Dominic Winter

Fine Art & Antiques Photography 9 OCTOBER 2014

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

Lot 256 • Front Cover: Lot 188 • Back cover: Lot 434

Dominic Winter SPECIALIST AUCTIONEERS AND VALUERS All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom.

A buyer’s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium

ANTIQUE FURNITURE & CLOCKS SILVER & CERAMICS TRIBAL & ORIENTAL WORKS OF ART PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS CHINESE & JAPANESE ART PHOTOGRAPHY 1850-2000 Thursday 9 October 2014 Lots 1-556 commencing at 10am Viewing: Tuesday/Wednesday 7/8 October, 9am-7pm and morning of sale from 9am

Payments: For full details please refer to the information on the reverse of the Contents Page Please ensure that all commission bids reach us by 10am on the morning of sale.

Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on morning of sale Results will be posted on our website immediately after the sale.

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

Fax: 01285 862461 info@dominicwinter.co.uk

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

Imao Keinen. Keinen kacho gafu [Birds and Flowers], 4 volumes, 1st edition, Kyoto, 1891-92 ÂŁ2,000-3,000 (8th October)

FORTHCOMING SALES Wednesday 8 October

Printed Books, Maps & Documents Travel, Natural History & Sporting Art

Wednesday 12 November

Printed Books, Maps & Documents Sir Winston Churchill Signed Books

Thursday/Friday 13/14 November

Historic Aviation, Maritime & Transport Memorabilia Arms & Armour, Medals & Militaria Stamps & Coins

Wednesday 17 December

Printed Books, Maps & Documents

Thursday 18 December

Children’s & Illustrated Books & Modern First Editions

Wednesday 28 January

Printed Books, Maps & Documents

Thursday 29 January

The Anthony Gasson Opera Collection Part II

Spring 2015

Art & Antiques, Photography

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

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

Fax: 01285 862461 info@dominicwinter.co.uk

CONTENTS Ceramics Oriental Works of Art Silver Collectables Tribal Art Clocks & Watchmakers Lathes Boxes Furniture Garden Statuary Oils, Watercolours & Drawings Portraits Old Master Prints & Drawings Stained Glass Sculpture British & Continental Etchings, Woodcuts & Lithographs Kenneth Holmes Modern & Contemporary Prints Modern Paintings, Watercolours & Drawings Chinese Watercolours & Japanese Prints Photography 1850-2000

1-7 8-18 19-33 34-52 53-88 89-98 99-104 105-158 159-163 164-207 208-227 228-240 241-242 243-248 249-268 269-278 279-290 291-342 343-420 421-556

IMPORTANT NOTICES All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. 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 asterisk, in which case the buyer’s premium in 19.5%.

Artist's Resale Right Law ("Droit de Suite") Lots marked with a (AR) 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 for further details.

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

Furniture, Silver, Ceramics & Collectables Henry Meadows BA Hons, MRICS Matthew Farren BA Hons, FRAS Paul Rasti

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

Photography Chris Albury

CERAMICS To commence at 10am 3* A pair of Moorcroft pottery shoulder vases, decorated with flowers on a woodsmoke ground, Moorcroft backstamp and original ‘Queen Mary’ label, 12cm high (2)

£150-200

1* A Clarice Cliff ‘Yellow Rose’ pattern coffee service, No.6022, comprising coffee pot, six cups and saucers, milk jug and sugar bowl, with black Bizarre backstamp, retailed by Lawley’s of Regent Street, coffee pot 18cm high (some damage) (9)

£100-200

4* A Moorcroft pottery ‘Spring Flowers’ pattern bowl and cover, on a woodsmoke ground, Moorcroft backstamp and original ‘Queen Mary’ label, 11.5cm diameter (1)

£100-150

5* A Royal Doulton character jug ‘Veteran Motorist’ D6633, 18.5cm high together with another ‘Toby Philpots’, 15.5cm high plus a Japanese Imari lobed porcelain bowl and other china and glassware (10)

£50-80

2* A collection of Mason’s Ironstone China, 19th century and later but predominantly modern, including a Strathmore pattern ginger jar and cover, 17cm high, several other ginger jars (some lacking covers) in various patterns including Brocade, Mandarin, Zinnia, Nanol, Chartreuse plus a large quantity of dinner and side plates, pin dishes and other items (57)

£100-200

6* A Victorian pottery salad bowl and servers, with a terracotta glaze and egg and dart moulding with gilt metal mounts, indistinct mark to base, 23cm diameter, the servers with pottery handles and gilt metal foliate engraved mounts by Martin Hall & Co (hairline to spoon) (3)

Lot 3

5

£50-80

7* A creamware Veilleuse or beverage warmer, late 18th century, comprising a twin handle cylindrical stand with pierced decoration, a bowl with curved thumb piece and a teapot and cover and bowl, (minor damage and crazing) (1)

£100-150

9* A Chinese bronze censer, 19th century, of pedestal form richly detailed with dragons chasing the pearl in a cloudy sky, 34cm high

ORIENTAL WORKS OF ART

(1)

8* Two Bidri Huqqa bases, early 19th century or earlier, each traditionally inlaid with silver in repeating foliate decoration, 23cm and 22cm high (2)

£100-150

10* A Chinese porcelain dish, decorated with cicadas, aquatic plants and flowers, underglazed blue Qianlong mark but not period, 18cm diameter

£100-150

(1)

6

£150-200

Lot 11 11* A pair of Chinese porcelain tea bowls with saucers, late Qing dynasty, decorated in famille rose enamels, showing chrysanthemums and other flowers, each with six character mark to base, gilt rims mostly worn, 14.5cm diameter and smaller (4)

ÂŁ200-300

12* A group of Chinese porcelain, including a dish, decorated in underglazed blue and iron red, showing an elderly man with a crane beside a pine tree, Yongzheng mark to base, together with a Sung style lotus shaped crackle glazed dish; a Cantonese plate decorated with butterflies; a vase decorated in famille verte enamels depicting a warrior (lacking lid), plus a bowl with white metal mounts (5)

Lot 13 13* A Chinese bronze alter vase, probably 19th century or earlier, cast with mythical dragons around the centre, the base with cast calligraphy mark, 13.5cm high

ÂŁ200-300

(1)

7

ÂŁ100-150

14* A Chinese bronze box, early 19th century, in the form of a peach with foliage at the rear, the cover with naturalistic bat finial, 18cm long (1)

£150-200

Lot 16

Lot 17

15* A fine pair of Chinese porcelain vases, Republic period, decorated in the famille rose palette with panels of scholarly girls before trees and landscapes, with Qianlong mark to the base, 26.5cm high, together with a Chinese porcelain bottle vase in the famille rose palette, decorated with pheasants and a poem, 29.5cm high (some damage to the rim) (3)

£100-150

16* A Chinese bronze bottle vase, late Qing dynasty, brass inlaid decoration in the form of meander patterns and scrolling foliate band, on carved and pierced hardwood base, 27cm high (1)

£80-120

17* A Chinese hardstone vase and cover, late 19th/early 20th century, carved with two horses at either side and geometric panels, the domed cover carved in a similar manner with lapis lazuli finial, 19cm high (1)

18* A Japanese cloisonné vase, Meiji period (1868-1912), decorated with an exotic bird perched on a leafy branch on a cobalt blue ground, 24cm high, (missing reinforced band)

£70-100

(1)

8

£100-150

SILVER

19* A cased Asprey & Garrard silver condiment set, comprising pedestal salt and pepperette plus lidded mustard pot and spoon, Garrard & Co Ltd, Birmingham 1993, with original box, approx. 4.5oz (1)

21 An Art Deco silver and mother-of-pearl dessert set, comprising 6 knives and 6 forks, Goldsmiths and Silversmiths Company, Sheffield 1936, in a walnut case, together with a George III silver and ivory dessert set, comprising 6 knives and 6 forks, George Unite, Birmingham 1827, in a later mahogany case (some cracking to the ivory)

£70-100

(2)

£150-200

20* A George V silver bon-bon dish, pierced with lattice work border, Barker Brothers Ltd, Birmingham 1932, 14cm diameter, together with three silver christening mugs, various dates and makers; a matched silver christening set comprising fork, spoon and napkin ring, Joseph Rogers, Sheffield 1898 and Birmingham 1910; pair of cased silver napkin ring plus a silver-plated presentation trowel, engraved PRESENTED TO MASTER N.H. WARD UPON LAYING THE FOUNDATION STONE AT Little Warfield RADLETT April 1931, with ivorene grip, 18cm long in its presentation case and other items, weighable silver approx. 24oz (20)

£200-300

22* A Victorian style silver easel mirror, London, 1979, with heart shape bevel edge glass within an elaborate embossed frame with winged cherub head flanked by winged cherubs amongst foliate decoration, makers initials OSS, 38cm high x 33cm wide (1)

£150-200

23* A collection of electroplated items, including a baluster mug with acanthus scroll handle on pedestal foot, 14cm high, a shaped salver engraved with lattice and scrolls, 30cm diameter, a tapered mug with walrus tusk handle engraved with presentation inscription, 13cm high, flatware, plus an Edwardian canteen of cutlery by Frank Mills, Sheffield (2 cartons)

Lot 21

9

£70-100

Lot 24

Lot 25

Lot 27

24* An Elkington & Company service of flatware in an oak canteen, early 20th century, comprising knife steel, game carving knife, 2 large carving knives, 2 large carving forks, 10 table knives each with ivory grip, cheese scoop, butter knife, 5 associated dessert knives and 4 associated tea knives, 12 table forks, 12 dessert forks, 11 tea spoons, 6 egg spoons, 4 salt spoons, sugar tongs, sugar spoon, 12 tablespoons, 12 dessert spoons, 2 sauce ladles, sifter spoon, soup ladle, 2 gravy spoons, 2 napkin rings (1)

£200-300

25* A framed silver map of Great Britain, Danbury Mint, London, 1978, limited edition authorised and issued by the Council for the Protection of Rural England, detailed in black within in a border engraved with crests of all Counties in the British Isles, 55 x 37cm, in a deep frame and glazed, together with a Victorian silver heart shape vesta case, probably John Gilbert, Birmingham, 1896, engraved with initials EGE within foliate borders, gilded interior, with suspension chain, 4cm high plus another vesta case, plain with engraved initials and hinged compartment revealing photograph frame, William Neal, Birmingham 1910, 4.5cm high, weighable silver 1.7oz (3)

£100-150

26* A pair of Asprey & Garrard silver Corinthian column candlesticks, each with detachable sconce, Garrard & Co Ltd, Sheffield 1993, 26cm high, in original box (2)

£200-300

27* Five Indian white metal cups, each chased with foliate decoration, 4cm high, approx. 4.5oz, plus a South American silver buckle set with turquoise stamped Sterling, a similar neck tie, silver envelope stamp case, Chester, date letter worn, silver open face pocket watch and other time pieces etc.

(20)

£80-120

28* A Victorian electroplated lamp base by Walker & Hall, Sheffield, the fluted acanthus column supported by three recumbent camels on trefoil base with detailed paw feet, manufacturers stamp to base, No. 1713, 43.5cm high (1)

Lot 28 10

£150-200

Lot 31

29* A mixed collection of silver including a trophy cup, London 1879, 21cm high (approx. 7.5oz), a cased set of three ashtrays, Birmingham 1956 (7oz), sauce boat with flying scroll handle, London 1919, 15.5cm long (4oz), pierced bon-bon dish, Birmingham 1922, 11.5cm wide (approx. 2oz), five napkin rings, five teaspoons, a baby feeder and spoon plus a circular photograph frame, 8cm diameter, weighable silver 34oz overall (25)

32* A Victorian silver apostle spoon, cast with a figure holding a serpent entwined staff with additional angel and peacock decoration, George Adams, London 1855, 17.5cm long, 1.8oz, in a fitted leather case (lid detached), together with a collection of postal scales, including a brass pair of Arnold Precision scales, Class B, on wooden base with four graduated weights, the balance stamped TO WEIGH 8 OZ, another pair mounted on an oak base with ivorene plaque stamped FOREIGN LETTER RATES, with six graduated weights, plus cased brass weights and three money banks

£300-500

(13)

30* A silver salver, with piecrust edge, engraved with presentation inscription from The Durand Football Tournament Committee 1952, on three scroll feet, stamped silver, 30.5cm diameter, approx. 21.5oz

£70-100

31* An Edwardian silver trinket box, with coaching scene to lid,

by William Commyn, London 1903, with repousse and pierced decoration, together with an Art Nouveau silver condiment dish, Birmingham 1906, with original blue glass liner, pierced decoration, plus six Georgian silver teaspoons, total silver approx. 5oz

33* A French Russian-style silver gilt set of twelve teaspoons, 19th century, including sifter spoon plus sugar tongs, each with acanthus type stems and plains bowls, the tongs with detailed lions paws, each with Minerva mark and CIE, approx. 11.5oz, together with a George III pinchbeck chatelaine, with suspension chain leading to a pierced oval drop with four further chains for suspension each with clasp, 21cm long

(8)

(15)

(1)

£150-200

£100-150

11

£100-150

COLLECTABLES 34* A Black Forest owl, late 19th century, finely carved and detailed with glass eyes perched on a tree stump, 50cm high (minor damage) (1)

£200-300

35* A brass lectern modelled as a falcon, circa 1900, well detailed with outspread wings and claws, 53cm high (lacking base) (1)

£150-200

36* A pair of modern three branch floor standing wrought iron candle stands, each with curved feet, 121cm high, together with a pair of small wrought iron twin branch candle stands, each with twisted and scroll decoration, 45cm high (4)

£100-150

37* A Victorian chess set, comprising thirty-two pieces in ebony and boxwood, King 9cm high, Queen 7.5cm (boxwood King replaced), in an ebonised box with traces of Chinoiserie decoration (1)

39* A bronze mortar, Lothbury, London, c.1660-1685, with four rose and crown relief decorations to sides, height 11cm (4.25ins), diameter at rim 14cm (5.5ins) See English Decorated Bronze Mortars and their makers, by Michael Finlay, 2010, page 75 fig. 110 & page 79 fig.129.

(1) £150-200

£70-100

38* A fireplace poker and shovel, 20th c., with twisted wrought iron handles and stem, length approx. 90cm (2)

Lot 34

£70-100

40* A bronze mortar, Lothbury, London, c.1660-1685, with two lug handles, Tudor rose with crown relief decoration, height 12cm (5ins), diameter at rim 15cm (6ins) See English Decorated Bronze Mortars and their makers, by Michael Finlay, 2010, page 80 fig. 133.

(1) £150-200

41* A rare leather bear snout muzzle, early 20th century, the thick leather with steel bars, pierced with holes and with fastening strap, 24.5cm long (1)

Lot 35 12

£100-150

43* A collection of decorative owl sculptures, including a large pottery owl finely modelled with glass eyes together with a bronzed plaster owl modelled perched on a tree stump, 42cm high (4)

£70-100

44* Pautrot (Ferdinand, 1832-1874). Coucou, 1868, bronze with golden brown patina of a singing cuckoo on a naturalistic base, signed and dated Paris, 1868, to base, size 18.5cm (7.5 ins) overall height (1)

£200-300

45* A child’s rocking horse, 20th century, well carved in pine with the under carriage unusually carved with a hound chasing a fox, on green painted rocker, 121.5cm high x 186cm wide, (some damage) (1)

£500-800

42* A pair of Victorian oil lamps, each on wrought iron and brass telescopic stands, 227cm high (including lamps)

46* A copper and brass samovar, mid-19th century, the twin handle urn with domed gadrooned cover and flower head finial, the brass tap with ivory thumb piece, raised on flared pedestal leading to square base with bun feet, 40cm high

(2)

(1)

£150-200

Lot 44

£100-150

Lot 45

13

50* A carved wood and gesso child’s toy horse, with dapple grey decoration fitted on iron wheels, 34cm high x 38cm long (1)

£100-150

47* A Dorman Lockstitch miniature sewing machine, in black with gold painted fern, the front plate stamped 9403, THE DORMAN LOCKSTITCH SEWING MACHINE PATENT, THE DORMAN SEWING MACHINE AND ENGINEERING CO NORTHAMPTON ENGLAND, the turning wheel lacking handle, 19cm high (1)

£100-150

51* A fine treen hat stretcher, early 20th century, formed typically as two parts with steel turnscrew on a solid base with paper calibration scales, 38cm high (1)

£100-150

48* A French oval gilt metal snuff box, late 18th century, the cover, sides and base with chased vertical bands and scrolls, the inner lid and base stamped G M, 3cm high x 18cm wide (1)

£100-150

49* A collection of Victorian ivory teething pegs, carved as a saw, cricket bat, axe, knife, sledge hammer, fork, pliers and other forms, each approx. 9cm long and pierced and strung, together with an Edwardian ivory baby’s rattle and teething ring, 13cm long plus an Edwardian ivory dressing table set

52* A Continental treen water bottle, late 19th c., of circular form carved in relief SPOMEN NA LIKU (memorial on the cheek) 1885, with a spray of flowers carved in relief, the other side with a heraldic crest, bound in engraved brass with treen stopper on four brass feet, 34cm high x 25cm diameter

(6)

(1)

£100-150

14

£150-200

TRIBAL ART

53* An African fertility figure, carved as a seated mother feeding her baby, 36cm high (weathered) together with a Sumatran bronze shield of circular form with central boss surrounded by five further bosses, the rear with strap fittings, 22.5cm diameter (2)

55* A West African Senufo ceremonial mask, carved with horns and scarification marks, 31.5cm high, together with a carved figure probably Bamana, modelled as a warrior holding a shield and club, 39cm high), an Indian bronze figure of Parvati the Hindu goddess, late 19th/early 20th century, standing in traditional costume of a lotus base, 14cm high; a Sino-Tibetan bronze figure of an infant Buddha, his left arm facing raised and right arm facing down (a position adopted after his miraculous birth) on a lotus base, 19.5cm high; a Chinese bronze tripod censer and cover, 18cm high, plus an African hardwood figure

£70-100

(6)

£70-100

54* A Cameroon sword, the 49cm double edge blade with leather bound grip and iron terminal, 70.5cm overall, in its leather and lizard skin scabbard, together with a similar sword plus a Cameroon dagger and scabbard

56* An African wooden mortar, probably of the Tivi tribe, Nigeria, early 20th century, native hardwood, barrel-shaped form, three bands dividing into two fields each with incised decoration of lines and concentric circles

(1)

(1)

£100-150

15

£100-200

57* A Nigerian bronze figural bowl, of squat form raised on pedestal supported by curved spindles, with stylised handle modelled as a head, 29cm high

59* A pair of Nigerian Yorumba tribe dance staffs, each carved with two figures, one on top of the other holding shakers, 57cm high

(1)

(2)

£70-100

58* A pair of Nigerian Yorumba tribe figures, carved as a tribesman resting his head on a staff with his female companion holding a bowl, each with high curved ceremonial headdress, 44.5cm high (2)

£80-120

60* A pair of Nigerian Yorumba tribe tappers, each carved in the manner of an elephant tusk, with kneeling tribeswomen, and clapper, 30.5cm long (2)

£80-120

16

£70-100

61* A Nigerian Yorumba tribe cult drummer, carved as a young tribesman with ceremonial instruments and beads, 47cm high

63* A Congo Kuba tribe Janus twin-handle cup, carved as a double head on flared base, 24cm high

(1)

(1)

£100-150

62* A Congo Bakongo tribe power figure, carved in the standing position bound with rope and nails, his head inset with glass eyes and brass beads, 67cm high (1)

£80-120

64* A Congo Kuba tribe mask, carved as an elongated face with polychrome geometric decoration, the fringe inset with cowrie shells and beads, Number ‘400 I-82’ inscribed on reverse (possible collection number), 28cm high

£100-150

(1)

17

£80-120

67* An Ivory Coast Senufo tribe container and cover, carved as an ovoid bowl with lizard, turtle and serpent supported by four tribesmen on domed base, the cover with tribesman on horseback flanked by pelicans, 72cm high (1)

£150-200

65* A Congo Hemba tribe mask, carved with long distinctive nose and flat wide mouth, 25.5cm high (1)

£70-100

66* A Congo Yaka tribe ceremonial mask, with carved infant boy surrounded by grass surmounted by canvas with traces of painted geometric decoration, 65cm high

68 An Ivory Coast Senufo tribe figure, carved as a seated tribeswoman, 49cm high

(1)

(1)

£100-150

18

£80-120

69* An Ivory Coast Dan tribe mask with domed forehead, rounded hollow eyes and distinctive mouth with teeth, the jaw inset with leather, 25cm high, together with a Goli tribe mask, circular with carved ape and horns, polychrome painted in black, white and brown, 44cm high

71* A Mali Bamana tribe Janus sceptre, carved as a figural head modelled wearing a helmet with long downswept earpieces, applied with iron mounts, 103cm high

(2)

(1)

£100-150

£100-150

70* An Ivory Coast Dan tribe spoon, carved as a tribesman with scarification marks to his body, the bowl of the spoon with geometric carved decoration

72* A Mali Bamana tribe female figure, carved in the standing position with headdress and geometric carving to back and stomach, bound with beads, 73cm high, together with a Dogon tribe mask, carved with a pair of long horns, triangular eyes and slit mouth with geometric decoration, 46.5cm high

(1)

(2)

£100-150

19

£100-150

75* A Gabon Punu tribe mask, carved with coiffure and pigmented face including scarifications, 30cm high, together with two further masks plus a terracotta helmet mask, sculpted with two masks each with red pigment face, 19cm high mounted on a base for display (4)

£150-200

73* A Mali Bamana tribe N’tomo Society dance mask, carved as an elongated head with figural carved top inset with red bead eyes and comb-like vertical uprights, 66cm high (1)

£80-120

76* A collection of ten hollow metal Ashanti figures, each individually modelled with traces of pigment, approx. 7cm and smaller, together with an Akan tribe brass figure modelled as a leopard with a lamb in its mouth, 13cm long (11)

74* A Cameroon Namji fertility doll, carved with outswept arms and adorned with multi-coloured beads, 42cm high, together with a pair of carved figures in skirts of beads and cowrie shells, 35cm high (3)

£70-100

77* A Burkina Faso Bwa tribe mask, carved as a zoomorphic head with curved horns and geometric polychrome decoration, 53cm high

£100-150

(1)

20

£150-200

Lot 80

Lot 81

78* A Tanzania Makonde tribe helmet mask, realistically carved with scarification marks and a tuft of hair, 23cm high (1)

£70-100

82* A Nepalese ceremonial mask, carved with distinctive facial features, 29cm high, together with a further mask, 28cm high (2)

£70-100

79* A collection of five Indonesian puppets, each with carved head and body in traditional ceremonial costume, together with a Nias Islands figure, carved in the seated position drinking from a bowl, 30cm high (6)

£100-150

80* A New Guinea Asmat tribe dish, carved with a tribesman surmounting a bowl, polychrome-decorated with a tribesman’s face, the reverse carved in relief with geometric decoration, 41.5cm long (1)

83* An African model of a canoe, carved in the traditional form with zoomorphic beast’s head in red and yellow with stand, 129cm long

£80-120

81* A New Zealand jade Maori hei tiki pendant, carved in the traditional form, 6cm high, together with a smaller pendant, plus a wahalka club, carved with tiki handle, 32.5cm long (3)

(1)

£150-200

21

£70-100

84* An African Yorumba tribe staff, probably 19th century, the top carved with a kneeling figure with metal eyes, with traces of pigmentation, 161cm long overall Provenance: From an old collection.

(1)

£100-150

85* A Borneo Dyak headhunter’s sword, the 45.5cm long blade engraved with scrolls, with carved bone grip bound in woven cord, 58cm overall in its wooden scabbard with woven cord (1)

£70-100

86* An unusual Thai dagger (Kris), probably early 19th century, the 19.5cm wavy steel blade with gilt painted demon hilt, 28cm overall, in its gilt wood scabbard (1)

Lot 84

£70-100

Lot 85

Lot 87

Lot 88

87* A large African tribal figure, carved as a young boy with distinctive raised hair with one hand raised and with scarification marks and washed in white, mounted on square wooden base, 61cm high, together with an Pre-Columbian Chancay terracotta figure of a young man, modelled in the standing position painted with geometric decoration, his flattened head pierced with three holes, 15.5cm long (2)

£100-150

88* A well patinated Zulu knobkerrie, the spherical head showing signs of use, the shaft bound in wire decoration Provenance: From an old collection.

(1)

Lot 86

22

£150-200

CLOCKS & WATCHMAKERS LATHES

89* A Victorian Admiral Fitzroy “Royal Polytechnic” mercury barometer, in a carved oak case with paper dial and thermometers for Centigrade and Fahrenheit, 106cm high (1)

92* An Edwardian ‘Marley Horse’ group mantel clock, in gilt spelter with white enamel dial and black Roman numerals, 39cm high with key and pendulum

£150-200

(1)

£80-120

93* A Victorian drop dial wall clock, the white circular enamel dial with black roman numerals signed ‘Frisch & Schierwater 29 Church St Liverpool’, in an ebonised case with glass door and trunk window, with rose encrusted carved sides plus key and pendulum, 46cm long, dial 23cm diameter (1)

90* An Edwardian brass skeleton clock, the steel chapter dial engraved with black Roman numerals, blued steel hands, fusee movement, 34cm high, under a glass dome with key and pendulum (1)

94* A steel watchmaker’s lathe, with adjustable slide and mounting post, together with two brass rounding up tools and three cased sets of accessories including milling tool wheels plus Smith (Alan), The Country Life International Dictionary of Clocks, Hamlyn Publishing Group Limited 1988, hardback publication, 351 pages, numerous illustrations and one other book

£80-120

91* A grandmother clock circa 1920s, the silvered dial with black Arabic numerals, with brass movement stamped Unghans J, Wurtenberg, in a mahogany case with columns and brass capitals, 139.5cm high, with key (lacking hands) (1)

£80-120

(a carton)

£100-150

23

£200-300

95* A Swiss brass and steel watchmaker’s lathe, 19th century, with brass and rosewood turning handle, rotating index plate and adjustable slide, 49cm long (1)

£200-300

Lot 97

96* A Swiss brass and steel watchmaker’s lathe, 19th century, with large handwheel and rosewood handle, two brass pullies and adjustable slide, mounted on a mahogany base, 54cm long (1)

£200-300

97* A Swiss brass watchmaker’s brass and steel wheel cutting engine, 19th century, the pivoted cutter frame with adjustable stop mounted via screw-adjusting slide for depth adjustment onto the frame, with 15cm diameter index plate with thirty-six divining rings located by a sprung detent fixed to the rear of the frame, on three curved iron feet pierced for fixing to the workbench (1)

£700-1000

98* A Swiss brass unsigned watchmaker’s rounding up tool, 19th century, with large handwheel and rosewood handle, cutter assemblies and adjustable horizontal slide, two treen pullies, mounted on a mahogany stand with integral accessories compartment, 24cm long The rounding up tool is used for re-cutting or re-shaping wheel teeth, it is also known as a ‘topping tool’, and with it a wheel can be reduced in diameter or corrected if not perfectly round, or have its teeth re-formed.

