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Fine Art & Antiques 2 MARCH 2017


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FINE ART & ANTIQUES including The Emberson Collection of British Art

2 March 2017

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk www.dominicwinter.co.uk


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AUCTION DETAILS COMMENCING

10.00 am

VIEWING

Tuesday 28 February - 9.00am-7.00pm Wednesday 1 March from 9.00am Morning of sale from 9.00am

SPECIALIST STAFF

Furniture, Silver, Ceramics & Collectables Henry Meadows BA Hons, MRICS Paul Rasti Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation) Tel: 01285 860006 info@dominicwinter.co.uk

All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%. ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50%

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

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details. For payment arrangements please refer to information for buyers at rear of this catalogue. We would kindly request that commission bids are submitted by 9.30am on the morning of sale.

Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk

Photography by Ben Cavanna – 07968 342013 - bencavanna@gmail.com Marc Tielemans - 07710 974000 - marc@tielemans.co.uk


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CONTENTS Ceramics

1-9

Collectables

10-47

Silver & Jewellery

48-69

Oriental Works of Art

70-82

Textiles & Carpets

83-94

Tribal Art

95-101

The Gareth Williams Chess Collection

102-137

Furniture

138-149

Paintings

150-168

Marine Art

169-175

19th Century Watercolours & Drawings

176-223

Portrait & Naval Miniatures

224-233

Old Master Prints & Drawings

234-263

The Colin & Joy Emberson Collection of British Paintings

264-318

Oriental Pictures & Prints

319-329

Original Illustrations & Cartoons

330-348

20th Century Paintings

349-377

20th Century Watercolours

378-417

19th & 20th Century Sculpture

418-425

Etchings, Lithographs & Engravings

426-477

David Gould & The Taranman Gallery

478-481

20th Century Prints

Cover illustrations: Front cover: lot 243 Inside front cover: lot 32 Inside back cover: lot 83 Back cover: lot 73

482-500


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MacDonald Gill. Wonderground Map of London Town, published by Westminster Press, circa 1928, 74.5 x 93cm, in fine original condition with printed envelope. Estimate ÂŁ800-1200 (1 March 2017 sale)

FORTHCOMING SALES IN 2017 Wednesday 1 March

Wednesday/Thursday 5-6 April

Wednesday 10 May

Thursday 11 May

Friday 12 May Wednesday 14 June Thursday 15 June

Wednesday 19 July Thursday 20 July

Printed Books, Maps & Documents Natural History & Field Sports, Fossils & Sporting Prints Photography 1850-2000 Printed Books, Maps & Documents British Topographical Books, Maps & Atlases Science & Medicine, Philosophy & Economics Printed Books, Maps & Documents Travel & Atlases including a Private Library of Polar Exploration Fine Bindings, Bookbinding Tools & Accessories Motoring, Cycling, Maritime & Railway History Motoring Collectables & Literature, Bicycles & Models in association with Transport Collector Auctions Military, Aviation & Naval History, Medals, Arms & Armour Stamps & Coins Printed Books, Maps & Documents Fine Art & Antiques Paintings & Watercolours, Old Master & Modern Prints & Drawings Antique Furniture & Collectables Printed Books, Maps & Documents Children’s & Illustrated Books Modern Literature & First Editions

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


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CERAMICS To commence at 10am

Lot 1 1* Clarice Cliff. A 1930s Crocus pattern tete-a-tete tea set, comprising teapot, milk and cream jug, sugar bowl, 2 teacups and saucers plus 2 tea plates, each black printed marks to base, teapot 15cm long, teacups 9cm diameter (10)

£100-150

2* Coffee Pot. An Elers red ware coffee pot, early 18th century, the body applied with vases and flowers, moulded mask head spout and key moulded foot, with domed cover, 25cm high, chips and repair to spout (1)

£100-150

4* Mixed Ceramics. Various Beatrix Potter Beswick figures, including Amiable Guinea-Pig and Ribby, both gold stamp version, 10cm and 9cm high, together with a pair of early 20th century Continental porcelain figures modelled in the 18th century style with the blue stamp of the Carl Thieme factory, Potschapel, modelled as boy holding a chicken and a basket of flowers, the other of his maiden holding an empty basket each on a rocaille base, 10cm high, plus a Royal Crown Derby porcelain coffee set, comprising four cups with saucers decorated in the Imari pattern, back stamps for circa 1920s (12)

3* Creamer. An early 19th century Pearlware cow creamer with a mottled brown and black glaze, modelled standing on green base, 16cm long, with C.B. Kidd collection label (no. 549), general flaking to the glaze, together with another cow creamer with brown glaze and with cover, 18cm long (2)

£70-100

5* Parian Figure. Victorian parian figure of Diana, modelled by C.B. Birch, seated on a tree stump with a deer and fawn, the base incised ‘C.B. Birch. Sc.1866’, 53cm high, (restored) (1)

£100-150

£200-300

Lot 5

6* Staffordshire Pottery. A pair of Staffordshire pottery pen stands, modelled as recumbant greyhounds, each on dark blue base, 16cm long, together with a milkmaid and boy each modelled standing next to a cow on naturalistic base, 16cm, a Staffordshire pottery zebra and other Staffordshire items, some damage (9)

7* Teaset. Shelley teaset in the Poppy pattern No. 11326, comprising, 12 teacups, saucers and tea plates, 2 butter dishes, 1 teapot and cover, milk jug, sugar bowl together with a Crown Ducal part dinner service in the Orange Tree pattern, comprising 2 tureens and covers, 5 dinner plates, 6 side plates, 6 tea plates, 3 graduated platters, 1 butter dish, gravy boat (2 sets)

Lot 3 5

£100-150

£100-150


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Lot 8 Lot 10

COLLECTABLES 10* Antiquities. Roman terracotta oil lamp of typical form with head of Minerva, 12cm long, together with a terracotta figure of a female in long drapery, 22.5cm high, restored, and another similar with flatted headdress, hollow aperture to the rear, 20.5cm high, restored plus other items

8* Tray. An Art Nouveau tray by Christian Neureuther, circa 1905, coloured ceramic tile with design in blue, white and yellow, impressed factory mark ‘K.A.W.’ [Kunstabteilung Wachtersbach] and artist’s mark to underglaze with ‘601A’ stamped beneath, wooden frame (copyright blindstamp to base) and brass handles, 57 x 32.5cm (22.5 x 12.75ins) (1)

(8)

£100-200

£150-200

11* Antiquities. A small collection of Roman antiquities including a bronze soldier’s buckle, 3rd century, rectangular with openwork decoration, 7.5cm long (found in Kent), bronze brooch, 2nd century, retaining original pin (Suffolk), Romano-British bronze model of a soldier’s boot, 1st century, approximately 2cm long (River Thames), 2 iron keys, bronze fibula brooch, gold earring and bronze key form ring, plus other items

9* Zeppelin. A commemorative porcelain cabinet plate by Rosenthal, decorated with a Zeppelin over the ocean, green backstamps to base ‘Sammelteller Erinnerung Z.R.III’, 22cm diameter The USS Los Angeles, designated ZR-3 was built in 1923-24 by the Zeppelin company in Friedrichshafen, Germany as war reparation to the United States. It was delivered to the US Navy in October 1924 and was used mainly for experimental work, particularly in the development of the American parasite fighter program, ZR-3 was decommissioned in 1932. (1) £100-150

(8)

£100-150

12* Antiquities. A collection of Medieval and later British antiquities, including 3 fragmentary knives, circa 1400-1485, 18.5cm and smaller, Anglo-Saxon fragmentary girdle hanger (shank), circa 7-10th century, 3cm long, Medieval bronze thimble, 15th century (found in the River Thames), together with 6 17th century pewter spoons, 17th century bronze ring / pipe tamper with ‘I R’ seal (River Thames), and other items (23)

Lot 11

£200-300

Lot 12 6


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Lot 13 Lot 16 13* Ashtrays. Robert “Mouseman” Thompson, three oak ashtrays each carved with a mouse, 10.5cm long (3)

£150-200

14* Candlesticks. A pair of French candelabra, circa 1830s, each with detachable twin branch, cast with classical decoration including profiles, swags and festoons on octagonal base, 32.5cm (1)

£500-800

Lot 14

15* Candlesticks. A pair of Adams style ormolu candlesticks, circa 1820s, finely cast with rams heads, floral swags and baskets of flowers on square bases, 19.5cm high (later plates to base and replacement sconces) (1)

£100-150

16* Carriage Clock. A modern brass carriage timepiece by Matthew Norman, with white enamel dial black roman numerals, Swiss made movement no. 1754, architectural brass case with swing handle, 15cm high, including handle with winding key (1)

£150-200

17* Clock Garniture. A 19th century clock garniture set in the Persian style, with alabaster and gilt metal mounts, the clock with gilt metal circular dial with black Arabic numerals, the movement stamped ‘PS’ and numbered 474648, 36cm high (1)

£500-800

Lot 17 7


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18* Clock. A Tudric pewter mantel clock no. 01569, the hammered Napoleon hat case with silvered circular dial, black arabic numerals on bun feet, with drum shape movement and key, 31cm wide (1)

£80-120

19* Dentistry. A 1930s cased collection of porcelain teeth, manufactured by Solarex, the Rexene covered case enclosing three trays each with various grades of teeth, the inner lid with inventory, 7.5cm high x 43.5cm wide x 21cm deep (1)

£200-300

Lot 19

20* Dish. Early 20th century two handle brass dish, inset with a 1759 8 Reales (Spanish Piece of Eight) and four carnelian cabochons, 22cm diameter (1)

£80-120

21* Eggs. A collection of stone eggs, including Derbyshire Blue John, 4.5cm long, Cornish serpentine, 7.5cm long, malachite, agate and other hardstones (22)

£70-100

22* Ewers. A substantial pair of modern gilt metal ewers, heavily cast with cherubs, grapes and vines, with blackened central section cast with playful putto on pedestal base, 57cm high (1)

£800-1200

8

Lot 22


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Lot 27 Lot 24

27* Mixed Items. An early 20th century Swiss or Black Forest carved stag, finely carved standing on a naturalistic base, 23cm long, (damaged), together with a Victorian prize horse shoe, the pewter top engraved ‘Glypso April 1st 1889’, 14.5cm long, an Edwardian mahogany case steeple clock the glazed door enclosing circular dial with black roman numerals, 39cm high, plus a Victorian mahogany case perpetual calendar, 31cm high

30* Rifle. A Victorian percussion sporting rifle by W.H. Thomas, London, the 75cm sighted barrel with steel side lock and blued trigger guard, half walnut stocked 118cm long overall, together with a percussion holster pistol, 38cm long overall (distressed), a leather shot flash, WWII medals comprising 1939-1945 Star, France & Germany Star, Defence and War medals, in cardboard box of issue, plus two walking sticks

(4)

(6)

£80-120

£150-200

23* Folk Art. A carved folk art stick, the grip carved as Ally Sloper with typical elongated nose, 114.5cm long (1)

£150-200

24* Haberdashery. 1930s Abel Morrall’s Flora Macdonald Needles haberdashery box, the mirrored slope front printed with advertising logos, the rear with five drawers containing sewing accessories, 32cm high x 19.5cm wide x 23cm deep, plus two haberdashery almanacs by Brook’s and Dewhurst & Sons, framed and glazed (3)

£100-150

25* Lighter. A Cartier lighter, with red enamel and gilt metal, in original box with certificate and packaging, together with a Sheaffer fountain pen, plus Parker fountain pen and one other, etc (10)

£50-80

26* Microscope. An early 20th century lacquered brass microscope by Swift & Sons, with rack and pinnion focussing, in mahogany box together with another microscope, laboratory scales, postal scales, etc (6)

28* Pencils. Samson Mordon & Co. 9ct gold propelling pencil and calendar, finely enamelled in blue, 7cm long, 23.8g gross, together with four further pencils including two Samson & Mordon 9ct gold pencils (6)

£250-350

29* Pens. A collection of fountain pens and desk items, including a Mont Blanc fountain pen, engraved Mont Blanc Meisterstuck - Pix, with 14k nib, engraved with no. 4810, Parker Duofold fountain pen with 14K nib with original box, ink bottles, calendars and related items (a carton)

£100-200

31* Sundial. A Victorian boxwood sundial and compass by Cox of Newgate Street London, with paper dial, pen work degrees, the lid with original paper instructions, 7.5cm long (1)

£70-100

9

£70-100


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32* Table Cabinet. A 17th century Dutch table cabinet, with tortoiseshell effect on pine with two handles and brass roundels, the top with hinged compartment, two doors enclosing ten drawers, all finely painted in oil with figures, ships and landscapes, 27.5cm high x 23.5cm wide x 14cm deep (1)

ÂŁ2000-3000

10


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33* Telescope. A 19th century lacquered brass library telescope, the 105cm tube signed on the backplate ‘Gargory, 41 Bull St, Birmingham’,with interchangeable eyepieces mounted on a folding stand, in a mahogany box with handles and brass plate engraved ‘A.G. Jackson’, 18cm high x 111cm wide x 27cm deep James Gargory, optician from 1874. (1)

35* Urn. An Art Nouveau Lyons Tea House urn, the ceramic urn with two brass taps and one handle decorated with a female, with domed metal cover inscribed Lyons Tea House, 52cm high (1)

£300-500

£500-800

34* Telescope. A 19th century lacquered library telescope, 96cm tube mounted on a folding stand with interchangeable eyepieces, in a pine box, 14cm high x 101cm wide x 23.5cm deep

36* Vessel. An early 20th century Continental amber glass water vessel, probably Spanish, finely enamelled with knight’s helmet, coronet, sun and other devices, with handle and spout, 26cm high

(1)

(1)

£300-500

11

£80-120


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37* Walking Canes. A Victorian ladies walking cane, with spherical porcelain knop in blue with gilt and cherub decoration on a bamboo shaft, 92.5cm long, together with another similar with silver collar stamped Brigg, engraved ‘M.A. Smythe 1905’, London hallmarks, 84cm long, plus another with elongated ruby coloured glass handle and rosewood shaft terminating with a brass ferrule (3)

39* Walking Cane. An early 20th century cane, the bowl of cherry wood acting as the knop which unscrews to reveal a nickel and composite mouth piece, with beechwood shaft and metal ferrule, possibly from Austria, 92cm long (1)

£200-300

42* Walking Cane. A Victorian novelty “Gamer’s” walking stick, the unusual silver wirework ball handle inset with small Victorian silver coin, unscrewing to reveal a compartment for dice, with an ivory cylindrical collar and black ebony shaft and ferrule, 95cm long

44* Walking Stick. A Greek walking stick, circa 1900, carved from olivewood the handle carved with a horse’s head and a moustached face beneath with the word Kepkypa (Corfu) with brass ferrule, 90cm long, together with another walking stick with leather roundels, 90cm long

(1)

(2)

£200-300

£70-100

£100-150

40* Walking Cane. A late 19th century “Cheroot Gun” cane, the brass handle modelled as an old cannon on a rosewood shaft with brass ferrule, 90cm long

38* Walking Cane. A 19th century walking cane, with ivory knop, carved as a Napoleonic period soldier, on ebony shaft with silver collar Birmingham 1899, 91cm long (1)

£200-300

Believed to have been carried by gamblers in the American Wild West, and if accused of card cheating they could ignite the cannon with a lit cheroot for self defence. (1) £80-120

43* Walking Cane. A 19th century walking stick, with substantial spiral carved whalebone shaft with scrimshaw whales tooth handle engraved with mermaid and a whale, the root end with silver cap, the shaft pierced with cord loop, the base with iron ferrule, 99cm long

41* Walking Cane. An early 20th century snakeskin covered walking stick, with horn handle and brass ferrule, 90cm long (1)

(1)

£70-100

12

£250-350

45* Walking Stick. An Edwardian walking stick, carved with a boot in two tone colours, the shaft carved with a snake and wild cat with brass ferrule, 87cm long (1)

£80-120


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SILVER & JEWELLERY

48* Albert. An Edwardian 9 ct rose gold albert, the clasp stamped 375, 40cm long, 19.8 g (1)

£150-200

49* Bon bon Dish. Victorian silver bon bon dish, wavy rim with gadrooned and rococo decoration on a pedestal foot, London 1884, a silver dish inset with a coin and other items, weighable silver approx. 9oz (10)

£70-100

46* Wall Light. A pair of French gilt metal twin branch wall lights, circa 1900, modelled as child Pan with acanthus decoration, 39cm high, converted for electrical use (1)

£300-500

50* Brooch. A yellow metal brooch, set with ten large pearls, 4.5cm wide (1)

£150-200

51* Flatware. A mixed collection of silver flatware, comprising ten fiddle pattern dessert forks, plus five dessert spoons by William Eaton, London, circa 1839, all engraved with family crest, together with four further dessert forks and two spoons, George III and William IV period, approx. 28oz (21)

£200-300

47* WMF Dish. An Art Nouveau WMF dish, cast with a classical female in drapery picking fruit, WMF marks to base, no. 335, 30.5cm long, together with a similar two-tier dish plus a lamp base

52* Forks. Six silver Fiddle pattern table forks by Elkington & Co, Birmingham, 1919, together with six serving spoons, various makers and dates George III onwards, total weight approx. 28oz

(3)

(12)

£150-200

13

£200-300


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56* Gold Chain. 18ct gold belcher chain, the clasp stamped 750, 50cm drop, 27 g (1)

£400-600

53* Forks. Fourteen George III silver table forks, together with six dessert spoons, various makers and dates, total weight approx. 42oz (20)

£300-400

54* Frames. A collection of silver photograph frames, including an Edwardian oval frame, Birmingham 1900, 8cm high, modern rectangular frame, 15cm high (10)

£100-150

57* Gold Chain. A gold chain, with pierced links, the clasp stamped 750, 68cm drop, 5.2 g (1)

55* Gold Chain. 18ct gold chain, the clasp stamped Uno a Erre, 750, 40cm drop, 69.5 g (1)

£1000-1500

14

£200-300


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58* Mixed Jewellery. Victorian yellow metal brooch, with a large citrine, with safety chain, 5.5cm wide, in a fitted leather case, Victorian mourning brooch, Edwardian yellow metal ladies fob watch with engraved dial, black roman numerals and foliate engraved case, in a fitted leather case, together with a gilt metal sovereign case, Scottish brooches, Chinese pearl and apple green jade 4 strand hanging and other items (14)

61* Mixed Silver. Victorian silver mesh bag, London 1881, together with an Edwardian silver calling card case of envelope form, Birmingham 1905, Victorian silver purse, George III navette shape pill box, the lid engraved with wriggle work, Birmingham 1796, two silver ingots and other items, weighable silver approx. 8.8oz (11)

£100-150

£200-300

59* Jewellery. A large collection of vintage costume jewellery, contained in two boxes, together with a 1970s Bulova gents wristwatch, Edwardian silver open face pocket watch by J.W. Benson, London, with silver watch chain and T-bar, silver mustard plus pot with blue glass liner (2 cartons)

£200-300

62* Mixed Silver. Edwardian silver quaiche, with regimental presentation inscription dated 1906, Edinburgh 1904, 14.5cm wide, Edwardian silver cream jug of bulbous form with reeded handle, London 1906, a silver egg, London 1964, Asprey silver ashtray, Birmingham 1950, various silver spoons, etc, total weight approx. 15oz (10)

63* Mixed Silver. A pair of modern white metal marriage pots and covers, of hexagonal form with finely engraved panels, gilded interior on three ball feet, stamped MMA, 6.5cm high, Victorian pin tray by William Comyns, London 1884, decorated with a harvest scene and gilded base, 21.5cm long, five silver condiments and five silver top jars, etc

60* Mixed Silver. A silver pedestal bonbon dish by SW Smith & Co, Birmingham, 1922, of faceted form with swing handle, a sauce boat by Adie Brothers Ltd, Birmingham, 1937, with shaped edge and scroll handle on three cabriole supports, a set of six teaspoons, silver grip tea knives, etc, weighable silver approx. 15oz (21)

£100-150

(14)

£150-200

£100-150

64* Mixed Silver. Victorian silver bon bon dish, wavy rim with gadrooned and rococo decoration on a pedestal foot, London 1884, a silver dish inset with a Swedish coin, Chester 1913, 10.5cm wide, three piece silver condiment and other items, weighable silver approx. 9.5oz (a bag)

15

£70-100


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65* Necklace. A 20th century semiprecious stone necklace, with 35 ivory coloured beads each with hints of pink, dispersed by 4 gilt metal balls with 800 gold catch (probably Portuguese), 25cm drop (1)

£80-120

Lot 68

66* Pendant. A 1970s Tiffany gold pendant, decorated with fish symbolising Pisces, incised K18 Italy, Tiffany & Co, approx. 45mm diameter, 45.6 g (1)

£700-900

Lot 69

68* Spoons. Eleven Victorian silver gilt coffee spoons, in the Renaissance revival style, finely decorated bowls with faces and scrolls, stamped 925, 11cm long, approx. 6.5oz

69* Teaset. A Victorian three-piece silver teaset, comprising teapot, milk jug and sugar pot by Henry Matthews, Birmingham 1899, decorated with a rococo design, teapot 28cm long, total weight approx. 34oz

(11)

(3)

£80-120

67* Sewing Case. A silver sewing case by George Unite, London, circa 1850s, in the form of an egg with chased floral decoration, with suspension ring, enclosing a silver thimble and pin cushion, 5.5cm long (1)

£100-150

16

£200-300


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ORIENTAL WORKS OF ART

70* Bowl. Chinese provincial porcelain blue and white bowl, decorated with buildings and landscapes, brown incised rim and base, brown circular mark to base, 26.5cm diameter (1)

£80-120

71* Bronze. An early 20th century Eastern bronze figure, probably Chinese, modelled as a female nude rising from a Lilly base, 27cm high (1)

£150-200

72* Bronze. A Chinese bronze toad, well detailed with scaly skin, 19cm long, together with a brass Buddhistic lion, modelled lying on a mat, 22.5cm long, on a hardwood bamboo base, zoomorphic bronze crocodile, 30cm long, mounted on a hardwood base and other metalwares (6)

73* Carving. A Chinese carved stone head of Guanyin, probably Ming Dynasty (1368-1644), finely carved with elongated earlobes and tiara set in front of her hairdress, 40cm high x 18cm wide x 17cm deep (1)

£2000-3000

£200-300

17


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74* A pair of Chinese flambé cats, each seated with their heads turned to one side, decorated in an all over deep purple glaze, hollow bases with impressed five character mark, 6.75ins high (17cm) (1)

£200-300

75* Chinese Ceramics. A collection of 19th century and later Chinese ceramics, including a pair of famille rose ovoid pots, decorated with insects, foliage and blue floral borders, 21cm high, one with replacement wooden cover, a cylindrical brush pot, decorated with exotic bird and flowers, inscription to neck, red four character mark to base, 29cm high, three jardinieres, two porcelain plates and other items (15)

£200-300

76* Chinese. Ivory puzzle set, Canton: Lee Ching, mid to late 19th century, fifteen puzzles, various shapes and sizes, some intricately carved, occasional minor damage, accompanied by two printed booklets of tangrams, contained in a blue silked-lined compartmented tray, with label printed in red ‘Lee Ching, Canton’, in original gilt decorated laquered wooden box, with hinged lid and carrying drop handles, tray and box both with some minor damage to extremities, overall size 33.5 x 47.5 x 11cm (13.25 x 18.75 x 4.25ins)

Lot 76

A particularly attractive set of carved ivory puzzles, with most components present (unusually) and in good condition, housed in an elaborately decorated box with the maker’s label. Lee Ching, who operated in Canton, Shanghai and Hong Kong between 1840-1880, exported silverware as well as ivory goods. Puzzles include: twelve piece burr; imperial scales; tortoiseshell reef knot; puzzle ball; Chinese rings; crucifix puzzle; two plaques puzzle; cup and ball; ladder puzzle; dissected cube; and spillikins. (1) £1000-1500

Lot 77

77* Jade. A Chinese jade carving of a ram, probably late 18th/19th century, carved in the recumbent position with legs neatly tucked in, long curved horns and incised head, 5.5cm long on a rosewood stand together with a soapstone carving of two carp fish on a rectangular base, 16cm high, early 20th century Japanese carved ivory netsuke of a boy with branch on shoulder 6cm high and other items (5)

18

£150-200


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80* Soapstone Carving. An early 20th century Chinese soapstone carving of an elder with child, finely carved, holding a staff, the child holding a peach branch with an exotic bird to the side, 48cm high on a hardwood stand and ebonised plinth, 50cm high overall (old bracket drilled into rear) (1)

78* Netsuke. An early 20th century Japanese ivory netsuke, carved as a rat on a human skull, signed to rear, 3cm high, together with another carved as a figure holding a bag, the face revolves to show a happy and evil face, signed on base, 4.5cm high, slight damage (2)

£100-150

79* Pot. Indian Benares pot, finely engraved with figural panels and arabesque decoration, the base similarly decorated, 34cm high (1)

£200-300

£150-200

81* Vase. A 19th century Chinese bronze vase, of lobed baluster form, with two Buddhist symbols finely cast dragon handles each holding a pearl, six character Xuande mark to base (drilled for electrical use) 39.5cm high, displayed on a carved hardwood stand (1)

£200-300

82* Vase. Mid-20th century Chinese porcelain famille-verte vase, with two pierced handles, decorated with figures within geometric borders, red mark to base, 50cm high (1)

