorated, twin brass handle, brass catch, 36cm high x 75cm wide x 47cm deep (1)

£100-150

Lot 840

247

842* An early oak coffer, probably 17th century, the rustic rectangular top over front panel, profusely carved with grape and vine panels, with foliate and stylised flower head bosses, iron lock, 48cm high x 102cm wide x 35.5cm deep (1)

£500-700

845* A George III mahogany bow front hanging corner cabinet, 114cm high x 88cm wide x 57cm deep (1)

£150-200

846* A modern mahogany effect concave corner cabinet, with dentil frieze over, twin glaze doors each with arched moulding, enclosing shelved interior, over two doors enclosing shelved interior, 185cm high x 85cm wide x 45cm deep (1)

£100-150

843* An oak coffer, late 17th/early 18th century, the threepanelled lid over three-panel front, each carved with geometric scrolls, with reeded supports, 60cm high x 98cm wide x 45cm deep (1)

£400-600

847* A 19th-century oak hanging corner cabinet, with single panel door, enclosing shelved interior, 100cm high x 73cm wide x 40cm deep (1)

844* A Continental hardwood coffer, probably 19th century, the hinged rectangular top over carved front panel depicting griffins and wild beasts, within scroll and foliate carved borders (later candle box), on four bun feet, 64cm high x 145cm wide x 56.5cm deep (1)

£80-120

848* Four William IV mahogany dining chairs, each with curved tablet top-rail, over reeded uprights, shaped scroll and tablet splat, on turned tapered supports 80cm high, together with a William IV mahogany armchair, and a similar armchair

£200-300

(6)

248

£100-150

849* A substantial George III style mahogany dining table, the reeded edge over four pedestals formed as two sections with drop flap leaves over four splayed supports and two further end pedestals with three splayed supports each with brass lions paw feet with brass casters, with three additional leaves and upright stand for leaves, 73cm high x 158cm wide x 533cm long (1)

ÂŁ4000-6000

249

850* A Regency style mahogany D-end dining table, on turned pedestals with reeded supports and bras paw feet, with single leaf, 210cm overall and additional MDF cover for extended use (1)

£100-150

Lot 853

851* A Victorian pine hanging display cabinet, the triangular pediment over twin glazed doors enclosing shelved interior, flanked by four further shelves, ebonised around the edges, 90cm high x 100cm wide x 10cm deep (1)

£100-150

852* A Victorian mahogany display cabinet on stand, the ogee cornice over single glazed door with segmented moulding enclosing shelved interior on base with four block supports, 178cm high x 87cm wide x 49cm deep (1)

£100-150

853* A substantial 19th century Continental mahogany and brass inlaid display cabinet, probably for museum use, the inverted breakfront cornice with gilt painted repeating carving over single glazed enclosing shelved interior, with full length mahogany side columns inlaid with brass fluting, over single drawer with brass inlay on four gilt painted turned supports, approx. 210cm high x 106cm wide x 58cm deep (1)

£700-1000

854* An Edwardian mahogany and four glass display cabinet, the hinged door enclosing four lift out shelves on four cabriole supports, 182cm high x 56cm square (1)

Lot 854

£150-200

250

855* A late 19th-century oak double bed, the central panel with carved bust within geometric panelling and two further panels each with arch design, the uprights each having carved coronet finials, with metal side rails 139cm wide (to take a 4ft6” mattress) (1)

£300-500

856* An early 19th-century oak dresser, the shelved plate rack over three frieze drawers and three panel doors enclosing shelved interior on block plinth, 192cm high x 154cm wide x 43cm deep (1)

£400-600

Lot 855

857* A 19th-century oak dresser with shelved plate rack over base, with three frieze drawers, two drawers beneath, brass handles, four turned uprights and solid undertier, 198cm high x 142cm wide x 43cm deep (1)

Lot 856

251

£400-600

858* A Louis XV style giltwood triptych dressing mirror, with acanthus leaves over scrolls on scroll feet, 200cm high (1)

£300-500

860* A fine Victorian mahogany duet stand, the adjustable lattice top with a pair of giltmetal candle sconce, surmounted by vase finial, over telescopic reeded column on three shaped supports, 125cm high (1)

£500-700

861* Two late 19th-century artist’s portable/studio easels: one mahogany framed c. 1880, and with another having applied makers decorative brass plate and brass adjustable fittings c. 1890, together with a contemporary artist’s wooden travelling paint-box, of quality joiner-construction having brass fitments and leather carryinghandle, inscribed initials “P.A.T.” to lid (P.A. Turner) and two other modern watercolour paint-boxes and a water-colour sketch-block (6)

