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Fine Art & Antiques 15 JUNE 2017


PRINTED BOOKS, MAPS, PRINTS & ESTATE PLANS HERALDIC MANUSCRIPTS, DOCUMENTS & AUTOGRAPHS COLOUR PLATE BOOKS, TOPOGRAPHY, FINE BINDINGS 14 JUNE 2017

Stroganov (Sergei Grigorevich & Solntsev, Fedor Grigorevich). [Drevnosti Rossiskago Gosudarstva: Izdaniya po Vysochaishemu Poveleniyu, Moscow: Aleksander Semyon, 1849-1853, reissued in an English edition as:] Antiquities of the Russian Empire. Published by Imperial Command. Description of the Plates, Translated by W.S. Mirrielees & R. Harrison, 1855 (Reprinted 1892), 6 volumes bound in 4, 1849-53-92, chromolithographed titlepage and printed English title in first volume, 6 chromolithographed volume titles, printed table of contents in English to each volume, complete with 508 (mostly) chromolithographed plates with captions in Russian and French, ink library stamps to margins of some preliminary leaves, some finger-soiling, contemporary half morocco, heavily rubbed and slight wear to extremities, library class numbers at foot of spines, volume 2 snagged at head of spine, final volume rebacked in morocco, folio (510 x 375mm) Colas 138; Fekula 6194. Estimate: ÂŁ30,000-50,000


FINE ART & ANTIQUES 15 June 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


AUCTION DETAILS COMMENCING

10.00 am

VIEWING

Tuesday 13 June - 9.00am-7.00pm Wednesday 14 June - 9.00am-6.00pm 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 Sale 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


CONTENTS ANTIQUES Ceramics & Glass

1-15

Collectables

16-50

Oriental Works of Art

51-67

Jewellery

68-94

Silver & Plate

95-137

Tribal Art

138-147

Textiles

148-185

Furniture

186-223

FINE ART 18th & 19th Century Watercolours & Drawings

230-271

Marine Paintings & Watercolours

272-292

Thomas Churchyard (1798-1865)

293-308

19th Century & Traditional Paintings & Drawings

309-327

Evelyn De Morgan (1855-1919

328-342

17th to 19th Century Old Master Paintings

343-347

Historical Portraits

348-352

Old Master Prints & Drawings

353-401

Sculpture

402-411

Oriental, Indian & Persian Art

412-429

Original Illustrations & Artwork

430-434

19th & 20th Century Etchings, Lithographs & Woodcuts

435-483

20th Century Prints

484-513

20th Century Paintings, Watercolours & Drawings

514-562

Cover illustrations: Front cover: lot 312 Back cover: lot 220


John Gould. The Birds of Great Britain, 25 original parts (complete), 1862-1873. A fine uncut copy in original parts with superb hand-colouring, heightened with gum-arabic £30,000-40,000 : 14 June

FORTHCOMING SALES IN 2017 Wednesday 14 June

British Topographical Books & Early Maps including a private collection of Yorkshire books Early Printed Books & Manuscripts Fine Bookbindings: Renaissance to Arts & Crafts Bookbinding Tools & Accessories

Wednesday 19 July

Printed Books, Maps & Documents

Thursday 20 July

Modern Literature & First Editions Children’s & Illustrated Books Early Peepshows, Games, Victorian Greetings Cards & Playing Cards

Wednesday August 16

Unreserved Book Stock Sale

Wednesday 6 September

Printed Books, Maps & Documents

Wednesday 4 October

Printed Books, Maps & Documents Travel & Exploration

Thursday 5 October

Fine Art & Antiques Paintings & Watercolours, Old Master & Modern Prints & Drawings Antique Furniture & Collectables

Tuesday 7 November

Motoring, Cycling, Maritime & Railway History Motoring Collectables & Literature, Bicycles & Models in association with Transport Collector Auctions

Wednesday 8 November

Printed Books, Maps & Documents

Thursday 9 November

Military, Aviation & Naval History, Medals, Arms & Armour Stamps & Coins

Wednesday 13 December

Printed Books, Maps & Documents

Thursday 14 December

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


CERAMICS & GLASS To commence at 10am

Lot 3

3* Bristol Blue. A set of 6 Bristol Blue glass finger bowls, 19th century, with ground pontil marks, 12cm diameter (6)

£100-150

1* Art Nouveau. A fine Art Nouveau bronze vase, the dimple vase with long slender neck and beautifully applied with a silver peacock and organic whiplashes, 24cm high (1)

£200-300

2* Art Pottery. A Victorian Martin Brothers pottery bowl by Robert Wallace Martin, in cobalt blue with incised floral decoration with pierced foot, the base signed and dated 11-1891, 21cm high x approx. 25cm diameter, large crack around the central body (1)

4* Ceramics. An 18th century pottery moon flask, probably Nove, Italy, with a blue and white lead glazed earthenware body decorated with foliate scrolls, the back dated 1778, 26.5cm high, general crazing to the glaze and some firing cracks (1)

£300-500

£100-200

5

5* Derby. A Derby porcelain floral encrusted oval frame, circa 1880, finely decorated with roses, petals and leaves within a beaded edge, blue crown mark to base inset into a silk cushion frame, 37 x 30cm, some damage together with a late 19th century Meissen porcelain blue and white dish, decorated with flowers, blue crossed sword mark to base, 16cm diameter (2)

£80-120


Lot 6 6* Dessert set. An 18th century Paris porcelain De la Courtille part dessert set circa 1774, comprising 15 dessert plates and 1 shaped dish each finely gilded with monogram within repeating border, blue crossed arrows mark to base, dessert plates 23.5cm diameter, some rubbing to the gilding

Lot 10 7* Martin Brothers. A Martin Brothers pottery vase, of square form, with a mottled brown lava type glaze, the base incised and dated 2-1902 Martin Bros, London & Southall, 24cm high (1)

£200-300

The factory was founded in 1773 by Jean Baptiste Locre de Roissy who was formerly from Leipzig. The manager was Laurentus Russinger the Hochst modellmeister. The factory imitated German porcelain, the factory was taken over in 1800 by Pouyat of Limoges. (16) £300-500

10* Paris Porcelain. A fine pair of French porcelain vases by Darte of Paris, circa 1830, of classical form richly gilded with painted panels depicting classical rural landscapes on square base socle, red Darte Palais Royale mark to base, both with damage and significant damage to neck of one vase (with pieces) (2)

£200-300

8* Meissen. A pair of late 19th century Meissen porcelain candlesticks, modelled as spring and winter, blue crossed swords mark to base and incised, 29cm high, some damage notably to tree trunks, leaves and fingers (2)

£100-200

9* Nailsea Glass. A Victorian glass walking stick, with twisted handle, 123cm long together with three further glass walking sticks (2 A/F) (4)

£100-150

Lot 9 Lot 7

6


13* Ravilious (Eric, 1903-1942). A pair of travel pattern side plates 17.5cm diameter, together with part Wedgwood Persephone dinner service, comprising lidded tureen, dinner plate, 2 sandwich plates plus 2 tea cups and a saucer, in blue and black transfer print, plus 2 sandwich plates and 2 dinner plates in the same pattern but with yellow and black transfer print. (12)

£200-400

11* Ravilious (Eric, 1903-1942). A rare 1937 Edward VIII Coronation pottery mug designed by Eric Ravillious for Wedgwood, blue and green printed marks to base, 10.5cm high (1)

£700-1000

14* Rye Pottery. A large collection of Rye rustic pottery, circa 1900, including a jug with vine moulding on a mottled brown glaze with twisted handle, 18cm high, together with a small green glaze vase with a serpent winding itself around the body, incised Rye S/W to base 9.5cm high and other items (20)

£200-300

12* Ravilious (Eric, 1903-1942). A 1953 Elizabeth II Coronation pottery mug designed by Eric Ravillious for Wedgwood, black printed marks to base, 10.5cm high (1)

£150-200

15* Whistler (Reginald John ‘Rex’, 1904-1944). A Clovelly tea set, comprising teacup, saucer, sandwich plate, sugar bowl, milk jug and associated plate, with a black and white printed design together with a Wedgwood & Barleston pottery jug, tea cup and saucer specially made for the New Zealand Shipping Company plus other Orient Line ceramics including a dish designed by Edward Bawden and other items (12)

7

£200-300


COLLECTABLES

Lot 16 19* Barometer. An Edwardian mahogany inlaid wheel barometer by Ortelli & Co, with signed silvered dial, thermometer, the swan neck pediment case with brass acorn finial beautifully inlaid with conch shells and rosettes, 98cm long

16* Antiquity. An Ancient Egyptian cup, circa 2000 B.C., carved in lapis lazuli stone with plain foot, 4cm high Provenance: Private Collection Gloucestershire. Lapis was held in the height of esteem in ancient Egypt with only gold and silver being rated higher in value. (1) £700-1000

17* Art Deco. A large 1920s dish, with gilt metal dog (probably bronze), mounted on a large circular Cornish Serpentine stone dished base, 29.5cm diameter (1)

(1)

18* Arts & Crafts. A metal floral sculpture with central spike, surrounded by acorn leaves and dragon’s heads, 61cm high (1)

£150-200

£100-150

8

£80-120

20* Bronze Figures. A pair of late 19th century Continental bronze figures, each modelled as a hooded cherub with stick and basket of wheat on back, on stepped black marbles bases, 17cm high (2)

£150-200


21* Candlesticks. A pair of 18th century Rococo ormolu candlesticks, three part construction with drip pans and scrolls, 20cm high, drilled for electrical use (2)

£150-200

22* Clock. An 18th century ormolu cartel clock, with circular white dial, Arabic numerals, the verge movement signed Jas (James) Bannister, No. 54767, within an elaborate Rococo case with winding key and backplate, 26.5cm long (1)

£400-600

Lot 21

23 Coach panel. An 18th century oval heraldic coach panel taken from the carriage of Henry 8th Lord Arundell of Wardour, of Wardour Castle in the county of Wiltshire and Count of the Holy Roman Empire (1740-1808), after his death, painted in full colours and gold on metal , with original wooden backing, with brass pins and securing bolts, set in a black oval frame with beaded brass surround, glazed, dimensions 310 x 260mm (12 x 10.25 inches) Several labels pasted onto the back of the panel, including a record of the blazons of the eight quarters and an escutcheon of pretence of four quarters and the identity of the bearers; with a pencil inscription which reads ‘Authenticated by F.W. Steer, FSA, County Archivist’ [for East and West Sussex, later Maltravers Herald Extraordinary]. In a 19th century hand a note regarding the panel and that it was removed after the death in 1808 of 8th Lord Arundell, presumably from the coach from which he fell before his death. The Achievement comprises the shield surmounted by a Baron’s coronet, supported on the dexter side by a lion rampant guardant erminois ducally crowned gold and on the sinister by an owl silver, winged and crowned gold, all set against a double-headed eagle displayed sable langued gules (for the Holy Roman Empire), all within an elaborate canopy or robe of estate of gules lined ermine with swags, ropes and tassels gold, surmounted by a gold coronet. The motto Deo Data below. The panel can be dated after 1763 and before 1808. An unusual example of a coach panel painted in colours and gold with original wooden backing. (1) £400-600

24* Compartment Box. A tooled leather compartment box, gilt tooled, 20th century, interior lined with marbled paper, raised on bun feet, 60cm wide x 48cm deep (1)

Lot 22

9

£80-120


27* Garden Statuary. An 18th century white marble bust of a Roman soldier, finely carved wearing helmet with sphinx finial on socle, approx. 82cm high, extensive damage to the helmet and base (1)

£500-800

28* Guild Badge. A Dutch Guild of Excavators pewter badge, probably circa 1500, with a figure standing with sword and wheel within an architectural border with shield having three horns, with four fixing brackets and leather back, approx. 8cm long The piece translates as The Guild of Excavators of the Church of St Catherine, Eindhoven. (1) £500-800

25* Fire Surround. Part of an 18th century marble fire surround, believed to be from Northumberland House, Richmond, with section of frieze inset with a classical panel and two further sections carved with acanthus designs, 55 cm and smaller By family repute, purchased at the Northumberland House sale, circa 1950/60s (1) £200-300

Lot 27

29* HMS Royal George. A treen souvenir carved as a miniature book for the History of the Royal George, with transfer printed decoration ‘In Memory of the Royal George Sunk at Spithead August 29, 1782’, 10 x 5.5cm, together with a sanguine print by Pollard after Kettle, 1782 of Admiral Kempenfelt and the wreck of the Royal George, 20.5 x 13cm (8 x 5ins), in a modern gilt frame and glazed 26* Folk Art. A scarce 18th century American folding “penny” knife, circa 1780, the fruitwood grip carved with a figure of George Washington, set with glass eyes and possibly tobacco leaves and geometric decoration, with 7cm clipped steel blade, 16.5cm long overall

Lot 28

The penny knife dates from the 18th century, it received the name penny knife for what it reportedly cost in England and America during the late 18th century (1) £700-1000

10

HMS Royal George sunk at Spithead on 29 August 1782 with the loss of 900 lives including Admiral Kempenfelt. Various attempts were made in 1939 and 1840 to recover items from the wreck including cannons. Gunpowder cylinders caused a great column of water to rise in the air and a circular wave 180 yards in diameter. Woodwork floated to the surface and was collected and made into snuff boxes, books and other souvenirs. (2) £200-300


31* Mantel clock. A 19th century French champlevé enamel gilt metal mantel clock, circa 1880, the elaborate circular architectural case with urn finial and columns, circular white enamel dial with black Arabic numerals, with four bevel edge glass panels, the brass movement stamped ‘G.H. Paris, JUST, 451 411’, 40cm high with key and pendulum (1)

£400-600

32* Metalware. A large Victorian copper saucepan, engraved ‘L.M.R. 33’, 31cm diameter with iron handle, together with a large Victorian copper two handles bowl, 43cm diameter (2)

£80-120

Lot 34 30* Mantel clock. A 19th century French champlevé enamel gilt metal mantel clock circa 1880, the elaborate architectural case with urn finial and columns, circular white enamel dial with black Arabic numerals, four bevel edge glass panels on four bun feet, the brass movement stamped ‘Japy Freres, Made in France, 4243 48’, 40cm high with key and pendulum (1)

£400-600

33* Ornaments. A large patinated spelter figure, modelled as a harvest boy with scythe over shoulder, mounted on a simulated red marble base with brass plaque stamped ‘Moissonneur par Lavergne’, 58cm high, together with a pair of spelter figures modelled as a fisherman and female companion, on turned wood bases each with plaque stamped ‘Pecheuse’, 38cm high, plus a gilt spelter cherub table lamp on a rococo base, 48cm high (4)

£100-200

34* Prisoner of War Ship. A wellpresented and detailed bone prisoner of war style ship, probably modelled by D.C. Peers, with planked and pinned hull, carved stern and quarter galleries, carved horse figurehead, deck fittings including brass cannons in trucks, mounted on a wooden inlaid and bone base, 44cm high x 59cm long (1)

£500-800

35* Pugin. A Victorian brass Camera Lucida, with prism, telescopic stem and clamp contemporarily engraved in italic script ‘A.W.N. Pugin’, 30cm long Provenance: By family repute given to a member of the family who nursed Augustus Welby Northmore Pugin (1812-1852). Camera Lucida, an instrument in which rays of light are reflected by a prism to produce an image on a sheet of paper, from which a drawing can be made. (1) £500-800

Lot 31

11


36* Russian Icon. A late 19th century Mother of God icon, traditionally painted on wooden panel, 31 x 26cm The icon replicates the three-handles miracleworking image of the Mother of God kept in the Chilandari Monastery on Mount Athos. A copy of this was sent to Russia in 1661 and it became a common image in the repertory of Russian Icons. The inscription reads “image of the three-handed most holy Mother of God”. (1) £100-150

Lot 40

38* Seal. A 19th century brass ecclesiastical seal, of oval form with female figure and two shields with script border, 8cm long (1)

£100-150

37* Rustic Treen. A collection of nine Victorian wooden plumbers lead dressing mallets, various woods, and forms, approx. 31cm long together with two butter moulds (9)

£100-150

39* Sporting Sculpture. A French patinated spelter figure of a young man catching a ball, the base signed G. Omerth, on a simulated red marble base with brass plaque stamped ‘Boule du Parc, Championnat 1928, Offert Par Mr Le Dr Couturier’, 52.5cm high, together with a modern patinated spelter figure of a footballer on a circular black marble base, 45cm high (2)

40* Table Cabinet. A late 19th century Continental ebonised table cabinet probably Viennese, of architectural form with enamel panels to the top drawer, two front doors, side panels and base depicting Classical figures, enclosing three drawers each similarly decorated, 19cm high x 15cm wide x 12cm deep, missing one brass spiral column and hinges require restoration (1)

12

£100-150

£300-500


41* 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) £200-300

43* Walking Stick. A 20th century walking stick, with well-defined bronze otter head handle on a natural wood shaft with brass ferrule, 95.5cm long overall (1)

£80-120

45* Walking Stick. A Victorian Briggs black rhino horn walking stick, with silver handle engraved on the collar ‘Lord Clinton, Carlton Club’, initials ‘C from M’ and ‘Egypt March 1898’, hallmarks for London 1898, 89cm long. Please note that it is highly unlikely that an export licence outside the UK will be granted

42* Walking Stick. An Edwardian folk art walking / swordstick, the handle carved as a boot, the shaft a natural wood probably hawthorn, with brass button concealing a 25cm steel blade, 90cm long overall (1)

£200-300

44* Walking Stick. An early 20th century folk art wooden walking stick, the knop carved as a hand clasping a ball, 89cm long, together with an early 20th century New Zealand Maori walking cane traditionally carved with abalone eyes, 87cm long overall (2)

£80-120

13

The Carlton Club is a gentleman’s club in London which describes itself as the oldest and most important of all Conservative clubs. The initials on the stick are believed to be that of Lord Clinton and Lord Milner, who was involved in trying to resolve the severe Egyptian financial crisis at this period (1) £1500-2000


46* Walking Stick. A 19th century walking stick, with a large whale tooth handle mounted on an ebony shaft, the tooth with white metal end cap and collar, 90cm long overall (1)

£100-150

48* Walking Stick. A 19th century walking stick made from a full length African Ibex horn with white metal collar and brass ferrule, 85.5cm long overall together with another Ibex walking stick with twisted stem, 91.5cm long overall (2)

£100-150

50* Walking Stick. A Victorian walking cane, with carved ivory dogs head handle, engraved silver handle on wooden shaft and horn ferrule, 91.5cm long, together with a Victorian smoker’s cane with bone grip unscrewing to reveal a pipe on a wooden shaft, 88cm long (2)

47* Walking Stick. A 19th century walking stick, with Tau shape marine ivory handle on a wooded shaft with baleen spacers with ivory ferrule, 95cm long overall (1)

£100-150

49* Walking Stick. A 19th century walking stick, made from large seed pods with horn handle incorporating red seal with horn ferrule, 88.5cm long overall (1)

£100-150

14

£150-200


ORIENTAL WORKS OF ART

51* Anglo Indian. A fine mid-19th century Anglo-Indian work box, beautifully worked with pierced ivory and horn, the hinged lid enclosing satin wood lining and divisional compartments each with engraved ivory cover, pocketwatch stand central pin cushion and ivory cotton spools, above concealed writing slope, on four ivory bun feet, 24cm high x 34cm wide x 26cm deep (some cracking and loss) (1)

53* Buddha. Bronze head of Buddha, Thailand, Ayutthaya Period (15-16th Century), the cast bronze head with eyes cast downwards in meditation, with long earlobes and an extensive layer of gilding to the surface, presented on a modern stand, 38cm high

£1000-1500

Provenance: Purchased from Jonathon & Antonia Tucker Asian Art and from a UK private collection. The Kingdom of Ayutthaya was established by King U Thong in 1350 in the Chao Phraya River basin to the north of a Bangkok, it was one of the richest and most enduring sovereignties of Southeast Asia until the Burmese attacked and burned its capital in 1767. For a similar example see cat. No. 32, F. McGill, The Kingdom of Siam: The Art of Central Thailand, San Francisco: Asian Art Museum, 2005. (1) £2000-3000

52* Anglo-Indian. A 19th century desk blotter, with finely engraved ivory foliate decoration on sandalwood with ivory corners, 30.5 x 23cm (1)

54* 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)

£150-200

(2)

15

£100-150


55* Cloisonné. A pair of Japanese cloisonné plates, circa 1920s, one finely decorated with pheasants, the other with cranes, each within a repeating foliate border, the base with foliate scroll decoration, 30cm diameter together with another pair of plates, finely decorated with cranes within geometric border, 27.5cm diameter (some damage to the underside of the smaller pair) (4)

58* Jade Carving. A Chinese mutton fat jade pendant, carved as bamboo with ochre, pierced for suspension, Qing Dynasty, 3cm long (1)

£300-500

£200-300

56* Cloisonné. A late 19th century Chinese cloisonné and bronze vase, with two beast head handles, stylised porcelain roundels and floral decoration, four character seal mark to base, 31cm high (1)

£80-120

59* Jade Carving. A Chinese jade carving of a mythical beast, with ochre and rivering, possibly Ming Dynasty, 4.5cm long (1)

57* Jade Carving. A Chinese white jade pendant, of square form carved with boys, Qing Dynasty, 4cm x 4cm (1)

£300-500

16

£500-800


62* Jade Carving. A Chinese white jade pendant, carved with three boys in procession, pierced for suspension, Qing Dynasty, 7cm long

60* Jade Carving. A Chinese carved jade panel, of square form finely carved with a dragon, with ochre, possibly Ming Dynasty, approx. 7 x 7cm (1)

(1)

£800-1000

63* Jade Carving. A Chinese white jade pendant, carved with a dragon and phoenix, pierced for suspension, Qing Dynasty, 6cm long

61* Jade Carving. A Chinese white and russet jade pebble, carved as a squirrel and grapes, Qing Dynasty, 5cm long (1)

£2000-3000

£1500-2000

(1)

17

£2500-3000


64* Netsuke. A collection of Japanese carved wood netsuke, including a monkey holding a nut, signed base, 4.5cm high, another as an owl, signed, 6cm high plus two okimonos, one carved as two boys playing, 6.5cm high

66* Persia. An interesting Persian ornament, hollow spiral wood decorated in gold with a hunting scene on a green ground, 17.5cm across, together with an early 20th century Indian ivory figure of the goddess Jai Mai, 4cm high

(5)

(2)

£100-150

65* Oriental Collectables. A Chinese rock quartz carving of a monkey holding a nut, 5cm wide, in Liberty of London box, Chinese malachite miniature vase, 5cm long on a hardwood stand, two Chinese cloisonné paste pots, white metal snuff box with a recumbent Buddhist lion, 4cm long, malachite ashtray and other items (a small carton)

£150-200

67* Vase. A modern Korean celadon pottery vase, decorated with cranes among clouds, blue mark to base, 18.5cm high Reproduction of the Koryo dynasty (918-1392) vase. (1)

£100-150

Lot 65

18

£50-80


JEWELLERY

Lot 68

68* Amber. A collection of modern amber, including a graduated string of beads, 29cm drop, 71g, another string on butterscotch beads, 38cm drop, 60g, a string of cherry red beads, 44.5g, plus a large pendant set in silver, 6.5cm long and other items (14)

£500-800

70* Bracelet. 9ct gold mesh link bracelet, 18cm long, approx. 16g (1)

69* Bracelet. 9ct rose gold charm bracelet, with four 18ct and five 9ct gold charms plus six yellow metal, 43.1g gross (1)

£300-400

19

£100-150


71* Bulgari - Ingrid Bergman. An 18ct gold and malachite David di Donatello trophy, Bulgari, 1957, the David statuette in the form of Donatello’s 15th-century sculpture, upon a carved malachite block with an 18 ct gold plaque inscribed for Ingrid Bergman (1915-1982), giving her this award for Best Foreign Actress in the film Anastasia, 1957, ‘Bulgari’ and ‘750’ [18 ct gold] engraved on the plaque lower left and right, the statuette also signed ‘Bulgari’, the statuette approx. 22cm, the base measuring 75mm (height) x 75mm (width) x 80mm (depth) The David di Donatello Awards were established in Italy in 1955 and followed the same criteria as the Oscars. In 1956 Bulgari officially linked its name to the Italian film industry, creating the statuettes and plaques for these awards in 18-carat yellow gold. Bulgari only made these trophy awards for the years 1956 to 1960. 1957 was the first year for these awards in the category of Best Foreign Actress, with Marilyn Monroe, Deborah Kerr, Audrey Hepburn and Brigitte Bardot following on from Ingrid Bergman’s win. Provenance: Laurence ‘Lol’ Anstell Evans (1912-2002), noted theatrical agent and friend of Ingrid Bergman. For further information see Amanda Triossi, ‘Bulgari: 125 Years of Italian Magnificence. Grand Palais’ (2010), pages 284-291 & 379-380. Featured in the exhibition were three David di Donatello trophies in gold with malachite, won by Gina Lollobrigida (1956), Anna Magnani (1958) and Elizabeth Taylor (1959). Somewhat confusingly, Ingrid Bergman is shown (p. 291) holding the award in profile with the malachite pattern on the left-most face not matching that of the statuette offered here. Nonetheless, in view of the good provenance and lasertesting of both the statuette and plaque as 18 carat gold, this is offered as an original trophy. (1) £4000-6000

20


72* Cameo Brooches. A collection of Cameo brooches, Victorian and later, including a pinchbeck cameo carved with a classical female feeding an eagle, 6.5cm long (A/F), another of a cherub with angel set in a yellow metal mount, 4cm long, and others, some damage throughout (9)

£100-150

Lot 74

73* Cameo Brooches. A Victorian vulcanite brooch, carved with a chariot and angel set in a yellow metal mount, 5cm long, together with another vulcanite brooch carved as a classical female in an 18ct gold mount, three miniature portraits of Elizabethans in gold plated mounts, plus a malachite brooch carved as with a Grecian profile in yellow metal mount and other items (10)

£150-200

74* Cameo Pendant. A Victorian cameo carved as a Grecian man, set in a yellow metal mount with beaded decoration on a heavy chain, 18cm drop, 27.5g gross in a fitted leather case, hinge detached (1)

£300-400

75* Fob Watch. A 14K gold ladies fob watch, with finely engraved dial and case together with a yellow metal guard chain, 74cm drop, approx. 20g (1)

Lot 75

£150-200

21


76* Jensen (Georg ). Kneeling fawn silver brooch, numbered 256, monogram and stamped Sterling Denmark, with import marks for London 1952, 4.5cm long (1)

79* Mixed Jewellery. Victorian pietre dura oval brooch, inlaid with floral decoration on a black ground with gilt metal mount, 4.5cm long, together with a collection of brooches including a Victorian bog oak brooch carved with flowers, 4.5cm long, three jet brooches plus a pendant, lapis lazuli brooch in a foliate silver mount, bloodstone pendant and other items

£150-200

(21)

£80-120

80* Mixed Jewellery. Victorian oval silver locket with floral enamel decoration, 5cm long on a fine silver chain together with two Edwardian ladies silver fob watches, a bloodstone and agate seal, Victorian circular silver brooch, 9ct gold compass fob and other items (20)

£50-80

77* Jensen (Georg ). Dove silver bar brooch, numbered 207, monogram and stamped Sterling Denmark

81* Mixed Jewellery. Derbyshire Blue John egg, together with a Victorian Ashford black marble pietre dura pendant plus agate string of 31 graduated beads, 1797 Cartwheel Twopence converted pendant, Victorian mother of pearl card case (A/F) and other items

(1)

(11)

£100-150

78* Mixed Jewellery. Victorian Scottish silver pebble brooch, of circular form with five purple stone cabochons, 4.5cm diameter, together with a smaller Scottish pebble brooch, two orange agate stone brooches plus a string of 53 graduated agate beads with gilt metal T-bar, 18.5cm drop (5)

£70-100

82* Mixed Jewellery. 15ct gold bar brooch set with heart shaped diamond chippings, 4.5cm long, 2.4g gross, 9ct gold ring set with amethyst surrounded by turquoise, size P, 3.3g gross, 9ct gold buckle ring, 2.6g, 9ct gold chain, 4.4g, Victorian agate cameo pendant carved with an Elizabethan profile set in a yellow metal mount with fine yellow metal chain (A/F) and other items