£150-200

Lot 80

Lot 81

Lot 82

19


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TEXTILES & CARPETS

83* Beadwork basket. A rare beadwork basket, English, 1664, large square tray, with trefoil handle to each side, wrapped around with small coloured glass beads on wire (ribbon beneath sometime renewed, and beads washed and re-wired), embellished with later narrow blue ribbon bows, base lined with beaded panel depicting King Ahasuerus receiving Esther, the latter with attendant holding her train, Mordecai beside them, Haman hanging from a gibbet, the citadel of Shushan (Susa), and numerous other symbolic images of flora and fauna, with the initials ‘E.W.’ and the date 1664, beadwork sometime lifted from original backing and carefully relaid onto a new ground of linen-backed cream silk using adhesive and thread, generally a little dusty and some small losses, linen faces of the three main figures lacking their stitched features, size of panel 36.5 x 36cm (14.25 x 14ins), overall size 53 x 52cm (21 x 20.5ins) Provenance: Purchased over twenty years ago by the current owner from an auction of items which came from a major country house in the northwest of England, where it had almost certainly resided since its creation. Baskets such as these are very rare, there being only a relatively small number in existence. It is probable that the conservation work carried out on this piece was executed sometime in the first quarter of the 20th century. The purpose of such trays is not known; it has been suggested that they were made as layette baskets when preparing for the birth of a baby, or for placing gloves or rosemary in at a wedding. However, they may have been intended not as receptacles, but as simply commemorative pieces for a birth or betrothal, or just as decorative table centrepieces. As with silk embroidery, beadwork was a popular pastime for ladies in wealthy households in the seventeenth century, and young girls were instructed in the art of beadwork in the same way that they were taught other forms of embroidery. Similarities between the form of the basket frame in known examples suggest that they could be purchased ready-made for beadwork to be applied. The seventeenth century was a golden age in British embroidery, and large quantities of glass beads were imported from Venice and Amsterdam by English merchants between the 1630s and 1680s. All the examples of beadwork baskets which we have traced appear to date from the 1660s and 1670s. One of the most popular subjects for all types of embroidered objects was the Biblical story of Esther and King Ahasuerus, taken from the seventh chapter of Esther. The imagery of the tale, as well as that of the also oftused story of King Solomon, served as a timely reminder, at the time of the Restoration of Charles II, of the sovereignty and greatness of the King, his graciousness in receiving supplicating subjects, and the dangerous consequences of not honouring the monarchy. It may be that the display of such a large piece of embroidery in a prominent place in a gentleman’s dwelling helped prove the household’s allegiance and devotion to the King. (1) £4000-6000

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84* Carpet. An Oriental woollen carpet with three central diamonds on a red and blue ground within multi banded border, 315cm long x 197cm wide (1)

£200-300

87* Delabere Carleton (Lady Alison, 1894-1955). An original embroidery design for a stool, pencil and watercolour on cream paper, showing an 18th century-style design for a stool, depicting a dragon and mythical birds amongst exotic flowers on scrolling stems with foliage, monogrammed lower right, 44.5 x 98.5cm (17.5 x 38.75ins), framed and glazed, together with An original design copied from a fragment of 18th century fabric, pencil and watercolour on paper, depicting a frieze of pink roses amongst scallop shell and volutes, within a frame of green scrolling foliate ribbon and berries, generally creased and dusty, 43.5 x 101.5cm (17 x 40ins), framed and glazed, with manuscript label on backboard ‘This is not an original design but was drawn out by Lady Alison from some fragments of 18th century French brocade’, plus An original embroidery design for a chair, pencil and watercolour on paper, showing an 18th century-style design for a chair, depicting an exotic bird in the centre framed by volutes, flowers, and foliage, lightly faded, framed and glazed, 61 x 67cm (24 x 26.5ins), together with an unframed detail of the bird, pencil and watercolour, with pencilled marginalia giving instructions for working in silk, pin holes at corners, 22.5 x 20cm (9 x 7.75ins), plus five other watercolour designs for embroidery

85* Chinese Dragon Robe. Large rear panel fragment of an embroidered silk Imperial Dragon Robe, Qing Dynasty, 18th century, apricot silk, embroidered with metal threads and coloured silk threads in shades of blue, white, green, brown, and yellow, depicting three five-clawed dragons and two guardian lions in gold thread, cloud scrolls, bats, gourd motifs, triple-peaked mountain, foaming waves, and other auspicious symbols, overall wear, with perishing to silk and threads unravelling, 98 x 83cm (38.5 x 32.75ins), mounted on dark blue fabric, framed

From the archive of the Ladies’ Work Society. Lady Alison Delabere Carleton was one of the proprietors of the Society, which began as an off-shoot of the Royal School of Needlework. (8) £200-300

Within the Imperial Palace, the colour of a Dragon Robe reflected the rank of the wearer, apricot being the shade reserved for the Crown Prince. (1) £250-450

86* Chinese. An embroidered Chinese silk robe, circa 1900, purple silk asymmetrical T-shaped garment, embroidered with metal threads and coloured silk threads, in shades of cream, pink, orange, red, and green, with a dragon on the front and two dragons on the back, with cloud motifs, and decorative borders to neck, hem, and sleeves, some small holes and loose threads, fastened on the neck and right-hand side with buttons and loops, lined with puce silk, length 89cm (35ins)

88* Embroidered map. An Accurate Map of England and Wales, Ann Orton, 1776, Fecit, map of England and Wales divided into counties, plus part of Scotland and Ireland, with Alderney, Guernsey, Sark, and the edge of France, top right corner with title cartouche, finely worked in tent and cross stitch on linen, in blue, pink, black, yellow, white, and green silks, worn, with loss of threads and some holes and fraying to linen, especially at upper edge, approximately 60 x 50cm (23.5 x 19.5ins), mounted on linen, framed and glazed

(1)

(1)

£150-200

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£100-150


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90* Embroidered bag. A tambour work evening bag, circa 1920s, pale green satin gusseted pochette, with matching carrying strap on reverse, embellished with all-over fine cream tabour work, consisting of floral sprays, volutes, drawer handles, and other decorative motifs, flap with additional floral border in tambour work in shades of pink, green, and blue, front a little faded and with one or two minor marks, interior lined with cream satin, and with gathered pocket, brass press stud fastener, 13 x 24cm (5.25 x 9.5ins) Provenance: From the archive of the Ladies’ Work Society. A beautiful example of one of the exquisitely worked evening bags which were made and sold by Lady Alison Delabere Carleton and Miss Thorold in their exclusive bag shop in Wigmore Street, London, before they became the proprietors of the Ladies’ Work Society, which was an off-shoot of the Royal School of Needlework. (1) £150-200

89* Embroidered bag. A tambour work silk bag, late 18th/early 19th century, cream silk pocket-shaped bag, embellished with fine tambour work on both sides in coloured silks in a variety of shades, with a suspended wreath of roses surrounded by floral sprays incorporating volutes and blue bows, front bordered with tufted braid, gold thread tassels at either side, stiffened opening of gold thread mesh over salmon-pink silk, interior lined with latter, small area of perished silk at top of front (not affecting embroidery) and a few light marks and loose threads, long shoulder cords sometime renewed, dimensions (not including cords) 30 x 21.5cm (12 x 8.5ins), together with a late 18th/early 19th century bell pull, cream silk embroidered with fleuron motifs in gold metal threads and sequins, gold fringing along each edge, backed with pink silk, some wear and ends cut, length 101cm (39.75ins), width 8cm (3.25ins) (2)

£200-300

91* Gilmer (Valerie, 20th/21st century). Malvern’s Gothic Architecture, textile picture, composed of white fabric cut-outs, with matching stitched detail, on a white damask ground, housed in original perspex case, overall size 62 x 46 x 7.5cm (24.5 x 18.25 x 3ins) Exhibited: ‘Lost and Found’, Foyle Gallery, Birmingham, 8th January-27th February, where the item was purchased by the current owner. The work of textile artist Valerie Gilmer shows an interest in pattern and form and the effect of light and shade. More specifically, the work exhibited at the above exhibition “is derived from dress-making techniques no longer in common use, 18th century domestic stoneware and Victorian Gothic architecture.” She frequently uses white paper and old tablecloths in her work: “The whiteness of both these materials emphasises the sculptural quality of the work which, in turn, allows for interesting shadows, and the damask incorporates a sense of time and memory within each piece.” (1) £70-100

Lot 90

92* Prayer Rugs. Four Oriental woollen prayer rugs, including a rug with animals and foliage on a red ground with geometric border, 148 x 71cm, another with three medallions within geometric border on a deep red ground, 145 x 105cm (4)

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£100-150


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93* Sampler. A linen sampler by Suffina Odell Hughes, 1798, worked in cross-stitch in coloured threads, with a quotation at head, and name and date at foot, with numerous images and symbols, including Adam and Eve with tree and serpent, lions, deer, birds, flowers in urns, a peacock, a squirrel, etc., all within a decorative border, toned, some staining and wear at edges, with loss, 42.5 x 35cm (16.75 x 13.75ins), framed and glazed, together with a linen sampler by Sarah Willan, 1768, worked in cross-stitch in coloured threads, with a quotation between alphabets and numerals, some wear with slight loss, 36 x 32cm (14.25 x 12.5ins), framed and glazed, plus another smaller framed sampler dated 1850 First sampler with the quotation: ‘All you my fri[e]nds that now expect to see a peace [sic] of work thus perform[ed] by me cast but a smile upon my small endeavour and strive to make and mend and be obedient ever’. The second sampler has a slightly different version of the same quotation, plus ‘Let title be the name of truth this is the practise of my youth with care and cost this have I wrought and finished with a virgins thought’ and ‘With all thy soul love God above and as thyself thy neighbour love.’ (3) £100-150

94* Tekke Bokhara. A fine hand woven wool and silk carpet circa 1900, with five columns of fifteen gulls on a red ground within a multi banded border and tasselled fringe, 340 x 226cm The Tekke tribe occupied most of the habitable part of what is now the Turkoman S.S.R. (Turkmenistan) between the Caspian sea and the River Amu Darya. They are considered to be the most important of the Turkoman tribes. (1) £500-800

Lot 93

Lot 94

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TRIBAL ART 99* Tribal Figure. An Indonesian hardwood figure, mid 20th century, carved as a fisherman with net and pot, on a square plinth, 68cm high (1)

£50-80

Lot 95 95* Metalwork. A collection of African metalwork, including a Benin bronze bust modelled in headdress and neck rings, 28cm high, together with a warrior riding an elephant, 32cm high, another of a warrior on horseback, 25cm high and other items (12)

100* Tribal Mask. A Songye Kifwebe tribal mask, with white pigment and scarification marks with grass beard, 43cm high

£100-150

(1)

£150-200

97* A Philippines Ifugao wooden container carved with figural cover and cord,20cm high together with a smaller container, 13cm high (1)

96* Nigerian Ibeji Tribe Figure, carved as a tribesman, with ceremonial headress and adorned with coloured glass beads, 24.5cm (1)

£200-300

£80-120

98* Pre Columbian style pottery deer modelled as a standing deer with three birds perched on its back one with a raised aperture presumably a vessel, 26cm high, some repairs (1)

£150-200

24

101* Tribal. An African carved Senofu tribe mask, carved as a double head, surmounted by an elder with horns, 46cm long, together with an African hardwood bird carved drinking from a pot, 38cm high, plus two Thai wooden masks and other items (9)

£150-200


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THE GARETH WILLIAMS CHESS COLLECTION

102* An English bone chess set, mid to late 19th century, one side stained red the other left natural, kings and queens with turned decoration, bishops with mitres, knights as horses’ heads, rooks as raised turrets with flags, pawns with ball finials, the king 14cm high, the pawn 5cm high, some damage and wear

105* An English bone chess set, circa 1800, one side stained red the other left natural, kings and queens with flared rims with pierced decoration, bishops with mitres, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the king 10cm high, the pawn 4cm high, some damage and wear

(1)

(1)

£150-200

106* An English bone chess set, mid to late 19th century, one side stained red the other left natural, kings and queens with turned decoration, bishops with mitres, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the king 7.5cm high, the pawn 3cm high, together with an English bone chess set (incomplete) mid19th century or earlier, one side stained red the other left natural, the king 7cm high, the pawn 3.5cm high, together with a similar set, the king 6cm high, the pawn 3cm

103* An English ivory chess set, mid to late 19th century, one side stained red the other left natural, kings and queens finely turned, bishops with mitres, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the king 9cm high, the pawn 4cm high, some damage and wear (1)

£150-200

£100-150

(3)

£100-150

104* An English bone chess set, mid-19th century, one side stained red the other left natural, kings and queens with turned decoration, bishops with mitres, knights as horses’ heads, rooks as raised turrets (bases inscribed CS), pawns with ball finials, the king 8cm high, pawns 4.5cm, some damage and wear

107* A French carved bone and ivory part chess set, Dieppe, mid19th century (incomplete - 22 pieces), one side stained red the other left natural, the natural side retaining finely carved king 8cm high and queen, some damage and wear together with various incomplete sets

(1)

(a carton)

£100-150

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£100-150


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108* An Anglo Indian ivory chess set, mid-19th century, one side stained red the other left natural, kings and queens with turned baluster decoration, bishops with mitres, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the king 10cm high, the pawn 4cm high, some damage and wear together with another ivory chess set probably English, one side stained red the other left natural, kings and queens elaborately carved, the king 9cm high, the pawn 4cm (one red pawn a matched replacement), in a mahogany box (2)

111* An Anglo-Indian ivory chess set, circa 1850, one side stained red the other left natural, kings and queens delicately carved with balusters, bishops with mitres, knights as horses’ heads, rooks as lighthouses, the kings 8cm high, the pawns 3.5cm high together with bone set, circa 1880s, one side stained red the other left natural, the kings and queens with turned decoration, the kings 7.5cm high, the pawns 3.5cm high plus a similar wooden chess set and various incomplete sets (2 boxes)

£200-300

£150-200

109* Miscellaneous ivory, boxwood and bone chess pieces, circa 1850-1900, mostly Anglo-Indian and Chinese including a stained Chinese red warrior in long robes holding a flag and sidearm on a double lotus base, 11.5cm high, a part Anglo Indian ivory and wood set, circa 1880s, the natural king and queen intricately carved in the Regency style, 12cm high, Indian ivory figures on elephants, etc

112* An Indian ivory chess set, circa 1850s, (incomplete), carved in the old English style, one side stained in red the other stained green, kings and queens finely carved with, bishops with figural heads, knights as horses’ heads, rooks as raised turrets with flags, pawns as figural heads, the kings 13.5cm high, the pawns 7cm high (missing red rook, green king)

(2 cartons)

(1)

£200-300

113* A fine Russian wooden chess set by Oleg Raikis, circa 1994, the kings and queens delicately turned with tapered finials, bishops with tapered points, knights as horses’ heads, rooks delicately turned, pawns with ball finials, the kings 11cm high, the pawns 3.5cm, presented in a carved wood box with chessboard cover, 35.5cm x 35.5cm, with two related booklets

110* An Anglo-Indian bone chess set, circa 1850, one side stained red the other left natural, kings and queens elaborately carved, bishops with mitres, knights as horses’ heads, rooks as raised turrets with flags, pawns with ball finials, the kings 12cm high, the pawns 4.5cm high, together with an English chess ivory chess set, one side stained red the other left natural, the kings 8.5cm high, the pawns 4cm, some damage and wear (32)

£150-200

With a letter of provenance: Made in 1994 for the Chess Collectors Congress in St Petersburg and later used in the film Luzhin Defence (October 2000). (1) £300-500

£100-150

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117* An ivory chess set, early 20th century, one side stained red the other left natural, the kings and queens finely turned, bishops with mitres, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the kings 7.5cm, the pawns 4cm, presented in rosewood and ivory chessboard box

114* Africa. A Malawai carved wood chess set, one side ebony the other kadele wood, the kings carved as crowned figure, bishops wearing top hats, knights as horses’ heads, rooks as huts, pawns as smaller figures, the kings 9.5cm high, the pawns 7cm together with five other African carved wood chess sets

(1)

£150-200

The first chess set is illustrated in Ned Munger’s Cultures Chess & Art Vol 1. (6) £150-200

118* A modern Indian silver and enamel chess set, one side turquoise the other blue inset with semi-precious stones, all figural decoration riding on an elephant or horseback, the pawns as warriors, the bases stamped ‘Silver’, the kings 6cm high, the pawns 5cm , presented in a chessboard box, 35.5cm x 35.5cm (1)

115* A Nigerian carved stone chess set, one side black the other brown, the kings and queens carved as elders, bishops crouching, as warriors, rooks as towers, pawns as heads, the kings 14cm high, the pawns 7cm high, together with four other African chess sets one being stone the other three carved wood (5)

£100-150

119* A modern Francis Drake pewter chess set, in chessboard box, the lid decorated with galleons and figures, 48cm x 48cm, together with three other modern chess sets including a Chinese resin set

£150-200

(4)

£100-150

116* A horn and ivory chess set, early 20th century, one side all horn the other horn and ivory, the kings and queens finely turned, bishops with rounded tops, knights as horses’ heads, rooks as raised turrets, pawns with ball tops, the kings 7.5cm high, the pawns 3cm, presented in a chessboard box inlaid with mother of pearl exotic birds and flowers

120* Wooden chess set, 19th century, one side stained black the other left natural, the kings and queens heavily turned, the bishops with mitres, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the kings 12.5cm high, the pawns 5cm, some damage, in carved oak chessboard box, 48cm x 48cm

(1)

(1)

£100-150

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£100-150


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121* Wooden chess set, 19th century, one side stained black the other left natural, the kings and queens nicely turned, the bishops with stained tops, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the kings 9.5cm, the pawns 5cm, some damage, in a chessboard box with trade label for Heinrich Jacobi, Wien, 42cm x 42cm (1)

£100-150

122* Ten wooden chess sets, 19th century and later, including Staunton pattern set, one side stained black the other left natural, the kings and queens nicely turned, the bishops with mitres, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the kings 9cm high, the pawns, 4.5cm high, some damage throughout (a carton)

Lot 121

£200-300

123* Seven wooden chess sets, 19th century and later, including a St George boxwood set, one side stained black the other left natural, the kings and queen well turned, the bishops with ball tops, knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the kings 10cm high, the pawns 6cm high, some damage throughout together with various incomplete sets (carton)

£200-300

124* Wooden chess sets, 19th century and later, including an English ‘upright’ set, one side stained black the other left natural, the kings and queens nicely turned, the bishop with mitres, the knights as horses’ heads, rooks as raised turrets, pawns with ball finials, the kings 9cm, the pawns 3.5cm, together with various incomplete wooden sets including a mid-19th century French example (5)

£150-200

125* Ten travelling chess sets, including an Edwardian mahogany box containing ivory pieces, one side stained red the other left natural, approx. 12mm high, another set with composite pieces, one side in red the other white, housed in a chessboard cabinet with Perspex sliding cover 23.5cm x 24cm (10)

£100-150

126* A WWII period German chess set, in original box titled ‘Scach-Dame und Muhle’, with pressed card pieces and board together with a similar set plus L’Attaque, The Game of Military Tactics A Rival to Chess by H.P.G. & Sons Ltd, with original card box, plus various metal sets including a flat set one side painted red other black, the kings 6cm high, the pawns 3cm high

Lot 122

(a carton)

£100-150

127* A large collection of modern ceramic and glass chess sets, including a set inspired by the character Morph modelled and signed by the potter P.S. Brown, approx. 8cm high (3 cartons)

£100-200

128* A carton of incomplete wooden chess sets, 19th century and later, various types and sizes (a carton)

£100-150

129* A collection of chess clocks, including a 1930s mahogany cased clock with two circular dials and chrome and Bakelite handle, 19cm high x 29cm wide plus a 1950s clock by Chess Sutton Coldfield with green metal case, 12cm high x 20.5cm wide (10)

Lot 123

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£100-150


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Lot 124

Lot 125

Lot 129 Lot 126

Lot 130

130* A Russian ivory King, circa 1850, carved from walrus probably from Kholmogory, finely detailed sitting on a throne, 10.5cm high, some damage (1)

ÂŁ100-150

131* A collection of Indian carved ivory chess pieces, mid 19th century, one side stained green the other red, carved sitting on elephant howdahs, overpainted in gold, the pawns as kneeling warriors, 6.5cm and smaller, some damage throughout (31)

ÂŁ100-150

Lot 131

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132* A mixed collection of chess pieces, 18th/19th century, including an Indian carved soldier seen holding a musket over his shoulder 6cm high, an ivory knight, 6.5cm high, an ivory rook circa 1850 carved as a soldier on a red pedestal base, 4cm high and others, presented in a modern glass frame with details verso of each piece, 24 x 28cm (a frame)

£150-200

133* A small collection of chess related antiquities, including four Egyptian gaming pieces from the Gaze Cooper Collection circa 850BC, a Tunisian dice circa 4-7AD, and other related items (a bag)

£70-100

134 Chess reference books, including Keres (Paul), Photographs and Games, Paide 1995, 4to hardbound, Mackett-Beeson (A.E.J.) Chessman, Octopus Books 1967, and other related books (4 cartons)

£70-100

135* An Empire style chess table, veneered in walnut with brass mounts and two drawers each with ring handle on four turned column supports united by stretchers, 77cm high x 64.5cm wide x 49cm deep, together with a collection of approximately 20 modern chessboards

Lot 132

(21)

£100-150

136* A Victorian rosewood fire screen, the elaborate carved and turned frame inset with a tapestry panel showing a 17th century chess game, on carved supports united by stretcher 100cm high x 60cm wide (1)

£80-120

137* Chess Set. An English ivory chess set, incomplete, mid 19th century, one side stained red, the other left natural, kings with turned decoration, bishops with mitres, knights as horse’s heads, rooks raised as turrets, pawns with ball finials, the kings 8.5cm high, the pawns 3.5cm high, missing natural queen, and with three additional pawns, with mahogany sliding box and modern chess table, 63cm high x 61cm square Lot 133

Lot 135

(1)

Lot 136

30

£100-150

Lot 137


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FURNITURE

142* Chest of Drawers. George III mahogany straight front chest of four long drawers, with brass handles and ivory key plates, on bracket supports, 110.5cm high x 104cm wide x 51.5cm deep (1)

138* Armchair. Victorian elm wheel back armchair, 107cm high

140* Armchair. Victorian elm stick back armchair with curved top rail, 115cm high

(1)

(1)

£70-100

£70-100

139* Armchair. Victorian elm stick back armchair, 108cm high

141* Armchair. Victorian elm stick back armchair, with curved top rail, 97cm high

(1)

(1)

£70-100

£100-150

£70-100

143* Clock. Victorian longcase clock, with painted dial, black roman numerals, brass hands and subsidiary seconds dial, the dial painted with figures and buildings, with fisherman by a folly to the arched top, the pine case with turned columns on bracket supports, 208cm high, with two weights and pendulum (1)

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£200-300


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144* Coffer. An 18th century oak coffer, carved with initials ‘SI’, the rectangular top with three panels, front with geometric fan carving on block supports, 53cm high x 95.5cm wide x 46.5cm deep (1)

£150-200

145* Coffer. A Victorian Gothic style oak coffer, circa 1920s, with rectangular top above carved Gothic panels on bracket supports, 47cm high x 92.5cm wide x 37cm deep (1)

£70-100

147* Mirror. A 20th century Continental mirror, probably Spanish, the elaborate art nouveau frame with bevel edge glass, 199 cm high x 55 cm wide (some damage to the frame) (1)

£200-300

149* Tallboy. A 19th century mahogany tallboy, the top section with two short and three long drawers, above three long drawers, each with brass handles on bracket supports, 180cm high x 73cm wide x 52cm deep (1)

148* Side Table. A George III mahogany side table, the rectangular top above single drawer on four tapering supports, 71cm high x 91.5cm wide x 44.5cm deep (1)

£200-300

146* Cupboard. A 1920s japanned pot cupboard, with lacquered figural and landscape decoration on a black ground, with single drawer above cupboard on cabriole supports, 82cm high x 50cm wide x 49.5cm deep (1)

£70-100

Lot 148

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£200-300


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FINE ART


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17TH-19TH CENTURY PAINTINGS 151* Manner of Philips Wouwerman (1619-1668). Rearing Horse and Rider with boy by the coast, oil on canvas, old relining (possibly 18th or early 19th century), with old painted inscription to verso 'P Wou....', with the number 57 below, 36 x 27 cm (14.2 x 10.5 ins), old gilt moulded frame, lettered in white chalk to verso K182B Provenance: Collection of Vincent Cartwright Vickers (1879-1939), thence by descent. (1) £300-500

150* Brown (Edward, 1869-, RBA). A Summer Evening, circa 1914, oil on canvas, showing Ely Cathedral in the background, 34 x 51cm (13.5 x 20ins), gilt moulded frame, RBA exhibition label to verso with artist and title details (1)

£100-150

152* Continental School. Portrait of an old man in red and white cloth headdress, circa 1850-75, oil on wood panel, chamfered edges to verso, old illegible handwritten label to verso, 253 x 190mm (10 x 7.5ins), gilt frame (1)

151

34

£150-200


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153* Dutch School. Portrait of an Old Man, 17th century, oil on canvas, half-length portrait of a gentleman with curled shoulderlength hair, beard, and moustache, wearing a brown coat and white collar, and a black skull cap, with clasped hands, one hand gloved, and the other holding a glove, within a painted oval frame, manuscript label on verso with ownership name of Colonel Rowland Farrer dated 1885, 76 x 63.5cm (30 x 25ins), old stencilled Christie’s number on stretcher, gilt moulded frame Provenance: Christie’s, 2nd June 1961, lot 164. (1)

£2000-3000

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154 Duvieux (Henri, 1855-1920). Views of Venice, a pair of oils on canvas, both signed lower right, each 14 x 21.5cm (5.5 x 8.5ins), matching antique gilt frames Provenance: Collection of Vincent Cartwright Vickers (1879-1939), thence by descent. One of the views is inscribed to verso ‘bought by VCV 1920. H. DUVIEUX’. Duvieux is best known for his delicate impressionist views of Venice and Constantinople which capture the effects of light at different times of the day. His work is comparable to his near-contemporary Felix Ziem (1821-1911). (2) £800-1200