(1) £200-300

Lot 98

24

BOXES 101* A mahogany rectangular tea caddy, 19th century, inlaid with a conch shell within oval cartouche, barber’s pole strung border, the hinged lid enclosing two compartments each with cover, 12cm high x 20.5cm wide (1)

102* A mahogany rectangular tea caddy, 19th century, inlaid with conch shells and brass handle, the hinged lid enclosing three compartments each with cover, the sides with lined inlay on four brass ball feet, 13cm high x 24cm wide

99* A Regency rosewood tea caddy of rectangular form, the hinged lid enclosing two lift out canisters each with bone finial and cut glass bowl, with brass ring turn handles and vine and berry backplates on bun feet, 16.5cm high x 31.5cm wide x 16.5cm deep (1)

£70-100

(1)

£70-100

£150-200

100* A mahogany rectangular tea caddy, 19th century, inlaid with four brass dotted lines radiating from central brass finial set into a circular satinwood cartouche, the hinged lid enclosing two compartments each with cover and brass handle, plus a silver teaspoon, with brass key plate, 13cm high x 17.5cm wide (1)

£70-100

103 A walnut brass bound Victorian writing slope, with brass lockplate and lozenge to lid, original fitted interior with tooled leather inset, ebonised wooden fixtures, complete with glass ink bottles and secret compartments, 15cm high x 34.5cm wide x 23cm deep (1)

£70-100

104* A Victorian walnut brass-bound writing slope, with shaped brass vacant cartouche and key-plate, the hinged lid enclosing velvet lined fall and divisions plus a secret compartment, 17.5cm high x 50cm wide x 25cm deep (1)

Lot 101

25

£50-80

FURNITURE

105* A William IV ‘Architects’ cabinet, the stepped cornice over two glazed doors each with arched moulding enclosing shelves, above two panelled doors enclosing lift out trays and a further two panelled doors beneath enclosing shelves, 230cm high x 94.5cm wide x 66.5cm deep (1)

£200-300

106* A pair of satin birch Sheraton revival armchairs, late 19th century, with arched top rail over three carved vertical back rails, stuffed seats on tapered supports with spade feet, 90cm high (2)

£200-300

107* A rustic timber bench, the rectangular seat of natural form above pegged base united by stretcher, 49cm high x 114cm wide x 49cm deep (1)

Lot 105

26

£100-150

108* A French Louis XV-style bijouterie cabinet, veneered in kingwood with gilt metal mounts on four cabriole supports, 74cm high x 61.5cm wide x 43cm deep (1)

£150-200

109 A Victorian walnut bookcase, the rectangular top with rounded corners above two glazed doors enclosing shelves on a solid base, 149cm high x 107.5cm wide x 33cm deep (1)

£300-500

Lot 108

110* A Regency rosewood bookcase, the brass-galleried superstructure with brass-strung back raised on two brass columnar supports, above two glazed doors enclosing shelves, with brass fret-cut borders on tapered supports, 115cm high x 92cm wide x 28cm deep (1)

Lot 109

27

£600-800

Lot 111 111* A fine Victorian rosewood breakfront bookcase by Collinson & Lock, London, the upper section with dentil cornice and fluted block frieze, with three shelved sections divided by fluted pilasters, above four frieze drawers, one stamped 7669 COLLINSON & LOCK LONDON, four panelled cupboard doors each with pierced brass hinges on a block base, 228cm high x 211cm wide x 40cm deep

Lot 111 detail

(1)

28

ÂŁ3000-5000

112* A Victorian mahogany breakfast table, the oval top over turned pedestal column on trefoil and scroll base, 70cm high x 141cm wide x 105cm deep, together with a set of four mahogany dining chairs, each with pierced ladder back, stuffed seat on tapered supports, 100cm high (5)

£100-150

114* A George II mahogany fall-front bureau, the detachable top inlaid with a vase of flowers, the fall similarly inlaid enclosing drawers and compartments and inset with tooled leather over two short drawers and two long drawers each inlaid with swags and with brass handles on a block base, 105cm high x 104cm wide x 64.5cm deep (1)

£300-500

113* A George III mahogany fall-front bureau, the hinged fall enclosing drawers and stationery compartments above three drawers each with brass handles on bracket supports, 107cm high x 96.5cm wide x 71cm high (1)

£300-500

115* A George III oak fall-front bureau, the hinged fall enclosing divisional interior, above four long drawers each with turned mahogany knob, on bracket supports, 103cm high x 99cm wide x 49cm deep (1)

29

£150-200

118* A George III satinwood demi-lune card table, possibly by Hill of Marlborough, the top painted with a band of peacock feathers and roses and crossbanded in tulipwood, on square tapering legs headed by satinwood panels on spade feet, 73cm high x 98cm wide x 48.5cm deep (1)

£1500-2000

116* A George III mahogany bureau and stand, c. 1760, the hinged fall opening to reveal divisional interior of six drawers, a cupboard and eight pigeon holes above two short drawers, on a single drawer base with square chamfered legs, the bureau with large brass carrying handles, 100cm high x 75.5cm wide x 46cm deep (1)

£1500-2000

117* A George II red walnut card table, the shaped top hinged to reveal later green baize and gaming counter dishes supported by a gateleg, single drawer to frieze with brass handle and pierced brass backplate, on tapered supports and pad feet, 74.5cm high x 84cm wide x 41.5cm deep

119* An Italian Renaissance-style carved walnut hall chair, late 19th century, with Mannerist grotesque mask flanked by nudes in drapery, solid seat carved with flower head over figural carved base, 98.5cm high

(1)

(1)

£300-500

30

£100-150

122* A George I walnut chest, the rectangular top with pokerwork crossbanding above two short and three long drawers, each with pokerwork crossbanding on an ogee base with four bun feet, 95cm high x 101cm wide x 58.5cm deep 120* A fine and rare parcel-gilt and mahogany chair possibly from Windsor Castle circa 1868, the oval back finely carved with Prince of Wales plume and husks, the serpentine and caned seat above guilloche and lotus supports, with inventory stamp ‘657’, 95.5cm high (1)

(1)

£300-500

£300-500

123* A Victorian amboyna credenza, c. 1870, the top crossbanded with ebony and tulipwood and strung with boxwood above a three sectioned front divided by gilt metal topped and fluted columns, the centre door crossbanded at the top and set with a Paris porcelain plaque of Madame du Barry, beneath a porcelain mounted frieze and flanked by glass-panelled doors, each edged in gilt metal beading on plinth base on turned feet, 114cm high x 186cm wide x 47cm deep (1)

121* A walnut chest, 18th c., the rectangular top with herringbone crossbanding above two short and three long drawers, each with brass bat wing plate handles, on bracket supports, 83cm high x 81cm wide x 42cm deep (1)

£600-800

Lot 123 detail

£200-300

31

124* An oak cupboard in the Jacobean style, the canted rectangular top above carved panelled door on turned supports united by stretcher, 86cm high x 106cm wide x 41cm deep (1)

£100-150

Lot 126

125* A Victorian rosewood davenport, with raised compartment, tooled leather fall, three drawers and three dummy drawers each with brass handles, the front panel inlaid with Classical vase and swags, with turned supports, 83cm high x 56cm wide x 53cm deep (1)

£100-150

127* An Edwardian mahogany display cabinet, with stepped cornice above twin astragal-glazed doors enclosing shelves, with satinwood strung borders on four cabriole supports, 142cm high x 97cm wide x 25.5cm deep

126* A modern dining suite, the dining table with marble top above gilt metal base, 71cm high x 152cm wide x 91.5cm deep, with six dining chairs, 85.5cm high plus a similar marble top coffee table (8)

(1)

£200-300

32

£80-120

128* A Continental walnut display cabinet, 19th c., the carved frieze with glazed door enclosing shelves above single walnut panel, flanked by reeded pilasters, on bracket supports, 181cm high x 82cm wide x 38cm deep (1)

130* A stained oak artist’s easel, with long extendable rest, on metal casters, 198.5cm high (1)

£100-150

£200-300

129* A French Louis XVI-style four glass display cabinet, veneered in mahogany with gilt metal mounts, on four cabriole supports with undertier shelf, 130cm high x 65cm wide x 39.5cm deep

131* A Victorian-style mahogany artist’s easel, with three adjustable brackets, on a turned base and squat bun feet, 194cm high

(1)

(1)

£200-300

33

£100-150

134* George III dresser, with open plate rack encompassing two small drawers above rectangular base with three deep drawers each with later brass handles and bat wing plates on tapered supports, 190cm high x 193cm wide x 46cm deep (1)

£400-600

132* A George III mahogany elbow chair, circa 1780, possibly Irish, with carved cupids bow top rail over interlaced back splat, stuffed seat shepherds crook arms with foliate carving, stuffed seat on cabriole supports each with claw and ball feet, 98cm high (1)

£700-1000

135* A pair of Victorian oak hall chairs, circa 1860, each with tapered back and darker roundel framed in a border, solid seat on turned supports, stamped HOLLAND & SON, 86cm high

133* A Victorian mahogany games table, the rectangular top with drop flaps and slide out chess board inlaid with rosewood and mahogany opening to reveal backgammon board on turned supports each with brass cup caster, 71cm high x 91cm wide x 53.5cm deep (1)

(2)

£250-350

£200-300

Lot 135 detail

34

137* A George III-style mahogany bedpost jardiniere stand, the circular top over acanthus-carved pedestal on three cabriole supports, 123cm high (1)

£70-100

138* An elm kitchen chair, circa 1900, with curved top rail above vertical splats, solid seat on turned supports, 102cm high (1)

136* A coopered oak jardiniere stand bound in brass on four outsplayed supports, with ivorine plaque for R.A. LISTER, DURSLEY, GLOS, 99cm high, together with an Edwardian mahogany jardiniere stand, the dished circular top inlaid with fan cartouche, on four tapered supports united by undertier shelf, 99.5cm high (2)

£70-100

139* An Edwardian oak double pedestal desk, the rectangular top inset with leather, over three frieze drawers and three further drawers, on a block plinth, 58cm h x 123cm w x 64cm d (1)

£200-300

£100-150

140* An American rocking chair, painted in black with grey and gold decoration including tulips, with solid seat painted with a wood effect on turned supports and rockers united by stretcher, 122cm high (1)

Lot 137

35

£100-150

141* A mahogany pole screen, 19th century, the oval screen with foliate embroidered panel on turned mahogany pole with three cabriole supports, 151cm high (1)

142* William IV/early Victorian mahogany secretaire bookcase, the dentil moulded cornice over two glazed doors each with astragal moulding enclosing shelves above hinged fall-front enclosing a bank of drawers and pigeon hole compartments, over two deep drawers each with brass Gothic handles and back-plates on a stepped base, 214cm high x 118cm wide x 55cm deep

ÂŁ100-150

(1)

36

ÂŁ400-600

143* A painted pine settle, probably late 19th century, the solid structure with scroll arms and base, the rear unusually formed as a ‘bricked’ arch, 93cm high x 100cm wide x 42cm deep (1)

£100-200

144* Victorian Gothic mahogany hanging shelves, pierced with quatrefoil decoration, 89cm high x 109cm wide x 22cm deep, together with pine hanging bookshelves, 105cm high x 94cm wide (2)

146* A Victorian mahogany Sutherland table, the shaped top with turned gateleg action and supports on ceramic casters, 76.5cm high x 87.5cm wide x 104cm extended

£70-100

(1)

145* A Georgian-style mahogany sideboard, the rectangular top with canted corners, above a long drawer over cupboard door and three drawers on block base bearing brass manufacturer’s plaque for E.G. HUDSON WORTHING SUSSEX, 77cm high x 95cm wide x 49cm deep, together with a pair of modern walnut-effect cabinets, each with dummy drawer hinged falls enclosing shelves, 82cm high x 51cm wide x 47cm deep (3)

£70-100

37

£100-150

147* An historic oak refectory table, c.1620-1640, two plank rectangular top with cleated ends of a good colour and raised on heavy baluster legs, moulded beneath the top with integral frieze of single nulling, the apron comprised of two shaped rows of nulling, engraved silver plaque to apron inscribed “King Charles I dined at this table, August 6th, 1645”, bearing hallmark of Frederick Bradford McCrea of London, 1896, lacking front and back stretchers, old repairs consisting of metal strips and bracing blocks under the top, some old woodworm damage to legs, 312cm long by 87cm wide (123 by 34.25 inches), 85cm high (33.5inches), together with An historic Charles I oak armchair, with racked panel back, c.1620-1650, large back panel carved overall with stylised sun flowers and tendrils flanked by carved U, gauge uprights, the top rail carved with a row of sunflowers and six petal flowers of conventional form, scroll above with three palmate leaves between two bosses, the arms raised on baluster turned supports above a two plank moulded seat raised on column legs at front united by moulded stretchers, the front and side seat rails carved with S scrolls, commemorative brass plaque to reverse of chair back inscribed “In this chair sat King Charles 1st, Gwernyfed Augt. 6th, 1645” Provenance: Old Gwernyfed, Brecon, by descent through the Williams family. King Charles’ main field army had been completely routed & divided as a result of the Battle of Naseby on 14th June 1645. During the course of three hour battle, the Royalist 12000 strong army which was nominally commanded under Charles I, but effectively commanded by Prince Rupert suffered heavy losses of approximately 1000 men and the Parliamentarian 15000 strong army lead under the command of Sir Thomas Fairfax suffered losses of less than 150 men. After which King Charles travelled through South Wales and the West, attempting to gather his forces together again and bolster allegiance.

Whilst travelling from Brecon to Radnorshire, the King dined at Llancaiach Fawr Manor, the seat of Colonel Edward Prichard (c.16101655) on Tuesday 5th August 1645. The following night (Wednesday 6th) the King was welcomed by Sir Henry Williams, Bart. (d.1652) at Gwernyfed (now known as Old Gwernyfed). Charles dined in the banqueting hall at Old Gwernyfed, at the table and using the chair offered for sale in this lot. He is also believed to have left a cryptic message on the hall screen for Prince Rupert, which remains to this day. Sir Henry then guided the King to the ford over the Wye at Glasbury, where he entered Radnorshire and was received by the Lord-Lieutenant. Another tradition suggests Williams accompanied the royal party to Old Radnor.

Sir Henry Williams is believed to be represented in the background of the Civil War commemorative window at Hereford Cathedral.

The Old Gwernyfed table and chair offered for sale here are refered to and illustrated in ‘A Royal Journey through Breconshire and Radnorshire in 1645’, by Margaret R. Toynbee, published by the Radnorshire Society Transactions, vol. 20, 1950, pages 5-7.

See Welsh Furniture, 1250-1950: A Cultural History of Craftmanship and Design, by Richard Bebb, pub. Saer Books, 2007, page 18, for a chair from Brecon with a similar back.

(2) £20000-30000

38

39

148* A George III mahogany tilt-top table, the circular top above turned column on three cabriole supports, 80cm diameter x 71cm high (1)

151* A Regency gilt and ebonised centre table, the circular top over substantial base carved with fruit and acanthus scrolls, with later composite top, 130cm diameter x 75cm high

£100-150

(1)

£300-500

152* An Indian tray top table, the circular brass top engraved with elephants and geometric decoration on carved wooded folding stand, 58cm diameter x 53.5cm high (1)

149* A George III mahogany Pembroke table, the oval top with boxwood strung inlay, single drawer with bone handle, on tapered supports terminating with geometric inlay, 71.5cm high x 72.5cm wide x 92cm fully extended (1)

£50-80

153* A good oak gateleg table, 18th century or earlier, the rounded drop flaps pegged on the turned supports united by stretchers, 71cm high x 154cm wide x 175cm deep (1)

£300-500

£1500-2000

150* A Victorian miniature mahogany Chippendale style Sutherland table, with serpentine drop flaps inset with rosewood crossbanding on four carved scroll supports, 33.5cm high x 66cm wide x 52cm fully extended (1)

£200-300

154* A George III mahogany tea table, the D-shaped folding top with reeded edge on four fluted supports, 74cm high x 91cm wide x 44.5cm deep

Lot 151

(1)

40

£200-300

155* A William IV rosewood teapoy, the rectangular canted top with lid hinged to reveal two lift out canisters and two glass mixing bowls, raised on acanthus carved pedestal on quatrefoil base, 77cm high x 54cm deep x 39cm deep (1)

£150-200

156* A French Louis XV-style table-top vitrine, veneered in kingwood, with gilt metal mounts, enclosing glass shelves, 53cm high (1)

£200-300

157* A German Biedermeier writing desk, c.1840, veneered in birch, the superstructure with alcove flanked by three drawers each inlaid with rosewood and mother of pearl handles, above a galleried desk, three frieze drawers raised on scroll end supports united by stretcher, stamped underneath ‘Altenburg 1772’ with old paper label indistinctly inscribed in ink, 112cm high x 112cm wide x 62cm deep

Lot 155

(1)

£1500-2000

158* A Victorian mahogany writing table, the rectangular top inset with tooled leather, with two frieze drawers to and two dummy drawers to the rear on turned supports, 71cm high x 111cm wide x 6cm deep (1)

Lot 156

41

£200-300

GARDEN STATUARY

Lot 159

Lot 160

159* A substantial cast iron eagle, early 20th century, modelled swooping over a rocky base, painted in gold, 112cm high x 83.5cm wide (1)

Lot 161

161* A lead garden statue, late 19th/early 20th c., modelled as Mercury, of typical form, his arm raised, the other holding a caduceus, standing on a spherical ball and integral square base, 117cm high, (some damage)

£300-500

160* Architectural capital. A stone Ionic capital from Pillar House, nos. 113/115 Bath Road, Cheltenham, early 19th century, bath stone, front portion only, mounted on a stone plinth, overall height 37.5cm (14.75ins), width 53cm (21.25ins), depth 16.5cm (6.5ins), with brass plaque inscribed 'An original capital 113/115 Bath Road, Cheltenham presented to Pillar Aluminium Limited by Stanley Partnership, Architects'

(1)

£150-200

162* A pair of Edwardian cast iron campana garden urns, each with everted rim and half gadrooned on square base, 59cm high (2)

£300-500

163* A pair of Victorian Doulton Lambeth terracotta garden urns, each of campagna form, the everted rim with egg and dart moulding, grape vines in relief, bacchanalian handles on acanthus socle and square base, impressed marks to base, 71cm high, (some damage)

Pillar House is a semi-detached villa, c.1810-40, with a distinctive Ionic colonnade.

(1) £150-200

(2)

Lot 162

£300-500

Lot 163

42

OIL PAINTINGS, WATERCOLOURS & DRAWINGS, 17TH-19TH CENTURY

Lot 165 164* Alaska. Scenes of fur trapping in Alaska, by J. P. Wyldeblade, early 20th century, a pair of watercolours on paper, one signed and titled to lower edge, one signed lower left, 23 x 37cm (9 x 14.5ins), framed and glazed (2)

ÂŁ100-150

165* Boudewijns (Adriaen Frans, 1644-1711, & Bout, Pieter, 1658-1719). Wooded landscape with animals and travellers on a path, oil on canvas, relined, 42 x 56cm (16.5 x 22ins), 19th c. gilt moulded frame Adriaen Frans Boudewijns and Pieter Bout were both Flemish painters, based in Brussels. Boudewijns is known to have collaborated frequently with Pieter Bout on landscape scenes, for which the latter would supply the figures.

(1) ÂŁ2000-3000

Lot 164

43

Lot 166

Lot 167

166* Breanski (Arthur de, late 19th/early 20th c.). ‘Near Marlowon-Thames’, oil on canvas, signed lower right, with title inscribed by the artist to verso, some surface discoloration, 41 x 61cm (16 x 24ins) (1)

168* Clarke (Warren, late 19th/early 20th c.). Near Guildford & Near Dorking, 1893, a pair of watercolours on paper, each heightened with gouache, one showing a wooded landscape with two children approaching a brook, the other with children fishing from a bridge, each signed and dated lower left, 375 x 260 mm (14.75 x 10.25ins) mount aperture, matching period gilt frames (some wear), glazed

£200-300

167* Brittan (Charles Edward, 1870-1949). Sheep on the Moors, with sunlight and rain, watercolour, heightened with bodycolour, signed lower left, 45 x 66cm (17.75 x 26ins), gilt frame, glazed, together with Mist on the Moors, watercolour, heightened with bodycolour, signed lower left, 45 x 66cm (17.75 x 26ins), gilt frame, glazed (2)

(2)

£200-300

169* Crapelet (Louis Amable, 1822-1867). The Mosque of Sultan Hassan, Cairo, 1853, pencil and watercolour, showing a busy market scene in front of a mosque, signed and inscribed lower left ‘Am. Crapelet 1853 (Caire)’ and titled in the artist’s hand lower right ‘Mosque Sultan Assam’, 15 x 26.5cm (6 x 10.5ins), mounted, framed and glazed

£200-300

(1)

Lot 169

44

£700-1000

170* Du Chattel (Fredericus Jacobus van Rossum, 1856-1917).

Dutch canal scene in winter, oil on wood panel, signed lower right, 20.8 x 15.6cm (8.2 x 6ins), gilt frame (1)

£500-800

171* Dusseldorf School. Boats on the Rhine at Dusseldorf, 1859, oil on card, tipped onto thicker card, showing a seascape at sunset, with boats and figures, titled and dated to upper margin, and indistinctly signed, some minor surface chipping, mostly to edges, 22.5 x 34cm (9 x 13.5ins), together with four other small German oil paintings, all landscapes, 23 x 30cm (9 x 11.75ins) and smaller, and a Russian landscape oil, 21 x 33cm (8.25 x 13ins) (6)

£200-300

Lot 168

172* English School. Children in a churchyard, mid 19th century, pastel, showing a boy kneeling beside a grave, being comforted by a small girl, foxed, 50 x 41cm (19.5 x 16ins), mounted, framed and glazed (1)

Lot 170

45

£200-300

Lot 173 173* Foster (Myles Birket, 1825-99). Moonlit River Landscape with bridge and church spire, watercolour, with traces of scratching-out, 8.5 x 17cm (3.3 x 6.75ins), period gilt frame, glazed, with gold mount titled Birket Foster, with framer’s label of W. Wear, Huddersfield, to verso, and old handwritten label attached to verso indicating that this work had at one time been sold in the Colonel Freeman sale (1)

£300-500

175* Holland (John, fl.1831-1879). Panoramic landscape, oval oil on wood panel, showing cottage, trees, and figures in the foreground, and an industrial town in the distance, signed lower left, 35 x 45cm (13.75 x 17.75ins), mounted, gilt moulded frame, glazed

174* After Myles Birket Foster (1825-1899). Rock-A-Bye-Baby, oil on artist’s board, showing a young girl kneeling on a pathway beside the timber threshold of a cottage and rocking a baby in a wicker basket, with a cat curled up asleep and a still life of apples, pitcher and plate, verso with manuscript inscription ‘The Cottage Nurse by Birket Foster’, and old Windsor & Newton label, 31 x 41cm (12 x 16ins), framed and glazed (1)

(1)

£200-300

46

£200-300

176* Italian School. Young man in red tunic with head upturned, early 19th century, oil on canvas, recently relined, 59 x 45cm (23.25 x 17.75ins), framed (1)

ÂŁ200-300

177* Malta. A group of four watercolour and gouache views of historic naval battles involving the Maltese navy, late 18th or early 19th century, four watercolours on laid paper, heightened with gouache, with caption to each in Italian, and Maltese coat-of-arms, sheet size 21 x 28 cm (8 x 11 ins), some marks and slight loss, laid down on later backing paper (4)

ÂŁ400-600

Lot 176

Lot 177

47

Lot 178

178* Jankowski (Johann Wilhelm, 1825-1870). View of Andernach, Germany, oil on canvas, showing the Round Tower and the church of St. Mary Assumption on the Rhine, signed lower right, 'Andernach' pencilled on verso of stretcher, 55.5 x 44.5cm (21.75 x 17.5ins), attractive contemporary oval gilt moulded frame (1)

£700-1000

179* Johnson (Cyrus, 1848-1925). “In the Studio”, circa 1875, watercolour on paper, signed lower right, 16 x 19.5cm (6.5 x 8ins), gilt mount, framed and glazed (1)

£200-300

Lot 179 48

180* Follower of Philips Wouwerman (1619-1668). Soldiers before Sutler's Tents, late 17th century, oil on wood panel, showing a cloudy landscape at dusk with two horses, one with rider dismounted and conversing with merchants outside a tent, with a dog in the foreground, 38.5 x 32.5cm (15.25 x 12.75ins), 19th century black and gilt frame This painting has been appraised by Dr. Birgit Schumacher, the leading authority on the work of Philips Wouwerman. She believes the work to be 'a contemporary partial copy of a hitherto unknown work by Philips Wouwerman from his late period around 1665'. She was unable to trace the work from which the main group has been copied, but says that the painting 'shows considerable resemblances with Wouwerman's interpretation of the genre "Soldiers before Sutler's Tents"'. Schumacher dates the panel to the last decades of the 17th century, adding, 'the unknown artist was a skilled painter and he indeed was proficient in copying Wouwerman's specific artistic style.'

(1) ÂŁ2000-3000

49

Lot 181

50

181* Koekkoek (Hermanus, 1815-1882). On the Amstel, near Amsterdam, & Farmstead with Haycart on a Path beside the Amstel, a pair of fine oils on wood panel, each signed lower left and lower right respectively, 21 x 31cm (8.25 x 12.25ins), and 20 x 28cm (8 x 11ins) respectively, the first with old handwritten label in English pasted to verso, matching gilt moulded frames Two fine views in oil of the countryside on the outskirts of Amsterdam, by Hermanus Koekkoek the Elder. Born into a family of Dutch landscape painters, Hermanus Koekkoek is revered for his seascapes off the Dutch coast and views on the waterways around Amsterdam.

(2) £15000-20000

182* Langstaffe (John, 1849-1912). Female figure herding geese within a wooded landscape, beside a river with mill and rowing boat, oil on canvas, signed lower left, 28.5 x 91.5cm (27 x 36ins), gilt moulded frame (1)

Lot 183

£150-200

183* Malta. View of the Maltese coast with monastery, 1846, watercolour on paper, captioned and dated in pen to lower margin, 16.5 x 28cm (6.5 x 11ins), framed and glazed (1)

£150-200

184* Maris (Ferdinand Johannes, 1873-1935).

Wooded landscape with house by a canal, oil on wood panel, with old Dutch customs stamp to verso, and handwritten number 2606, signed lower right, 20.5 x 29cm (8 x 11.5ins), gilt frame, a little damaged, glazed Provenance: Purchased by the vendor from Kunst-Auktion Zandberg, Frankfurt, November 1972. Fritz Maris, nephew of the famous Maris brothers Jacob, Matthijs and Willem, studied at the Hague Academy and later under his uncle Willem Maris.

(1) £100-150

Lot 185

185* Meadows (William George, c. 1825-1901).

Waggon & Horses on the Road, large-scale oil on canvas, signed lower centre, 76 x 126cm (30 x 50ins), period gilt frame (with some damage) (1)

£300-500

186* Attributed to Hendrik Willem Mesdag (18311915). Seascape with Storm Clouds, oil on wood panel, signed lower left, 27 x 34cm (10.5 x 13.3ins), gilt frame (1)

£300-500

Lot 186

51

187* Naive School. “Jasper Ryles (? Riles), Wife and Child in Front of Newly Built House”, c.1800, oil on canvas, showing a gentleman in a top hat and dark blue tail coat, and a lady wearing a pink gown and white lace cap, holding a baby in a white gown and bonnet, standing outside a house built in the neo-classical style, 53.5 x 44cm (21 x 17.25ins), near contemporary maple frame, glazed, with recent manuscript title label on verso, giving the additional information that Jasper Ryles married one of Robert Jasper Abell’s family (1)

£700-1000

52

188* Neapolitan School. A set of three fine large-scale views on the Neapolitan coast, late 18th or early 19th century, together three fine gouaches on paper, one depicting a wedding feast with numerous figures dancing, and Mount Vesuvius smoking in the distance, the second depicting fishermen bringing in a catch by a rocky outcrop, with ruined buildings, numerous figures, etc., the third depicting another scene of revelry beneath a rocky outcrop, with figures in a boat coming ashore, and view of Naples beyond, one or two minor marks to surface, the first image with light dampstaining to upper right corner, each 57 x 81cm (22.5 x 32ins), matching period gilt beaded frames (some wear) (3)

ÂŁ10000-15000

53

Lot 189

Lot 192

189* Norie (Orlando, 1832-1901). The Charge of the Light Brigade, the 17th Lancers leading the charge, watercolour on paper heightened with body colour, signed lower edge, 23 x 36cm (9 x 14ins), framed and glazed (1)

191* Pomardi (Simone, 1760-1830). Veduta dell’Arco di Settimio Severo, e del Tempio della Concordia, 1816, fine watercolour over an aquatint base, with black and white ruled border and grey wash outer border, mounted on laid paper, some marks and a little creasing to extrems., four small mounting holes to extreme corners, image size 315 x 435 mm (12.5 x 17.1ins), sheet size 385 x 507 mm (15.2 x 20ins)

£400-600

190* Pollitt (Albert, 1856-1926). Welsh Mountain Scene, watercolour on paper, signed lower right, 28 x 44cm (11 x 17ins), framed and glazed (1)

(1)

£1000-1500

192* Manner of Samuel Prout (1783-1852). Abbotts House, Durham; Finchall Abbey, Durham, together a pair of watercolours, both with signature “S. Prout” lower right, 11 x 14.5cm (4.25 x 5.75ins), matching oval gilt mounts and gilt moulded frames, glazed

£100-150

(2)

Lot 191

54

£100-150

193* Italian School. Saint Benedict and Putti, 19th century, watercolour on paper, showing the black-robed saint on a rock beside the sea, holding a large book, a putto and scallop shell at his feet, and putti cavorting in the clouds above, enclosed with a trompe l'oeil gilt architectural frame, 34 x 26cm (13 x 10ins), mounted, framed and glazed (1)

ÂŁ300-500

194* Pyne (George, 1800-1884). Eton from Windsor Terrace, 1849, watercolour, showing Eton College in a landscape with river, trees, and figures in the foreground, signed and dated lower left, 22 x 29.5cm (8.5 x 11.5ins), mounted, framed and glazed, Fine Art Society exhibition label on backboard (1)

Lot 193

Lot 194

55

ÂŁ700-1000

195* Rancini (Carlo, 19th century). “The Last Judgement”, 1856, watercolour, showing a last judgement scene, with a profusion of devils and angels, corpses and living figures, signed and dated lower right, 16.5 x 44.5cm (6.5 x 17.5ins), gilt mount, contemporary oak frame with fluted pilasters at either side, and gilt pierced gothic frieze along top and bottom (1)

£500-800

196* Reynolds (Samuel William, 1773-1835). A collection of three views of landscapes & buildings etc., together three pen, ink & watercolours on wove paper, unsigned, 117 x 167mm (4.5 x 6.5ins) and smaller, each trimmed to image and mounted (3)

£100-150

197* Rousse (Charles, active c. 1870-90). The Market Place - Ghent, 1879, watercolour, heightened with bodycolour, showing a busy street scene, with market stalls and waggons, etc., signed and dated lower left, 29.5 x 80.5cm (11.75 x 31.75ins), mounted, framed and glazed (1)

£400-600

56

200* Swinstead (G. Hillyard, 1860-1926). Hall Place, Shackleford, Surrey, pastel on paper, titled and signed lower left, 36 x 23cm (14 x 9ins), framed and glazed

198* Scarborough (Frederick William, 1860-1939). Landing Fish at Whitby, watercolour on paper, signed to lower right, tittled to lower left, paper toned but little fading to colours, 21 x 14cm (8 x 5.5ins) sheet size (1)

(1)

£150-200

201* Switzerland. Chalets on the Gros Scheideck, near Rosenlaui, 1869, pencil and watercolour on wove paper, with contemporary inscription in brown ink to verso “Chalets on the Gros Scheideck, near Rosenlaui 20 Sept. 1869”, laid down on card, 17.5 x 24.4cm (7 x 9.5ins)

199* Scottish School. View of the Clyde with Dumbarton Rock, 19th century, oil on canvas, showing the estuary with sailing boats at sunset, 30 x 51cm (11.75 x 20ins), gilt moulded frame (1)

£100-150

£200-300

Grosse Scheidegg rises above the Rosenlaui valley south east of Interlaken.

(1) £150-200

57

204* Manner of J.M.W. Turner (1775-1851). At Voltena, Italy, watercolour on wove paper, 12.5 x 19cm (5 x 7.5ins), mid 19thcentury beaded gilt frame, glazed

202* Thomas (Thomas Henry, 19th century). A Jig, 1879, painted oval porcelain plaque, showing a young girl playing a pipe in a garden, flanked by a small girl and boy dancing, with a racket and two shuttlecocks on the grass in the foreground, monogrammed and dated lower right, inscribed by the artist on the verso ‘A Jig. T.H. Thomas designed and painted, 1879’, and with contemporary exhibition label giving the artist as T.H. Thomas, Cardiff, 22 x 30cm (8.75 x 11.75ins), framed (1)

(1)

£200-300

£250-350

203* Thomas (Thomas Henry, 19th century). Bacchus visits Ikarios - The Libation; Bacchus visits Ikarios - The Frolic, pair of painted porcelain plaques, showing classical gods revelling, monogrammed lower right, titled and signed on backboard, and with Howell & James’ Art-Pottery Exhibition label dated 1880, matching frames (2)

£400-600

205* Watson (John Dawson, 1832-1892). The Remorse of Judas, 1884, watercolour over pencil on paper, initialled and dated lower left, contemporary label attached to mount verso, additionally inscribed in later hand ‘ex Fettes Collection’, 35.5 x 20cm (14 x 8ins) (1)

58

£200-300

206* Watts (George Frederick, 18171904). Study of a Child’s Head, coloured chalks on paper, mounted, some surface marks and glue stains to outer edges, 195 x 150 mm (7.7 x 6ins) (1)

£1500-2000

207* Follower of Philips Wouwerman (1619-1658). Male and female rider with a horse-drawn wagon, oil on paper, laid down on panel, with wooden lattice support to verso, numbered 276 in white paint, 22 x 31cm (8.7 x 12.5ins), later varnished wood frame Also attributed to Adriaen Cornelisz.

