Dominic Winter Auctioneers

FINE ART & ANTIQUES 13/14 OCTOBER 2021

Historic Aviation Medals, Militaria and Maritime Memorabilia WEDNESDAY 17 NOVEMBER 2021

A 19th century carved merchantman’s figurehead circa 1840.

The figurehead probably representing the ship owner’s wife or daughter (part of a nautical collection included in the sale).

Estimate £2,000-3,000

For further information and to consign please contact Henry Meadows henry@dominicwinter.co.uk Tel: 01285 860006

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BRITISH & EUROPEAN PAINTINGS OLD MASTER DRAWINGS & PORTRAIT MINIATURES 20TH CENTURY PICTURES & PRINTS 13 October commencing at 10am

ANTIQUES & HISTORIC TEXTILES 14 October commencing at 10am AUCTIONEERS

Nathan Winter Henry Meadows

VIEWING

Monday & Tuesday 11/12 October 9.30am-5.30pm Morning of sales from 9am (other times strictly by appointment)

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

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IMPORTANT SALE INFORMATION AUCTION DETAILS COMMENCING

10.00 am

VIEWING

Monday & Tuesday 11/12 October 9.30am-5.30pm Morning of sales from 9am (other times strictly by appointment) Tel: 01285 860006 info@dominicwinter.co.uk

CONDITION REPORTS Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 | E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite.

Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot.

The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50%

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

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

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

For payment arrangements please refer to information for buyers at rear of this catalogue.

We would kindly request that commission bids are submitted by 9.30am on the morning of sale.

BIDDING Customers may submit commission bids or request to bid by telephone in the following ways: T: +44 (0)1285 860006. |. E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk Live online bidding is available on our website www.dominicwinter.co.uk (surcharge of 3% + vat): a live bidding button will appear 30 minutes before the sale commences. Bidding is also available at the-saleroom.com (surcharge of 4.95% + vat) and invaluable.com (surcharge of 3% + vat).

POST-SALE For payment information see our Information for Buyers page at the rear of this catalogue.

For details regarding storage, collection, and delivery please see our Information for Buyers page or contact our office for advice. Successful bidders will not incur storage fees while current government restrictions remain in place.

All lots are offered subject to the Conditions of Sale and Business printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 20% of the hammer price is payable by the buyers of all lots, except those marked with an asterisk, in which case the buyer’s premium is 24%.

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CONTENTS Day One

Day Two

FINE ART

ANTIQUES

Old Master Paintings, Drawings & Prints

1-53

Silver

205-222

Portraits & Miniatures

54-88

Jewellery

223-231

19th Century Paintings & Prints

89-107

Coins

232-238

British Landscape Watercolours 1770-1900

108-132

Collectables

239-283

19th Century Watercolours, Drawings & Prints

133-154

Glass

284-292

Far Eastern & Indian Art

155-160

Oriental Works of Art

293-315

Tribal Art

316-323

Fossils

324-337

Furniture and Pianos

338-354

Textiles

355-417

20th Century Paintings, Watercolours & Prints 20th Century Prints

SPECIALIST STAFF

161-191 192-204

Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Natasha Broad MA (History of Art) Colin Meays BA Hons (Conservation) Antiques & Textiles Henry Meadows BA Hons, MRICS Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation)

Nathan Winter

Henry Meadows

Colin Meays

Susanna Winters

Tel: 01285 860006 info@dominicwinter.co.uk

Cover illustrations: Front cover: lot 17 Back cover: lot 271

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

Photography by Marc Tielemans – 07710 974000 | marc@tielemans.co.uk Darren Ball – 07593 024858 | darrenball1989@gmail.com

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James Stuart & Nicholas Revett. The Antiquities of Athens, Measured and Delineated, 4 volumes, 1st editions, 1762-1816, 319 engraved plates including 2 portrait frontispieces and a folding hand-coloured map of Greece, some spotting and browning, pages uncut, contemporary quarter sheep over marbled boards, worn, folio (550 x 390mm) Provenance: Denham James Joseph Cookes (1777-1829), rector of Stanford and vicar of Clifton-on-Terne, Worcestershire (bookplate); Margaret Graves (signature, 1806); Donald Struan Robertson FBA (1885-1961), classical scholar and Regius Professor of Greek at the University of Cambridge (inscription by Giles Robertson); Professor Giles Henry Robertson FRSE RSA (Hon) (1913-1987), art historian and expert on the Italian Renaissance (bookplate); Caroline Robertson and Jeremy Gould (gift inscription by Giles Robertson).

First edition of the first accurate survey of the classical buildings of Athens and one of the most important architectural books of the century. Stuart was responsible for the measured drawings and Revett for the topographical views. A fifth supplementary volume was published in 1840. Blackmer 1617; Cicognara 2713; Fowler 340; Harris 857.