155* Earle (George, 1824-1908). Figures resting at the entrance to a wood, 1887, oil on canvas (stamped Barnard & Son, London, to verso), signed G. Earle and dated 1887 lower left, repaired tear to upper right centre, and two other small patch repairs to verso, 50.5 x 76cm (20 x 30ins), old gilt frame (1)

£300-500

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156* English school. Portrait of a young girl, circa 1830, circular oil on canvas, head and shoulders portrait of a young girl wearing a white shift, her short dark curls crowned with a red-ribboned wreath of Morning Glory flowers, and her cheek resting on her hands clasped atop a column, against a ground of blue sky and two fluttering peacock butterflies, sometime relined, diameter 43cm (17ins), stretcher 46 x 46cm (18 x 18ins), stretcher with impressed stamp ‘W. Morrill Liner’, gilt moulded frame, with remains of label ‘Aitken Dott, Carver and Gilder, 26 South Castle Street [Edinburgh]’ The sitter, with her pretty elfin face, bears a marked resemblance to Lady Gertrude Fitzpatrick (daughter of John FitzPatrick, 2nd Earl of Upper Ossory), who was the subject of Sir Joshua Reynolds’s 1779 painting entitled ‘Collina’, held by Columbus Museum of Art. The present work however is more likely to be a fancy picture than a conventional portrait. The column and butterflies suggest the Greek goddess Psyche, although the girl may also represent a month or season, or simply be a fairy figure. The picture restorer William Morrill (1838-1910) took over his father’s business in 1866, working extensively for the National Gallery, National Portrait Gallery, Royal Collections and other prominent collectors. Dante Gabriel Rossetti described him as ‘skilfull and careful’ and Burne-Jones and Whistler also employed him. The leading Edinburgh firm of Aitken Dott was founded in 1842. It exhibiited and sold work by the leading Scottish artists of the day, as well as carrying out carving, gilding and framing work. The business traded from 26 South Castle Street from 1874 until 1982, and is still in existence today as fine art dealers in Dundas Street, The Scottish Gallery. (1) £2500-3500

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157 Continental School. Amorino gathering flowers in a garden landscape, early 18th century oil on canvas, 19.5 x 15.2cm (7.7 x 6ins), antique-style gilt frame, with circular mount aperture, circular brass disc attached to verso with the stamped number D 3677, and with old pasted slip with manuscript number B.943, also attached to verso (1)

£200-300

158* Grimshaw (John Atkinson, 1836-1893). Mansion House, London, oil on paper laid down on Winsor & Newton stamped canvas, painted over a photographic base, signed lower right, additionally inscribed to verso ‘Mansion House London Atkinson Grimshaw F45’, several tears to the paper and canvas towards the centre of the image, with one or two very small areas of loss, 30.5 x 46cm (12 x 18ins), period gilded wood frame Provenance: Private Collection, Nottinghamshire. The present work appears to be another version of the same composition sold at Sotheby’s London, 13 July 2010, lot 115, also an oil painting over a photograph of the same scene, and with near-identical dimensions. (1) £1000-1500

Lot 157

Lot 158

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161* Krause (Franz Emil, 1836-1900). Cutter in Harbour with sailing boat approaching, oil on canvas, signed lower right, 24 x 39.4cm (9.5 x 15.5ins), period gilt frame

159* Heal (T., early 20th century). Sheep on a mountain, 1923, oil on canvas, signed and dated lower left, 50.5 x 76cm (20 x 30ins), period frame (1)

(1)

£200-300

£300-500

162* Attributed to Benjamin Williams Leader (1831-1923). Moonlit rural landscape with figures by a fire, oil on canvas, signed in red with initials lower left, 23 x 30cm (9 x 11.75ins), unframed and relined (1)

160* Hoyoll (Philipp, 1816-1875). Please ma, may I have one, 1865, oval oil on canvas, old gallery label to verso (worn), 31 x 26cm (12.15 x 10ins), framed and glazed Provenance: Christie’s 12 June 1992, lot 242. Exhibited Royal Society of British Artists, 1865, no 115. (1) £200-300

39

£100-150


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Lot 163

163* Attributed to David Maitland Mackenzie (1800-1875). The Smuggler’s Cave, oil on canvas, relined and revarnished, apparently unsigned, 71 x 122cm (28 x 48ins), period gilt frame, with title and artist’s name lettered in black to the lower edge A founding Associate Member of the Royal Scottish Academy in 1826, David Maitland Mackenzie was fully elected to the Royal Scottish Academy in 1829. He forfeited his membership in 1832. (1) £1000-1500

164* After Nicolaes Maes (1634-1693). The Idle Servant, early 19th century oil on wood panel copy of the sleeping maid from Nicolaes Maes’ painting of 1655 in the National Gallery, London, showing an interior with a sleeping maid and her mistress, 18 x 13.5cm (7 x 5.4ins), gilt frame (1)

Lot 164

40

£150-200


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165* Flemish School. Head of a bearded male figure in profile, looking right, circa 1650-1675, oil on heavy paper, impressed with the imprint of canvas from a previous relining on canvas (now removed), with extensive contemporary manuscript list of accounts and instructions for payments in brown ink to verso, apparently dated at head 1651, with numerous recipients' names, some discolouration and staining, strip to head of the sheet detached, some chips and minor loss to edges, 45 x 32.5cm (17.75 x 12.8ins) Provenance: Private Collection, Oxfordshire. On the reverse are 51 lines of detailed accounts for payments, written in brown ink by a contemporary hand in French and apparently dated Paris 1651. These accounts relate to a number of different people in Antwerp, Amsterdam, Ostend, Rotterdam, Middelbourgh, Rouen, Liege, London and elsewhere. Amongst those named are Jean Baptiste Lunden (1636-1703), the husband of Rubens' granddaughter Helene Francoise Rubens, Cornelis Goedjdbroeck (possibly Cornelis Gysbrechts, 1630-1683), Martin Bisthoven d'Anvers (probably Martin Janssens de Bisthoven of the Antwerp Mint), Jacob de Bie, Gouvaert Lammers, John Robben of London, Philippe de Surmont, and many others. Despite its fragile condition, this intriguing oil sketch and conjoined manuscript document may shed important light on the commercial activities of artists and merchants working in Flanders after the deaths of Rubens and Van Dyck in 1640 and 1641 respectively. (1) ÂŁ800-1200

41


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167 Bruce (W., late 19th century). Sleeping cupid in a rose bower, with classical column, signed ‘Bruce’ lower left, 52 x 42.5cm (20.5 x 16.75ins), unframed (1)

168* Wood (Catherine Mary, circa 1860-1939). The Catch, 1887, oil on canvas still life of trout, signed lower right, 46.5 x 58.5cm (18.25 x 23ins), framed

166* Russian School. Peasants by a lake in the snow, later 19th century oil on wood panel, indistinctly signed lower left, 26.3 x 20.8cm (10.4 x 8.2ins), later maple veneer frame (1)

£200-400

(1)

£400-600

£150-200

MARINE ART

169* De Simone (Antonio, 1851-1907). British destroyer in heavy seas, 1891, watercolour heightened with bodycolour, signed and dated to lower right, 27.5 x 43cm (10.75 x 17ins), mounted, framed and glazed (1)

Lot 167

42

£100-150


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170* English naive school. Schooner Countess of Morley, William Sherriff Master, entering Leghorn Mole December 19th 1849, & Schooner Countess of Morley, William Sherriff Master, 1849, oil on canvas, a pair, with painted titles below image, re-lined, 63.5 x 76cm (25 x 30ins), uniform gilt gesso frames The schooner Countess of Morely started life as H.M.S. Kangeroo in 1805 and was much involved in the supression of the slave trade in West Africa and the Caribbean. She was sold out from the Royal Navy in 1815. Repaired and re-named The Countess of Morley, she was first owned by Rowe & Co. of Plymouth where no doubt she would have been registered. She was fitted out as a whaler between December 1815 and May 1816, and her hull was sheathed and coppered. When surveyed she was classified as A1 by Lloyds on the 1st or 2nd May 1816. Under the command of Captain H.Best she sailed from Plymouth on 4 May 1816 for the South Seas. She did much of her whaling off the coast of Peru and around the Galapagos Islands. After she returned to Plymouth in August 1825 she was sold to a person named Billing, who wasted no time in getting the ship back to sea as a general cargo vessel, as after a few weeks in port she sailed for St John, New Brunswick, Canada, arriving on 7 November. She returned to Plymouth on 19 January 1826, most probably loaded with timber. In March 1826 she sailed again from Plymouth for Buenos Aires and in May 1827 she sailed from Plymouth for Quebec. The last notice on the Countess of Morley is given in Lloyds Register of 22nd April 1828 which reads, ‘The Countess of Morley proving leaky at Sierra Leone, has been obliged to discharge’. Most probably the repair cost was too high and she was abandoned. The date of 1849 on these two paintings would probably indicate a case of retrospective portrayal as we cannot find a record of another Countess of Morley existing at this date. Possibly commissioned by a descendant of the master, this fine pair of paintings represent a romantic ideal of this armed schooner in her earlier splendour. (2) £2000-3000

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171* [Nelson, Frances Herbert [Fanny], Viscountess Nelson, 1761-1831]. Views of the Memorable Victory of the Nile, etched and engraved by Frances Chesham, aquatints by William Ellis, after William Anderson, [2nd edition], published Alexander Riley, 1 December 1800, a rare set of 4 aquatints with original hand colouring, descriptive letterpress trimmed with loss of all below publisher’s imprint to each, laid on card and mounted to show image and engraved details of ships to lower margins, contemporary gilt frames with verre-eglomise ruled and decorative borders with title captions, glazed, visible image area 178 x 370mm (7 x 14.5ins) Provenance: A manuscript note written by Horatio Mends, signed and dated at York, 13 March 1928, giving the provenance of these aquatints is pasted to the backing board of all 4 pictures. The first reads: ‘This is No. 1 of a set of 4 aquatints once the property of Viscountess Nelson. My mother, wife of Vice Admiral G.B.C. Mends and daughter of Captain Josiah Nisbet, son of Lady Nelson by her first marriage gave them to me. I have known them from early childhood as having belonged to Lady Nelson’. Lady Nelson had married Josiah Nisbet MD in 1779, but he died in 1781 leaving her an infant child, also called Josiah. This Captain Josiah Nisbet (1780-1830) was married to Frances Herbert Nisbet with whom he had six children. The youngest, Georgina Nisbet (1830-1904) married Vice-Admiral George Butler Clarke Mends (1808-1884), and it is their only child Brigadier-General Horatio Reginald Mends CB (1852-1933) who has written these notes of provenance. Viscountess Nelson bore her husband no children, but Nelson was fond of his stepson Josiah, even taking him to sea in 1793 for training as a naval officer. For the next few years he and Fanny wrote to each other affectionately and regularly. By the time Nelson returned to England in 1797 he was a changed man and in pain from the loss of his lower right arm following an attack on Santa Cruz, Tenerife. Fanny nursed him devotedly and this proved to be their happiest time together. Returning to sea in 1798 Nelson won the Battle of the Nile in 1798 and fell in love with Emma Hamilton. News of the affair reached England before Nelson and the Hamiltons returned in 1800. Though Fanny did her best to reconcile with him these attempts failed, though Nelson treated her generously, allocating her half his income. Fanny became Baroness Nelson in 1798 and Viscountess Nelson in 1801. After his death she was awarded a pension and lived in Exmouth until her death in 1831. Oxford Dictionary of National Biography notes of Fanny that ‘When, in 1798, he [Lord Nelson] destroyed the French fleet at the Battle of the Nile she was touchingly proud of him’, and the survival of this fine set of aquatints with strong anecdotal family provenance enhances this historical viewpoint. (4) £1000-1500

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172* Small (William, 1843-1929). Single-masted cutter-rigged ship in a stiff breeze, & Sailing ship becalmed, a pair of oils on board, each with artist's initials lower right, 13.5 x 19cm (5.25 x 7.5ins), gilt moulded frames (2)

£200-300

173* Whitehand (Michael J., 1941-). Britannia heeling, oil on canvas, showing a yacht race probably off Cowes, Isle of Wight, signed lower left, 40.5 x 50.5cm (15.75 x 19.75ins), in a modern gilt rococo-style frame (1)

£200-300

174* Wilson (John James, 1818-1875). Leaving Port, & Fishing Offshore, oil on canvas, a pair, each signed with initials lower right, 30.5 x 51cm (12 x 20ins), framed, with label to verso of stretcher of each of Old Hall Gallery, Iden, Rye, Sussex Born in London, John James Wilson was the son of the well-known marine painter John H. Wilson (1774-1855). J.J. Wilson exhibited regularly, although he did not take up marine subjects until a few years before his father’s death, after which he painted seascapes almost exclusively. (2) £600-800

Lot 172

175* Wilson (G., 19th century). Shipping, Early Morning, oil on canvas, signed G. Wilson lower left, several closed tears and one or two indentations, 61 x 107cm (24 x 42ins), gilt frame (1)

Lot 173

Lot 174

45

£200-300


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19TH CENTURY WATERCOLOURS & DRAWINGS 178* Bulman (Job, 1745-1818). The North Gate, Cardiff, pencil and watercolour, showing the North Road with horse-drawn vehicles, a rider, and pedestrians, with the North Gate, the Church of St. John the Baptist, and a folly on a mound within castellated walls, 35.5 x 53cm (14 x 21ins), mounted, framed and glazed

176* Armstrong (Francis Abel William, 1849-1920). Lake landscape, watercolour on board, signed in ink to verso, with ‘R.E. Armstrong’ presentation signature? beneath, further inscribed in pencil ‘for exhibition’ 23.5 x 34.5cm (9.25 x 13.5ins) mount aperture (1)

£150-200

Very similar to a watercolour view painted by Paul Sandby (circa 1730-1809) held by the National Museum of Wales. (1) £300-500

179* Burgess (John, 1814-1874). La Croix de Saint Esprit, pres de Dinan, Bretagne, watercolour, heightened with bodycolour, 29 x 22.5cm (11.5 x 8.9ins) mount aperture, gilt frame, glazed, with a signed printed certificate of authenticity by Charles E. Burgess, Executor to the Estate, certifying this to be the work of the late John Burgess of Leamington, and an additional 20th century printed label to verso (1)

£200-300

177* Bastien-Lepage (Jules, 1848-1884). Breton peasant woman carrying a basket of wood, watercolour on wove paper, signed J. Bastien-Lepage. Dinard lower right, some light toning and pale backboard discolouration, 29 x 23cm (11.5 x 9ins) mount aperture, framed Provenance: Private Collection, Hampshire. A similar watercolour of a Breton peasant woman was sold at auction by Bassenge, Berlin, 26 November 2010, lot 6349. (1) £300-500

180* Cardinal (A., active 1880s). Bruges Cathedral and market scene, signed lower right, together with another by the same artist, Beauvais cathedral, France, signed lower right, 60.5 x 31.5cm (23.75 x 12.5ins), both framed and glazed (2)

Lot 178

46

£200-300


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182* Constable (John, 1776-1837). Study of Two Standing Figures, 1811, black charcoal on blue paper, heightened with white chalk and touches of brown watercolour, dated lower left 14.1 x 9.4cm (5.6 x 3.7ins) mount aperture, framed and glazed, with Appleby Bros., 27 William IV Street, Trafalgar Street, London label to verso Provenance: Formerly Collection of E.A.F. Martin, whose collection was sold at Sotheby’s, 9th September 1964. Two similar sized drawings on blue paper, both dated 1811 to the lower left corner, depicting two male figures, and a couple with a child, were offered at auction by Gallerie du Rhone, Sion, Switzerland on 15 December 2006, lot 409 & 410. (1) £2000-3000

181* Company School. Indian Barbet, late 18th or early 19th century, watercolour on paper, manuscript title at foot, 22.5 x 19cm (8.75 x 7.5ins), framed and glazed (1)

£150-200

183* Cooper (Alfred Heaton, 1864-1929). Naero Fjord, Norway, a bright morning, watercolour on paper, with scratching out, in bright condition, signed lower right, 180 x 280mm (7 x 11ins), laid down on brown card (1)

£300-500

184* Cotman (Miles Edmund, 1810-1858). French fishing boat off the Shears, Hay Barge in a Calm, and four other landscape, coastal and river scenes, [1846], six etchings on india laid paper, from Eleven Original Etchings by Miles Edmund Cotman, published by Charles Muskett, Norwich, 1846, plate size 70 x 163mm and slightly smaller, sheet size 255 x 320mm and similar (6)

Lot 182

47

£100-150


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185 Drawings. An album of fine compositional studies, English, mid 19th century, forty-one leaves of drawings, each with a number of pencil vignettes, including portraits, street and interior scenes, animal and figure studies, caricatures, village and theatre scenes, one leaf with watermark ‘A. Pirie and Sons 1851’, several with oval blindstamp ‘Cowan, Edinburgh’, leaf size approximately 25 x 20cm (10 x 8ins), mounted on rectos of grey album leaves (some blank leaves at rear), late 19th century black limp morocco, rubbed, 4to Many of the drawings are highly finished, and show the fluidity and technical skill of an accomplished artist. (1)

48

£500-800


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188* Goodwin (William Sidney, 1833-1916). ‘Twilight’, 1890, watercolour, showing a moorland landscape, signed and dated verso, 21.5 x 29cm (8.75 x 11.5ins) mount aperture, framed and glazed

186* English School. Figures by a riverbank, circa 1880s, watercolour, unsigned, 23.5 x 36cm (9.25 x 14.25ins), in a period gilt frame, glazed, together with four further watercolours including English rural village 1866, with a figure and cattle on a path with church in the background, artist’s initials MBB, dated lower left, 32 x 44cm (12.5 x 17.25ins), framed and glazed (4)

(1)

£150-200

189* Gordon Fraser (George, 1854-1895). Banks of the Ouse, 1888, watercolour and gouache, signed and dated lower right, 10.75 x 14.75 ins mount aperture, framed and glazed

187* English School. Farmyard scene, 1877, oil on board, showing two horned cows, a goat, and a pair of chickens, in a farmyard beside a thatched barn, with a landscape vista, overall craquelure, monogrammed ‘JW’ and dated lower left, 35 x 42cm (12 x 16.5ins), birds-eye maple frame (1)

£70-100

(1)

£150-200

49

£200-300


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190 Grand Tour Sketchbook. An album compiled by an unidentified traveller, circa 1879-82, approximately 80 sketches with numerous notes on approximately 100 paper sheets of mostly smaller sizes, mostly mounted to rectos and some versos of 28 album leaves, the sketches mostly in pencil plus some in watercolour or ink, largely copies of drawings, paintings and sculptures in Italian Collections, many with additional historical pencil notes, some spotting throughout, contemporary half morocco over boards, folio (39 x 28cm) (1)

ÂŁ150-200

191* Grant (Sir Francis, 1834-1879). Grouse Shooting, pen & brown ink on paper, 200 x 263mm (7.9 x 10.3ins) mount aperture, framed and glazed, with 20th century label of Ruskin Gallery, Stratfordon-Avon label to verso (1)

Lot 190

Lot 190 50

ÂŁ150-200


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192* Hook (James Clarke, 1819-1907). A Rocky Shore with Gulls, 1879, watercolour heightened with bodycolour on paper, signed and dated lower right, 31 x 49.5cm (12.25 x 19.5ins), modern gilt wood frame, glazed, printed title verso Provenance: Sotheby’s Belgravia, 2 May 1972, lot 21. (1)

£150-200

193* Hulton (William Stokes, 1852-1921). Venetian Facade, watercolour on paper, signed with initials lower right, 42.5 x 24cm (16.75 x 9.5ins) mount aperture, framed and glazed, with typewritten note to verso: William Hulton, A Sketch of Venetian Architecture. Circa 1900. (Hulton lived in Venice, and this drawing bought from the Artist’s daughter in 1971.) Provenance: Purchased from the artist’s daughter, Teresa Hulton, Lady Berwick (1890-1972). Private Collection, Gloucestershire. The artist William Hulton was the son of the Lancashire coalmine owner and magistrate who ordered the Peterloo Massacre in 1819. The younger Hulton lived in Venice, and was a friend of Sargent and Sickert. (1) £100-150

Lot 192

194* Jackson (Samuel, 1794-1869). The Wick Valley, South Gloucestershire, pen, ink and grey wash on paper, 195 x 245mm (7.7 x 9.6ins) mount aperture, framed and glazed A view of Golden Valley at Wick in South Gloucestershire, east of Bristol. (1) £150-200

Lot 193

51


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Lot 195

195* Lear (Edward, 1812-1888). The Waterfall (near Mendrisio, Switzerland), circa 1885, watercolour on paper, unsigned, 36 x 55cm (14.2 x 21.7ins) mount aperture, gilt frame, glazed Provenance: Formerly collection of Hallam, Lord Tennyson (1852-1928), son of the poet Alfred Lord Tennyson. Sold Christie’s, Victorian Drawings and Watercolours, February 4, 1975, lot 14. This finished watercolour was presented to Tennyson by Edward Lear, taking its inspiration from the poet’s Ode to Memory: ‘A pillar of white light upon the wall of purple cliffs’. Lear prepared a large number of drawings for illustrations to the poems of Tennyson in 1885, and an illustrated edition of Tennyson’s poems with illustrations by him was published in 1889. A collection of 199 original drawings illustrating Tennyson, mostly in sepia wash, dating from 1885, are held by the Houghton Library at Harvard University, and includes one in grey wash depicting the same view as the present work. (1) £2000-3000

196* Leyde (Otto Theodore, 1835-1897). Portrait of a Gentleman, oval pencil and watercolour on wove paper, signed lower left, sheet size 430 x 350mm (17 x 13.75ins), period gilded oval frame, glazed (1)

£70-100

Lot 196

52


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197* Ludovici (Albert II, 1852-1932). The New Governess, watercolour, signed lower left, some spotting, 26.5 x 33.5cm (10.25 x 13.25ins) framed and glazed

199* Attributed to John Martin (1789-1854). Franciscan friar anointing a man in a mountainous landscape, fine miniature pen, ink and watercolour on card, 53 x 68mm, mounted

(1)

Provanance: Iolo A. Williams Collection, thence by descent. (1)

£150-200

198* Mander (G.B., 19th century). Views in North Wales, Yorkshire and the Isle of Wight, 1855-1874, pencil on paper with handwritten titles, description and dates to lower margins, a little browned, each 13 x 21.5cm (5 x 8.5ins), framed and glazed (8)

£100-200

200* Montagu (Gerard, 1839). First days, West Indiaman, Getting under weigh[sic] off the needles, pencil drawing, showing H.M.S. Thetis off the coast of Isle of Wight, titled and inscribed to margin, attributed and dated 21 April 1839 verso, 17 x 21cm (6.75 x 8.5ins), mount aperture, cut and laid onto paper with card mount, modern frame and glazed

£150-200

Thetis was built at Hull in 1827 and commanded by Captain Burton. She was typical of the large merchant vessels of the time and ran from London to the West Indies. Copied from the original drawing by Edward William Cooke R.A., who did a drawing of the ship when he was 18 and a guest on board. (1) £100-150

Lot 198

53


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201* Attributed to George Morland (1763-1804). A woodsman and his dog returning home, pencil on paper, heightened with brown chalk, some spotting and pale staining, 23 x 15cm (9 x 6ins), framed and glazed (1)

£100-150

202* Naftel (Paul Jacob, 1817-1891). A bit of the village - Studland Dorset, 1888, watercolour on paper heightened with gouache, signed and dated lower left, signed and dated 1888 lower left, 35.5 x 25.5cm (14 x 10ins), original gilt frame, glazed, artist’s handwritten label to verso with title and artist’s address (1)

Lot 201

£200-300

203* Norie (Orlando, 1832-1901). Egyptian Landscape with pyramids and figures on camels, & Egyptian Landscape with figures by the coast with Sinai Mountains beyond, a pair of miniature vignette watercolour views, each heightened with bodycolour, both signed lower right, 85 x 120mm (3.3 x 4.75ins) mount aperture, modern frames, glazed (2)

£200-300

204 North Wales. Mountain Views in North Wales, circa 1875-1900, two large watercolours on paper, one with monogram to lower right corner (AHG?), 44 x 79cm (17.25 x 31ins), and 51 x 73.5cm (20 x 29ins), period gilt frames (some damage), glazed (2)

Lot 202

54

£200-300


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Lot 205

205* Ornithology. Group of 6 Cockatoos, Tailor Birds, & Pair of Songbirds, three fine pen, ink and wash drawings on paper, heightened with white and pale blue bodycolour, 170 x 240mm (6.7 x 9.4ins), 16 x 11cm (6.2 x 4.4ins) and 15 x 11.5cm (6 x 4.5ins) mount aperture respectively, later black and gilt frames, glazed (3)

£200-300

206* Peile (Sir James, 1833-1906). Tank of Sarkhej, Guzerat, watercolour on paper, titled in ink to lower left margin, 25 x 35cm (9.75 x 13.75ins), mount aperture, framed and glazed Peile joined the Bombay civil service in 1855 and held various posts at Kathiawar and Sind. He won several prizes for his sketches at exhibitions in India. () £100-150

207* Petit (John Louis, 1801-1868). S. Chapelle Before Restoration, watercolour on paper, 24.5 x 19cm (9.5 x 7.5ins), mount aperture, framed and glazed Title from typescript label to verso. The Sainte-Chapelle in Paris was commissioned by Louis IX and completed in 1248, suffering much damage during the French Revolution. It was faithfully restored by Felix Duban, the works completed in 1855. (1) £80-120