Beeldemaker (1618-1709), according to a Sotheby’s valuation in the possession of the owner.

(1) £700-1000

Lot 206

Lot 207

59

PORTRAITS 208* Blackley (Alexander, 19th c.). Wedding portraits of a gentleman and lady, coloured chalks, the male portrait signed and dated 1840, 51 x 37cm (20 x 14.5ins), matching gilt frames, glazed (2)

£100-150

209* Burne-Jones (Philip, 1861-1926). Portrait of Violet KevillDavies, 1915, three-quarter length, oil on canvas, the sitter dressed in emerald green loose jacket with waist-tie, pearl necklace, a posy of violets tucked into the front of her garment, signed and dated lower right, original exhibition label to verso, 54 x 30cm (21 x 12ins), framed and glazed (1)

£1000-1500

210* Burt (Albin Roberts, 1784-1842). Portrait of a gentleman, May 1831, pencil and watercolour, full-length portrait of a gentleman wearing a black tailcoat, signed and dated lower right, 29.5 x 22cm (11.75 x 8.75ins), framed and glazed (1)

£200-300

Lot 208

Lot 210

Lot 209

60

211* After Jacques Louis David (1748-1825). Portrait of the Empress Josephine, later 19th century oval miniature portrait on thin ivory, painted in gouache over a photographic base, signed centre right, 85 x 66 mm (3.3 x 2.6ins), ivory-veneered near classical frame, glazed (1)

£100-150

Lot 213

212* Dowie (Sybil M., fl.1890-1920). Portrait of a lady, 1905, oil on canvas, showing a white-haired lady wearing a gown with a fur collar and satin bow, signed and dated in red lower right, 95 x 77cm (37.5 x 30.25ins), gilt moulded frame, glazed, with old manuscript studio label in the artist’s hand on verso of frame giving her address at 11 Avenue Studios, (chipped and one portion detached) Sybil Dowie lived in various locations in and around London, including Avenue Studios in Chelsea, and died in Kensington in 1928. The Royal Academy have a record of her exhibiting in 1898. She travelled to New York at least twice where she exhibited at the prestigious Ainslie Galleries on Fifth Avenue. She also exhibited with the Pastel Society in London where, reputedly, Ezra Pound disapproved of her work.

(1) £500-800

213* English School. Fanny, Elizabeth, Ann, 1833, oil on canvas, three-quarter length portrait of three young girls in a landscape, 20 x 15cm (8 x 6ins), oval gilt mount and gilt moulded frame, contemporary manuscript title, date, and indistinct artist’s name on stretcher (1)

£300-500

214* English School. Portrait of a lady, c.1920s, pastel on board, head & shoulders portrait of an elegant lady wearing an evening gown with peacock decoration, a double string of pearls, a silk bandeau with gem embellishment, and drop earrings, faint superficial mark, 48 x 61cm (19 x 24ins) (1)

Lot 214

£200-300

61

215* English School. Portrait of Marie Miles, 1900, pastel, oval head & shoulders portrait of a young woman wearing a diaphanous white gown embellished with a posy of blue flowers, with a grey kitten sitting on one shoulder, annotated on right hand side ‘Marie Miles 1900’, 53 x 41cm (21 x 16ins), framed and glazed (1)

£200-300

216* English School. Regency family group, circa 1810-1820, oil on wood panel, of an interior scene, with six sisters and their parents gathered round a pianoforte, one of the daughters bringing her mother a posy of flowers, and the two younger children playing with a pull-along wooden horse on wheels, with a springer spaniel being caressed by his master, panel broken in two with central vertical split strengthened with wood batons to verso, 53.5 x 44.5cm (21 x 17.5ins) (1)

£300-500

Lot 215

217* English School. Head and shoulders portrait of a man of the church, late 17th century pastel portrait on laid paper, 285 x 235 mm (11.25 x 9.25ins), mounted, together with another 17th century pastel male portrait on paper, some surface soiling and light fading, upper right corner replaced, relined, 250 x 177 mm (9.8 x 7ins), tipped onto backing paper (2)

218 No lot

Lot 216

62

£150-200

219* Forbes (Stanhope Alexander, 1857-1947). Portrait of a young woman, oil on canvas, headand-shoulders half-profile portrait of a young woman with curly auburn hair wearing a loose white garment tied with a bow and a flower-trimmed hat, in an outdoor setting beside a leaded window, 51 x 41cm (20 x 16ins), signed in pencil on reverse of canvas ‘S.A. Forbes’, framed Provenance: Sold James D. Julia, Fairfield, Maine, U.S.A., 28th August, 2007, lot 242.

(1)

63

£1500-2000

Lot 221

220* German School. Portrait of a woman, late 19th century, pastel head & shoulders portrait, of a smiling middle-aged woman wearing a black gown with a white lace collar and a coral cameo brooch, indistinctly signed lower right, 48.5 x 39cm (19 x 15.25ins), framed and glazed (1)

£150-200

221* Hall (Lilian May Bevis, late 19th/early 20th century).

Seated flapper girl, watercolour on thick paper, showing a young woman in a black and red dress, a red cloche hat, and red Mary Jane shoes, seated on a bentwood chair, drawing pin mark to centre of upper and lower margin, signed lower right, sheet size 31.5 x 25cm (12.5 x 10ins) Lilian Hall was a prolific commercial artist. She married fellow-artist Stanley Rowles who was responsible for designing many shipping and railway posters in the 1930s. Their daughter Daphne also became a well-known artist in her own right, illustrating books by Michael Bond amongst others.

(1) £100-150

222* Harding (George Perfect, 1780-1853). “John Overton”, 1800, pen & ink on paper, head and shoulders portrait miniature of mapmaker and publisher John Overton (1640-1713) in stiff tab collar and wig, initialled and dated to right-hand side, titled to lower margin below image, 9 x 7.5cm (3.5 x 3ins), framed and glazed, with old printed label on verso of frame annotated in ms. ‘From the Wellesley Collection’ (1)

£200-300

Lot 222

64

223* Lonsdale (James, 1777-1839). Portraits of Richard and Elizabeth Moon, c.1808, oil on canvas seated half length portraits, Elizabeth displaying her engagement and wedding rings, 92 x 68.5cm (36 x 27ins), matching elaborate gilt moulded frames, glazed, with printed label to verso ‘Grindley and Palmer Printsellers and Publishers Dealers in Works of Art, Picture Frame Manufacturers etc., 75 Church Street Liverpool’ and with 20th century labels refering to the sitters of each (with some erroneous information) Richard Moon (1783-1842) was a cotton importer in Liverpool, descended from a Lancashire family. The son of Robert Moon of Catterall and Ann Fisher, daughter of Rev. James Fisher of Garstang, Lancashire. He married Elizabeth, daughter of William B. Frodsham in 1808. They had seven children and one of their sons, Sir Richard Moon, Bart.(1814-1899) had active interests in the London and North Western Railway Company and later became chairman of the London and North Western Railway Company in 1861. The artist James Lonsdale (1777-1839) was born in Lancashire. Lonsdale initially commenced work as a pattern designer at Margerison and Glover’s print-works in Catterall, near Garstang, Lancashire. During this time he was encouraged to be an artist by the Lancaster architect Richard Threlfall. In about 1799 Lonsdale moved to London, where he briefly became a favourite pupil of George Romney (17341802), who retired to Kendal late in 1799, and in October 1801 he entered the Royal Academy Schools. He later purchased the house in Bernard Street vacated by the death of John Opie (1761-1807), and there he settled with his wife & children for the remainder of his life. After settling into his new studio

he made the acquaintance of the Duke of Norfolk, who commissioned him to produce a large historical painting of King John and the Magna Carta, which was later rendered in stained glass in Arundel Castle. Lonsdale proved to be a fashionable and prolific English portrait painter who exhibited some 138 works at the Royal Academy between 1802 and 1838, and was one of the founders of the Society of British Artists, where he exhibited regularly from 1824 to 1837. His work was influenced and became overshadowed by his contemporary Sir Thomas Lawrence (1769-1830). Lonsdale’s sitters included the Duke of Sussex, Duke of Hamilton and the Marquess of Downshire. He also became the official portrait painter of Queen Caroline. Examples of his work are held at the Royal Academy of Arts, National Portrait Gallery, Royal Collection, V & A Museum and Dulwich Picture Gallery.

(2) £1500-2000

65

224* McDonald (Madeline M., 1874-1942). Portrait of Anne Richardson Armstrong, 1903, oil on canvas portrait of a lady seated against a curtain backdrop, wearing a black dress with white chiffon collar adorned with a posy of violets, signed and dated lower right, surface flecked with later white paint, 66 x 71cm (26 x 28ins), gilt moulded frame (damaged), with old typed label on verso ‘Anne Richardson Armstrong (“Aunt Lily”) daughter of Richard Armstrong Q.C., M.P. of Sligo; First Sergeant-at-Arms: B: 1850, M: William T.S. Kevill-Davies Capt. in the 17th Lancers, D: 14th(?) February 1931’ (1)

226* Wellesley (Gerald Edward, 1846-1915). Portrait of Nora Palairet, née Hamilton Martin, wife of Charles Harvey Palairet, wearing a black evening dress with flocked floral wallpaper in background, 1901-1905, oil on canvas, head and shoulders portrait, signed and dated 1901-5 upper right, 61 x 51cm (24 x 20ins), period gilt moulded frame, glazed

£400-600

225* Miniatures. Portrait of a young boy, by Mr. Izod of Redditch, December 1821, pencil and watercolour, oval head-and-shoulders profile portrait, of a young boy wearing a blue coat with white frilled collar, toned, 7 x 5.5cm (2.75 x 2.25ins), ebonised frame, glazed, with original printed label on verso ‘Most striking likenesses, taken in one minute, by the Physiognograph, or Patent Delineator, and finished in the highest style, in black at 2s. 6d. in grey, or colours, at 5s. at Mr. Izod’s, near the Chapel. From the new and approved style, and very low charges, the artist hopes to merit the patronage of the ladies and gentlemen of Redditch and its vicinity...’, together with another oval miniature portrait by Mr. Izod, of a lady in a white frilled cap (spotted), ebonised frame, glazed, with printed label as above on reverse (printed date of December 1821 changed in contemporary manuscript to ‘March 1822’), and two others similar, each of a young girl, possibly also by Mr. Izod, toned, each in an ebonised frame, glazed, and with original printed label on reverse ‘Correct Likenesses, taken in profile, from one shilling to five, and Miniatures...’

(4)

Provenance: The Earl of Oxford & Asquith. Nora Palairet married Charles Harvey Palairet in 1888. The marriage was Charles' second, after he lost his first wife, the mother of his children, Emily Harvey; making Nora stepmother to Sir Michael Palairet (grandfather of Lord Oxford). Her sister, Ada (18471933) married the artist Gerald Wellesley in 1880. Wellesley was the son of the 1st Duke of Wellington's nephew, Hon. William Henry George Wellesley.

He exhibited in 1893 at the Royal Society of Portrait Painters.

(1) £700-1000

£200-300

Lot 225 66

227* Whiting (Frederic, 1874-1962). Young lady on horseback, oil on canvas, landscape with a young lady in a bowler hat riding side saddle on a bay horse, signed upper right, 77 x 91cm (30.25 x 35.75ins), framed (1)

ÂŁ1500-2000

67

OLD MASTER PRINTS & DRAWINGS

228* Aquila (Pietro, 1650-1692). Procession of Bacchus (after Annibale Carracci), 1677, etching, published by Giacomi Rossi, Rome [1677], trimmed slightly inside plate mark, some minor marks to centrefold, sheet size 41 x 71.5cm (16.2 x 28.2ins), mounted A large-scale printed version of the main ceiling fresco by Annibale Carracci in the gallery of the Palazzo Farnese, Rome.

(1) £200-300

230* Canziani (Louise Starr, 1845-1909). Young woman in a long dress, holding a letter, beside a tea table, & Young woman in long dress and ribboned hat, together two pen & ink drawings, each inscribed by the artist to reverse ‘Madame Louisa Starr Canziani, 3 Palace Green, Kensington’, sheet size 25 x 17.5cm (9.75 x 7ins), and sl. smaller, mounted Louisa Starr Canziani (1845-1909) was the first woman to study at the Royal Academy where she won a gold medal in 1867. Principally a portrait and figure painter, she exhibited at The Royal Academy, The Society of British Artists, New Watercolour Society and elsewhere.

(2) £100-150

229* Blommers (Bernardus Johannes, 1845-1914 ). Little Dutch street boy with piano accordion, black chalk on laid paper, showing a small boy wearing clogs and a cap, seated on a wooden bench, with a piano accordion beside him, with additional small sketch of the boy in upper right corner, signed lower left, verso with several sketches of a lady putting her hair in a bun, 45 x 36cm (17.75 x 14.25ins), tipped onto card with adhesive tape along top edge (1)

£150-200

68

231* Castiglione (Giovanni Benedetto, 1609/16-1664/70). Small oriental heads, two etched studies of heads with oriental headdress, plate size 112 x 81 mm, with margins, sheet size 126 x 97 mm, some marks and light discolouration to corners, corner-mounted on 19th century album leaf, together with two other 17th century etchings by a different hand, one depicting the God Neptune with his chariot creating a storm at sea, the other depicting a tempest, with numerous Gods and other figures in the clouds, each 102 x 136 mm (4 x 5.4ins), some marks and a closed tear to each, cornermounted on 19th century album leaf, two small etchings of female costume by Wenceslaus Hollar (somewhat soiled and one with some damage) and a later impression of Rembrandt’s etching of an old beardered man in a high fur cap with eyes closed, in reverse, numbered 15 to top right corner of the plate (Bartsch 290), an etching printed in brown, of Adriaen van Ostade’s The Concert (Bartsch 30), and four other small-scale etchings and engravings Bartsch XXI, 42 & 45.

(12)

£100-150

232* Continental School. Tavern scene, early 18th century, pen and brown ink drawing on paper, with brown wash, some marks and surface wear, 16 x 22cm (6.25 x 8.75ins), framed and glazed (1)

£150-200

233* Gabriel (Paul Joseph Constantin, 1828-1903). Polder landscape, Holland, black chalk on light brown wove paper, heightened with traces of white bodycolour, signed lower left, 31 x 47.5 cm (12.25 x 18.75 ins), framed and glazed (1)

Lot 231

69

£100-150

regards of the author And. W. Tuer’, some hinges split, original Japanese vellum gilt, dust-soiled, some fraying to spine ends, folio (33.5 x 25.5cm)

234 Kauffmann (Angelica, 1741-1807). Blind Man’s Bluff, circular pen & ink drawing with brown wash on thick laid paper, depicting two young ladies and a young gentleman playing blind man’s bluff in a landscape setting with trees, image diameter 18.8cm (7.4ins), sheet size 21.4 x 22.2cm (8.4 x 8.7ins), together with eighteen other drawings attributed to or in the style of Angelica Kauffmann, pen & ink or sepia watercolour on laid paper, 17 x 14.5cm (6.75 x 5.7ins) and smaller, together with aproximately 600 prints and engravings by various artists, mostly stipple engravings, copper engravings, and soft-ground etchings, some with hand-colouring, mainly portraits of contemporary figures, including actors, singers, writers, and beauties of the day, figure groups and literary illustrations etc., circa 1770s-1820s, plus a manuscript order of payment in grammarian Lindley Murray’s hand and signed by him (with engraving of him above), all contained within an extra-illustrated edition of Bartolozzi and His Works, by Andrew W. Tuer..., 4 volumes, Field & Tuer, Leadenhall Press, [1881], Collectors’ Edition, 2/50 copies only, signed by Andrew W. Tuer, first volume inscribed on preliminary blank ‘To John Haines, with the

A very similar sepia drawing by Kauffmann depicting Bacchus Attended by Nymphs was sold at Bonhams, New York, 8 May 2013, lot 4. A stipple-engraved version of this subject was published by Peter William Tomkins in 1784. The prints and engravings include numerous examples by Francesco Bartolozzi and his contemporaries: several etchings by John Kay, including ‘Sam A Soldier’, 1789, and ‘A Riding Master’, 1788; a proof softground etching by A. Cardon after Richard Cosway depicting the Duchess of Bedford; various stipple-engravings by Bartolozzi after Cipriani, Guercino etc.; soft-ground etchings by John Vendramini after Robert Ker Porter; two sepia stipple engravings published by C. Taylor entitled ‘Preparation of Colours for Use & Instruction in the Use of Colours’ (1785), and other similar stipples by Taylor depicting Senses, Virtues, and Times of the Day, etc.; an engraved compliments slip for the music publishers Goulding, D’Almaine, Potter & Co. by Bartolozzi; stipple engravings by W. Bromley after Stothard entitled ‘Pantaloon’ and ‘The Justice’ (1799); a softground etching with stipple by F. Janinet after Bouché entitled IIme. Ruine D’Athesne (1772); a soft-ground etching by J. Ogborne after Thomas Gainsborough entitled ‘Going to Market’, etc.

(4) £1500-2000

70

71

236* Palma il Giovane (Jacopo, 1548-1628). Apollo, Mercury and Hercules, with attendant putti holding a torch and three bacchantes, pen & brown ink, pale brown wash, heightened with white bodycolour, on pale grey-brown paper, corner-mounted on a 19th c. sheet of backing paper, with stamped monogram JD, and marked in ink No. 1822 to lower margin, additionally marked in ink to top margin verso with the name Camillo Bolognese, and numbered 357 in red pencil, 28.5 x 19.7cm (11.25 x 7.75ins)

235* Palma il Giovane (Jacopo, 1548-1628). The Virgin appearing to St. Nicholas of Bari, pen, ink and pale brown wash on grey paper, depicting a sleeping saint, with the Virgin Mary appearing above him, and three men in the background around a wooden chest, bears signature in ink to lower left corner, Giacomo Palma, with owner’s small blindstamp towards centre of lower margin, and small circular stamp with intials W.F.K. to corner verso, 34.4 x 22.6cm (13.5 x 8.9ins), some surface marks and minor stains, with one or two minor repairs, mounted along left margin to late 19th century card with wash border, (with extensive handwritten note in ink in German) (1)

(1)

ÂŁ3000-4000

72

ÂŁ1500-2000

Lot 237

Lot 238

237* Piranesi (Giovanni Battista, 1720-1778). Veduta interna del Sepolcro di S. Costanza ..., 1756, etching printed on laid paper, with double ring fleur-de-lys watermark, with full margins, plate size 42 x 55cm (16.5 x 21.75ins), sheet size 52 x 75.5cm (20.5 x 29.75ins), window-mounted Hind 37. Ficacci 811. State III (of VI), with address Autore a Strada Felice.

(1) £300-500

238* After Rosa Salvator (1615-1673). Diogenes Adolescentem manu bibentem intuitus scyphum proycit, 18th c., pen and ink drawing on paper, with handwritten title within the image, at foot, laid down on board, 37.5 x 27cm (14.75 x 10.5ins), together with two pen & ink copies after Tiepolo of caricatured gentlemen (3)

£150-200

239* Attributed to Joseph Simpson (1879-1939). A collection of three portrait studies, three charcoal sketches on paper, comprising a half-length portrait of a young lady in a bonnet carrying a basket, a half-length oriental figure in a hat, and a female nude, 23 x 32cm (9 x 12.5ins) and smaller, all similarly framed and glazed, all with manuscript attribution on backboard (3)

240 Sketchbook. Lakes in Cumberland and Westmorland, the original sketches Augst. 1815, approximately fifty titled pencil drawings and sketches, all landscapes and seascapes, some with figures and boats, e.g. ‘Town of Keswick’, ‘Lowdore Cascade’, ‘Village of Grange’, ‘Lake of Grasmere’, ‘Lake of Windermere near Bowness’, ‘Head of Buttermere Lake’, sheet size approximately 20 x 33cm (8 x 13ins), corner-mounted on album leaves, with manuscript title-page and index leaf, original half sheep, rubbed and some wear to extremities, oblong folio

£150-200

(1)

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£150-200

STAINED GLASS

Lot 241

241* Stained Glass. Labours of the Months, c.1900, together a pair of duotone roundels depicting months of the year, one showing a medieval peasant weeding in a field, with a castle in the background, titled Junius, the other showing a serf pruning a vine with a scythe, titled March, each enclosed with coloured glass border (with one or two cracks), diameter 29cm (11.5ins)

242* Stained Glass. A German stained glass panel, late 17th century, coloured glass panel depicting a female figure operating a loom with a bewigged gentleman in a tricorn hat looking on, with family names lettered beneath image ‘Sophia Margre Dorothea Lastsmans’, plus other indistinct text, enclosed with coloured glass border (with several cracks), 20 x 17.5cm (8 x 7ins), together with a grisaille glass panel, depicting a gentleman ploughing with a pair of oxen, and a lady looking on, lettered beneath image ‘Hans Meijer 1689’ enclosed with coloured glass border, several cracks, 18 x 15cm (7 x 6ins), plus six other stained glass items, including a midlate 19th century panel depicting a saint, 25 x 19cm (10 x 7.5ins), and a small piece depicting armorial bearings dated 1633, 11.5 x 8.5cm (4.5 x 3.5ins)

The depiction of the months and their associated (mostly agricultural) occupations began to appear early in the Medieval period on church facades and interiors as well as in secular settings. They also appeared in illuminated manuscripts and started to become more common in stained glass in the 14th and 15th centuries. There is often a shared imagery amongst such depictions, which presumably came from a common source such as a series of woodblock engravings which may have circulated between the glazing workshops. The V&A has six such 15th century roundels, which it acquired in 1923 from the sale of the contents of Cassiobury Park in Hertfordshire (Museum nos.C.123-128-1923).

(2) £100-150

(8)

Lot 242

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£200-300

SCULPTURE

243* Mené (Pierre-Jules, 1810-1879). Cheval a la barriere I, bronze, with brown patina, on a naturalistic oval base, signed P.J. Mené, without inscription to the border of the base, 28 x 37cm (11.25 x 14.5ins) (1)

£300-500

245* Hands (Ann, 20th century). Fishermen, 1965, oil on board with chased and embossed copper, signed and dated 1965 on coper tab, 86 x 41cm (26 x 16ins) image size, mounted and framed, together with Saint George, 1965, embossed and chased copper, mounted to linen-covered board, signed and dated to a copper tab, a ms. label to the verso reads ‘To the Rev. Emyr Evans - George designed 1963, by Ann R. Hands’, 183 x 53cm (72 x 21ins) (2)

£200-400

244* Bronze busts. A pair of bronze busts of Henri IV of France (1553-1610) and Maximilien de Bethune, Duc de Sully (1560-1641), mid 19th century, each on a circular column base (one with decorative chain detached), overall height 24cm (9.5ins) (2)

246* Hellenistic School. A bronze model of the Medici Riccardi horse’s head, probably Roman, c.1900, bronze sculpture with silvered eyes, height including plinth 22cm (8.5ins)

£500-800

The original head, now held in the collections of the Mediateca di Palazzo Medici Riccardi, is thought to date from the second or first century BC, and was admired and copied by Donatello and Verrocchio.

(1) £200-300

75

247* After Pierre-Jules Mené, 18101879. Chasseur Africain No.2, brown patinated bronze, on a naturalistic oval base, bearing the signature J. Mene, occasional minor wear to a few of the wired details, 46 x 36cm (18 x 14ins) A later casting after Pierre-Jules Mené’s ‘Chasseur Africain No.2’ (see Richarme and Poletti, Pierre-Jules Mené catalogue raisonne, 2007, p.36).

(1) £500-800

248* Pietra Dura. A late 19th century pietra dura panel, depicting a cockerel and a hen, 13 x 19cm (5 x 7.5ins), framed (1)

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£200-300

BRITISH & CONTINENTAL ETCHINGS, WOODCUTS & LITHOGRAPHS

Lot 250

Lot 251 251* Garrett (Albert, 1915-1983). Mobile Forms, Variation I, 1950, colour etching, signed, dated, titled and numbered 6 from the edition of 25, plate size 7.8 x 19.3 cm (3 x 7.5 ins), mounted, with artist's handwritten address, title and price in ink to reverse Wolseley Fine Arts, Albert Garrett, On Space and Time, Etchings and Engravings (with checklist by Vivien Garrett), 31 March-30 April 2004, A4.

(1) £150-200

249* Cameron (David Young, 1865-1945). Amboise, 1903, etching on wove paper, second state, signed in pencil, plate size 26.5 x 15.1cm (10.3 x 6ins), mounted, together with two other etchings by D. Y. Cameron, entitled Allan, 1889 and Upper Green, Charterhouse, 1895, both unsigned, mounted (3)

£100-150

250* Garrett (Albert, 1915-1983). The Apple Tree, 1949, etching on handmade paper, signed, dated, titled and numbered 8 from the edition of 25, some light soiling, mainly to margins

252* Garrett (Albert, 1915-1983). Three Images, 1953, wood engraving on thin japan tissue, signed, dated, titled and numbered 2 from the edition of 20, image size 22 x 15 cm (8.6 x 6 ins), sheet size 38.1 x 25.2 cm (15 x 9.9 ins), mounted

Wolseley Fine Arts, Albert Garrett, On Space and Time, Etchings and Engravings (with checklist by Vivien Garrett), 31 March-30 April 2004, A1.

(1) £150-200

Not listed in Wolseley Fine Arts, Albert Garrett, On Space and Time, Etchings and Engravings (with checklist by Vivien Garrett), 31 March-30 April 2004.

(1) £150-200

77

254* Jones (David, 1895-1974). Nativity with Cross and Star, 1925, Shepherds, c. 1925, The Lancers, 1926, & Everyman, 1929 (Centenary Edition of Engravings), 1995, together three wood engravings and one copper engraving, printed from the original blocks or plate, the wood engravings printed on hand-made Hodomura Japanese paper, the copper engraving (The Lancers) printed on mould made Somerset textured paper, published by Wolsely Fine Arts, October 1995, image size 140 x 165 mm (5.5 x 6.5ins), and smaller, sheet size 35.5 x 25.5cm (14 x 10ins), with single-page printed contents sheet, loosely contained in orig. printed wrappers (1)

£300-400

253* Greenwood (John Frederic, 1885-1954). Woman Sweeping Yard, c. 1924, woodcut on cream wove paper, signed in pencil, 128 x 128, mounted, together with six other various woodcuts and wood engravings, including Charles T. Nightingale, Adonis, 1922, Lawrence Bradshaw, Dancer, c. 1930, Muriel Hammond, Bonfire, c. 1923, Jane Cartwright, The Drawing, c. 1925, and Two Haystacks, c. 1925, and Edward M. O’R. Dickey, Head of a Tyro, c. 1920, all signed and numbered from editions of 25 or similar, various sizes, each mounted (7)

£200-300

255* Kupka (Frantisek, 1871-1957). Amorpha (Fugue) 1913 [but later], colour etching on Auvergne handmade laid paper (with watermark), with stamped signature, and marked in pencil H. C. lower left, from the posthumous edition, published by J. P. Loriot, Paris, plate size 24 x 16 cm (9.5 x 6.25 ins), sheet size 51.5 x 32.5cm (20 x 13ins) (1)

Lot 254

78

£100-150

256* AR Nevinson (Christopher Richard Wynne, 1889-1946). Quartier Latin, c. 1927, etching with drypoint on cream handmade paper (watermarked F. J. Head & Co.), a rich velvety impression, from the edition of 40, signed in pencil, with full margins, plate size 35 x 25cm (13.75 x 9.8ins), sheet size 45.7 x 32.4cm (18 x 12.75ins), framed and glazed Guichard 91.

(1)

ÂŁ3000-5000

79

257* AR Nevinson (Christopher Richard Wynne, 1889-1946). Le Louvre, 1921, etching with drypoint on Whatman paper, with partial watermark, signed in pencil, the full sheet, some pale toning to margins, plate size 276 x 175 mm (10.85 x 6.9ins), sheet size 392 x 254 mm (15.5 x 10ins), framed and glazed Guichard 88. Provenance: From a private collection, Scotland.

(1)

80

ÂŁ1000-1500

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

£70-100

260* Pellew (Claughton, 1890-1966). ‘The Return’, 1927, wood engraving on wove paper, the full sheet, signed, dated, titled, and numbered 14 from the edition of 25, some spotting to right hand margin, image size 270 x 256 mm (10.6 x 10ins), sheet size 380 x 325 mm (15 x 14.75ins) (1)

£400-600

259* Pellew (Claughton, 1890-1966). ‘From my window’, 1927, wood engraving on wove paper, a strong dark impression, the full sheet, signed, dated, titled, and numbered 6 from the edition of 30, image size 270 x 256 mm (10.6 x 10ins), sheet size 380 x 325 mm (15 x 12.75ins), mounted (1)

£500-800

261* Pellew (Claughton, 1890-1966). ‘The Bathers’, 1927, wood engraving on japan, a very good impression, the full sheet, signed, dated, titled, and numbered 4 from the edition of 30, image size 85 x 105 mm (3.3 x 4.2ins), sheet size 393 x 210 mm (15.5 x 8.25ins), mounted (1)

81

£300-400

262* Pellew (Claughton, 1890-1966). ‘Bavarian Factory’, 1928, wood engraving on wove paper, a good impression, the full sheet, signed, dated, titled, and numbered 14 from the edition of 25, image size 120 x 128 mm (4.75 x 5ins), sheet size 385 x 257 mm (15.2 x 10.2ins), mounted (1)

£200-300

264* Pellew (Claughton, 1890-1966). Woman in a shawl, 1928, etching on laid paper, signed, dated, and numbered Proof 2 of 2, aside from the published edition of 25, a good dark impression, with full margins, some minor marks and light soiling, plate size 90 x 63 mm (3.5 x 2.5ins), sheet size 275 x 228 mm (10.8 x 9ins) (1)

£200-300

265 Pinkerton (Eustace, late 19th/early 20th century). Etchings, Drypoints, Aquatints, Stipples, Mezzotints & Line Engravings, by E.P., album of twenty-six mounted etchings, etc., including ‘The Cobb, Lyme Regis’ (1896), an aquatint on zinc of a wooded hillside (1898), an aquatint on copper of a windmill (1899), ‘sketch at Walberswick’ (1900), and others similar, plus others after Rembrandt, Van Dyck, Helleu, Hollar, etc., image size 21 x 14cm (8.25 x 5.5ins) and smaller, annotated throughout in pencil, calligraphic title on front free endpaper, armorial bookplate of Eustace Pinkerton on front pastedown, original linen, some staining and edge-fraying, later manuscript label on upper cover, oblong folio (1)

263* Pellew (Claughton, 1890-1966). ‘Lamentation’, 1925, wood engraving on wove paper, the full sheet, signed, dated, titled, and numbered 5 from the edition of 30, some spotting, image size 115 x 140 mm (4.5 x 5.5ins), sheet size 385 x 258 mm (15.1 x 10.1ins) (1)

£100-150

266 Raverat (Gwendolen, Clare Leighton, Eric Gill, John F. Greenwood, Claughton Pellew, and others). The New Leader Book, 12 Woodcuts & Drawings in a Portfolio, with short stories and poems, from the New Leader, 4 issues, 1923, 1924, 1925 & 1926 [all published], forty-seven (of forty-eight) b&w woodcuts, lacking the woodcut by Clare Leighton titled Laundry, additional woodcut illusts. to text, orig. printed wrappers to each, stitched as issued, rubbed and some marks to edges, first two issues with wear to spines, slim large 4to

£200-300

(4)

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£150-200

267* Richards (Frederick Charles, 1887-1932). ‘The City of Dreams’, etching with drypoint, a trial proof, signed, titled, dated, and inscribed ‘To my friend Kenneth Holmes - some devil’, plate size 192 x 248 mm (7.5 x 9.75ins), framed and glazed, together with The Rialtor’, etching, signed, titled and inscribed ‘To Kenneth Holmes to remind him of the sunny side of the Royal College of Art’, plate size 180 x 165 mm (7.1 x 6.5ins), framed and glazed, plus Ancora Venezia, etching, signed, titled, and inscribed ‘For He’s A Jolly Good Fellow!