£100-150

(14)

22

£150-200


83* Mixed Jewellery. A large conch shell cameo, carved with a Roman warrior on horseback slaying a dragon with a 9ct gold mount, 9cm long, together with two large cameos carved as classical female and male profiles, each set in yellow metal mounts, both 5cm long (3)

Lot 85

£100-150

86* Mixed Jewellery. A collection of silver jewellery, including a heavy griffin pendant on a plated chain, 1.25oz, filigree bracelet, Celtic dagger pendant, Orkney brooch, earrings and other items (7)

£100-150

84* Mixed Jewellery. A collection of jewellery, including a 19th century French Jet pendant carved with a female profile, the back with frame for a lock of hair, a malachite pendant of teardrop form set in silver, 8.5cm long, an Edwardian pendant set with a smoky quartz stone within marcasite setting on a fine chain in blue presentation box, modern silver and abalone peacock brooch and other items (a small carton)

£150-200

85* Mixed Jewellery. A collection of jewellery mostly in Liberty of London boxes, including a lapis lazuli stone necklace with frog pendant, 26cm drop, malachite bead necklace with silver gilt catch, 28cm drop, a cultured pearl necklace with silver catch set with quartz and blue stone, 25cm drop, tigers eye stone bead neckace with silver catch, 34cm drop and other items (a small carton)

87* Mixed Jewellery. A collection of modern silver pendants, including a dragon on a fine chain, 6cm wingspan, an owl on a fine chain , 5.5cm wingspan, a pair of confronting sea horses each with glass eye, 5cm long, hedgehog, 3cm long, entwined serpent plus an eagle, etc

£150-200

(a small carton)

23

£100-150


92* Rings. A 9ct gold opal and amethyst three stone ring, claw set in an acanthus mount, size L, together with 9ct gold opal ring, size N, 15ct gold ring set with 15 pearls, size P, plus 15ct gold ruby and six stone diamond ring, size N, 13.9g gross

88* Mixed Jewellery. A 9ct seashell suite of jewellery, comprising earrings and chain all decorated with shells, the necklace, 22cm drop, 17.5g, together with a 9ct gold bi-metal necklace, 9.9g, 29g gross (3)

(4)

£200-300

89* Necklaces. A fine Continental gold chain with red enamel and pearl links, stamped 750, 20cm drop, 11.9g gross together with another gold chain with green guilloche enamel links, stamped 500, 26cm drop, 7.3g gross (2)

93* Rings. An 18ct gold square cut amethyst ring, size P, 8.7g gross, together with a similar 9ct gold ring, size O plus a yellow metal and amethyst bar brooch, 5cm long

£80-120

(3)

Lot 90

£100-150

£200-300

Lot 91

90* Ring. A modern gold ring set with a quartz stone surrounded by an illusion setting, stamped 750 with additional stamp, size 0, 7.2g gross (1)

£150-200

94* Tie Pin. 9ct gold tie pin, modelled as a curled up fox, 5.5cm long, 7.2g

91* Ring. An Edwardian 18ct gold five stone opal ring claw set with diamond chippings, Size R, 4.4g gross (1)

(1)

£100-150

24

£50-80


SILVER & PLATE

95* Bon Bon Dishes. A pair of Victorian silver bon-bon dishes by Matthew John Jessop, Birmingham 1893, of oval form pierced with lattice and floral decoration, 13.5cm wide together with three further silver bon-bon dishes, total weight approx. 9.5oz (4)

Lot 97

£100-150

99* Dishes. A pair of Continental silver bon-bon dishes, circa 1910, of navette form beautifully pierced with ribbons, swags and festoons, bases with hallmarks and possible repair of pawnbrokers marks, 16.5cm long, 7.5oz (2)

£100-150

96* Bowl. A Bulgari silver bowl by Sotirio Bulgari, with Britannia Standard mark, London 1975, of plain form with pedestal foot, additionally stamped ‘Bulgari’, approx. 25.5cm diameter, 41oz (1)

£400-600

97* Candlesticks. A pair of silver candlesticks by John & William Deacon, Chester, 1918, 23.5cm high, weighted

98* Cigar Case. A silver single cigar case by Garrard & Co, London 1997, plain form with circular cover, 13cm long, 1.4oz

100* Dressing Table Sets. Continental silver three piece dressing table set, comprising mirror and two brushes, embossed with stylised flowers, plus an Art Deco silver and enamel four piece dressing table set and similar items, some damage throughout

(1)

(13)

(2)

£70-100

£70-100

25

£100-150


101* Flatware. 6 George III silver serving spoons by George Day, London 1817, each engraved with a lion crest, together with 6 fiddle pattern table forks plus 6 further serving spoons, various makers and dates, total weight approx. 36oz (18)

103* Fruit Bowl. A Victorian silver fruit bowl, by James Dixon & Sons, Sheffield 1864, with rococo design swing handle, the shaped bowl with four acanthus supports, 28cm diameter, approx. 28.5oz

£400-500

(1)

£200-300

104* Mixed Silver Plate. A large collection of silver plated items, including an Edwardian revolving breakfast stand with ivory handle, 33cm wide, a large gallery tray, cased Victorian silver plate and ivory fish servers, entree dishes and other items (2 cartons)

£200-300

105* Mixed Silver. A set of 6 William IV Fiddle Pattern silver table forks by Richard Crossley, London 1831, together with 2 sauce ladles, 3 sugar nips, 4 salt spoons plus a pair of knife rests, approx. 27.5oz (17)

102* Flatware. A large flatware by Walker & decoration, comprising spoons, 18 table forks, teaspoons (a carton)

£200-300

106* Mixed Silver. A set of 6 Irish silver table forks by J.S., Dublin 1896, each engraved with a double headed phoenix, together with 6 Irish silver teaspoons by Patrick Moore, Dublin 1820, plus 6 teaspoons, sugar nips and fish slice, approx. 22.5oz

service of Georgian style silver plated Hall, with bright cut style engraved soup ladle, basting spoon, 24 serving 18 dessert forks, 12 dessert spoons, 6

(20) £150-200

26

£200-300


109* Mixed Silver. An Edwardian silver teapot, makers mark worn, London 1909, with presentation inscription, total weight including composite handle, 18oz, together with two pairs of George III bright cut sugar tongs by Peter & Ann Bateman, 6 fiddle pattern tea spoons, a pair of salt pots each with swing handle and blue glass liner and other items, weighable silver, approx. 30oz (18)

107* Mixed Silver. Edwardian silver salver by James Dixon & Sons, Sheffield 1905, with foliate scroll engraved decoration within shaped gadrooned edge on three claw and ball feet, 21.5cm diameter, approx. 13oz together with a pair of silver candlesticks, each with square base and detachable sconce, hallmarks worn, 15.5cm high, weighted, and other items, weighable silver approx. 15oz (7)

£300-400

110* Mixed Silver. A pair of Victorian silver dishes by William Comyns, London 1894, with pierced edges, 11cm diameter, 26 various napkin rings, vesta case and other items, total weight approx. 19oz

£150-200

(a small carton)

£150-200

108* Mixed Silver. A pair of Victorian pedestal navette shaped salts by Henry Matthews, Birmingham 1894, each with floral swags and gilded bowl, 10cm long with salt spoons together with a Continental white metal fish probably a salt with glass liner, 10cm long (5)

£70-100

111* Mixed Silver. A pair of silver condiments, including five Edwardian pepperettes, seven salt pots, silver back mirror etc, various makes, styles and dates, weighable silver approx. 17oz (15)

Lot 109

27

£100-150


114* Mixed Silver. An Edwardian silver salver by Henry Stratford Ltd, Sheffield 1911, with shaped edge on three scroll feet, 20.5cm diameter, together with a pair of George III silver salts, London 1805, of oval form with four hoof feet, 8cm long, a George III silver wine funnel, a white metal toddy ladle with baleen handle plus an Old Sheffield Plate example, weighable silver approx. 20oz (6)

£200-300

112* Mixed Silver. An Imperial Russian silver milk jug, probably by M. Karpinshiy, St Petersburg, with organic decoration on three ball feet, 11cm high together with six George III bright cut teaspoons each engraved with the initials A C, six Russian coffee spoons with urn finials plus a cheroot and holder (14)

£150-200

115* Mixed Silver. A Victorian silver hip flask, by Thomas Latham & Ernest Morton, Birmingham 1878, of oval form with screw cap, engraved with a monogram together with two silver Capstan inkwells plus heavy gauge silver cigarette case, weighable silver 10oz (4)

£100-150

113* Mixed Silver. A Georgian silver cream jug by James Barratt, London 1824, with later foliate embossed decoration, 13cm high, together with a Victorian silver porringer and cover, a Victorian silver milk jug, plus a silver cream jug by John & William Deacon, Chester 1894, 12cm high, total weight, approx. 21oz (4)

£200-300

116* Mixed Silver. A Victorian silver pap boat by John & William Deacon, Sheffield 1896, 15cm long, three silver toast racks, christening mug, seven napkin rings, three cigarette boxes, photograph frames and other items, weighable silver approx. 30oz (29)

Lot 114

28

£300-500


119* Oriental Silver. A collection of Oriental silver items, including a pedestal dish by Samurai Shokai, Yokohama, decorated with a lobed floral design, stamped Sterling 13cm diameter, three pedestal dishes, a bowl stamped TAJS 980 and other items, total weight approx. 40oz

117* Mixed Silver. A set of four Victorian silver salts by Minshull & Latimer, Birmingham 1896, of oblong gadrooned form, 7cm long with four plain spoons by the same maker, presented in a fitted octagonal leather box with red silk and velvet lining, together with three cased sets of napkin rings, a cased set of six silver coffee spoons by Mappin & Webb, a cased set of six plus sugar tongs in the Kings Pattern by Goldsmiths & Silversmiths Ltd plus silver and mother of pearl tea knives, weighable silver approx. 15oz (7)

(13)

£300-500

£200-300

Lot 120

Lot 121

120* Photograph Frame. A Boer War period electroplated photograph frame, by William James Myatt & Co, with repousse decoration depicting war ships, aircraft, military trophies and soldiers, stamped EP, blue velvet backing with easel stand, 22.5 x 16cm (1)

£100-150

121* Photograph Frame. A Continental Rococo style white metal frame, probably circa 1910, finely embossed with a little girl and putto amongst foliate c-scrolls, with brass easel stand, 23cm high (1)

118* Mug. A silver mug by AM, London 1937, plain baluster form with acanthus scroll handle, 13.5cm high, 11oz (1)

£100-150

122* Photograph Frames. An Edwardian electroplated photograph frame in the Rococo style, with c-scroll and lattice decoration on an easel stand, 32.5cm high, together with a collection of items including a Victorian leather and jewellery box with nickel strap work mounts, 13cm high x 31cm wide, a French green enamel and brass frame, pair of George III brass candlesticks, gold plated lorgnettes and other items

£100-150

(a carton)

29

£70-100


123* Salver. An Edwardian silver salver by Henry Wilkinson, Sheffield 1909, with rococo engraved cartouche additionally engraved with initials within shaped edge on three claw feet, 15.5oz, 26.5cm diameter (1)

£100-150

125* Silver Frames. A collection of silver photograph frames, including an Edwardian frame, Birmingham 1915, plain with reeded edge, 24.5cm high, an Art Nouveau style frame by John Bull Ltd, London 1963, 30cm high plus an Art Deco electroplated “Simple Simon” Patent frame with engine turned decoration, 22cm high (8)

£100-150

126* Snuff Box. A 19th century Continental silver snuff box, stamped ‘CM’, of oblong form the lid engraved with classical ruins, approx. 7cm long, together with two further snuff boxes each engraved with classical figure and buildings, approx. 5oz (3)

£200-300

127* Spoons. A set of 12 Queen Anne style silver tea and coffee spoons, Francis Howard, Sheffield, 1960, each with seal top, overall weight approx. 3.4oz, in original red leatherette case retailed by J.A. Haskell, Ipswich The style is adapted from an Antique silver piece circa 1715. (1)

124* Serving Spoons. 6 George III silver serving spoons, London 1822, together with 2 pairs of serving spoons, plus 4 table forks, 16 teaspoons and other items, approx. 41oz (38)

£400-600

30

£70-100


128* Spoons. 12 George III silver spoons by Solomon Hougham, London 1808, fiddle, thread and shell pattern, approx. 30.5oz (12)

£300-400

131* Tea Set. An American silver bachelors tea set circa 1920s, comprising teapot, milk jug and lidded sugar bowl all with a hammered finish, the teapot 21cm long, stamped Sterling, some damage, total weight approx. 26oz (3)

132* Tea Set. An American silver bachelors tea set, circa 1910, comprising teapot, milk jug and lidded sugar bowl, of lobed baluster form, the teapot 16cm long, stamped Sterling, total weight approx. 19oz

129* Tea Service. A Victorian silver tea service by Goldsmiths & Silversmith Ltd, London 1896, comprising milk jug, sugar bowl with hoof feet, six tea spoons and sugar tongs, in a fine fitted leather case with red silk and velvet lining, total weight approx. 7.5oz (1)

(3)

£150-200

£100-150

133* Tea Set. A George V silver three piece tea set, by Albert Faulkner, Sheffield 1919, comprising teapot, milk jug and sugar bowl, the teapot with composite handle and urn finial, 27cm long, total weight approx. 28.5oz

130* Tea Set. An Edwardian silver three-piece tea set, makers mark worn, London 1909, of classical form, the teapot with fruitwood handle and finial, 17.5cm high, total weight approx. 24.5oz (3)

£200-300

(3)

£150-200

31

£200-300


134* Tea Wares. A Victorian silver sugar bowl and sifter spoon by Harry Atkin, Sheffield 1897, the plain pedestal bowl with gilded interior, 11.5cm diameter, in a fine leather fitted case with red silk and velvet lining (1)

£100-150

135* Teapot. A George III silver teapot by Dorothy Langlands, Newcastle 1814, of oblong form with scroll handle and acanthus thumb-piece, half gadrooned body and engraved with family crest, 30cm long, 22oz together with a related silver sugar bowl and milk jug by Anne Robertson (1804-11) with engraved decoration and gilded interior, the sugar bowl 20.5cm long, combined weight 12.5oz, total weight for the three items 34.5oz (3)

137* Turkish Bath Accoutrements. A group of three silver accoutrements, comprising lidded water jug, 25.5cm high, an oval mirror, 30cm wide, a circular bowl with centre piece, 26.5cm diameter, all embossed with flowers, stamped SB900, total weight approx. 32oz

£300-500

Provenance: Cumhur Odabasioglu, immortalized by Rose Macaulay in The Towers of Trebizond (1956) as ‘my Turkish friend…called Odobasiogli’, was a real citizen of Trabzon and the blood brother of the Byzantinist Anthony Bryer (1937-2016). In 1959, the young Bryer, already enthralled by the lost empire of Trebizond and all that appertained to it, met Cumhur in the main square where, as a successful travel agent, he was organising one of the departures of a hajj party to Mecca. He and Bryer became fast friends and in due course, on one of their expeditions, a minor injury led to the mingling of their blood and Cumhur declared them to be blood brothers. This link was maintained until his death in 1992 when, as well as leaving the welfare of his wife and daughter to Bryer baba, he bequeathed his silver hammam accoutrements, here present. (3) £300-400

136* Teapot. A Victorian silver teapot, by Edward Barnard & Sons, London 1896, of oblong form with fruitwood handle, 29cm long, approx. 24oz (1)

£200-300

32


TRIBAL ART

Lot 139

138* Aboriginal Art. A eucalyptus carved wood crocodile, 69cm long, together with a digeridoo and other carvings (5)

ÂŁ100-150

139* Bronze Leopards. An impressive pair of Benin bronze style Palace Leopards, circa 1950s, each with stylised heads, curled tails and pronounced paws, 90cm high x 76cm long Ideal furnishing pieces (2)

Lot 138

33

ÂŁ1200-1500


142 Pre-Columbian Sculpture. A Peruvian carved stone head, height 8 ins Provenance: Private Collection, Surrey. (1) £100-200

140* Drum. West African drum, with hide skin on an elongated wooden base, 79cm high (1)

£150-200

143* Stool. Ashanti hardwood stool, with curved seat and carved with birds, 36cm high x 54cm wide x 26cm deep (1)

£80-120

145* Sword. Indonesian Dyak head hunters sword, 57cm shaped steel blade, bone grip bound with cord, 71cm overall, in its scabbard with carved bone decoration (1)

144* Stool. South American hardwood stool, with oval seat carved with a knotted design on a geometric base, 21cm high x 51cm wide x 19.5cm deep, recently varnished 141* Mask. Kota tribe carved wood mask from Gabon, with pronounced eyebrows and horn, traces of white pigment, 46cm high (1)

(1)

£150-200

£80-120

146* Tribal Art. A pair of early 20th century Indonesian hardwood figures, each carved as a seated elder, 27.5cm high and 25cm high, together with an African hardwood ashtray carved as three elephant’s heads plus 21cm high plus an Indian hardwood lion, 29cm long (4)

£50-80

147* Tribal. Ashanti akua-ba female fertility doll, carved with outstretched arms and beaded necklace, 41.5cm high, together with a Senufo carved hardwood mask with horns, 36.5cm high, plus an African hardwood bust (3)

34

£80-120

£30-50


TEXTILES 148* 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)

£150-200

Lot 150 (detail)

149* Chinese robe. A Canton silk robe, circa 1930s, lined cream silk robe, with collar and long sleeves, embroidered overall in cream silk threads, with a design of figures in a garden, with flowers, birds, pagodas, boats, etc., the faces of the figures picked out in threads of red and black, two matching silk-covered buttons and loops, small inside pocket, some staining (including to underarms), length 128cm (50.5ins), chest 96cm (28ins), sleeve length 58.5cm (23ins) (1)

£100-150

150* Christening gown. A Georgian christening gown, white cotton gown with high waist, lace insert to bodice with a lattice design composed of drawn threadwork and embroidery, similar scalloped detail to short sleeves, bodice frills, two vertical frills to skirt, and hem of skirt, foot of skirt with three floral posies incorporating ears of corn, draw-string ties on back, a few small holes and period darns, chest 46cm (18ins), length 122cm (48ins), together with An early Victorian christening gown, white cotton, with elaborate inserts to bodice and front of skirt composed of drawn threadwork, pintucks, and embroidery, short sleeves embroidered and lace-trimmed, foot of skirt with tucks and lace edging, drawstring ties on back, lace slightly torn at neck, chest 52cm (20.5ins), length 104cm (41ins), plus two other 19th century christening gowns, one of hand-sewn broderie anglais, some minor discolouration in places, chest 51cm (20ins), length 121cm (47.5ins), and the other of finely embroidered white cotton lawn, small repair to front of skirt, chest 46cm (18ins), length 113cm (44.5ins), plus a small ivory cotton lawn dress, with pintucks and lace inserts, chest 36cm (14ins), length 52cm (20.5ins) (5)

£150-250

35

151* Coat. A long Paisley coat, 20th century, hand-made machine-sewn unstructured coat utilising earlier black and grey Paisley shawl, bodice and long sleeves lined with terracotta and black silk paisley fabric, mandarin collar, four matching covered buttons, length 122cm (48ins), side slits 61cm (24ins), bust 112cm (44ins), sleeve length 61cm (24ins) Nicely made and in very good, wearable, condition. (1) £100-150


152* Dress. A printed day dress, circa 1830s, hand-sewn high-waisted apronfronted cotton dress, with small floral pattern in pink, blue, and brown, on a white ground, bodice and sleeves lined with linen, bodice with gathered detail and front closure with four mother-of-pearl buttons, tie on back of bodice in selffabric, wide sleeves with gathered buttoned frilled cuffs, some light soiling, small holes, and tears, length 133cm (52.5ins), bust 82cm (32ins), waist 68cm (27ins), sleeve length 72cm (28.25ins), together with another hand-sewn highwaisted printed day dress, circa 1830s, with floral pattern in pink, blue, green, and brown, on a cream ground, lined gathered bodice, rear metal hook and eye closure, upper sleeves gathered with double row of pleats, narrow cuffs with hook and eye closure, occasional light soiling, somewhat worn and a number of old repairs, length 128cm (50.5ins), bust 79cm (31ins), waist 70cm (27.5ins), sleeve length 63.5cm (25ins), plus another hand-sewn highwaisted printed cotton day dress of a similar age, somewhat worn and faded (3)

ÂŁ200-300

153* Dress. A goldwork gown, possibly Spanish, 19th century, hand-sewn cream silk satin dress, elaborately worked overall with silver metal thread appliques, comprising a repeated design of stylised passion flowers, a wide floral border at hem, and narrow border at cuffs, drawstring waist and neck, wide sleeves, occasional staining, some holes and wear, goldwork generally bright and intact, length 127cm (50ins), sleeve length 50cm (19.75ins) (1)

ÂŁ300-500

154* Dress. A goldwork Regency dress, circa 1805-1810, hand-sewn silver-strip embroidered high-waisted muslin dress with train, elaborately worked overall with small buds, lined puff sleeves with deep edging bands worked with pulled and drawn threadwork strawberries, matching train with strawberry motif repeated on waist, and with grape vine border, some discolouration and wear (and some period darns), dress length 142cm (56ins), bust 71cm (28ins), waist 56cm (22ins), sleeve length 26.5cm (10.5ins), train length 122cm (48ins) A beautiful dress, typical in style of the period; its delicate nature, and the fact that it was obviously loved and worn, makes its survival all the more remarkable. (2) ÂŁ700-1000

36


155* Dress. An Art Nouveau dress, circa 1910, hand and machine-sewn terracotta moiré silk dress, with fitted bodice, high waist, and flared panelled skirt, bodice appliqued front and back with handembroidered brown velvet maple leaves joined with stems and tendrils (apparently unfinished in a few places), bodice and elbow-length sleeves edged in brown velvet, metal press stud and hook and eye closures on back, bodice and sleeves lined with cotton, some marks and wear, length 112cm (44ins), bust 76cm (30ins), waist 72cm (28ins), sleeve length 37cm (14.5ins) (1)

£80-120

156* Dress. A silk brocade gown, circa 1840s, hand-sewn dress of silk brocade (probably earlier Spitalfields), with woven flower sprays in shades of green, yellow, and brown, on a ground of wide pink and cream stripes, fitted bodice with light boning, close-gathered piped v-shaped waist, short sleeves with pleated fringed trim, occasional minor stains, including light underarm discolouration, some small holes and edge-fraying, metal hook and eyelet closures on back, lined in cotton, length 138cm (54.5ins), bust 66cm (26ins), waist 46cm (18ins), sleeve length 16.5cm (6.5ins), together with another silk brocade gown similar, worn, with period darns, plus a Regency green silk gown, with wide net and silk hem border, worn

157* Dress. A Regency mourning dress, circa 1810, hand-sewn high-waisted black muslin dress, with woven vine leaf pattern, bodice with central buttoned loop and ruffles to neckline, metal hook closures on back, lined leg o’mutton sleeves, neckline and sleeves edged with black silk ribbon, some small holes and marks, length 140cm (55ins), bust 72cm (28ins), waist 66cm (26ins), sleeve length 71cm (28ins)

(3)

(1)

£200-300

37

£400-600


159* Embroidered firescreen picture. A silk picture of a young lady playing a lute in a garden, early 19th century, worked in coloured silks in shades of pink, blue, green, cream, and brown, using stem stitch, couching, and satin stitch, on a fawn silk ground, depicting a lady playing a lute in the centre surrounded by vegetation, flowers, animals, and birds, including a deer, a dog, a rabbit, a caterpillar, a snail, and a butterfly, with an ecclesiastical building in the background, slightly perished in places (mostly to edges), 25 x 32.5cm (10 x 12.75ins), framed and glazed (green silk backing worn and frayed), with metal loop to verso (1)

158* Dress. A Regency fine silk dress, circa 1810, hand-sewn high-waisted cream silk dress, with draw-string neck and gathered puff sleeves, lining in sleeves continued as tabs at the back, adjustable silk waist tie, one or two tiny holes/old darns, but overall in very good condition, length 137cm (54ins), sleeve length 19cm (7.5ins), together with a hand-sewn white cotton lawn dress, circa 1820s, narrow pintucks on front and back of bodice, middle portion of skirt, and tops of sleeves, bodice closed at back with seven mother-of-pearl buttons and loops, double Peter Pan collar, folded double cuffs, each with three covered buttons and loops, length 123cm (48.5ins), bust 82cm (32ins), waist 68cm (27ins), sleeve length 52cm (20.5ins), plus a hand-sewn leaf-patterned white muslin shift, bodice with embroidered net insert, early 19th century, and a white cotton lawn petticoat of a similar age, both with occasional small holes/period darns (4)

£200-300

161* Fabric. A quantity of large and small fragments of fabric, 17th-19th century, approximately fifteen pieces of material, including a piece of Lyon silk depicting Chinese figures and birds, a yellow silk damask dress bodice and associated offcuts, an early embroidered silk fragment (probably from a garment), two square ecclesiastical cloths with gilt metal lace edging, an early embroidered altarpiece cloth, a gold and scarlet brocade table runner, and a piece of early metalled silk (probably Spitalfields), various sizes and condition (approx.15)

£200-300

£80-120

160* Fabric. A printed cotton chintz bedcover, 1830s, large bedcover pieced in four places, with alternating stripes of rose sprays and acorns, the pattern pink and blue on a brown ground with broken branch pattern, several holes, selvedge to selvedge 64cm (25.25ins), overall size 240 x 259cm (95 x 102ins), together with A piece of block and copper printed cotton, 1840s, white cotton, with block print flower sprig pattern and floral border in maroon, yellow, red, and blue, copper plate circular cartouches in each corner depicting a shepherdess and child with putti, some minor toning, 14 x 150cm (55 x 59ins) (2)

£80-120

38

Lot 162


162* French costume. A French peasant dress, Provence, circa 1810-1820, handsewn green cotton dress printed with small floral pattern in red, blue, yellow, and white, with two other similar fabrics used at yoke and front of skirt (intended to be covered by an apron), high-waisted, and with small leg o’ mutton sleeves tightened by four rows of smocking on the shoulders, neck and cuffs fastened with pearl buttons (two replaced), bodice lined with flannel, extending to laced corset, sleeves lined (one in plain blue fabric, the other in blue gingham), overall length 143cm (56.25ins), bust 86cm (34ins), waist 70cm (27.5ins), sleeve length 65cm (25ins) Rare peasant dress; it is very unusual to find work clothes of this date in such a good state of preservation. ‘Les indiennes’ fabrics such as this dress is made from were at the height of their popularity at the beginning of the 19th century. These bright prints first arrived in France from India in the early 17th century. Both the import and production of such fabrics was banned in 1686, to protect French silk, linen, and wool manufacturing. When the ban was lifted in 1759 manufacturers became established all over Provence. (1) £300-500

164* Handkerchief. A large embroidered marriage handkerchief, late 19th/early 20th century, white fine cotton lawn handkerchief, with embroidered border of sheep and scrolling leaf and flower sprays, with opposing corners of a decorative heart enclosing a pair of turtle doves and a dwelling with cow and weeping willow respectively, lace border, 63.5 x 53.5cm (25 x 25ins), together with five other 19th or early 20th century white or cream handkerchiefs, four with wide lace or embroidered borders, including one with stitched name ‘Nina’, one with an armorial, and another with an earl’s coronet First item undoubtedly a marriage piece with its symbols of love and prosperity. (5) £150-200

163* Handkerchief. A Dresden laceedged handkerchief, early-mid 19th century, ivory fine cotton lawn handkerchief, with 2.5” border of Dresden lace, with a pattern of scrolling tendrils and flower sprays, a few fine period darns, 45 x 46.5cm (17.75 x 18.25ins), together with four other 19th century white or cream handkerchiefs, with wide lace or embroidered borders, including one with initials ‘H.C.’ and another with royal monogram (5)

£150-200

165* Jacket. A silk brocade skirted jacket, English, mid 18th century, short fitted hand-sewn jacket of silk brocade (possibly Spitalfields), floral pattern in shades of pink, yellow, and green on a blue ground, edged with green looped trim (slightly worn and pulled in places), three-quarter length sleeves terminating in wide ruffles, waist with short ruffled skirt, v-shaped at back, lined with linen, inner tabs with eyelets for lace fastening, outer metal hook and eye fastener, some overall light soiling (including underarm discolouration), length 47cm (18.5ins), bust 86cm (34ins), waist 66cm (26ins), sleeve length 47cm (18.5ins) A rare survival. (1)