10 November 2021: £3,000-5,000

FORTHCOMING SALES IN 2021 Wednesday 10 November

Printed Books, Maps & Documents The Sinclair Hood Library of Greek Archaeology Early English & Continental Books from a Private Collection (Part II)

Wednesday 17 November

Historic Aviation, Medals & Militaria including Maritime Memorabilia

Thursday 18 November

19th and 20th Century Photography

Wednesday 15 December

Printed Books, Maps & Documents Bookbinding Equipment, Finishing Tools & Materials

Thursday 16 December

Children’s & Illustrated Books, Modern First Editions Literary & Musical Autographs, Playing Cards

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

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

1* Carducho (Vicente, 1576-1638). Holy Family with Saint Catherine, Mary Magdalen and Saint Luke, circa 1630-1638, pen and black ink and brown wash on laid paper, laid down on somewhat rough canvas and retouched with oil, with inscription ‘2 R ... 14’ and small red printed collector’s mark of Charles Gasc (Lugt 542) to lower margin, inscription by Charles Gasc to canvas verso in brown ink: ‘Cano (Alonzo Alexis) ne a Grenade le 19 Mars 1601 mort le 3 Octobre 1667, élève de Pacheco a Seville, de J. del Castillo et de Herrera. Dessin achete 10,20 a Seville en 1859. H=0m25 L=0m19.6 C. Gasc’, additional late 19th century French printed label to verso of frame, giving the artist as:’Murillo (Esteban). Elève de Velazquez. Sainte Famille. Belle esquisse sur toile, qui a ete reproduite en grand’, another collector’s mark printed in black to lower edge of the frame verso of an anchor and caduceus within a circle, 26 x 21cm (10 1/4 x 8 1/4ins), gilt frame Provenance: Charles Gasc (circa 1818-after 1869), French collector of Old Master drawings, in collaboration with his brother Paul-Emile Gasc. Purchased in Seville in 1859 (see annotation to verso of the canvas); possibly sold Paris, Delbergue, 17 January 1865 (151 lots); Christie’s London, Old Master and 19th Century Drawings, 3 July 2007, lot 74.

Comparable, in composition, handling and physiognomy, to Carducho’s drawing of The Holy Family with Saints (Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, 60.1) now in the Prado, which was made in preparation for a painting now in an English private collection (A.E. Pérez Sánchez and L. Boubli, Dessins Espagnols, Maîtres des XVIe et XVIIe siècles, Paris, Louvre, 1991, number 27).

Literature: Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, CEEH/National Library of Spain, 2015, 60.3.

See Laurence Lhinares, The Brothers Paul-Emile and Charles Gasc As Collector of Drawings, Master Drawings, volume 52, number 1, 2014, pages 95-110 for further information on Charles Gasc.

(1) £700 - £1,000

5

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2* Circle of Federico Zuccaro (circa 1543-1609). Head of a Boy with a Ruff, circa 1600, oil on wood panel, 107 x 74mm (4 1/4 x 3ins), inset 19th century velvet-lined decorative frame (22 x 20.5cm) Provenance: Private collection, Wiltshire, England.

(1) £500 - £700

3* Dutch School. Dutch galleons on choppy seas, one firing a report, a coastline with windmill on the horizon, 17th century, oil on panel, 47 x 61cm (18 1/2 x 24ins), in ornate gilt frame 63 x 77cm (a few losses to gilded plaster Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1) £700 - £1,000

Lot 2

Lot 3 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

6

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4* Flemish School. Adoration of the Magi, 17th century, oil on copper with gilding, 20.8 x 16.9cm, framed, 28.5 x 28.4cm (1)

£700 - £1,000

5* Salvator Rosa (1615-1673). An extensive mountainous landscape with hunters, oil on canvas, 49.3 x 67.3cm (19 3/8 x 26 1/2ins) Provenance: John Nicholas Coulthurst (1791-1862), of Gargrave House, West Riding of Yorkshire, before 1900, as 'Rosa' (according to a label on the reverse); Mrs. J. Coulthurst, Skipton, Yorkshire; with Thomas Agnew & Sons, London and Manchester, before 1932; Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge; offered at Christie's, Chieveley House and Five Private Collections, 19 March 2020, lot 264.

(1) £2,500 - £3,000

Lot 4

Lot 5 7

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6* Attributed to Sir Joshua Reynolds (1723-1792). Child's Head, after Antonio da Correggio (1489-1534), oil on canvas, 44.5 x 36.2cm (17 1/2 x 14 1/4ins), with Christie’s stencilled auction number 266SR to verso, framed in ornate gilt moulded frame with moulded vine motif, glazed (62 x 49cm) Provenance: Duke of Marlborough by 1860; his sale, Christie's 31 July 1886, lot 215, bought anonymously, £7, 7s; private collection, USA; sold Christie's, 19 June 1970, lot 129 (Christie’s stencilled number 266SR to verso); private collection, Warwickshire, England.