XXI today! “To Kim Peacock”‘, plate size 122 x 150 mm (4.75 x 6ins), framed and glazed Lot 265

(3)

£100-150

268* Rushbury (Henry George, 1889-1968 ). Paris, etching showing Place Saint-Michel and western facade of Notre Dame, with caption and signature to lower edge of image, signed in pencil to lower left, some faint spotting, plate size 23.3 x 32.2cm (9.25 x 12.75ins), framed & glazed (1)

Lot 266

83

£100-150

KENNETH HOLMES (1902-1994) & MARJORIE HOLMES (1907-1992)

269* Holmes (Kenneth, 1902-1994). View of Valletta Harbour, Malta, oil on canvas, showing a bright sunlit view of Valletta harbour, with dghajsas on the water in the foreground, signed lower right, 50.5 x 60.5cm (20 x 23.75ins), framed (1)

£300-500

270* Holmes (Kenneth, 1902-1994). “Paignton”, pencil and watercolour, depicting Paignton harbour in Devon, with figures, boat sheds, rowing boats and sailing boats etc., signed and titled lower left, 30 x 54cm (11.75 x 21.25ins), mounted, framed and glazed (1)

£150-200

Lot 270 84

271* Holmes (Kenneth, 1902-1994). “Minehead”, pencil and watercolour, showing the beach at Minehead with houses in the background and two boats in the foreground, signed and titled lower right, 37.5 x 54.5cm (14.75 x 21.5ins), mounted, framed and glazed, together with another pencil and watercolour view by Holmes, entitled “Marlow”, showing All Saints Church and Marlow Bridge from the Thames, signed and titled lower right, 21 x 34cm (8.25 x 13.5ins), mounted, framed and glazed (2)

£150-200

274* Holmes (Kenneth, 1902-1994). Pevensey Bay, drypoint etching, signed and numbered 1/6 in pencil to lower margin, plate size 15.8 x 34cm (6.25 x 13.25ins), framed and glazed, together with Ponte Palatino, Rome, drypoint etching, signed in pencil to lower margin, plate size 24.2 x 38cm (9.5 x 15ins), framed and glazed (2)

£150-200

272* Holmes (Kenneth, 1902-1994). Malta, pencil and watercolour, heightened with bodycolour, seascape with boats and fortress, signed lower right, 26.5 x 38cm (10.5 x 15ins), mounted, framed and glazed (1)

£200-300

275* Holmes (Marjorie, 1907-1992). Portrait of the artist’s daughter Leonie, oil on canvas, showing a young girl wearing a green jumper, with a bow in her blond hair, seated and reading a book, signed lower right, 51 x 40.5cm (20 x 16ins), framed, together with another portrait of Leonie, pencil and watercolour of her as a small girl playing with stacking rings on a table beside an armchair, with a toy lamb on the floor beside, signed lower right, 25 x 21.5cm (10 x 8.5ins), mounted, framed and glazed

273 Holmes (Kenneth, 1902-1994). Village on a Hill, Neapolitan Spire & Venice, a group of three etchings on paper, each signed to lower edge, 26 x 30cm (10 x 12ins) and slightly smaller, one framed and glazed, together with The Horse Fair at Skipton, woodcut on paper, signed and titled to lower edge, 11.5 x 15cm (4.5 x 6ins) (4)

(2)

£200-300

85

£200-300

276* Holmes (Marjorie, 1907-1992). “San Antonio, Ibiza”, charcoal and watercolour, heightened with bodycolour, signed and titled in pencil lower right and left respectively, 21.5 x 29cm (8.5 x 11.25ins), mounted, framed and glazed, together with six others by Marjorie Holmes: a crayon landscape entitled “Portinatx, Ibiza”, signed lower right, 21.5 x 29cm (8.5 x 11.5ins), mounted; two watercolour views of Sardinia, 24 x 27cm (9.5 x 10.5ins), mounted; a head and shoulders pencil and watercolour self-portrait, signed and dated 1952, image size 16 x 16cm (6.25 x 6.25ins), mounted; and a pen and ink drawing of a monkey and birds in a tree, image size 22.5 x 15cm (8.75 x 6ins) (6)

278* Holmes (Marjorie, 1907-1992). Harmony, etching on paper, signed in pencil, plate size 17.5 x 15cm (7 x 6ins), full margins, together with Italian Street Scene with barrels, signed in pencil plate size, 15 x 10cm (6 x 4ins) full margins, plus other etchings, some duplicates, all signed

£150-200

Subjects include Gloucester Farm, Pig Farming and Neapolitan Spire.

(7) £150-200

MODERN & CONTEMPORARY PRINTS

277* Holmes (Marjorie, 1907-1992). Putney Bridge, etching on J. Whatman watermarked paper, signed in pencil, from the edition of fifty proofs, plate size 13.2 x 32.1cm (5.25 x 12.7ins), full margins, together with Penguins, etching on heavy paper, signed in pencil, plate size 20.5 x 20.5cm (8 x 8ins), full margins, plus nine other etchings, including a pencil sketch, 18 x 24cm (7 x 9.5ins) and smaller, some duplicates Subjects include San Giorgio Maggiore, Vence, Harmony, and Farmyard Scene with Pigs.

(11) £150-200

279* Bawden (Edward, 1903-1989). Kew Palace, 1983, colour lithograph, after the original linocut by Bawden, printed by the Curwen Press, in an edition of 160, Curwen Press archive impression, with their stamp, 47 x 61cm, framed and glazed (1)

86

£250-350

280* Bowen (Denis, 1921-2006). Abstract Composition, 1966, colour lithograph, signed, dated, and numbered 32/35, some light soiling to margins, sheet size 50.5 x 53.5cm (20 x 25ins) (1)

282* Greaves (Derrick, 1927-). Seven screenprints, 1972, a set of seven colour screenprints, with printed text by Roy Fisher, published by the Tetrad Press, London, 1972, printed by Kelpra Studio, each signed in pencil by Derrick Greaves and Roy Fisher to verso, dated, and marked artist’s proof with Kelpra stamp, sheet size 46.5 x 64.5cm (18.25 x 25.4ins)

£150-200

(7)

£200-300

281* Games (Abram, 1914-1996). Danger Don’t Touch, c. 1943, colour lithograph poster, 101.5 x 62.5cm (40 x 24.5ins), creased where previously folded, short closed tear to one fold, short closed tear to top margin, without loss, with orig. printed Board of Education Memorandum entitled Accidents to Children, Dangerous Military Objects, dated 30th October 1942 stapled to upper left corner verso, plus two additional printed notices, similar (loose)

283* Kaner (Sam, 1924-1990). Composition, c. 1950-55, mixed method engraving, signed and marked in pencil epreuve d’artiste, sheet size 32.3 x 35.5cm (12.75 x 14ins), additionally inscribed to verso in pencil by the artist ‘For Ida Kar with love Sammy’, together with another uncoloured abstract etching, signed ‘Anton’, dated 1951, and numbered 10/12, plus La Dell (Edwin, 1914-1970).

Berthold’s Pumpkin, 1951, colour lithograph, signed, dated, titled, and numbered 12/25, sheet size 35 x 50cm (13.75 x 19.75ins), and with three other colour lithographs by the same artist, all signed in pencil, all appear to be trial proofs, with small excision to blank margin of each, and two similar colour lithographs from the 1950s

by Susanna Bott, each signed in pencil

(1)

(7)

£100-150

87

£150-200

284* Matisse (Henri, 1869-1954). The Dancer, [1949], colour lithograph, published by School Prints Ltd., printed by W. S. Cowell Ltd., partly faded, sheet size 49.3 x 75.8cm (19.4 x 29.8ins), laid down on backing paper (1)

£100-150

285* Muafangejo (John Ndevasia, 1943-1987). Men are working in town, 1981, linocut on paper, signed, dated and numbered 76/150, some toning and light discolourlation, image size 596 x 415 mm (23.5 x 16.25ins), sheet size 685 x 490 mm (27 x 19.25ins), framed and glazed (1)

£200-300

286* Muafangejo (John Ndevasia, 1943-1987). Sad People according to their child is dead, 1970, linocut on paper, signed, dated and numbered 30/100, image size 518 x 337 mm (20.4 x 13.25ins), sheet size 593 x 423 mm (23.3 x 16.6ins), some light soiling to margins, in clip frame (1)

£200-300

Lot 285

287* Muafangejo (John Ndevasia, 1943-1987). Elephant with its baby elephant in 1979, linocut, signed, dated 1979, and numbered 31/100, image size 46 x 36.2cm (18 x 14.25ins), sheet size 50 x 40cm (19.5 x 15.75ins), framed and glazed (1)

Lot 286

88

£100-150

Lot 289

Lot 288 288* Twells (Nicholas C., 20/21st century). A collection of sixteen various colour screenprints, etchings and aquatints, 1986-87, including one or two duplicates, all signed, dated and titled, full sheets, various sizes (the largest image size 91.5 x 58.5cm (36 x 23ins), the smallest image size 36 x 29.5cm (14.25 x 11.6ins), all except one framed and glazed (16)

£200-300

289* Valerianov (Nikolai, 1905-). Rabotnitsy i Krestianki - Vse na Vybori [Worker and Peasant Women - all should go to the Polls!

Gather under the Red Banner along with men, We bring fear to the bourgeoisie!], 1925, original poster printed in red and black, some spotting and soiling, a few splits and small tears with 2cm loss in mostly blank area lower left, some adhesion see-through from backing paper, 69 x 49cm (27 x 19.25ins) (1)

£200-300

290* Warhol (Andy, 1928-1987). Bighorn Ram, 1987, colour serigraph, 20.5 x 20.5cm (8 x 8ins), mounted Limited edition of 1000 unsigned copies, with certificate of authenticity bearing hologram stamp, following the original edition of 150 signed copies issued in 1983.

(1) £100-150

Lot 290

89

MODERN PAINTINGS, WATERCOLOURS & DRAWINGS 291* Agard (Charles Jean, 1866-1950). The Young Tennis Player, pencil on paper, full-length profile portrait of a boy holding a tennis racket under one arm, with additional study of the boy’s left hand holding the racket handle, signed lower left, 28 x 17.5cm (11 x 7ins), mounted, framed and glazed, together with a squared-up crayon sketch on paper of a woman by Agard, signed in pencil lower right, sheet size 39.5 x 28.5cm (15.5 x 11.25ins) (2)

£300-400

292 Akkeringa (Johannes, 1861-1942). Cottage garden with chickens, oil on wood panel, showing a rustic cottage with a garden of trees and flowers with roaming chickens, signed lower left, 47.5 x 67cm (18.75 x 26.5ins) Provenance: Sold Michael Zeller, Lindau, 27 April 1973.

(1)

Lot 291

Lot 294 (part)

90

£500-800

293* Aubery (Jean, 1880-). Route au Printemps, Marseille, oil on canvas, one or two small surface marks, signed lower right, titled in pencil on stretcher, 33 x 41cm (13 x 16ins), framed Reference: Gérald Schurr, Les Petits Maîtres de la Peinture 1820-1920, 1985, volume VI. (1) £500-700

294* Bhatt (Akash, 20th century). Solo, a Cuban panorama, 2006, oil on canvas, 38 x 213cm (15 x 84ins) Bhatt was born to Gujarati parents in Leicester who emigrated from Kenya in the 1960s. His panoramas concentrate on the architecture of Floridi, Cuba and the Caribbean and South America.

(1) £1000-1500

295* Bream (Anthony, 1943-). Standing nude, black charcoal on paper, signed lower right, 54.5 x 37cm (21.5 x 14.5ins), framed and glazed, with Frost & Reed label to verso, together with another Standing Nude, red chalk on green paper, with traces of white chalk, signed lower left, 54.5 x 37cm (21.5 x 14.5ins), framed and glazed, with Frost & Reed label to verso (2)

Lot 295

£200-300

Lot 294 (part)

91

297* Charlton (George, 1899-1979). “Street in Brighton”, oil on board, showing a street lined with large terraced Georgian houses, with figures, 53.5 x 75.5cm (21 x 29.75ins), framed Provenace: Sold at Bonhams, London, 17th July 2007, lot 246. With Highgate Gallery, London label on the backboard (and according to inscription above the work was shown there at a retrospecive exhibition of George Charlton’s work in 1982).

(1) £300-500

298* Coates (Michael J., 1937- ). ‘Winters Day’, gouache, showing a bright snowy landscape, with cattle, and a village with church behind, signed lower right, 29 x 39cm (11.5 x 15.25ins), mounted, framed and glazed (1)

£100-150

296* Broner (Erwin, 1898-1971). Horse and Rider, 1964, coloured inks on paper, signed and dated ‘64 lower right, 49.5 x 34.5cm (19.5 x 13.5ins), framed and glazed The German-Jewish painter and architect Erwin Broner came to Ibiza in 1934 seeking refuge from Nazi Germany, and stayed for the rest of his life. He was a founder member of the avant-garde group Ibiza59. Broner was a student at the Stuttgart Art Academy, and was also taught by Hans Hofmann and Oskar Kokoschka. Broner’s modernist villa Casa Broner, built in 1960, was established as a museum in Ibiza in 2010, following the death of the artist’s widow in 2005.

(1) £100-150

299 Cronyn (Hugh, 1905-1996,). Country Road near London, Ontario, Canada, 1939, pastel on paper, signed and dated in pencil to lower right, 24 x 34.5cm (9.5 x 13.5ins), framed and glazed Hugh Cronyn was born in Vancouver and began painting in 1928. He went on to study in New York and then Paris, before moving to London to work as a freelance artist. At the outbreak of the war he enlisted in the Royal Navy receiving the George Medal for bravery in disarming a bomb. Though he settled in Suffolk, Cronyn returned frequently to Canada to paint.

(1) £200-300

Lot 297

92

300* Davies (John R. (1899-1985). Two Crouching Men, charcoal, pencil and crayon on paper, 58 x 40cm (22.75 x 15.75ins), framed and glazed (1)

ÂŁ150-200

301* De Belleroche (William, 1912-1969). Nature Morte, 1967, black ink, pastel, and watercolour still life showing a table spread with food, utensils, and large seashells, 68.5 x 85cm (27 x 33.5ins), framed and glazed, with Fine Art Society label and typed title label to verso Exhibited: The Fine Art Society, June 1989.

(1)

Lot 300

Lot 301

93

ÂŁ300-500

302* Manner of Frank Dicksee (1853-1928). “David and Goliath”, grisaille watercolour on card, showing David as a young man with his sling, about to slay the giant Goliath, with the Philistine and Israelite armies looking on, 8 x 14cm (3.25 x 5.5ins), together with another grisaille watercolour on card by the same hand, showing David the shepherd boy looking at the lion he has slain, and holding a rescued sheep, some minor suface wear, mainly to edges, 16.5 x 16cm (6.5 x 6.25ins), mounted as one (1)

Lot 304

£100-150

303* Dutch School. Still life of flowers, 1939, watercolour on thick paper, showing a yellow porcelain vase filled with nasturtuims, indistinctly signed and dated 1-12-39 lower right, 26 x 34cm (10.25 x 13.25ins), tipped onto card (1)

£150-200

304* Ellis (Susan). Wessex Downs, pastel on paper, signed lower right, 35 x 39cm (14 x 15.5ins) (1)

£100-150

305* English School. Large scale still life of flowers and teapot, circa 1950, oil on board, 122 x 61cm (28 x 24ins), framed (1)

£150-200

Lot 305

94

306* Frink (Elisabeth, 1930-1993). Autograph letter signed, ‘Lis’, Woolland House, Woolland, Blandford Forum, Dorset, [November, 1980], to Pat and Peter Maddocks, of Woolbridge Manor, Wool, Dorset, thanking them for the gift of a scarf ‘which I found when I finally got to Bed about 5am’, going on to say ‘I got up at 7.30 and found one of our guests and Her Baby abandoned by a forgetful Husband’, adding ‘All in all it seemed quite a mouvementé evening’, one leaf of headed notepaper, written on recto only, 3 folds, 4to, together with the original envelope, postmarked 18 November 1980, plus a Christmas card to the Maddocks signed ‘Alex and Lis’, with a manuscript note inside, a postcard signed ‘Lis’, thanking the Maddocks for a lovely evening, and a card inviting them to a Trafalgar House & Arts Council exhibition of sculpture in Winchester in 1981, featuring the works of Elisabeth Frink (4)

Lot 307

£100-150

307* Granger-Taylor (Edith, 1887-1958). Self Portrait, 1911, black chalk on laid paper, signed with initial G and dated 1911 lower left, 248 x 206 mm (9.75 x 8.2ins), framed and glazed, with period framer’s label of H. Willett & Son, 39 Ship Street, Brighton, to verso Provenance: From the estate of the artist Gillian Wood, Frome, Somerset.

(1) £150-200

308* Granger-Taylor (Edith, 1887-1958). Self portrait, 1914, coloured pastel on laid paper, signed and dated 1914 lower right, 35.5 x 28cm (14 x 11ins), framed and glazed, with period framer’s label of Charles H. West, 117 Finchley Road, Swiss Cottage, London, to verso Provenance: From the estate of the artist Gillian Wood, Frome, Somerset.

Edith Granger-Taylor (1887-1958) was born in Grassington, Yorkshire. She studied for a term at the Royal Academy Schools in 1910 and at St. John’s Wood Art School prior to 1914. She also took lessons from the famous portraitist Philip de Laszlo, and studied for a term at the Slade School of Fine Art in 1919 (where the principal Henry Tonks complimented her on her skills with pastel). She exhibited at the New English Art Club and elsewhere during the 1920s and 30s and held solo exhibitions at the Grosvenor Galleries in 1922 and Beaux Arts Gallery in 1932. The artist was rescued from oblivion with an exhibition of her pastels and paintings at Gillian Jason Gallery in 1989, entitled Edith Granger-Taylor 1887-1958: An Artist Rediscovered, 1 February3 March 1989.

(1) £250-350

Lot 308

95

311* Hereford (Edward W., late 19th/early 20th c.). Italian coastal view with boats, watercolour with pen & ink, 32 x 49cm (12.5 x 19.25ins), gilt frame, glazed Captain Edward N. Hereford R.N. is known for his carefully detailed watercolours of naval frigates, prison hulks, and harbour scenes. His letter books and logs are held at the National Maritime Museum, Caird Library.

(1) £100-150

309* Gueffen (Menachem, 1930-). Young woman with hat, oil on canvas, signed lower left, 91.5 x 65cm (36 x 25.5ins), framed Provenance: Exhibited at Victor Musgrave’s Gallery One in 1962. Gueffen was born to Polish parents in Israel in 1930, and studied first in Jerusalem and then at the Ecole des Beaux-Arts in Paris between 1959 and 1963. The artist was married to the actress Diana Rigg between 1973 and 1976, having first met in 1963. He now lives in Brittany, France.

(1) £200-400

312 AR Hirst (Damien (1965-). Glitter Spin Painting, poster paint and green glitter on thick paper, stamp to verso ‘This painting was made by James in Damien Hirst’s Gloucester Studio’, signed by Damien Hirst, 45cm (17.75ins) diameter (1)

£1500-2000

313 AR Hirst (Damien (1965-). Glitter Spin Painting, poster paint and blue and red glitter on thick paper, stamped to verso ‘This painting was made by James in Damien Hirst’s Gloucester Studio’, signed by Damien Hirst 45cm (17.75ins) diameter (1)

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

£150-200

96

£1500-2000

Lot 312

Lot 313 97

314 Johnson (Eve D., 20th century). “Countryside and Thatchers”, later 20th century pastel and gouache on paper, naive landscape with farm and animals, and thatchers at work, signed lower right, 54 x 76cm (21 x 30ins), framed and glazed, with artist’s hand-written label giving address and title (1)

316 Kobinger (Hans, 1892-1974). Otztal and Tryol, Austria, 1947, a pair of watercolour landscapes on paper, each signed and dated lower left, 48 x 60cm (19 x 23ins) and slightly smaller, framed and glazed

£200-300

(2)

£200-300

315* Kemp (Jeka, 1876-1867). Fishing Boats in Harbour, St. Tropez, watercolour, showing a sunlit scene with sailing boats, signed to right-hand margin, 32 x 32cm (12.5 x 12.25ins), mounted, framed and glazed (1)

£200-300

317* Lewis (Jane, 20th century). Still Life of Flowers, Grapes, and Willow-pattern, watercolour on paper, signed in pencil to upper left, 44 x 36cm (17 x 14ins) (1)

98

£100-150

318* Marks (Claude, fl. 1899-1915). “Trevone Bay, Cornwall”, watercolour, showing a rocky sunlit seascape, signed lower right, 32 x 49cm (12.75 x 19.25ins), framed and glazed (1)

£200-300

Lot 321

319* Marks (Claude, fl. 1899-1915). A West Country seascape, watercolour, showing a sunlit seascape with cliffs, signed lower right, 22.5 x 28cm (9 x 11ins), mounted, framed and glazed (1)

£150-200

320* Mellor (Oscar, 1921-2005). Bird Figure, 1962, oil on board, signed and dated lower left, 50.5 x 40.5cm (20 x 16ins), framed (1)

£150-200

321* Mellor (Oscar, 1921-2005). ‘Modern Goddess’, 1982, oil on canvas, signed and dated lower right, 76 x 61cm (30 x 24ins), framed (1)

£200-300

322 Mellor (Oscar, 1921-2005). ‘Paradoxical Method of Evaluation’, 1972, oil on canvas, signed and dated lower right, additionally signed, dated and titled to back of canvas, 36 x 30cm (14 x 12ins), framed (1)

£150-200

Lot 322

99

325 Mellor (Oscar, 1921-2005). Reclining Nude, oil on canvas, 25 x 35cm (10 x 14ins), framed Provenance: From the estate of the artist.

(1)

£150-200

323 Mellor (Oscar, 1921-2005). Nude in Shadow, 1965, oil and mixed media on board, signed lower right, 53 x 30cm (21 x 12ins), framed (1)

£200-300

326 Mellor (Oscar, 1921-2005). ‘Kneeling Figure’, 1974, oil on canvas, signed and dated upper right, additionally signed, dated and titled to back of canvas, 91.5 x 61cm (36 x 24ins), framed

324 Mellor (Oscar, 1921-2005). Figures on a Beach with White Bull, 1989, oil on board, signed and dated upper right, 36 x 45cm (14 x 18ins), framed (1)

(1)

£200-300

100

£300-500

327* Mitchell (William Frederick, 1845-1914). H.M.S. Majestic, 1903, watercolour, showing a flagship of the Atlantic Fleet, signed and dated lower right, 9 x 12.5cm (3.5 x 5ins), mounted, framed and glazed, with typed label on backboard giving details of the subject and stating ‘Given to R.V. de H. by the artist, W.F. Mitchell 1903’ H.M.S. Majestic was a battleship of the Royal Navy, and the lead ship of the Majestic class. She served as the flagship of the Channel Squadron for eight years. She was subsequently relegated to secondary duties and was despatched as a mine clearer during the Dardanelles Campaign at the beginning of WWI. She was struck by two torpedoes while anchored off Gaba Tepe on 27th May, 1915, and capsized with the loss of forty crew.

(1) £150-200

328* Nys (Francis, 1863-1900). Antwerp, 1900, oil on canvas, landscape with railway and steam engine, trees, skyline of buildings, and figures in the foreground, signed lower right, artist’s name, title, and date stencilled on stretcher, 43 x 62.5cm (17 x 24.5ins), framed Provenance: Previously sold at Sotheby’s, Olympia, London, 14th July 2004, lot 276.

(1) £1000-1500

Lot 327

Lot 328

101

331* Rampling (Robert, 1835-1909). Lancaster Priory Church and Castle, Skirton Bridge and River Lune, watercolour, signed lower left, 22 x 36.5cm (8.75 x 14.25ins), mounted, framed and glazed Robert Rampling was a largely self-taught artist who enjoyed painting watercolours in his leisure time, although he also had instruction from renowned Victorian watercolourist, Myles Birket Foster, and he exhibited regularly at the Storey Institute Art Gallery.

(1) £200-300

329 Onsoy (Ilkay, 1953-). Composition with figures, circa 1978, watercolour on paper, signed to lower left, 27 x 37cm (10.5 x 15ins) Provenance: Ex Philip Rawson collection. Onsoy was a student of Rawson at the Royal College of Art having moved to London from Cyprus in 1967. He now teaches and exhibits in Cyprus.

(1) £100-150

332* Schepansky (Wladimir, 1895-1985). Old Montreal Harbour, oil on canvas, showing a busy scene with figures and horse-drawn vehicles, against a backdrop of buildings, signed lower right, 31 x 40.5cm (12 x 16ins), framed

330* Podchernikoff (Alexis Matthew, 1886-1933). Early Spring, near Gaviota Pass, California, oil on canvas, signed lower left, additionally signed and titled to verso, 41 x 51cm (16 x 20ins), gilt frame with name plaque to lower edge

Wladimir Schepansky was born in Poland and studied art at the Imperial Academy of Art in St. Petersburg, Russia. He lived in Finland, Sweden and Paris, where he won many prizes for his artwork, eventually immigrating to Montreal in 1948.

(1) £100-150

Born into an artistic dynasty, Podchernikoff studied with his grandfather, Dimitri Zolotarieff, and later with Ilya Repin and Verestchagin. After the RussoJapanese War of 1904-05, he emigrated to the United States, and settled in San Francisco, moving to Santa Barbara in 1913 where he lived for the rest of his life. Many of his mature landscapes are of Southern California, and the countryside around Santa Barbara in particular.

(1) £400-600

102

333* Attributed to Francis Newton Souza (1924-2002). Two erotic pen & ink drawings of a male nude figure and female nude figure, c. 1960s, together two pen and black ink drawings on wove paper, unsigned, some light marks and soiling, 35.7 x 25.5cm (14 x 10ins), together with an old typescript copy entitled ‘A Fragment of Autobiography, by F. N. Souza’, 4 leaves, stapled

335 Stephens (A. G.). Portrait of the spiritualist teacher George Gurdjieff (1866-1949), 1928, pastel on paper, signed and dated lower left, 21 x 18cm (8 x 7ins), framed and glazed (1)

£200-300

Provenance: According to the vendor, these drawings originate from Gallery One, the Contemporary Art Gallery established in the 1950s by Victor Musgrave.

(2) £300-500

336* Thompson (Philip, 20th century, ). Lyme Regis Cobb, oil pastel and coloured pencil on paper, signed and titled to lower left, 29.5 x 40cm (11.5 x 16ins) (1)

334* Spurrier (Mabel Annie, 1880- ). Eton College Chapel, watercolour, showing Eton College Chapel and a street scene in the foreground with figures and horse-drawn transport, signed to lower margin, 21.5 x 27.5cm (8.5 x 10.75ins), mounted, framed and glazed, together with an aquatint of Eton after J. Farington, mounted, framed and glazed (2)

£100-150

103

£100-200

337* Thompson (Philip). RX 275, The Beached Dinghy, 1952, oil on board, signed and dated lower left, 44 x 54cm (17 x 21ins) (1)

£100-200

Lot 340

338* Troncet (Antony, 1879-1939). Seated female nude bathing, pastel on canvas, interior scene showing a young woman at her ablutions, signed lower left, 81 x 60cm (32 x 23.5ins), framed and glazed (1)

£2000-3000

339 Vollmar (Aribert von, 1918-2002). Two nudes on beach, 1954, oil on board, signed and dated lower right, 47 x 62cm (18.5 x 24ins), together with Nude on beach with sunhat, and Nude on beach with ball, two oils on board, unsigned, 20 x 25cm (8 x 10ins)

341* Williams (Kyffin, 1918-2006). A long autograph letter signed, ‘Kyffin’, Pwllfanogl, Llanfairpwllgwyngyll, Anglesey, 11 September 2000, to Denis Lowson, on the artist’s headed notepaper, congratulating his fellow-artist for painting ‘as a proper artist should’ and not like the ‘improper ones that take all the artistic limelight today. I call them Flashers as their actions are never based on love of anything and are merely done to achieve gratification from shocking people’, going on to say that he is only able to teach in primary schools, having been thwarted in his desire to instruct mature students, saying ‘The Welsh Arts Council Officers have stated that I am the single most dangerous influence on Welsh art alive today... They have got one thing right and that is that I am alive, a state in which they would prefer I was not’, some minor smudging to ink, 4pp., 2 folds, folio

Vollmar came to England in the early 1920s, leaving Germany under strained circumstances. After the war he worked as a translator at the Nuremberg Trials. He encountered the work of the Cobra group and met Asger Jorn, who inspired him to paint, supplementing his career at the Inland Revenue.