£400-600

39

166* Lace shawl. A large Carrickmacross lace shawl, late 19th/early 20th century, embroidered cut-away muslin on net, with flower sprays and volutes, scalloped edge, with Carrickmacross label at nape, a few small holes and neat period darns, length from nape 128cm (50.5ins), together with four 19th or early 20th century lace or embroidered stoles (two worn), and a small white embroidered cloth Carrickmacross lace has been made since the 1820s; the technique was used for the wedding dresses of both Princess Diana and the Duchess of Cambridge. (6) £150-200


167* Mixed Textiles. A Chinese silk collar, circa 1900, finely embroidered with dragons, exotic birds, insects and floral decoration on a silk ground within multi banded border, 41 x 41cm, together with an eclectic collection of items including an art deco evening bag, black with silver catch inset with marcasite stones, two further evening bags, three Edwardian fans including an ebonised carved wood and black lace fan in J. Duvelleroy, London, two hide suitcases, art deco shagreen cigarette case and other items (a carton)

£200-300

168* Pelisse. A silk pelisse, 1820s, handsewn high-waisted green changeable silk coat, lined shaped bodice and long sleeves, three metal barrel clasps at front, wide scalloped collar with five points, skirt gathered at back, collar and cuffs in a darker green changeable silk, braid on back of bodice and cuffs, cuffs each with six embroidered decorative buttons, some minor mottling and small holes, length 130cm (51ins), bust 80cm (31ins), waist 64cm (25ins), sleeve length 63.4cm (25ins) (1)

171* Quilt. A patchwork marriage quilt, circa 1880, hand-stitched quilt, with herringbone detail, in various fabrics and shades, with a patchwork design of squares and triangles, incorporating appliquéd hearts and circles, some of the squares with pictorial religious quotations in sepia ink, upper and lower corners inscribed ‘Head’ and ‘FOOT’ respectively to indicate orientation of quilt, generally spotted and toned, minor perishing of some fabrics, 231 x 214cm (91 x 84ins)

Lot 168

£300-500

169* Rug. A Persian silk Kashan with arabesque floral decoration on a pink and cream ground within multiband border, 229 x 147cm, worn (1)

£200-300

170* Rug. A Persian Bokhara woollen prayer rug, with 40 blue and black lozenges on a brown ground within a multiband border, 114 x 90cm, together with a Turkish woollen rug with archway incorporating borders of trees and stylised floral panel within a geometric multibanded border, 175 x 122cm, worn (2)

Lot 169

£70-100

40

Quilts were often given as wedding gifts, or made by a betrothed young woman to take with her to her future husband’s house. Such a bedcover was both a practical household item as well as an important keepsake of the girl’s old life, particularly if her new home was distant from friends and family. Quilts were also made to celebrate other key life events, such as the birth of a child, as well as sometimes to remember the dead. This marriage quilt is a particularly attractive one, and it survives in very good condition. It includes the Lord’s Prayer, Biblical quotations, and part of the refrain from Philip P. Bliss’s 1870 hymn ‘Hold the Fort’: “Hold the fort for I am coming, Jesus signals still”. Bliss’s hymn was inspired by an incident in the American Civil War in which a message was relayed by flag semaphore to ‘hold the fort’ resulting in the ultimate retreat of the French. (1) £800-1200


172* Quilt. A four-poster bed quilt, late 18th/early 19th century, fine white linen quilt, backed with a looser weave white linen, close-quilted in white thread, with a design of a central floral basket, surrounded by birds, pomegranates, flowers, and scrolling foliage, with a border of spirals, cut-out lower corners to fit a four-poster, with initials ‘AP’ and ‘A’ in blue cross-stitch to edge, some minor discolouration and wear, approx. 231 x 231cm (91 x 91ins) (1)

£300-500

174* Quilt. A black quilt, early 20th century, square black cotton quilt worked by hand in black thread, with a central star motif surrounded by decorative borders, sections joined with machine stitching, and machine-sewn edge, 220 x 220cm (86.5 x 86.5ins), together with A hexagon quilt, late 19th/early 20th century, brightly coloured hexagon quilt, composed mainly of fabrics with a satin finish, 225 x 182cm (88.5 x 71.5ins), plus A yellow silk quilt, French, late 19th century, yellow variable silk quilt, worked by hand in yellow thread, with edge-frill, backed with pale yellow linen, 172 x 152cm (67.5 x 59.75ins), plus a white cotton French quilt, late 19th/early 20th century, 149 x 151cm (58.5 x 59.5ins)

176* Quilt. A Welsh quilt, circa 1930, printed cotton quilt, with pink roses and black trellis pattern, backed with a paler rose and trellis patterned cotton, handquilted with white thread, 196 x 187cm (77 x 73.5ins), together with another early 20th century quilt, printed cotton, with a fanshaped floral pattern in shades of pink, brown, and green, backed with a similar printed cotton (large square patch in centre), hand-quilted in white thread, some staining and edge-wear, 184 x 163cm (72.5 x 64ins) (2)

£80-120

First item possibly a mourning quilt. (4) £150-200

173* Quilt. A Welsh patchwork quilt, circa 1880s, wool quilt with central star motif, in red, dark blue, and pale blue, backed with hessian, stitched overall with leaves and spirals, some minor moth damage and discolouration, 204 x 194cm (80 x 76.5ins) (1)

£200-300

175* Quilt. An Amish patchwork quilt, late 19th century, wool quilt, geometric diamond pattern with central small yellow star, the sections in green, red, and grey, each worked by hand in green thread, with leaf spray, lattice, star and flower patterns, some light soiling and small holes, brown backing fabric somewhat perished, 196 x 187cm (77 x 83.5ins), together with another Amish quilt similar, worn in places (2)

£100-150

177* Quilt. An American patchwork quilt, late 19th/early 20th century, pink and white cotton quilt, with a chequer patchwork pattern, backed with white cotton, closely hand-quilted with white thread, faintly soiled overall, 189 x 168cm (74.5 x 66ins), together with An American patchwork quilt, circa 1880s, white cotton quilt, with vase patchwork pattern in printed cottons, in shades of blue, red, and brown, white cotton backing, handquilted in white thread, some light discolouration and marks, 197 x 216cm (77.5 x 85ins), plus An American patchwork quilt, circa 1880s, black-patterned pink cotton quilt, with large diamond pattern composed of small squares in various printed fabrics, printed cotton backing with pink and yellow flower pattern on a brown ground, hand-quilted in white thread, some minor fraying and holes, 208 x 177cm (82 x 69.5ins) (3)

41

£100-150


178* Shawl. A large lamé brocade shawl, circa 1920s, scarlet silk brocade shawl with ornate large-scale floral and foliate design, largely picked out in gold, slightly tarnished and marked in a few places, but overall in bright condition, 163 x 163cm (64 x 64ins)

180* Shawl. A large Paisley shawl, mid 19th century, woven shawl, with allover Paisley pattern, in shades of red, green, blue, and brown, with decorative border, fringed along short ends, 345 x 168cm (135 x 66ins), together with two other mid 19th century woven Paisley shawls similar (some minor wear)

A striking shawl with a vivid Art Deco pattern of stylised flowers and leaves. (1) £100-150

(3)

£200-300

179* Shawl. A Norwich shawl, mid-late 19th century, large cream shawl, with a wide printed border of boteh and leaf fronds, in shades of red, black, blue, yellow, and green, fringed edge, a few small holes, 338 x 169cm (66.5 x 13ins), together with an earlier woven Norwich shawl, somewhat discoloured and worn, 163 x 166cm (64 x 65.25ins) (2)

£100-150

181* Straw work. A straw work net overdress, possibly American, circa 1860s, black net overdress, with wheat embroidery comprising sprays of flowers and ears of corn to front sides and rear, and border to edges and flared double-frilled cuffs, with ivory silk thread stems, remains of black silk ribbon ties, length 164cm (64.5ins), sleeve length 45cm (17.75ins), together with a matching bustle piece, a few losses and small holes, length 79cm (31ins) Thought to have been owned by a relative of Ulysses S. Grant. A rare example of a straw work net overdress, in remarkable condition given its age and fragility. (2) £200-300

42


182* Stumpwork Panel. A large embroidered picture depicting Charles I and Queen Henrietta Maria, with attendant ladies and a child, circa 1640s, depicting a large two-handled urn filled with flowers in centre, flanked by Henrietta Maria and a young lady on the left and Charles I and two women with a child on the right, surrounded by various symbolic motifs, including an oak tree, shepherds, a hare, snails, insects, a half-human creature, clouds and sunbursts, and a pair of castles in the foreground, worked in various colours on linen, in long and short stitch, purl work, stem stitch, couching, raised chenille, and satin stitch, and incorporating metal threads, polychrome beads, and sequins, slightly discoloured and some loss of threads and sequins, 41 x 62cm (16 x 24.5ins), walnut frame, glazed Provenance: Toovey's, The Bolney Lodge Collection, The Estate of the late Judge Coles Q.C., 20th September 2006, lot 378. (1)

183* Turkish Puppets. An unusual Turkish picture, with three cloth puppets inset into a glass panel, 51.5 x 56cm, gilt frame (1)

185* Whitework. A large embroidered bedcover, circa 1820s/30s, white muslin bedcover, embroidered in satin stitch and tambourwork, incorporating eyelets, with allover pattern of ivy leaves, and a wide border of flower and leaf sprays within a narrow scalloped border, some light staining, small holes, and period darns, 287 x 229cm (113 x 90ins)

£70-100

184* Turkish Rug. A large 20th century Turkish kilim weave carpet, with 7 rows of geometric shapes on a red and green ground with geometric border, 276 x 151cm, together with another kilim rug with geometric shapes on a red and light blue ground, 222 x 153cm (2)

£3000-5000

(1)

£70-100

43

£100-150


FURNITURE 188* Bureau. George III mahogany bureau, the fall front enclosing divisional interior with classical columns, above four drawers each with elaborate rococo gilt metal handles on ogee bracket feet, 107.5cm high x 102cm wide x 54cm deep (1)

£200-300

186* Armorial. A large 18th century family armorial probably Continental, shield shape planked carved oak with applied gesso work with a cow, turrets, lion and other devices surmounted by a coronet with rope tassels, 137 x 128cm It has been suggested this armorial is Spanish (1)

£700-1000

189* Bureau. George III mahogany bureau, the fall front enclosing divisional interior inlaid with chequered strung inlay and column secret compartments, above two short and three long drawers each with oval gilt metal handles on ogee bracket feet, 109.5cm high x 111cm wide x 62cm deep (1)

190* Chair. George III Hepplewhite mahogany armchair, with pierced shield back carved with wheatsheaves, shepherds crook arms, upholstered seat on reeded tapered supports united by stretchers, 98cm high

187* Bookcase. A Regency rosewood effect curved bookcase, with swan neck pediment, the three shelves with ribbed edge and the sides with turned edges on a block plinth (1)

£200-300

Purchased from Avon Antiques, Bradford on Avon, 1987. (1)

£200-300

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£100-150


193* Chairs. Pair of Regency bamboo effect bedroom chairs, stained wood with cane seats, on circular supports united by stretchers, 86cm high, old worm holes

191* Chairs. An 18th century oak child’s chair, with shaped top rail and back splat, plain arms carved at the ends, solid seat and shaped aprons on block supports, 57cm high together with another oak chair dated 1625 but probably not of the period, 97cm high (2)

(2)

£100-150

194* Chairs. A near pair of Regency bedroom chairs, stained wood, one with rope twist decoration the other plain, each with gilt rosette bar back, rattan seats on sabre legs, 84cm high

£150-200

(1)

£80-120

195* Chest. An 18th century oak chest of drawers, with two short and three long drawers each with brass cherub handles and engraved brass key plates on bracket supports, 96cm high x 97cm wide x 55cm deep (1)

192* Chair. An Edwardian mahogany Captain’s chair, with curved top rail, slatted back, leather upholstered seat with brass nails, on four bulbous supports with brass castors, 85cm high (1)

£150-200

45

£300-500


Lot 196

Lot 197

Lot 198

196* Chest. An 18th century oak straight front chest of two short and three long drawers, with brass drop handles and oval key plates on bun feet, 99cm high x 104.5cm wide x 55cm deep (1)

£150-200

197* Chest. An early 18th century fruitwood straight front chest of two short and three long drawers, each with brass drop handles and engraved brass key plates, 87cm high x 96cm wide x 57cm deep (1)

£100-150

198* Clothes Press. A George III mahogany and walnut clothes press, with single drawer on four block supports, 150cm high x 62cm wide x 36cm deep, old worm holes (1)

£100-150

201* Coffer. A 17th century joined oak coffer, with four panel lid secured by iron hinges, enclosing candle tray, the front panel finely carved with four panels of tulips and scroll decoration beneath gadrooned carving on carved supports, 67cm high x 151.5cm wide x 57cm deep, old worm holes (1)

£500-800

199* Coffer. An 18th century carved oak mule chest, the lunette carved lid with three panel front carved with lozenges and foliate decoration with one long drawer beneath with brass handles and carved with initials A H and dated 1724 on stile supports, 78cm high x 130cm wide x 50cm deep (1)

£300-500

200* Coffer. An 18th century joined oak coffer, with three panel lid secured by iron hinges, on reeded straight front supports with carved brackets, 66cm high x 110.5cm wide x 50.5cm deep (1)

202* Coffer. A 17th century joined oak coffer, with three panel lid secured by iron hinges, the front panel with initials P G each within a lozenge, guilloche type carving and rosettes on carved style supports, 66.5cm high x 132cm wide x 58cm deep

£300-500

(1)

46

£400-600


203* Coffer. An 17th century joined oak coffer, with four panel lid with traces of carving, enclosing candle box, 55cm high x 147.5cm wide x 47cm deep (1)

£100-150

204* Coffer. A late 18th-century carved oak coffer, with three panel lid, carved front panel, iron lock plate, on stile supports, 51cm high x 189cm wide x 54cm deep (1)

£100-150

206* Cradle. A Victorian mahogany swing rocking cradle, with ogee canopy, rattan sides on a turned mahogany trestle end stand, 120cm high x 103cm long, some damage to the rattan (1)

205* Corner Cabinet. A George III oak and mahogany hanging corner cabinet, with single panel door inlaid with a conch shell enclosing shelves above three drawers, 110.5cm high x 84cm wide x 46cm deep (1)

£150-200

207* Cradle. An 18th century oak cradle, with hooded canopy inlaid with initials A M, the panelled sides on curved rockers, 83cm high x 105cm long (1)

£200-300

47

£150-200


208* Curtain poles. Three Venetian curtain poles probably 18th century, with gesso end pieces and crackle painted poles, approx. 234cm long (1)

210* Bible Box. An 18th century carved oak bible box, with iron hinged fall, enclosing single shelf and vacant interior, the front panel with geometric carving, 31cm high x 69cm wide x 44cm deep

£200-300

(1)

£100-150

211* Library Steps. A set of Victorian mahogany folding library steps, with recessed brass hinges, 96cm high (1)

£200-300

212* Library Steps. A set of Victorian fruitwood folding library steps, with recessed hinges, 89cm high (1)

£150-200

213* Library Steps. A set of metal and mahogany folding library steps, circa 1920s/30s, 166cm high (1)

£100-150

214* Miniature Chest. An Edwardian mahogany apprentice made chest of two short and three long drawers, the drawers inlaid with satinwood, 35cm high x 38cm wide x 21cm deep (1)

£100-150

209* Day Bed. A Victorian walnut and rattan day bed, in the 17th century style, carved with crowns and scrolls on turned supports united by stretchers, 103.5cm high x approx. 180cm long (1)

£100-150

Lot 211

Lot 212

48

Lot 213


Lot 214

Lot 215

215* Mirror. A Queen Anne walnut framed mirror, the cushion frame with plate glass, 53 x 49cm (1)

217* Settle. A Victorian carved oak settle, profusely carved with acorns, grapes and vine leaves, geometric panels and dated 1727 with Latin inscription Cruci dum Spiro Fido (while I live, I believe in the cross), with carved arm rests and on substantial carved supports, 120cm high x 176cm wide x 58cm deep

£300-500

216* Revolving Bookcase. An Edwardian oak revolving bookcase with hinged reading stand, encompassing 36 leather-bound volumes of Encyclopaedia Britannica, on ceramic castors, 89cm high x 68cm square (1)

Lot 216

(1)

£100-150

Lot 217 49

£300-500


Lot 220

50


218* Sideboard. A George III mahogany breakfront sideboard, with brass gallery with three urn finials, above three drawers, with deep drawer to the centre flanked by a cupboard and a cellerette drawer on substantial spiral twist supports, 136cm high x 182cm wide x 64cm deep (1)

£300-500

221* Torchere. A 19th century Continental torchere, with square marble top above ebonised reeded column on square base inset with foliate brass, 106cm (1)

£100-150

219* Stools. Three 18th century joined oak stools, including a stool with baluster supports united by stretchers, 45cm high x 46cm wide x 29.5cm deep together with a small oak drop leaf table on turned supports 48cm high x 48.5cm wide x 28.5cm deep (4)

£200-300

220* Tester Bed. A fine 17th-century and later oak tester bed, the headboard with guilloche frieze, green men carved faces above three foliate carved arcaded panels flanked by well carved figural caryatids, the footboard similarly carved, with substantial male and female carved caryatid bed posts to the front and a large canopy dated 1674 for the top and curtain poles, 234cm high x 186cm wide x 243cm deep Please note, there are no original bolts with this bed The present owner bought the bed from the estate of British film actor Laurence Harvey (1928-1973). It is believed that it was earlier in the possession of legendary American publishing magnate William Randolph Hearst, on whose life story the Orson Welles film Citizen Kane is loosely based. Hearst bought the medieval castle of St. Donat's in the Vale of Glamorgan in 1925 and reputedly scoured the country for appropriate antiques with which to fill it. (1) £5000-8000

222* Travelling Trunk. A Victorian travelling trunk, canvas covered with oak and elaborate shaped steel brackets, the lock stamped Patd May 11 1876, 57cm high x 82cm wide x 50cm deep (1)

51

£100-150


223* Welsh Dresser. An 18th century oak and mahogany Welsh dresser, with plate rack with two cupboards and drawer beneath above rectangular base with three drawers each with oval brass handles on reeded supports, 195.5cm high x 189cm wide x 49.5cm deep (1)

ÂŁ1500-2000

52


FINE ART


18TH & 19TH CENTURY WATERCOLOURS & DRAWINGS

232* Birtles (Henry, 1838-1907). Landscape with cattle resting in a meadow, 1871, watercolour on wove paper, heightened with touches of gum arabic, signed and dated lower left, one or two minor corner creases, 22.7 x 34cm (9 x 13.4ins)

230* Afghanistan. View of Huzrut Imam, October 1833, pen and brown ink on wove paper, titled and dated to lower left margin, sheet size 197 x 257mm (7.75 x 10.2ins), mounted

(1)

£200-300

An unusual and early view of the town of Huzrut Imam in North Eastern Afghanistan. Although unsigned, the present work may possibly have been executed by Lieutenant Alexander Burnes of the East India Company, or one of his retinue, who undertook a journey from India to Kabul and Persia, performed at the request of the Government of India in the years 1831, 1832 and 1833, and published as Travels into Bokhara in 1834. (1) £150-200

231* Aldridge (Frederick James, 1850-1933). Shipping in harbour, early morning, watercolour on paper, signed lower right, 115 x 155mm (4.5 x 6ins), together with two other 19th century English watercolour views, including one of Cromer, Norfolk, unsigned, and another view of the river at Walton-on-Thames, unsigned, 150 x 255mm (6 x 10ins), and similar, all framed and glazed (3)

233* Brabazon (Hercules Brabazon, 1821-1906). Venetian Canal, watercolour and black chalk on paper, signed with initials lower left, 19.5 x 14cm (7.7 x 5.5ins), laid down on card, framed and glazed (1)

£150-200

54

£150-200


Lot 235 235* Buckley (John Edmund, 1824-1876). English summer landscape with an Elizabethan lady in waiting and two children, 1863, fine watercolour on paper, heightened with bodycolour, signed and dated lower right, 300 x 545mm (11.75 x 21.5ins) mount aperture, framed and glazed, with a handwritten ownership provenance dating back to 1921 to verso (1)

234* Bright (Henry, 1810-1873). Robin’s Nest, 1884, watercolour, heightened with white bodycolour, signed and dated in pencil lower right, 28.5 x 23cm (11.25 x 9ins) mount aperture, framed and glazed (1)

£150-200

236* Company School. A Tanager bird, early 19th century, pen, ink and watercolour on paper, within a blind anthemion border, image 14 x 11cm (5.5 x 4.25ins), framed and glazed Provenance: ‘Tanagra Camiapilla. Grey crowned Tanager. West Indies.’ on period label to verso. (1) £100-150

£200-300

55


237* Constable (John, 1776-1837). Two Standing Figures, 1811, black charcoal study 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, lots 409 & 410. (1) £1000-1500

56


Lot 238 238* Daniell (William, 1769-1837). View of an ancient tomb in India, circa 1790s, pen & brown ink with grey wash on wove paper, signed with monogram lower right, further inscribed ‘W. Daniell del’ in pencil lower right below the image, image size 221 x 314mm (8.75 x 12.3ins), sheet size 268 x 343mm (9.75 x 13.6ins), mounted (1)

239* Monro (Alexander, 1802-1844). Quarr Abbey, near Ryde, Isle of Wight, 7th May 1835, watercolour on paper, 17.2 x 25.5cm (6.75 x 10ins), framed and glazed, with later handwritten caption to mount and verso, together with another pencil study by Alexander Monro of Shorwell Church, Isle of Wight, 20th July 1829, on pale green paper, some spotting, 18.5 x 27cm (7.25 x 10.75ins), framed and glazed, with caption to mount, plus another pencil and brown wash study of St. George's Church, Arreton, from the South West, 1838, 22.8 x 32.5 cm (9 x 12.75ins) mount aperture, framed and glazed, and four pencil studies by George Smith (1829-1901), all cottage interiors, including three views of the artist's home at Rake, near Rogate, dated October 7th and 10th 1865, and one of Shotter Mill, 1870, 12.5 x 20.5cm (5 x 8ins) and similar, one framed

£700-1000

(7)

57

£200-300


Lot 242

Lot 241

241* Dutch school. Shepherd and sheep resting, circa 1730-40, pencil and black chalk on Van der Ley laid paper, heightened with brown ink, watermarked with armorial shield with letters VDL below (Churchill 433), light spotting, sheet size 27.5 x 21.5cm (10.8 x 8.6ins), framed and glazed, together with various 19th and 20th century drawings, including an Italian study of a standing peasant figure (in the style of Pinelli), an English pencil landscape on blue paper, two English allegorical pencil studies of mythological figures, and a red chalk drawing of a female nude by Liverpool artist May Kenyon, circa 1930, all framed and glazed (6)

£150-200

242* English School. Coastal scene with boats and fisherfolk, later 19th century, graphite watercolour and gouache on paper, unsigned, 30.5 x 50.5cm (12 x 20ins), framed and glazed (1)

£150-200

240* Doyle (Richard, 1824-1883). The Entrance to the Blue Chamber, signed with monogram, pencil and grey-brown wash heightened with white, signed with monogram lower left, 21.5 x 26cm (8.5 x 10.25ins), framed and glazed, with labels of the Fine Art Society, Davis Galleries, New York and Cass Canfield to verso Provenance: Sold Christies South Kensington, 20 August 1992, lot 668; Private Collection. Exhibited London, The Fine Art Society Ltd., June 1969, no. 4. According to the F.A.S. label, this work is inscribed with the title to verso by the artist. (1) £300-500

243* English School. Mountain landscape with sheep, early 20th century, watercolour on paper, signed with initials F.C.M. lower right, 19.5 x 30cm (7.7 x 11.75ins) mount aperture, framed and glazed (1)

58

£150-200


246* Farington (Joseph, 1747-1821). Landscape sketch with ruined castle on a promontory, pen, brown ink and watercolour on laid paper, with Britannia watermark, 120 x 182mm (4.75 x 7.2ins), with additional pencil sketch to verso, and oldinscription Saltwood Castle Kent, plus a late 19th century collector’s stamp, mounted Provenance: Robert Witt (1872-1952), purchased by him ‘At the Farington sale long ago’ (according to a letter which accompanies this lot); Reverand Canon F.H.D. Smythe (1873-1966). With autograph letter from Robert Witt to Archdeacon Smythe, on 32 Portman Square headed notepaper, dated Christmas 1948, in which Witt presents the Farington watercolour ‘a vigorous little Farington sketch from one of his sketch books’ to Smythe as a gift. (1) £200-300

244* English School. Portrait of Mrs Mountjoy Martin, later Mrs Henry Savile, of Shaw Savill Shipping Line, circa 1840, watercolour, heightened with bodycolour, 51.5 x 36.5cm (20.25 x 14.5ins) mount aperture, old gilt frame, glazed Amelia Jenkins (1819-1875) married Captain Francis Mountjoy Martin in 1837. Amy married Henry Savile, second son of the 9th Earl of Scarborough in 1874. (1) £200-300

247* Freeman (Jeremiah, circa 1763-1823). Circular miniature view of a Norfolk farmyard, circa 1776, pen & black ink on vellum, depicting a squire conversing in front of a wooden barn, with giant haystack beyond, woman feeding chickens before a farmhouse and pigs feeding at a trough, and cart in the foreground,inscribed to lower left and right edge ‘J.E.R.h. Freeman Delint’ and ‘in the 13 Year of his Age’, 93mm diameter (3.7ins), period gilt frame, glazed, with Charles Plante Fine Arts printed label to verso (ascribing the work to a Thomas Freeman, Fl. 1774-1778 Jeremiah Freeman was christened in Norwich in June 1763, and apprenticed to the Norwich painter Robert van der Mijn in 1777. Following his apprenticeship, he worked for the London carver and gilder Thomas Alwood in 1784, later setting up his own shop in Norwich at 9 London Lane, by 1790, and was described in his obituary as an ‘eminent carver and gilder’. Freeman also exhibited with the Norwich Society of Artists, and became its president in 1818. His son William Freeman (1784-1877) took over the family business, and was also President of the Norwich Society of Artists in 1820 and later Mayor of Norwich in 1843. (1) £150-200

245* English School. Scratchell's Bay, Isle of Wight, from The Needles, mid-19th century, watercolour on paper, heightened with bodycolour, 15.4 x 24cm (6 x 9.5ins), together with two other similiar 19th century views of the Isle of Wight, including a watercolour and pencil study of figures by a quay at Bonchurch Bay, and a pencil view of St. John's Lodge, Ryde, heightened with white bodycolour, 15.2 x 24cm (6 x 9.5ins) (3)

£100-150

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Lot 249

Lot 250

Lot 251

60


250* Haite (Georges Charles, 1855-1924). In the Bazaar, watercolour and gouache on paper, signed lower left, 38 x 34cm (15 x 13.4ins) mount aperture, modern frame, glazed, with Cantsfield Fine Art label to verso (1)

£500-700

251* Attributed to William Osborne Hamilton (1751-1801). The Triumph of Venus and Cupid, fine large-scale watercolour on paper, several closed tears repaired, including a horizontal closed tear across the whole of the upper portion of the image, but generally without loss, 58.5 x 90cm (23 x 35.5ins) mount aperture, framed and glazed (1)

252* Italian School. The Capitoline Doves, 19th century tempera on vellum, a copy or version of the famous floor mosaic discovered in Hadrian’s Villa in Tivoli in 1737, unsigned, 61 x 71cm (24 x 28ins), modern frame

248* Geirnaert (Jozef, 1790/91-1859). The Peasant Guard, pencil on paper, signed lower left, 16 x 10.5cm (6.25 x 4.1ins), mounted, together with other various 19th century French drawings, including P. Castaignet, dated 1841, a coastal view with figures by Leon Boitard, 4 drawings each initialled C.H., and dated 1840 and 1845, depicting French soldiers and horsemen, etc., and 3 landscape drawings by Alexandre Turpin, all mounted (10)