55


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210* Ryland (Henry, 1856-1924). Maiden with Apple Tree Blossom, pen and grey ink and monochrome wash on porcelain, signed lower right, some light surface marks, image size 36.8 x 27cm (14.5 x 10.6ins), plaque size 40 x 32.5cm (15.75 x 12.75ins) Provenance: Private Collection, Hampshire. The painter, illustrator and designer Henry Ryland studied at the South Kensington Art Schools, Heatherley’s, and then in Paris under Jean-Joseph Benjamin-Constant and Gustave Boulanger. His work consists principally of classical subjects featuring young women, in the manner of Lawrence AlmaTadema, successfully combining Pre-Raphaelite and neo-classical styles. (1) £700-1000

208* Attributed to Nicholas Pocock (1740-1821). Fishing Vessels coming in to shore, grisaille watercolour, depicting a blustery seascape with sailing boats, and figures on the shore, 11.5 x 17cm (4.5 x 6.75ins), mounted, framed and glazed, with Ruskin Gallery label on backboard giving artist and title in manuscript (1)

£150-200

209* Attributed to Thomas Rowlandson (1756-1827). Dancing Maiden in Classical Costume, pen, brown ink and pencil on paper, sheet size 19 x 14.4cm (7.6 x 5.7ins), framed and glazed, with Sabin Galleries typewritten label to verso (1)

211* Slocombe (Edward, 1850-1915). The Egyptian Water Carrier, 1902, watercolour on wove paper, signed and dated lower left, image size 44 x 20cm (17.3 x 8ins), sheet size 49 x 23.2cm (19.25 x 9.2ins), mounted

£200-300

(1)

56

£400-600


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Lot 210

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212* Staines (P.H., active 1860s). Cats at Home, pen, ink watercolour on paper, heightened with white bodycolour, showing four cats resting and playing with a cotton spool, signed lower left 33 x 53cm (13 x 20.75ins) mount aperture, framed and glazed (1)

£200-300

Lot 215

213* Sturge (William F., active 1878-1908). Sark Harbour, Guernsey (18)81, watercolour, showing a harbour scene with a fisherman on the rocks, signed and dated lower left, 31 x 59cm (12.5 x 23ins) mount aperture, framed and glazed (1)

£150-200

214* Taverner (William, 1703-1772). Buildings beside a river, grey wash and pencil on laid paper, with circular watermark incorporating the initials CR, with pencil annotations to verso by Iolo Williams, sheet size 151 x 285mm (6 x 11.2ins), mounted Provenance: Iolo A. Williams Collection, thence by descent. (1)

Lot 216

£200-400

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215* Tidmarsh (Henry Edward, active 1880-1927). Trinity College Oxford, 1915, watercolour showing a little girl on a path with house behind, signed and dated lower right, 36 x 23cm (14.25 x 9ins) mount aperture, framed and glazed (1)

£70-100

216* Varley (Cornelius, 1781-1873). South Pinnacle, Newstead Abbey, Nottinghamshire, September 28, 1824, pencil on wove paper, signed, titled and dated lower left, some overall toning, closed tear repaired to left margin, 46.5 x 33.5cm (18.25 x 13.25ins) mount aperture, framed and glazed The home of Lord Byron, this sketch of Newstead Abbey is poignantly dated shortly after the poet’s death on 19 April 1824. (1) £500-800

217* Varley (John, 1778-1842). Landscape with ruined tower by a river, 1839, signed and dated lower right, 13 x 19.5cm (5.1 x 7.7ins) mount aperture, framed and glazed, with Spink Gallery label to verso, and additional typewritten label stating that the drawing is inscribed on the reverse ‘Composition J. Varley 1839’ (1)

£200-300

218* Vervloet (Joannes Josephus ). View of the Basilica of St. Anthony, Padua, watercolour on paper, signed and titled Padova lower left, 29 x 13.5cm (7.4 x 5.25ins) mount aperture, period gilt frame, glazed (1)

Lot 218

£150-200

219* Victorian School. Portrait of a young girl, mid 19th century, pastel, head and shoulders portrait of a young girl with short fair hair and blue eyes, wearing a white dress and coral necklace, 32 x 25cm (12.75 x 10ins), mounted, gilt moulded frame, glazed (1)

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£150-200


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221* Watercolour album. An album of English and Continental views, late 19th century, twenty-two mounted watercolours, mostly British and European buildings and views, but also a couple of still life pictures, most identified in pencil to album leaf, including Munich, Venice, Bournemouth, Hastings, and Plas Power, 33 x 47.5cm (13 x 18.5ins) and smaller, original gilt decorated cloth, somewhat rubbed and soiled, extremities worn, with spine partially detached and frayed, oblong folio (1)

£200-400

220* Von Scheidel (Franz Anton, 1731-1801). Ewe and Ram, watercolour over black chalk, titled in pencil in the artist’s hand to lower margin, lightly spotted and toned, 31.5 x 47.5cm (12.5 x 18.75ins), mounted, framed and glazed, inscribed on backboard ‘Sotheby’s 22/11/73’ (1)

£300-400

222 Watercolour Album. Album belonging to Margaret Chisholm Landreth, 21st December, 1831, approximately 150 leaves, containing a variety of drawings, engravings (mostly handcoloured), and manuscript writings, including fifteen watercolours, mainly landscapes, seascapes, and topographical views, including ‘Windsor Castle’, ‘A Highland Cottage’, ‘Furness Abbey’, ‘Old Well Walk, Cheltenham’, ‘Warwick Castle’, some blank leaves at rear, marbled endpapers and edges, original blindstamped black morocco gilt, rubbed, 4to (1)

£200-300

223* Weatherill (George, 1810-1890). Coast at Whitby with the Abbey beyond, watercolour and bodycolour, 9.5 x 14cm (3.75 x 5.5ins), framed and glazed, Chris Beetles Ltd label to verso (1)

Lot 221

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£150-200


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PORTRAIT & NAVAL MINIATURES

226*AR Hunt (Geoff, died 2008). The “Cumberland Fleet”, 1990, acrylic on board, showing yachts gathering to race on the Thames below St. Paul’s Cathedral, signed and dated lower left, 8.5 x 12cm (3.25 x 4.75ins), framed, with manuscript title label on backboard, together with four others by Geoff Hunt similar: Wind Against Tide in Greenwich Reach; ‘Cutty Sark’ arriving at London Docks in 1872; Morning Light at Greenwich; King Charles II racing his yacht “Catherine” off Gravesend Fort, all signed and dated, each framed

£70-100

Commander Geoff Hunt RMS, spent nearly forty years in the Royal Navy as both seaman and fighter pilot. He painted throughout this period, mainly marine and aeronautical subjects, and began painting in miniature shortly before leaving the navy in 1988. His work is sought after for its minute accuracy of detail as well as for the artist’s skill in portraying the subtle effects of light, wind and tide. Geoff Hunt was Past President of the Hilliard Society, a member of the Royal Miniature Society and Miniature Art Society of Florida, and a Miniature Artist of America. (5) £250-350

225* Collins (Richard, 1755-1831). Portrait of George III, 1813, watercolour on ivory, oval head & shoulders portrait, 4.5 x 3.5cm (1.75 x 1.5ins), ebonised frame, glazed, back of frame with copy of manuscript note taken from verso of portrait ‘1813, Rd. Collins pinxit Principal Painter in Enamel to the King, by His Majesty’s special appointment’

227*AR Hunt (Geoff, died 2008). The Battle of the Nile - 1798, 1988, acrylic on board, showing a naval engagement between French and English men o’war, signed and dated lower left, titled lower right, 9 x 14.5cm (3.5 x 5.75ins), framed, with manuscript title label on backboard, together with three others by Geoff Hunt similar: The Battle of the Nile - ‘L’Orient’ Blowing Up; Nelson (HMS ‘Theseus’) and Squadron Anchoring at Bay of Santa Cruz, Teneriffe; Nelson (Agamemnon) and Squadron at Bastia - 1794, all signed and dated, each framed, plus a circular portrait miniature by the same artist of Nelson after Robert Bowyer, framed and glazed

(1)

(5)

224* Bartlett (Michael, 1922-2008). Portrait of a Naval Captain, watercolour on ivory, three-quarter length portrait miniature of a gentleman in early 19th century naval dress, holding a telescope, with a sailing ship in the background, monogrammed and dated lower right, 12 x 9.5cm (4.75 x 3.75ins), framed and glazed (1)

£150-200

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£200-300


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228*AR Hunt (Geoff, died 2008). Trafalgar - ‘Victory’ Breaking Through the Franco-Spanish Line, 1997, acrylic on board, showing a naval engagement between ‘Victory’ and Spanish and French men o’war, signed and dated lower right, 8 x 13.5cm (3 x 5.25ins), framed, with manuscript title label on backboard, together with three others by Geoff Hunt similar: Action Between ‘Pelican’ and ‘Argus’ off Welsh Coast, 1813; HMS ‘Boreas’ (Capt. Nelson) Arriving at Antigua; First Shots - ‘Victory’ Approaching Franco-Spanish Line, all signed and dated, each framed

230*AR Hunt (Geoff, died 2008). HMS ‘Britannia’, off Table Mountain, 1999, acrylic on board, signed and dated lower left, 8.5 x 12cm (3.25 x 4.75ins), framed, with manuscript title label on backboard, together with three others by Geoff Hunt similar: ‘Victoria and Albert’ I, Leaving Carrick RDS on 8 Sept 1845; “Britannia” and Valkyrie II” off the Needles - 1893; and one not titled, all signed and dated, each framed

(4)

(4)

£200-300

231* Miniatures. Admiral Edward Hawker and his wife, Joanna Naomi (née Poore), circa 1815, pair of watercolours on ivory, oval half-length portrait miniatures, one of a young lady with brown curls, wearing a white muslin dress and red shawl, the other of a young gentleman in naval dress, each 8.5 x 7cm (3.25 x 2.75ins), matching brown velvet mounts, glazed

229*AR Hunt (Geoff, died 2008). ‘Terra Nova’ (Capt. Scott) in Heavy Pack Ice - Dec 1910, 2006, acrylic on board, showing a threemasted barque amidst Antarctic ice floes, signed and dated lower right, 8.5 x 12cm (3.25 x 4.75ins), framed, with manuscript title label on backboard, together with three others by Geoff Hunt similar: HMS ‘Carcus’ and ‘Racehorse’ in the Arctic - 1773; ‘Britannia’ Entering Portsmouth, 1835’ (after John Ward’s ‘Return to Harbour’); and another not titled, all signed and dated, each framed (4)

£200-300

Provenance: Purchased by the current owner from D.A. Lavender (Antiques) Ltd. in 1988 (with receipt present), who acquired the miniatures from Sir Roger Carey, a direct descendant of the sitters. Edward Hawker (1782-1860) was an officer of the Royal Navy who served during the French Revolution. He went to sea as a boy of ten and was commissioned a lieutenant at thirteen. At twenty-one he became a commander, captaining his own ships at the outbreak of the Napoleonic Wars. Posted to the West Indies, he endured several mishaps, including his ship being struck by lightning and running aground, and surviving a severe hurricane that nearly sank the ship. He was successful at capturing a number of enemy privateers, and he served at the capture of Guadeloupe in 1810. At the end of the wars Hawker briefly commanded a ship as flag captain to the Earl of Northesk. He spent his retirement as a correspondent for The Times, and died an admiral in 1860, one of the last surviving commanders of the wars with France. (1) £100-150

£200-300

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232* Miniature. Edwardian girl, early 20th century, waterolour on ivory, head & shoulders portrait miniature of a pretty young lady with long fair hair, wearing a white muslin blouse with neck frill and pendant, against a backdrop of patterned wallpaper, 5 x 4cm (2 x 1.5ins), ebonised frame, glazed (1)

£150-200

233* Miniatures. A pair of oval portraits of Mary Queen of Scots and Jane Shore, late 18th century, oil on ivory, each a head and shoulders portrait of a lady in opulent Elizabethan dress, Jane Shore cropped and infilled at head and foot, and with some retouching, each approximately 9 x 7cm (3.5 x 2.75ins), matching ebonised frames glazed (Jane Shore with verre eglomise convex glass), each with contemporary manuscript label on verso, together with two oval painted silhouette portraits of gentlemen, one of a British army officer, early 19th century, each in an ebonised frame, glazed The labels on verso read: ‘Mary Queen of Scots from an Original Picture painted by Frederic Zuccaro in the long Gallery in Edinburgh Palace’; ‘Jane Shore from a picture in Ludlow Castle copied by J. Young 1794’. (4) £200-300

Lot 233

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PRINTS

234 Barker (Benjamin, 1776-1838). Views in and near Bath, [from The Fine Arts. Forty-eight aquatint coloured engravings by Theodore Fielding from a work containing forty-eight subjects of landscape scenery, principally views in and near Bath, Bath, 1824], 31 (of 48) fine colour aquatints on wove paper, one mounted on buff paper within single line ruled border, 170 x 220mm (6.5 x 8.5ins) or similar, loosely contained in old marbled paper boards Abbey 45. Tooley/Prideaux page 327. Tooley, Coloured Plates, page 91/92. The first edition of Barker’s fine topographical views, later reissued by W. Everett in 1843. Each with title in pencil to verso: Scenes near the Old Bridge, Bath, Hampton Cliffs near Bath, Cottage at Chippenham, Scene near Bathford, Claverton, near Bath, Stoke, near Bath, Below Wick Rocks, Freshfield, near Bath, Scene from Hampton Cliffs, near Bath, Castle Combe, near Bath, Scene near Chepstow, etc. (31) £300-400

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236* Belize - New River. View of Pembroke Hall, New River [British Settlement of Belize], circa 1785, pen & ink on laid paper, with grey and pale blue wash, with handwritten title and key in ink below, signed James S. Hoare lower right (indistinct), some soiling and waterstains, sheet size 158 x 230mm (6.25 x 9ins) A rare eye-witness view by the British settler James S. Hoare of the Settlement at Pembroke Hall, on the New River in Belize, in the northern region of Corozal. Britsh settlers, or Baymen, had contested ownership of land along the Bay of Honduras with the Spanish since the 17th century. After years of Spanish attacks, these settlers began returning to the region in 1784, and were permitted by the Convention of London of 1786 to cut and export logwood and mahogany back to Europe, using slave labour. The present view shows the small settlement of Pembroke Hall on the New River in northern Belize, and shows the British Schooner Richard on the river, a large central dwelling house, Store, Cookroom, Negro Houses, and Pit-Pan canoes. James Hoare may have been related to Major Richard Hoare, one of the most influential English Baymen of this period. (1) £200-300

235* Barry (James, 1741-1806). Religious & Civil Liberty established in Maryland in 1649, February 28, 1793, etching on heavy wove paper [probably taken from A Series of Etchings by James Barry, Esq. from his original and justly celebrated paintings, in the Great Room of the Society of Arts, Manufactures, and Commerce, published by Colnaghi in 1808], central horizontal crease, some light surface marks and one or two minor stains and marks to extreme margins, plate size 75 x 48cm (29.5 x 19ins), sheet size 94 x 68cm (37 x 26.75ins) Large-scale allegorical etching by James Barry depicting Lord Calvert showing Lycurgus the founding document of civil and religious liberty in Maryland in 1649. (1) £200-300

237* Blake (William, 1757-1827). Little Tom the Sailor, printed for & sold by the Widow Spicer of Folkstone, for the benefit of her orphans, October 5, 1800 [but later], facsimile printing on laid paper of the broadside originally printed from four separate reliefetched plates in 1800, republished in The Century Guild Hobby-Horse, edited by Archibald H. Mackmurdo, issue 1, 1886, (page 121), 522 x 200mm (20.5 x 7.9ins) mount aperture, late 19th century black and gilt frame, glazed Provenance: William Bell Scott (?); Miss Alice Boyd, Penkill Castle, thence by descent to the present owner. (1) £100-150

Lot 236

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239* Blyth (Robert, 1750-1784). The Captive, after John Hamilton Mortimer, 1781, etching on laid paper, published by Robert Blyth, November 1st 1781, some overall soiling and marks, plate size 330 x 420mm (13 x 16.5ins), sheet size 345 x 435mm (13.5 x 17.25ins), together with Cotman (John Sell, 1782-1842), Interior of the Chancel of Walsoken Church, Norfolk, 1817, etching on wove paper, published in Cotman’s Norfolk Antiquities in 1818, with good margins, mounted (2)

£100-150

238* Bloemaert (Abraham, 1564-1651). Saint praying before an altar, with a vision of the Virgin Mary, red chalk with brown and grey wash on laid paper, faint horizontal crease across centre of image, a little paper discolouration to centre of upper margin, a few other minor marginal marks, 359 x 256mm (14.1 x 10.1ins), framed and glazed, with old printed auction description: Dutch and Flemish Schools, A. Bloemaert, The Vision of a Cardinal Saint. He is kneeling before an Altar supported by an Angel and with putti holding an open book near him, above him in clouds is the Virgin Mary with an Angel and putti around her, drawn with brown and grey washes, over red chalk, heightened with white 359mm x 256mm Provenance: Private Collection, Berkshire. Numbered in white chalk to frame verso T632. (1) £1000-1500

240* Bolognese School. Two putti holding up a canopy, later 17th century, pen and brown ink, with hatched shading, on laid paper, watermark of a bird in profile above 3 hills within a foliate cartouche, and with GINNAMTI below, sheet size 175 x 243mm (6.9 x 9.5ins), modern frame, glazed Provenance: Private Collection, Oxfordshire. See Heawood, Watermarks 17th and 18th Centuries, 160-169 for similar watermarks. (1) £500-800

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241* Boucher (Francois, 1703-70). Thau Kiene Eunuque du palais a la Chine, [1731 or slightly later], etching on wove paper by Boucher after Watteau, with partial unidentified watermark, from the series Diverses Figures Chinoises, published in L’Oeuvre d’Antoine Watteau, or Recueil Jullienne, circa 1734, plate size 217 x 156mm, sheet size 301 x 238mm, together with Young woman in a landscape seen from the side, with her head turned towards the viewer, etching on laid paper, with partial unidentified watermark, numbered XIV upper left, and 15 upper right, from Jean Antoine Watteau, Figures de différents caractères, published in Paris by Gabriel Huquier, circa 1740, plate size 187 x 135mm, sheet size 305 x 198, some marks to margins, plus two other etchings after Watteau by Balthasar Sigmund Setletzky (1695-1771), both studies of male heads, published in Augsburg by J.C. Leopold, plate size 143 x 96mm and similar, sheet size 220 x 141mm (and smaller) and Chedel (Pierre Quentin, 17051763), Rustic landscape with circular gatehouse, & Rustic landscape with peasants and well, two etchings on laid paper, indistinctly watermarked, plate size 196 x 128mm, sheet size 305 x 244mm, plus other various Old Master prints, mostly 18th & 19th century, including two landscape etchings by Pierre Francois Laurent (1739-1809) after Francois Boucher, one showing washer women by a mill, the other a wooded landscape with bridge over a stream, both in generally good condition with wide margins, Vue du fort St. Pierre à Cette, by JulesArmand-G. Bouchier, dated 1786, a rustic landscape etching with woman hanging washing by Saint Non after Le Prince, a handcoloured lithograph by Daumier entitled Le Guittariste-Amateur, from the series Monomanes, as published in Le Charivari, December 25, 1840, several 19th century reprints after Rembrandt, two uncoloured proof oval aquatints by Le Blond (Penny for the Guy & Boys Fishing), the first printed in brown on japan paper, five 19th century English humorous illustrations in pen and brown ink, etc. (26)

242* Bruyn (Pierre de, died 1667). Portrait of Jacob Hall (active 1662-1681), Rope Dancer and Acrobat, circa 1660s, fine etching on laid paper, after Jakob van Oost the younger (1637-1713), short closed tear to top left margin, and extreme top left blank corner missing, slight discolouration to mount tabs at 3 corners, plate size 263 x 187mm (10.3 x 7.7ins), sheet size 285 x 210mm (11.25 x 8.25ins) Rare first issue of this etching by De Bruyn after Van Oost, of the famous tightrope walker and artiste who performed for King Charles II, having first given public performances in a booth at Smithfield, where he was seen regularly by Samuel Pepys. This etching was reproduced as a copper engraving in William Richardson’s Portraits illustrating Granger’s Biographical History of England, published between 1792 and 1812, in which the original work is described as ‘a rare print in the collection of Sir John St. Aubyn’. (1) £200-300

£150-200

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Lot 243

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243* Castello (Bernardo, 1557-1629). The Angel Gabriel appears to Godfrey of Bouillon (from Tasso’s Gerusalemme Liberata), circa 1590s, pen & brown ink on laid paper, with grey wash, heightened with white, 262 x 190mm (10.3 x 7.45 ins, laid down on 18th century laid paper, with border in black ink, cream and grey wash, inscribed in ink to lower right corner of the border J:B, and inscribed in brown ink below Bernardo Castelli. No. 3, additionally inscribed in an 18th century hand in brown ink to verso ‘J:B. No. 851. 10 1/4 x 7 1/2’ and ‘Genoese, was a Disciple of Luca Cangiagi, & the Father of Valerio. He died in 1629. aged 72. J:B.’, with later mount

244* Collaert (Adriaen, circa 1560-1618). Navita Erythraeum pavidus qui navigat aequor... Balenas, et Monstra, marina a navibus arcet [from Venationes Ferarum, Avium, Piscium], circa 1596, copper engraving on laid paper, after Jan van der Straet (Johannes Stradanus), published by Philips Galle, numbered 104 to lower left corner, plate size 197 x 271mm (7.75 x 11.7ins), sheet size 218 x 292mm (8.8 x 11.5ins), mounted (1)

£100-150

Provenance: Private collection, Oxfordshire. The present drawing has remained unnoticed in the collection of the family of the owner since the 1930s. An important artist of the Genoese School, Bernardo Castello was a pupil of Luca Cambiaso (1527-1585). Castello’s fame was established following the publication of his illustrations for Tasso’s epic poem Gerusalemme Liberata, which was published in Genoa in 1590, with further editions in 1604, 1615 and 1617. The artist painted scenes from Tasso’s epic in several Genoese palaces, including the Palazzo de Franchi, Villa Centurione, and the Palazzo Scassi at San Pierdarena. The present drawing, a fine, highly-finished example of his work, appears to show the main character Godfrey of Bouillon on horseback, with his armies, at the moment of the appearance of the Angel Gabriel above urging the hero to lead the crusade to liberate Jerusalem. (1) £2000-3000

245* Continental School. Head and shoulders of an elderly woman in profile, circa 1700, red chalk on pale grey paper, 12 x 9.5cm (4.75 x 3.75ins) mount aperture, small printed collector’s stamp in the form of an eye lower right, framed and glazed

Lot 244

Provenance: Nathaniel Hone (1718-1784) Lugt 2793. Private Collection Bristol. (1) £300-400

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246* Durer (Albrecht, 1471-1528). Ulrich Varnbuler, 1522, chiaroscuro woodcut printed from three blocks: black line block, very pale green, and very pale yellow tone blocks, on laid paper with faint watermark of a circle with two arcs and a flourish (Meder 258), a very good Meder IIIa impression, well registered, printing with strong relief, trimmed just outside the borderline, with the address of W. Janssen (Blaeu) trimmed off at the lower edge, single brown spot towards lower left, generally in excellent condition, sheet size 435 x 334mm (17.15 x 13.2ins), framed and glazed, with early 20th century label of P. & D. Colnaghi & Co., 15 Old Bond Street (hand corrected to 14) to verso Bartsch 155. Schoch, Mende, and Scherbaum 256. Strauss 196. The present work is Durer’s largest printed portrait. The distinguished classical scholar Ulrich Varnbüler (1474-1544) was appointed by Emperor Maximilian in 1507 as pronotary at the Imperial Law Court in Speyer, a position he held continuously until his death, becoming its Chancellor in 1531. He became a close friend of both Dürer and Willibald Pirckheimer around 1515. In 1519 Varnbüler issued a German translation of Erasmus’s tract Dulce bellum inexperto and in 1522, the year of Dürer’s woodcut, Pirckheimer dedicated a Latin translation of Lucian’s dialogue Navis seu Vota to Varnbüler in which he refers to the friendship between himself, Durer, and Varnbuler. Dürer’s dedication on the woodcut reads: Albrecht Dürer of Nuremberg wishes to make known to posterity and to honour by this likeness his dearest friend Ulrich, surnamed Varnbüler, confidential and principal secretary to the Imperial Roman Government. No contemporary colour impressions of this woodcut are recorded. During the Dürer Renaissance in the Netherlands in the late 16th century, Hendrik Hondius issued impressions of the monochrome line block around 1600. The block then passed to Willem Janssen (Blaeu), who cut two additional blocks and printed chiaroscuro impressions sometime after 1620. Strauss lists eleven chiaroscuro impressions of this woodcut in museum collections. The original preparatory charcoal drawing for the woodcut is in the Albertina, Vienna. (1) £10000-15000

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247* Durer (Albrecht, 1471-1528). The Angel appearing to Joachim (from The Life of the Virgin), circa 1505, woodcut on pale cream wove paper, trimmed just inside the image, with loss of single line printed border, several closed tears and repairs to verso, upper right corner missing and supplied in old pen and black ink, 293 x 205mm, together with The Annunciation (from The Life of the Virgin), circa 1500-1502, woodcut on light beige laid paper, with watermark of a shield and a separate letter B, margins close-trimmed, some light overall spotting and pale discolouration, image size 298 x 212cm (11.75 x 8.35ins), sheet size 300 x 215mm, tipped on to backing card, plus The Visitation (from The Life of the Virgin), circa 1503, woodcut on off white laid paper with watermark of an oval shield, trimmed just inside the image, with partial loss of single line printed border, a strong dark impression, light overall spotting, some marks and substantial remains of old backing paper to verso, 297 x 210mm, and The Flight into Egypt (from The Life of the Virgin), circa 1503, woodcut on pale cream laid paper, trimmed just inside the image, with loss especially to upper and lower edge, short closed tear to lower right margin without loss, 281 x 207mm (usually 298 x 209mm), mounted on old card Schoch, Mende & Scherbaum 168, 173, 174 & 179. Hollstein 195, 196, & 201. Numbers 2, 7, 8 and 13 from the series of 19 woodcuts (plus title) executed by Durer and published in book form in 1511. (4)