(3) £200-300

340 West (Samantha, 1966-). Wallbridge, Frome, 2008, oil and mixed media on board, signed lower right, 66 x 76cm (26 x 30ins), framed The west country artist Samanthat West recently completed a Fine Art degree at Bath Spa University, following ten years as a commercial artist. Wallbridge is from a series of slow production views of townscapes around Frome.

(1) £200-300

(1)

104

£80-120

Lot 338

105

Lot 342 342* Williams (Terrick John, 1860-1937). The Tuileries, pastel, showing a number of standing and seated figures, next to a large stone urn on a plinth, with more figures near another urn in the distance, signed lower left, 25.5 x 39.5cm (10 x 15.5ins), mounted, framed and glazed

343* Anglo-Chinese School. A group of four watercolours of birds and flowers, mid 19th century, four watercolours on rice paper, each depicting a pair of birds with blossom, approximately 16 x 23cm (6.25 x 9ins), in matching mounts and frames, glazed (4)

A study for the painting of the same subject exhibited at the Royal Academy in 1916.

(1) £1500-2000

£200-300

344* Batuan School. Kecak dance in Bedulu village, Bali, circa 1935, pen and ink with wash on paper, 46 x 35cm (18 x 13.75ins), framed and glazed Provenance: Purchased by the vendor from a British traveller in the 1980’s.

The all-male kecak dance, still performed around Bali today, came about when Western travellers began to observe and influence local traditions. Walter Spies, a German born artist living in Bali from 1927, was a key figure in encouraging the development of this tradition. Spies also fostered a school of painting inspired by his own modernist roots. Western paper and materials was provided and local artists were encouraged to draw and paint, and Spies often acted as an agent selling the pictures to Western tourists. Few of these artists are known by name, and many are known from only one example. In 1939 the community lost their key sponsor when Spies drowned in a prisoner of war boat.

(1) £2000-3000

INDIA, CHINA & THE FAR EAST

345* Bunrei (Maekawa, 1837-1917). Bunrei Shugajo (Bunrei’s Instruction Book), an album of sixteen double-page watercolour paintings of various subjects, 195 x 288mm (7.7 x 11.3ins), all except one with artist’s printed stamp, some minor marks to margins, original patterned silk boards, bound concertina-style The subjects are: White Camelia, Pine Branch, Pine in a Landscape, Tree Covered Hill, Plum Trees at a Stream, Village at a Lake, Men Pulling a Boat, Trout, Bridge, Planting Rice, Fisherman, Grasshopper and Flowers, Rocks, Rocky Outcrop, Cranes Flying Over Mountains, and Houses Covered with Snow. Bunrei was the son and pupil of Maekawa Gorei (1806-1876), who was himself a pupil of Keibun. He specialised in figures and kachoga (Pictures of Flowers and Birds), and was a member of the Kyoto Art Academy. See Laurence P. Roberts, A Dictionary of Japanese Artists, page 102.

(1) £150-200

Lot 343

106

Lot 344

107

Lot 346

108

347 Burmese School. A Kammavara manuscript, 19th century, black laquer over red painted palm leaves, heightened with gilt, contained in an unmatching pair of decorated wooden covers (1)

£100-150

348* Chikanobu (Toyohara, 1838-1912). Fishing by the River Bank, & Bonseki, from the series Edo Nishiki (Edo Brocades), 1903, together two aiban yoko-e colour woodblock prints, each heightened with silver, with artist’s signature Yoshu Chikanobu with red toshidama seal, publisher’s mark of Matsuki Heikichi, each 24.5 x 35cm (9.7 x 13.75ins), framed as one Edo Brocades, one of Chikanobu’s last series, presents bijin engaged in traditional pursuits: here a group of bijin fish on the banks of the Sumida River, and two elegant ladies make bonseki, or landscapes created by sifting and arranging white sand.

(2) £100-150

349 Chinese Art. A Collection of Famous Pictures of the Sung Dynasty, Formerly Preserved by the T’ien Lai Studio (Tien Lai Ko Chiu Tsang Sung Jen Hua Tse), Commercial Press, [c.1957], fifteen tipped-in colour plates, captioned in English and Chinese, micaflecked endpapers, original publisher’s padded silk boards, spine ties as issued, paper title label to upper board, contained within cloth portfolio with additional paper label, some wear and damp staining to portfolio, folio (1)

346 Burmese School. Panorama of processions and entertainments before King Thibaw of Burma, circa 1885, pictorial manuscript in leporello or concertina format, comprising fifteen tableaux over sixty conjoined panels, illustrated throughout in gouache over watercolour, heightened with gold with manuscript captions in Burmese to lower margin, and near-contemporary English transcription in pencil, occasional minor marginal soiling, pale dampstain to head of centrefolds throughout (with minor discolouration, and slight lifting of paint), outer covers with handpainted panel decorations in gouache, rubbed and some marks, 41 x 17.7cm (16.2 x 7ins), overall size 1080 x 41cm (425 x 16.2ins) Provenance: Believed to have been taken from Mandalay shortly after the British annexed Burma at the end of the Third Anglo-Burmese War by Captain Charles Forbes Battye (1838-1918) of the 4th Bengal Infantry. The palaces at Mandalay were richly adorned, such that the British established a Prize Committee to oversee the distribution of booty. For a similar example see the Schoyen Collection MS 2475.

(1) £5000-8000

Lot 348 109

£150-200

350 Chinese Rubbings. A five volume album of original rubbings of Luohan or Buddhist holy men with calligraphic captions, from the Hall of Ying Zhen, Qing dynasty, mid 19th century, black ink on paper, approximately 600 pages, bound in plain blue wrappers, contained within later wooden boards, occasional crease, folio (page size 18 x 30cm, 7 x 12ins) (1)

ÂŁ2000-3000

110

351* Chinese Rubbings. A collection of five large scale rubbings of Chinese Luohan, Bodhisattva and calligraphy, late Qing, black ink on fine paper laid down, 58 x 77cm (23 x 30ins) and similar (5)

£300-500

Lot 353

352* Chinese School. Contemporary still life of flowers including gladioli and lily, watercolour on handmade paper, indistinctly signed to lower left with Chinese seal stamp, 49 x 33cm (19 x 13ins), framed and glazed

353* Chinese School. A group of watercolours on rice paper, 19th century, including two interior scenes with noblewomen and attendants, 29 x 16.5cm (11.5 x 6.5ins) and slightly smaller, framed and glazed, a seated nobleman 17.5 x 15.5cm (7 x 6ins), framed and glazed, and an album of ten miniature rice paper watercolours including three of junks and sampan, and a study of a fish, some with slightly loss at corners, 7.5 x 11cm (3 x 4.5ins)

354* Chinese School. The Horserider, early 18th century Chinese watercolour painting on silk, heightened with bodycolour, with haiku by the poet Sonko-Date inscribed to upper right, and name and seal of the artist to lower left and upper right (in Japanese and Chinese script respectively), 345 x 445 mm (13.6 x 17.5ins), mounted on dark blue patterned silk scroll (probably 19th century), with ivory-capped baton to lower edge, contained in 19th century scroll box with extensive handwritten text to outer and inner sides of the lid, and printed inscriptions in French and German of this item loosely contained within

(4)

(1)

(1)

£100-150

£300-500

111

£200-300

355* Chinese School. Priest with incense, early 19th century, wall scroll in watercolour, heightened with gold, later mounted on silk with bone footer baton, creased with some wear to mount, image size 25 x 48cm (10 x 19ins), overall dimensions 36 x 122cm (14 x 48ins) (1)

£100-150

358* Chinese Textiles. A Mandarin square, mid 19th century, depicting a crane and other emblems, worked in metal threads on a black silk ground, backed with faded blue silk, in two halves, stitched together in centre vertically, some loose threads, overall size 21 x 22.5cm (8.25 x 9ins), together with another Mandarin square, early 20th century, depicting a crane, clouds, bats, the sun, waves, etc., embroidered in coloured silk threads on a navy silk ground, slightly frayed at edges, backed with blue silk, 27.5 x 30cm (11 x 11.75ins), plus a child’s silk collar, with appliqued and embroidered decoration on the different coloured sections, late 19th century, diameter 19cm (7.5ins) (3)

£70-100

356* Chinese School. Tending the Emperor’s Horse, 19th century, wall scroll, watercolour and black ink on paper, later silk mount, image size 80 x 36cm (31.5 x 14ins), overall size 205 x 55cm (80 x 21.5ins), upper baton loose but attached, with contemporary paper label and later pencil inscription Sung Tsse-Hga, together with four other wall scrolls, mostly 19th century, including one showing an elderly man riding water buffalo, and a Sung style landscape (5)

£300-500

357* Chinese School. Interior scene with gongzhu or aristocratic woman binding her feet, mid 19th century, reverse painting on glass, 34 x 49cm (13.5 x 19ins), framed

359* Eisen (Keisai, 1790-1848). Geisha combing her hair, oban colour woodblock on paper, artist’s signature, censor’s seal, a little toned and rubbed with some repair, 34.5 x 23cm (14 x 9.5ins)

(1)

(1)

£200-300

112

£70-100

360* Furuya (Korin, editor). Shin-Bijutsukai, The New Monthly Magazine of Various Designs by the Famous Artists of Today, 39 original monthly issues, Kyoto; Yamada Geikido, circa 1905, titles in English, remainder of text in Japanese, approximately 1000 woodblock prints, mostly printed in colour, showing designs for papers and textiles, some heightened with gold and silver, some folding, all with original printed wrappers and silk ties (three volumes with ties perished and contents shaken), each 24 x 16.5cm (9.5 x 6.5ins) (39)

ÂŁ2000-3000

113

361* Gandy (Henry George, 1879-1950). Chingay Parade, Singapore, watercolour on paper, signed lower right, 21 x 13,5cm (8 x 5ins), framed and glazed (1)

£200-300

362* Gekko (Ogata, 1859-1920). Four scenes from Fujin fuzoku zukushi (Manners and Customs of Ladies ), circa 1891, four oban colour woodblock prints, artist’s signature and seal to each, all with print and series title, one with slight fading, 23.5 x 35cm (9.25 x 14ins), framed and glazed (4)

£300-500

363* Chinese Qing Government Banner. A triangular silk flag, kubuhe sanggiyan gusa, believed to have been recaptured by General “Chinese” Gordon (1833-1885) after it was captured by the Taiping Rebels at Shanghai, circa 1860, with Qing dragon on a white field with red border, slightly soiled and somewhat frayed, the long side approx. 210cm (7 ft), with a paper label of provenance loosely stitched to one edge, ‘Jersey 1914, I, Lucy Gunton, bequeath to my grand-nephew Gordon John Trigg, this silk flag taken from the Chinese rebels by General (Chinese) Gordon & given to me by Mrs W. H. Anderson, a[n older] sister of the General’s. The said flag not to be given away but always kept in the family (Aunt Lucy)’, somewhat crumpled and contained in a first-world-war period cardboard parcel post box, plus a copy of ‘Letters of General C. G. Gordon to his Sister M. A. Gordon’, 1888, a few pencil marks and annotations at end of Queen Victoria’s printed letter following the preface identifying Mrs Anderson and Mrs Moffitt as Mary’s sisters and Sir Henry Gordon as her elder brother, plus two separate manuscript inscriptions pasted to half-title, ‘With Miss [Mary Augusta] Gordon’s kind regards to her old friend Lucy Gunton, Southampton, October 16 ‘88’, and ‘To me the Scriptures[?] sparkles with Diamonds and is the most interesting of Books’ in a second unidentified hand, two cuttings pasted in, orig. cloth, sl. rubbed, 8vo, plus related cuttings, an In Memoriam cabinet card of General Gordon, two cartes de visite of his father (one in military dress), one of William Anderson R.A. (nephew of General Gordon), one of a large urn, plus a photocopy of a carte de visite of Miss Gunton

Lot 361

On page 216 of the ‘Letters’ Gordon writes to his sister Mary Augusta (18221893) on 25 January 1881: ‘Now I want to ask you, Do you cling to the Chinese flags you have? - I do not mean those that have bullet holes. If you do, be honest and say so; if you do not, send them to me. Mrs W — wants them for the Gravesend ragged school; she does not care for them particularly, so mind and be honest’. It is known that General Gordon did give three of these flags to the Gravesend Ragged School (established 1851, demolished 1955) in 1873 via his eldest sister Mary Augusta, who after her brother’s death in 1885, donated three more. What became of the flags afterwards is not known. This flag would not appear to be one of those six flags. Mrs W. H. Anderson (nee Gordon, 1828-1899), who gave the flag to Lucy Gunton (born Jersey, c. 1835), married William Christian Anderson of the Royal Engineers in 1856. A recent additional note of provenance (which wrongly suggests that the flag was found with Gordon’s body at Khartoum) notes that the recipient of the flag from Lucy Gunton, Gordon John Trigg, was named after the General. The flag has remained in family hands by descent thereafter. The Victoria and Albert Museum, London, holds four banners once belonging to General Gordon, together with a letter of provenance by him.

The Qing government divided their empire into eight ‘banners’ each required to contribute an army in times of war. These eight armies each fought under their respective banner. The kubuhe sanggiyan gusa is one such banner and would have directly represented the Qing governement, it was therefore imperative to retrieve it from the rebels.

(1) £1000-1500

Lot 362

114

Lot 363

115

364 Hillier (Jack). Japanese Prints & Drawings from the Vever Collection, 2 (of 3) volumes, 1976, numerous illustrations throughout, including some colour and some folding, original cloth in d.j., slightly worn, folio, together with Howard (David and John Ayres), China for the West, Chinese Porcelain & other Decorative Arts for Export illustrated from the Mottahedeh Collection, two volumes, 1978, numerous illustrations including 103 colour plates, original cloth in d.j., contained with slipcase, folio (3)

£70-100

367* Hiroshige (Ando, 1797-1858). Figures below tall pines, oban colour woodblock print on laid paper, 36.5 x 24.5cm (14.5 x 9.5ins), together with two board game prints, each showing mulitple views of Edo, plus Hokusai (Katsushika, 1760-1849), The Great Wave off Kanagawa, oban colour woodblock print, trimmed to image, 25.5 x 37cm (10 x 14.5ins), framed and glazed, plus two colour woodblock prints on crepe paper, 29 x 13cm (11 x 5ins), glazed together (5)

£100-150

365* Hirokage (Utagawa). Sukiyabashi Birdge, from Famous Views of Edo, oban colour woodblock print, artist’s signature, censor’s seal, a little rubbed, 33 x 23cm (13 x 9ins), together with Yoshitoshi (Taiso, 1839-1892), Boats leaving the harbour, oban colour woodblock print, artist’s signature, publisher’s mark and censor’s seal, a little rubbed and creased, 35 x 25cm (14 x 10ins), plus three other Japanese colour woodblock prints (4)

£100-150

366* Hiroshige (Ando, 1797-1858). Fifteen views from the series Gojusan tsugi meisho zue (Pictures of Famous Places on the Fifty Three Stations), 1855, together fifteen vertical oban colour woodblock prints, with titles printed on a red banner, signed Hiroshige ga, with publisher’s mark of Tsutaya Kaichizo, Aratame censors seal and date seal U-shichi [1855], several sheets conjoined, most with central vertical crease (one detached along central crease), a few with some marginal damage, several prints cropped to image, sheet size 360 x 240 mm (14.2 x 10.25ins) (15)

£300-500

368* Manner of Katsushika Hokusai (1760-1849). Study of Bamboo, suibokuga, brush and ink on washi paper, laid down onto paper, 23 x 28.5cm (9 x 11ins), framed and glazed Bamboo, pine and plum comprise the Three Friends of Winter, much admired in Japanese culture for perserverance under harsh conditions.

(1) £200-300

116

369* Hokusai (Katsushika, 1760-1849). Winter and Red Sun, from the series Eight Views of Tokyo, colour woodblock print on laid paper, 23 x 17cm (9 x 7.5ins), together with Labourer with Heavy Axe, from the series Views of Edo, 1803, 21 x 15cm (8 x 6ins), plus four other Japanese colour woodblocks including Hokkei and Hokusai (6)

371* Indian School. A group of fourteen mica paintings of Indian deities, 19th century, gouache on mica, most with some flaking or damage, 14.5 x 10cm (5.5 x 4ins) (14)

£100-150

372* Indian School. Explicit erotic miniature showing a couple engaged in coitus, 19th century, watercolour on laid paper, single crease running vertically off-centre, slight marginal fraying to right edge, 17 x 15cm (7 x 6ins)

370* Indian School. A group of eleven scenes showing a wedding party, tradespeople and scenes from daily life, early 19th century, gouache and watercolour on laid paper with watermarks, some marginal chips and tears, few affecting image, image size 25 x 20cm (10 x 8ins) (11)

£100-150

Published in Rawson 1977, Erotic Art of the East, New York, plate 41.

(1) £150-200

£300-500

117

374* Indian School. A group of miniature paintings on mica, inlcuding nobleman, dancers and tradespeople, early 20th century, some marginal chips or flaking, 13.5 x 10cm (5.5 x 4ins) and slightly smaller, contained within a contemporary envelope labelled ‘Talc.

Pictures, Painted by the Natives of Benares, Central India’ (50)

£150-200

375* Ito (Nisaburo (1910-1988). Golden Pavilion in Kyoto, colour woodblock print on laid paper heightened with gold, published by Uchida (publisher’s seal to lower right-hand corner), framed, sheet size, 31 x 46cm (12 x 18ins) (1)

£100-150

373* Indian School. A group of three dried leaves pricked with outline designs, probably pouncing stencils, Southern Indian, 19th century, 16 x 16cm (6.5 x 6.5ins), together with a Tibetan gouache erotic miniature, 10 x 15cm (4 x 6ins) (4)

£100-150

Lot 374

376* Japanese embroidery. A Japanese embroidered wall hanging portraying a peacock in display, Late Meiji Period, finely embroidered in silk and other threads on linen, in shades of brown and cream, mostly satin stitch, stem stitch, and couching, some loose threads and minor loss, 196 x 106cm (77 x 42ins), framed (1)

Lot 375

118

£700-1000

377* Japanese School. Erotic scene of a couple engaging in coitus, 20th century, watercolour on wove paper, signed to upper right, small burn hole to lower left corner, not affecting image, 35 x 25cm (14 x 10ins) (1)

£200-300

378 No lot 379* Japanese School. Interior scene showing a male attendant serving two aristocratic women, colour woodblock on paper, indistinctly signed to upper right with goat seal, 22.5 x 15cm (9 x 6ins) (1)

£70-100

380* Japanese Silk Paintings. A group of six Japanese paintings on silk showing geisha and priests, Taisho period, gouache on silk, some fraying, one with loss, 28.5 x 11.5cm (11 x 4.5ins), framed together in two groups, glazed (2)

£100-150

Lot 377

381* Kano School. Bird at water’s edge, 18th century, monochrome brush on paper, artist’s seal to lower right-hand, mounted to scroll with textile borders, heading baton lost and upper edge deteriorating, ivory capped foot, image size 50 x 33cm (19.5 x 13ins) (1)

£150-200

382* Katase (Kazuo (1947). Mountain Village in Snow, 1977, colour woodblock print on wove paper, pencil signed and dated (Japanese and English) to margin and numbered 37/45, 36.5 x 48cm (14.5 x 19ins) together with Abstract Textures, 1977 colour woodblock print on wove paper, pencil signed and dated, Japanese and English, in margin, numbered 23/45 35.5 x 47cm (14 x 18.5ins) Katase was born in Shizuoka, but moved to Kassel, Germany in 1975. He is best known for his contemporary works in the Western tradition.

(2) £100-150

Lot 379

119

Lot 384

383* Kiyochika (Kobayashi, 1847-1915). Tsuuten bashi (Tsuuten bridge), from Nihon meishoo zue (Famous Places Around Japan), 1896, oban colour woodblock on paper, showing a Japanese red maple in Kyoto at the Tofuku-ji temple, artist’s signature and seal, captioned, 35 x 23cm (14 x 9ins) (1)

£100-150

384* Koson (Ohara, 1877-1945). Study of a bee and wisteria, watercolour on paper, signed and sealed by the artst, 33 x 17.5cm (13 x 7ins), framed and glazed, together with Japanese School, Rural landscape with waterwheel and man fishing, watercolour on paper, some light spotting, signed and sealed, 27 x 24cm (10.5 x 9.5ins), framed and glazed, plus a Japanese colour woodblock print of a mountain scene, with artist’s seal to lower right, framed and glazed, and a Chinese watercolour of pine covered hills (4)

£200-300

385* Koson (Ohara, 1877-1945). Bird in the Rain, colour woodblock on paper, posthumously published by Nishinomiya from the artist’s original block, 35 x 19cm (14 x 7.5ins) (1)

£70-100

Lot 385

120

388* Kunisada (Utagawa, 1786-1865). Three actors in scene from Japanese theatre, triptych colour woodblock on paper, each with artist’s signature, publisher’s mark and censor’s seal to each panel, vertical fold to centre of each panel, three panels each 36 x 25cm (14 x 10ins) (1)

£200-400

386* Kunichika (Toyohara (1835-1900). Half length portrait of kabuki actor, oban colour woodblock print on paper, artist’s signature, censor’s seal, 35 x 25cm (14 x 10ins) (1)

£100-150

389 Kunisada (Utagawa, 1786-1865). Bijin with her hair down, adjusting her robe, oban colour woodblock print, signed Toyokuni, censor’s seal, vertical fold running down centre, 36 x 25cm (14 x 10ins), together with Kunichika (Toyohara, 1835-1900), Actress adjusting her robe, artist’s signature, 36 x 25cm (14 x 10ins)

387* Kunisada (Utagawa, 1786-1865). Scene from the Tale of Genji, double-page colour woodblock print, artists’s seal, publisher’s seal and series title, a little creased, 33 x 48cm (13 x 19ins), framed and glazed (1)

(2)

£100-150

121

£150-200

390* Kunisada (Utagawa, 1786-1865). Two scenes showing warriors in training, a pair of oban colour woodblock prints, each with artist’s signature, censor’s seal and captioned, 37 x 25cm (15 x 10ins) (2)

392* Kuniyoshi (Utagawa, 1797-1861). Suruga Jiro Kiyoshige, from Meiko hyaku yu den (Stories of a Hundred Heroes), 1844, oban colour woodblock on wove paper, with artists signature, kiri seal, and publisher Idzumiya Ichibei, 35 x 25cm (14 x 10ins)

£200-300

(1)

391* Kunisada (Utagawa, 1786-1865). Actress performing, oban colour woodblock on paper, artist’s signature, censor’s seal, good bright colours, 36 x 25cm (14 x 10ins) (1)

£100-150

393* Kuniyoshi (Utagawa, 1797-1861). Two scenes from Women from History, a pair of oban colour woodblocks on wove paper, with artist’s signature and publisher’s seal, one with slight worming to upper left, not affecting image or text, 35.5 x 25cm (14 x 10ins)

£100-150

(2)

122

£100-150

396* Mewar School. Equestrian portrait, 19th century, gouache on paper, heightened with gold on paper, minor flakes to right border, 20 x 22cm (8 x 7.75ins), framed and glazed (1)

£100-150

394 Kuniyoshi (Utagawa, 1797-1861). Scene from Genji monogatari (Tales of Genji), oban colour woodblock on paper, artist’s signature, kiri seal, numbered 45, 36 x 25cm (14 x 10ins) (1)

£100-150

397* Mughal School. Court Scene, with a princess and her attendants observing birds, early 19th century, watercolour on paper heightened with gold, 18.5 x 14cm (7.25 x 5.5ins), some wear with chips to extreme edges and slight creasing (1)

395* Kuniyoshi (Utagawa, 1797-1861). Two warriors meet on bridge, 1852, oban colour woodblock on paper, artist’s seal, censor’s seal, kiri seal, bright copy with small water drop, 38 x 25cm (15 x 10ins) (1)

£150-200

123

£100-150

398* Mughal School. Two portrait miniatures of noblemen, mid 19th century, watercolour on paper, heightened with gold, one with inscription to upper margin, 22 x 14.5cm (8.75 x 6ins), together with a later miniature showing a court scene, 21 x 15cm (8 x 6ins) aperture size, framed and glazed, plus two 20th century Mughal style scenes, framed and glazed (5)

£150-200

399* Mughal School. Interior court scene with nobleman and attendants serving wine, 19th century, gouache miniature painting on reused manuscript leaf, heightened with gilt, some historical worm holes and restoration to leaf, 19 x 12cm (7.5 x 5ins) image size, together with a miniature painting showing a lion hunt, the hunting party partly mounted on elephant and horseback, late 19th century, gouache on reused manuscript leaf, 24 x 14cm (9.5 x 5.5ins) image size, plus eight other Mughal miniature paintings on reused manuscript leaves (10)

£200-300

400* Mughal School. Picnic scene, early 19th century, opaque watercolour on paper, heightened in gold, depicting a group of five gentlemen, one kneeling on a rug with a book, flasks and other utensils and fruit beneath, trees and mountains in the background, Persian text at head and to verso, gold foliate and bird border, 17.5 x 8.5cm (7 x 3.25 in) (1)

£80-120

Lot 398

401* Chinese Prints. A group of four prints, taken from John Ogilby’s Atlas Chinensis, 1671, four plates on laid paper, showing Buddhist scenes, some marignal tears and chips, mainly not affecting image, 27.5 x 47cm (11 x 18.5ins) plate size and smaller (4)

£200-300

402* Persian School. Three leaves from the Shanameh, mid. 19th century, one page illuminated with miniature watercolour heightened with gilt, others black nas’taliq script, some worm damage with minimal loss, 21 x 11cm (8.25 x 4.5ins), mounted together, framed and glazed, together with a 20th century Persian miniature equestrian portrait in decorative border, 25 x 18cm (10 x 7ins) image size, framed and glazed, plus Indian Folk Art. A king meets his subjects, 1890, watercolour on paper, applied ms. label reading Lucknow 1890, 30 x 26cm (12 x 10.25ins) image size, framed and glazed (3)

£100-150

403* Sadahide (Utagawa, 1807-1873). Yonezawa City, Yamagata, triptych colour woodblock on paper, artist’s signature, publisher’s mark and censor’s seal, with numerous captions, three panels each 37 x 25cm (14.5 x 10ins)

Lot 399

(1)

124

£150-200

406 Shuzan (Yoshimura, 1700-1776). Wakan meihitsu gaho, volume 3 (of six), 1767 [or later], forty-six pages of black and white woodcut prints, contemporary stiff wrappers, stitched as issued, with paper title label to upper cover, rubbed, with rear cover dampmarked, 25.5. x 18cm (10 x 7ins), together with Bumpo (Kawamura, 1779-1821), Bumpo Gafu [Album of Drawings by Bumpo], 2nd Series (of 3), 1811 (the three series published 18071813), numerous plates, some double-page, many with faint hand-colour, original wrappers, rubbed and some soiling, plus two other 19th century Japanese woodcut books (4)

£100-150

404* Sadatora (Utagawa). Kamakura Shichiri-ga-hama yori Enoshima enmi, (Distant View of Enoshima from Seven-mile Beach in Kamakura), circa 1820, triptych colour woodblock print, artist’s signature, publisher’s mark, censor’s seal, a little worming to lower left corner of one panel, and lower right of another, a little rubbed in places, three panels each 35.5 x 24cm (15 x 10ins) Sadatora was a pupil of Kunisada.

(1)

£200-300

407 Takagi (Shiro, 1934-1998). Winter Scene, 1977, three-tone etching, pencil signed and dated to margin, numbered 67/100, 60 x 42cm (23.5 x 16.5ins), plus other etchings by contemporary Japanese artists (6)

£100-150

405* Attributed to Yushido Shuncho (fl. 1780-1800). Shunga prints, four aiban colour woodblock prints on washi paper, each with short inscription, 34 x 25cm (13.5 x 10ins) (4)

£70-100

408 Thai Rubbing. Benjakaya carrying offerings, probably from the walls of Tat Po, Thailand, 18th century, black ink on laid paper, 46 x 44cm (18 x 17ins) For similar examples see Harvard Museums, 1960.4.62.

(1)

Lot 406

125

£200-300

410 Tibetan Manuscript. The Perfections of Ksitingarbha, probably Central Asia, 19th century, 82 manuscript leaves in Tibetan language (dbuchen script), containing the latter half of one long sutra and the beginnings of another, silver ink with black background on buff Tibetan paper, nine or ten lines of text per side, occasional light worming to margins, leaf size 11.5 x 14.5cm (4.5 x 18ins) The text describes The various perfections of Ksitigarbha (Tibetan: dus-pa chenpolas sa’i snying-po’i ‘khorlo bcu-pa shesbya-ba theg-pa chenpo’i mdo, Sanskrit: dasacakra Ksitigarbha nama mahayana sutra) and The wheel that does not turn from the path (Tibetan: phags-pa phyirmi ldog pa’i ‘khorlo shesbya-ba theg-pa chenpo’I Mdo, Sanskrit: aryavaivartacakra nama mahayana sutra).The Boddhivsatva Ksitigarbha, relatively unknown in IndoTibetan Buddhism, but an important figure in the Far East, is associated with rituals for saving loved ones from hell, and additionally in Japan with the welfare of children, pregnant women and travellers. A full description of the manuscript and its text is available from the auctioneers.

(1) £400-600

409 Calcutta Art Studio. Aspects of Devi, c.1880’s, ten handcoloured lithographs in original volume (lacking covers), chips and tears to margins, closed tear affecting one print (1)

£150-200

411 Tibetan Manuscript. The Teaching of Shen-rab, Omniscient human descendant of Gshen Bon-po, probably Western Tibetan, 19th century, 125 manuscript leaves in Tibetan language in neat dbu can ‘formal’ script, consisting of five copies of the text (the first four in the same hand), silver ink with black background on buff Tibetan paper, some decoration to right and left margins in red and yellow, seven to eight lines of text to each side, a few minor paper flaws, occasional light worming and some chipping to initial and final leaves, leaf size 14 x 51cm (4.5 x 18ins) The text, repeated five times, is titled The Chapter Explaining the Threefold Teaching of Shen-rab (Tibetan:gyung-drung lta yi skad du na mgshenrab-khyi bstsan-pa rnam gsum rjessu bzhag-pa’I l’eu’o). Shen-rab, who’s life and teachings were revealed in the 14th century, is hailed as the founder of Bon tradition of Tibetan Buddhism. Still practiced today, although much in secret, it retains much of the shamanistic elements of the pre-Buddhist era. A full description of the manuscript and its text is available from the auctioneers.