£400-600

The original Roman mosaic is thought to be derived from a Hellenistic model, the Dove Mosaic by Sosus of Pergamon, cited by Pliny in his Natural History. (1) £250-350

253* Lemaire (Madeleine Jeanne, 1845-1928). The Proposal, watercolour on paper, signed lower right, 37 x 31.5cm (14.5 x 12.25ins) mount aperture, period gilt frame, glazed

£100-150

(1)

£200-300

249* Gilpin (William, 1724-1804). Mountainous landscape, with castle on a promontory, pen and brown ink with black and grey wash on paper, laid down on card, 16.5 x 24.7cm (6.5 x 9.75ins), together with another picturesque landscape by William Gilpin, a view of buildings in a valley between mountains, with lone traveller on a horse, pen & dark brown ink, with pale brown wash, heightened with touches of white bodycolour, 14 x 24.3cm (5.5 x 9.6ins), both mounted (2)

£200-300

Lot 252

Lot 253

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Lot 255

Lot 256

256* Miniature. An early 19th century miniature portrait of a young officer of the Grenadier Guards, watercolour and gouache on paper, the officer in red scarlet coatee with gold collar and epaulettes, cream sash with brass cross belt plate, sword and black trousers, 10 x 7.5cm (4 x 3ins), oval gilt mount aperture in a later Henneman & Co ambrotype morocco case, approximately 15.5 x 13cm (6 x 5.25ins) (1)

£200-300

254* Leigh-Hunt (Gerard, 1873-1945). Tower Bridge, London, 1897, watercolour on paper, signed and dated lower left, 23.5 x 33.5cm (9.25 x 13.2ins), framed and glazed, with old label of Denise & Jeremy Bulam 18th & 19th Century Watercolours, London, to verso (1)

£100-150

255 Miller (Frederick, active circa 1875-1900). Shoreham Harbour by Moonlight, Shoreham Harbour by Moonlight, 1879, watercolour on paper, signed and dated lower right, 20 x 34.5cm (8 x 13.5ins), mounted and laid down on card (1)

257* Blundell (N., early 19th century). Two itinerant performers before a rustic audience, 1828, pen & brown ink, pencil and brown wash on wove paper, signed and dated lower right, together with another similar pen, brown ink and wash drawing of street musicians, by N. Blundell, 1828, signed and dated lower left, each 12.8 x 18.5cm (5 x 7.25ins), matching period gilt frames, glazed, both stamped to verso Charles Plante Fine Arts

£150-200

(2)

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£150-200


258* New Zealand. Maori Native of New Zealand, circa 1849, watercolour showing a male Maori in profile wearing European clothing and with tattoo markings, sheet size 25.5 x 20.2cm (10 x 8ins), framed and glazed (1)

260* Prout (Samuel, 1783-1852). View of the Zwinger Palace, Dresden, pen, brown ink and watercolour on wove paper, signed with monogram lower right, 236 x 180mm (9.25 x 7.1ins) The present work would appear to be the original from which the lithograph was made for Prout’s Facsimiles of Sketches made in Flanders and Germany, published by Hullmandel in 1833. (1) £200-300

£100-150

261* Richardson (Thomas Miles, 1813-1890). Waterfalls near Richmond, North Yorkshire, 1836, watercolour on paper in brown, grey and pale blue, heightened with bodycolour, titled Richmond Force, and dated lower right, 24 x 36cm (9.5 x 14.25ins) mount aperture, framed and glazed (1)

259* Keats (Charles James, late 19th century). Street Scenes in Northern France in the olden time, a pair of watercolours on paper, heightened with body colour, each signed lower left, 50 x 32cm (19.75 x 12.5ins), framed and glazed (2)

£150-200

63

£200-300


Lot 262

Lot 263

Lot 264

64


262* Circle of David Alois Schmid (1791-1861). Costumes of the Twenty-Six Cantons of Switzerland, circa 1830s, two watercolours with grey and black ink on wove paper, laid down on card, each depicting 13 female figures in traditional Swiss costume, numbered 1 to 13 in brown ink below each figure, sheet size 31.5 x 47cm (12.75 x 18.5ins), mounted A pair of fine watercolours of Swiss costume, very similar to the watercolours of David Alois Schmid, but with some variations in the figures, as sold by Christies, South Kensington, 6 April 2011, lot 209. (2) £400-600

263* Silhouette. Portrait of a gentleman, early 19th century, black painted silhouette, paper toned, full length profile portrait of a young gentleman facing to the left seated on a wooden chair, wearing a black suit and white stock, and holding a cane and a top hat, 22 x 19.5cm (8.75 x 7.5ins), contemporary stained wood frame, verre eglomisé glass (1)

£200-300

264* Smart (Douglas Ion, 1879-1970). Thames Wharf, circa 1910, watercolour with pen & ink, signed lower right, 12 x 13cm (4.75 x 5.1ins), framed and glazed, with old typewritten label to verso (1)

£70-100

265* Spitzer (Franz, circa 1780-). A group of 11 watercolours of Tyrolean costume, circa 1820-25, 11 fine watercolours on wove paper, each titled in brown ink below the image, 145 x 110mm (5.75 x 4.3ins) mount aperture, modern uniform gilt frames, glazed, with framer’s label of Mawson, Swan & Morgan, Newcastle upon Tyne to verso of each Franz Spitzer was born in Vienna around 1780, and worked in Innsbruck in Austria between 1810 and 1825. Spitzer's fine watercolours showing traditional costumes of the Austrian Tyrol were apparently based on original designs by the Viennese artist Johann Georg Schedler (1777-1866). A series of aquatint plates depicting costumes of the Tyrol and Vorarlberg by Schedler was published in Innsbruck around 1824 (Lipperheide Eba 10). (11) £1000-1500

Lot 265 65

Lot 265


266* Turner (William, 1789-1862, & others). Album of watercolour, wash and pencil views of Oxford, Oxfordshire and the South of England, circa 1822-71, a mid-19th century folio album containing approximately 50 various watercolour views and pencil drawings, by or attributed to William Turner of Oxford and other artists, including At Botley, Berks., Botley Old Mill, Forest Hill, Magdalen College Tower, Saltwood, Kent (1842), St. Lawrence, Isle of Wight (1842), Alderley Rectory (1839), Malvern, Chichester (1842), Sedgley, Staffordshire, Tintern, Malvern, The Old Greyhound Inn, Gravel Walk, Magdalen College, Iffley Church, Littlemoor Church, as first built by Rev. J.H. Newman & his mother, Blenheim (11 July 1834), Monument, Blenheim, Oxford from Holywell, Pembroke College Dining Hall, etc., many executed in blue, brown and grey watercolour wash, 5 botanical studies (initialled S.G., E.M.P. and LAM), 2 pencil drawings entitled The Hermit and Gravestone Radley Church, by W.A. Delamotte (1775-1863), Ruins of Beaumont Palace, Oxford, by Miss Bathurst, Ethorpe, Oxfordshire by Heythrop, Witney Church by Mackenzie, Iffley Mill by R. Mingaye, 1869, Front Entrance of New College, Oxford, by A.J. Mingaye, 1871, Alfred Street, St. Giles’s, Oxford, by A. Mingaye, 1864, 3 watercolour views by R. Davidson of Godstow Nunnery, near Oxford, 1854, Remains of the Chapel of Godstow Nunnery, 1855, & Remains of Newby Abbey, Oxford, 1855, plus 44 various photographs of similar locations, including Worcester Cathedral, Malvern, Little Malvern Church, Newlands, Gloucester Cathedral, Tewkesbury, Goodrich Castle, Entrance to Dugdale, Ludlow, Witney and Bury St. Edmunds, all mounted into album leaves, various sizes, original brown half morocco gilt, rubbed and some wear, with backstrip detached, folio (34.5 x 25.5cm, 14 x 10ins) (1)

Lot 267

£300-400

267* 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

268 Varley (John, 1778-1842). Wooded landscape with watermill, pen, ink and wash on paper, showing figures beside a watermill, with a house on the wooded hillside behind, 15 x 23.5cm (6 x 9.25ins), mounted, framed and glazed, together with Payne (William, circa 1755/60-circa 1830). Figures in a Wood, watercolour, mounted, framed and glazed, with Century Galleries label to verso plus one other related watercolour

The home of Lord Byron, this sketch of Newstead Abbey is poignantly dated shortly after the poet’s death on 19 April 1824. (1) £300-500

(3)

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£200-300


Lot 270 270* Williams (Alexander, 1846-1930). Shipping off the west coast of Ireland, watercolour on wove paper, signed Alexander Williams RHA lower left, 35 x 68cm (13.75 x 26.75ins), laid down on card (1)

269* Watercolour Album. An album of original watercolours and drawings, prints and photographs, circa 1838-41, and later, an early Victorian album containing 19 watercolours, and 20+ pencil drawings, including 4 studies of the military costume of officers in the British Army in India (including one cavalry officer), various views in Europe, including France, Switzerland, Italy, Greece, Gibraltar, Sorrento, Staubbach Falls, several botanical studies, a drawing of a doorway at Caius College, Cambridge, a watercolour view of St. Mary Abbots Church, Kensington, dated 1838, a small watercolour view of a British residence in India, circa 1840,inscribed to verso ‘Done by G.J.Clarke Sir H. William’s & dear Father’s house’, 3 early salt print photographs (2 portraits and one small view of a house by a river in India), various sizes, a few loose, all edges gilt, contemporary gilt-decorated dark green morocco, heavily worn, with upper cover missing and some loss to spine, rear cover detached, 4to (285 x 230mm, 11.25 x 9ins) (1)

£200-300

271* Woodlock (David, 1842-1929). Village scene with young woman carrying basket of washing, and ploughman on a horse, watercolour on paper, signed lower left, 31.2 x 44cm (12.25 x 17.25ins), framed and glazed (1)

£200-300

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£300-500


MARINE PAINTINGS & WATERCOLOURS

Lot 272 272* Back (Robert Trenaman, 1922-2004). Wavertree in a tide race off Lizard, Cornwall, 1974, oil on canvas, signed lower right, with detailed paintedinscription by the artist to verso, signed and dated, 51 x 61cm (20 x 24ins), framed Provenance: Bonhams London, Oil Paintings, Watercolours and Prints, Tuesday 15 January 2002, lot 290. According to the artist’s note on the reverse of the painting, the Wavertree was built in Southampton in 1885, dismasted off the Horn in 1910, and was a wool hulk and sound barge in the Argentine until 1966 when she was discovered and towed to New York in 1970 to be restored as a museum ship. (1) £200-300

273* Carmichael (John Wilson, 1799-1868). Boats in a squall off the coast, watercolour on paper, 16 x 21cm (6.25 x 8.25ins) mount aperture, period gilt moulded frame (some damage), glazed, with later note attached to verso stating that the watercolour was taken from an album of the artist’s work (1)

Lot 273

68

£200-300


Lot 274 274*AR Charman (Rodney John Keith, 1944-). The Pilot Boat, 1975, oil on canvas, signed and dated lower right, title on brass plate attached to frame, 59 x 75cm (23.25 x 29.5ins), framed (1)

ÂŁ200-300

275* Charton (E.M., late 19th/early 20th century). Three-masted barque moored in a harbour, oil on wood panel, signed E.M. CHARTON lower right, numbered 632 to verso (possibly in a French hand), 21 x 26.5cm (8.25 x 10.25ins), framed (1)

ÂŁ200-300

Lot 275

69


276* British School. Clipper Ship at Sea, 20th century, large oil on canvas board, indistinctly signed lower right, 41 x 51cm (16 x 20ins) gilt frame (1)

£200-300

277* English School. Shipping off the coast, storm brewing, oil on card, 180 x 240mm (7.1 x 9.5ins), mounted on pale blue paper (1)

£100-150

278* English School. H.M.S. Britannia, 120 guns, in harbour firing a salute, circa 1830, fine miniature pencil on paper, with embossed decorative border, unsigned, butinscribed ‘No.1 The Britannia 120 guns’, image size 8 x 11.75cm (3.2 x 4.6ins), sheet size 11.5 x 15.3cm (4.5 x 6ins), framed and glazed, with typewritten historical notes on the ship to verso (1)

£100-150

Lot 276

279* English School. Deal from South Break Buoy, mid 19th century watercolour on paper, with traces of pencil, unsigned, showing shipping off the coast of Kent, including an early paddle steamer, 23 x 49cm (9 x 19.25ins), framed and glazed, with title inscribed in blue pencil to verso (1)

£100-150

Lot 277

Lot 278

Lot 280

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Lot 281

280* Fraser (Donald Hamilton, 1929-). Yacht at Sea, colour screenprint, signed and numbered 226/250, framed and glazed (1)

£70-100

281* Grant (Kenneth, 1934-). British merchant ship in a strong breeze, 20th century, oil on canvas, signed lower right, 59.5 x 90cm (23.5 x 35.5ins), framed (1)

£300-500

282* Hellings (H.W., late 19th/early 20th century). The Clipper ‘Lightning’, monochrome watercolour on paper, signed and titled, 24 x 19.5cm (9.5 x 7.75ins), old gilt frame, glazed (1)

£70-100

Lot 282

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Lot 283

283* Ing (Harold Vivian, 1900-1973). S.S. Great Britain leaving Bristol, circa 1950, oil on canvas, signed lower right, 59.5 x 900cm (23.5 x 35.5ins), framed (1)

284* Marine School. Moonlit Harbour, later 19th century, oil on canvas, unsigned, 25.5 x 41.5cm (10 x 16.25ins), gilt frame, together with another 19th century oil on wood panel of Dutch sailing ships on an open sea, a little damage to left margin, 22.3 x 32.5cm (8.75 x 12.75ins)

ÂŁ300-500

(2)

Lot 284

72

ÂŁ100-200


285* Marine School. The S.S. Great Britain entering the Mersey, on her maiden voyage, 13th September 1845, mid-19th century oil on canvas, unsigned, puncture to upper right, with a little loss, 24 x 44cm (9.5 x 17.25ins), gilt frame (damaged) (1)

ÂŁ200-300

286* Marine School. Clipper ship in full sail, late 20th century, oil on canvas, unsigned, 60 x 90cm (24 x 36ins), large gilt gesso frame (1)

ÂŁ200-300

Lot 285

Lot 286

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287* Marine School. British cutter underway, 20th century, oil on canvas, unsigned, 59.5 x 90cm (23.5 x 35.5ins), framed (1)

ÂŁ200-300

288* Miniature Views. A pair of marine watercolours, circa 1802s, two watercolours on card, one depicting British sailing ships in rough seas, the other shipping in calm waters with figures on the coast, some discolouration, each 75 x 100mm (3 x 4ins), laid down on thin wood, one with early printed label of Charles Coles, Carver & Gilder, 3 Square, Winchester, to verso, matching period recessed gilt frames (2)

ÂŁ100-200

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289* Pocock (Nicholas, 1740-1821). H.M.S. Victory sailing down the English Channel, 1813, watercolour on paper, signed and dated lower left, some overall toning and discolouration, 41 x 58cm (16 x 23ins) mount aperture, old gilt frame, some damage, glazed

291*AR Wilcox (Leslie Arthur, 1904-1982). Trading Ships of the Dutch East India Company, becalmed, oil on board, signed lower right, a few surface marks, 45 x 16.5cm (17.75 x 23.75ins) (1)

Provenance: Formerly in the collection of Lieutenant Colonel John Luard (1790-1875), author of Views in India, St. Helena and Car Niobar (1835), and History of the Dress of the British Soldier (1852), his son, Lieutenant General Richard Luard, and Edward Bourryau Luard (1870-1916), with label to verso of the backboard ‘Luard, South Bank, Hereford’, dated June 1917. (1) £700-1000

292* Witham (Joseph, 1831-1912). Eleanor Margaret (Dutch merchantman under full sail), circa 1900, oil on canvas, signed lower right, 59.5 x 89.5cm (23.5 x 35.5ins), modern gilt moulding frame (1)

290* 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)

£400-600

£100-150

Lot 292

75

£300-500


THOMAS CHURCHYARD (1798-1865) A Private Collection 294* Churchyard (Thomas, 1798-1865). The Caged Bird, oil on panel, showing an English cottage, 20 x 15cm (8 x 6ins),inscribed in pencil Emma and titled verso, framed Provenance: Emma & Harriet Churchyard; Edmund Lawrence Van Someren R.O.I. of Melton Suffolk (bought at the Harriet Churchyard sale 1927); Elizabeth Garner-Smith; Reverend Eric. C. Charlesworth. (1) £300-500

293* Churchyard (Thomas, 1798-1865). Whistocks Boatyard, Woodbridge Haven, Suffolk, oil on board, 21.5 x 29cm (8.5 x 11.5ins), contemporarilyinscribed with artists initials verso plus Kate & Tom, framed

295* Churchyard (Thomas, 1798-1865). Suffolk Landscape, possibly Freston Tower on the Orwell, watercolour on paper, 6 x 13cm (2.5 x 5.25ins), framed and glazed Provenance: Peasenhall Art Gallery, Saxmundham, Suffolk. (1)

Provenance: Collection of Connie Tricker of Woodbridge, Suffolk; Reverend Eric C. Charlesworth. (1) £300-500

£200-300

296* Churchyard (Thomas, 1798-1865). Laura Churchyard at her easel, oil on panel, showing an interior scene with the sitter painting, label verso inscribed Ellen and titled, 13.5 x 17.5cm (5.5 x 7ins), framed Provenance: Ellen & Harriet Churchyard; Edmund Lawrence Van Someren; Mrs Elizabeth Gardner-Smith; Reverend Eric. C. Charlesworth. (1) £500-700

Lot 294

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297* Churchyard (Thomas, 1798-1865). Sailing Boat of the River Deben, oil on paper laid onto panel, 15.5 x 10cm (6 x 4ins),inscribed Emma and titled verso, framed, some blistering to the paper Provenance: Harriet Churchyard; Edmund Lawrence Van Someren; Mrs Elizabeth Gardner-Smith; Reverend Eric. C. Charlesworth. (1) £200-300

299* Churchyard (Thomas, 1798-1865). Mrs Harriet Churchyard in her garden, oil on panel, 17.5 x 14cm (7 x 5.5ins), framed Provenance: Emma & Harriet Churchyard; Edmund Lawrence Van Someren; Mrs Elizabeth Gardner-Smith; Reverend Eric. C. Charlesworth. (1) £500-700

298* Churchyard (Thomas, 1798-1865). Rural landscape with man and dog at gate, oil on panel, 13 x 18cm (5.25 x 7.25ins), contemporarilyinscribed with artists initials verso, gilt frame Provenance: Reverend Eric. C. Charlesworth. (1)

£300-500

300* Churchyard (Thomas, 1798-1865). Shingle Street near Woodbridge, Suffolk, oil on board,inscribed with artists initials and Betsy verso, 14.5 x 21.5cm (5.75 x 8.5ins), framed Provenance: Connie Tricker of Woodbridge, Suffolk; Reverend Eric. C. Charlesworth. (1) £400-600

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303* Churchyard (Thomas, 1798-1865). Windy day near Melton, Suffolk, watercolour on paper, titled verso, 25.5 x 38cm (10 x 15ins), framed and glazed

301* Churchyard (Thomas, 1798-1865). Rural landscape with pond, cottage and trees, oil on panel, contemporarilyinscribed with artists initials and Kate verso, 18 x 23.5cm (7 x 9.25ins), gilt frame

Provenance: Mrs Wiggan, Loudham Park, Wickham Market, Suffolk, purchased from Harriet Churchyard 1923 with receipt verso; Loudham Park Auction, 27 June 1967; Reverend Eric C. Charlesworth. (1) £200-300

Provenance: Connie & Clare Tricker of Woodbridge, Suffolk; Reverend Eric. C. Charlesworth. (1) £300-500

302* Churchyard (Thomas, 1798-1865). Wind in the Trees, watercolour on paper, showing a rural landscape with cottages and trees in the foreground, titled verso 26 x 37cm (10.25 x 14.5ins) mount aperture, framed and glazed Provenance: Harriet Churchyard; Ian Watcham of Ipswich Road, Woodbridge; Reverend Eric. C. Charlesworth. (1) £200-300

304* Churchyard (Thomas, 1798-1865). The Solitary Tomb, watercolour on paper, showing a rural landscape with farmer in the foreground before a large river, 14.5 x 20cm (5.75 x 8ins) title contemporarilyinscribed to margin ‘Vide Page 36, Churchyard’, framed and glazed 39 x 41cm (15.5 x 16ins) Provenance: From an album collected by William Quilter (1808-1888), sold in these rooms on 27 July 2006 (Lot 164), purchased by Reverend Eric. C. Charlesworth from Christopher Mendez, London. (1) £300-400

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307* Churchyard (Thomas, 1798-1865). Haugh Lane, Woodbridge, Suffolk, watercolour on paper, 19 x 28.5cm (7.5 x 11.25ins) mount aperture, framed and glazed, with manuscript card verso a wedding present from Harold & Elsie Lingwood

305* Churchyard (Thomas, 1798-1865). View of the River Deben, Woodbridge, Suffolk with Tide Mill in Left Side, oil on board, showing a steam train in a rural landscape, 22.5 x 32cm (8.74 x 12.5ins), in a contemporary gilt gesso moulded frame (1)

Provenance: Harriet Churchyard; Harold Lingwood of Martlesham, Bosmere House; Reverend Eric. C. Charlesworth. (1) £200-300

£400-600

306* Churchyard (Thomas, 1798-1865). View of St. John’ Church from the River Deben , Woodbridge, Suffolk, oil on panel, 18.5 x 24cm (7.25 x 9.5ins), in a contemporary gilt gesso moulded frame Provenance: Robin Finch, Governor of Hollesley Bay, Borstal Prison 1951. (1) £400-600

308* Churchyard (Thomas, 1798-1865). Whitlingham Reach, near Norwich, oil on board, showing a wooden pathway by a river, 56.5 x 46cm (22.25 x 18ins), in a gilt moulded framed, with a typed letter verso dated 1987 from Denis Thomas to Wallace Morfey, author of “Painting the Day Thomas Churchyard of Woodbridge” Denis Thomas is the author of Thomas Churchyard of Woodbridge, published by Quadrangle Books in 1966. The letter compares the present work with the view by John Crome titled ‘River Scene, Evening’ in the Royal Museum, Canterbury. (1) £700-1000

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19TH CENTURY & TRADITIONAL PAINTINGS & DRAWINGS

Lot 310

309* Calvert (Edward, 1799-1883). Standing Nymph, oil on paper, inscribed in pencil Edward Calvert to verso in a later hand, sheet size 25 x 14.5cm (9.9 x 5.75ins), framed and glazed, with Sabin Galleries Limited, 4 Cork Street label to verso, and old Sotheby’s property number sticker bearing the number H 088882 Provenance: From the Collection of Colin and Joy Emberson, the majority of whose collection was sold in these rooms March 1, 2017. (1) £700-1000

310* Dutch School. Interior with man plying a maid with drink, 19th century, oil on wood panel, showing a man with his arm around a young maid holding a glass, with his wife looking through a window above, unsigned, 22 x 15.2cm (8.7 x 6ins), gilt frame, together with a mid-19th century oil on wood panel of a Swiss mountain lake scene with two figures in a boat, 22 x 19cm (8.6 x 7.5ins), gilt frame (2)

311* 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

£150-200

(1)

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£200-300


Lot 313

312* Frampton (Edward Reginald 1870 - 1923). Once Upon a Time, 1904, oil on board, signed lower left, 25.5 x 18cm (10 x 7ins), with institute of Oil Painters label to verso, dated October 1904, giving the date, artist’s name and address, price and exhibition number, framed and glazed Lot 314

Provenance: Private Collection, Berkshire, England. According to Aylmer Vallance, Frampton encountered the work of Burne-Jones at the artist’s posthumous exhibition in London in 1898-99, where it struck him ‘with the force of a very revelation, opening his eyes to the supreme possibilities of the human form in decoration’ (The Studo, No. 75, December 1918, page 67). (1) £2000-3000

313* Gobert (Henri Toussaint, active 1831-1881). Landscape with mill and figures by the millpond, fine miniature oil on paper, fixed under glass, period black and gilt moulded decorative frame, signed to verso ‘henry Gobert Fecit’, 5.5 x 7.5cm (2.1 x 3ins) (1)

£150-200

314* 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)

£150-200

315* Johnson (Sidney Yates, active 1890-1926). English landscape with corn harvest, 1926, oil on canvas, signed and dated lower right, 41 x 61cm (16 x 24ins), period gilt frame, glazed, with Waring & Gillow Picture Galleries label to verso (1)

Lot 315

£150-200

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Lot 316

82


Lot 319

316* Leys (Hendrik, 1815-1869). Gerrit Six in Rembrandt’s Studio, oil on wood panel, signed lower left, large wax seal to reverse of the panel, and 19th century auction stencil 2860, 75 x 57cm (29.5 x 22.5ins), period stained wood frame A period copy in reverse of this large painting by the Dutch historical painter Hendrik Leys was offered at auction by Bernaerts Veilinghuis, Belgium, 24 October 2016, lot 29 (measuring 58 x 42cm). (1) £2000-3000

318* Naive School. Figures in a town square, north of England, by C.T. Marshall, 1893, oil on canvas, signed and dated lower right, relined, 40.5 x 50.5cm (16 x 19.8ins) (1)

317* Mercer (Frederick, active circa 1875-circa 1937). Evening in Packington Park, Warwickshire, 1911, watercolour on paper, signed and dated lower right, 223 x 362mm (8.75 x 14.25ins), framed and glazed (1)

£100-200

319* Naive School. Terriers playing, circa 1830s, oil on canvas (relined), showing two terriers with bone and bowl, 70 x 88cm (27.5 x 34ins), contemporary oak and gilt frame (1)

£100-150

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£2000-3000


Lot 321

Lot 323

320* Reinagle (Ramsay Richard, 1775-1862). Landscape with mountains, 1826, oil on thin wood panel, 130 x 195mm (5.1 x 7.7ins), framed, with contemporaryinscription in ink to verso ‘painted by R. Reinagle... 1826’ (somewhat indistinct) (1)

322* Shepheard (George Walwyn, 1804-1852). Study of a Tree, 1844, pencil on paper, signed and dated, 21 x 30cm (8.25 x 11.75ins), framed and glazed (1)

323* Stabli (Adolf, 1842-1901). The Falls of the Rhine at Schaffhausen, Pilatus near Lucerne, & Rigi-Kanzeli with view of Mount Pilatus, circa 1880s, together three miniature oils on card, the first signed towards lower right, the second titled to verso Pilatus, and the third titled to verso Rigi-Kanzeli, generally in very good condition, the last view with very slight chips to extreme lower corners, each 95 x 136mm (3.75 x 5.35ins)

321* Attributed to George Morland (1763-1804). Going out to hunt, black chalk on pale brown paper, unsigned, sheet size 48 x 64cm (18.8 x 25.25ins), remains of wax seals to paper margins verso, old frame, glazed (1)

£70-100

£300-500

£200-300

(3)

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£200-300


Lot 325

Lot 326 326* Waller (Samuel Edmund, 1850-1903). Leaving the Paddock, 1881, oil on canvas, signed and dated lower left, relined, 35.5 x 46cm (14 x 18ins), framed (1)

£500-800

324* Attributed to Joseph Thors (1835-1884). Rural cottage by a pond, oil on canvas (relined), unsigned, 40.5 x 61cm (16 x 24ins), in a modern gilt moulded frame, with receipt of sale Provenance: Purchased from Ampthill Galleries, 1989. (1)

£200-300

325* Walbourn (Ernest Charles, 1872-1927). On the Ouse, oil on board, studio stamp to lower right, 30.5 x 46cm (12 x 18ins), framed, with Bourne Gallery label to verso, stating that theis work came from the artist’s studio collection, signed by Ernest D. Walbourn, and dated 1st March 1987 Private Collection. Exhibited: Bourne Gallery, Reigate, Paintings from the Studio Collection of Ernest Walbourn presented by Bourne Gallery and Jeremy Wood Fine Art, April 25th-May 14th 1987, Catalogue No. 20. A copy of the exhibition catalogue is included with this lot. (1) £200-300