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ÂŁ500-800


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249* After Hans Eworth (circa 1515-1573). Portrait of Mary Tudor, 1554, fine watercolour on paper, heightened with gold and white bodycolour, inscribed to lower left corner H.F.[for H.E.] and dated 1554, gilt ruled border, 25.5 x 19.5cm (10 x 7.7ins) mount aperture, good-quality tortoiseshell frame, glazed, with Sotheby’s Pulborough orange sticker to verso, stamped HBO6684 19

248* Durer (Albrecht, 1471-1528). Samson killing the lion, 1498, woodcut on heavy paper, a Meder f-g impression, some surface marks and edge wear, trimmed to black line border, and laid down, sheet size 390 x 284mm (15.3 x 11.2ins) Bartsch 2. Meder 107. Dodgson 8. Schoch Mende & Scherbaum 127. (1) £200-300

A finely detailed copy after the famous portrait of Mary I by Hans Eworth in the collection of the Society of Antiquaries of London. The original oil painting on oak panel measures 104 x 78.5cm (41 x 31ins). (1) £700-1000

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250 Faber (John 1695-1756). Sr. Godfrey Kneller Bart. & Knt of ye Roman Empire, Principal painter to K. Charles 2d., James 2d., William 3d & Ann & King George 1st, 1735, uncoloured mezzotint after Ipse, 35.5 x 25.5cm (14 x 10ins), mounted, framed and glazed, together with George Stepney Esq. &c., 1733, uncoloured mezzotint after G. Kneller, 35 x 25cm (14 x 10ins), mounted, framed and glazed, plus Smith (John), Henry Comte de Nasseau D’Auverquerk Feld Marshal..., published J. Smith, circa 1720, uncoloured mezzotint after G. Kneller, 34 x 25cm (13.5 x 10ins), mounted, framed and glazed, and Smith (John), Honoratissimus Thomas Dominus Herbert comes de Pembroke et Montgomery &c. &c., circa 1740, uncoloured mezzotint after W. Wissing, 35 x 25cm, (14 x 10ins), mounted, framed and glazed, with one other similar (5)

£200-300

251* Farjat (Benoit, 1646-1724). St. Anthony, fine copper engraving on laid paper, with circular watermark, several short closed marginal tears repaired, wide margins, plate size 510 x 355mm (20 x 14ins), sheet size 585 x 440mm (23 x 17.25ins), together with Bettelini (Pietro, 1763-1829), Dido and Aeneas, Jupiter and Juno, & Iole and Hercules, after Annibale Carracci, circa 17901800, together 3 fine copper engravings on heavy wove paper, after the fresco cycles by Annibale Carracci, in the Palazzo Farnese, Rome, some minor marginal stains, one with upper right blank corner excised, plate size 360 x 275mm (14.2 x 10.8ins) and similar, sheet size 505 x 380mm (20 x 15ins) and similar, plus Cunego (Domenico, 1727-1803), Nereides Nymphae, & Filius Prodigus, 1771/1770 respectively, together 2 copper engravings on laid paper, after Ghisi and Guercino respectively, [from Gavin Hamilton, Schola Italica Picturae, published in 1773], plate size 241 x 408mm (9.5 x 16ins) and 266 x 323mm (10.5 x 12.75ins) respectively, wide margins to each (6)

Lot 250

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£150-200


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252 Floris (Frans, 1519/20-1570). Moses showing the tablet of the Ten Commandments, with scenes in the background of Moses receiving the commandments, the dance round the Golden Calf, and Moses breaking the tablets, pen, brown ink, and grey wash on pale cream laid paper, indistinct watermark (similar to Briquet 1054 and 1379), sheet size 184 x 287mm (7.25 x 11.3ins), tipped onto old blue backing paper, and contained in a mid-19th century album containing early prints and engravings on the subject of idols, idolatry, and idol worship, with extensive handwritten notes on the subject of idolatry, all mounted in the album, a few prints loose, original dark green cloth gilt, rubbed and some wear, with upper cover detached, bookplate of Robert Crewe-Milnes, 1st Marquess of Crewe to front pastedown, folio (349 x 265mm, 13.75 x 10.5ins) Provenance: Robert Crewe-Milnes, 1st Marquess of Crewe (1858-1945), Liberal politican, statesman and writer. Aside from the drawing by Floris, the album contains 120 engravings and etchings, mostly dating from the 17th, 18th and early 19th century, and includes 7 etchings by Maarten van Heemskerck (1498-1574), several by Pierre Lombart after Francis Cleyn (taken from Ogilby’s Virgil of 1654), Jan Luyken (1649-1712), Jean Jacques Lagrenée (1739-1821) Sacrifice to Pan, Pietro Bartoli (1635-1700) Apollini Sacrum, & Dianae Sacrum, Jakob Gottlieb Thelot (1708-1760), etc. (1) £800-1200

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Lot 253 253 Hogarth (William). The Original Works of William Hogarth, John and Josiah Boydell, 1790, letterpress title and list of plates, 110 engravings on eighty-eight sheets, portrait frontispiece with printed publication date ‘June 4 1795’, plates 56-60 and 80-81 mounted to wove sheets, plate 71 torn without loss, some old damp-staining to lower and outer margins throughout, sometimes affecting plate impressions, evidence of library stamp removal to lower outer corner of title with resultant paper thinning, title spotted, a little occasional finger soiling, contemporary calf with later antiquestyle morocco gilt reback to match, scratched and rubbed, a little wear, folio (645 x 490mm) (1)

£1800-2200

254* Hogarth (William, 1697-1764). The Four Times of the Day (Morning, Noon, Evening & Night), 1738 [but later], set of four copper engravings with etching on wove paper, from the William Heath edition of 1822, some light marginal waterstains and spotting, wide margins, plate size 48.5 x 40.5cm (19 x 16ins), sheet size 68.5 x 50.5cm (27 x 20ins) Paulson 152-155. (4)

£150-200

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255* Hollar (Wenceslaus, 1607-1677). Warships and a spouting whale, 1665, etching on ivory laid paper, published by Peter Stent, trimmed just inside the plate margin, 124 x 269mm (4.9 x 10.6ins), mounted Pennington 1275, ii/ii. (1)

£100-150

257* Nanteuil (Robert, 1623-1678). Francois Antoine du Lieu, Seigneur de Chenevoux, 1667, fine copper engraving on laid paper, with margins, plate size 40 x 31.5cm (15.75 x 12.5ins), framed and glazed, together with Ferdinand de Neufville Villeroy (1608-1690), 1657, copper engraved portrait on laid paper after the portrait by Champaigne, trimmed to margins, plate size 36.5 x 27cm (14.3 x 10.6ins), plus Francois Servien (1598-1659), 1656, copper engraving on laid paper after the portrait by Champaigne, with margins, plate size 35.5 x 27cm (14 x 10.6ins), all in matching modern frames, glazed (3)

£200-300

256* Hooghe (Romeyn de, 1645-1708). L’Europe Allarmée par le fils d’un Meunier, [1688], etching with printed broadside on laid paper, with three columns of Dutch verse below the image, inscribed in ink to top margin Ao.1688, and numbered 22 to top right corner, light marginal spotting and minor creases, plate size 38 x 40cm (15 x 15.75ins), sheet size 59 x 42.5cm (23.75 x 16.75ins) Muller, Nederlandsche geschiedenis 2760. Landwehr 218. A complex allegorical satire by the Dutch protestant printmaker Romeyn de Hooghe on the fall of King James II of England, the last Roman Catholic English monarch, following the Glorious Revolution of 1688. The print satirises the paternity of James the Second’s baby son, James Francis Edward, Prince of Wales (1688-1766), nicknamed the Old Pretender, suggesting that the child was instead the son of an unknown mother and a miller smuggled into the Queen’s bed in a warming pan, with the complicity of the French Catholic King Louis XIV. This work is believed to be the second in a series of Harlequin satirical prints by De Hooghe on the political tensions between Britain, France and Holland. (1) £150-200

258* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ healing the Sick (‘The Hundred Guilder Print’, - The Left Fragment), 1649, etching with engraving and drypoint on laid paper, an impression of the left fragment of the reworked plate, after the plate was cut by Captain William Baillie, circa 1775, with margins, plate size 52 x 74mm (2.1 x 2.9ins), sheet size 58 x 79mm (2.3 x 3.1ins) (1)

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£200-300


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Lot 259 259* Rembrandt (Harmensz. van Rijn, 1606-1669). The Adoration of the Shepherds, Night Piece, circa 1652, etching, drypoint and burin on laid paper, trimmed to margins, with some marks and one or two small tears to extreme corners, with slight loss to upper right and lower right corners, plate size 149 x 198mm (5.9 x 7.8ins), sheet size 152 x 200mm (6 x 7.85ins), with inscription in brown ink to verso ‘a paris Chez Naudet Md d’estampes au Louvre (Lugt 1937)’, and with additional signature of Fountaine Walker, 1856 (probably Fountaine Walker 1833-1892 of Ness Castle, near Inverness, Scotland) Hollstein 46. Bartsch 46. Hind 255, vii/viii. (1)

£500-800

260 Sarbo (17th century). Christ praying in the garden, supported by an angel, 1675, etching on laid paper, with margins, plate size 147 x 100mm (5.75 x 3.8ins), framed and glazed Listed in Joseph Strutt, Biographical Dictionary of Engravers, 1786, volume 2, page 297. (1) £70-100

Lot 260 77


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262* Circle of Richard Wilson (1714-1782). Study of Trees, black chalk and grey wash on laid paper with a prepared grey ground, 41 x 28.5cm (16.2 x 11.25ins) mount aperture, framed and glazed (1)

261 Ward (William, 1766-1826). A Visit to the Boarding School, published J. R. Smith, Decr. 28, 1789, uncoloured mezzotint after G. Morland, 45.5 x 56.5cm (18 x 22.25ins), mounted framed and glazed, together with [Portraits of Robert and Charles Collings Esqrs. To the breeders and friends of the improved short horns, this print is respectfully dedicated by their very obliged and humble servants Thos. Weaver and John Thomson, published John Thompson, Smeaton, Yorkshire], circa 1830, uncoloured mezzotint, trimmed to image with loss of title and letters, 50.5 x 46cm (20 x 18ins), mounted, framed and glazed (2)

£200-400

263* Xhrouet (Mathieu Antoine, 1672-1747). Veue du Bourg de Spa, prise du côté du Midy vers le Septentrion, pen, ink and grey wash on vellum, signed lower right, and captioned by the artist in ink to lower margin, image size 134 x 221mm (5.25 x 8.75ins), sheet size 149 x 228mm (5.8 x 9ins), mounted A view of the Belgian town of Spa, famous for its hot springs which drew visitors from far and wide, including the Russian Tsar Peter the Great. (1) £200-300

£150-200

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19TH & 20TH CENTURY BRITISH PAINTINGS FROM THE COLLECTION OF COLIN & JOY EMBERSON Colin Emberson (1921-1997) and Joy Emberson (1927-2016) met while studying at Wimbledon School of Art. As professional illustrators, they joined the advertising agency Masius & Fergusson, where Colin created advertising campaigns for Shell, Britvic, & Babycham. He set up his own advertising agency subsequently in Frith Street, Soho. As a wildlife illustrator, Colin Emberson provided illustrations for the Reader’s Digest Nature Lover’s Library Field Guides to Wild Flowers (1981) and Butterflies and Other Insects (1984), as well as David Sutton’s Concise Guide to Wild Flowers of Britain and Northern Europe (1990). In addition to book collecting, bookbinding, taxidermy and orchid growing, the Embersons were keen collectors of British paintings, and purchased a number of original works from London galleries such as Browse & Darby and the Fine Art Society in the 1970s and 1980s.

Lot 265

264*AR Armfield (Diana Maxwell, 1920-). The Tall Vase, oil on canvas, signed with initials lower left, 35 x 27cm (13.75 x 10.6ins) mount aperture, framed and glazed with Browse & Darby label to verso (1)

£700-1000

265* Bottomley (Albert Ernest, R.B.A., 1873-1950). Rural Landscape, oil on canvas, showing a figure and horse by some workhouses, signed lower right, 47.5 x 58cm (18.75 x 22.75ins), framed and relined (1)

£300-500

266* British Impressionist School. Summer landscape with farmhouse and geese, circa 1920s, oil on board, indistinctly signed lower left, 27.5 x 35.2cm (10.9 x 13.9ins), period gilt frame (1)

79

£300-400


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268* Continental School. Les Bords de la Seine, circa 1890s, oil on board, showing figures by the river, 49 x 67cm (19.25 x 26.25ins), gesso moulded frame, titled verso (1)

267*AR Connard (Philip, R.W.S., 1875-1958). Vase of flowers on a window sill, oil on board, signed with initials lower right, 33 x 24cm (13 x 9.5ins), period gilt frame (1)

£200-400

£300-500

269* Continental School. Cattle watering, circa 1890s, oil on board, indistinctly signed lower right, 27.5 x 36cm (10.75 x 14.25ins), gilt gesso frame (1)

£200-300

Lot 268 80


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Lot 270

270* Cox (David, 1783-1859). Rural landscape with sheep, 1849, oil on canvas, signed and dated lower left, 30 x 49.5cm (11.75 x 19.25ins), relined, gilt gesso frame, The Reid Gallery Ltd receipt to verso, dated 1986 (1)

ÂŁ1500-2000

271* Cramer (Belle, 1883-1978). Still life of flowers in a jug, oil on canvas, signed lower left, three tears to canvas, 44 x 34.5cm (17.25 x 13.25ins), gesso frame (1)

ÂŁ300-500

Lot 271

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272* Creswick (Thomas, 1811-1869). English landscape with fishermen by a river, oil on board, period Frost & Reed printed label to verso, 18.5 x 24cm (7.5 x 9.5ins), framed (1)

£200-300

275* Emberson (Colin, 20th century). Cockatoo, oil on panel, showing a cockatoo on a perch with a smaller bird holding an apple, artist monogram lower right, 29.5 x 24.5cm (11.5 x 9.5ins), gilt wooden frame (1)

£150-200

273* Drane (Herbert Cecil, 1862-1932). Hedgefold Wood Farm, Loxwood, Sussex, oil on Winsor & Newton sketching board, signed lower right, with title and description in ink by the artist to verso, 18 x 25cm (7 x 10ins), framed (1)

£200-300

274* Emberson (Colin, 20th century). Nesting duck, watercolour and gouache on paper, showing an Aylesbury duck with stoat, artist monogram lower right, 27 x 34cm (10.5 x 13.25ins), framed and glazed (1)

£150-200

276* Emberson (Colin, 20th century). Barn Owl by the river, watercolour on paper, artist monogram lower right, 44.5 x 60cm (17.25 x 23.5ins), framed and glazed (1)

£200-300

277* Emberson (Colin, 20th century). Blue Landscape, oil on canvas, showing a farm within landscape, 34 x 44cm (13.25 x 17.25ins), framed, attributed and titled to verso (1)

82

£100-150


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Lot 280

278* Emberson (Colin, 20th century). Parrot, oil on board, showing a parrot on a perch with an Indian Palm Squirrel eating fruit, artist monogram lower left, 75.5 x 49cm (29.75 x 19.25ins), framed (1)

£300-500

279* Emberson (Colin, 20th century). Cockatoo, gouache on board, showing a cockatoo on a perch with flowers, butterflies and house, artist monogram lower right, 55 x 55cm (21.5 x 21.5ins), framed (1)

£300-500

280* Emberson (Colin, 20th century). Portrait of the artist’s wife, oil on board, head & shoulders portrait of a woman in a purpleblue dress and hat, and white fur neck stole, a jackdaw perched on her shoulder, and surrounded by various other birds, mostly in flight, including a gull and an owl, 50.5 x 38cm (20 x 15ins), framed and glazed (1)

£100-150

281* English School. Landscape with trees, impressionist contrejour oil on canvas, unsigned, 35 x 25cm (13.75 x 9.8ins), period gilt frame, with old printed label of Charles A. Jackson, Manchester, to verso (1)

£200-400

Lot 281

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282* English School. White Cliffs of Dover, 19th century, oil on board, showing figures on a beach, 14 x 22.5cm (5.5 x 8.75ins), framed (1)

£100-150

285* English School. Rural landscape, circa 1850s, oil on canvas, showing a horse drawn coach crossing a bridge, artist initials H.R.B.?, 49.5 x 59cm (19.5 x 23.25ins), gesso moulded frame (1)

283* English School. Summer landscape through trees, late 19th century, oil on canvas, 33 x 41.5cm (13 x 16.25ins), unsigned, relined, framed (1)

£400-600

£200-300

286* English School. Kitty, 1906, oil on canvas, showing a shire horse, titled and dated July 8 1903 lower right, 50 x 60cm (19.75 x 23.5ins), framed (1)

284* English School. Landscape with horse, late 18th century, oil on wood panel, depicting a figure with a horse and two dogs in a landscape with hill and trees, 26 x 31cm (10.25 x 12.25ins), gilt moulded frame, with old Christie’s stencil on backboard (1)

£200-300

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£100-150


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Lot 287 287* English School. Brighton Promenade, oil on canvas, artist initials ‘NJ’ lower right, 34 x 44.5cm (13.25 x 17.25ins), gilt gesso frame (1)

£400-600

288* English School. Rural landscape, circa 1930s, oil on board, showing a girl with cattle by a river, 45 x 74cm (17.75 x 29ins), gilt moulded frame (1)

£300-500

Lot 288

85


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289* English School. Portrait of a Springer Spaniel, late 19th century, oval oil on canvas board, 12.5 x 10cm (4.9 x 3.9ins) mount aperture, framed and glazed (unexamined out of frame) (1)

291* English School. Woman in a Pink Dress, circa 1910, oil on canvas, three-quarter length portrait of a seated woman wearing a pink dress with cream silk bodice trimmed with fur, some mottling to varnish, re-lined, gilt moulded frame, with printed paper label ‘W.H. Batchellor Ltd. Horley’ on verso, 77 x 51cm (30.25 x 20ins)

£100-150

(1)

290* English School. Portrait of a girl, circa 1910, oil sketch on canvas, half-length portrait of a girl wearing a white dress and with pink ribbons in her long brown hair, Winsor & Newton’s ink stamp on verso, 51 x 46cm (20 x 18ins), framed (1)

£300-500

292* English School. Sophia Elizabeth, wife of Sir Richard Jones KCB, 1795, oval oil on canvas, head and shoulders portrait of a dark-haired young lady in a white muslin dress, overall craquelure, three superficial scratches, initialled and dated to left-hand edge “W de G ‘95”, titled in pencil on verso, 22 x 16.5cm (8.5 x 6.5ins), mounted, framed and glazed

£200-300

(1)

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£200-300


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293* Fildes (Luke, 1844-1927). “Marianina”, oil on canvas, three-quarter length portrait of a peasant girl wearing a green blouse, striped skirt, and spotted apron, with earrings and a coral necklace, carrying a basket over one arm, indistinctly signed in red lower right, weave of canvas showing, some flaking of paint surface (mainly to edges), 71 x 47.5cm (28 x 18.75ins), verso with title and artist’s signature and address in ink, framed, stretcher with Christie’s stencil and old printed label: “‘Marianina’: A Young Peasant Girl with a Basket... signed and dated 1876” Exhibited at the Dudley Gallery in 1877 where it was met with a glowing reception: ‘...the gem of the Exhibition is ‘Marianina’ by Luke Fildes, which for pose, drawing, and colour is perhaps the best bit of work he has done. Mr. Fildes has used the very roughest kind of canvas, he has laid on his paint here and there with a palette knife, as if he were handicapping himself to obtain softness of tone and texture in spite of conditions that would at first blush appear to tell against both. There is no picture in the gallery more tender, soft and delicate in its effect than this vigorous study’ (London Letter to New York Times, December 9, 1877). An etching after Fildes’ painting by Leon Richeton (1854-1934) was published in ‘The Portfolio’ in 1878. (1) £700-1000

87


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294* Gibbs (Thomas Binney, 1870-1947). Landscape at Dusk, oil on canvas board, 23 x 26.5cm (9 x 10.4ins), framed, inscribed to verso with artist’s name, and note: ‘Bought by Jeremy Wood Gallery from the Artist’s daughter’ (1)

295* Hammerslough (Ruth Helprin, 1883-1983). Portrait of a Young Girl, oil on board, signed upper right, 25.5 x 20.5cm (10 x 8ins), period wood frame American artist who also worked under the pseudonym Ruth Ford Harper, born Washington D.C. on 3rd September 1883, and studied under William Merritt Chase (1849-1916). In 1920 she settled in Paris, living in Montparnasse with a variety of famous artists nearby, including Man Ray, Foujita, Duchamp, Picabia, Mayakovsky and others. As R. Ford Harper she is best known for her postcard illustrations, magazine covers and calendars, in the manner of Charles Dana Gibson. (1) £300-500

£200-300

296* Hughes (Arthur, 1832-1915). Summer Landscape, oil on board, showing a young shepherdess in a landscape, signed lower left, 26.5 x 45cm (10.5 x 17.75ins), framed (1)

£700-1000

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297* Attributed to Arthur Lemon (1850-1912). Harvesting by the water, oil on canvas, showing a figure with cattle and cart, 27.5 x 49cm (10.75 x 19.25ins), framed, attribution inscribed to verso (1)

£300-500

298* Maundrell (Charles, 1860-circa 1924). Landscape with clump of trees, watercolour on paper, signed lower left, 11.5 x 19.5cm (4.5 x 7.6ins), framed and glazed (1)

£100-150

299* McGregor (Sara, died 1919). Girl in a red cape, oil on canvas, half-length portrait of a young girl wearing a red cape with collar and neck-bow, and a matching ribbon in her long dark curls, signed and dated lower right, several small holes and marks, 81.5 x 51cm (32 x 20ins) British artist Sara McGregor exhibited works at the Royal Scottish Academy from 1898 onwards. (1) £200-300

Lot 299

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300* Milner (Fred, 1863-1939). Thatched Cottage, circa 1900, oil on panel, signed lower left, 35 x 45cm (13.75 x 17.75ins), gilt moulded frame (1)

£200-300

301* Naive School. Portrait of a young girl, circa 1840, oil on canvas, three-quarter length portrait of a young girl wearing a pink gown and pendant earrings, holding a pink rose, re-lined, 58 x 45cm (22.75 x 17.75ins), framed (1)

Lot 302

£2000-3000

302* Nicholls (Bertram, 1883-1974). Group of Trees, 1919, oil on wood panel, signed and dated lower right, framed, with artist’s printed name and address label to verso, with title in ink, and additional label for Barbizon House, 8 Henrietta Street, Cavendish Square, London to verso, d21 x 17cm (8.25 x 6.7ins) (1)

£300-500

303 North Wales. Cynwyd Mill near Corwen, [Denbighshire], Mill at the Nant Llan Pools, Pont y Glynn, near Corwen, & View of the Dee Valley, circa 1830s, a group of 4 fine miniature landscapes in pen, black ink, brown and grey wash, heightened with white, apparently unsigned, each 6.8 x 9.7cm (2.6 x 3.75ins) mount aperture, matching gilt frames, glazed, three with period title in ink pasted to verso (4)

£200-300

Lot 303

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Lot 301

91


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304* Oswald (John H., 1843-1895). Scarborough Coast, oil on canvas, showing fishing boats on a beach, signed lower left, 48.5 x 73.5cm (19 x 29ins), gilt gesso frame, relined (1)

£300-500

305* Pietra Dura. A 19th century Italian Grand Tour stone panel of a bird perched on a branch with butterfly, inlaid with semiprecious stones, 10 x 15.5cm (4 x 6.25ins), gilt gesso frame with oak panel verso, 14.5 x 19.5cm (5.75 x 7.75ins) (1)

306* Riddel (James Alick, 1857-1928). Summer Landscape, oil on board, showing a farmhouse and hayrick, signed lower right, 29 x 39cm (11.5 x 15.25ins), carved gilt frame

£300-500

(1)

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£200-300


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307*AR Robertson (Tom, 1850-1947). Summer Landscape, oil on board, showing figures by the waters edge, signed lower right, 29.5 x 37.5cm (11.5 x 14.75ins), oak and gesso frame, Harris picture framers label dated 19 March 1906 to verso (1)

ÂŁ300-500

308*AR Robertson (Tom, 1850-1947). Crinan Canal, Scotland, oil on canvas, showing cliffs and boat on a river, signed lower left, 44.5 x 59cm (17.5 x 23.25ins), gilt acanthus moulded frame, titled to verso (1)

Lot 307

Lot 308

93

ÂŁ300-500


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309*AR Robertson (Tom, 1850-1947). Evening, Loch Linnhe, Scotland, oil on board, signed lower left, 25 x 30cm (9.8 x 11.75ins), framed, with label to verso printed with the artist’s name, and inscribed in ink with title, and additional label M.A.R. and printed sticker bearing the number 432, to verso (1)

£300-500

310*AR Rosoman (Leonard H., 1913-2012). The Picnic, watercolour, gouache and pencil on paper, signed lower left, 22.5 x 37.5cm (8.8 x 14.8ins) mount aperture, framed and glazed (1)

Lot 309

Lot 310

94

£300-500


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311* Rountree (Harry, 1878-1950). Cottage in a mountainous landscape, 1944, oil on canvas, signed and dated lower right, 49.5 x 39.5cm (19.5 x 15.5ins), framed