(1) £500-700

Lot 410

126

414 Yew (Simon Chong, 1898-1983). Huts on the beach, Malaysia, watercolour on paper, signed lower left, 24 x 17cm (9.5 x 7ins), framed and glazed together with Galea (Edwin, 1934-), The Old City of Malta, 1952, watercolour on paper, signed lower right, titled and dated in pencil to lower margin, 19 x 29cm (7.5 x 11ins), framed and glazed

412* Utamaro (Kitagawa, 1753-1806). Yama-uba Smoking, with Kintaro reaching up to her face, circa 1801-03 [but later], oban tatee colour woodblock with artist’s signature Utamaro-hitsu, with publisher’s mark of Tusutaya Juzaburo, 38.4 x 26.2cm (15.1 x 10.25ins), framed and glazed

(2)

Collia-Suzuki 660. Hillier, Japanese Prints & Drawings from the Vever Collection, 1976, 487. Collections: Tokyo National Museum; Henri Vever Collection. A re-issue of one of Utamaro’s series of prints featuring Yama-uba and Kintaro, here printed on laid paper.

(1) £70-100

413 Yatanabon (Maung Su, 1903-1965). A pair of head and shoulders portraits, Rangoon, circa 1930, watercolour on paper, both signed lower right, portrait of a Burmese head man, and his wife, 23 x 14cm (9 x 5.5ins), framed and glazed (2)

£100-150

415* Yoshifuji (Utagawa, 1828-1887). Domestic scenes, 1850, a pair of colour woodblock prints, 20th century impressions, artist’s seal, censor’s mark and publisher’s seal, 36 x 24cm (14 x 9.5ins) mount aperture, framed and glazed, together with two other woodblock prints, similarly framed

£100-150

(4)

127

£100-150

Lot 417

Lot 418

Lot 419

419* Yoshitsuya (Utagawa Ichieisai, 1822-1866). Three Men at a Dining Table, served by a Japanese female attendant, colour woodblock, sheet size 35 x 24cm (13.75 x 9.5ins), mounted, together with another similar woodcut by the same artist, similar size, mounted (2)

£100-150

416 Yoshitora (Utagawa (c.1830-c.1880). Men eki gojou mokuryaku kai, (A Military Parade), triptych, colour woodblock on paper, artist’s signature, captioned, a little rubbed, very slight marginal fraying, some small holls to lower edge of one panel, three panels each 37 x 25cm (14.5 x 10ins) (1)

£200-300

417 Yoshitora (Utagawa (c.1830-c.1880). Bijin with Cherry Blossom, oban colour woodblock on paper, artists’s signature, censor’s seal, some worming to centre right, not affecting figure, 36 x 25cm (14 x 10ins), together with Kunisada (Utagawa, 17861865), A full-length portrait of an actor performing, colour woodblock on paper, artist’s signature, publisher’s mark, censor’s seal, 35 x 25cm (14 x 10ins), plus another Japanese colour woodblock print possibly by Hiroshige showing the three Toyokuni (3)

£100-150

420* School of Maruyama Okyo (1733-1795). The Shogun Chokatsu Komei flanked by his warriors Chohi and Kanu, watercolour on silk, heightened with bodycolour, with Japanese pen, ink and opaque watercolour on silk, titled and with artist's seal to upper right, 815 x 312mm (32 x 12.25ins), mounted on patterned brown silk and backing paper, with bone end-pieced bottom roller (overall length 173cm, 68ins), with printed German description attached to verso, contained in original wooden scroll box with Japanese inscriptions to outer and inner surface of the lid

418 Yoshitsuya (Utagawa Ichieisai, 1822-1866). Bijin with calligraphy, circa 1860, oban colour woodblock, with censor’s seal, 35.5 x 24cm (14 x 9.5ins), framed and glazed, together with Hiroshige (Ando, 1797-1858), Three scenes from the 100 Views of Edo, oban colour woodblocks, 35 x 24cm (14 x 9.5ins) and similar, each framed and glazed (4)

£150-200

(1)

128

£200-300

PHOTOGRAPHY 1850-2000

421 Australia. Brisbane and Environs Illustrated: Twelve Views of the Scenery of the City and Neighbourhood. Second Series..., Photographed by Geo. P. Wright [George Parkinson Wright, active 1874-83], Creek Street, (opposite the Union Bank), Brisbane, 1878, title printed in red and black (upper outer corner torn away with loss outside of printed border), twelve mounted albumen print photos within printed borders, mounted on individual stiff card leaves with printed captions at foot, each approx. 21.5 x 28cm (8.5 x 11ins), three unrelated contemporary and similar size albumen print views of Govett’s Leap and Mount Victoria by Caney loosely inserted (all slightly nicked and chipped at edges), original half calf over cloth boards with gilt-titled upper cover, some soiling and wear, oblong folio The photographs are titled: On the river at Milton; Brisbane from Wickham Terrace, no. 1; Portion of a cattle run; The river - garden reach, from St. Mary’s church; Interior of the legislative council chamber; Weeping willow and bamboos - Botanic Gardens; Brisbane from the Milton Road; Government house and grounds, with the parliamentary building; Brisbane from Wickham Terrace, no. 2; The road through the scrub - near Beaudesert; Queen Street, Brisbane; Cultivation on the river - from South Brisbane. A very rare work, as is the first series of 1875. Only two copies of this second series have been identified on WorldCat at the National Library of Australia, Canberra (lacking title-page?) and John Oxley Library, State Library of Queensland (ref. APU47).

(1) £700-1000

129

424* Blinks Family Archive. An assorted archive of photographs and other ephemera, late 19th and early 20th century, concerning Thomas Blinks and possibly other families of Berkshire, Buckinghamshire, Kent, etc., including studio portrait photos, snapshot albums, loose photos, scrap books, diaries, and assorted ephemera, various sizes

422* Beato (Felice, 1832-1909). Interior View of North Taku Fort on the Peiho River, near Tientsin, China, following its capture by the English and French armies, during the Second Opium War, on 21 August 1860, albumen print, showing the battlements with cannon and Chinese corpses, old water stain to upper margin, captioned to verso with slight see-through in sky area, 9.25 x 11.5ins (24 x 29.5cm) (1)

(a carton)

£500-800

£100-200

423* Bignell (John). Chelsea Photographer, Foreword by Mervyn Levy, 1st edition, 1983, b & w plates from photos, orig. cloth in d.j. with slight edge wear, 4to (signed limited edition 97/200), plus two large-format gelatin silver prints (29.5 x 37cm) of plates 69 and 75 from the book, both signed and dated to lower margin, plus two further vintage large-format gelatin silver prints by Bignell also signed and dated, plus three others unsigned (one not from life), plus a publicity four-page brochure for the film ‘Peeping Tom’ using an image by Bignell across front and rear wrapper, creased and slightly split at margins, 25 x 46cm (10 x 18ins) unfolded (9)

£150-200

425* Bohm (Dorothy, 1924-). Venice, February 1987, C-print, 37 x 25.5cm (14.5 x 10ins), framed and glazed, photographer’s pencil signature, titled and dated on card taped to back of frame (1)

130

£200-300

427* Brazil. A group of forty-three platinum prints (including twenty duplicates) of coffee plantations, machinery, buildings, etc., at Itoby and Corumbathy [district of Sao Paulo], Brazil, c. 1920, 17 x 23cm (6.75 x 9ins), together with seventeen related gelatin silver prints including five duplicates, these of other agricultural machinery and buildings at Fazenda Tararaca and (?)Saltinho, mostly similar sizes and ten on photographer’s studio mounts with embossed credit F. Perez & Comp, S. Carlos’, most photographs with pencil captions to verso in Portuguese and English (60)

428* British Royalty Photos. A group of twelve British royalty press photos, 1950s, five relating to a royal visit to the Badminton Horse Trials, depicting the Queen and various members of her family including Prince Charles, Princess Anne, Princess Margaret and Lord Snowdon, one with the Queen in the background wearing a headscarf and standing in a haycart with a horse jumping in the foreground, plus two photographs of the Duke of Edinburgh’s visits to Lynmouth after the August floods (October 1952), all approx. 25 x 30cm, plus one smaller portrait of Princess Margaret with Lord Snowdon, and two unrelated contemporary full-length studio portraits of 1950s’ debutantes Charmian and Maureen Williamson, photographed by Paul Tanqueray and Elwin Neame, both in original frames, glazed, and an assorted group of fifteen mostly large-format press photos, including three Rembrandt photogravures of Queen Victoria and members of her family, a mounted photograph of the funeral of King Edward VII, 1910, plus eleven press photos relating to the state visit of the King and Queen of Denmark (May 1951) and the state funeral of King George VI (February 1952), many with press stamps to versos, a little corner creasing and a few minor tears, mostly approx. 25 x 30cm and similar sizes

426* Braun (Adolphe, 1811-1877). A group of sixteen large albumen print photographs of floral compositions, c. 1870, all with rounded corners and all but one on mounts with photographer’s embossed stamp, some spotting and soiling throughout, one torn and repaired, 28 x 23cm (11 x 9ins), and slightly larger (16)

£150-200

£200-300

(29)

£100-150

429 Burma - Royal Welsh Fusiliers. An album containing thirtythree photographs of the Royal Welsh Fusiliers in Burma, c. 1890-1900, gelatin siler prints, including group portraits, a few views and scenes, mostly 21 x 28cm and similar, mounted singly to album leaf rectos and versos throughout, a few leaves detached, some soiling, contemp. half calf, rubbed, rebacked, and restored, oblong folio (1)

Lot 427

131

£100-150

430 Canada. Photographs of Montreal: Snow and Flood after Great Storms of 1869... Photographed by Alex. Henderson, Montreal, [1869], tipped in title-page with contents and eighteen mounted arched top albumen prints on eighteen leaves, views include engines clearing the GTR track, Great St. James Street, Bank of Montreal, Recollet Street, Looking up McGill Street, Beaver Hall, Phillips Square, High School, Sherbrooke Street, St. Catherine Street, Corner Metcalfe and St. Catherine Street, Upper University Street, near Cote-des-Neiges, Spring flood in McGill Street, St Paul’s Street in flood, William Street in flood and Custom House Square in flood, all 11 x 9cm (4.25 x 3.5ins), some fading, upper hinges broken and contents coming loose in original brown cloth with gilt title to upper cover, soiled and some wear, 8vo (18 x 15cm) For Henderson see Dictionary of Canadian Biography. A scarce item, WorldCat locating one copy only, at the University of Montreal. See also David Harris, ‘Henderson’s Snow and Flood after Great Storms of 1869’ in RACAR, vol. 16, no. 2 (1989), pp. 155-60 & 262-72.

(1) £300-500

132

433* Cartes de visite. A large group of approx. 1000 mostly albumen print cartes de visite, late 19th century, the majority portraits of individual unidentified men and women, plus a small group of cabinet cards and eleven carte-de-visite albums, including six empty, mostly rubbed, 4to (2 cartons)

£100-150

431* Canada. A group of ten albumen prints on four album leaves, c. 1880, including Montreal, Quebec and the St. Lawrence River, two not from life, mostly 18 x 23cm and similar sizes (10)

£100-150

434* AR Cartier-Bresson (Henri, 1908-2004). Barber, Rome, 1951, printed c. 1960s, gelatin silver print, mounted on board, a few pinholes to corners and upper and lower margins, surface scratch upper right, 57 x 38cm (22.5 x 15ins) Provenance: Estate of Robert Lassam (1914-2008), exhibitions manager for Kodak and founding curator for the Fox Talbot Museum at Lacock Abbey, Wiltshire.

(1) £1000-1500

435* Cased images. A group of approx. twenty ambrotypes, etc., mostly sixth-plate portraits of unidentified men and women, a few without cases, plus a small group of assorted photographica including stereocards, two bygone cameras and defective stereo viewers, etc.

432* Cartes de visite. A group of approx. 140 albumen print cartesde-visite portraits, 19th c., including Charles Dickens (mounted within decorative border and decorative wooden frame, glazed), Disraeli, Tennyson, Gladstone, Queen Victoria, Prince Albert, other royalty, plus actors, actresses, etc., plus a group of four framed cabinet cards of actresses (Fay Davis, Marie Tempest, Fanny Bernard-Beere and Miss Campbell), displayed in an ornate wooden desk frame with Greek key design, glazed, wooden sides lifting to replace cabinet cards, approx. 30 x 55 x 9cm, plus one volume only of Men of Mark (5th series) containing thirty-five of thirty-six Woodburytype portraits (approx. 140)

(a carton)

£100-150

133

£100-150

436 Ceylon, Middle East & Europe. A photograph album containing approx. 100 mounted albumen prints on forty stiff card leaves, c.

1880-92, including twenty-six of Ceylon interest (5 x football teams and 12 carte-de-visite size portraits), approx. forty views of Suez, India, Aden and Egypt, plus Malta (4), Queensland (4), United Kingdom, etc., approx. 20 x 25cm and smaller with many mounted as multiples to a page, additionally containing approx. fifty small amateur watercolours including Ceylon and France, people and views, largely with ink captions throughout, many dated, contemporary half morocco, rubbing and some wear to spine ends, folio (1)

ÂŁ300-500

437* Ceylon. A group of eight mounted albumen print views of Ceylon, c. 1880, street, river and harbour scenes, etc., plus one photograph of Mauritius, mounted on six album leaves, approx. 21 x 28cm and similar sizes, together with ten gelatin silver print views of Shillong, c. 1905, including street scenes, local types, and views, 15 x 20.5cm, pencil captions to versos (18)

Lot 436

134

ÂŁ100-150

Lot 438

135

Lot 438 136

438 China. An important album of approximately 200 Chinese photographs, watercolours and printed Chinese ephemera, c. 1860s/1870s, compiled and captioned by Herbert Elgar Hobson of the Imperial Maritime Customs, containing approx. 90 contemporary albumen print views and scenes, including approx. 50 of medium to larger size (15 x 20 cm smaller, 22 x 32 cm larger), many presumed to be photographed by Hobson but including one photograph identified as by Felice Beato and one by Felix Pryor, also including approx. thirty later gelatin silver prints, c. 1900s, including two of the commissioner’s residence and grounds, Shanghai, and Shanghai form the ponting shore (21 x 42 cm), Amoy race course, flooding in Shanghai, 1908, etc., further smaller photographs including some not from life; also containing twenty-five fine pen and ink and watercolour drawings with Chinese captions in the drawings, plus printed ephemera, including eight invitations (on red paper), two divinations and one obituary (on yellow paper), three envelopes (two loose) and a 'passport' issued for a Korean ambassador on a mission to seize American counterparts [in Beijing?], two colour woodblock prints, plus a large finely printed document from 8 June 1871, being a petition urging the court to empower local officials to arrest Korean boat people who may constitute a danger to the state, and referring to arrests that were made against "dangerous elements" who had crossed over to China from Southern Korea, with subversive writings, firearms and explosives, 61 x 58 cm, fine condition, plus other cuttings and ephemera relating to Hobson and amateur dramatics he was involved in, also a pamphlet loosely inserted, 'Twenty-Five Years in East and West, A Paper Read before the Shanghai Literary and Debating Society November 13 1885, by the Ven. Archdeacon Moule, Shanghai, 1885', in total approx. 200 items on eighty-six paper leaves, mostly pasted to rectos with the later material often pasted to versos, captioned throughout in Hobson's hand, contemporary half calf, spine perished and broken with contents largely detached, folio (43.5 x 34 cm) The photographs mounted one to a page (15 x 20 cm and larger) are: Officers quarters "Feng Hwang Shan"; Ko te tuh, Col. Gordon RE in Chinese garb; Guen's stockade; European officers of the Feng Hwang Shan disciplined force with Hobson second from right; Joss House Feng Hwang Shan; View from top of Feng Hwang Shan; Prince Kung [by Felice Beato, 1860] (16 x 12 cm); "The Mano Retreat"; Commissioner's Residence, Swatow; Hankow Church; Fokien Guild, Ningpo; Hadman's House, Ningpo; Avenue near Ningpo leading to Tien Dong; two views of Tien Dong temple, Ningpo; Siamese soldiers; Country scenes near Ningpo; A Japanese lady in full dress [by Pryor Floyd, c. 1870] and another similar; six views of Chefoo Harbour and environs (22 x 32 cm and similar).

Photographs of note mounted more than one to a page (mostly approx. 15 x 20 cm and slightly larger) are: Commissioner's Residence, Ningpo; City of Yulgang, Tea District; two Singapore views; Steamer loading tea at Hankow; Bridge at Hwang No near Shanghai; City of Hangchat; The Low Gate of Soochow; two scenes at Ning Kia cheaou, West Ningpo; two river scenes, Ningpo; Bridge at south gate of Hoochow; Ying Pa pagoda; two views at Snowy Valley; Everard and his writers; View of the Guen Ming Yuerr; Inside the French legation, Peking; Chinese clerks; Amoy community group taken at the racecourse; Aborigines of Formosa; Formosa scenery; The twenty-five fine pen and ink and watercolour drawings include two plans: a bird’s-eye plan, 'Panorama of Hankow by native artist', 31.5 x 41.5 cm (12.5 x 16.25 ins), and 'Plan of a Chinese Yamun or official residence’, 63 x 42 cm (25 x 16.5 ins), several closed tears into drawing and left of margin torn away but present. A third watercolour is captioned 'Decoration of the Buddhist idea of Hades', 42 x 33 cm (16.5 x 13 ins). The remaining watercolours comprise one of a Szechuan pheasant 18 x 23 cm, and twenty-one watercolours of Chinese junks and sampans, 20 x 25 cm and similar, several somewhat browned.

Herbert Elgar Hobson (1844-1922) was born in Ashbourne, Derbyshire. He arrived in Shanghai in August 1861 to join the Imperial Maritime Customs. Having studied Chinese he put his knowledge to good use by interpreting for General “Chinese” Gordon in the Taiping Rebellion. He continued to serve with Gordon, with whom he remained friends, until the end of the campaign in 1864. He then rejoined the Chinese customs service, serving until his retirement in 1912. He began his customs career in Shanghai but promotion was rapid and he was subsequently put in charge in Ningpo, Swatow and Hankow. He became Acting Commissioner at Chefoo in 1871 and reached full commissioner's rank in 1873. He was decorated with the Gordon Campaign Medal for his services during the Taiping Rebellion, and received many honours from China including the prestigious order of the Double Dragon.

Provenance: From Hobson's family by direct descent. See also following lot.

Due to the fragile nature of this album early appointments to view within office hours are welcome.

(1)

137

£10000-15000

Lot 438 138

Lot 439

439 China. An album containing thirty-eight albumen print photographs by William Saunders (1832-1892), Thomas Child (1841-1898) and others, c. 1870s, comprising twenty-nine large photographs (approx. 22 x 28 cm, 8.75 x 11 ins and similar), including Mandarin's procession, food vendor, Chinese courtroom, beggars, weaving, spinning cotton, the Cangue, chiropodist, group with opium smoker, wheelbarrow, plus views of bridges, street scenes, the Great Wall, temples, ferry boats, etc., one of Peking Observatory signed and dated 1878 by Child in the negative, mounted one to a page, plus nine smaller related images (approx. 15 x 21 cm and similar), mounted two to a page, photographs generally somewhat faded, uncaptioned throughout, contemporary half Provenance: Herbert Elgar Hobson (1844-1922), by direct family descent. See also lot above.

(1)

ÂŁ1000-1500

Lot 440

Lot 441

440* China. China Through the Stereoscope, published Underwood & Underwood, c. 1900, eighty-six stereocards (from a set of 100, lacking nos. 8, 11, 12, 16, 32, 37, 40, 42, 47, 50, 57, 85, 96 & 98), arched top gelatin silver prints mounted on curved card with printed details to mounts and multi-lingual captions to versos, contained in original cloth book-style box (soiled and worn), together with three duplicates (3, 7, 76), and twelve related China stereocards by Underwood & Underwood (10) and Keystone (2), all with captions to mount rectos and three with lengthy descriptions and Notes of Travel series details to versos (101)

ÂŁ800-1200

441 China - Peking. A personal album of eighty-nine photographs of Peking, compiled by an American soldier, stationed with the Mounted Detachment of the US Marines in the American Legation, c. 1912-15, containing eighty-nine original gelatin silver print photographs including nine panoramas, various sizes, all captioned neatly in ink to upper and lower margins of photographs, pasted on to twelve thick card album leaves, rectos and versos, some old marginal waterstaining affecting a few photos, occasional soiling, gouache painting on silk of a Chinese woman pasted to front pastedown, original black cloth upper cover, hand-painted with an image of a Chinese dragon, spine and lower cover sympathetically replaced, oblong folio (40 x 19cm) The nine panoramas of Peking appear to have been produced by a professional photographic studio, all but one measuring 8.5 x 29cm (3.25 x 11.5ins). The panoramas are captioned: Inside the Imperial City; Great Wall of China - Nankou Pass; Temple in Forbidden City; Entrance to Tombs of Ming Emperors near Peking; Altar of the Temple of Heaven - Chien-Mien; Scene outside Tartar wall - Chinese junks on canal; Jade fountain near Peking; Scene along Tartar wall near Camel Gate; View of North Lakes and the Imperial City from Coal Hill. The majority of the remaining images are personal snapshots, presumably taken by the compiler and his colleagues. Of note are views of the German, Dutch and American Legation pagodas, the reconstruction of the Chien-Mien pagoda, US Marines on parade, the Methodist mission, Grand Hotel des-Wagons-Lits, the German post office, Hateman Street, Wall Street, the rebuilding of the Tartar wall, the rebuilding of the American pagoda ramp, the French hospital, drainage canals, train tracks and yards, US Naval hospital, YMCA and Masonic temple, Yokohama bank, the Princess Tombs, the Forbidden City and the jade fountain. Also included are three photographs of Shanghai, one showing USSS Saratoga docked there [stationed in Shanghai from 1912-15].

(1) ÂŁ2000-3000

141

Lot 441

142

Lot 441

143

442 China. An album containing fifty-one photographs recording an expedition from Yunnan to Beijing, c. 1903, opening with a large portrait of a cigarette-smoking Western explorer (16 x 12cm) followed by fifty gelatin silver prints on twentyfive thick card leaves with pen and wash vignettes of birds, flowers, boats and scenes, photographs 9 x 9cm (3.5 x 3.5ins), some spotting, contemporary Japanese black lacquer boards with pictorial upper cover (lacking one piece of ivory onlay), edges slightly chipped, spine deficient and crudely repaired with black tape, oblong thick 8vo An interesting album that sees the lone(?) explorer going up the Tiger Leaping gorge to the stone archway of Ta-shey-ching, and onwards via the Great Wall to Beijing. The album includes informal snapshots of inland regions, a village on stilts beside a river, the pipe-smoking explorer on horseback, a Chinese man with rifle and umbrella, a procession, river scenes, etc., entirely uncaptioned except for a pencil date of 1903 to front pastedown.

(1) ÂŁ700-1000

144

Lot 443 443 China General Omnibus Company Ltd. - Shanghai. An album containing approx. eighty-five gelatin silver prints, c. 1924-38, documenting the inauguration and progress of the first bus company in Shanghai with unusual views of the bus fleet, workshop and staff, some views including Hong Kong buses, a total of twenty-five larger photographs (24 x 17cm and larger), pasted one to a page, the remainder pasted as multiples, a total of twenty-eight leaves (twenty-two leaves blank), largely neatly captioned on mounts in white china ink, including Guests at the inauguration ceremony August 1924 (including S.S. Sellick), The old garage showing three 4.L.2 model buses (9th October 1924), The early model of the bus with solid tyres and two sliding doors (slightly creased), Drivers receiving instructions from the engineer of the company, The first bus to appear on the street in Shanghai, Bus models from 1924, 1930 and 1938, The basketball team of the conductors’ Selfimproving and controlling association (5th November 1933), Bus stop sign board on the corner of Hardoon & Bubbling Well Roads, Body constructing department, Various types of buses parked in the new garage (including Thorneycroft, Bedford and Dodge models), Senior executive staff, Russian drivers staff (1936), The third anniversary ceremony of the drivers’ Mutual Aid Association, Bus Company’s office building decorated for King George VI’s coronation (12th May 1937), Double -decker and single-decker buses decorated for the coronation, Conductor staff, Chinese clerical staff, Inspector staff, Foreign staff, CGO Ltd., Vulcanising department, Machine shop, Store department, etc., many of the larger photos with embossed studio stamp of R. Ah Fong or I. Skvirsky, Shanghai, contemporary black silk over boards with dragon design to upper cover, some fraying, spine tie partly broken and some leaves partly detached, oblong folio

444* China and the Far East. A group of approx. 140 gelatin silver print photographs, c. 1928, relating to the journey of the aircraft carrier HMS Hermes under Captain G. Hopwood, going to Hong Kong, stopping at Bangkok, Siam, Chefoo [Yantai], Wei Hai Wei, Shanghai, Manila, Kudat and Jesselton in Borneo, plus a few photos of Port Said, Venice, etc., mostly postcard and similar size photos or real photo postcards, mounted as multiples and back-to-back on sixteen stiff card leaves, neat white china ink captions in English to mounts beneath, further photographs damaged or carelessly removed and missing, including images of local types and trades including stone cutting, rubber plantation carriers, Chinese ritual for warding off evil spirits, basket making, Chinese conjurors, priests, shops, funeral, washing day, the wreck and recovery of a Fairey IIIF seaplane, the Great Wall of China, Constantinople, Bangkok, Singapore, their Royal Highnesses the King and Queen of Siam on board HMS Hermes, etc.

A rare and important album. The first man to open a bus company in Shanghai was the Chinese businessman Dong Xingsheng. His company, the Chinese Motor Bus, ran from 1922 until 1924. The British-owned China General Omnibus started up in October 1924 with twenty second-hand buses from the UK. By the end of 1929, the company owned ninety-six buses running over eleven routes. In April 1934, the company introduced the London trademark double-decker buses that ran between Zhaofeng Park and Hongkou Park. By 1941 the company was running 195 buses including fiftyseven double-deckers. The Japanese took over the business, eventually merging the bus and tram companies in 1958 into the Shanghai Public Transportation Company.

(1) £500-800

Captain G. Hopwood took charge of HMS Hermes on 2 December 1927 and sailed for the China Station on 21 January 1928. This part album would appear to be a record of the following eight months or so. (approx. 140) £400-600

145

Lot 445

445* China & Hong Kong. A collection of approx. 250 mostly small format photographs of Hong Kong and the Far East, c. 1920s/30s, including many mounted on twenty-seven album leaves, including military, aviation and shipping, street scenes, small panoramas, etc. (approx. 250)

£300-500

447* China - Royal Marines. A group portrait of seven officers and a crouching Chinese man servant, c. 1900, vintage gelatin silver print, showing the officers assembled around a small table with three bottles of Extra Special Finest Liqueur whisky, all facing to camera with the Chinese man servant crouching centre front and looking directly at the camera, 21 x 27cm (8.25 x 10.75ins), a little frayed at lower margins, mounted on a contemporary album leaf with ink identification ‘Senior Officers HMS Blenheim’ to verso

446 China. Views of Shanghai During the Great Snowfall of 1893 (Jubilee Year), Shanghai: Kelly & Walsh, [1893], ‘A.E.M., Shanghai, January 28th 1893’ printed at end of three-page preface, twelve collotype plates (18 x 23cm) with captioned tissue-guards, final eight plates, tissue-guards and lower cover with severe rodent damage to upper outer corner not affecting any image or text, original pictorial stiff wrappers with two spine ties, printed decoration to inside covers lightly offset to title and final blank, some dust-soiling, creasing and marks, oblong folio (285 x 385 mm)

HMS Blenheim served at the China station in support of the British position during the Boxer Rebellion (1898-1900). An unsettling image of British imperialism.

(1) £100-150

First and only edition of this photograph album, for which WorldCat locates just one copy, at the University of Cambridge. In January 1893 Shanghai recorded its lowest temperature of 10 degrees below zero, providing the setting for these photographs of unusually snow-covered streets and scenes.

(1) £200-300

146

450* Cuba - Che smoking, by Osvaldo Salas, 1964, gelatin silver print, later printing, 18 x 24cm (7 x 9.5ins), together with two further gelatin silver prints of Che Guevara, later prints, both close-up head shots, one holding a cigar and without beret, the second with beret and cigar clenched between smiling lips, 18 x 24cm (7 x 9.5ins) and slightly larger, all with a few small dings and marks (3)

£200-300

448* Conrad (Joseph, 1857-1924). Half-length portrait, St Enoch Hotel, Friday 20 April 1923, gelatin silver print photograph by James Craig Annan with two credit stamps to verso, ‘Annan, Photographer, Glasgow’ and ‘Copyright T. & R. Annan & Sons’, 20.5 x 15.5cm (8 x 6ins) One of the series of photographs taken of Conrad in his rooms at the St Enoch Hotel, Glasgow, prior to setting sail for the United States. This is the portrait utilised for the dust jacket of the eighth volume of the Collected Letters.

(1) £200-300

451* Cuba. A group of three photographs of Fidel Castro, various dates, one with his son, 25.5 x 20cm (10 x 8ins), one writing a note, 24 x 18cm (9.5 x 7ins) and one smoking and reading a newspaper, 17 x 23cm (7 x 9ins), first photo with minor dings and marks

449* Cuba. A group of three photographs of Che Guevara on horseback in the Sierra Maestra Mountains, by Perfecto Romero, 1958, gelatin silver prints, 20 x 25.5cm (8 x 10ins) (3)

(3)

£400-600

147

£150-200

453* Devon & Cornwall. A group of four photograph albums by the studios of Francis Bedford, James Valentine and Francis Frith, c.