327* Wyburd (Francis John, 1826-1893). Young woman seated, wearing pearls and a fur-lined blue cape, oil on board, signed with monogram lower left, 29.5 x 23.5cm (11.5 x 9.25ins) mount aperture, period moulded gilt frame, glazed, with old auction stencil number to verso (1)

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£700-1000


EVELYN DE MORGAN (1855-1919) Drawings, Preparatory Studies & Related Works from a Private Collection

328* Burne-Jones (Edward Coley, 1833-1898). Sketches drawn in Roddam Spencer Stanhope’s studio, a collection of small pencil sketches on a single sheet of paper, mostly figure and head studies, including several self-portraits, one of the artist with his palette, one annotation in the artist’s hand ‘Borgia’, lightly toned and spotted, 35.5 x 25cm (14 x 10ins), mounted, framed and glazed Provenance: The collection of Mrs. Roddam Spencer Stanhope; by descent to her niece Mrs. A.M.W. Stirling. Bibliography: ‘A Painter of Dreams’, by A.M.W. Stirling, pp.332-333. Edward Burne-Jones produced a number of sketched self-portraits and caricatures of himself, often embellishing his correspondence with such drawings. Some show him in comic despair, and it has been suggested that he used this medium of artistic expression to raise himself out of the melancholy which often overtook him. English artist John Roddam Spencer Stanhope (1829-1908) was a close associate of Edward Burne-Jone, and one of his most important followers. The artists were frequent visitors to each other’s houses, and although slightly the elder, Stanhope was strongly influenced by his friend. Stanhope’s niece was Evelyn De Morgan, who often travelled to stay with him in Florence where he set up home in 1880. Evelyn’s sister, Anna Stirling (née Pickering), wrote the collection of essays ‘A Painter of Dreams’ which included reminiscences of her uncle, and in which this work is illustrated. (1) £700-1000

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329* De Morgan (Evelyn, 1855-1919). Study of female arms and hands, coloured chalks on brown paper, showing a pair of outstretched arms, the hands with fingers poised, some pin holes to upper edge and lower corners, sheet size 26 x 48cm (10.25 x 19ins) (1)

£300-500

331* De Morgan (Evelyn, 1855-1919). Study for Deianira, pencil on thick paper, laid down on card, showing the full-length profile figure of Deianira in a wind-swept landscape, clutching her head in her hands in despair, dusty, some small marks, mostly marginal, but one stain to upper portion touching drapery and hair, marginal pin holes, sheet size (not including mount) 45 x 30cm (17.75 x 11.75ins)

330* De Morgan (Evelyn, 1855-1919). Compositional study for By the Waters of Babylon, black & white chalks on blue-grey paper, showing a frieze of seven figures, one with a harp, in a landscape with trees, image size 21.5 x 40cm (8.5 x 15.75ins), sheet size 28 x 42cm (11 x 16.5ins)

A preparatory study for ‘Deianira’, of which Evelyn De Morgan painted two versions, one in watercolour and the other in oil. The monogrammed watercolour is a similar size to the drawing offered here, and was sold in the 1980s by Peter Nahum at The Leicester Galleries, London. The oil was larger, and was signed and dated 1878. It was sold at Sotheby’s on 17th March 1971 (lot 137), and was acquired then or later by the De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plate 72). However, it was subsequently lost in October 1991 when a fire raged through Bourlet’s art storage unit in south-west London where some of the De Morgan Foundation’s art collection was being held. In Greek mythology Deianira was the wife of Heracles, who had won her hand by defeating the river god Achelous in a wrestling match. After their marriage Heracles shot the centaur Nessus with a poisoned arrow, after he tried to run off with Deianira. The dying centaur gave some of his blood to Deianira, saying that if Heracles was ever unfaithful the blood would revive his feelings for her. When later Deianira had occasion to follow the centaur’s advice, sending Heracles a blood-smeared tunic, the garment burned him to death. On hearing that she had unwittingly killed her husband Deianira took her own life. De Morgan chooses to depict Deianira at the moment of despair, just before her suicide. Her face is curiously calm, but she is a large solitary figure in a bare landscape, which reinforces her attitude of grief. In the oil painting there is more detail in both landscape and figure, but in all three versions she is clearly bereft. In both the pencil drawing and the watercolour the trees move with the wind, but in the oil they are resolutely still. The face of Deiarina in each version is subtley different, the drawing showing her at her most inward-looking, oblivious to the elements which cause her cloak to billow over her head. (1) £700-1000

A preliminary sketch for ‘By the Waters of Babylon’, Evelyn de Morgan’s large scale oil painting, illustrating the Biblical story of the exile of the Jews in Psalm 137. She finished the work in 1882, and it is now held by the De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plate 11). This early study is typical of the artist’s first loose compositional sketches for a work. It is interesting to see that, although two of the main figures present in the oil painting do not yet take their place, the final composition in outline deviates little from her initial concept. (1) £200-300

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Lot 332

Lot 333 332* De Morgan (Evelyn, 1855-1919). Study of a head and hands, 1877, pencil on thick paper, profile head and shoulders portrait of a curly-haired boy turned to the left, above a study of two hands, initialled and dated in pencil to right-hand margin, a little dusty (mainly to margins), sheet size 35 x 25cm (14 x 10ins) (1)

£300-500

333* De Morgan (Evelyn, 1855-1919). Study of a female nude for Port after Stormy Seas, coloured chalks on green paper, depicting a reclining female nude with left arm slightly raised and supported, soiled and frayed with slight loss to right-hand margin, not affecting image, sheet size 38 x 54.5cm (15 x 21.5ins) Evelyn De Morgan’s allegorical oil painting ‘Port After Stormy Seas’ (1905) is based directly on Spenser’s Faerie Queen, Canto IX, 40-41: ‘Sleep after toyle, port after stormie seas/Ease after warre, death after life doe greatly please’. It is housed in the De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plate 46), and depicts a weary but peaceful woman, draped on some rocks, with the Angel of Death as her helper in the transition from the difficulties of life to the light of the peaceful land in the distance. Our preparatory study shows De Morgan exploring the placement and attitude of the main protagonist. The drawing of such preliminary studies formed an important stage in the artist’s process of creating paintings throughout her career. She typically drew a figure unclothed before drawing it clothed, to ensure anatomical accuracy and enable her to convey realistically the effect of drapery around the body. (1) £800-1200

334* De Morgan (Evelyn, 1855-1919). Study of a female nude for The Kingdom of Heaven Suffereth Violence and the Violent Take It By Force, black & white chalks on brown paper, depicting a standing female nude with torso bent forward and head in hands, sheet size 52 x 27.5cm (20.5 x 10.75ins)

Lot 334

The oil painting for which this study was executed was completed in 1878, and is now held by the De Morgan Foundation. There has been much debate over the meaning of the Biblical passage from which De Morgan’s allegorial painting takes its title: “And from the days of John the Baptist until now the kingdom of heaven suffereth violence, and the violent take it by force” (Matthew 11:12). Judy Oberhausen states that “of all De Morgan’s paintings this may be considered her masterpiece because it utilizes the artist’s considerable technical skill to convey a personal vision of the spiritualist notion of spiritual evolution” (‘Evelyn De Morgan, oil paintings’, DMF, 1996, p.43, plate 53). Through composition and palette changes the artist works out the idea of the spiritual progress of the soul from the stagnation of sin in the lower portion of the picture, through various stages of struggle, to ultimate enlightenment and celestial light. Our preparatory study shows De Morgan exploring the stance of the lower left figure, one of the undeveloped souls, whose body is bowed over in anguish with her head clasped in her hands in despair, conveying a weight of sin and darkness. (1) £300-500

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Lot 335

Lot 336

335* De Morgan (Evelyn, 1855-1919). Double nude study for The Kingdom of Heaven Suffereth Violence and the Violent Take It By Force, black & white chalks on brown paper, depicting two standing female nudes, one with arms outstretched to either side, the other in a stooping posture, sheet size 35.5 x 54.5cm (14 x 21.5ins)

336* De Morgan (Evelyn, 1855-1919). Study of a female nude for Cadmus and Harmonia, black chalk highlighted with white chalk on brown paper, depicting a standing female nude entwined by a snake, loss and minor fraying to upper margin, one short tear slightly encroaching on the figure’s hair, reverse with a drawing of a Michelagelesque female saint reading, black chalk highlighted with white chalk, sheet size 51 x 30.5cm (20 x 12ins), together with another study for Harmonia and the snake, pencil on card, dusty, a few marks to right-hand blank margin, trimmed to upper edge, with loss of single line pencil border, sheet size 28.5 x 6.75cm (11.25 x 17ins)

The oil painting for which this study was executed was completed in 1878, and is now held by the De Morgan Foundation. There has been much debate over the meaning of the Biblical passage from which De Morgan’s allegorial painting takes its title: “And from the days of John the Baptist until now the kingdom of heaven suffereth violence, and the violent take it by force” (Matthew 11:12). Judy Oberhausen states that “of all De Morgan’s paintings this may be considered her masterpiece because it utilizes the artist’s considerable technical skill to convey a personal vision of the spiritualist notion of spiritual evolution” (‘Evelyn De Morgan, oil paintings’, DMF, 1996, p.43, plate 53). Through composition and palette changes the artist works out the idea of the spiritual progress of the soul from the stagnation of sin in the lower portion of the picture, through various stages of struggle, to ultimate enlightenment and celestial light. Our preparatory study shows De Morgan exploring, on the left-hand side of the sheet, the posture of one of the figures on the right who is breaking free from her fetters and moving towards the celestial light, and on the right-hand side of the sheet, one of the souls as yet in the mire of despondency, bowed over and clutching one hand to her breast. The De Morgan Foundation holds five similar studies of female nudes for the painting, as well as several associated drapery studies. (1 ) £300-500

‘Cadmus and Harmonia’ is housed in the De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plate 3). The subject of the painting is taken from Ovid’s Metamorphoses (Book IV, 563-603). It depicts Cadmus after his transformation into a serpent, entwining himself around his wife. The following lines from Ovid accompanied the work when it was exhibited: “With lambent tongue he kissed her patient face,/Crept in her bosom as his dwelling place/Entwined her neck, and shared the loved embrace.” The work was painted in 1877, shortly after De Morgan had returned from a trip to Italy. The figure of Harmonia is reminiscent of the central figure in Botticelli’s ‘The Birth of Venus’, which Evelyn had copied as a student (the De Morgan Foundation houses a watercolour she made after Botticelli’s famous work). (2) £300-500

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Lot 338

90


339* De Morgan (William, 1839-1917). Study of a dragon, pencil highlighted with bodycolour on grey paper, showing a tethered dragon, pencil grid to aid enlargement, signed in ink lower right, lightly damp-stained to lower right (touching image), biro annotations on verso, sheet size 15 x 31cm (6 x 12ins) Drawing made for the front panel in a Morris & Co. ebonised oak cabinet which belonged to Mrs. Stirling, and is now in the collection of the De Morgan Foundation. Although the oil painting on the cabinet is attributed to William De Morgan, there is a design for the panel in the hand of his wife, Evelyn. The presence of this dragon drawing suggests that there are certainly grounds for the attribution, and probably the design was the result of a collaboration by the two artists. The hand-written note on the verso of this drawing states: “Sketch made by William De Morgan for panel in the Morris & Co built china cabinet at Old Battersea House showing the Dragon in the painting done by De Morgan. This drawing (and painting) must NOT be confused with St. George and the Dragon. It is of course St. Martha’s Dragon. In this picture St. Martha has tethered the Dragon with a silken rope and is taking it back to TARRASCON in Provence, France to show the townspeople who were terrorized by it.” However, the De Morgan Foundation states that the image is indeed of St. George’s dragon, a theory which seems to be borne out by the knight that kneels in front of the people (in this tale the citizens of Silene) and the sword lodged in the side of the beast (St. Martha tamed her dragon, without recourse to violence and injury). Known first and foremost as the principal potter of the Arts & Crafts Movement, William De Morgan’s imagery has a number of recurring themes, and one which he returned to again and again was the dragon, depicting this and other fantastical beasts in tiles, vases, chargers and dishes. (1) £300-500

337* De Morgan (Evelyn, 1855-1919). Double study of male figures for Aurora Triumphans, black & white chalks on brown paper, showing two male figures, each blowing a trumpet, some marginal pin holes, sheet size 31.5 x 48cm (12.5 x 19ins), together with a pencil study on card for the same work, depicting a male head, half profile turned to the left, blowing a trumpet, a trifle dusty, image size approximately 12.5 x 15cm (5 x 6ins), sheet size 25.5 x 35.5cm (10 x 14ins) ‘Aurora Triumphans’ was exhibited in 1886 at the Grosvenor Gallery, London, and it is now in the Russell-Cotes Art Gallery & Museum, Bournemouth (‘Evelyn De Morgan, oil paintings’, DMF, plate 23). Merton Russell-Cotes’s son, Herbert, bought it for the museum around 1922 believing it to be by Edward Burne-Jones after an unscrupulous art dealer had painted over the signature with Burne-Jones’s initials. The oil shows the Roman goddess of the dawn, Aurora, breaking the shackles of night. Dominating the picture are three red-winged angelic trumpeters in gold tunics, for which these preparatory studies were executed. The De Morgan Foundation has a similar pencil drawing of a male head in profile blowing a trumpet. (2) £400-600

338* De Morgan (Evelyn, 1855-1919). Sketchbook of anatomical studies, twenty-two pastel drawings on rectos of sixteen tan card leaves (and five blank leaves at rear), of hands, arms, feet, torsos, and necks, leaf size 37 x 24cm (14.5 x 9.5ins), edges rough-trimmed, original green cloth with pencil holder and elastic closure (stretched), some soiling to upper cover, folio Evelyn De Morgan’s preparatory studies are both beautiful in their own right and enlightening for what they tell us about her working process. Her drawings for each work are extensive, and include both loose and more finished compositional sketches, detailed life studies of nude and clothed figures, drawings of drapery and details of faces and anatomy. Expressive hand gestures are a frequent characteristic of De Morgan’s oil paintings, and she particularly studied hands and feet in exquisite detail in her pursuit of realism. Because she rarely deviated from her initial conception we can say with certainty that several of the sketches contained in this album were produced for ‘Pro Patria Mori’, one of De Morgan’s works destroyed by fire in October 1991 (‘Evelyn De Morgan, oil paintings’, DMF, plate 96). (1) £1500-2000

340* De Morgan (William, 1839-1917). Design for a tile, watercolour on thick paper, square design of a sunflower circled by a leafy stem, in shades of blue, somewhat soiled, design size 20.5 x 20.5cm (8 x 8ins), sheet size 24.5 x 26cm (9.75 x 10.25ins) See Jon Catleugh, William De Morgan, Tiles, 1991, pp.65-67. William De Morgan produced a number of different designs featuring sunflowers. We have been unable to establish whether this particular image was ever used. A tile with a similar depiction of a sunflower in blue was sold at Woolley & Wallis on 5th March 2014 (lot 256). (1) £100-150

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Lot 341

Lot 342

341* Rheam (Henry Meynell, 1859-1920). Study of a Head, March 1894, watercolour, head and shoulders portrait, profile to left, of a young lady with flowing locks, wearing a scarlet dress and gazing upwards as if entranced, monogrammed and dated upper left, 29 x 19cm (11.5 x 7.5ins), gilt mount and frame, glazed, signed by the artist on the backboard and with title and date also in the artist’s hand

342* Seymour (Walter, active 1873-1896). Study of a female nude, pencil on artist’s board, depicting a full-length female nude, halfprofile turned to the left, holding a length of beads above her head, contemporary inscription to left-hand margin ‘By the late Walter Seymour’, image size 47 x 14.5cm (18.5 x 5.75ins), mounted, framed and glazed A highly skilled drawing, reminiscent of Lawrence Alma-Tadema’s classical beauties. (1) £150-250

Henry Rheam studied art in Germany, at Heatherly’s in London, and at Julian’s Atelier in Paris. He worked mainly in watercolour, and for a brief period he contributed greatly to the output of the Newlyn School of artists (having also benefited the town with his prowess on the cricket field). However, the majority of Rheam’s paintings are in a romantic, late PreRaphaelite style; by the mid 1890s, he had turned exclusively to such illustrative subjects. (1) £500-800

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17TH TO 19TH CENTURY OLD MASTER PAINTINGS

343* Dutch School. Portrait of a Lady, circa 1620-40, oil on wood panel, of a young woman wearing a lace cap and millstone ruff, 58 x 45.5cm (22.75 x 17.9ins) (1)

£1000-1500

Lot 343

344* English School. Mary Magdalen, circa 1850s, oil on Winsor & Newton prepared mill-board, with printed label to verso, unsigned, 13.5 x 25.5cm (12 x 10 ins), attractive period gilt frame (1)

£300-500

Lot 344

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345* After Charles Heaphy (1820-1881). Thorndon Flat and Part of the City of Wellington, New Zealand, circa 1840s, oil on canvas, unsigned, 62 x 74cm (24 x 29ins), contemporary burr walnut frame Provenance: Acquired by Dr Charles Arundel Overbury Fox (1886-1971) from Francis Edwards, London, circa 1935. Fox was an English collector of early New Zealand and Pacific works of art; acquired by the current owner's family from the estate of Dr Fox following his death in Birmingham, England, in 1971. Some brief manuscript notes of provenance in Dr Fox's hand and a letter from Rex Nan Kivell of the Redfern Gallery, London, dated 20 May 1959, are offered with the lot. The letter from Rex Nan Kivell suggests a connection with a lithograph Charles Heaphy and says that he has a painting of the same size that is obviously a copy from the lithograph. An early large-scale painting of the harbour and settlement of Wellington in New Zealand. As a composition, this painting is most similar to that engraved by Thomas Allom after the drawing by Charles Heaphy entitled 'Part of Lambton Harbour, Port Nicholson, New Zealand; Comprehending about One Third of the Waterfrontage of the Town of Wellington, April, 1841', published for the New Zealand Company in 1842. Unlike the original watercolour of the same scene which has no figures by the flagpole on 'Flagstaff Hill' from where the scene is observed, two groups of three figures have been added into the engraving, one European and five Maori. The flag in the watercolour is that of the New Zealand Company while the lithograph shows a Union Jack. The painting here offered shows many similar characteristics to the watercolour and print and strongly suggests the artist had knowledge of the print. Charles Heaphy was employed by the New Zealand Company as a draughtsman and drew his watercolour in April 1841. He presented the new settlement in a positive light in order to attract new immigrants and investors, showing cows wandering on the beach, the Maori in the foreground welcoming a European, and the gentle hills suggesting suitability for farming. Heaphy is not known to have painted in oils. The painting here has five figures set in two groups by the flagpole, but also shows European and Maori figures, a man in a straw hat facing the viewer possibly being that of the artist. The flag is that of the New Zealand Company and unlike Heaphy's watercolour and the print after it, is shown furled and not blowing in the breeze. There are fewer boats in the harbour in this painting than in Heaphy's version and while there are no cows on the beach there are various figures in front of the Maori settlement. The tide is out and shows a tongue-shaped spit of sand near identical to Heaphy's depiction; the settlements along the far shore and rising chimney smoke below the hills are very similar too. With thanks for the assistance of Dr Oliver Stead of the Alexander Turnbull Library, Wellington, New Zealand. (1)

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ÂŁ3000-5000


346* Michel (Georges, 1763-1843). Rural Landscape, with figure and windmill, oil on panel, signed lower right, 32.5 x 46cm (12.5 x 18ins), in a deep gesso frame with name plaque, Le Garde Meuble Public Bedel & Cie label verso (1)

ÂŁ200-300

347* Attributed to Salomon van Ruysdael (1602-1670). Landscape with figures by a pool, oil on canvas, old relining, some discolouration, early 19th century handwritten label to verso giving the artist's name and the title Trees and Pond (partly obliterated), 26 x 37cm (10.25 x 14.5ins) (1)

ÂŁ700-1000

Lot 346

Lot 347

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HISTORICAL PORTRAITS

348* 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 (1)

350* English School. Portrait of an infant, circa 1830, oil on canvas, 24.5 x 25.5cm (9.5 x 10ins), in a contemporary gilt gesso frame with circular aperture 32.5 x 32.5cm (12.5 x 12.5ins), manuscript label verso

£300-500

The inscription on the label reads ‘Infant removed from the portrait of Mary Follett or Folliott, Grandmother of Lady Houston & Mrs Hoskins’. (1) £150-200

349* English School. Portrait of a gentleman in brown jacket and green cap, thought to be Alexander Pope, mid-18th century oil on canvas, relined and restored, with some surface wear and discolouration, 77 x 66cm (30.25 x 26ins), old gilt frame (damaged), the stretcher with printed label of J. Myers, Carver and Gilder, 40, Prince's Street, Soho, London, the frame annotated in early pencil '6 Arch Library', and stretcher and frame marked DH35 in white paint

351* English School. Portrait of a Young Woman, circa 1900, oil on canvas, indistinctly signed lower right, 35.5 x 25cm (14 x 9.75ins), framed

(1)

(1)

£700-1000

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£150-200


352* Lutterell (Edward, circa 1650-1737). Charles Edward Mortimer of Clare Hall aged 7 years & 2 months, & Caroline Amelia Mortimer, 1724, a pair of oval pastel portraits on copper, each inscribed with the sitter’s identity, the first also signed, 24 x 17cm (9.5 x 6.75ins), verre eglamisé and early gilt moulded frames, glazed Provenance: Sold Christie’s London, 14 December 1971, for 140 guineas; Dudley Snelgrove Collection; sold Sotheby’s 19 November 1992, lot 168, for £500. Private Collection, Bath, England. (2) £800-1200

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OLD MASTER PRINTS & DRAWINGS 355* Bolswert (Schelte Adams, 1576-1659). Stormy Landscape, circa 1638, etching on laid paper, from the Set of Small Landscapes, after Peter Paul Rubens, with artist and engraver’s name lower left, and name of the publisher Gillis Hendricx, Antwerp, lower right, trimmed to image, and with some marks, corner mounted on old backing paper, sheet size 300 x 420mm (11.8 x 16.5ins), together with Van Dalen (Cornelis, circa 1602-1665), Doubting Thomas touching Christ’s wound, circa 1638, engraving on laid paper by Van Dalen after Wouter Pietersz. Crabeth (15931644), central vertical crease, trimmed just outside plate margin, sheet size 431 x 518mm (17 x 20.4ins), hinge-mounted on old backing paper, plus 9 other various Old Master prints after Rubens, Claude and others, including a hand coloured soft-ground etching of the head of a saint, possibly after Michelangelo, an etched portrait of Pietro Medici, dilettante di pittura, by Campiglia, etc., and two 19th century pen and wash drawings of Fountains Abbey and Dalswinton Castle, Scotland, and a pen & ink drawing of Indian cavalry men, by Edward Cornwall Gardner, signed and dated 1838 to verso (stained) (14)

£100-200

353* Attributed to Hans Sebald Beham (1500-1550). Saint Sebaldus seated, holding a staff and a model of a church, 1521, pen & brown ink on laid paper, dated 1521, some marks and soiling, sheet size 123 x 102mm (4.85 x 4ins) Provenance: Private Collection, Oxfordshire. Saint Sebald is the patron saint of Nuremberg, and the Church of Saint Sebald is the oldest and one of the most important churches in the city. The present drawing is dated 1521, the year in which the Diet of Worms was issued and it was Nuremberg that was the first German city to adopt Luther’s protestant church reforms. An engraving of Saint Sebald by Hans Sebald Beham, also dating from 1521 shows the Saint seated in the cleft of a tree, with the same attributes. (1) £200-300

356* After Hieronymus Bosch (1450-1516). Sorgheloos Leven [The Dissolute Household], circa 1630-50, copper engraving on laid paper, published by Jan Galle, Antwerp, lettered ‘H.Bos. inven’ and ‘Jo. Galle exc.’ lower right, with 6 lines of verse in Flemish to upper border, and 2 lines of Latin and 3 lines of French immediately below (Vita curarum expers, and Vie sans soucy), a further 2 lines of Flemish below these, and 4 lines of Flemish verse to lower left and lower right margin, and the title ‘Sorgheloos Leven’ with 2 lines of Flemish text below it to centre of lower margin, trimmed to plate margin, sheet size 205 x 280mm (8 x 11ins), hinge-mounted on 20th century card Hollstein (under Bosch) 46. This work has also been attributed to Pieter Balten (circa 1525-1598). Early 20th century oval collectors mark to verso ‘vg’ within an oval printed in green. Rare. See also British Museum Prints & Drawings 1862, 0208.64. (1) £200-300

354* Boissieu (Jean-Jacques de, 1736-1810). Pie VII souverain pontif cedant à l’empressement des Lionnois, 1805, etching on laid paper, together with Le Moulin de Ruysdael, 1774, etching on laid paper, plus other similar large etchings by Boissieu including Entrée du Village de Lantilly, 1804, landscapes after Ruysdael, Asselin, Poussin, etc., circa 1773-1804, various plate sizes (8 large-format uncoloured etchings and 7 smaller scale etchings with hand colouring), all by Boissieu, sheet size 40.5 x 58cm (16 x 22.75ins) (15)

£200-300

98


Lot 357 357* Brambilla (Ambrogio, active 1582-1599). Cucina per il pasto de Zan Trippu, 1583, engraving on laid paper, trimmed to plate margins, some marks, outer margins strengthened to verso, sheet size 163 x 265mm (6.4 x 10.4ins)

358* Breen (Gillis van, active circa 1597-1602). The Grinding of Tongues, & The Smithy of Heads, after Karel van Mander (15481606), two engravings on laid paper, each with four lines of latin verse below the image, and with four lines of Dutch verse to lower blank margin below, each plate size 195 x 265mm (7.7 x 10.5ins), sheet size 280 x 365mm (11 x 14.4ins), both mounted

Rare. An early culinary print depicting the preparation of the wedding feast of Zan Trippu, a character from the commedia dell'arte, showing the comic characters Burati seated with a pestle and mortar, Zaccagni fondling Ma. balzarina, Zan Zaccagni, Ma. nespola and M. Gratian. (1) ÂŁ200-300

Hollstein 74-75. (2)

Lot 358 99

ÂŁ200-300


359* Burgkmair (Hans, 1473-1531). The Triumph of Emperor Maximilian I (Kaiser Maximilians I. Triumph. Le Triomphe de l'Empereur Maximilien I, Une Suite de Cent Trente Cinq Planches gravées en bois d'apres les desseins de Hans Burgkmair), Vienna & London, Matthias André Schmidt & J. Edwards, 1796, a collection of 88 woodcuts (from the total of 135), including 56 full sheet (385 x 554mm), each with oval library ink stamp to verso, the remaining 32 cut down (approximately 385 x 400mm) and with mounting adhesive remains to versos, printed plate numbers sometimes altered in an old hand, occasional fraying, scattered old dampstaining and browning, a few tears and crude repairs, mostly to cut down plates, plate 82 (renumbered 83) highly defective, all loosely contained in old quarter morocco portfolio, soiled and worn, large folio The original drawings for the woodcuts of The Triumph of Maximilian were made between 1512 and 1516, chiefly by Hans Burgkmair but with contributions by Albrecht Altdorfer, Hans Schaufelein, Hans Springinklee, and others, including one by Albrecht Durer. The woodcuts form a continuous procession measuring approximately 177 feet, celebrating the achievements of the young emperor, whose death in 1519 at the age of 60 put an end to the production. The illustrations are especially interesting for the depiction of regional officials and professions, and exotic peoples and animals. The blocks were first printed in a very small edition in 1526 at the instruction of Ferdinand, younger brother of the succeeding Emperor Charles V, and were not reprinted until this edition in book form in 1796. The 135 surviving blocks are conserved in the Albertina in Vienna. Lipperheide Sba 2. The full sheet plates present are: 2, 3, 4, 6, 8, 14, 16, 18, 20, 24, 26, 28,30, 31-40, 42, 44-46 [45-47], 48 [49], 57, 61, 63, 64, 68, 69, 71, 72, 76-79, 88 [80], 80 [81], 84 [85], 86 [87], 94 [110], 95 [109], 96 [111], 97 [112], 101-106 [116-121], 108-109 [123-124]. The cut-down sheets present are: 5, 7, 9, 11, 13, 15, 17, 19, 22, 25, 27, 41, 43 [44]. 47 [48], 49-50 [50-51], 62, 65, 67, 70, 73-75, 82 [83], 87 [88], 89-92 [104-107], 107 [122]. The engraving by Durer known as 'The Small Triumphal Car' appeared as the final plate (135) and is not present here. (1) £3000-5000