859* A 19th century mahogany dropflap table, on turned supports, 168cm fully extended (1)

£150-200

252

£100-150

864* A 19th century giltwood screen, the arched toprail with acorn finials, plain frame supporting clear glass insert which can be raised to increase the height, on splayed acanthus supports, 70cm wide (1)

£200-300

862* A Victorian mahogany footstool, tapestry upholstered over four cabriole supports each with floral carving, 40cm high x 40cm square (1)

£70-100

865* An Edwardian oak gun cabinet, the stepped cornice over twin glazed doors enclosing a shelf, three drawers each with brass recessed handle and fittings for three guns, on four block supports, 185cm high x 88cm wide x 34cm deep

863* A pair of 19th century Florentine gesso mirrors, each with elaborate C-scroll frame, 79cm high (1)

(1)

£300-500

253

£150-200

Lot 867

866* A William IV mahogany hall chair, with shaped scroll back over solid seat and straight reeded supports, 88cm high (1)

£80-120

867* A Victorian walnut hall chair, the carved back with scrolls flanked by two angels over solid seat with acanthus carving and similarly carved, 111cm high (1)

£100-150

868* A Victorian mahogany kneehole desk, the rectangular top with gallery, over two frieze drawers and two drawers beneath, on turned supports, 84cm high x 120cm wide x 53cm deep (1)

£100-150

869* A walnut oyster veneered lace box, the top with inlaid circles of banding, 10cm high x 39cm wide x 28.5cm diameter (1)

£100-150

870* A substantial turned hardwood standard lamp base, with graduated spherical column on a turned base, 125cm high (1)

Lot 869

£70-100

254

871* A George III mulberry eight day longcase clock, by Samuel Hope, Strand, the brass dial signed ‘Samuel Hope Strand London’, silvered chapter ring with black roman numerals, plate engraved ‘No. 1764’ calendar aperture inset with brass, brass mask head spandrels, and two further dolphin spandrels to arch, brass backplate cast to reverse ‘Osborne’s Manufacturing Birmingham’, the cheek board with paper label for ‘T. H. Bryant & Son Watch & Clock Maker, St. John’s Wood Terrace, N.W.5, dated July 1925 and inscribed in ink 1716’, later movement, the case veneered in mulberry on oak, the hood with ebonised cherub spandrels, long inlaid door with circular glass aperture on bun feet, dial 39 x 29cm, case 232cm, with weights and pendulum (1)

255

£3000-5000

872* A 19th century oak single drawer side table, the thumbmoulded top over single drawer with brass key escutcheon and handles over four cabriole supports, 70cm high x 77cm wide x 51cm deep (1)

£100-150

875* A Rococo style gilt wood oval mirror, the oval bevel edge glass within elaborate acanthus and scroll frame, 98cm high x 72cm wide (1)

£300-500

873* An 18th-century style wall mirror, the square giltwood frame pierced with scrolls and leaves, 76cm x 76cm (1)

£100-150

874* An Arts and Crafts style rectangular wall mirror, the plain gold painted frame with flower head corners, paper label verso for ‘J.J. Patricks, 108 Church Street, Chelsea’, 87cm x 105cm, together with a George III style mahogany fret cut mirror, with bevel edge glass, 99cm high (2)

Lot 876

£100-150

256

Lot 877

Lot 878

876* A 19th century Continental carved wood mirror, probably Italian, the stained frame, intricately carved with Griffins surmounting scrolls leading to an eagle with wings spread, glass plate, 106cm high x 55cm wide (1)

£200-300

877* A Regency giltwood over mantel mirror, with inverted breakfront cornice applied with vines over three glass panels flanked by ropetwist columns (1)

£100-150

878* A Regency gesso pier mirror, the inverted breakfront frieze with balls over Classical scroll frieze, bevel edge plate glass within Classical pilasters, 110cm high x 60cm wide (1)

£70-100

879* A Regency gesso overmantel mirror, the inverted breakfront cornice with classical decoration, three bevel edged glass mirrors, within classical pilasters, 88cm high x 142cm wide

881* A 19th century satinwood and crossbanded music cabinet on stand, with domed cover and painted with Cupids and floral swags on four tapering supports, 70cm high x 50cm wide x 35cm deep

(1)