1870s/1880s, one containing thirteen whole plate albumen prints of North Devon (numbered 554-585 in the negative), the second with fifteen half-plate albumen prints of Dartmouth and the Dart by Bedford, the third with twenty-eight whole plate albumen print photographs of Cornwall by Valentine, and the fourth slightly later Frith album with ten half-plate albumen print photographs of North Devon, original cloth bindings, some wear and one with spine deficient, oblong small folio/8vo, together with thirty-five further loose and mounted albumen print photos of Torquay and North Devon by Bedford, eleven photos of Torquay by Frith and Valentine, various sizes, mostly mounted, and a group of eight albumen print photos (including two stereos) relating to Dartmouth naval history, c. 1860s and later, various sizes (approx. 60)

£200-300

452* Design and Architecture, etc. An assorted group of mostly mounted albumen prints, c. 1880s, including seventy interior views of the Alhambra (many credited Senan and Gonzalez in the negative), images 26 x 19cm, together with seventeen similar sized contemporary mounted photographs of historic buildings by Alfredo Noack of Genoa, forty photographs of furniture, textiles, etc., mounted to rectos and versos of thick card mounts, plus nine other miscellaneous design studies after A. Vicard (faded and soiled) (approx. 80)

£200-300

454* Dienes (Andre de, 1913-1985). Marilyn Monroe, Tobey Beach, Long Island, New York, 1949, matt-finish gelatin silver print, threequarter length showing Marilyn Monroe in a white swim suit in twisted profile with head over her shoulder smiling to camera, a little water wrinkling to upper and lower margins, black ink credit stamp to verso, ‘Photo / Andre de Dienes / 1401 Sunset Plaza Drive / Hollywood, Calif. 90069’, with additional ink inscription beneath in a large unidentified hand, “Miscovious [sic] child...”, 49 x 41cm (19 x 16ins), framed and glazed Inspected out of frame.

(1)

Lot 453

148

£300-500

455* Dorset - Poole. A group of twenty-seven vintage gelatin silver prints of municipal buildings in Poole, c. 1920s, showing art deco exteriors and interiors, manuscript details and some credits to versos, four on thick card mounts, 24.5 x 32cm and slightly larger (27)

ÂŁ100-150

456 Downey (W. & D.). The Cabinet Portrait Gallery, 5 volumes, [1st5th Series], 1890-94, 180 mounted woodburytype portraits, all on stubs as issued, occasional spotting to text leaves and mounts, a few old ink annotations to lower mounts, contemporary black half morocco gilt, slightly rubbed, 4to, contained in a purpose-made cloth slipcase A good-looking set. Sitters include: Tsar Nicolas, Oscar Wilde, Sarah Bernhardt, Lillie Langtry, Thomas Hardy, T.H. Huxley, Jerome K. Jerome, Henry Irving, Mrs Humphrey Ward, Frederick Leighton, Joseph Joachim, Anton Rubinstein, Hubert Parry, the Crown Prince of Siam, George Bernard Shaw, Julia Neilson, Sidney Webb, Admiral Keppel, Queen Victoria, J.M. Barrie, Beerbohm Tree, Solomon J. Solomon, and many other royal, literary, musical, political celebrities of the day.

(5) ÂŁ300-500

Lot 456

Lot 456

149

457* Du Camp (Maxime, 1822-1894). Temple de Maharakkah, 1852, salt print printed by Blanquart-Evrard, 165 x 223 mm (6.5 x 8.75ins), original mount with photographer’s credit, title and Gide et Baudry imprint

459* Du Camp (Maxime, 1822-1894). Grand Temple de Denderah, hypetre construit sur la terrasse, 1852, salt print printed by Blanquart-Evrard, 160 x 217 mm (6.25 x 8.5ins), original mount with photographer’s credit, title and Gide et Baudry imprint

Plate no. 96 from ‘Egypte, Nubie, Palestine et Syrie’, Paris, 1852, containing the first published photographs of the Middle East.

(1) £300-500

Plate no. 17 from ‘Egypte, Nubie, Palestine et Syrie’, Paris, 1852, containing the first published photographs of the Middle East.

(1) £300-500

458* Du Camp (Maxime, 1822-1894). Grand Temple de Denderah, vue generale, 1852, salt print printed by Blanquart-Evrard, 167 x 209 mm (6.5 x 8.25ins), original mount with photographer’s credit, title and Gide et Baudry imprint

460* Du Camp (Maxime, 1822-1894). Grand Temple de Denderah, facade posterieure, 1852, salt print printed by Blanquart-Evrard, 166 x 213 mm (6.5 x 8.25ins), original mount with photographer’s credit, title and Gide et Baudry imprint

Plate no. 16 from ‘Egypte, Nubie, Palestine et Syrie’, Paris, 1852, containing the first published photographs of the Middle East.

(1) £300-500

Plate no. 18 from ‘Egypte, Nubie, Palestine et Syrie’, Paris, 1852, containing the first published photographs of the Middle East.

(1) £300-500

150

461* Du Camp (Maxime, 1822-1894). Grand Temple d’Isis, a Philae, dromos et pylones, 1852, salt print printed by BlanquartEvrard, 170 x 221 mm (6.75 x 8.75ins), original mount with photographer’s credit, title and Gide et Baudry imprint

463* East & Central Africa. An assorted group of approx. 170 gelatin silver prints, c. 1900, including over a third photos of Masai warriors and hunting in East Africa, plus other ethnic and colonial views in Congo, etc., largely 10 x 12cm (4 x 4.75ins) and similar sizes

Plate no. 72 from ‘Egypte, Nubie, Palestine et Syrie’, Paris, 1852, containing the first published photographs of the Middle East.

(1) £300-500

(approx. 170)

£250-350

462* Du Camp (Maxime, 1822-1894). Temple de Dakkeh, Naos, 1852, salt print printed by Blanquart-Evrard, 165 x 212 mm (6.5 x 8.25ins), original mount with photographer’s credit, title and Gide et Baudry imprint Plate no. 95 from ‘Egypte, Nubie, Palestine et Syrie’, Paris, 1852, containing the first published photographs of the Middle East.

(1) £300-500

464* Egypt & North Africa. A group of approx. thirty mostly albumen prints, mostly late 19th century, including views and local types, construction of Aswan Dam, by Dittrich, approx. 20 x 28cm and similar, and two large Gevalux prints of Cairo by T. Herbert Jones, approx. 50 x 38cm (approx. 30)

151

£100-150

Lot 465

465* Egypt & Theatre. A pair of photograph albums relating to the actress and singer Marie Studholme, c. 1890-1900, the first album of twenty-five stiff leaves including approx. thirty albumen prints of Egypt, mostly captioned and signed Bonfils in the negative and mostly 20 x 25cm or similar, the remaining photos largely portraits of Studholme and a few friends, various sizes, several leaves detached, contemporary half morocco, broken, oblong folio, the second album of thirty-two stiff leaves including endpapers, largely containing portraits of Studholme and family, plus members of other theatrical families (Forbes-Robertson, Vanburgh, Ellen Terry and others), various sizes and many mounted as multiples and back-toback throughout both albums, many photos with ink inscriptions and occasional signatures across image, scattered defects including adhesion damage, tears and spotting, disbound without covers, folio (2)

ÂŁ250-350

466* Egypt, etc. An assorted group of albumen and gelatin silver print photographs, late 19th and early 20th century, including views and scenes in Egypt, Malta, Maderia, Gibraltar, Italy, Scotland, Ireland and Belgium, plus eight mounted geological photos (a folder)

Lot 466

ÂŁ150-200

152

Lot 469

467* Egypt. An album containing twenty-four late albumen prints

by Bonfils and Langaki, c. 1880s, portraits, views and architecture, some spotting, approx. 22.5 x 28cm and similar, some spotting, original mounts, inserted into album window mounts, some tears, contemp. half morocco, scuffed and some wear, large oblong folio (1)

£150-200

468* English School. Ice Skating and Ice Hockey in a Park, c. 1910, mammoth carbon print, flush-mounted on card, showing a group of Edwardian men, women and children on a frozen pond in a snowy park, small surface loss to ice area lower centre right and adhesion remains to margins, 51 x 66cm (20 x 26ins) (1)

470 Europe. An album of approx. 110 mounted albumen print photographs on thirty-seven thick card leaves, c. 1880s, including views in Scotland, Wales, Norway, Guernsey (5), Sark (5), Gibraltar, Malta, Constantinople, plus eight portraits of European and Middle Eastern figures in traditional costumes, photographers including Frith, Valentine, Wilson, G.H., Sebah, Arnoux, etc., various sizes, mounted singly and as multiples with occasional ink captions to mounts, two leaves stuck together, contemporary half morocco, spine deficient and covers detached, folio

£200-300

469 Europe. An album of approx. 100 albumen print photographs, c. 1880s/1890s, including views in Italy, Venice, Pompeii, Naples, Pisa, Genoa, Paris, Bergen and other views in Norway, etc., images 19 x 29cm and smaller, mounted individually and as multiples to rectos and versos on thirty-two thick card leaves, printed credits to some photographs and occasional ink captions to mounts, some spotting, contemporary half morocco, slightly rubbed and soiled, folio (1)

(1)

£100-150

153

£150-200

472 Far East. An album containing approx. seventy-two albumen print photographs relating to HMS Edgar in the Far East, c. 1893-95, including photographs of HMS Edgar and other ships, plus crew, photographs of Corfu, Athens, Venice, Majorca, thirteen photographs on six pages relating to the end of the Sino-Japanese War in 1895, including photos of the city of Kinchau, group of Japanese cavalry men at Kinchau, top of fort at Wyei-Hai-Wei, broken gun at Wyei-Hai-Wai, Japanese bazaar on upper deck and forecastle on HMS Edgar, Port Arthur after the war, plus two photographs of Seoul, Korea, twenty-two colour-tinted photographs of Hong Kong (2), China (2) and Japan, plus two three-part colour-tinted panoramas of Nagasaki and Yokohama, each 19 x 76cm (7.5 x 30ins), ink captions to mounts throughout, some fading, soiling, tears and other imperfections throughout, photographs 22 x 28cm and smaller, mounted singly and as multiples to rectos and versos of thick card leaves, contents broken and loose in contemporary Chinese lacquered boards with pictorial upper cover using ivory inlays, chipped and worn, oblong folio (1)

£300-400

471* European Art & Architecture. A group of approx. 100 mounted albumen prints, c. 1880s, including approx. eighty Italian, Greek & Egyptian sculptures and artefacts, mostly approx. 23 x 18cm and similar and mounted one to a mount with ink captions beneath, plus approx. twenty mostly mounted European views including a view of the gateway of the Acropolis, 28 x 37cm (11 x 14.5ins) and a view of the great Emambara and mosque, Lucknow, signed and numbered in the negative ‘Bourne 1052’, 23 x 29cm (9 x 11.5ins), heavily spotted, mostly large card mounts in a portfolio (approx. 100)

£150-200

473* Floral Studies. A group of twelve large format albumen print photographs of flowers and fruit by Charles Aubry, c. 1870s, approx.

37 x 27cm (14.5 x 10.5ins), contemporary mounts, a little soiled and chipped at edges, together with sixty-four collotype plates of flower studies by Martin Gerlach, Maurice Magniant and others, all folio, some soiling and chipping, loose and in two portfolios (76)

£200-300

474* Hofer (Manuela). A group of twenty-two chromogenic print photographs, c. 1990s, abstract and figurative compositions, including seven versions of Saxophonspieler, many signed and/or with printed credit stamps to versos, mostly 35 x 24cm (13.75 x 9.5ins) and larger (22)

Lot 472 154

£100-150

475 Hong Kong. Two photograph albums and two notebooks compiled by a naval medical officer, c. 1897-1912, the larger photograph album containing over 500 gelatin silver print photographs mounted as multiples on thirty thick card leaves, various sizes but including two two-part panoramas (Jehang from Pyramid Hill and the Harbour from the Royal Naval Hospital (10 x 39cm)) and typically approx. 6 x 9cm, including approx. 240 of Far Eastern interest, including scenes and views in Singapore, Manila, Hong Kong, the Gorges, the remainder of Malta, Pompeii, Adelphi, Smyrna, Athens, HMS Cumberland, Cornwall, Algiers, Italy, etc., all neatly captioned in ink to lower mounts, contemporary morocco gilt, oblong folio (28 x 37cm), the smaller album containing forty-eight small gelatin silver print snapshots of the Gorges, mostly approx.

7.5 x 10cm, numbered in pencil and with a separate manuscript index sheet loosely inserted, additionally with a further forty-five related China and Hong Kong photographs loosely inserted, mostly small format and with captions to versos, matching contemporary morocco gilt, 4to (25 x 20cm), plus two related ‘Sick Mess Account’ notebooks describing the officer’s journey from Tchang to Chongqing, 21 January to 7 March 1900, a total of 88 pp., largely in pencil, giving an account of the scenery and people met en route, original quarter roan with printed paper labels to upper covers, 8vo An interesting anonymous archive recording the early days of Hong Kong. The archive would appear to be the work of a naval medical officer, the photographs containing portraits of hospital workers as well as many views of Stanley.

(4) £3000-5000

155

476* Hong Kong, Macao, etc. A group of 102 vintage gelatin silver prints, c. 1904-06, a personal collection of photographs with pencil dates and identification to versos, mostly approx. 9.5 x 11cm (3.75 x 4.25ins) and similar sizes but some slightly larger, images include Hong Kong street scenes, the Peak, temple at Samshui, train on line to Samshui from Canton, Canton steamers (14.5 x 19.5cm), Stonecutters Island with Hong Kong Voluntary Corp Camp (9.5 x 20cm), street beggar, temple entrance, Ty Tam reservoir, family onboard a junk, City Hall Theatre, boat dwellers, Macoa frontier gate, Old Kowloon City wall, Alexandra building, Cap-Si-Mun Pass, Corinthian Yacht Club, Roman Catholic cathedral, rice fields, dragon boat festival, Aberdeen, boat builders, rickshaw runners resting, procession outside Ken-Tai store, boat people at harbour, naval yard, SS Loon Wo, Kam Shun shop, Stanley, scenes of devastation from the typhoon of 18 September 1906, building construction and shipping, etc., loosely presented in a modern album, small folio (1)

ÂŁ1500-2000

156

477 Hong Kong. A rare collection of fifty-six vintage gelatin silver print photographs of Hong Kong taken during the typhoon of 18th August 1923, mounted two to a page on album leaf rectos, numbered in the negative and with ink captions to mounts, 10 x 14.5cm (4 x 5.75ins), remains of manuscript title label to front pastedown, contemporary padded cloth with spine tie, rubbed, oblong folio A historic documentary photographic archive, showing damage done to various buildings including Polo Club house, Jockey Club stables, Peak Hotel and Peak tram station, buildings on the Praya, Chinese shops and houses.

Also depicted are numerous sinking boats, river and harbour scenes, refugees, etc.

(1) £700-1000

478 Hong Kong. An album of approx. 150 gelatin silver print photographs, c. 1900s, pasted on to twenty-four stiff card leaves and back-to-back throughout, many captioned, nine larger photos (each approx. 22 x 28cm) showing Hong Kong dry dockyard construction of extension and staff, arrival of HRH the Duke of Connaught, Hong Kong dockyard football team, plus two groups including Mr and Mrs Ritchie at a wedding, the remainder of photographs mostly postcard size and smaller and mounted as multiples to each page, comprising views and social events, the Peak Central, Happy Valley, Roman Catholic church, etc., captions include Queen’s Road East, Chinese pirates to be executed, HMS Terrible, sports on Happy Valley, Royal Naval canteen, Chinese barbers, Indian watchman, Hong Kong Wesleyan church picnic to Little Hong Kong 1904, Joss House at Junk Bay 1905, View of Hong Kong harbour and of Coffer Dam enclosing the site of new admiralty lock (Xmas 1903), Chinese mother and family, Soldiers’ sports on Happy Valley 1904, HK naval football team 1903-04, Russian prisoners at Kowloon 1904, Chinese means of bringing a coffin from the upper floor of house, Chinese lady, Hong Kong electric trams at Causeway Bay, Laying concrete blocks, Hong Kong volunteers at gun drill, Chinese funeral, Pay up, Street decorations, Pumping station, etc., plus a few postcards and smaller snapshots, and ten contemporary photos of Sierra Leone pasted in at rear including one of West African native women, a few leaves detached, loose in modern paper wrappers, oblong folio (1)

Lot 477

Lot 478

157

£500-800

480 Hong Kong and the Far East. An album of approx. 250 gelatin silver print photographs and snapshots featuring the family of Commander Lewis Stark, c. 1890s/1950s, plus over fifty postcards (including real photo postcards) of Hong Kong, UK, etc., plus colour and b & w illustrations and other printed ephemera, mostly postcardsize and smaller and mounted as multiples to fifty album leaves, back and front, some ink captions to mounts and to images, subjects including individual family subjects (cartes de visite, cabinet cards and snapshots), group photographs, Hong Kong street scenes (postcards), HMS Harebell at Kirkenes, Norway, Chinese executions (real photo postcards), The Grand Ball on HMS Hermes, Hong Kong, 1926, Nara, Japan, HMS Urley, mostly 1920s/1930s but some earlier and later, original cloth with gilt decoration of a ship and owner details ‘Mrs L. Stark, Hong Kong, 1925-28’ to upper cover, oblong folio (1)

£300-500

479 Hong Kong. An album of approx. 550 corner-mounted and pasted in gelatin silver print photographs, early 1950s, including good views of Central, Aberdeen, Shek O, Pokfulam, Tai Po, the Peak, Tsim Tsa Tsin, Wanchai, Waterfront, Star Ferry, Stanley Internment Camp, the Walled City, etc., 6 x 8cm (2.5 x 3.25ins) and slightly smaller, largely neatly numbered and captioned in white china ink to mounts beneath, spiral-bound modern folder, 4to (1)

£500-800

481* Hong Kong & China. A group of approx. eighty-five gelatin silver prints, early 20th century, including Chinese funerals, views, Shanghai, Malaya, etc., mostly postcard size and slightly smaller, together with an album of fifty small format gelatin silver prints celebrating the coronation of Queen Elizabeth II, taken in Hong Kong, 1953, all 5 x 8cm, mounted as multiples to album leaf rectos only, uncaptioned, original cloth gilt with spine tie, oblong folio (approx. 85)

£250-350

Lot 480

Lot 482

158

484 Hong Kong. An album containing approx. 480 corner-mounted gelatin silver print photographs compiled by John and Veronica Stericker, 1953, including views of the Peak, Aberdeen, Causeway Bay, Yven Long, Pokfulam, sixty-six views relating to the Coronation, approx. 6 x 8cm (2.5 x 3.25ins) and smaller, partly captioned in a neat hand in white china ink to mounts beneath, spiral-bound modern folder, 4to

482* Hong Kong. A group of approx. 150 postcards, c. 1900 and later, including colour views, real photo postcards, etc., some postally unsed, many contained in two modern postcard ring binders and six mounted as pairs in card mounts (approx. 150)

£250-350

(1)

£300-500

483* Hong Kong. A group of approx. 100 reproduction gelatin silver print views of Hong Kong, c. 1900-1960, all on card with ink captions to versos, 20 x 25cm (8 x 10ins) (approx. 100)

£200-300

485 Hong Kong. An album containing 123 corner-mounted gelatin silver print views, early 1950s, showing the harbour, New Territories, boat yards, farms, Dragon Boat Day, portraits, Macau, etc., all 8 x 10cm (3.25 x 4ins), uncaptioned throughout, contemporary spiralbound modern folder, 4to (1)

£250-350

486 Hong Kong. An album of over 300 gelatin silver print photographs of Commander Lewis Stark and family, 1920s, mostly snapshots and real photo postcards, many taken in Hong Kong with views of landmarks, typhoons, etc., all postcard-size and smaller, mounted as multiples to rectos and versos of fifty leaves, a few photos detached, ink captions throughout, all postcard-size and smaller, contemporary cloth with spine tie, rubbed, oblong folio

Lot 484

(1)

159

£250-350

487* Hong Kong. An unedited 8mm kodakchrome cine film of Hong Kong life and scenes filmed privately c. 1953-56, numerous clips with a full running time of approx. 37 minutes, featuring scenes of a junk boatyard at North Point, Kowloon Opera Theatre in Nathan Road, from Shataukok across to Hong Kong Island, a festival at North Point, New Territories, a blind fortune teller, old man with panniers, Botanical Gardens in Hong Kong centre, Hong Kong University building above Western Market, drying noodles, possibly on Chung Cheow Island, a wealthy Chinese man’s house in Aberdeen, New Territories, walled villages, Hakka people in big hats, new year in flower market with orange trees, Kowloon dragon boat race, looking down from the Peak, Aberdeen cemetery, Kowlook, Mong Kok, Ching Ming (getting and cleaning bones), ferry on water looking at Kowloon, piers in Hong Kong, Hong Kong Island waterfront, Hong Kong Bank, crown court police headquarters, New Territory village close to Chinese frontier, Fanling near golf course, officers’ mess, Lantau Island, Deepwater Bay, Hong Kong Chartered Bank, spliced together as one film and contained in contemporary tin canister Provenance: From the family of the English cameraman who lived in Hong Kong at that time. Included with the lot is a DVD transfer of the full film. However, the DVD has cropped the upper and lower margins of the cine film and does not offer an accurate picture of the original.

(2) £200-300

160

488 Hong Kong. A Bit of the British Empire; Views Illustrating the Scenic Beauties of Hongkong and Neighbourhood, 2nd edition, Kelly & Walsh, n.d., c. 1910, title, contents and eighty black and white collotype plates from photographs (one from a drawing), including views of the harbour, public gardens, the Peak, Happy Valley racecourse, Aberdeen, Robinson Road, Kowloon, Chinese junks and sampans, etc., images mostly 11 x 15cm (4.25 x 6ins) and similar, orig. boards with printed decorative cover, slightly soiled and spine frayed with loss, oblong 8vo (18.5 x 25cm) Rare, WorldCat identifying only one copy of the same edition at the British Library.

(1) £200-300

Lot 488

489 India & Ceylon. A good album of seventy albumen prints, mostly 1860s, the album beginning with seven views in Ceylon including Galle, Kandy, the coffee districts and Adam’s Peak, various sizes, then largely comprising fifty-one mounted full-plate views of Delhi, Himalayas, Agra, Jeypore, Benares, etc., including thirty-two signed and numbered by Bourne in the negative (nos. 1075, 1080, 1166, 1168, 1170, 1171, 1173, 1176, 1177, 1181, 1221, 1222, 1223, 1224, 1227, 1260, 1263, 1265, 1269, 1271, 1272, 1276, 1311, 1317, 1355, 1363, 1364, 1370, 1374, 1376, 1380 & 1382), plus two signed and numbered Bourne & Shepherd in the negative (nos. 2306 & 2807), plus four signed and numbered by Saché in the negative (nos.

151, 176, 311 & 603), all approx. 23 x 29cm (9 x 11.5ins) and similar sizes, plus four full-plate albumen print group portraits (Rajah of Furredkote & Suite, Maharajah of Benares & Suite, Singalese merchants and parsees), plus a two-part panorama of the imperial durbar, Delhi, 1877, plus seven smaller albumen print views of the Calcutta and Bombay, etc., the larger photographs mounted singly and back-to-back throughout, neat ink captions to mounts throughout, some spotting, contemporary manuscript index tipped in at rear, contemporary half morocco gilt, rubbed and soiled, oblong folio (36 x 44cm) (1)

161

£1000-1500

490* India - Maharaja of Benares. A full-length portrait of the Maharaja of Benares in ceremonial dress, attributed to Bourne & Shepherd, c. 1910, vintage platinum print, 29.5 x 18cm (11.5 x 7ins), marginal adhesion remains to verso Prabhu Narayan Singh (1865-1931) was ruler of the Indian Princely State of Benares State from 1889 to 1931. He was granted the title of Maharaja by the British for his loyalty during the Indian Mutiny, the British Raj formerly recognising his territory as a Princely State in 1911. A similar portrait by Bourne & Shepherd exists from the Delhi Durbar of 1903.

(1) £200-300

491* India - Maharaja of Bundi. Portrait of H. H. Maharao Raja Sir Ramsinghji Bahadur, GCSI, CIE, late Chief of Bundi (Rajputana), c. 1887, platinum print by Johnston & Hoffmann, printed c. 1910 (?), the Maharaja sits cross-legged holding a sword and shield, 28 x 23cm (11 x 9ins), marginal adhesion marks to verso Maharao Raja Sir Ramsingh Bahadur (1811-1888) was installed to the throne of Bundi in 1821. He ruled for sixty-eight years til his death in 1889.

(1) £200-300

492 India. An album of twenty-four mounted albumen print views of Calcutta, c. 1870s, including public buildings, streets, sculptures, gardens, etc., plus one view of shipping and one of HMS yacht Osborne with figures on the riverbank, 11 x 17cm (4.25 x 6.75ins) and similar sizes, printed or pencil captions to mounts beneath, mounted to rectos and versos of thick card leaves throughout, contemporary half morocco, some worming to spine, oblong 8vo

Lot 490

(1)

Lot 491

£100-150

Lot 493

162

Lot 494

Lot 495 493* India. A group of ten mostly albumen prints, c. 1870s and later, including two good mammoth plate views of Agra and Delhi, each 28 x 37cm, modern window mounts, plus a portrait of His Excellency The Nawab Khoorshid Jah Amir-i-Kabir with other dignatories, 27 x 35cm, (a letter signed by him tipped onto mount), plus various views and groups in India on album mounts, various sizes (10)

£150-200

494* India. Two albums containing over 100 gelatin silver prints of India, c. 1900-1915, including military groups with the Duke of Connaught and Sir William Butler, further military groups, views, and interiors, etc., images approx. 22 x 27cm and smaller, some captioned on mounts, contemporary cloth, some fraying and wear, one spine crudely repaired with tape, both oblong folio (2)

£150-200

495* India. Panoramic view of the guest house, Sangrur, India, c.

1910, three-part gelatin silver print panorama laid on paper, printed title caption, posted beneath, vertical crease near right margin of centre panel, a few spots and tears to mount, overall 18.5 x 80.5cm (7.25 x 31.75ins) (1)

£150-200

496* Israel. A group of approximately 100 gelatin silver print press photos, c. 1950s/1970s, showing soldiers, scenes of conflict, some views, etc., press stamps and credits to most versos, approx. 26 x 21cm (and similar) (approx. 100)

£150-200

Lot 496

163

497 Italy - Nemi. Photographs of Excavations at Nemi (the Artemision of Strabo) undertaken by H.E. Sir J. Savile Lumley, GCB in 1885, [so titled on upper cover], a portfolio of fifty-nine albumen prints mounted on fifty-eight thick card leaves, including views, excavations, friezes, sculptures and other archaeological artefacts, scattered worming affecting several mounts and images, mostly approx. 18 x 25cm (7 x 10ins) and similar, loosely contained without letterpress or contents in original broken cloth portfolio (1)

ÂŁ150-200

498* Japan, China, etc. A large and assorted archive relating to the family of Charles W. M. Birch, late 19th and early 20th century, comprising several hundred unsorted black and white photographs including snapshots, British and European views, family scenes and genre subjects, and also a proportion of photographs taken in Japan and China during the 1900s while Birch was living there, various sizes, uncaptioned, together with three family photo albums, nine platinum prints of North-West Frontier by J. B. Holmes, a packet of over twenty letters to and from Birch and his children while in Japan c. 1908-10, assorted printed ephemera, a total of over 500 items (2 cartons)

ÂŁ500-800

Lot 498

164

499* Knole House. A group of forty-three albumen print photographs by Charles Essenhigh Corke (1852-1922), c. 1900, a total of eleven photographs of the exterior of Knole House including South Front, Queen’s Court, East Front, Pheasant Walk and the Water Court, plus twenty-five photographs of the interior, including Staircase, Vestibule to Ballroom, Brown Gallery, Lady Betty Germain’s Dressing Room, Venetian Dressing Room, Organ Room, Chapel Room, Cartoon Gallery, Crimson Drawing Room, Ballroom, Chapel East and West, Venetian Bedroom, King’s Bedroom and the Leicester Gallery, plus seven photographs of Ightam Mote, including the Chapel, Hall, Bedroom, Sitting Room, Bee Room, and Long Drawing Room, most with old pencil captions to versos, several with discreet embossed name stamp of the photographer lower right (mostly the photos of Ightam Mote, the others now somewhat indistinct), all 23.5 x 28.5cm (9.25 x 11.25ins) Charles Essenhigh Corke was a painter and photographer who effectively worked as artist-in-residence at Knole during the first decade of the twentieth century. Knole has been the home of the Sackville family since the early 1600s.

Both Knole House and Ightam Mote are managed by the National Trust.

(43) £1000-1500

165

500* London - Chelsea. A group of eight albumen print photographs, c. 1860s, including a two-part panorama of Battersea old bridge [by James Hedderly] (fading to left and right margins), 20.5 x 42cm (8 x 16.5ins), laid on original album leaf, the remaining seven showing street scenes including Cheyne Walk, a riverside view of boats on the shore, and the sculpture of Hans Sloane in Chelsea Physic Garden, 21 x 24.5cm (8.25 x 9.5ins) and slightly smaller, all laid on card and four pasted back-to-back, plus a ninth albumen print group photograph of the inspection of the main drainage works at Barking, 14 July 1862, photographer’s name credit of W. Brown in the negative lower right, arched top, 19 x 34cm (7.5 x 13.25ins), contemporary paper mount with ink caption at foot) (9)

Lot 502

£300-500

501* Malta. A two-part albumen print panorama of harbour walls, 1881, showing the ships Alexandria, Invincible, Superb and Thunderer at sea, 17.5 x 48.5cm (7 x 19ins), modern mount, together with two framed items, a triptych of three platinum prints of Huancayo, Peru, showing a street scene and two mountain scenes, each 14 x 25cm (5.5 x 10ins), plus a colour photgraphic panorama of Jerusalem, mid-20th century, 20 x 57cm (8 x 22.5ins), all framed and glazed (3)

£100-150

502* South Seas Carnival. A pair of carbon prints of two carnival floats, early 1900s, showing prize and winning entries with western male figures dressed in grass skirts with jewellery and spears, both 24 x 29cm (9.5 x 11.5ins), original card mounts (2)

503* Maritime. A group of thirty-four photographs, 19th & 20th c., including a carbon print of Wherries, early 20th c., 20 x 37cm (8 x 14.5ins), a group of assorted gelatin silver print press photos of boats and shipping interest, plus ten cartes de visite of shipping (three from life)

£100-150

(34)

Lot 501

166

£100-150

Lot 504

Lot 505

504* McBean (Angus, 1904-1990). Atmospheric head-andshoulders portrait of Christine Spencer, c. 1937, vintage gelatin silver print, 37.5 x 29cm (14.75 x 11.5ins), laid on card with pencil caption and photographer’s signature to lower edge, remains of photographer’s wetstamp to mount verso (tears and adhesion stains), together with a second gelatin silver print portrait by McBean of Fay Compton, signed presentation inscription from the sitter to lower left blank area, 19 x 24cm (7.5 x 9.5ins), studio wetstamp to verso, plus four Cambridge University group portraits from college balls, c. 1930, and eleven large-format studio photographs of two female sitters by Lenare loosely included in photographer’s portfolio (17)

£100-150

505 Mexico, etc. An album containing approx. 200 mostly cornermounted gelatin silver print photographs and other subjects, c. 1909-12, including eight photographs of Royal Welsh Fusiliers at Howarden by Mark Cook, eight photographs of the Grand National in 1909 by Mark Cook, all titled and credited in the negative, each 10.5 x 15.5cm, plus similar size photos of military barracks, houses and people, four panoramic photos of Mexico, each 9 x 30.5cm, numerous postcard-size photos relating to Mexico, including views, industrial machinery, horses, the inauguaration ceremony of Francisco I. Madero, president of Mexico in 1911, views of Mexico City, Sainto Domingo City, offices in Havana, onboard RMS Mauretania (24-29 July 1912), bullfighting scenes, etc., the final leaves of the album containing slightly larger pasted in gelatin silver print photos of South American people and groups, rural scenes and farming machinery, three photographs with embossed stamp of Horacio Oliviera, Racife [Brazil] to lower margins, mostly mounted as multiples to twenty-four thick card leaves, contemporary quarter morocco, covers detached, folio (1)

506 Middle East. An album containing fifty-seven albumen print views by Giacomo Brogi of Palestine, Lebanon, and environs, c.