100


360* Castiglione (Giovanni Benedetto, 1609/16-1664/70). Small studies of heads in oriental dress, circa 1645-50 [but later], a group of fifteen etchings on thin paper, possibly early 19th century, each trimmed just inside the plate mark, and laid down on later card, with inscription in French to verso of each, 105 x 75mm (4.2 x 3ins) (15)

ÂŁ150-200

362* De Bye (Marcus, 1638/39-after 1688). Bears, 1664, the complete set of 16 etchings on laid paper after Marcus Gheeraerts I (circa 1520-circa 1590), the third state issued by Pieter Schenk the younger, circa 1730, watermark of foolscap with 7-pointed collar, 2 bells and 3 balls, narrow margins, each with old manuscript number in brown ink to upper left and right corners, plate size 114 x 147mm (4.4 x 5.8ins), sheet size 222 x 252mm (4.75 x 6ins), together with Goats, a complete set of 8 etchings on laid paper, after Paulus Potter (1625-1654), with foolscap watermark with 7-pointed collar, 2 bells and 3 balls, the third state, issued by Pieter Schenk the younger, circa 1730, narrow margins, plate size 116 x 142mm (4.7 x 5.75ins), sheet size 122 x 151mm (4.8 x 6ins), plus Cows, a set of 8 etchings on laid paper after Paulus Potter, with watermark of a foolscap with 7-pointed collar, 2 bells and 3 balls, also third state, issued by Pieter Schenk the younger, circa 1730, narrow margins, laid down on old paper, some light marginal staining, plate size 138 x 173 (5.5 x 6.8ins), sheet size 142 x 178mm (5.65 x 7.1ins), plus another similar smaller set of etchings of cows after Paulus Potter, similarly issued by Pieter Schenk, circa 1730, plate size 117 x 151mm and other etchings by De Bye after Paulus Potter, including two other incomplete sets of cows, two wolves, two bears, one of pigs, and one sheep, on laid paper with the same watermark, all similar sizes

361* Lucas Cranach the Elder (1472-1553). The Rest on the Flight into Egypt with Dancing Angels, woodcut on laid paper, a late impression, trimmed to borderline, with occasional loss, some defects and slight loss, laid down, sheet size 340 x 238mm (13.4 x 9.4ins) Hollstein VI.18.8. Bartsch XI.322.4. Dodgson II.316.123. (1)

(57)

ÂŁ200-300

101

ÂŁ300-500


Lot 364

Lot 365

Lot 366

365* Durer (Albrecht, 1471-1528). The Martyrdom of St. Catherine, circa 1498, woodcut on laid paper, with watermark of a chalice with bunch of grapes, trimmed outside printed black line border, some marks and a few short closed marginal tears, top right corner restored, restrengthened to verso with paper to lower quarters, sheet size 396 x 291mm (15.4 x 11.5ins) Bartsch 120. Meder-Hollstein 236. (1)

366* Durer (Albrecht, 1471-1528). Saint Michael Fighting the Dragon, plate 11 from The Apocalypse, circa 1498, woodcut on laid paper, trimmed inside the image, some marginal closed tears, creases, etc, several repairs, generally toned and some wear, sheet size 380 x 268mm, together with The Whore of Babylon, plate 14 from The Apocalypse, circa 1497-98, woodcut on laid paper, trimmed inside the image, some marks, closed tear to right margin, generally toned and damp marked, sheet size 385 x 270mm (15.2 x 10.6ins), plus The Whore of Bablyon, plate 14 from The Apocalypse, circa 149798, woodcut on laid paper, trimmed to or just inside borderline, some defects, mainly to margins, with small losses, laid down, sheet size 391 x 280mm (15.4 x 11ins), and The Martyrdom of Saint John, plate 1 from The Apocalypse, circa 1497-98, woodcut on wove paper, probably early 19th century, sheet size 391 x 280mm (15.4 x 11ins), plus and 11 other Durer woodcuts and engravings, various, all later impressions, including Saint Simon, Saint Thomas, two scenes from The Life of the Virgin (The Meeting of Joachim and Anne at the Golden Gate & The Adoration of the Magi) and six late reprintings of scenes from the Small Passion, probably later 19th century

363* Delaune (Etienne, 1518/19-1595). Allegory of Hope, & The Transience of Earthly Pleasures, from Emblemes Moraux, 2 copper engravings on laid paper, trimmed to plate mark, each 68 x 98mm (2.7 x 3.9ins), window-mounted (2)

£70-100

364 Nixon (John, 1750-1818). Jonas the Conjurer, pencil with grey wash on laid paper, inscribed in ink Jonas the Conjurer to lower margin, and numbered 165 in ink to top right corner, 115 x 75 mm (4.5 x 3 ins), together with At Bermondsey Spa, pen and black ink and grey wash on wove paper, similar size (2)

£500-800

(15)

£300-400

102

£300-500


Lot 367

Lot 368

Lot 369

367* Durer (Albrecht, 1471-1528). Salome and the Head of John the Baptist, 1511, woodcut on laid paper, trimmed to image, probably a posthumous impression, the block fairly worn, with some marks, laid down, sheet size 192 x 131mm (7.55 x 5.2ins), together with The Nailing to the Cross, from The Small Passion, circa 1508-09, woodcut on laid paper, trimmed inside the border line, laid down and with some small losses to left margin, sheet size 128 x 99mm (5.1 x 3.9ins), plus two other Durer woodcuts: The Lamentation, from the Italian edition of 1612 (Bartsch 43, Hollstein 152) and The Ascension, a later reissue, without the monogram lower left, laid down on old paper Bartsch 126. Hollstein 232 for the first work. Bartsch 28. Hollstein 137 for the second work. (4) £200-300

368* Durer (Albrecht, 1471-1528). The Holy Family with Three Hares, circa 1496/98, woodcut on laid paper, no visible watermark, a late impression, possibly Meder g or h (of i) impression of circa 1580, with the border line broken in places, especially at top left and right corners, some light soiling, image size 394 x 285mm (15.5 x 11.25ins), sheet size 402 x 293mm (15.8 x 11.5ins) Bartsch 102. Meder, Hollstein 212. Schoch, Mende, Scherbaum 108. One of only four large woodcuts produced by Durer prior to 1500 intended as single prints - the others being the Samson, the Martyrdom of Saint Catherine, and the Martyrdom of the Ten Thousand. (1) £400-600

369* Durer (Albrecht, 1471-1528). Christ in Limbo (Harrowing of Hell), from The Large Passion, 1510, woodcut on laid paper, a late impression without text to verso, with most of the border line intact, laid down, some repaired marginal tears to left margin, with slight loss, a few small stains, a good impression with strong contrasts, image size 395 x 280mm (15.5 x 11ins), sheet size 400 x 282mm (15.75 x 11.1ins)

370* Durer (Albrecht, 1471-1528). Christ on the Mount of Olives from The Large Passion, circa 1496/97, woodcut on laid paper, with indistinct watermark, laid down, a late impression, with strong contrasts, some loss to top left and right corner (old repairs with borderline supplied in ink), trimmed just outside the borderline, a few minor marks, sheet size 393 x 283 (15.5 x 11.15ins)

Bartsch 14. Meder, Hollstein 121. Schoch, Mende, & Scherbaum 164. Strauss 150. (1) £300-500

Bartsch 6. Meder, Hollstein 115. Schoch, Mende, Scherbaum 156. With early 19th century collector’s ink monogram to verso ‘MS’ or ‘NS’ and code ‘XIBX’ above. (1) £400-600

103


371* Durer (Albrecht, 1471-1528). The Resurrection, from The Large Passion, 1510, woodcut on laid paper, faint indistinct watermark, laid down, a late impression, after the text edition of 1511, trimmed to or touching borderline on all sides, a few small repairs to extreme edges, sheet size 391 x 274mm (15.4 x 10.75ins), tipped to backing card with blindstamped initials JDH to lower left corner Bartsch 15. Meder, Hollstein 124. Schoch, Mende, Scherbaum 165. (1) ÂŁ400-600

Lot 373

372* Durer (Albrecht, 1471-1528). The Beast with two Horns like a Lamb, plate 12 from The Apocalypse, circa 1496/97, woodcut on laid paper, a late impression, without watermark, good impression with heavy black ink, trimmed to or just touching the borderline, some pinholes and small defects, restrengthened to outer margins, a few marks and small stains, sheet size 395 x 275mm (15.5 x 10.8ins) Bartsch 74. Meder, Hollstein 175. Schoch, Mende, Scherbaum 123. (1) ÂŁ400-600

Lot 374

104


373* Durer (Albrecht, 1471-1528). The Apocalyptic Woman, plate 10 from The Apocalypse, circa 1497, woodcut on laid paper, without watermark, laid down, with central horizontal crease and some consequent loss repaired, a good, even impression, trimmed outside the borderline, some minor stains and soiling, sheet size 395 x 282mm (15.5 x 11.1ins) Bartsch 71. Hollstein VII 140.173. Schoch, Mende, and Scherbaum 121. (1) £300-500

374* Durer (Albrecht, 1471-1528). The Martyrdom of Saint John plate 1 from The Apocalypse, circa 1496/97, woodcut on laid paper, with faint indistinct watermark, trimmed justinside the borderline on all sides, and with 2 or 3mm loss to the image along right margin, small loss and repair to lower left margin, some marks and overall browning and soiling, sheet size 381 x 270mm (15 x 10.6ins) Bartsch 61. Meder, Hollstein 164. Schoch, Mende, Scherbaum 112. (1) £300-500

375* Durer (Albrecht, 1471-1528). Saint John devouring the Book, plate 9 from The Apocalypse, circa 1498, woodcut on laid paper, watermark not visible, a good, early strongly inked impression of the Latin text edition of 1498, laid down, trimmed to the borderline, with some loss of the border, closed tear to lower right edge, several small losses to margins and corners repaired, sheet size 392 x 284mm (15.5 x 11.1ins) Bartsch 70. Meder, Hollstein 172. Schoch, Mende, Scherbaum 120. (1) £300-500

376* Durer (Albrecht, 1471-1528). The Martyrdom of the Ten Thousand 1497, woodcut on laid paper, 392 x 284mm (15.5 x 11.5ins), expertly repaired 1.5ins edge tear to upper right, .5ins into the image, and various other defects Bartsch 117. Meder 218. (1)

Lot 375

£200-300

377* Flemish School. Landscape with village amongst trees, late 16th century, engraving on laid paper, unwatermarked, trimmed to plate margins, plate size 137 x 199mm (5.39 x 7.83ins), mounted Similar to the series of engravings published by Hieronymus Cock in Antwerp in 1559 and 1561, reissued by Galle and Bisscher in 1601 and 1612, and attributed to the Master of the Small Landscapes. (1) £150-200

Lot 376

105


Lot 378 378* Flemish School. Group of Christian captives, later 17th century, pen and brown wash over black and red chalk, on laid paper, with watermark of the arms of Amsterdam, single vertical paper crease to centre of image, and another horizontal crease across the image, single rule to outer border in brown ink, cornermounted on slightly later (probably late 17th or early 18th century) laid paper, bearing a different crowned coat of arms watermark, with thick ruled border in gold around the drawing, edged with a brown ink rule A skilfull rapidly-executed compositional study of male figures with their hands bound, perhaps depicting early Christian captives or slaves. The early backing sheet with its gold border indicates that the drawing was esteemed from an early period. The present work may be attributable to a follower of Van Dyck or Jacob Jordaens. (1) £400-600

379* Attributed to Fra Bartolomeo (Baccio della Porta, 14721517). Angel appearing above a kneeling figure in a church, red chalk on laid paper, with some additional sketched lines in red chalk to verso, some soiling, sheet size 187 x 137mm (7.6 x 5.4ins), framed and glazed Provenance: De Clementi Collection, Florence, second half 19th century (see Lugt Supplement 521a). M.D.E. Clayton-Stamm Collection, thence by descent. Although there is no visible collector’s mark, the suggestion of ownership by Clementi is given by a pencil note on the mount. (1) £1500-2000

Lot 379

106


380* Frisius (Simon Wynouts, circa 1580-1629). Landscapes with the Story of the Good Samaritan, [1618], a set of four copper engravings on laid paper, each with watermark, after Hendrik Hondius, numbered 1-4 to lower right corner of each, very good dark impressions, old stitch marks to extreme left blank margin, plate size 180 x 230mm (7 x 9ins), sheet size 257 x 340mm (10.1 x 13.4ins) Hollstein 108-111. (4)

£200-300

383* Leyden (Lucas van, 1489/94-1533). The Flagellation, 1521, copper engraving on laid paper, trimmed to margins, and with very small loss to extreme lower left corner and to top margin, small pinhole to centre of image,inscribed in brown ink to verso P. Mariette, 1652, 117 x 76mm (4.65 x 3ins), together with The Baptism of Christ in the Jordan, 1510, copper engraving on laid paper, upper right corner replaced in early good-quality manuscript copy in black ink, some marks and slight damage, trimmed to border line, 141 x 282mm (5.55 x 7.2ins), early 19th century ink initials W.S. to verso, mounted on card, plus Portrait of a Young Man with a Skull, 1519, copper engraving on laid paper, laid down on old paper, trimmed partlyinside the image, and with some marks and loss to margins, 185 x 142mm (7.25 x 5.6ins), and other engravings by Lucas van Leyden, including 2 engravings from The History of Joseph, 1512 (Potiphar’s Wife accusing Joseph, & Joseph interpreting Pharao’s Dreams), and The Virgin with 2 Angels, all 3 copies in reverse, and The Gentlemen with the Hawk and the Lady, 1508

381* Attributed to Gillis Claesz de Hondecoeter (1604-1653). Farmyard Cottages, pen, brown ink, pale green and blue wash on laid paper, mounted on old backing paper with gold outer border, sheet size 160 x 250mm (6.25 x 9.8ins), mounted on old album leaf, with manuscript attribution G. de Vandekoeter (1)

£500-800

Bartsch 48 & 40. New Hollstein 48 i/iii. Once in the collection or stock of Pierre Mariette (1596-1657), the first of the dynasty of French engravers, print publishers and dealers. (7) £300-500

382* Kilian (Lucas). Portrait of Albrecht Dürer, 1608, etching, some marks, trimmed to plate margins, 333 x 200mm (13.1 x 7.85ins), together with other various Old Master prints and engravings, including Hollar, Ernest A. Cole, John Crome, Rembrandt, etc. (20)

£200-300

107


Lot 384

Lot 385

384* Leyden (Lucas van, 1489/94-1533). The Virgin with Child and Saint Anne, 1516, copper engraving on laid paper, trimmed to borderline, verso with paper to upper left corner thinned, 111 x 90mm (4.4 x 3.55ins), hinge-mounted on old card Bartsch 79. New Hollstein 79. (1)

386* Ostade (Adriaen van, 1610-1685). The Quacksalver, 1648, etching on laid paper, a good impression of the fifth state of nine, trimmed just outside the margins to left, right and bottom edge, plate size 148 x 222mm (5.8 x 4.8ins), sheet size 152 x 124mm (6 x 4.9ins), hinge- mounted on old card

£200-300

(1)

£500-800

385* Mottram (Charles, 1806-1876). The Plains of Heaven, after John Martin, 1857, large-scale mixed method engraving by Charles Mottram after John Martin, published January 1st 1857 by Thomas McLean, plate size 71 x 103cm (28 x 40.5ins), with margins, modern frame, glazed One of three large engravings published by McLean on the 1st January 1857 by Mottram after John Martin’s famous paintings which toured Britain and America in the 1850s and 1860s (the other two being The Last Judgement and The Great Day of His Wrath). (1) £200-300

387* Place (Francis, 1647-1728). Birds & Fowles of various species drawn after the life in their natural attitudes, circa 1785, a collection of 33 engraved plates by Francis Place after Francis Barlow, on laid paper, with watermark of a shield with crown above, and inset posthorn, lettered GR below, plates numbered 31-33, 37-58 & 60-67, plates 41 bearing the title and Part 2d, plate 53 titled to lower edge Birds of various Species, both Foreign & English, Drawn after the Life by Francis Barlow, some minor marks and light soiling, one or two plates close-trimmed, the majority with wide margins, plate size 160 x 225mm (6.3 x 8.9ins), sheet size 207 x 272mm (8.2 x 10.75ins) and smaller Barlow’s engravings of birds and animals enjoyed a considerable reputation from their first publication in the later 1650s and 1660s, and were reissued several times during the 18th century, including by Bowles & Sayer, circa 1760, and by Carington Bowles in 1775. (33) £200-300

Lot 386

108


388* Circle of Giulio Romano (about 1499-1546). Battle Scene with naked warriors and rearing horsemen, circa 1520-40, pen, brown ink and wash on paper, heightened with red chalk, some marks and soiling, repaired tears to edges and circular repair below head of the central rearing horse, 295 x 275mm, window mounted, framed and glazed Provenance: M.E. Clayton Stamm Collection; Private Collection, Berkshire, England. This lively drawing may relate to the painted decorations by Giulio Romano in the Sala di Troia or Trojan Room, at the Ducal Palace in Mantua, commissioned by Federigo Gonzaga, and executed in 1538-39. (1) ÂŁ1500-2000

109


Lot 390

Lot 391

389* Rossini (Luigi, 1790-1857). Veduta d’una delle navate minori, del Tempio della Pace, 1819, etching on wove paper, plate size 56 x 45cm (22 x 17.75ins) with margins, framed and glazed (unexamined out of frame) (1)

£70-100

390* Sadeler (Egidius II, 1570-1629). The Good Samaritan, copper engraving on laid paper, after Jan Breughel (1568/69-1625), published by Jan van Londerseel, with caption in latin to lower margin Caeditur Muasus grassante latrone Viator, old stitch marks at left outer margin, plate size 217 x 272mm (8.6 x 10.7ins), sheet size 254 x 341mm (10 x 13.4ins), together with the companion engraving by Aegidius Sadeler after Jan Breughel the Elder, showing a riverscape with the Good Samaritan by a tree, tending to the victim’s wounds, published by Jan van Londerseel, with caption in latin to the lower margin Ex pietate levat cava vulnera Samaritanus, plate size 216 x 270mm (8.5 x 10.6ins), sheet size 255 x 340mm (10 x 13.4ins), plus another copper engraving on laid paper by Aegidius Sadeler after Jan Breughel the Elder, showing a rocky landscape with the stigmatization of St. Francis, the image printed slightly askew, plate size 218 x 270mm (8.6 x 10.6ins), sheet size 254 x 341mm (10 x 13.4ins) Early copies in reverse of the engravings by Sadeler after Jan Breughel (see Hollstein 212). (2)

£200-300

391* Sadeler (Justus, 1583-circa 1620). Jonah thrown into the stormy sea, after Paul Bril (1554-1626), circa 1600-1620, copper engraving on laid paper, with four lines of text below image, ‘Jonas puppe cadens, Ceto sorbente voratus, In pelago non sensit aquas vitale sepulcrum...’, plate size 215 x 275mm (8.5 x 10.8ins), sheet size 257 x 340mm (10.1 x 13.4ins), together with Landscape with town in the background, after Paul Bril (Hollstein 69), copper engraving on laid paper, with partial watermark to upper outer corner, plate size 200 x 278mm (7.9 x 10.9ins), sheet size 255 x 340mm (10 x 13.5ins), plus Wooded Landscape, after Paul Bril, circa 1600-1620, copper engraving on laid paper with partial watermark to upper right corner, published by Justus Sadeler in Venice, with dedication inscription to lower margin to Christoforo Ferrario, plate size 220 x 282mm (8.7 x 11.1ins), sheet size 255 x 340mm (10 x 13.5ins), and six other similar engraved landscapes, mostly after Paul Bril, including View of a Harbour (Hollstein 217) in reverse, Landscape with a Hermit (Hollstein 206) in reverse, and two engraved landscapes illustrating the parable of the good samaritan, published by Jan van Londerseel (1570-1625) (9)

£400-600

392* Sayer (Robert, 1725-1794). The Miller’s Maid grinding old men young, & The Miller grinding old women young, circa 1750-1775, 2 copper engravings printed on one sheet of laid paper, with uniform decorative border, some minor marks and light soiling, each plate approximately 25 x 41.5cm (9.8 x 16.3ins), overall sheet size 60 x 48cm (23.6 x 18.9ins) (1)

£150-200

Lot 392

110


393 Skippe (John, 1741/42-1811). Amicis suis necnon unicuique Artium elegantiorum Amatori, Tabulas insequentes Ludentis Otii temporibus ligno incisas, 1781-82, a collection of 27 chiaroscuro woodcuts after Old Master drawings, by Raphael, Correggio, Perino del Vaga, Titian, Parmigianino, Andrea del Sarto, Tinteretto, Mantegna, Rubens, Bandinelli, Michelangelo and others, mounted to album leaves, the first plates (with title or dedication) with some marks and fraying to right margin, woodcut after Rubens detached with closed tears to bottom left and upper right corners, contemporary calf-backed marbled boards, lacking upper cover, folio (49 x 34.5cm, 19.25 x 13.5ins) John Skippe (1741-1812) collector and woodcut artist, was born in Herefordshire, and was a friend of the picturesque theorist Uvedale Price. On his return from Italy, he produced a series of woodcuts after Italian drawings between 1781 and 1809. His collection of Old Master drawings was auctioned by Christies in 1958. A similar collection of 26 woodcut plates bound in album format was offered by Galerie Bassenge, Berlin, Auktion 109, 25 May 2017, lot 5321. (1) ÂŁ1000-1500

111


Lot 395 394* Collignon (Francois, circa 1609-1657). Le Char de Triomphe, consacré à la gloire de Louys XIV Roy de France et de Navarre, (after Stefano della Bella), circa 1645, etching on laid paper, some creases, trimmed justinside the plate, later blank outer margins, original sheet size 288 x 420mm (11.3 x 16.5ins), together with Franco (Giovanni Battista, 1498-1561), Melchisedek offering bread and wine to Abraham, etching and engraving on laid paper, laid down on later laid backing paper, some damage and repairs with small losses to lower right, trimmed inside the plate mark, image 264 x 412mm (10.3 x 16.25ins), plus Ferroni (Girolamo, 1687-1730), Joseph escaping from the arms of Potiphar (after Maratta), etching on laid paper, some marks and archival restoration to upper right, plate size 330 x 240mm (13 x 9.5ins), sheet size 365 x 270mm (14.4 x 10.6ins), and Bartolozzi (Francesco, 1727-1815), Figure from the Last Judgement, after Michelangelo, circa 1790s, soft-ground etching in black on handmade wove paper, some discreet restorations to outer margins and central vertical fold, plate size 41 x 31cm (16.2 x 12.25ins), with margins, plus other various etchings and engravings, mostly 17th and 18th century, including an engraving by Merian of the Fountain in the Weinmarkt at Augsburg, circa 1643, an etching of a grotto with fountains by Abraham Bosse after Francini, two engravings by Bartolozzi after Franceschini, a large etching by Gilliam van der Gouwen (active 1669-1720) of Gideon’s battle with the Midianites, after Houet, an engraved portrait of Raphael by Meissens after Pontius, an etching of Berghem’s The Shepherd and the Spinner, 1652, on laid paper with watermark (some soiling and marks), an engraved portrait of St. Mark by William Faithorne, dated 1653, etc. De Vesme 1058 for the first work. (20)

Lot 396

£200-300

395* Delaune (Etienne, 1518/19-1595). Four scenes from the Story of Apollo and Diana, circa 1572-73, 4 engravings on laid paper (from the series of Six Scenes of Apollo and Diana), each trimmed to plate mark, 80 x 106mm (3.1 x 9.2ins), mounted on two sheets of old backing card The scenes depict Orion joining Diana’s hunting company. RobertDumenesil 133, 134, 135 & 137. (4) £150-200

397* Van de Passe (Magdalena, 1600-1638). Eight landscapes after Roland Savery, Adam Willaerts, Paulus Bril, and Adam Elsheimer, 8 fine copper engravings on laid paper, most with watermark of a large shield, published by Crispin Van de Passe, all with generous blank margins, some minor marks and light soiling to margins, original stitch marks to extreme left margin, plate size 220 x 270mm (8.25 x 10.6ins) and similar, sheet size 255 x 340mm (10 x 13.4ins)

396* Thomassin (Filippe, 1562-1622). The School of Athens, after Raphael, 1617, reissued 1648, fine large-scale engraving on two conjoined sheets of laid paper, published by Giovanni Jacomo De Rossi, Rome, 1648, light waterstain to extreme lower right corner, plate size 49 x 80.5cm (19.25 x 31.75ins), sheet size 60.5 x 90cm (23.75 x 35.5ins), framed and glazed (1)

(8)

£150-200

112

£700-1000


398* Visentini (Antonio, 1688-1782). Prospectus a Substructionibus Rivoalti ad Aedes Civranorum, circa 1750-1780, etching on laid paper by Visentini after Canaletto, depicting the Grand Canal from the Palazzo Michiel dalle Colonne to the Palazzo Civran, some light spotting, plate size 27 x 42.7cm (10.6 x 16.8ins), sheet size 35 x 50.3cm (13.75 x 19.8ins), mounted Plate 7 from the second series of 12 plates, first published as a collection of 38 plates after views by Canaletto in 1742, and titled Urbis Venetiarum prospectus celebriores. (1) £150-200

400* Wierix (Johan, cira 1549-circa 1615). The Small Horse (after Albrecht Durer), circa 1565, engraving on ivory laid paper, short closed tear to lower margin, trimmed to margins, 165 x 107mm (6.5 x 4.2ins) (1)

£150-200

399* Wierix (Hieronymus, 1553-1619). Equus Regius, Britannus, Appulus, Hispanus, Achiuus, Saxo, Armenius & Cimber (from Equile Joannis Austriaci), circa 1578, 8 copper engravings on laid paper, several with Rampant Lion watermark, Hollstein 2196. Plates 2, 3, 4, 5, 6, 7, 8 & 10 from the set of 43 engravings after Jan van der Straet (1523-1605) by Wierix, Goltzius and Collaert published in Antwerp by Philips Galle, circa 1578, known in English as The Stable of Don John of Austria. (8) £300-500

401* After Richard Wilson (1714-1782). Twelve Original Views in Italy: drawn by Richard Wilson, 1776, a set of 12 etchings on laid paper by Michael ‘Angelo’ Rooker, Edward Rooker, James Gandon, William Hodges and Joseph Farington, after Richard Wilson, published by John Boydell, January 29, 1776, trimmed to plate mark, sheet size 228 x 170mm (9 x 6.7ins), uniform modern black painted wood frames, glazed (12)

113

£200-300


SCULPTURE

Lot 403

Lot 402

Lot 404

402* Artist’s Easel. Four Modern oak easel stands, by Daler Rowney, 96cm high (4)

£100-150

403* Artist’s Easel. A modern clear Perspex easel stand, 194cm high (1)

£100-150

404* Artist’s Easel. A Victorian style brass easel stand, 153cm high (1)

£100-150

405* Neo-Classical School. A 20th century plaster bust of a bearded figure, possibly once used as a capital, 55cm long (1)

£100-150

406*AR Crowley (Jill, 1946-). Baby's Hand, circa 1999, glazed stoneware ceramic sculpture, with pale yellow and pink matt glazes, signed, height 26.5cm (10.5ins), width 30.5 (12ins) (1)

Lot 407

£700-1000

114


407*AR David (Nathan, 1930-). Ondine, 1975, cast bronze sculpture with gold patina of the ballet dancer Margot Fonteyn in the role of Ondine, en pointe, arms outstretched in flowing dress, numbered 12 from the edition of 12, and signed and dated 1975 to base, mounted on black marble plinth, 44cm (17.25ins) high (excluding marble plinth), 34cm (13.3ins) wide Nathan David was made a Fellow of the Royal British Society of Sculptors in 1980, and was a part-time lecturer in Sculpture at the Sir John Cass Faculty of Arts from 1975-1990. (1) £1500-2000