313*AR Stokes (Adrian, 1902-1972). Pine Trees on the Amalfi Coast, circa 1920s, oil on board, signed lower right, 27 x 21.5cm (10.75 x 8.5ins), framed

(1)

(1)

£300-500

314* Strutt (Jacob George, 1790-1864). Poussin’s Castle in the Campagna, oil on card, signed lower right, 17.5 x 23.5cm (7 x 9.2ins), framed

312* Rowles (Stanley Charles, 1887-1987). Rural Landscape, oil on canvas, 28 x 37cm (11 x 14.5ins), gilt gesso frame with attribution plaque (Ex Studio Collection) (1)

£300-500

(1)

£200-300

95

£200-300


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315* Swiss School. Pair of Alpine scenes, 19th century, miniature oils on panels, 4.5 x 6.5cm (1.75 x 2.5ins), gesso moulded frames, 16.5 x 18.5cm (6.5 x 7.25ins) (2)

£100-150

Lot 317

316* Trakranen (Alexander van Taack, 1885-1969). Still Life of Roses in a Vase, oil on board, signed lower left, 26 x 26cm (10.2 x 10.3ins), framed (1)

£150-200

317 Van Abbe (Salomon, 1883-1955). Portrait of a Man with a Pipe, oil on canvas, half-length profile to left, showing a seated gentleman with pointed beard and moustache, and small round glasses, holding a pipe in his left hand, signed in red lower right, re-lined, 51.5 x 41cm (20.25 x 16ins), framed (1)

318* Wyatt (Henry, 1794-1840). Portrait of a gentleman, 1822, oil on canvas, half-length portrait of a seated gentleman wearing a black coat and white necktie, against red drapery, signed and dated lower right, some surface marks and scratches, one area repaired and retouched, trimmed and relined, 73 x 60.5cm (28.75 x 23.75ins)

£200-300

(1)

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£200-300


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ORIENTAL ART

319* Chinese Rice Paper Drawings. A group of 12 Chinese watercolours on rice paper, 19th century, depicting processional scenes with musicians, lantern, banner and flag bearers and religious and ceremonial carriage bearers, some mainly marginal damage from wormtracks, scattered spotting, average size image 20 x 31.5cm (8 x 12.25ins), framed and glazed (12)

£700-1000

321* Hokusai (Katsushika, 1760-1849). Gaifu kaisei (Clear Day with a Southern Breeze), 1831, oban colour woodblock print, from the series Fugaku sanjurokkei (Thirty-Six Views of Mount Fuji), a later impression on laid paper, probably circa 1900, image size 250 x 375mm (9.8 x 14.75ins), sheet size 260 x 390mm (10.25 x 15.3ins), framed and glazed (1)

£100-150

320* Chinese School. A group of four Chinese watercolours of birds, early 20th century, pen, ink and watercolour on paper, two depicting ground birds (chickens and quails) amongst rocks and plants, the other two depicting birds perched on blossoming trees, each signed with red seals, 27 x 36.5cm (10.5 x 14.25ins), framed and glazed (4)

£200-300

322* Imao (Keinen, 1845-1924). Sunflower and Yellow Bunting, & Sunset Hibiscus, Cypress Vine and Japanese Robin, from Keinen Kacho Gafu (Picture Album of Flowers and Birds), 1891, 2 colour woodblock prints, 320 x 230mm (12.5 x 9ins) mount aperture, with margins, generally in good condition, both framed and glazed (unexamined out of frame), together with a colour woodblock print of a seated woman holding a scroll by Utagawa Kunisada (18231880), another Shin Hanga woodblock print of a pair of mallard ducks resting, both framed and glazed, and two others (6)

Lot 321 97

£70-100


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Lot 324

323* Indian miniatures. Calendula, early 19th century, pen, ink and watercolour on recycled paper, old calligraphy and ink stamp, some toning to paper, 20 x 16cm (8 x 6.25ins), framed and glazed, together with Hunting scene, 19th century, group of Indian huntsmen dismembering a bear, opaque watercolour on paper within decorative border with deer, lions and tiger, manuscript text to verso, a few small wormholes, image 25 x 13cm (9.75 x 5.25ins), plus Female musician, late 19th/early 20th century, standing female with veena and peacock, Persian text at head and foot, image 15 x 12cm (6 x 4.75ins), framed and glazed, with three other watercolours, including a landscape with elephants and deer (6)

£200-300

324* Japanese School. Kabuki warrior smoking a pipe with script above, circa 1890, colour block print, signed lower right, 37 x 26cm (14.5 x 10.25ins), together with a similar work, both framed and glazed (2)

£100-150

325* Kosolawat (Kid (1917-1988)). Coastal and river scenes with boats and huts, three watercolours, each signed lower right, 37 x 54cm (14.5 x 21.25ins), mount aperture, framed and glazed Provenance: Wah Cheong Gallery, Hong Kong, label to versos. (3) £1000-1500

326* Kosolawat (Kid (1917-1988)). Wat Pho Temple, Bangkok, watercolour, signed lower left, 54.5 x 37cm (21.5 x 14.5ins), mount aperture, framed and glazed Provenance: Wah Cheong Gallery, Hong Kong, label to verso. (1)

Lot 326

£500-800

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Lot 325

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328* Persian Miniature. Mountainous battle scene, late 18th or early 19th century, opaque watercolour on paper, with two lines of manuscript text at foot, ruled border in gold and red, image size 28 x 17cm (11 x 6.6ins), framed and glazed (1)

£150-200

327* Kuniyoshi (Utagawa, 1797-1861). Old man holding a scroll, with 3 rats at his feet, colour woodblock print, 37 x 24.8cm (14.5 x 9.75ins), together with Yoshitoshi (Tsukioka Kinzaburo, 1839-1892), Raigo and Rats in the Temple, colour woodblock print, 35.5 x 23.8cm (14 x 9.25ins), plus Asada (Benji), The Pagoda of Ninnaji Temple, colour woodblock print on deckle-edged paper, sheet size 40 x 29cm (15.75 x 11.5ins), mounted, with Uchida Art Co. Ltd. printed label, plus Koson (Ohara, 1877-1945), Crow on a Snowy Bough (grey sky), colour woodblock print (Plate 48 from Crows, Cranes, Camellias), some light dampstaining, sheet size 34.5 x 18.8cm (13.6 x 7.4ins), and one other Japanese woodblock print

329 Urushibara (Yoshijiro, 1888-1953). Cyclamen, circa 1910, colour woodcut on wove paper, signed and numbered 114 in pencil, one or two minor paper flaws, sheet size 35.2 x 24cm (13.8 x 9.5ins)

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£100-150

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ORIGINAL ILLUSTRATIONS & CARTOONS

Lot 331

330* Boswell (James, 1906-1971). Five Cats, 1959, pen and brown ink and wash cartoon on laid paper watermarked C.M. Fabriano, signed and dated lower left, 43 x 19cm (17 x 7.5ins) mount aperture, framed and glazed

332*AR Byrne (John, 1940). On The Road Again, pen & watercolour on paper, showing a road casualty rabbit, 5.5 x 16.5cm (2.25 x 6.5ins), framed and glazed, The Scottish Gallery label to verso Provenance: Exhibited in May 1992, The Scottish Gallery, Edinburgh (catalogue number 26). The image was an illustration for Tutti Frutti which was later to become a TV series. (1) £300-500

An original illustration for Compton Mackenzie’s Little Cat Lost, a story about a deaf all-white cat, first published in 1965. (1) £100-150

331* Brock (Charles Edmund, 1870-1938). Illustrations for Christmas cards, circa 1904-1912, monochrome print, later pieces printed with red, artist’s initials lower left, approximately 17.5 x 11.5cm (6.75 x 4.5ins), framed and glazed Produced by the artist whilst he lived at Cranford, Grange Road, Cambridge. (5) £30-50

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334* Chesworth (Frank, 1868-1906). An original design for one of the “Clarion” series of Omar Khayyam postcards published in 1904, gouache on paper, mounted on board, depicting a matrimonial scene with a man and woman in a flower-strewn landscape, with a four-line stanza from ‘The Rubaiyat’ below, signed lower left, 13 x 8cm (5.25 x 3.25ins), together with an original illustration by Fritz Wegner, pen, ink, and watercolour on paper, showing a young girl walking to school along an avenue lined with houses and trees, sheet size 16.5 x 19cm (6.5 x 7.5ins) Six postcards depicting scenes from the Rubaiyat, designed by Frank Chesworth and numbered 21 to 26, were published by the socialist newspaper The Clarion, this being number 26. (2) £80-120

333 Cameron (Katharine, 1874-1965). An original watercolour bound into Lachrymæ Musarum and Other Poems, by William Watson, 1st edition, Macmillan, 1892, pen, ink, and watercolour drawing of a young couple in a landscape with a cupid, calligraphic title at head and foot ‘So light we parted at eve we knew not that love was born’, signed and dated 1897 lower right, image size 15 x 6cm (6 x 2.5ins), bound between F5 and F6, latter with an additional pen, ink, and watercolour head-piece of rose stems and flowers by Katharine Cameron, initialled lower right, half-title signed by the author, bookticket of Roderick Gradidge, Architect, top edges gilt, remainder untrimmed, near contemporary red morocco by Maclehose, Glasgow, signed in front turn-in, gilt lettered spine a trifle darkened and rubbed on joints, gilt fillets on edges and turn-ins, 8vo

335* Evans (Powys Arthur, 1899-1981). ‘The Editor’: James Louis Garvin, pen & ink, three-quarter length portrait of a gentleman in a pinstriped suit and round glasses, signed ‘Quiz’ lower right, 33.5 x 23.5ins), mounted, framed and glazed, with Abbott and Holder label on backboard Author and journalist James Garvin (1868-1947) edited The Observer from 1908 to 1942, and is widely thought one of the most influential newspaper editors in British history. The Observer had been waning in popularity, but Garvin restored its reputation and financial viability, contributing vivid political articles and adding sections on the arts and leisure. (1) £100-150

Scottish artist and book illustrator Katharine Cameron exhibited at the Royal Scottish Academy from 1894 to 1965. Prominent British architect Roderick Gradidge (1929-2000) was an apologist for traditional architecture, an author and architectural historian, and a Master of the Art Workers’ Guild. (1) £500-800

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336* Gould (Francis Carruthers, 1844-1925). Eight original pen and ink cartoons, for the Westminster Gazette, circa 1899-1914, including ‘The Holiday Season, AD 1914’, ‘Ye Unionists of England’, ‘A Cash Settlement’, ‘John Bull Job’, ‘The Topmost Note’, etc., approximately 27 x 30cm and smaller, together with a Vanity Fair cartoon of the artist by Lib, plus an original pencil portrait of a gentleman by Anton van Amrooy, circa 1910, etc.

338* Jackson (Raymond Allen, 1927-1997). Cartoon of James Callaghan at Belfast Airport, 1977, pen, ink, and watercolour wash, showing the Prime Minister boarding an aeroplane whilst waving to lined up troops and officials, with tanks in the background, signed ‘JAK’ lower right, captioned in pencil to lower margin below image (and dated beneath), sheet size 52.5 x 60cm (20.75 x 23.5ins), framed and glazed

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Captioned: ‘“As a special Christmas treat for the troops he only stayed five hours!”‘ (1) £100-150

£150-200

339* May (Phil, 1864-1903). English as she is spoken (sometimes) ‘It’s a good job ‘e didn’t told me to go ‘cause I wouldn’t ‘ave went!’, 1901, pen & black ink on card, signed and dated lower right, and inscribed with title in ink below the image, some light scattered spotting, inscribed in pencil to verso London Opinion, sheet size 30.5 x 24cm (12 x 9.5ins)

337* Hatherell (William, 1855-1928). Ruth said ‘Entreat me not to leave thee’ for the Book of Ruth, I, 16, watercolour on paper, 238 x 158mm (9.4 x 6.25ins) mount aperture, framed and glazed, with Fine Art Society label to verso Provenance: Fine Art Society, Illustrator’s Exhibition, June 1965, 171. (1) £200-300

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340* McMurtry (Stanley, ‘Mac’, 1936-). John Prescott cartoon, pen & ink, with blue watercolour wash, depicting an irate John Prescott in his office, leaning over his desk and barking down the telephone, with pictures on the wall titled ‘My Jag’ and ‘My Other Jag’, and various motoring magazines on the table, captioned in pencil to lower margin below image, sheet size 37 x 54cm (14.5 x 21ins), framed and glazed With caption: ‘“I’ve told you why I haven’t been up to see you for three years, Dad. The roads are a disgrace, the traffic’s all snarled up, the trains are appalling…”’ (1) £100-150

342* Reed (Edward Tennyson, 1860-1933). The Bearded Don, pencil on paper, signed with monogram lower, sheet size 37.5 x 30cm (14.75 x 11.75ins) mounted on card A noted contributor to Punch, Tennyson Reed also contributed regularly to The Sketch, and later on The Bystander, for which the present work may be an example. (1) £100-150

343* Ricketts (Charles, 1866-1931). Those Servants Again!, pen & black ink on thin card, heightened with white bodycolour, signed C. Ricketts lower right, some marks and minor soiling, small portion missing to extreme top left corner, sheet size 137 x 202mm (5.4 x 7.9ins) An early original illustration by Ricketts, possibly for The Woman’s World, or the Magazine of Art. With original inscription in brown ink to verso: ‘Those Servants Again! First fair Patrician - Positively refused to fight in the arena, my dear, and that sweet nubian lion doing nothing. What are we coming to next. For not one of them has been thrown into the Lamprey pond, since Old Pollux. 2nd fair Patrician - Ah! Slaves are not as they were.’ According to Paul van Capelleveen, Ricketts stopped signing his full name by June 1888, when he changed to a C.R. monogram, which would make the present work one of Ricketts’ earliest productions. (1) £300-500

341* Pegram (Frederick, 1870-1937). ‘Caged’, A Sketch in the Jakoutsk Prison, circa 1900, pen, black ink and grey wash on paper, signed lower left, and titled upper right, 25.2 x 19.8cm (9.9 x 7.8ins) mount aperture, framed and glazed Jakoutsk Prison (Yakutsk in modern spelling) was one of the Siberian prisons for political prisoners and dissenters, established in the late 19th century. (1) £100-150

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344 Ridgewell (William Leigh, 1881-1937). Motoring cartoon, pen & ink, depicting a stationary chauffeur-driven grand tourer with bird (Hispano Suiza?) mascot, with an elderly female passenger wearing a fur coat, hat, and indignant expression, and a couple with small boy on the verge beside, captioned in pencil to lower margin ‘“‘Ope you don’t mind me stoppin’ you; thought perhaps you might know of a decent tea place about ‘ere - ‘bout ninepence a ‘ead?”‘ (last four words with indefinite pencil cancellation), 26 x 36cm (10.25 x 14ins), mounted, framed and glazed (1)

£200-300

346*AR Shepard (Ernest Howard, 1879-1976). Looking Forward “Parking in Town”, pen & ink, depicting a number of light aircraft in a parking bay in a busy town, with a young lady in a small aeroplane coming in to land, guided by a portly parking attendant on the ground, with a female pilot checking her hair in the foreground and other aircraft and a parachutist in the sky beyond, signed lower left, 31.5 x 23cm (12.25 x 9.25ins), mounted, framed and glazed, titled in pencil on backboard

345AR Searle (Ronald, 1920-2011). Pay TV Movie Guide, 1984, pen and black ink on paper, signed with initials lower right, 24 x 41.5cm (9.5 x 16.25ins), framed and glazed, with Chris Beetles printed label to verso Provenance: Private Collection, Somerset. Exhibited: Chris Beetles Gallery, London, British Art of Illustration 1800-1997, No. 560. The present work as designed as a feature heading for a New York TV guide in 1984. (1) £700-1000

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Lot 345 105

£300-500


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348* Sullivan (James Frank, 1853-1936). Sterling British Qualities, monochrome pen & ink on paper with three sketches, each cartoon inscribed with a caption beneath, signed top right, plus a similar cartoon by the same artist, ‘On Interviewing and Sympathy’, 50.5 x 37cm (19.75 x 14.5ins), framed and glazed, together with Jasper Weird (R.), Girl frightened by a mouse, monochrome pen & ink watercolour drawing on card, signed lower right and inscribed in pencil, 34 x 24.cm (13.5 x 9.5ins), unframed, with a catalogue entry from Chris Beetles Limited, plus Brown (James), Macyankee 1886, monochrome pen & ink, showing a humorous American take on a Scottish clan, signed and dated lower left, 34.5 x 26.5cm (13.5 x 10.25ins), framed and glazed, and a comical Jack Nicholson colour print on board by Goodall 1988, 33.5 x 33.5cm (13 x 13ins), etc

347* Spenceley (Edgar, early 20th century). Class Distinction, pen & ink cartoon on paper, depicting two old railway carriages in a field converted into dwellings, one labelled first class, with gipsy woman outside washing clothes with her nose in the air, the other labelled third class, with a startled-looking young lady and small child in front, signed lower left, titled to lower margin, 24.5 x 34cm (9.75 x 13.5ins), mounted, framed and glazed, together with another pen & ink cartoon by Spenceley, depicting a portly sailor on a quayside with the legend ‘Saucy Sally on his pullover, and two female sailors addressing him from a boat beside the quay, captioned below ‘“Excuse me seaman, would you mind ‘er, undoing our cable? be careful to untie the right one, its the thinner of the two.”‘, signed lower left, 27 x 34cm (10.5 x 13.25ins) (2)

James Francis Sullivan (1853-1936), cartoonist and illustrator, whose works appeared in Black & White, New Budget, Pick-Me-Up and Punch. (6) £100-200

£100-150

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20TH CENTURY PAINTINGS & WATERCOLOURS 350* Portrait. Portrait of Rachael by Ashley, circa 1970, oil on canvas, showing a young woman in profile, seated in a wicker chair, artist’s text in block capitals and pencil inscribed hieroglyphically across the sitter’s white dress with the artist’s name at foot, 91 x 90cm (36 x 35.5ins), framed (1)

£300-500

349* Abdel Aal (Ahmed, 1963-). Abstract composition, 1980, oil on canvas using scrapers and other tools, 80 x 80cm (31.5 x 31.5ins), signed and with details in Arabic and English to verso, framed (1)

£300-500

351* Bell (Julian, 1952-). Ernst Gombrich, 1957, oil on canvas, portrait, artist monogram lower right, 39 x 33.5cm (15.25 x 13.25ins), carved gilt frame, Francis Kyle Gallery label to verso (exhibition number 5) plus gallery exhibition leaflet Julian Bell was born in 1952 and grew up in Newcastle and Leeds. His father was the potter and writer Quentin Bell, his grandmother was the painter Vanessa Bell. He stayed with his grandmother at Charleston farmhouse on the Sussex downs during the 1950s. (1) £200-300

Lot 350

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353 Busoni (Rafaello (1900-1962). Portrait of Arturo Toscanini (1867-1957), 1937, oil on canvas, showing Toscanini three-quarter length and conducting, some paint flaking to lower part of canvas, signed and dated lower right, 111 x 83cm (43.75 x 32.75ins), framed

352*AR Bellany (John, 1942-2013). Aberdeen Tippler, 1985, watercolour and black chalk on paper, signed lower right, 76 x 56.5cm (30 x 22.25ins), framed and glazed

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Provenance: Private Collection, Gloucestershire. Purchased from a Mercury Gallery exhibition of new work by John Bellany in 1985. (1) £1000-1500

£400-600

354* Butterworth (Harry, 20th century). Invercauld Bridge over the River Dee, Balmoral, Aberdeenshire, oil on canvas, signed lower right, 50.5 x 101cm (19.75 x 39.75ins), gilt frame (1)

£600-800

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355* Butterworth (Harry, 20th century). River Dee near Balmoral, Aberdeenshire, oil on canvas, signed lower right, 65.5 x 104cm (25.75 x 41ins), gilt frame, two patch repairs to verso (1)

ÂŁ700-1000

356* Butterworth (Harry, 20th century). Lochnagar Mountains, Deeside, Aberdeenshire, Scotland, oil on canvas, signed lower right, 30.5 x 61cm (12 x 24 ins, gilt frame) (1)

ÂŁ300-500

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357*AR Emanuel (John, 1930-). Figure with lamp, 1986, oil on canvas, abstract, signed, titled and dated to verso, 77.5 x 112cm (30.5 x 44ins), framed Painted at Porthmeor Studio, St Ives, Cornwall. (1)

£200-300

358* Grain (John, 1922-2016). Middledale Farm, Monsal Dale, Derbyshire 1987, oil on canvas, showing a bridge over the river, signed lower right, 40 x 76cm (15.75 x 30ins), framed

359* Grain (John, 1922-2016). Wolfscote Dale, Derbyshire, circa 1980s, oil on canvas, showing a fisherman on the bank of the river, unsigned 40 x 76cm (15.75 x 30ins), framed

John Grain trained at Derby College of Art, and worked from his studio opposite Derby Cathedral, producing oils and watercolours of Derbyshire scenery and people (1) £150-200

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110

£150-200


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Lot 360 360* Harding (Robert?, 20th century). Interior 122 [so inscribed to verso], 1966, oil on canvas, showing a young man and woman wearing hats and holding two birds against an Ernst-like surrealist backdrop with arches, doorways and a staircase with two other figures, signed ‘R. Harding’ lower left, dated to verso, 107 x 150cm (42 x 59ins), framed (1)

£300-500

361* Japanese School. Abstract composition, circa 1980s, mixed media of oil and coloured silver leaf on board, artist’s monogram lower right, 100 x 80cm (39.5 x 31.5ins), framed (1)

£300-500

Lot 361 111


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362* Kocke (Hugo, 1876-1956). Flight Lieutenant Desmond J. Rarp, R.A.F., oil on board, half-length portrait with the motto of the Royal Air Force in the background, signed top right and dated 1946 top left, titled verso ‘Desmond J. Rarp. Geboren 3.10.1924. gemalt von Hugo Kocke. Westerland-Sylt’, 16.75 x 13.5 ins (42 x 35cm), together with Keithshaw (W.), Portrait of a Chelsea Pensioner, oil on board, shown wearing his India General Service, Boer War and Great War Medals, with label verso for ‘City Literary Institute Annual Eisteddfod, inscribed in pencil Mr W. Keithshaw, No. of Competition 37, Competitor’s No.283’, 49.5 x 37cm (19.5 x 14.5ins), both framed (2)

364* Maderson (Arthur Karl, 1942-). Spring Evening, Kilderriheen, oil on wood panel, signed with initials lower left, additional inscribed to reverse, 16 x 16cm (6.25 x 6.25ins), framed (1)

£300-400

£150-200

365* Ruiz (Elisa, 1939-). View of Rooftops, near the Prado Museum, Madrid, circa 1970s, oil on canvas, showing the Palace Hotel and a church spire in the foreground, signed in capitals in the artwork, 81 x 100cm (32 x 39.25ins) (1)

363* Lessore (Helen, 1907-1994). Snowstorm, 1970, oil on card, 22 x 17cm (8.7 x 6.7ins) mount aperture, framed and glazed, signed, titled and dated 8th April 1970 by the artist to verso (1)

£100-150

112

£200-300


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366* Miles (M. Andrew, active 1960s). Low Tide, oil on panel, showing two figures standing by a boat, signed lower left, with New Bridge Gallery, Truro label to verso, 24 x 34.5cm (9.5 x 13.5ins) (1)

£70-100

367* South East England. Fishing boats in harbour, circa 1950s, oil on canvas, including two boats with Newhaven registration codes, 60.5 x 75cm (23.75 x 29.75ins), unframed (1)

£150-200

368*AR Noakes (Michael, 1933-). Portrait of Robert Hardy with a longbow, 1971, oil on board, full-length portrait of Robert Hardy in a downland landscape, wearing a blazer and slacks, with a quiver of arrows and holding a longbow, signed and dated lower right, 188 x 100cm (74 x 39.5ins), annotated on backboard by the artist with date of completion (September 1971), size, and artist’s addresses, gilt frame Alongside his fame as an actor, Robert Hardy is also a medieval military historian and acknowledged expert on the longbow. His Longbow, A Social and Military History, was first published in 1976, and The Great Warbow, from Hastings to the Mary Rose, appeared in 2005. This fine life-size portrait features on the dust-jacket of the author’s book on the longbow. Gilman Keasey (1909-1999) a renowned maker of wood bows and arrows from Corvallis, Oregon, was a champion archer who won the National Archery Championship in 1935 and 1936, and taught archery at Oregon State University. English portraitist Michael Noakes has painted many of the world’s leading figures, including the Queen, Queen Elizabeth the Queen Mother, Prince Charles, Margaret Thatcher, President Clinton and Pope Benedict XVI. (1) £700-1000

Lot 368

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371*AR Simpson (Charles Walter, 1885-1971). Sanderlings, Wild birds Series No.31, oil on card, signed lower right, 52 x 72cm (20.5 x 28.25ins), framed, titled to verso (1)

£300-500

369*AR O’Connor (John Scorrer, 1913-2004). Reed and Hedgerow, circa 1950s, oil on canvas, signed lower right, 76.5 x 61cm (30.25 x 24ins) framed, The Zwemmer Gallery, London to verso Provenance: Purchased from the Zwemmer Gallery by Eric Rhode Esq (catalogue no.5). (1) £300-500

370* Pernes (Leopold, 1912-1980 ). Etel harbour, Brittany, oil on canvas, signed lower right, 46.5 x 62cm (18.25 x 24.25ins), framed (1)

372 Walsh (Alexander, 20th century). Abstract sculpture, 1974, comprising painted wooden slats and other shapes in four layers, visually suggesting a white sun or moon above blue flowering plants seen through a wooden fence, signed and dated ‘Walsh, 74’ in black felt tip on base, stained wooden box with wall-hanging hook, glazed, 46.5 x 25.5 x 8cm (18 x 10 x 3.25ins)