£300-500

£600-800

880* A Victorian rectangular mirror, the bevel edge glass within giltwood frame carved with acanthus leaves, 82cm high x 62cm wide, together with a Victorian mirror with shaped bevel edge glass within shaped giltwood frame, 70.5cm high x 50.5cm wide

882* A Victorian walnut oval occasional table, the quarter veneered top over spiral uprights each with bulbous roundel, on foliated carved cabriole supports united by cross stretcher, 72cm high x 105cm wide x 66cm deep

(2)

(1)

£100-150

257

£70-100

883* A George III oak occasional table, the planked rectangular top over turned pedestal on three cabriole supports, 71cm high x 89cm wide (1)

£100-150

886* A pair of modern pier mirrors in the Neo Classical style, each with moulded spray of gold painted flowers on a cream ground, with trough beneath, 113cm high

884* A 19th century oak occasional table, the fixed circular top over baluster turned pedestal on three cabriole supports, 39cm diameter x 61cm high (1)

(2)

£70-100

885* A giltwood pier mirror, the rectangular glass within C-scroll and acanthus frame, 170cm high x 94cm wide

887* A Regency period mahogany pot-cupboard, c. 1820s, of classical cylindrical form with white marble top and single inner shelf within, 74cm high x 43cm diam.

(1)

£150-200

258

£150-200

889* A 19th century oak refectory table, the rectangular planked top over turned supports united by cross stretchers, 74cm high x 198cm wide x 85cm deep, the underside of the table carved with names, some dated e.g. ‘1891’ (1)

890* A 19th century oak refectory table, the rectangular planked top over chamfered uprights united by cross stretcher on splayed supports, 76cm high x 122cm wide x 69cm deep

888* A late 19th-century W.G. Grace Victorian tripod-leg pubtable, c. 1890, having cast iron base in three segments with stained pine wooden top, each segment with raised relief portrait image of the renowned Cricketer, and with the initials “W.G.” in raised relief below: shows some age-wear and degradation to top (1)

£300-500

(1)

£150-200

Lot 889

259

£100-150

891* A 20th century hardwood two handled rocking horse, on a rocker base, 64cm high x 89cm long (1)

£70-100

892* An Edwardian mahogany three fold screen, each inset with three embroidered cream silk panels believed from an 18thcentury dress, finely worked in satin stitch and long-and-short stitch, in silk thread in shades of red, pink, green, blue, brown, and yellow, with flower and acorn motifs, flanked by a wide scrolling floral border above and below, and edged with a narrow scrolling floral border at foot, reverse lined with silk, the frame glazed and inlaid with box wood stringing, 180cm high x 228cm wide Provenance: The dress from which the panels survive is believed to have belonged to Susannah-Maria, the wife of Walter Ruding, of Westcotes, Leicester, in around 1770. In 1906 the two panels which remained from the dress were sold to Mr. T.R. Davey of Wraxall Court, and sometime between 1906 and 1940 they were mounted and preserved in this screen (see photocopy of document supplied by the vendor). (1) £200-300

Lot 891 893* A suite of 19th century carved giltwood salon suite, comprising a settee 105cm high x 128cm wide, two open armchairs and two single chairs, each elaborately carved with C-scrolls with striped upholstery on cabriole supports (5)

£700-1000

894* A Chinoiserie settee, c. 1920, the ebonised frame, with lacquer work architectural scenes within geometric borders, caned back, sides and base on block supports united by cross stretchers, 99cm high x 106.5cm wide x 66.5 deep (1)

Lot 892

260

£200-300

Lot 893

895* A George III style breakfront sideboard, with two central drawers flanked by two deep drawers on six tapered supports each with spade feet, 90cm high x 168cm wide x 64cm deep (1)

896* A Regency rosewood sideboard formerly a chiffonier, with rectangular moulded top over, twin panel doors enclosing shelved interior flanked by reeded monopodium-style columns each with detailed lion’s paw feet, on block plinth with bun supports, 76cm high x 82cm wide x 39.5cm deep

£200-300

(1)

261

£100-150

897* An Edwardian two seater sofa, upholstered in blue with downswept side panels leading to turned mahogany supports, 84cm high x 135cm wide x 62cm deep (1)

£100-150

898* A Black Forest bear stick stand, typically carved with outstretched paws holding a branch over metal tray, 97cm high, some old cracking (1)

£700-1000

Lot 897

899* A Victorian combined walnut games/work table, the shaped top hinged to reveal chess and backgammon boards, over single drawer and workbox inlaid with boxwood scrolls, over ring turned uprights on carved cabriole supports united by cross stretcher, 69cm high x 62cm wide x 40cm deep (1)