409* Attributed to Auguste Rodin (1840-1917). Head of St. John the Baptist, miniature bronze, signed, 3.5cm height, 4.5cm length (1)

£700-1000

408* Lithophane. A 19th century bass relief marble carving, depicting a Satyr with Venus and Cupid, presented in a deep oval gilt frame, 24 x 26cm (1)

410* Rogers (John, 1829-1904). The Wounded Scout, 1864, plaster sculpture of two American civil war soldiers, signed and titled on base, height 58cm (22.75ins), together with Wounded to the Rear - one more shot, 1865, plaster sculpture (some damage), height 59cm (23.25ins)

£200-300

(2)

115

£700-1000


411* Rouse (George, 18th century). Portrait of General George Washington, 1796, relief profile portrait in wax, with incised signature to shoulder ‘G. Rouse Sclp’, and incised below ‘Gen. George Washington 1796’, cracked to right hand side, but without loss, 28.5 x 22cm (11.2 x 8.7ins), period maplewood box frame, glazed Provenance: Private Collection, Oxfordshire. Fine and rare portrait of the American general and politician George Washington (1732-1799), first President of the United States from 1789 to 1797, showing him in profile to the right, wearing a military coat with frills at the neck and his hair tied at the back with a ribbon. This work exists in apparently identical versions, dated either 1796 or 1797. Only a handful of this portrait have appeared at auction in recent years; the last occasion that the 1796 portrait was sold, according to our research, was at Heritage Auctions, February 2007. Little is known of the sculptor, although, according to a letter from the Victoria & Albert Museum, dated 24th November 1932, a wax bust of a lawyer or cleric in a private London collection, dating from the end of the 18th century, signed by him, bears the address Cheyne Walk, Chelsea (from a letter supplied by the present owner). (1) £1000-1500

116


ORIENTAL, INDIAN & PERSIAN ART

Lot 412

Lot 413

Lot 414

412* Chinese advertising poster. A colour-printed advertising poster for cigarettes, circa 1905, printed on silk, featuring a large mythological scene with figures, sea and mountains, the lower part of the image depicting four vignettes of Eagle Bird, Three Castles, Wild Woodbine and Cycle cigarettes, plus lower corner vignettes of western and Oriental smokers, letterpress table in Chinese script lower centre margin, a little silk fraying and scattered minor browning within image, 64.5 x 55.5cm (25.5 x 22ins), framed and glazed Cycle cigarettes are manufactured by British American Tobacco Co. Ltd which was formed in 1902. This advertising poster would appear to date from shortly after this date. (1) £200-300

413* Chinese School. A Chinese mountain landscape scroll painting, 19th century, watercolour on paper, artist’s red seal lower left, calligraphic inscription and seal top right, 116 x 47cm (45.75 x 18.5ins), silk-lined border, a few creases and light spots (1)

£100-150

414* 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

415* Indian miniature. Hunting scene, 20th century, pen, ink and watercolour on paper, within black and gold foliate border, image 23.5 x 14.5cm (9.25 x 5.75ins), framed and glazed (1)

£150-200

416* Indian miniature. Portrait of a nobleman, 19th century, pen and ink drawing on paper, heightened in gold (small split to lower portion of jama), unfinished, a little light soiling, 14.5 x 6.5cm (5.75 x 2.5ins) mount aperture, framed and glazed (1)

Lot 415

£70-100

117


419* Japanese School. A group of eight watercolours of young women, 20th century, together eight watercolours on silk, heightened in gouache, artist seal lower right, 18 x 12cm (7 x 4.75ins) mount aperture, framed and glazed (8)

£100-150

420* Lam Qua (Guan Qiao Chang, 1801-1850). Mandarin in his study, oil on canvas, recently relined and revarnished, 44.5 x 35cm (17.5 x 13.75ins), period gilt frame Provenance: Private Collection, Wiltshire. Guan Qiao Chang, known in the West as Lam Qua, was the grandson of the Canton artist Spoilum, and son of Lamqua, who studied with George Chinnery (1774-1852), and produced a significant number of oil paintings for western visitors and merchants in Canton. (1) £2000-3000

417* Indian miniatures. A group of seven Indian miniatures, early 19th century, pen, ink and watercolour on paper, depicting the Entrance to Sikandra, Moti Masjid, Fatehpur Sikri near Agra, The Tomb inside of the Taj, Taj Mahal, Front of the Taj, and Part of the Palace at Deig, each captioned to verso, 75 x 120mm (3 x 4.75ins) mount aperture, mounted in a display with printed captions, framed and glazed (1)

£200-300

421* Mughal School. Turkey, 19th century, pen, ink and watercolour on paper, small Persian inscription top left, within a decorative gold and blue border, image 17 x 10cm (6.75 x 4ins), plus another Indian miniature of a funeral procession (2)

418* Indian School. Krishna and dancing female attendants, late 18th/early 19th century, pen, ink and oil on wood, with gold decoration and heightened with small glass beads, on red ground with tree, some loss of gold areas and beads at foot, 25.5 x 20cm (10 x 8ins), mounted (1)

£200-300

118

£200-300


Lot 420

119


424* Persian School. Woman reclining with attendant, circa 193040, fine art deco style watercolour and gouache on paper, 19 x 18cm (7.5 x 7ins), framed and glazed Provenance: Major John James Patrick Brennan (1922-2005), to whom this work was presented as a gift by an Egyptian gentleman in 1942, thence by descent. (1) £200-300

422* After Namcheong (active 1840-1870). Nine Stage Pagoda at Whampoa Anchorage & A Chinese Junk At Sea, a pair of oils on canvas, relined, 31.5 x 46cm (12.25 x 18ins), framed Literature: For a similar version of the nine-stage pagoda at Whampoa Anchorage, by Namcheong, see C. Grossman The Decorative Arts of the China Trade (Woodbridge, 1991) page 138, plate 56. (2) £500-800

423* Nisaburo (Ito, 1905-2001). Four views in Kyoto: Arashiyama, Spring Scenery, Yasaka Pagoda, Moonlit Night, Kinkakuji, & Kiyomizu, Snowy Morning, circa 1960-69, four colour woodblock views on paper, 15.8 x 23.3cm (6.25 x 9.25ins), framed together, glazed

425* Rajasthan School. Lady seated on a terrace with companion, thinking of her absent lover (illustration to the musical mode Patamanjari Ragini), late 18th century, pen, ink and watercolour heightened in gold, calligraphic verse at head on yellow ground, 27 x 16cm (10.5 x 6.25ins) mount aperture, framed and glazed

(1)

(1)

£100-150

120

£200-300


426* Shiraz School. Two Princes seated in discussion under a canopy, each with an attendant holding a yak tail fan, & A seated Prince on a throne under a canopy holding court, late 18th century/early 19th century, a pair of large format miniature paintings in opaque watercolour heightened with gold on pale brown card, each with title caption in gold above the main figure, elaborate floral and ruled borders in gold and colours, some dust soiling and surface marks, image size 298 x 168mm (11.75 x 6.6ins) and slightly smaller, sheet size 470 x 316mm (18.5 x 12.3ins) and slightly smaller (2)

428* Urushibara (Yoshijiro, 1888-1953). Sweet Peas, colour woodcut on laid paper, signed in pencil, and numbered 63 lower left, a strong, clean impression, image size 305 x 203mm (12 x 8ins), sheet size 356 x 242mm (14 x 9.5ins)

£500-800

(1)

£200-300

427* Thanh Duy (Dao, 1959-). Lotus Pond, watercolour and gouache on paper, signed lower right, and with artist’s seal, 59 x 80cm (23.25 x 31.5ins), framed and glazed Provenance: Purchased by the present owner from the Oc-Eo Gallery, in Chapman Slade, Westbury, Wiltshire. The Vietnamese artist Thanh Duy was born in Hanoi in 1959, and specialises in contemplative paintings of the nude and lotus flowers. (1) £200-300

429* Urushibara (Yoshijiro, 1888-1953). Carnations in prunus vase, colour woodcut on laid paper, signed in pencil, numbered 69 lower left, a good fresh impression, image size 305 x 204mm (12 x 8ins), sheet size 346 x 241mm (13.6 x 9.5ins) (1)

121

£200-300


ORIGINAL ILLUSTRATIONS & ARTWORK

Lot 430

Lot 431

Lot 432

430* Aldin (Cecil, 1870-1935). Four original illustrations to The Wild Horses of Iceland, by Svend Fleuron, 1933, together four pen and black ink drawing on ivorine, each signed, and marked in pencil with the title and page number to lower margin, sheet size 30 x 23.5cm (11.75 x 9.25ins), each mounted

432* Keene (Charles Samuel, 1823-1891). Standing male figure, circa 1884, pencil on verso of a pale brown envelope cover, unsigned, but with address in ink to the other side of Charles Keene Esq, 239 King’s Road, Chelsea, S.W., with stamp and postmark for October 27th 1884, 136 x 95mm (5.4 x 3.75ins), framed and glazed

The illustrations depict: Ungin the foal struggling out of a pool of water, The farmer Torleif holding onto Flyga’s tail, Ungin the foal hoisted up from the quayside onto a ship, & Flyga the mare and her foal Gryla drowned near a waterfall. The Wild Horses of Iceland by Svend Fleuron was translated from the Danish by Elizabeth G.W. Nash, and published by Eyre & Spottiswoode with original illustrations by Aldin in 1933. (4) £400-600

(1)

£100-150

431 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, book ticket of Roderick Gradidge, Architect, top edges gilt, remainder untrimmed, near contemporary red morocco by Maclehose, Glasgow, signed to front turn-in, gilt lettered spine a trifle darkened and rubbed on joints, gilt fillets on edges and turnins, 8vo 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) £400-600

Lot 433

122


433* Shepard (Ernest Howard, 1879-1976). Mary she’s in Eglinton, pen & black ink on Whatman drawing board, heightened with white bodycolour, signed lower left, some minor toning and traces of glue to outer blank edges, image size 305 x 230mm (12 x 9ins), sheet size 385 x 267mm (15 x 10.5ins), mounted

19TH & 20TH CENTURY ETCHINGS, LITHOGRAPHS & WOODCUTS

The present work is likely to be one of Shepard’s many contributions to Punch. An early exhibition label on the back of the board, bearing the monogram SG within a circle states the artist’s name and the title of the work, along with the number 71 and a price of 8 guineas. (1) £300-500

435* Badmin (Stanley Roy, 1906-1989). Burford, Oxfordshire, 1931, etching on Basingwerk Parchment wove paper (watermarked), from the edition of 45, published by the XXI Gallery, signed and numbered 24/45 in pencil, plate size 137 x 194mm (5.4 x 7.7ins), sheet size 220 x 286mm (8.7 x 11.25ins) Beetles 25. (1)

£400-600

434* Thomson (John Gordon, 1841-circa 1911). The Royal Academy and The Chelsea Conspirators, 1886, pen and brown ink on card, a satirical cartoon summarising the attempt by the artists Holman Hunt, Walter Crane and George Clausen to found a national art exhibition outside the jurisdiction of the Royal Academy in 1886, and which, although unsuccessful, led to the founding of the Arts and Crafts Exhibition Society, published in printed form in Hood’s Comic Annual for 1887, 27.5 x 23.5cm (11 x 9.5ins), with artist’s signature, address, and name of the journal for which the work was intended in ink to verso, and printed label for the Victoria & Albert Museum Loan Exhibition of Modern Illustration, 1900 Holman Hunt, Crane and Clausen became known as the ‘Chelsea Conspirators’, since their meetings in support of the establishment of a national art exhibition took place in the studio of J.H. Thomas in Manresa Road, Chelsea. The campaign had the support and common cause of the recently established New English Art Club. (1) £150-200

436* Badmin (Stanley Roy, 1906-1989). Priory Pond, 1932, etching on laid paper, watermarked L.& CIE (FRANCE), signed, titled and additionallyinscribed to lower blank margin Priory Farm Kingstanley Glos., and marked 2nd state, a rich, delicate impression, mounting glue stains to upper outer corners (minor loss to extreme upper right corner), plate size 132 x 157mm (5.2 x 6.2ins), sheet size 214 x 216mm (8.4 x 8.5ins) (1)

123

£400-600


437* Bayes (Walter John, 1869-1956). Invitation to the Annual Dinner of the Whitefriars Club, [1904], colour lithograph on thick wove paper, sheet size 293 x 260mm (7.6 x 10.3ins), together with an etching by the New York artist Katharine Gundry (of 10 East 68th Street, New York), of a man on a park bench with birds, marked in pencil 1st State, and dated Feb’33 lower left, hinge-mounted The Whitefriars Club was established as a literary club in 1868, and by the early 1900s its members included Thomas Hardy, Winston Churchill, Mark Twain, H.G. Wells, Bram Stoker, Henry Stanley, and many others. (2) £70-100

439*AR Brockhurst (Gerald Leslie, 1890-1978). Fabian, 1921, etching on pale cream laid paper, from the published edition of 76 impressions, signed in pencil, a very good impression, plate size 176 x 126mm (6.75 x 5ins), with margins, framed and glazed (unexamined out of frame) Wright 23, iii/iii. (1)

£150-200

438*AR Brockhurst (Gerald Leslie, 1890-1978). Corinne, 1925, etching on laid paper, from the published edition of 106 impressions, signed in pencil, plate size 148 x 111mm (5.5 x 4ins), a very good clean impression, with margins, framed and glazed (unexamined out of frame)

440*AR Brockhurst (Gerald Leslie, 1890-1978). Cypriano, 1928, etching on wove paper, from the published edition of 111 impressions, signed in pencil, a very good clean impression, plate size 162 x 95mm (6.5 x 3.75ins), sheet size 23.9 x 15.2cm (9.4 x 6ins), with margins, framed and glazed

Wright 50, v/v. (1)

Wright 59, x/x. (1)

£150-200

124

£150-200


443*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

441*AR Brockhurst (Gerald Leslie, 1890-1978). Nadia, 1921, etching on laid paper, from the published edition of 55 impressions, signed in pencil, a very good impression, plate size 13.9 x 11.2cm (5.5 x 4.5ins), with margins, framed and glazed (unexamined out of frame) Wright 26, x/x. (1)

£150-200

Wright 70, vii/vii. Fletcher 70. (1)

£300-500

444* Bromse (August, 1873-1925). Eine Todte, from the series Der Todt und das Mädchen, circa 1900, etching with some drypoint, printed in pale blue on heavy cream wove paper, signed in pencil lower right, plate size 130 x 300mm (5 x 11.75ins), sheet size 240 x 425mm (9.5 x 16.75ins) (1)

445 No Lot 446 No Lot 442*AR Brockhurst (Gerald Leslie, 1890-1978). Head of a Girl, 1920, etching on laid paper, from the published edition of 55 impressions, signed in pencil, a good impression, plate size 100 x 74mm (3.9 x 2.9ins), with margins, framed and glazed (unexamined out of frame) Wright 8, ii/ii. (1)

£150-200

125

£100-150


447* Fairclough (Wilfred, 1907-1996). Market Place, 1984, etching on wove paper, signed and dated in pencil, together with Needell (P.G.), Petit Andely, Normandy, colour woodcut, signed and titled in pencil, image sizse 163 x 236mm (6.4 x 9.25ins), framed and glazed (2)

£70-100

449* Forbes (Elizabeth Adela Stanhope, 1859-1912). The Bakehouse, circa 1886-87, drypoint etching on thick wove paper, a few minor tears to extreme margins, plate size 260 x 203mm (10.25 x 8ins), sheet size 418 x 320mm (16.5 x 12.5ins) One of five drypoints executed by Elizabeth Stanhope Forbes, shortly after she moved to the fishing village of Newlyn in Cornwall in 1885. (1) £200-300

448* Fairclough (Wilfred, 1907-1996). Spanish Beggar, 1938, copper engraving on handmade wove paper, signed and dated in pencil, plate size 150 x 125mm (5.9 x 4.9ins), sheet size 273 x 217mm (10.75 x 8.5ins), together with another etching by Fairclough of a theatre scene, signed and dated 1959, plate size 175 x 205mm (6.9 x 8.1ins), sheet size 250 x 325mm (9.8 x 12.75ins) (2)

£150-200

450* Forbes (Elizabeth Adela Stanhope, 1859-1912). The Carpenter’s Shop, circa 1886-87, drypoint etching on thick wove paper, a few light spots, and a little damage to the top edge of the sheet, plate size 200 x 260mm (7.9 x 10.25ins), sheet size 324 x 426mm (12.75 x 16.75ins) (1)

126

£200-300


453* Hardie (Martin, 1875-1952). Landscape with ruined abbey, etching on laid paper, signed in pencil, plate size 216 x 201mm (8.5 x 7.9ins), with margins, together with another signed etching by Martin Hardie of a cottage amongst trees along an estuary, dated in the image 1906, plate size 144 x 203mm (5.7 x 8ins) laid down on card, plus Percival (Harold), Marsh Hay, etching with drypoint, signed in pencil, plate size 17.5 x 25.2cm (6.8 x 9.8ins), sheet sizse 25 x 30.3cm (9.75 x 12ins), and another drypoint etching, depicting the gardens of a French chateau with figures descending into a gondola, indistinctly signed G. Barraud (?) (4)

454* Holmes (Kenneth, A.R.C.A., 1902-1994). The Aire Gap, Skipton, circa 1925, drypoint etching, published by James Connell in an edition of fifty proofs, signed in pencil to lower margin, plate size approximately 11.8 x 23.5cm (4.75 x 9.25 inches), mounted, together with Sharp (Miles Balmford, 1897-c.1981), The Demolition of Devonshire House, London, 1925, etching, signed, dated and inscribed to Kenneth Holmes in pencil to lower margin, plate size 17.8 x 26.3cm (7 x 10.25 inches), framed and glazed, plus Rhodes (Marion, 19071988), A Yorkshire Village, etching, signed in pencil to lower margin, plate size 24 x 36cm (9.5 x 14 inches), sheet size 28 x 41cm (11 x 16 inches)

451* Gill (Eric, 1882-1940). Female Nude Seated, Female Nude Reclining, and Female Nude Lying, from Twenty-Five Nudes, 1938, three woodcuts on thin japan tissue, image size 23 x 14cm (9 x 5.5ins), and similar, sheet size 29 x 20.5cm (11.5 x 8ins), and similar Physick 955, 943 & 937. (3)

£70-100

(3)

£150-200

£150-200

452* Haden (Sir Francis Seymour, 1818-1910). Hic Terminus Haeret, 1863, etching printed in black and red on thin laid paper, signed in pencil, one or two creases, plate size 101 x 122mm (4 x 4.75ins), sheet size 116 x 140mm (4.6 x 5.5ins)

455* Jongkind (Johan Barthold, 1819-1891). Jetée en bois dans le port de Honfleur, 1865, etching on laid paper, printed by Delatre, Paris, and published by Cadart & Luquet, Paris, a good impression with plate tone, oval publisher’s blindstamp to centre of lower blank margin, plate size 237 x 314mm (9.3 x 12.4ins), with good margins, framed and glazed (unexamined out of frame), with old typewritten label to verso, and additional printed label of Maurice Rousseau, Paris to verso

Harrington 43. (1)

Delteil 12 ii/iii. Melot 12 ii/iii. (1)

£80-120

127

£150-200


458* Lambert (Terence Henry, 1891-). Piccadilly Circus, etching on wove paper, a published proof signed in pencil, plate size 155 x 215mm (6.1 x 8.5ins), with margins, mounted, together with other various early 20th century British etchings, mostly signed, including Gerald M. Burn, Trafalgar Square, Cyril Grey, Berne Market Place, Hanslip Fletcher, St. James’s Street, 1931, K. Vernon, Mercery Lane, Canterbury, a river landscape by John Fullwood, a large etching by Daniel Mordant after Eugene Carriere entitled La Famille, printed by Charles Wittmann, etc. (15)

£100-150

456* Kasimir (Luigi, 1881-1962). The Middle Tower, Tower of London, 1913, colour etching with aquatint, signed in pencil to centre of lower margin, plate size 48.5 x 39cm (19 x 15.3ins), framed and glazed (1)

£150-200

457* Kasimir (Luigi, 1881-1962). Port of Hamburg, 1922, colour etching, signed in pencil to centre of lower margin, plate size 46 x 59.5cm (18 x 23.5ins), with margins, framed and glazed (1)

459* Leighton (Clare Veronica Hope, 1898-1989). The Abbess and the Twin Boys (illustration for the Bridge at San Luis Rey, by Thornton Wilder), wood engraving on cream wove paper, signed in pencil, and marked A in pencil lower left, two paper tears to right margin, without loss, 120 x 90mm (4.75 x 3.5ins), together with Four Hedges, second impression, 1935, wood engraved illustrations, original green cloth in dust wrapper, a few marks and a little frayed to edges, 4to

£100-150

(2)

128

£100-150


460*AR Leighton (Clare Veronica Hope, 1898-1989). Limbing, 1931, wood engraving on thin wove paper, from the Lumber Camp series, one of thirty impressions of the English edition, signed, titled, and numbered 23/30 in pencil, a few minor marks and pale discolouration, large vertical repaired tear to the right side of the image, image size 217 x 305mm (8.5 x 12ins), with margins, framed and glazed (unexamined out of frame) Hardie 195. (1)

462* Mackie (Charles). Scottish Landscape, colour woodcut, signed in pencil lower right ‘Charles Mackie del et imp’, 22 x 24cm (8.6 x 9.4ins) mount aperture, framed and glazed (1)

£150-200

£200-400

463* Martin (Frank, 1921-2005). Montparnasse-Bienvenue, colour etching, signed, titled, and numbered 42 from the edition of 150 in pencil to lower margin, plate size 38.5 x 54cm (15.2 x 21.25ins), with margins, in excellent condition, framed and glazed, with Unicorn Gallery, Wilmslow, Cheshire label to verso (1)

461* Lucas (David, 1802-1881). The Lock (after John Constable), 1834, mezzotint on heavy wove paper, republished by Thomas Boys, February 15, 1863, a few surface marks, plate size 68 x 51.5 (26.75 x 20.25ins), with margins (1)

£100-150

129

£200-300


Lot 464

Lot 465

464* Martin (Frank, 1921-2005). Girl in a hat, 1959, woodcut on wove paper, an artist’s proof, signed and numbered V/XXV, 67.5 x 34.5cm (26.5 x 13.5ins) mount aperture, framed and glazed (1)

£100-150

465* Montgomerie (William Hugh Canning, 1881-). Scottish Loch scene, etching, signed in pencil, plate size 31.5 x 54.5cm (12.5 x 21.5ins), Fine Art Trade Guild blindstamp lower left, with margins, framed and glazed (1)

£70-100

466AR Nevinson (Christopher Richard Wynne, 1889-1946). Banking at 4000 feet, 1917, offset colour lithograph on wove paper, signed in pencil, image size 193 x 155mm (7.6 x 6.1ins), sheet size 285 x 224mm (11.25 x 8.75ins), issued in The Great War Fourth Year by C.R.W. Nevinson, with an essay by J.E. Crawford Flitch, published by Grant Richards, 1918, monochrome plates, original green clothbacked boards, with printed paper labels to spine and upper cover, spine label slightly chipped, minor stains to extreme lower edge of upper cover, 4to (1)

£400-600

467AR Nevinson (Christopher Richard Wynne, 1889-1946). Column on the March, 1917, offset colour lithograph on thin wove, signed in pencil lower right, sheet size 287 x 220mm (11.3 x 8.7ins), as issued in Modern War Paintings by C.R.W. Nevinson, with an introductory essay by P. G. Konody, 1st edition, Grant Richards Ltd., 1917, monochrome plates, untrimmed, original green cloth-backed boards with printed paper title labels to upper cover and spine, minor stain to lower edge of upper cover, otherwise in very good condition, 4to (1)

130

£400-600


468AR Nevinson (Christopher Richard Wynne, 1889-1946). Banking at 4000 Feet, 1918, offset lithograph printed in colours, on thin wove, signed in pencil, sheet size 285 x 222mm (11.25 x 8.75ins), bound as issued in the book The Great War: Fourth Year: Paintings by C.R.W. Nevinson, with an introductory essay by J.E. Crawford Flitch, published by Grant Richards Ltd., 1918, original green clothbacked boards with printed paper labels to spine and upper cover, rubbed, 4to

470* Palmer (Samuel, 1805-1888). The Herdsman’s Cottage, 1850, etching on pale cream laid paper, with initials SP to lower left, the second state, as published in The Portfolio, 1872 (also issued in Hamerton’s Modern Etching of 1875 and Etching and Etchers of 1880), a fine, rich impression with wide margins, remains of sellotape mark to centre of the lower edge of the sheet, plate size 122 x 100mm (4.75 x 4ins), sheet size 340 x 247mm (13.4 x 9.75ins), framed and glazed

(1)

Provenance: Craddock & Barnard’s pencil annotation attached to verso of the frame. Lister E3, ii/ii. (1) £500-700

£400-600

469* Palmer (Samuel, 1805-1888). The Herdsman’s Cottage, or Sunset, 1850, etching on laid paper, with partial watermark ‘INES’, the second and final state, some minor marks to margins, image size 97 x 76mm (3.8 x 3ins), plate size 124 x 117mm (4.8 x 4ins), sheet size 294 x 224mm (11.6 x 8.8ins)

471* Phipps (Howard, 1954- ). Catherine's Barn, colour wood engraving, signed, titled and numbered 12/100, together with other wood engravings, including John O'Connor (River in North Wales, July, 1941), Clarence Willie Northing (1895-1973, Packhorse Bridge, Bakewell), Clare Dalby, John Lawrence, Ann Jope, Sarah Van Niekerk, and others

Lister E3 ii/ii. (1)

(10) £300-500

131

£70-100


474* Sharland (Edward W., fl. 1911-1925). The Wills Memorial Building, University of Bristol, under scaffolding, pencil on paper, heightened with pen & ink, 47 x 32.5cm (18.5 x 12.75ins), together with three etchings of the Wills Building by Sharland, including the etched version of the drawing, a view of the interior of the Wills Memorial Building, with construction workers, and an exterior view after completion with adjacent buildings, each signed in pencil, plate size 47 x 32cm (18.5 x 12.5ins), and similar, mounted

472* Rouault (Georges, 1871-1958). Le Politicard (from Reincarnations du Pere Ubu), 1928, aquatint on heavy laid paper, from the edition of 225, signed and numbered 65/225 in ink to lower margin, plate size 30 x 19.5cm (11.75 x 7.7ins), sheet size 43.5 x 33.5cm (17.1 x 13.2ins) (1)

(4)

£100-150

£150-200

473* Rushbury (Henry George, 1889-1968). Orvieto, etching with drypoint, signed in pencil, plate size 192 x 236mm (7.5 x 9.25ins), sheet size 273 x 386mm (10.75 x 15.2ins), together with Squirrell (Leonard Russell, 1893-1979), Castle above a river, aquatint, signed in pencil, small puncture to upper central area, plate size 177 x 312 mm (7 x 12.5ins), with margins, plus other various etchings, including Nelson Dawson, M. Rudge, Robin Spence, Charles William Taylor, Aubrey Howarth, etc. (12)

Lot 475

£200-300

132


475* Storrs (John Bradley, 1885-1956). Exhibition John Storrs, 1927, woodcut on cream wove paper, an artist’s proof, signed, marked A/P, and dated 1927 in pencil, small dent to the paper near the chin of the head, image size 172 x 146mm (6.9 x 5.75ins), sheet size 305 x 230mm (12 x 9ins) Most likely produced for Storrs’ exhibition of 1927 at the Art Club of Chicago, this woodcut utilises the artist’s earlier woodcut modernist head in profile with cap of 1920. (1) £800-1200

478* Tanner (Robin, 1904-1988). Wren and Primroses, Full Moon, & The Old Road, 3 etchings, each signed in pencil, as issued in the book British Etchers 1850-1940 by Kenneth M. Guichard, published by Robin Garton, 1977, monochrome illustrations, signed by the author to half-title, top edge gilt, original quarter blue morocco gilt, with glassine wrapper and publisher’s cardboard box, large 4to (33.8 x 28cm, 13.3 x 11ins)

476* Strang (Ian R.E., 1886-1952). Place St. André des Arts, Paris, etching on laid paper, signed in pencil, from the edition of 75 proofs, plate size 182 x 238mm (7.2 x 9.35ins), sheet size 266 x 397mm (10.5 x 15.6ins) (1)