1868-9, with views of Jerusalem (including the Wailing Wall), Beirut, Joppa, Hebron, Bethlehem, etc., all 10 x 14cm (4 x 5.5ins) mounted to album leaf rectos with neat ink captions to mounts, some spotting, contemporary half morocco, rubbed, small 4to (1)

£400-600

167

£250-350

Lot 507 507 Middle East. A personal album of approx. 105 gelatin silver print photographs, c. 1919, including views and scenes of Baalbek, Cairo, Jerusalem, Galilee, Tripoli, Heliopolis, Alexandria, Damascus, etc., including approx. twenty small-format photographs of the Cairo risings of 1919, showing crowd scenes, destruction and repairs, mostly 7 x 11cm (2.75 x 4.25ins) and smaller, but some slightly larger towards rear, mounted as ones and multiples to rectos and versos of forty-five leaves with neat English ink captions ink two hands, contemporary ownership details of E. Howden, 15, Royal Park Terrace, Edinburgh to front free endpaper, contemporary green buckram, rubbed and slightly soiled and faded, 8vo The Egyptian Revolution of 1919 was a countrywide revolution against the British occupation of Egypt and Sudan. The Revolution led to Britain’s recognition of Egyptian independence in 1922.

(1) £200-300

508* Miscellaneous photography, late 19th and 20th c., including broken cartes-de-visite and cabinet card albums, exhibition prints, views including India, an album of Burma, Ceylon and Singapore photos, c. 1920, a photograph album of Canterbury Cathedral, c.

1850s, containing twelve albumen prints, plus miscellanous loose photos and album leaves.

(2 cartons)

510* Miscellaneous photography, late 19th and early 20th century, a mixture of albumen prints and gelatin silver prints, subjects include aviation, motoring, views, portraits, etc., mostly loose or on individual mounts, various sizes, plus Tamamura Kozaburo, Japanese Views and Characters, vol. 1 (Kyoto, Nara, Osaka, Kobe and Nagasaki), pub. Kobe, n.d., twenty-four colour collotype plates captioned in English to lower mounts, some old damp fraying affecting covers and initial upper margins, original canvas boards with spine tie, frayed and soiled, oblong 8vo

£200-300

509* Miscellaneous photography, mostly 20th c., comprising three albums of snapshots including views of India, Sweden, Middle East, various bindings and sizes, plus a disbound snapshot photo album of Nairobi, Kenya including Mau-Mau, 1956, a small group of corner-mounted snapshots of Pearl Harbour from World War II and twenty-three postcard-size and smaller photos of World War I interest (a small carton)

(approx. 80)

£100-150

168

£100-150

Lot 511

511* Miscellaneous photography, mostly 19th century, including twenty-two mostly albumen print photos of Italy, one a mammoth plate hand-coloured view of Venice, plus nine albumen print views and ethnic types in South Africa, in Durban, Kimberley, Pretoria, various sizes, plus a group of seventeen large composite photographs titled ‘Contemporary Representatives of ...’, including aristocracy, music and singing, stage and drama, art and science, plus a group of nineteen sheets in photogravure (plus explanatory booklet) from the 1969 edition of Edweard Muybridge’s ‘Animal Locomotion’, published Da Capo Press (a folder)

512* Miscellaneous photgraphy, mostly late 19th century, plus some early 20th century, albumen print and gelatin silver prints, British and European views, plus architecture and design, etc., mostly mounted on old album prints, various sizes, also including a mounted large salt print by Edouard Baldus, 34 x 43cm (see illustration), photographer’s printed signature to lower mount (a carton)

£150-200

513 Miscellaneous photography. A group of thirteen albums, mostly late 19th and some early 20th century, containing British and European views, etc., a mixture of commercial and private photos, some captions, various sizes and bindings, 4to/folio

£150-200

(13)

£150-200

514 Miscellaneous photography. A group of fifteen albums, late 19th and some early 20th century, containing mostly British and European views and scenes, commercial and private photographs, some captions, various sizes, and bindings, 4to/folio (15)

£150-200

515* Miscellaneous photography, late 19th and early 20th century, including large format alpine scenes (Wehrli Brothers and Adolphe Braun, etc.), plus other miscellaneous British and European views and architecture, etc., many large format and many laid on card (a folder)

Lot 512

169

£200-300

517* Modern Photography. A group of eight exhibition photographs, c. late 1990s, including six chromogenic prints by Jesus Angulo, Colombia, ‘City Festivities, Cartagena City’, Janet Baldock, UK, ‘1932 Austin 7, Yorkshire, 1998’, Merce Galdon, Spain, ‘Castellers, A Human Tower, Barcelona’, Kurt Victory Pedersen, Denmark, ‘Palace Guards, Denmark’, Paul Garvey, Canada, ‘Truth, Trust & Teamwork Overcome the Obstacles Posed by Life’, Bob Halliday, Malaysia, ‘Bali, 1998’, plus two gelatin silver prints, Christian Mercier, Canada, ‘Ice Storm, Montreal Biosphere, January 1998’, Callum Gordon, UK, ‘New York City Police’, all images approx. 25 x 37cm (10 x 14.5ins), or the reverse, professionally mounted in large heavy duty frames with printed photographer and title captions to mounts beneath photos, all glazed (glass to Bob Halliday print broken) Uniformly framed with black stained wood and white mounts, each measures 105 x 75cm (41 x 29.5ins) overall.

(8) £300-500

518* Mortensen (William). Vintage matt gelatin silver print photograph of Rudolph Valentino, c. 1925, pencil studio credit and photographer’s signature to lower mount, 26.5 x 20cm (10.5 x 8ins), original mount, together with nine large gelatin silver print film stills/proofs and seven further film stills advertising ‘Cobra’ starring Valentino plus a gelatin silver print of Ramon Novarro by Clarence Sinclair Bull, c. 1926, later printing, 23 x 18cm, photographer and sitter credits to verso, plus three related items (20)

£100-150

516* Modern photography. An assorted group of modern gelatin silver print portraits, etc., c. 1950s and later, including a portrait of Ram Gopal by Yasborough of Honolulu, signed presentation inscription from the sitter to the photographer to lower mount, a group of twenty-five ballet photographs of Margot Fonteyn and others by Cornel Lucas, plus other vintage prints by American and European photographers from the 1970s, a few signed, various sizes (approx. 50)

£150-200

519* Moser (Lida, b. 1920). Fifth Ave around 19th/20th Streets, 1949, vintage gelatin silver print laid on modern card, small ding to left margin, photographer’s credit stamp and signed pencil inscription to verso, ‘Only extant print from original negative, printed in 1949’, 33 x 22cm (13 x 8.75ins)

Lot 517

(1)

170

£200-300

Lot 520 520* Mountaineering - Himalayas. A group of ninety negatives of a British climbing expedition in Sonamarg, Kashmir and neighbourhood, c. 1944, mostly views but including several with figures (some on skis) identified as Harry Tilly, Wilfrid Noyce and one or two others (possibly J.A. Jackson or G. Whittle), one negative showing the Nedous Hotel, Srinagar, 8 x 6cm (3.25 x 2.25ins), contained in a contemporary negatives wallet with index left blank Though uninscribed and unidentified the negatives are known to have belonged to a member of the Tilly family. Tobias Harry Tilly (1907-2004) was a solicitor and mountaineer, who had been a member of the Himalayan Club for sixty years and who had climbed extensively in Kashmir and Ladakh, in Sikkim and in Northwest Garhwal. Tilly, Noyce, John A. Jackson and Gordon Whittle wrote a ‘Climbers’ Guide to Sonamarg’ which was published by the Himalayan Club on 1 January 1945. It seems likely that these photographic negatives refer to the various treks undertaken at that time. Tilly was considered for the 1953 Everest expedition but due to a ligament injury ruled himself out. Noyce was a member of the 1953 British expedition that made the first ascent of Mount Everest.

(90) £300-500

521* Mudd (James, 1821-1906). A group mansion exterior with large posed group, c. 1870, photographer’s credit in the negative ‘J. Mudd Photor., Manchester’, lower right, 23 x 30cm (9 x 11.75ins), original paper mount (1)

£100-150

522* Nepal. Portrait of King of Nepal, Prithbi Bir Bikram Shah, King of Nepal (1881-1911), 22.5 x 17.5cm, (surface mark to right of face), framed and glazed, together with twenty-four postcards of India interest including twelve of Indian types, plus six photographs of Indian dignitaries, including four cartes de visite, plus a group of twenty-three gelatin silver print photographs of masks, c. 1920s, all captioned to versos and including masks from Japan, Bali, Ceylon, Mexico, Indo-China, New Guinea, etc., approx. 11 x 9cm (54)

Lot 522

£100-150

171

Lot 524

Lot 525

523* New Zealand & Australia. A loose group of eleven mostly albumen prints, c. 1880s, including two portraits of Maoris, Mount Tarawera, boiling mud holes, Launceston, Hobart, Armidale and Sydney, 22 x 28cm and smaller, mounted to individual thin album mounts (11)

£100-150

524 North of England. An album containing approx. 175 gelatin pasted as multiples to silver prints, early 20th century, approximately 60 album leaf rectos, mostly rural scenes including hills, lakes and rivers, with a few country houses, churches, and figures, etc., many approx. 15 x 20cm, entirely uncaptioned, contemporary half leather ledger with leather strap and buckle, rubbed, folio (1)

£100-200

525* Nudes. A gelatin silver print photograph of a beautiful young woman, c. 1915?, sepia toned image of ‘Kaloma’, 23 x 10cm, framed and glazed, together with another similar of a Mary Pickford look-a-like nude, full length, 24 x 10cm, framed and glazed ‘Kaloma’ was a popular image of its day which in later times gained the attribution of being a portrait of Wyatt Earp’s wife, Josephine Sarah Marcus Earp.

(2) £100-150

526* Nudes. A small packet of twenty colour-tinted gelatin silver prints of female nudes by Julian Mandel (1872-1935), c. 1920, many numbered and credited in the negative, 9 x 6.5cm (3.5 x 2.5ins), contained in original pink card packet (broken) (20)

Lot 526

£100-150

172

Lot 527 528* Pathe Films. A group of sixteen Pathescope baby film cine reels, including Felix Does a Deal in Kangaroos, Felix Strikes the Banana Slide, Felix and the Beautiful Fatima, The Camel: Ship of the Desert, etc., all 10mm reels in small embossed original canisters

527* Panoramas. A four-part albumen print panorama of Cape Town, c. 1880, laid on paper, vertical split down the middle, 18 x 92cm, together with a four-part albumen print panorama of King Williams Town, South Africa, c. 1880, linen-backed, 18 x 97.5cm, plus a three-part albumen print panorama of Gibraltar, c. 1890s, in three parts, overall 15.5 x 54cm (3)

(16)

£70-100

529 Persia & India. A photograph album compiled by Major General Macn Saunders, 36th Sikhs, c. 1920s, a total of approx. 190 photographs and snapshots on twenty-seven leaves, recording colonial life as a military attache at Tehran, with views of the minister’s house, Saunders’ house, entrance gate to the British legation, toll-gate, Tehran horse races, Shia holy procession (possibly Ashura), a polo tournament, the Shah’s summer palace, seeing off the Shah by plane to France, plus views of Basrah and the river Tigris, Simla and Delhi, and a series of views of Imperial Airways’ first flight within India, mounted as multiples to rectos and versos throughout with ink annotations in a large hand to mounts throughout, contemporary cloth, some fading and corner wear, 4to

£150-200

(1)

£250-350

Lot 528

530* Photographic Book Furniture. A leather-bound epidiascope or opaque projector, early 20th c.(?), externally in the form of a large leather-bound folio with raised bands to spine, sliding shutter to upper lid revealing a circular magnifier (13cm diameter), internally hollow with wooden support struts and reflective backdrop, marbled edges and key hole (fastener broken), heavily rubbed, large folio, 57 x 41 x 8cm (1)

Lot 529

173

£100-150

533 Ponting (Herbert G.). British Antarctic Expedition 1910-1913.

Exhibition of the Photographic Pictures of Mr. Herbert G. Ponting F.R.G.S., Fine Art Society, [1914], eight half-tone plates, advertisements at front and rear, ink stamp of The Graves Gallery, 44 Cherry Street, Birmingham at foot of title, occasional light spotting, original printed wrapper, staple rust and light toning to extremities, 8vo (1)

£300-400

531* Photographic magnifier. A photographic magnifying case, early 20th c., with hinged lid and large circular glass magnifier (19cm diameter), folding photograph support (gilt-stamped Schutzmarke, D.R.M.G.) to outer cover with folding flap and button fastener, a little external soiling and fraying, 23 x 23cm (1)

£70-100

532 Photography auction catalogues. A group of approx. 170 catalogues, c. 1970s-2013, mostly Christie’s and Sotheby’s, plus a few French and German auction catalogues (approx. 170)

£100-150

534* Press Photos. An assorted group of several hundred assorted gelatin silver print press photos, subjects include space, Greece, natural history, Southport, Northern Ireland, nuclear explosions, Hawaii, etc., various sizes, but mostly medium and large format with press credits to versos (a carton)

£300-500

535* Press prints. A similar lot, subjects include Norther Ireland, Iran, hospitals and health, etc. (a carton)

£300-500

536 Royal Liver Friendly Society, Liverpool. An album of eighty-two mounted gelatin sliver print photographs showing the construction of the Company’s purpose-made home, the Royal Liver Building, Pier Head, Liverpool, 21st February 1908 to 14th April 1910, some photos with construction workers and other figures including the laying of the Foundation Stone, 11th May 1908, mounted as pairs to rectos and versos, and mostly with contemporary ink captions to mounts beneath, approx. 15 x 20cm (6 x 8ins), manuscript title-page, some soccasional soiling and chipping to card mounts, contemmporary half morocco, some wear, backstrip deficient, oblong folio The Royal Liver Friendly Society, established in 1850, changed its name to Royal Liver Assurance Limited in 1994; it operates as a subsidiary of The Royal London Mutual Insurance Society Limited. The Royal Liver Building opened on 19 July 1911 and remains the Company’s headquarters. Along with the neighbouring Cunard Building and Port of Liverpool Building, it is one of Liverpool’s Three Graces which line the city’s waterfront.

(1) £200-300

Lot 536

174

175

176

537* Salas (Osvaldo, 1914-1992). A group of ninety-two gelatin silver print photographs, c. 1950-89, mostly printed c. 1990, various subjects including portraits of Che Guevara, Fidel Castro, Alicia Alonso and other Cuban subjects, plus portraits of Vo Thin Than, Nicolas Guillen, Gabriel Garcia Marquez, Maurice Chevalier, Yolanda Montez, Lopa Araujo, boxers Sugar Ray Robinson, Rocky Marciano, Archie Moore, Bob Feller, Ted Williams, Julio Cortazar, Geraldine Chaplin, portraits of pretty women and children, many in South America, a total of thirty-three large prints, 49.7 x 39 cm (19.5 x 15.5 ins), the remainder mostly 24.5 x 19.5 cm (9.5 x 7.75 ins) and similar sizes, mostly matte finish (eight glossy) and all on high quality photographic paper, all signed by the photographer to verso, the majority also with Spanish title and year in Salas's holograph From the collection of Sydney Higgins, a friend and writer. Sydney Higgins visited Cuba in 1987 in order to write a biography of Fidel Castro. The project never came to fruition but while there Sydney and his wife formed a lasting friendship with Salas. From then until the death of Salas Sydney formed his collection of Salas photographs. An interview by Sydney Higgins with Osvaldo Salas appeared in 'Professional Photographer', November 1990, pp. 42-44. Sydney Higgins organised an exhibition of Salas photographs in Camerino, Italy which ran from 20 June to 4 July 1992. Unfortunately, Osvaldo Salas died on 4 May, a month before he was due to fly to Italy. A copy of the exhibition catalogue (signed by Higgins) with text in Italian is included with the lot.

A full list of photographs in this lot is available on request and appointments for viewing this lot (contained in a cloth solander box) are advised and welcome.

(92) ÂŁ15000-20000

177

539* AR Snowdon (Lord, Antony Armstrong Jones, 1930-).

Ondine, 1970, vintage colour collotype print, a few minor surface marks, 42 x 32cm (16.5 x 12.5ins), together with a similar vintage colour collotype of an Arabian horse, 1967, minor surface marks and small scratch lower left, 32 x 28cm (12.5 x 11ins), both flushmounted on to wooden picture frames and signed ‘Snowdon’ in black felt tip lower right, plus a copy of Snowdon’s book ‘Assignments’, 1st ed., 1972, with two lengthy signed ‘Tony’ presentation inscriptions to Bob [Robert Lassam] to half and full titles, orig. cloth in sl. chipped d.j., oblong folio, plus an autograph letter signed ‘Tony’ and telegram (26 September 1972) from Snowdon to Lassam with thanks for his friendship and support, plus four unrelated photographs including reproduction and portraits of an unidentified man and woman knitting, two framed and glazed Provenance: Estate of Robert Lassam.

(10)

£300-500

538* Second Italo-Ethiopian War. A group of approx. 300 gelatin silver print photographs, real photo postcards, snapshots, etc., c.

1935/1936, mostly views and scenes in Ethiopia including Italian military and artillery, photographs including Haile Selassie and other Ethiopian officials, some captioned in Italian in ink to versos, mostly postcard size and smaller, plus a packet of approx. 150 related negatives, mostly 9 x 6cm The war was fought between the armed forces of the Kingdom of Italy and the Ethiopian Empire (Abyssinia). It resulted in the military occupation of Ethiopia. (approx. 450) £200-300

540* AR Snowdon (Lord, Antony Armstrong Jones, 1930-). Jenny Agutter as Bobbie Waterbury in ‘The Railway Children’, 1970, vintage chromogenic print mounted on card, head and shoulders portrait with full face and a floral pink bonnet, signed ‘Snowdon’ by the photographer in blue felt tip to verso, 44.5 x 39.5cm (17.5 x 15.5ins) Provenance: Estate of Robert Lassam.

(1)

Lot 539

178

£200-300

541 South Africa. An album of fifty-seven gelatin silver print snapshots, c. 1900s, mounted as multiples to rectos of sixteen stiff card leaves (eight blanks at rear), including local types, street and market views, Johannesburg, a few images identified or credited in the negative, many with pencil captions to lower mounts in English, images mostly 6 x 8cm (2.5 x 3ins) and mounted as fours, several leaves detached, some spotting, contemporary half morocco, some wear and joints split, oblong 8vo (1)

£300-400

542 South Africa. An album of thirty-four mounted gelatin silver print photographs, c. 1900, including twenty-three ethnographic groups of men and women, some identified as from the studios of J.E. Middlebrook or B.W. Caney in the negative, approx. 15 x 20cm (6 x 8ins) and smaller, plus fourteen smaller snapshots of South African views and scenes mounted as multiples on three pages, a total of fourteen leaves (plus one from a different album), contemporary cloth, broken and worn, small oblong folio (1)

£250-350

543 South Africa. An album of over 100 gelatin silver print photographs by Howard Hill, January-June 1903, showing the general manager’s house, the grounds, and the works of the Whitwatersrand GM Co. Limited, Knights, Transvaal [from manuscript title at front], including snapshots with family figures, a dozen later photographs towards rear, mostly 9 x 11cm (3.5 x 4.25ins) and mounted as pairs to each page with ink captions to card mounts beneath, one two-part panoramic photo of the central shaft headgear (8.5 x 23.5cm), a few later photographs carelessly damaged and removed, contemporary half morocco with cloth reback, monogrammed presentation inscription in gilt to upper cover, rubbed, 4to (1)

Lot 542 179

£100-150

545 Space. Apollo 12 70-mm Photographic Catalog, July 1970/Apollo 13 Photographic Data Package, December 1970/Apollo 14 Photography 70-mm, 35-mm, 16-mm, and 5-in. Frame Index, Parts 2 & 3, August 1971/Apollo Mission 14 Lunar Photography all published NASA, numerous b & w Indexes, June 1971, illustrations from photos, folding index plate loosely inserted into second volume, three large folding sheets stapled into final part, all original printed wrappers and stapled as issued, 4to (final volume slim narrow folio) (5)

£300-500

544 South Africa. An album containing approximately seventy mounted photographs, late 19th c., including six colour photographs of Madeira, 16.5 x 22.5cm, each with gilt title to lower margin, thirtytwo mostly albumen prints of South African views, scenes and local types, many with embossed stamp of J. Wallace Bradley, plus H.F. Gros, J.E.M., W.A. Simpkins and G.W.W., mostly approx. 14 x 19cm (5.5 x 7.5ins) and mounted one or two to a page, plus over thirty other UK, Germany, France and Switzerland interest, various sizes, plus several collotypes and two costume prints, mounted on thirty thick card leaves without captions, contemporary morocco, heavily rubbed, oblong folio (1)

£150-200

546* St. Helena. A group of nineteen albumen print photographic views of St. Helena, c. 1870, street scenes and views, approx. 14 x 20cm and smaller, plus two gelatin silver print panoramas of St. Helena, 10.5 x 30cm and slightly smaller, plus an original pen and ink sketch of a house and garden inscribed ‘Alarm Cot, St. Helena, May 1878’ to lower right corner, 14.5 x 21.5cm (22)

£100-150

547* Stereo views. An assorted group of approx. 130 mostly arched top albumen print views, late 19th c., some tinted, together with a hand-held stereoviewer with a few repairs (a small carton)

£100-150

548 Thailand. Picturesque Bangkok & Siam, published by Prom Photo Studio, New Road, Bangkok, n.d., c. 1920, forty gelatin silver print photographs mounted back-to-back on twenty album leaves within printed borders, showing temples, public buildings, street scenes, rural views and trades, all 10 x 14.5cm (4 x 5.75ins), uncaptioned and without index as issued, orig. printed wrappers with spine tie, closed tear to foot of spine, small oblong folio (21 x 29cm) Rare. WorldCat identifies three locations only, all in USA, at Connecticut, Virginia and California.

(1) £300-500

Lot 545 180

Lot 549

549 [Thomson, John & Smith, Adolphe]. Street Incidents: A Series of Twenty-One Permanent Photographs, with Descriptive Letter-press, 1881, twenty-one mounted woodburytypes, each approx. 115 x 90 mm or the reverse, mounted as issued on individual leaves with printed borders and captions in red, title-page and final page browned, some marginal spotting and dust-soiling, inner hinges near-broken, original green cloth with decorative stamping in gilt and black, rubbed, some wear to extremities, 4to First edition of this abridgment of Thomson’s pioneering work ‘Street Life in London’. The superb woodburytypes were made from Thomson’s original dry-plate negatives. The Truthful Lens 169.

(1) £2000-3000

181

550* Tibet. A pair of gelatin silver prints both signed ‘R. Hotz, Simla’ to negative, showing Buddhist monks, some wearing masks, recreating the traditions of pre-Buddhist Bon religion, circa 1910, pasted back to back on album leaf, some marginal splitting and surface scuffs, 21 x 28cm (8 x 11ins) One of the photographs was reporduced in Rawson, 1991; Sacred Tibet, p. 38.

(1) £100-150

551* Turkey. A large collection of 114 individual studio portraits of Turkish sultans and people, late 19th and early 20th c., including cabinet cards, cartes de visite and similar formats with studio details to mounts, some fading, soiling and occasional tears, various sizes, loosely contained in modern ring binder (1)

£700-1000

552 United Kingdom. A photograph album relating to the family of Reverend John J. Campbell MA, Vicar of Great Tew, Oxfordshire, c. 1880s, containing approx. eighty tipped in albumen print photographs, including a portrait (slightly creased and folded) of Campbell, images of Great Tew Church, vicarage, school house, Bulton Ton Cottage, the grave of J.J. Campbell at Wimborne, Dorset, plus buildings and views at Wimborne including photographs of a house called Farrs with exterior and interior views, similarly exteriors and groups of people at Cold Harbour, Andover, Hampshire, plus views of Scotland and a full-plate albumen print of a Saxon barn near Ardingley, Sussex, various sizes, ink captions to lower mounts and mounted as ones and multiples to paper album leaves, recent quarter calf over marbled boards with manuscript title to upper cover, oblong folio (1)

£150-200

553* United States of America. A pair of large salt prints of the Niagara Falls by Silas Holmes, c. 1850, oval prints on original mounts, one with embossed studio stamp to lower mount, the second mount closely trimmed, both a little soiled and one print with small indentations to centre of image, both approx. 29 x 37.5cm, tipped into modern window mounts, together with eight albumen prints of Yosemite by Taber of San Francisco, each approx. 20 x 30cm and similar (10)

Lot 551

Lot 552

£150-200

Lot 553

182

555* Warhol - The Factory. Joe Dallesandro and Geraldine Smith from the film ‘Flesh’, 1968, vintage C print colour photograph by film director Paul Morrissey (b. 1938), 51 x 49cm (20 x 19.25ins), laid on board The film ‘Flesh’ was Morrisey’s solo feature debut, produced by Andy Warhol and filmed at The Factory. It was the first of a trilogy of zero-budget experiments, roughly cut and with improvised acting by junkies, hustlers, and transvestites. Joe Dallesandro is generally considered to be the most famous male sex symbol of American underground films of the 20th century, as well as a sex symbol of gay subculture. His nickname “Little Joe” was used in Lou Reed’s song, “Walk on the Wild Side”, and concerned the characters Reed knew from Warhol’s studio, The Factory. Dallesandro also features on two famous record covers, the Rolling Stones album ‘Sticky Fingers’ and The Smiths eponymous debut album.

(1) £300-500

554* Vernier (Eugene ‘Gene’, 1920-2011). A large archive of material relating to the professional career of Vernier as a fashion and advertising photographer, many while at British Vogue, including cibachrome prints, colour photographs, gelatin silver prints, colour slides, tear sheets, etc., many photos signed, various sizes, many mounted a few framed (2 cartons)

£200-300

556* Yachting. A group of six framed and glazed gelatin silver prints of yacht racing by Beken & Son, Cowes, c. 1950s/60s, the largest 40 x 50cm “Crusade”, 40 x 29cm “Caribbee - 1952”, the remaining four including Stormy Ogel - Cowes Regatta 1961 and Chevalier Regatta 1964, all approx. 22 x 28cm and similar sizes, all but one with titles and credits in white to lower margin, one frame lacking glass (6)

Lot 555

183

£150-200

INFORMATION FOR BUYERS AFTER THE AUCTION Online results If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended.

Payment The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form.

Please note successful bids made via the-saleroom.com cannot be invoiced or paid for until the day after an auction.

A live bidding fee of 3% + vat will be added to your invoice.

METHODS OF PAYMENT Cheque Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted.

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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.

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Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

184

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS Libraries & Archives Dominic Winter

Medals & Militaria Henry Meadows

Fine Art, Sculpture & Design Nathan Winter

Aviation & Transport Collections Dominic Winter

Antiques & Furniture 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

Twitter @DWinterAuctions Facebook Dominic Winter Auctions

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 / firstname or info@dominicwinter.co.uk

www.dominicwinter.co.uk

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 the Auctioneer 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 best bid, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions.

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.

#

DOMINIC WINTER SPECIALIST AUCTIONEERS AND VALUERS Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461

COMMISSION SLIP Please Bid on my behalf at the sale on 9 October 2014 up to the amount shown.

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Lot ÂŁ Brief Description ______________________________________________________________________________________

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Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments are handed to third party shipping companies.

The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about one per hour from early until late. Several of the trains in each direction are direct and about half the services require a brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of ticket services and discounts.

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

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Taxis from Kemble Station (5 miles/10 minutes) Brian's Cabs Cirencester Radio Cars Cirencester Taxis

01285 655299 / 07980 579947 01285 650850 01285 642767

Taxis from Swindon Station (12 miles/25minutes) V-Cars

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

Photography by Ben Cavanna – 07968 342013 bencavanna@gmail.com

PRINTED BOOKS, MAPS & DOCUMENTS SIR WINSTON CHURCHILL SIGNED BOOKS Wednesday 12 November

HISTORIC AVIATION, MARITIME & TRANSPORT MEMORABILIA, ARMS & ARMOUR, MEDALS & MILITARIA, STAMPS & COINS Thursday/Friday 13/14 November

Sir Winston Spencer Churchill, The Second World War, 6 volumes, 1st editions, Boston & London, 1948-54, contemporary crushed blue morocco gilt by Sangorski & Stutcliffe and Morrell, 8vo.

Fine and important association set, volume 1 bearing a signed presentation inscription from the author: ‘To Ismay from Winston S. Churchill’ with an appended pen and ink doodle of a pug dog.

One of several important Churchill lots from the library of General Hastings Lionel "Pug" Ismay, KG, GCB, CH, DSO, PC (1887-1965), Winston Churchill’s chief military assistant during the Second World War. Estimate £10,000-15,000

Left: WWII. One from a group of four Allied World War II propaganda posters by KEM (Kimon E. Marengo).

Estimate £300-500

For further information and consigning advice please contact: Nathan Winter (Books & Pictures) Chris Albury (Ephemera & Photography) Henry Meadows (Medals, Militaria & Transport Collectables)