£200-300

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114

£150-200


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373*AR Weight (Carel, 1907-1997). Somerset Landscape, oil on plywood board, unsigned, originally signed and titled by the artist to verso of backboard (now replaced due to worming in the original board), with original exhibition label inscribed Carel Weight RBA No. 26, and Frost & Reed framer’s label mounted to verso, together with a photograph of the original backing board to the frame also pasted to verso, cleaned and with light revarnishing, 35.5 x 46cm (14 x 18ins) Provenance: Private Collection, Oxfordshire. An early work by Carel Weight, possibly dating from the late 1930s or 1940s, and which may have been exhibited at the Annual Exhibition of the Royal Society of British Artists or The Royal Academy. Weight began exhibiting at the Royal Academy from 1931, and became a member of the RBA in 1934. (1) £500-800

374*AR Wilkinson (Norman, 1878-1971). Coast of Spain, oil on board, signed lower right, titled verso, 39.5 x 50cm (15.5 x 19.5ins), in a deep carved wood frame (1)

£500-800

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376* Wyllie (William Lionel, 1851-1931 ). Wimereux Beach, oil on paper, 8.5 x 21.5cm (3.25 x 8.5ins), unsigned, framed and glazed, Chris Beetles Ltd label to verso Exhibited: W L Wyllie and L’Entente Cordiale, Chris Beetles Ltd, 2nd June 1st July 1988, No.46. (1) £200-300

375* Wyllie (William Lionel, 1851-1931 ). Wimereux Beach, oil on paper, unsigned, inscribed on artist’s board ‘Monday March 10, Wind NE’, 13 x 20.5cm (5 x 8ins), Chris Beetles Ltd label to verso, framed and glazed Exhibited: W L Wyllie and L’Entente Cordiale, Chris Beetles Ltd, 2nd June 1st July 1988, No.39. (1) £200-300

377* Zakharov (Fyodor, 1919-1994). Autumn Roses, [1992], oil on board, signed lower right, details in ballpoint pen to verso, 48 x 67cm (19 x 26.5ins), framed Fyodor Zakharovich Zakharov was a Russian and Ukrainian painter famed for his landscapes and still lifes. He was awarded the title People’s Artist of the Ukraine in 1978, and in 1987 he was awarded the Shevchenko National Prize, the highest Ukrainian award for art and literature. (1) £700-1000

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380* Batchelor (Roland, 1889-1990). The Proposal, pen, red and brown ink, and brown and grey wash on paper, signed lower right, 15.1 x 17.7cm (6 x 7ins), framed and glazed, with John Nevill, Canterbury, label to verso (1)

£150-200

378* Annigoni (Pietro, 1910-1988). Studies of a female head, pencil on paper, studio stamp lower left, 29 x 20cm (11.5 x 8ins), mounted (1)

£100-150

381* Berrisford (Peter, 1932-). Assisi looking towards Santa Maria (Portiuncula) Italy, watercolour on paper, signed lower right, 27.5 x 34.5cm (10.75 x 13.5ins) framed and glazed (1)

379 Bartlett (Charles, 1921-). Rural landscape, watercolour, signed lower right, 42 x 56.5cm (16.5 x 22.25ins), framed and glazed (1)

£150-200

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£100-150


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383* Carter (Peter J., 1920-1979). Wapping, black ink, showing a docked steam ship, tug with crane, and other vessels, signed and titled lower left, lightly spotted, 33.5 x 50.5cm (13 x 19.75ins), mounted, framed and glazed (1)

£70-100

382* Bryan de Grineau (John A., 1882-1957). Penshurst, 1932, pencil on paper, showing a picturesque timbered building in Penshurt village, Kent, signed and dated 1932 lower left, 37 x 54.5cm (14.5 x 21.5ins) mount aperture, framed and glazed (1)

£70-100

384* Conder (Charles Edward, 1868-1909). Clochette bleue, pencil on cream wove paper, depicting figures in fashionable dress, and others on horseback, possibly the Bois de Boulogne, Paris, inscribed Clochette Bleue lower right, light toning, one or two creases to extreme edges, sheet size 25.8 x 31.7 (10.2 x 12.5ins) (1)

£200-300

385* Dring (William Dennis, 1904-1990). A Hampshire Farm & Haymaking, circa 1935, a pair of watercolours on paper, 24 x 34cm (9.5 x 13.3ins) and similar, framed and glazed (2)

£150-200

Lot 383 386* Duffin (John, 1965-). Bankside, 1995, pen, ink & wash on heavy handmade paper, heightened with white bodycolour, showing Bankside Power Station prior to its development as the Tate Modern museum, signed lower right, sheet size 38 x 55cm (15 x 21.75ins), framed and glazed, with Bankside Gallery label to verso John Duffin is a member of the Royal Society of Painter Printmakers. He exhibits regularly at the Bankside Gallery, London and his works are in many private and public collections including the Ashmolean Museum and Guildhall Library in London. (1) £200-300

Lot 386 118


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387 Ewart (David Shanks, 1901-1965). Vue sur la Place Jemaa El Fna, Marrakesh, Morocco, 1939, pencil, oil and gouache on thick paper, showing a busy street scene with many figures, signed and dated lower left, 33 x 41cm (13 x 16ins), mounted on board with pencil details to verso (1)

£300-400

389*AR Flint (William Russell, 1880-1969). Consuelita, red chalk on watermarked paper, titled in pencil lower left, 25.5 x 20.3cm (10 x 8ins), mounted, contained in Drawings by Sir William Russell Flint, Collins, 1950, limited edition 30/125, signed by William Russell Flint, P.S. Russell Flint and Cecilia Green, with slipcase, rubbed and marked, folio (1)

£700-1000

388 Ewart (David Shanks, 1901-1965). View through the the Bab Bou Jeloud (The Blue Gate) leading to the old medina, Fes el Bali, in Fez, Morocco, 1939, pencil, oil and gouache on thick paper, showing a busy street scene with many figures, signed and dated lower left, 338 x 46cm (15 x 18ins), mounted on board with pencil details to verso (1)

£300-400

390* Franck (Agnes, 1915-2013). Ellos Saben, circa 1970, oil on canvas, signed ‘Agnes’ upper right, titled on stretcher, 49 x 59cm (19.25 x 23.25ins), framed (1)

119

£200-300


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393* Gardner (Philip, 1922-1986). Simply Blakeney, 1985, watercolour, showing figures and boats, signed lower right, 17.5 x 26cm (6.75 x 10.25ins), framed and glazed, framer’s label to verso plus information leaflet (1)

£70-100

391 Manner of Barnett Freedman (1901-1958). Officers, pen, ink and brown watercolour on paper watermarked ‘... Man 1930’, image size 16 x 10cm (6.25 x 3.8ins), sheet size 32.5 x 18.5cm (12.75 x 7.2ins) Similar to Freedman’s illustrations for Sassoon’s Memoirs of an Infantry Officer, published by Faber & Faber in 1931. (1) £70-100

394 Gerber (Karl, 1912-1974). Still life of flowers 1959, gouache and colour pastel on laid paper, signed and dated lower left, 49 x 68.5cm (19.25 x 27ins), framed and glazed (1)

395* Hamnett (Nina, 1890-1956). Dancer, 1952, red crayon on sketch book paper, watermarked British Oak Parchment, signed and inscribed ‘To R. Swingler Nina Hamnett March 18th 1952’, some light creasing, sheet size 29 x 22.7cm (11.4 x 8.9ins)

392* Gammon (Reg, 1894-1997). Esher, Surrey, pen & ink on paper, showing the Bear Hotel and St Georges Church, signed lower left 24.5 x 46.5cm (9.5 x 18.25ins), framed and glazed (1)

£200-300

Provenance: Randall Swingler (1909-1967), English Poet. Private Collection, Bristol. (1) £200-300

£70-100

120


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396*AR Hamnett (Nina, 1890-1956). Statue by The Water Tower, Crystal Palace, 1927, pen & black ink on laid paper, one or two traces of white correction ink, some pale toning, sheet size 32.5 x 20.4 ins (12.75 x 8ins), framed and glazed, with original handwritten label to verso with artist’s name, title Statue in Crystal Palace price seven guineas, and the address Thackeray House, Maple Street, W1. Provenance: Private Collection, Bristol. The present drawing is one of a series of drawings of London statues made by Nina Hamnett, of which 31 were reproduced in Osbert Sitwell’s The People’s Album of London Statues, accompanied by drawings by Nina Hamnett, published by Duckworth in 1928. Thackeray House, the former home of the writer William Makepeace Thackeray was also the home of Nina Hamnett, and several other artists, in the 1920s. (1) £300-500

Lot 395

397*AR Hassall (John, 1868-1948). At the Spring, watercolour and gouache on card, showing an Arab mother and child, signed lower left, 36.5 x 26.5cm (14.25 x 10.5ins), framed and glazed (1)

Lot 396

121

£400-600


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Lot 399

398* Italian School. Art Deco portrait of a young lady, circa 1929, indistinctly signed Goffredo (?) and inscribed Venezia 27-1-29 (?) lower right, 21.5 x 15cm (8.5 x 6ins), framed and glazed, 52 x 38 (20.5 x 15ins) (1)

£100-150

399* Kapp (Edmond Xavier, 1890-1978). Sir Hugh Walpole, 1940, pen and black ink on paper, signed, dated and titled to lower edge, sheet size 197 x 196mm (7.75 x 7.7ins), mounted on backing paper, together with six other pen and ink drawings by Edmond Kapp, all of musicians, including the cellist Pablo Casals, various sizes (7)

400* Lawson (Sonia, 1934-). Russian Winter, gouache with pen & black ink on paper, signed lower right, additionally inscribed in ink below ‘love from Sonia’, 17.1 x 24.7cm (6.7 x 9.75ins) mount aperture, framed and glazed

£150-200

(1)

122

£150-200


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Lot 401

401* Lodge (Jean, 1941-). Ses Mains, circa 1970s, colour woodcut on five stitched sheets, titled and signed in pencil to lower margin and noted as 'epreuve unique', 67 x 155cm (26.5 x 61ins), framed and glazed, artist's contact details (Ruskin School at Oxford University) and picture details to backing board Jean Lodge, painter, printmaker and teacher was born in Ohio but moved to Europe to study art and printmaking in 1963. Her work is held in the collections of the Bibliotheque Nationale de France, the Ashmolean Museum and various colleges in Oxford, Boston Public Library, etc. (1) £300-500

402* Lowndes (Alan, 1921-1978). Conductor and Cellist, pen & brown ink, with black and red crayon on paper, signed in pencil, 23.5 x 14.5cm (9.25 x 5.75ins) mount aperture, framed and glazed (1)

£100-150

404* Muncaster (Claude Graham, 1903-1974). Trees in Bignor Park, Sussex, early morning, 1922, watercolour with pen & brown ink on paper, signed and dated lower left, 23.5 x 30.5cm (9.2 x 12ins) mount aperture, framed and glazed, with typewritten label to verso stating that this work is inscribed on the back of the paper with the title, and dated November 12th, 1922 (1)

£150-200

403* Meninsky (Bernard, 1891-1950). Landscape with Trees, circa 1930, watercolour with pen & brown ink and pencil on paper, signed lower right, 25.2 x 56.5cm (10 x 22.25ins) mount aperture, framed and glazed

405* Pearce (Rod, 1942-). At the Seaside, watercolour on paper, showing Edwardian figures on a beach with several hot air balloons above, signed lower left, 18 x 25.5cm (7 x 10ins) mount aperture, framed and glazed, Judi Emanuel Gallery, St Ives label to verso

(1)

(1)

£200-300

123

£70-100


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406* Purvis (Alston, 1943-). Untitled, mixed media collage of colour and printed paper, 1976, 17 x 13cm (6.75 x 5ins), signed and dated in pencil to lower mount, framed and glazed Alston Purvis is an American graphic designer, artist, professor and author. (1) £300-500

407* Purvis (Alston, 1943-). Untitled, mixed media collage of coloured and printed papers pasted on board, 1974, 12 x 9cm (4.75 x 3.5ins) titled, signed and dated in pencil to lower mount, framed and glazed (1)

£300-500

Lot 406 408* Shelton (Stanhope, 20th century). Two chairs, circa 1970, watercolour, pencil and india ink on paper, numbered 1/50 in ink lower right and possibly initialled ‘S’, incorporating the ‘Yin and Yang’ symbol, 54 x 75cm (21.25 x 29.5ins), framed and glazed (1)

£200-300

409* Slater (Richard, 1927-). Abstract, watercolour on paper, showing boats, signed lower right, 20 x 23.5cm (8 x 9.25ins), framed (1)

Lot 407

124

£100-150


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410*AR Smith (Matthew, 1879-1959). Reclining Nude, 1931, pencil on paper, signed lower left, some light overall toning with 2 discolouration spots to upper right, laid down on board, with Warren Gallery label to verso, and small circular sticker marked in ink ‘8 M. Smith’ to verso, sheet size 50 x 67cm (19.7 x 26.3ins), framed and glazed, with printed exhibition label for the Royal Academy of Arts Sir Matthew Smith Exhibition 1960 Provenance: W. Grossmann, 79 Harley Street, London; Sold Phillips, London, Tuesday November 14, 2000, lot 195; Private Collection, Gloucestershire. Important large scale nude study by Matthew Smith, depicting his partner Vera Cunningham, most likely executed in Paris in 1931. According to John Rothenstein, the artist regarded his figure paintings of the period from 1930 to 1932 while in Paris as his finest work (see John Rothenstein, Matthew Smith, 1962, page 5, where this drawing is also illustrated). (1) £2000-3000

125


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411*AR Uglow (Euan, 1932-2000). Seated nude, pencil on wove paper, 40 x 37.5cm, framed and glazed

413* Artists and Models. A ground of 8 original drawings by an unidentified artist, circa 1960s, pen and ink on white board, showing Sir Peter Lely, Francois Boucher, Renoir, Titian, Manet, Delacroix and Hogarth with their respective models, plus one titled ‘Night of the Third Temptation’ from Arabian Nights, all titled by the artist to lower margin, four with typed or handwritten text intended to accompany the book or magazine illustrations, boards 38 x 32cm (15 x 12.5ins)

Provenance: Private Collection, Wiltshire. Purchased in the late 1970s or early 1980s. An exhibition of Uglow’s drawings was recently held at Marlborough Fine Art, London, 15 January - 1 February 2014. (1) £1000-1500

(8)

412* Industrial scenes and landscapes. A group of 14 watercolours on paper, circa 1970, the largest showing a scene at Princess Royal Coal Mine, 35 x 45cm (14 x 17.75ins), others of similar size showing an underground tube station scene, a woman drinking tea in her kitchen, plus others smaller of varying sizes including Tewkesbury Mill, beehive dwelling in Trulli, Italy, Ludney Town station crossing, etc., a few initialled D.V.W. and dated, plus 2 others, both oil on board, showing a sunlit country cottage and a medieval street scene, both unsigned and unidentified (16)

£100-200

414* Portraits and Studies. A group of approximately 25 pen or pencil drawings and sketches of figures, anatomy, landscapes and architecture, etc., by various artists, 19th & 20th century, mostly on paper, plus a group of 15 similar engravings, sheet sizes approximately 37 x 27cm (14.5 x 10.5ins) and smaller (a folder)

£200-300

126

£100-150


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415* Wesson (Edward, 1910-1983). Wroxham Broad, watercolour drawing on paper, signed lower right, 26.5 x 37cm (10.5 x 14.5ins), framed and glazed, Aldridge Bros. gallery label to verso (1)

£100-150

417* Yule (Elizabeth, 20th/21st century). Still life of Hydrangeas 1999, watercolour on paper, signed and dated 99 lower right, 69 x 49cm (27 x 19.25ins), gilded wood frame, glazed Liz Yule is a Scottish watercolour artist based in Fife, and winner of the 2001 Channel 4 Watercolour Challenge. (1) £150-200

416* Wyllie (William Lionel, 1851-1931 ). Evening Calm, Wimereux, watercolour on paper, inscribed verso ‘No 4 Winter Twilights’, signed lower right, 14 x 24cm (5.5 x 9.5ins), framed and glazed, Chris Beetles Ltd label to verso Exhibited: W L Wyllie and l’Entente Cordiale, Chris Beetles Ltd, 2nd June 1st July 1988, No.36. (1) £150-200

127


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19TH & 20TH CENTURY SCULPTURE

418*AR Ayrton (Michael, 1921-1975). Orpheus, bronze sculpture, modelled as a seated figure on original wooden plinth, 27 x 38cm (10.6 x 15ins) Provenance: Fay Pomerance (1912-2001), Bristol artist, and friend of the sculptor Michael Ayrton; Purchased from Fay Pomerance by the present owner. (1) ÂŁ3000-5000

419* After Guillaume Coustou (1677-1746). Pair of Marly Horse groups, 19th century, a substantial pair of bronze figures of the Marly Horse, modelled in typical rearing pose with partially nude figure holding the reins on a naturalistic base, 52cm high x 48cm wide (1)

ÂŁ800-1200

128


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420 Manner of Edgar Degas (1834-1917). Seated nude examining her right foot, bronze, unsigned, 18cm (7ins) high

422* Giacomasso (Alberto, 1887-1970). Diving nude, bronze figure of a nude female twisting over an industrial engine, signed, mounted on green marble base, chips to base, 20cm high

(1)

(1)

£200-300

£300-500

421* French School. Standing nude, art nouveau style bronze, her arms outstretched, signed ‘David’, on a green marble base, 38cm high

423* Art Deco. Nude female dancer, Art Deco style patinated spelter figure of a nude female dancer, standing on one leg holding a shawl, mounted on a marble base, 36.5cm high

(1)

(1)

£100-150

129

£70-100


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19TH & 20TH CENTURY ETCHINGS, LITHOGRAPHS & WOOD ENGRAVINGS

426* Benson (Frank Weston, 1862-1951). The Duck Hunter, 1914, etching on japan paper, a strong dark impression, mount toned, signed and numbered 48 from the edition of 50, plate size 15 x 20cm (5.9 x 7.9ins), sheet size 29 x 34.8cm (11.3 x 13.75ins), mounted, with early printed label of Robert Scott & Son, Dundee to verso, with an additional typewritten note to verso stating that this print was purchased from Robert Scott in 1920 for 8 guineas

424* Campagnola (Enrico, 1911-1984). Kneeling nude, white marble figure of a nude female with head downcast and hands clasped, kneeling on a drape over a naturalistic base signed Campagnola-E, 33.5cm (13.2ins) high (1)

£150-200

Paff 27. (1)

425* Villanis (Emmanuel, 1858-1914), Farfalla, bronze sculpture, with olive green patina, signed, 12.7cm (5ins) high, together with an early 20th century small bronze figurine of Mephistopheles, typically modelled with cloak, 12 cm (4.75ins) high (2)

£300-500

427*AR Brockhurst (Gerald Leslie, 1890-1978). Nadejda, 1924, etching on wove paper, from the edition of 76 proofs, published 1924, signed in pencil, 2 worm holes to upper left blank margin, a few marginal marks, outer blank margins browned, and folded in to fit the frame aperture, plate size 152 x 113mm (6 x 4.5ins), sheet size 277 x 213mm (10.9 x 8.4ins), framed and glazed

£100-200

Wright 47, ii/ii. Fletcher 47. (1)

130

£200-300


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428*AR Brockhurst (Gerald Leslie, 1890-1978). Anais II, 1930, etching on wove paper, from the edition of 111, signed in pencil, a very good strong impression, plate size 225 x 175mm (8.8 x 6.8ins), sheet size 383 x 280mm (15 x 11ins), mounted

430*AR Brockhurst (Gerald Leslie, 1890-1978). Viba, (Mrs. Bobby Hazleton Ross), 1929, etching on wove paper, from the edition of 111 proofs, published March 1929, signed in pencil, plate size 214 x 172mm (8.4 x 6.75ins), sheet size 340 x 275mm (13.4 x 10.8ins), mounted

Fletcher 67. (1)

Wright 63, viii/viii. Fletcher 63. (1)

£250-350

429*AR Brockhurst (Gerald Leslie, 1890-1978). Una [also called ‘The Young Creole’], 1929, etching on wove paper, signed in pencil, plate size 215 x 157mm (8.5 x 6.2ins), sheet size 390 x 262mm (15.4 x 10.25ins), mounted Fletcher 65. (1)

£200-300

431*AR Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, one of 111 proofs published August 1927, signed in pencil, a strong, rich impression, hingemounted to head and foot of left hand margin, plate size 223 x 159mm (8.75 x 6.25ins), sheet size 320 x 250mm (12.4 x 9.8ins), mounted

£200-300

Wright 58, ix/ix. Fletcher 58. (1)

131

£300-500


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432*AR Brockhurst (Gerald Leslie, 1890-1978). The West of Ireland, 1928, etching on wove paper, one of 111 proofs of the final state, published July 1928, a strong impression with contrast, signed in pencil, plate size 122 x 145mm (4.8 x 5.75ins), sheet size 225 x 268mm (8.9 x 10.6ins), mounted Wright 61 viii/viii. Fletcher 61. (1)

£200-300

433*AR Brockhurst (Gerald Leslie, 1890-1978). James McBey, 1931, etching on cream wove paper, from the edition of 111 proofs, published April 1931, signed in pencil, an excellent strong impression, plate size 267 x 190mm (10.5 x 7.5ins), sheet size 376 x 282mm (14.8 x 11.1ins), mounted Wright 69 ix/ix. Fletcher 69. (1)

Lot 433

£500-700

434*AR Brockhurst (Gerald Leslie, 1890-1978). Henry Rushbury, 1930, etching on cream wove paper, one of 111 proofs published March 1930, signed in pencil, a rich, dark impression, with light plate tone, plate size 252 x 186mm (10 x 7.3ins), sheet size 368 x 272mm (14.5 x 10.7ins), mounted Wright 66, xiii/xiii. Fletcher 66. (1)

£1000-1500

Lot 434

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Loy 435

Lot 436

435*AR Brockhurst (Gerald Leslie, 1890-1978). Young Womanhood, 1931, etching on wove paper, from the edition of 111 proofs, published July 1931, signed in pencil, a fine, rich impression, with light plate tone, plate size 231 x 175mm (9.1 x 6.9ins), sheet size 397 x 266mm (15.7 x 10.45ins), mounted Wright 70, vii/vii. Fletcher 70. (1)

£500-700

436*AR Brockhurst (Gerald Leslie, 1890-1978). Dorette, 1932, etching on wove paper, one of 111 proofs, published May 1932, signed in pencil, a strong, rich impression, plate size 234 x 187mm (9.25 x 7.3ins), sheet size 360 x 258mm (14 x 10.2ins), mounted Wright 72, vi/vi. Fletcher 72. (1)

£1500-2000

437* Brunet-Debaines (Alfred Louis, 1845-1939). The Houses of Westminster from the Thames, 1894, etching on japan paper, published by Thomas Agnew & Sons in 1984, signed in pencil lower right, Printseller Association blindstamp lower left, image size 45 x 74cm (17.7 x 29.1ins) with wide margins, period stained oak frame, glazed (1)

Lot 437

£150-200

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Lot 438 438* Bryden (Robert, 1865-1939). Some Woodcuts of Men of Letters of the 19th Century, 1899, woodcut title page printed in red and black, and 12 large woodcut portraits of Rudyard Kipling, John Ruskin, Robert Browning, William Morris, Alfred, Lord Tennyson, Walt Whitman, Ralph Waldo Emerson, Count Leo Tolstoy, Thomas Carlyle, Victor Hugo, Heinrick Ibsen and Robert Louis Stevenson, each with captioned tissue-guard, a few minor marks to extreme sheet edges, loosely contained in original cloth portfolio, with paper label to upper cover, stained and some soiling and wear, ties lacking, atlas folio (635 x 455mm, 25 x 18ins) (1)

£200-300

439* Craig (Edward Henry Gordon, 1872-1966). Incorruptible, circa 1899, woodcut on japan paper, signed in ink lower right, image size 142 x 235mm (5.6 x 9.25ins), sheet size 287 x 362mm (11.3 x 14.25ins) (1)

£200-300

441 Craig (Edward Gordon, 1872-1966). Meadow Girl, circa 1898, woodcut on japan paper, signed with initials in pencil, image size 8 x 7.5cm (3.25 x 3.1ins), sheet size 30 x 29cm (11.8 x 11.4ins), together with Alexander Dumas, circa 1901, woodcut on japan paper, signed with initials in ink, image size 135 x 94mm (5.3 x 3.7ins), sheet size 35.5 x 28cm (14 x 11ins), plus Battersea Park, circa 1901, woodcut on japan paper, signed with initials in ink, image size 5 x 8.5cm (2 x 3.3ins), sheet size 227 x 280mm (8.9 x 11ins)

440 Hassall (Joan, 1906-1988). Harvest Mice, wood engraving, signed and titled in pencil, some pale mount toning, sheet size 123 x 94mm (4.8 x 3.7ins), framed and glazed, together with three other wood engravings by Sarah van Niekerk, Rosalind Atkins, and June Crisfield-Chapman, plus a colour woodcut by Edward Gordon Craig of Sir Henry Irving, with printed signature, all framed and glazed (5)

£150-200

(3)

134

£300-500


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Lot 442 442* Dicksee (Herbert, 1862-1942). The Watcher on the Hill, published Frost & Reed, 1900, etching on vellum, signed in pencil by artist below image, 50 x 70cm (20 x 27.5ins), framed and glazed (1)