£100-150

Garton 19, 29, iii/iii & 36, iii/iii. (1)

479* Tanner (Robin, 1904-1988). Illustration for Thomas Gray’s Elegy, 1980, etching, signed with initials in pencil, and dated 1981, as published in Thomas Gray, Elegy written in a Country Churchyard, published by Robin Garton, 1981, in an edition of 100, plate size 138 x 144mm (5.45 x 5.95ins), sheet size 255 x 185mm (10 x 7.25ins), top edge gilt, original dark brown quarter morocco gilt, with paper wrapper, and publisher’s cardboard box

477* Tanner (Robin, 1904-1988). March, 1981, etching on handmade wove paper, from the edition of 25 published by Garton and Cooke in 1984, signed in pencil, plate size 248 x 197mm (9.75 x 7.75ins), sheet size 360 x 300mm (14.2 x 11.75ins) Garton 42 iii/iii. (1)

£300-500

Garton 41, ii/ii. This copy numbered 77, and additionally signed by Robin Tanner to the limitation leaf. (1) £200-300

£250-350

133


Lot 480

Lot 481

480* Tunnicliffe (Charles Frederick, 1901-1979). Sitting Hare, published by H & G Gerrish in association with Larkhall Fine Art Ltd., 2007, wood engraving, printed in an edition of 112, image size 14 x 9cm (5.5 x 3.5ins), framed and glazed (1)

Lot 482

482* Wedgwood (Geoffrey Heath, 1900-1977). Porta Appia, Rome, 1926, drypoint with line engraving, signed, dated, and titled in pencil, from the edition of 60 signed proofs, plate size 234 x 179mm (9.2 x 7ins), with margins, framed and glazed, with Abbott & Holder label to verso

£150-200

(1)

481* Webb (Joseph, 1908-1962). St. Mary’s Church, Harrow-onthe-Hill, 1932, Christmas card etching on laid paper designed for Mr & Mrs A.E. Reneson Coucher, signed in pencil lower right, small tear with loss to upper outer corner, just touching plate edge, and small pin hole to lower left, plate size 170 x 115mm (6.7 x 4.5ins), sheet size 185 x 127mm (7.3 x 5ins) (1)

£100-150

483* Wyllie (William Lionel, 1851-1931 ). Fishing boats in full sail, etching with drypoint, signed in pencil lower left, plate size 88 x 351mm (3.5 x 13.8ins), framed and glazed (1)

£70-100

Lot 483

134

£70-100


20TH CENTURY PRINTS 484*AR Bawden (Edward, 1903-1989). Sidewall, Riviera, 1929, original colour lithograph from linocut, printed by the Curwen Press, one or two short closed tears to left margin, sheet size 90 x 55cm (35.5 x 21.7ins) Bawden designed 14 wallpapers between 1926 and 1933 for the Curwen Press. These papers are now rare. (1) £200-300

485*AR Blake (Peter, 1932-). Untitled, 1997, colour screenprint on Fabriano Artistico paper, printed by Gresham Studio, Cambridge, and published in The Freud Museum 10th Anniversary Portfolio, in an edition of 100, image size 38.5 x 52cm (15.2 x 20.5ins), sheet size 51 x 64cm (20.1 x 25.2ins), framed and glazed, with printed label to verso (1)

£300-500

Lot 484

486*AR Braque (Georges, 1882-1963). Personnage sur fond rose, 1958, lithograph in black and pink on japon, from the published edition of 200, signed in pencil, and numbered 133/200, in good condition, image size 44.5 x 30cm (17.5 x 11.75ins) mount aperture, sheet 51.5 x 33.5cm (20.25 x 13.25ins), framed and glazed Vallier 298. (1)

Lot 485

135

£1000-1500


Lot 487

Lot 488

Lot 489

487* Dali (Salvador, 1904-1989). Rosa Papillonaea (Butterfly Rose), from the Flora Dalinae, 1968, colour etching from the published edition of 350, signed in pencil, and numbered 32/350, some light scattered spotting, plate size 258 x 234mm (9.2 x 6.2ins), framed and glazed (1)

£100-150

488* Dickson (Jennifer Joan, 1936-). Ma vie, Ma joie, mon amour, 1972, colour screenprint, signed, dated, titled and numbered 5/10, sheet size 76.5 x 50.5cm (30 x 20ins), framed and glazed (1)

£70-100

489* Dorny (Bertrand, 1931-). Un mur, & Meditation devant un mur, 1973, together two colour etchings, each signed, titled, the first dated 10 octobre 73, the second numbered EA VI/VI, plate size 39 x 29.5cm (15.25 x 11.6ins), sheet size 65 x 50cm (25.5 x 19.7ins), matching frames, glazed (2)

£150-200

490 Erte (Romain de Tirtoff, 1892-1990). Precious Stones, 1969, the set of six colour lithographs on BFK Rives handmade paper, with watermark, printed by the Curwen Press, in an edition of 75, published by Grosvenor Gallery, London, 1969, each titled in pencil to lower right Amethyst, Diamond, Emerald, Ruby, Sapphire and Topaz, sheet size 65 x 50cm (25.5 x 19.75ins), together with two colour lithograph Erté posters (Sears Vincent Price Gallery, Ontario, Chicago, December-January 1968 & Christmas Greetings from Colin (Symphony in Black), circa 1983, plus the printed catalogue for the Grosvenor Gallery Exhibition of SeptemberOctober 1967, and an original signature in black ink by Erté on white cartridge paper, used for an album of reproductions of Erté designs, entitled Fashions, and published in 1967 (10)

Lot 490

£300-400

136


491* Ford (Peter, 1937-). The Specimen, etching on two plates, printed together on handmade paper, signed, titled, and numbered 15/100, each plate size 47 x 37.5cm (18.5 x 14.75ins), with margins, overall mount aperture, 54 x 85cm (21.75 x 33.5ins), framed and glazed (1)

493*AR Gentleman (David, 1930-). Cornish Pilchard Boat, colour lithograph (number 8 from the third series of Lyons Lithograph, published in 1955), printed by Chromoworks Ltd., for J. Lyons Teashops, 73.5 x 99cm (29 x 39ins), framed and glazed

£100-150

(1)

£200-300

494*AR Haskins (Sam, 1926-2009). Yeux, 1972, Bromoil gelatin silver print, numbered 15 from the edition of 25, signed, dated and numbered in pencil to lower margin, image size 395 x 435mm (15.5 x 17.2ins), framed and glazed, with original artist’s label to verso, with handwritten title and number (1)

492* Foujita (Tsuguharu, 1886-1968). Sisters with bread and milk pot, lithograph on thick handmade paper, signed in pencil, an artist’s proof, aside from the published edition of 220, marked A.P. in pencil lower left, sheet size 56 x 37.5cm (32 x 14.75ins) (1)

£300-400

137

£300-500


497* Lamb (Elspeth, 1951-). Poseidon, 1990, colour screenprint, from the edition of 40, signed, dated, titled and numbered 37/40 in pencil, image size 125.5 x 94.5cm (49.5 x 37.25ins), sheet size 147.5 x 114cm (58 x 45ins), framed and glazed, with Glasgow Print Studio label to verso (1)

£150-200

495*AR Hockney (David, 1937-). A Rake’s Progress and Other Etchings by David Hockney, Editions Alecto, The Print Centre, 8 Holland Street, W8, December 1963, lithographic poster, printed in black and red, 80 x 57.2cm Hockney Posters 6. (1)

£200-300

496* Lamb (Lynton, 1907-1977). The Cricket Match, colour lithograph, published by School Prints, framed and glazed (1)

498* Martin (Frank, 1921-2005). The Birds, colour woodcut on handmade laid paper, with Alecto Editions blindstamp to lower left corner, signed, titled and numbered 15/30 in pencil, image size 64 x 34cm (25.2 x 13.5ins), sheet size 83 x 52.5cm (32.7 x 20.75ins)

£100-150

(1)

138

£200-300


499* Martin (Frank, 1921-2005). Baboons, woodcut printed in black on mustard yellow paper, signed, titled and numbered 29/30, some light creases, sheet size 52 x 74.5cm (20.5 x 29.25ins) (1)

ÂŁ150-200

500*AR Minton (John, 1917-1957). Iwerne Minster, circa 1955, offset colour lithograph poster, issued by the G.P.O., 73.5 x 91.5cm (29 x 36ins), framed and glazed Rare. (1)

ÂŁ300-500

Lot 499

Lot 500

139


502 Nash (Paul, 1889-1946). Match Making, 1931, rare advertising brochure for Bryant and May, with colour lithograph cover by Nash, printed in yellow, blue, green and black, by the Curwen Press, 55 pages, photographs by Francis Bruguiere, text by E. P. LeighBennett, minor marks, staples removed from spine, generally in very good condition, large slim 8vo (33.5 x 18cm) (1)

501* Mucha (Alphonse, 1860-1939). The West End Review, [1898], colour lithographic publicity flyer with printed text and reviews to centrefold, horizontal fold, 36 x 25.5cm (14 x 10ins), together with an accompanying 8 pp. stapled booklet of press reviews for the West End Review, small 8vo, both loosely inserted and preserved in Souvenir: Julius Caesar, Her Majesty’s Theatre, Designed, Edited and Published for Mr Tree, by the West-End Review, 1898, colour and black & white illustrations, original printed boards in glassine dust jacket, torn without loss, small folio

£200-300

503* Nash (John, 1893-1977). Harvesting Cornfields, 1942, fine colour reproduction print, published by Frost & Reed, signed in pencil, with publisher’s blindstamp lower left, image size 46 x 76cm (18 x 30ins), sheet size 66 x 90.5cm (55cm x 87ins)

Mucha/Henderson 83. Reade 22. Mucha designed a poster for this magazine in 1897 which was one of his largest lithographic works, forming a nine-sheet poster measuring 10 feet by 7 feet. The periodical was published between June 1897 and September 1899 and this image was used for a number of the magazine’s covers. A good, crisp and fine impression. (3) £1000-1500

(1)

£100-150

504*AR Nolan (Sidney Robert, 1917-1992). Burke & Wills, colour lithograph, signed and numbered 60/60 in pencil, 64 x 74cm (25.2 x 29.1ins), framed and glazed (1)

£500-800

505*AR Nolan (Sidney Robert, 1917-1992). Ned Kelly, 1971, colour screenprint, signed and numbered 20/75 in pencil, image size 47.9 x 63.8cm (18.8 x25ins), framed and glazed (1)

140

£300-500


Lot 504

Lot 505

141


506* Piper (John, 1903-1992). Llangloffan Baptist Chapel, from A Retrospective of Churches, 1964, colour lithograph on heavy wove paper, laid down on card, an unsigned proof, aside from the published edition of 70 printed by Curwen Studios, and published by Marlborough Graphics, sheet size 60 x 81.5cm (23.5 x 32ins) Levinson 140. (1)

£200-300

508*AR Rothenstein (Michael, 1908-1994). Cockerel, colour linocut, from the edition of 25, signed and numbered 1/25 in pencil, image size 72 x 48cm (28.25 x 18.8ins), with margins, framed and glazed (1)

507*AR Roberts (William, 1895-1980). London's Fairs, 1951, ccolour lithograph poster for London Transport, printed by Curwen Press, one or two short closed marginal tears without loss, 101.5 x 63.3 cm (40 x 24.9 ins), framed and glazed, together with the lower colour portion of the companion poster to this work, which provided text relating to London's fairs, their dates and locations, with a colour lithograph frieze at top and bottom (the lower frieze only is present here) London Transport Posters, page 197. (2)

£200-300

509* Swanwick (Betty, 1915-1989). Wild or Savage, 1954, colour lithograph poster for London Transport, printed by the Curwen Press, 96 x 62.5cm (37.75 x 24.5ins) mount aperture, framed and glazed (1)

£500-800

142

£300-500


512* Waroquier (Henri de, 1881-1970). Maurice Barrès, La Mort de Venise, Cercle Lyonnais du Livre, 1936, 28 drypoint etchings by Waroquier, including title, double-page frontispiece, printed by E. Brunel, with typography by Maurice Darantiere, untrimmed, loose as issued in original printed wrappers, card chemise and slipcase (rubbed and some marks), large 4to (sheet size 36 x 29cm, 14.2 x 11.4ins) Limited edition of 160 copies, this being number 97 of 120 copies for members of the Cercle Lyonnais du Livre. (1) £200-300

510* Swedish Artists. Foreningen for Grafisk Konst, circa 1973-78, a collection of 19 various etchings, aquatints, lithographs and woodcuts from the annual portfolios, by Kersti Soderstrom-Ergon, Rune Claesson, Nils G. Stenqvist, Eva Holmer Edling, Kristina Anshelm, Brita Molin, Ulla Fries, Givan Nils, Staffan Kihlgren, Sven Bunnel, Rune Gronjord, Maria Heleander, Bennie Gilbert, etc., each signed in pencil, and numbered from an edition of 320, various sizes, sheet size 44 x 66cm (17.25 x 26ins) and slightly smaller, loose in printed portfolio wrappers for the 1973 issue (19)

£100-200

513*AR Wynter (Bryan, 1915-1975). Phalanx, 1958, lithograph on heavy handmade paper, from the edition of 50, signed, dated, and numbered 47/50 in pencil, image size 39.5 x 32.5cm (15.5 x 12.75ins), sheet size 59 x 39cm (23.25 x 15.25ins)

511* Vasarely (Victor, 1906-1997). Zebras, circa 1970, monochrome screenprint, an unsigned issue, 50 x 50cm ( 19.7 x 19.7ins), framed and glazed (1)

(1)

£70-100

143

£400-600


20TH CENTURY PAINTINGS, WATERCOLOURS & DRAWINGS

516* Brassington (Alan, 1959-). Group of Racehorses with Jockeys, graphite on pale brown paper, signed lower right, 21.5 x 34cm (8.5 x 13.4ins), framed and glazed (1)

£80-120

514* Aldin (Cecil, 1870-1935). Portrait of a Pug, coloured chalks on pale brown paper, signed lower right, sheet size 45 x 38cm (17.75 x 15ins), mounted (1)

£1000-1500

517* British School. Figures by a Mill, circa 1950s, pencil and watercolour on paper, unsigned, 29 x 22.8cm (11.4 x 9ins), framed and glazed (1)

515* Bartlett (Charles Harold, 1921-2014). English Estuary, watercolour on paper, signed lower right, 49 x 66cm (19.25 x 26ins) mount aperture, framed and glazed (1)

£100-200

518* Butterworth (Harry, 20th century). Panorama of the Dee Valley near Glenmuick, with Cairngorm mountains beyond, oil on canvas, signed lower left, 51 x 102cm (20 x 40ins), gilt frame

£150-200

(1)

£800-1200

519* Butterworth (Harry, 20th century). On the Banks of the River Dee, near Balmoral, oil on canvas, signed lower right, 51 x 76cm (20 x 30ins), gilt framed (1)

144

£500-700


Lot 518

Lot 519

145


520* Butterworth (Harry, 20th century). The River Dee, near Balmoral, oil on canvas, signed lower right, 25.5 x 36cm (10 x 14.2ins), framed (1)

£250-300

522* Cheesman (Harold, 1915-1982). Tracks on a hillside, 1977, oil on board, signed and dated to verso, 33 x 35.5cm (13 x 14ins), framed, with New Ashgate Gallery label to verso (1)

£100-150

521* Cerny (Charles, 1892-1965). Nautical Still Life, with books, model ship, globe, telescope and compass on a ledge, 1960, oil on canvas, signed and dated lower left, 45.5 x 54.5cm (18 x 21.5ins) (1)

£150-200

523* Colom y Augusti (Juan, 1879-1969). Barcelona street scene with market, watercolour on paper, 32 x 42cm (12.5 x 16.5ins), framed and glazed, with typewritten invoice for the work from the Beaconsfield Gallery, dated December 3rd 1963 (1)

£200-300

524* Grain (John, 1922-2016). River Valley in the Peak District, Derbyshire, watercolour on paper, signed lower right, 48 x 69.5cm (19 x 27.25ins), framed and glazed 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) £100-150

146


Lot 525

Lot 526

525* Cudgate (F.J., 20th century). Slipway, Adelaide, Australia, 1944, watercolour, signed and dated lower right, 25.5 x 45cm (10 x 17.75ins) mount aperture, laid down on card (1)

£100-150

526* Dangar (Harry, 20th century). Lane off Lower Pitt Street, Sydney, Australia, 1931, watercolour on wove paper, signed and dated lower right, 24 x 34cm (9.5 x 13.5ins), mounted (1)

£70-100

528* French School. Flower Market beneath an avenue of plane trees, 20th century, oil on canvas, signed with initials BD lower left, 46 x 55cm (18 x 21.7ins), framed (1)

£200-300

527* Attributed to Bernard Meninsky (1891-1950). Couple with Dog, coloured chalks on paper, signed lower right, 72.5 x 54cm (28.5 x 21.25ins) mount aperture, framed and glazed

529* English School. Portrait of a young boy, circa 1920, watercolour, 43cm (17ins) diameter, mount aperture, contemporary gilt frame

(1)

(1)

£400-600

147

£200-300


530* Ennion (Hugh, 20th century). Norfolk Broads, watercolour, signed lower right, 17 x 54.5cm (6.7 x 21.5ins), together with other modern English watercolours, a coastal view of St. Enogat, Brittany, by Leslie Davidson, a study of a Spanish figure, by Harry Johnson, with Spink & Son label to verso, a watercolour by Gill Leigh entitled Washing in Burano, two watercolours by Robert L. Tovey, each signed, and a colour lino print by Pauline Meade, titled Deer Hill, Marsden, all framed and glazed (7)

£200-300

532* Forbes (Vivian, 1891-1937). Two kneeling angels with trumpets, 1936, Pen and black ink and watercolour on heavy wove paper, signed with initials and dated lower left, sheet size 35.5 x 25.5cm (14 x 10ins) Vivian Forbes studied at Chelsea School of Art and was the close friend of the artist Glyn Philpot (1884-1937) whom he had met while training at Aldershot with the Royal Fusiliers in 1915. He committed suicide immediately after the sudden death of Philpot, on 23 December 1937. The Redfern Gallery held a memorial exhibition of his work from June 30th to July 23rd 1938. (1) £200-300

531*@ 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)

£500-700

533* Gaunt (William Norman, 1918-2001). Pony Club in the Dales, watercolour and gouache on paper, signed lower left, 36 x 48cm (14.2 x 18.9ins) mount aperture, framed and glazed (1)

148

£80-120


534*AR Gillchrest (Joan, 1918-2008). Looking across Mousehole Harbour, oil on board, signed with initials lower left, 19 x 14cm (7.5 x 5.5ins), framed (1)

£700-1000

535*AR Gillchrest (Joan, 1918-2008). Woman and seagulls overlooking the harbour lighthouse, St. Ives, oil on board, signed with initials lower left, 22 x 14.5cm (8.6 x 5.75ins), framed, with Sancreed Studios of Penzance framer’s label to verso (1)

£700-1000

Lot 534 536*AR Hayes (Colin, 1919-2003). Tibetan Farm, Ladakh, oil and acrylic on board, signed lower left, 28 x 37cm (11 x 14.5ins), framed, with New Academy Gallery label to verso Provenance: Private Collection, Gloucestershire. (1)

£500-800

537* Hodgkison (Trevor, 1928-2013). Alderwasley Farm, Derbyshire, egg tempera on board, signed lower right, 50 x 72.5 cm (19.75 x 28.5 ins), framed This view shows Crich Stand near Matlock in the distance. Hodgkison, a Derbyshire artist who won a scholarship to Nottingham School of Art at the age of 13, later became Chair of the Derby Sketch Club and a fellow of the Royal Society of Arts. (1) £150-200

Lot 535

149


Lot 539 539* German Impressionist School. Summer coastal landscape on the Baltic or North Sea, circa 1920s/30s, oil on canvas, indistinctly signed lower right A.Rutf (?), 58.5 x 75.5cm (23 x 29.75ins), framed (1)

£200-300

538* Hughes-Stanton (Blair, 1902-1981). Surreal landscape, circa 1934, watercolour and black crayon on paper, 30.5 x 40.5cm (12 x 16ins), framed and glazed, with handwritten authentication label to verso, signed by the artist’s daughter, Penelope Hughes-Stanton (1)

£200-300

540* Julius (M.E. ). Continental Lake Scene, watercolour, signed and dated 1926, 35 x 52cm (13.75 x 20.5ins) (1)

150

£70-100


543* Large (George, 1936-). Cromer View, 1996, watercolour with pen and ink, signed and dated lower left, 37.5 x 49cm (14.75 x 19.25ins) mount aperture, gilt frame, glazed, with Duncan Campbell label to verso (1)

541*AR Kay (Pamela, 1939-). Roses, oil on board, signed with initials lower right, 32 x 34.5cm (12.5 x 13.5ins), framed and glazed, with Richard Hagen gallery label to verso (1)

£300-400

£400-600

544* Larionova (Sacha, 1972-). Village Landscape, 2007, watercolour on paper, signed with initials, and dated lower right, 120 x 190mm (4.75 x 7.5ins) mount aperture, framed and glazed, with label of Julian and Lotte Ravest’s Artists of Russia exhibitions to verso (1)

542* Klein (Richard, 1890-1967). Tennis Players, gouache on paper, signed lower right, 55 x 48cm (21.75 x 19ins), framed and glazed (1)

£100-150

151

£100-150


Lot 545 545* Lloyd (Norman, 1897-1985). Summer landscape, oil on canvas, 45.5 x 56cm (18 x 22ins), framed Provenance: Bonhams Bayswater, 21st December 2001, lot 242. (1) £300-500

546* Mednikoff (Reuben, 1906-1975). Untitled, 1936, pen & black ink on wove paper, signed with initials lower right, dated January 28, 1936, sheet size 328 x 423mm (12.9 x 16.6ins) An early surrealist dream or automatic drawing by the British surrealist Reuben Mednikoff, with a manuscript account by the artist in ink to the back of the sheet of ten lines, initialled and dated January 31, 1936: ‘Tropical or strange luscious growths are the objects attempted here animal (in feeling), fervid, intense growths are the feelings I am eager to convey... I am still scared after my last debauch of murder - I suppose expecting to be punished. I therefore have attempted art to create ‘beautifully’’. (1) £300-500

Lot 546

152


549* Muncaster (Claude Graham, 1903-1974). On the west coast of Scotland, 1937, watercolour on paper, signed and dated lower right, 23 x 37.5cm (9 x 14.75ins), framed and glazed

547* Milner (Donald Ewart, 1898-1993). Views of Old Town, Swindon, 1973, 3 watercolours on pale cream grey paper, each signed and dated, 28 x 39cm (11 x 15.25ins) (3)

(1)

£150-200

£200-300

550* Napangardi (Molly, 1940-). Bush Dreaming, circa 1980, acrylic on canvas (stamped ‘Mount Allan Station Central Australia’ to verso), signed to verso, and marked DJ 283, with Whitford Fine Art label to verso, 61 x 51cm (24 x 21ins) (1)

548* Morris (Elisabeth, 20th century). Cockerel, 1957, watercolour and black pastel, heightened with white bodycolour, signed and dated lower right, 72.5 x 50.5cm (28.5 x 20ins), framed and glazed (1)

£70-100

153

£100-150


551*AR Nicholls (Bertram, 1883-1974). Scott’s Discovery moored at Temple Pier, Embankment, London, oil on canvas, signed lower left, 44.5 x 59.5cm (17.5 x 23.5ins) mount aperture, gilded wooden frame, glazed, with Fine Art Society label to verso with the title of the work, and artist’s name, dated July 1958 to verso Scott’s iconic ship the Discovery was purchased as a headquarters for the Sea Scouts with the aid of a generous cheque from Lady Houston, with the added intention of providing a memorial to Captain Scott and his heroic Antarctic expeditions. The vessel was given an official welcome by HRH The Duke of Kent on October 9th 1937. (1) £1800-2200

154


552* Ortloff (Joseph (1891-1956)). Still life, 1935, watercolour on paper, signed lower right, 38 x 31.5cm (15 x 12.5ins), framed and glazed (1)

554* Sauter (Rudolph Helmut, 1895-1977). Portrait of the Artist’s Wife, Viola, 1950, oil on wood, signed and dated lower left, 81 x 66cm (32 x 26ins), framed, with artist’s address label to versoinscribed ‘Viola’ R.H. Sauter oil n.f.s.

£100-150

(1)

553*AR @ Rakoczi (Basil Ivan, 1908-1979). Narcissus, 1947, black ink, watercolour and gouache on paper, signed lower left corner, additionally signed, dated ‘47, and numbered 879 to verso, 46 x 60cm (18.2 x 23.8ins), framed and glazed

£200-400

555 Simon (Jacques, 1875-1965). Figures in the street, Paris, pencil, black chalk and gouache on paper, signed lower right, 10.5 x 14.7cm (4.1 x 5.75ins), framed and glazed (1)

Provenance: Bonhams, Knightsbridge, Modern British and Irish Art, 15 September 2015, lot 84. According to the artist’s nephew Christopher Rakoczi, this work was painted in late July 1947 at Menton on the Cote d’Azur, and is one of a series based on characters from Greek myths, including Ganymede, Thesius, Cupid and Psyche. (1) £400-600

155

£100-150


556* Someren (Edmund Lawrence Van, R.O.I., 1875-1963). Chelsea Bridge, The Thames Embankment, circa 1950s, oil on canvas, 46 x 92cm (18 x 36.25ins), framed, gallery label verso (1)

£200-300

561* Webb (Clifford Cyril, 1895-1972). Moorland cottage, watercolour on paper, signed lower right, light spotting, 35 x 52cm (13.75 x 20.5ins) mount aperture, framed and glazed, with Blond Fine Art exhibition label to verso (purchased by Michael Whitehall)

557 No Lot 558 No Lot

(1)

£200-300

559 No Lot

560* Watt (Victor Robert, 1886-1970). Australian Landscape, watercolour on paper, signed lower left, 23.5 x 29cm (9.25 x 11.5ins) mount aperture, framed and glazed, together with another Australian landscape watercolour study by the same artist, showing a tree by a pond, signed lower left, 20.5 x 23cm (8 x 9ins), framed and glazed Provenance: Bonhams London, 14 October 2003, lot 207. (2)

£100-150

562* Winzer (Charles Freegrove, 1886-1940). Portrait of Lalage, circa 1930s-40s, red chalk on wove paper, signed lower left, 33 x 26cm (13 x 10.25ins) mount aperture, framed and glazed Provenance: Private Collection, Bath, England. Possibly a portrait of the writer and mystic Lois Lang-Sims (1917-2014). (1)

156

£200-300


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 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

157


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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NOTES

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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.


MODERN LITERATURE & FIRST EDITIONS CHILDREN’S & ILLUSTRATED BOOKS PEEPSHOWS, GAMES & SAMPLERS PLAYING CARDS & GREETINGS CARDS 20 JULY 2017 From a group of Andrew Lang Fairy Book First Editions in very fine condition. To be offered separately, various estimates.

Grimm (Jakob & Wilhelm). Kinder- und Haus-Märchen. Gesammelt durch die Brüder Grimm, 3 volumes, Berlin: G. Reimer, 1819-1822, engraved frontispieces and additional engraved title-pages (by Ludwig Emil Grimm) to volumes 1 and 2, spotting and light browning throughout, modern rexine-backed marbled boards with spine labels lettered in gilt, square 8vo (127 x 102mm) Second edition of Grimm’s Fairy Tales, and first illustrated edition, originally published in two separate volumes in 1812 and 1814 respectively; this is the first appearance of the third volume which contains the sources of the tales and a commentary. Estimate: £1,500-2,000

Miniature Map Playing Cards. [The 52 Counties of England and Wales, Geographically Described in a Pack of Cards, 1st edition, 1st state, London: Robert Morden, 1676], 37 (of 52) suit cards, engraved maps with outline handcolouring, suit symbols stencilled and coloured, 95 x 55mm Very rare first state group of these early county map playing cards, many the first to feature roads of their respective counties. Part of a selection of lots of antique playing cards offered for sale. Estimate: £4,000-6,000


Dominic Winter Auctioneers  

Fine Art & Antiques | 15 June 2017

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