£300-500

900* A 19th century oak drop flap table, the planked top over two drawers, turned baluster supports, united by gate leg action supports, 72cm high x 120cm wide (1)

Lot 898

262

£150-200

Lot 901

Lot 903

Lot 904

901* A pair of 19th century giltwood torcheres, each with three scroll uprights on three downswept supports, 122cm high (2)

902* An Edwardian mahogany bedpost torchere, Chippendale style on cabriole supports, 124cm high (1)

£300-500

in the £70-100

903* A 19th century torchere in the Adam style, with lions masks, pendant husks and paw feet on circular base, 103cm high (1)

£300-500

904* A Chinese rosewood vase stand, early 20th c., the square top over pierced fret cut design, on four tapering supports united by cross stretchers, 105cm high x 40cm square (1)

£100-150

905* A giltwood wall mirror in the Rococo style, the bevel edge oval glass with elaborate acanthus and scroll frame, 98cm high x 74cm wide (1)

£200-300

906* A 19th century stained hardwood Indian influence whatnot, with shaped pediment over four tiers each with carved scroll uprights terminating with reeded baluster supports, on four bun feet, 14 5cm high x 42cm wide (1)

£200-300

Lot 906

263

907* A late Victorian ladies writing desk, with roll top action opening to reveal three drawers, the hinged fall with painted panel depicting figures in 18th century costume, tooled leather inset, with single drawer similarly painted, brass panel inserts to the sides and gilt painted, on four fluted tapering supports, 90cm high x 79cm wide x 43cm deep (1)

ÂŁ300-500

908* A 19th century Anglo-Indian rosewood and inlaid writing table, with raised upper section, profusely inlaid with engraved ivory, 51.25cm high x 54cm wide x 60cm deep (1)

ÂŁ600-800

Lot 908

909* A Victorian oak writing table, the rectangular top heavily carved with leather inset, over two frieze drawers, each with grotesque masks within scrolls, on four bulbous carved supports with ceramic casters, 79cm high x 130cm wide x 69cm deep (1)

ÂŁ150-200

264

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 the-saleroom.com cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.

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 these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay. Bank Transfer All transfers must state the relevant invoice no. 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. 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. 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 your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help. We provide a monthly delivery service to Central London, 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.

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Conditions of Sale and Business 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.

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.

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.

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 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% 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 19.5% and assents to the Auctioneer receiving the said commission.

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 the Auctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions.

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.

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 best bid, 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.

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.

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.

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.

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.

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DOMINIC WINTER SPECIALIST AUCTIONEERS AND VALUERS Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461

COMMISSION SLIP Please Bid on my behalf at the sale on 6/7 February 2013 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments are handed to third party shipping companies. 267

The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about one per hour from early until late. Several of the trains in each direction are direct and about half the services require a brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of ticket services and discounts.

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

Taxis from Kemble Station (5 miles/10 minutes) Brian's Cabs Cirencester Radio Cars Cirencester Taxis

01285 655299 / 07980 579947 01285 650850 01285 642767

Taxis from Swindon Station (12 miles/25minutes) V-Cars

01793 701701

Cirencester Visitor Information Centre

+44 (0)1285 654180 cirencestervic@cotswold.gov.uk

Catalogue Produced by Jamm Design â€“ 020 8901 7522 info@jammdesign.co.uk

Photography by Ben Cavanna â€“ 07968 342013 bencavanna@aol.com

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FORTHCOMING SALES IN 2013 Wednesday 6 March

Printed Books, Maps & Prints Prof. Pailin Collection of Antiquarian Philosophy & Religion Bibles & Early Printed Books

Thursday 7 March

Vintage Photography including Cuba Natural History, Sporting Books & Prints Fossils, Minerals & Taxidermy

Wednesday 10 April

Printed Books, Maps & Documents The Sir Henry Babington Smith Autograph Collection Autographs & Association Items

Thurs/Fri 11/12 April

The Geoff Milburn Collection of Mountaineering Books

Wednesday 15 May

Printed Books, Maps & Documents

Thursday 16 May

Historic Aviation, Maritime & Transport Memorabilia

Friday 17 May

Arms, Medals & Militaria Back Cover: Lot 588

Dominic Winter _Fine Art & Antiques_Low Res

Published on Jan 25, 2013

Dominic Winter Fine Art & Antiques 6 & 7 February 2013

jammdesign

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