£300-400

443 Duriau (Alfred, 1877-1958). Tete de Mendiant Italien, etching on heavy wove paper, signed in pencil lower right, some light soiling, plate size 34.5 x 26.5 m (13.5 x 10.5ins), sheet size 45 x 32cm (17.75 x 12.5ins), 3 other signed etchings by Duriau (Quai de Sambre a Charleroi, Un Coin du Chateau d’Havre, & Une Vue a Echternach), and 4 linocut portraits by Duriau (Tete de Vieux, Tete d’Aveugle, Paysan Italien & Effet de Neige), each signed in pencil, all similar size, loosely contained in original folder, stamped Duriau in silver to upper cover (9)

£100-150

Lot 443 135


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444* Gibbings (Robert John, 1889-1958). Going to Market, Jamaica (from Fourteen Wood Engravings by Robert Gibbings from drawings made on Orient Line Cruises, 1932), wood engraving on japan, signed with initials in pencil, sheet size 24 x 11 cm (9.5 x 4.4 ins), mounted, together with three other woodcuts by Robert Gibbings: Four gentlemen with a group of animals, including a monkey, pig and goat, on a grassy knoll, signed in pencil, a vignette of stone steps, signed with initials in pencil, and a vignette of a fisherman's fly, signed with initials in pencil (4)

£200-300

446* Gregson (Wilfred, 20th century). ‘Late Evening’, circa 1950s, wood engraving, signed, titled, and numbered 1/20, from the edition of 20 impressions, image size 103 x 77mm (4 x 3ins), framed and glazed, with original handwritten label to verso (1)

447* Hunt (William Holman, 1827-1910). The Abundance of Egypt, 1857, etching on chine collé, published in Etchings for the Art-Union of London by the Etching Club, numbered 20 to centre of lower margin, and with the artist’s name scratch-lettered lower left, some light spotting to blank margins, plate size 155 x 122mm (6.1 x 4.8ins), sheet size 36.7 x 27cm (14.45 x 10.6ins)

445 Gill (Eric, 1882-1940). Two Female Nudes, 1938, wood engraving, with artist’s printed monogram within the image, printed by Eric Gill and René Hague for Twenty-Five Nudes, published in 1938, 223 x 137mm (8.75 x 5.4ins) (2)

£50-80

Bronkhurst 2006, Appendix B2. (1)

£70-100

136

£150-200


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Lot 448 448* Icart (Louis, 1888-1950). Green Robe, 1924, drypoint etching and colour aquatint, published by Les Graveurs Modernes, Paris, 1924, signed in pencil, and numbered 137 below the image, in very good conditon, plate size 35 x 44.5cm (13.75 x 17.5ins), 50 x 63cm (19.75 x 24.75ins), framed and glazed, with old printed label of J. Manley, printseller, Windsor to verso (1)

ÂŁ250-350

449* Jongkind (Johan Barthold, 1819-1891). Moulins en Hollande (Rotterdam), 1867, etching on laid paper, plate size 145 x 195mm (5.7 x 7.7ins), framed and glazed (1)

ÂŁ100-150

Lot 449

137


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452* Menpes (Mortimer, 1855-1938). View of a London Terrace, etching on laid paper, printed with light plate tone, signed in pencil, very pale mount stain, sheet edges restrengthened with paper, plate size 232 x 299mm (9.1 x 11.8ins), sheet size 320 x 385mm (12.6 x 15.2ins), framed and glazed

450* Lewis (E.J.?, 20th century). A group of 5 humorous etchings on wove paper, mid 20th century, all scenes with figures, including two of scenes from a village fete, a conversation in a market, a courtroom and a theatrical scene, 22.5 x 17.5cm (9 x 7ins) and smaller, all with artist’s pencil signature to lower right margin, a few minor marks and some dust-soiling, old paper strips pasted to sheet margins (5)

(1)

£100-150

451* Manet (Edouard, 1832-1883). Cat with Flowers (Le chat aux fleurs), 1869, etching and aquatint on Rives paper, 6th (and final) state, a posthumous impression, pale mount stain, the full sheet hinged to left margin verso, plate size 195 x 150mm (7.7 x 6ins), sheet size 330 x 250mm (13 x 9.8ins), framed and glazed Guerin 53. Harris 65. (1)

£100-150

453* Millais (Sir John Everett, 1829-1896). Going to the Park, 1872, etching on chine appliqué, published in Etchings for the Art-Union of London by the Etching Club, 1872, some light spotting to margins, plate size 186 x 134mm (7.3 x 5.25ins), sheet size 368 x 265mm (14.5 x 10.4ins), together with one other etching by Paul Rajon after J.L. Gerome, entitled After the Masquerade, published by J.S. Virtue

£200-300

(2)

138

£70-100


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454* Nash (Paul, 1889-1946). Design 3, 1929, woodcut, published by the Paul Nash Trust, circa 1970s, with blindstamp PNT (Paul Nash Trust) lower left, image size 39 x 101mm (1.54 x 3.98ins), framed and glazed Postan W86. (1)

ÂŁ150-200

455*AR Nevinson (Christopher Richard Wynne, 1889-1946). French village, 1928-29, lithograph on wove paper, signed in pencil, image size 245 x 346mm (9.7 x 13.4ins), with margins, framed and glazed Black 141. (1)

ÂŁ1000-1500

139


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456AR Nevinson (Christopher Richard Wynne, 1889-1946). Banking at 4000 feet, 1917, lithograph on wove paper, from the Making Aircraft set of six lithographs by Nevinson, (for the series The Great War: Britain’s Efforts and Ideals, commissioned by the British Department of Information and published by the Fine Art Society, London in 1918), signed and dated 1917 in pencil lower right, numbered 22 in pencil lower left, trimmed just inside the image (with loss of 1 or 2mm to top and side margins), retaining the lower blank margin containing the signature, overall sheet size 411 x 312mm (16.25 x 12.3ins), framed and glazed Black 20. Edition of 200. Provenance: Major Charles Fair DSO (1885-1950) and Marjorie Fair, purchased from the Leicester Galleries in March 1918, shortly after the couple's wedding on 18 September 1917. Having enlisted on 10 August 1914, Charles Fair was commissioned in the 19th London Regiment, and saw significant action during the Battle of the Somme at High Wood, Le Transloy Ridge and Bourlon Wood. This lithograph was first exhibited at Nevinson's second exhibition at the Leicester Galleries in March 1918, entitled War Pictures by Nevinson Official War Artist on the Western Front. (1) £4000-6000

140


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457AR Nevinson (Christopher Richard Wynne, 1889-1946). After a Push, 1918, lithograph on Antique de Luxe laid paper, from the edition of 25, signed and dated in pencil lower right, some pale discolouration to upper central portion of the sheet, with a few very small archival repairs, some paper tears and occasional slight loss to blank outer edges, image size 33.5 x 43.5cm (13.2 x 17.2ins), sheet size 39.5 x 51.5cm (15.5 x 20.25ins), mounted Black 27. Edition of 25. Provenance: Major Charles Fair DSO (1885-1950) and Marjorie Fair, purchased from the Leicester Galleries in March 1918, shortly after the couple's wedding on 18 September 1917. Having enlisted on 10 August 1914, Charles Fair was commissioned in the 19th London Regiment, and saw significant action during the Battle of the Somme at High Wood, Le Transloy Ridge and Bourlon Wood. This rare lithograph was first exhibited at Nevinson's second exhibition at the Leicester Galleries in March 1918, entitled War Pictures by Nevinson Official War Artist on the Western Front. (1) ÂŁ15000-20000

141


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Lot 461

458 Nicholson (William, 1872-1949). Crown Prince Wilhelm of Germany & Austria (1882-1951), chromolithographic portrait, 40 x 24cm (16 x 9.5ins), together with Sir Henry Hawkins, colour lithograph tipped on to contemporary card, image size 27 x 24cm (10.5 x 9.5ins), plus Miss Fotheringay and Captain Costigan, lithograph, laid on contemporary card, image size 34 x 27cm (13.5 x 10.5ins), and Lord Roberts, lithograph, 30 x 25cm (12 x 10ins) (4)

£100-200

459 No lot 460 No lot 461 Nicholson (William, 1872-1949). Prince Bismarck, colour woodcut, image 24 x 23cm (9.5 x 9ins), framed and glazed, together with two other woodcuts by Nicholson: The Archbishop of Canterbury and the artist James Pryde, both framed and glazed (3)

£150-200

462* Osborne (Malcolm, 1880-1963). Shrimant Sampatrao Gaikwad Baroda, 1923, etching, with drypoint on wove paper, signed in pencil, in excellent condition, with remains of small tab mount to top left and top right margin, plate size 30 x 23cm (11.8 x 9.1ins), sheet size 45 x 34cm (17.75 x 13.4ins) (1)

£150-200

Lot 462

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Lot 464

463* Osborne (Malcolm, 1880-1963). A.E. Gray, Potter of Stokeon-Trent, 1943, etching with drypoint on laid paper, signed in pencil, remains of tab mounts to upper left and upper right corners, plate size 27.3 x 21.2cm (8.3 x 10.75ins), sheet size 39.5 x 26.5cm (15.5 x 10.5ins) (1)

£100-150

464* Paynter (Hilary, 1943-). Campo Santo Klan, wood engraving from the edition of 50 on white simile Japan paper, signed, titled and numbered 25/50 in pencil, image size 335 x 256mm (13.2 x 10.1ins), sheet size 446 x 307mm (17.5 x 12ins), framed and glazed, together with 5 other similar wood engravings by Harry Brockway, I Began the Creation of a Human Being, 2003, Simon Brett, Sarah van Niekerk, Gloucester Old Spot Gilt, Kathleen Lindsley, Cretan Shepherd, 2001 and Hilary Paynter, Bede & Jarrow, each signed and numbered in editions of 50, 90 or 100 (6)

£150-200

465 Pissarro (Lucien, 1863-1944). Apple Picking, circa 1905, wood engraving on pale cream laid paper, edition of 500, printed by Cambridge University Press, 1957, from the original block for the publication Notes on the Eragny Press, image size 64 x 57mm (2.5 x 2.25 ins), sheet size 165 x 125mm (6.5 x 4.9 ins) (1)

£70-100

Lot 465

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466 Raverat (Gwen, 1885-1957). An album of 208 wood engravings by Gwen Raverat, 1909-1932, compiled by the artist as a personal record with the artist’s handwritten index in ink on 2 leaves at the front of the volume, together with an early printed Catalogue of Woodcuts by Gwendoline Raverat, bound in at front, containing 208 wood engravings, of which 89 are signed or initialled, many additionally titled in pencil, various sizes, the largest measuring 23 x 33cm (9 x 13ins), the smallest 4 x 4cm (1.5 x 1.5ins), with titles additionally provided in pencil to each leaf, bound in original cream cloth, rubbed and some marks and minor stains, lettered in gilt to spine WOODCUTS G.R. 1, folio (33.5 x 27cm) A highly important album of original wood engravings by Gwen Raverat, providing a record of her output between 1909 and 1932, including rare early proofs, and some wood engravings not previously seen on the market. The album includes her first attempt at engraving, The Knight of the Burning Pestle of 1909, many other early works relating to English ballads and folk tales, the period when the artist was influenced by Eric Gill, bathers, the town scenes in France from the early to mid 1920s, and the numerous illustrations provided by Raverat for the Cambridge Book of Poetry for Children, executed in 1932. (1) £20000-30000

145


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467* Richeton (Leon, 1854-1934). The Sheepfold, Moonlight, after Jean-Francois Millet, circa 1880s, etching, printed on vellum, with remarque of a candle holder, signed in pencil lower right, some minor spotting and discolouration, plate size 400 x 483mm (15.75 x 19ins), sheet size 417 x 530mm (16.4 x 20.8ins) (1)

469* South Africa. Twee Jonge Gezellen, Tulbagh, South Africa, 1931, woodcut on japan paper, signed indistinctly, titled and dated in pencil to lower margin, image size 29 x 32cm (11.5 x 14ins), sheet size 34 x 43cm (13.4 x 17ins)

£70-100

(1)

470 Stassen (Franz, 1869-1949). Tristan und Isolde, 12 Bilder zu Richard Wagner’s Tondichtung, Berlin [1900], portfolio with title page and contents, plus 12 framed tinted lithographs 37 x 30cm (14.5 x 11.75ins) mount aperture, framed and glazed

468* Simpson (Joseph, 1879-1939). Portrait of James Pryde, 1930, etching on japan paper, signed in pencil, to lower margin, and marked S2 75, some very pale spotting, with margins, 305 x 216mm (12 x 8.5ins), framed and glazed (1)

£70-100

£200-300

£150-200

146


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471*AR Tanner (Robin, 1904-1988). Christmas, 1929, etching on handmade wove paper, watermarked British Hand Made, a trial proof, prior to the edition of 50 printed by Thomas Ross and Son, and published by the Penn Print Room, 1974, signed in pencil to centre below plate, marked Trial Proof in pencil by the artist to lower left corner of the sheet, some light overall toning, plate size 337 x 280mm (13.25 x 11ins), sheet size 490 x 430mm (19.25 x 17ins) Garton 9. (1)

ÂŁ2000-3000

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475* Wyllie (William Lionel, 1851-1931 ). Inshore Fishing Boats, etching with drypoint, inscribed Trial Proof in pencil, 16.5 x 21.5cm (6.5 x 8.25ins), framed and glazed, Chris Beetles Ltd label to verso (1)

£100-150

472* White (Hugh Stanley, 1904-1984). The Gorge, Castle Campbell, etching on thick wove paper, signed, titled, and marked Artist’s Proof in pencil to lower margin, plate size 43 x 30cm (17 x 11.75ins), sheet size 51 x 37cm (20 x 14.5ins), together with 20 other etchings by the same artist, some signed, similar sizes or slightly smaller (21)

£70-100

476* Wyllie (William Lionel, 1851-1931 ). Lower Thames, etching with drypoint, unsigned, 17 x 32.5cm (6.75 x 12.5ins), framed and glazed, Chris Beetles Ltd label to verso 473* Wyllie (William Lionel, 1851-1931 ). The Trawler Fleet, etching with drypoint, signed in pencil lower left, 9 x 35.5cm (3.5 x 14ins), framed and glazed (1)

(1)

£100-150

477* Wyllie (William Lionel, 1851-1931 ). Early Morning, etching with drypoint, showing fishermen bringing in the catch, unsigned, 14 x 22.5cm (5.75 x 9.75ins), framed and glazed, Chris Beetles Ltd label to verso

474* Wyllie (William Lionel, 1851-1931 ). Portsmouth Fishing Boats, etching with drypoint, inscribed Trial Point and signed in pencil lower left, 19 x 23cm (7.5 x 9ins), framed and glazed, Chris Beetles Ltd label to verso (1)

£150-200

Provenance: Collection of W L Wyllie. Exhibited: W L Wyllie and l’Entente Cordiale, Exhibition Catalogue, June 1988 (illustrated in the catalogue). (1) £100-150

£100-150

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DAVID GOULD AND THE TARANMAN GALLERY David Gould (1922-2004) was a collector, connoisseur, gallerist and founder of the Taranman, a small gallery which specialised in both Arts & Crafts artists, and avant-garde French artists of the book, which he created in partnership with Christopher Hewett. Taranman supported neglected British artists in this tradition, as well as French post-war figures, whose renown has subsequently steadily increased. Further publications from the Taranmen Press will be offered by this auction room in coming months.

478*AR Clarke (Geoffrey, 1924-2014). Tree Forms, 1974, a group of 13 circular medallion relief sculptures, cast in brass by cire perdue process, comprising 11 larger medallion sculptures, and 2 smaller, 9 of the larger works with artist’s stamped initials, 65mm diameter (2.6ins), (smaller medallions 47mm (1.8ins) diameter), with 2 exhibition catalogues of Geoffrey Clarke’s work at the Taranman Gallery, 19 May-30 June 1975, and 9 June-15 July 1976 Provenance: Estate of David Gould (1922-2004), founder of the Taranman Gallery, collector and connoisseur, and one of the earliest experts on the Antiques Roadshow. (13) £700-1000

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480 Simon (Brigitte, 1926-, & Lecuire, Pierre, 1922-2013). Déserts, cinq sonnets inédits de Pierre Lecuire, cinq pointessèches originales de Brigitte Simon, épitaphe à la mémoire de Christopher Hewett, Paris, 1984, 5 drypoint etchings by Brigitte Simon (including one to upper wrapper), original pale cream wrappers, with etching to upper cover, oblong 8vo (115 x 200mm, 4.5 x 7.8ins), contained in original publisher’s bookbox, limited edition of 60 copies only, this being one of 30 copies on Chine, signed in pencil by Pierre Lecuire and Brigitte Simon to verso of half-title Provenance: Given to David Gould of Taranman Press by Colin Clark in 1986 (according to a handwritten note loosely inserted). (1) £200-300

479 Lecuire (Pierre, 1922-2013). Textes, Taranman, 1980, an anthology of the poet’s work, printed on handmade paper from St. Cuthbert’s Mill, Somerset by Christopher Skelton, Wellingborough, Northamptonshire, original printed wrappers, large 8vo, limited edition of 615 copies, this being one of 15 copies numbered in roman numerals, signed by Pierre Lecuire, and with an original etching by Vera Pagava (1)

£150-200

481* Ubac (Raoul, 1910-1985). Untitled, 1980, slate engraving (empreinte d’ardoise), hand-printed on Japan tissue, signed and numbered 18/20 in pencil, 245 x 165mm (9.6 x 6.5ins), contained in Raoul Ubac, Ardoises, Taranman Gallery, 9 October-8 November 1980, monochrome illustrations, original printed wrappers, 8vo, catalogue printed in an edition of 300 copies, this being one of 20 copies only with the original slate engraving printed at Dieudonne by Anne Delfieu

Lot 480

(1)

150

£150-200


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483* After Georges Barbier (1882-1932). Oui, gouache on paper, showing a couple courting, 20 x 14.5cm (8 x 5.75ins), framed and glazed

20TH CENTURY PRINTS

After the original pochoir print published in the Almanac of 1922, ‘Falbalas et Fanfreluches (Ruffles and Frills). (1) £70-100

484* Brunsdon (John, 1933-2014). Coastline, colour etching with aquatint, signed, title and numbered Artist Proof 5/15 in pencil, in excellent condition, with margins, plate size 45 x 60cm (17.7 x 23.5ins), framed and glazed

482*AR Aitchison (Craigie, 1926-2009). Still Life with bird vase, 2004, colour silkscreen on Saunders Waterford thick paper, from the edition of 300 plus 50 Artist Proofs, printed by Advanced Graphics, and published by Timothy Taylor Gallery and Advanced Graphics, 2004, this being one of 50 Artist Proofs, signed, marked A/P. and dated 2004 in pencil to verso, 28 x 22cm (11 x 8.7ins), loosely contained in dark blue cloth portfolio, with the accompanying printed catalogue (1)

(1)

£100-150

£300-500

485 Chagall (Marc, 1887-1985). Tree of Jesse, 1960, colour lithograph, published in Derriere le Miroir 119, Poetes, Peintres, Sculpteurs, pale mount stain, sheet size 382 x 282mm (15 x 11.1 ins), mounted Mourlot 297. (1)

Lot 483

151

£100-150


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488* Gentleman (David, 1930-). Lords Cricket Ground, 1995, colour lithograph on wove paper, signed in pencil lower right, and numbered 135 from the edition of 195, sheet size 53 x 63cm (21 x 24.8ins) (1)

£70-100

486* Dali (Salvador, 1904-1989). The Kingdom (from Les Amoureux), 1979, colour lithograph, printed on japon nacre paper, signed, numbered 50 from the edition of 75 artist’s proofs, short closed tear to extreme lower left corner, image size 58.5 x 46cm (23 x 18.1ins), sheet size 75 x 55cm (29.5 x 21.75ins), mounted Field 80-2. (1)

£200-300

489*AR Hodgkin (Howard, 1932-). Red Bermudas, 1982, offset colour lithograph on Huntsman Velvet paper, from the edition of 150 published by Bernard Jacobson Ltd for the Museum of Modern Art Oxford Appeal Fund in 1982, initialled, dated and numbered 51 by the artist in white pencil 43 x 43cm (17 x 17ins), stained black wood frame and glazed Heenk page 223. (1)

487* Frost (Terry, 1915-2003). Red, Blue, Orange on Yellow Abstract, screenprint on paper, 41.5 x 41.5cm (16.25 x 16.25ins), framed and glazed, title inscribed to verso (1)

£400-600

152

£700-1000


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492* Minton (John, 1917-1957). Bull-fighter, Spain, lithograph printed on orange wove paper, colour faded except to outer blank margins, sheet size 49.5 x 60cm (19.5 x 23.6ins) (1)

£150-200

490 Kokoschka (Oskar, 1886-1980). Shakespeare, King Lear, with lithographs by Oskar Kokoschka, Ganymed Original Editions, 1963, 16 monochrome lithographs, printed on handmade crisbrook paper, printed by J.E. Wolfensberger, Zurich, printed title and text in Fell type by Oxford University Press, published by Ganymed Original Editions, and distributed by Marlborough Fine Art, issued in a limited edition of 275 copies, this copy numbered 127, signed by the artist in pencil to front of volume, untrimmed, original full vellum, lettered in gilt to spine, with grey cloth slipcase, large folio (473 x 375mm, 18.6 x 14.75ins) (1)

£500-800

491* Le Brun (Christopher, 1951-). Untitled, 1984, etching on heavy handmade paper, signed and dated lower right, numbered 18 from the edition of 100, plate size 22.2 x 32.3cm (8.8 x 12.75ins), sheet size 38 x 50.5cm (15 x 19.9ins)

493* Moss (Celia, active 1980s). Tulips, 1982, artist’s proof monochrome etching on paper, plate size 49 x 38cm (19.25 x 15ins), sheet size 75.5 x 57.5cm (29.5 x 22.5ins), margin signed and dated in pencil, together with Mynott (Derek, 1926-1994), Obelisk, colour lithograph on paper, showing two figures flying kites, 36 x 48cm (14.25 x 19.25ins), plate size 53 x 62.5cm, sheet size (20.75 x 62.5ins) numbered 47/200, signed lower right, framed and glazed, plus Sheena Cull (?), 1985, an abstract screen print on paper, 69 x 51cm (27.25 x 20ins), framed and glazed

(1)

(3)

£200-300

153

£100-150


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Lot 494

Lot 495

494*AR Picasso (Pablo, 1881-1973). Minotaure caressant une Femme, 1933, etching on laid paper, plate 84 from the Suite Vollard, watermarked Picasso towards left margin, and with additional unidentified watermark vignette to lower left, some light overall discolouration, plate size 29 x 36cm (11.4 x 14.2ins), sheet size 34 x 43.5cm (13.3 x 17.2ins)

496* Scott (William, 1913-1989). Scalpay, 1963, colour lithograph on Arches watermarked paper, printed by Curwen Studio, from the portfolio Europaische Graphik I, published by Wolfgang Ketterer, Munich, with their blindstamp lower left, signed and dated in pencil lower left, and numbered 2/65 in pencil lower right, sheet size 50.5 x 65.5cm (19.8 x 25.75ins)

(1)

(1)

£2000-3000

£500-800

495* Purvis (Alston, born 1943). Female nude in a field of flowers, December 1965, etching, signed, dated and inscribed in pencil by the artist to lower margin, ‘Artists’ Proof. For Ruby with much love’, 59.5 x 44.5cm (23.5 x 17.5ins), framed and glazed (1)

£300-500

497 Thornton (Valerie, 1931-1991). Suffolk Farm, 1976, colour lithograph, signed, dated, titled and marked Artist Proof to margin, plate size 35.5 x 60cm (13.25 x 23.5ins) with margins, in excellent condition, framed and glazed (1)

Lot 496

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£150-200


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498 Various Artists. Carlos Franqui, El Circulo de Piedra, 1971, 10 colour screen prints (from the complete set of 15) by Antoni Tapies, Edouard Pignon, Wifredo Lam, Paul Rebeyrolle, Emilio Vedova, Jorge Camacho, Augustin Cardenas, Gudmundur Erro, Valerio Adami and Piotr Kowalski, each signed by the artist in pencil lower right, and numbered IX/XXV lower left, being one of 25 hors commerce copies, aside from the edition of 125 published by Giorgio Upiglio at Grafica Uno, Milan, in 1971, in very good condition, with accompanying leaf of printed text, sheet size 605 x 490mm (23.75 x 19.25 ins) each mounted (10)

ÂŁ500-800

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500* Zakanitch (Robert Rahway, 1935-). Mostly Mozart, publised Lincoln Center for the Performing Arts, 1983, colour sreenprint, 127 x 97cm (50 x 38cm), perspex frame (1)

499 Whistler (Reginald John 'Rex', 1905-44). The Tate Gallery, 1928, colour lithograph poster, printed by Haycock Photochrom, and published by Underground Electric Railways Company in 1928, sheet size 102 x 63.5cm (40.2 x 25 ins), several small chips, creases and closed tears, with minor loss to top right corner (1)

ÂŁ300-500

156

ÂŁ200-300


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Arms & Armour, Medals & Military History FRIDAY 12 MAY 2017

A 1956 Lucifer Golfing Society trophy won by Group Captain Sir Douglas Bader CBE, DSO, DFC Est £2000-3000

Further entries invited. Please contact Henry Meadows: henry@dominicwinter.co.uk


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INFORMATION FOR BUYERS AFTER THE AUCTION Online Results: If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended. Payment: The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat 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 debit cards in the UK. All card payments drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards: We accept Visa and Mastercard, to which a 2% surcharge will apply. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made. Bank Transfer: All transfers must state the relevant invoice number. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges. Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers. Collection/Postage/Delivery: If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made. 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.

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty 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 and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

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Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Oriental & Islamic Art Matthew Farren Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury

For free valuations without obligation, please contact any of the above specialists for further advice. Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 / firstname or info@dominicwinter.co.uk

www.dominicwinter.co.uk

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

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


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Dominic Winter  

Fine Art & Antiques | 2 March 2017 | High Res

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