Literature: David Mannings and Martin Postle, Joshua Reynolds, A Complete Catalogue of his Paintings (New Haven and London, 2000), number 2217 (Child's Head, after Correggio, private collection).

This work is included in the catalogue raisonne of Reynolds' paintings referred to above, where the authors state that this work is 'alleged to be a copy after a head of a putto in one of the pendentives of the cupola in S. Giovanni Evangelista, Parma'. Reynolds is known to have been in Parma in July 1752. We are grateful to Martin Postle for his assistance in identifying the work and it's catalogue entry.

(1) £2,000 - £2,500

7 Ibbetson (Julius Caesar, 1759-1817). Peasant women with a donkey, a suckling calf and haymakers in an extensive landscape with a river and mountains beyond, circa 1790-1800, oil on panel, with a printed label on the reverse with attribution and title, 33.5 x 46cm (13 1/4 x 18 1/8ins), in a gilt frame (51 x 64cm) Provenance: with David Brooker Fine Art, Surrey.

(1)

Lot 6

Lot 7 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

8

£700 - £1,000

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8* Attributed to Biagio Pupini (circa 1496-circa 1575). Nymph pouring water from an urn aided by putti, after Giulio Romano (14991546), pen and brown ink, brown wash with lead white and white chalk on pale blue paper, or ‘carta azzurra’, with a further composition to verso of the Madonna and Child with infant Saint John, brush and brown wash, and lead white and chalk, inscribed in an early hand to recto lower right in brown ink: R. Urbino, and with collector’s mark (Lugt 2092) to lower right corner of Sir Peter Lely (1618-1680), some minor marks to sheet edges, sheet size 270 x 397mm (10 5/8 x 15 5/8ins), together with the lower edge only (23 x 287mm) of an old (17th century) laid paper mount for the present work, with double rule border and inscription ‘Raffaello d’Urbino’ to centre and ‘iv 3’ towards right corner in brown ink, and ‘Biaggio’ in a later hand in dark brown ink to the left 5/8 Provenance: Sir Peter Lely (1618-1680), court painter to Charles II of England (Lugt 2092); Private collection, Wiltshire, England.

Lely was one of the first great collectors of art in Britain, amassing an important collection that included 10,000 prints and drawings and nearly 600 paintings.

The present work is a copy after the painted ceiling caisson, or sunken panel, in the Sala di Amore e Psiche at the Palazzo del Te in Mantua, Italy, by Giulio Romano (1499-1546), depicting a nymph pouring water from an urn aided by putti, completed in 1528. Biagio Pupini is mentioned only incidentally by Vasari in his life of Bartolomeo Ramenghi (called Bagnacavallo, 1484-1542), with whom he worked in Bologna. Pupini also worked alongside Girolamo da Carpi in 1537 on the frescoes of the Sala delle Vigne at the d’Este villa of Belriguardo, outside Ferrara. Malvasia’s biography of the artist in his Pitture di Bologna (1686) lists several paintings by Pupini, almost all of which are lost or destroyed. As a consequence it is Pupini’s distinctive drawings, often on prepared or coloured paper and employing extensive white heightening, which reflect the influence of both Raphael and Polidoro da Caravaggio, Parmigianino and Girolamo da Carpi. Pupini is known to have drawn numerous copies after the antique masters, as well as Raphael and his followers.

The only major Renaissance artist who was a native of Rome, Giulio Romano was Raphael’s chief pupil and assistant and later one of the outstanding figures of Mannerist art and architecture. Giulio began working for Raphael around 1515, when he was still very young; after the master’s death in 1520 he became his main artistic executor, completing a number of his unfinished works.

(1) £2,000 - £3,000

9

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9* Follower of Raphael Sanzio (da Urbino, 1483-1520). Infant Saint John baptising seated Christ child holding a palm branch, pen and brown ink laid down on paper, sheet size 36 x 34mm (1 3/5 x 1 3/8ins), 19th century ebonised decortive frame, glazed (11.5 x 10ins) Provenance: Private collection, Wiltshire, England.

(1)

£500 - £700

10* German School. Head of a Wild Man, 16th century. Pen and black ink on a brown-pink propared laid paper, some marks and light soiling, indistinct contemporary inscription in brown ink to lower right margin, laid on on modern card, sheet size 164 x 121mm (6 1/2 x 4 4/5ins) Provenance: Private collection, Wiltshire, England.

According to the present owner, this drawing was tentatively attributed to the Austrian artist Wolfgang Huber (circa 1490-1553) or his circles, by John Rowlands, former keeper in the department of prints and drawings, British Museum.

(1) £1,500 - £2,000

Lot 9

11* German School. Saint Christopher carrying the Infant Christ, 16th century, pen and black ink on laid paper, being a partial and free copy after a mid 16th century German copper engraving of the same subject, with printed intitials towards the top margin I. H., drawn to verso of an impression of the print, some marks and restoration to sheet edges, bears collectors mark of L. Lépingle (Lugt 1731), sheet size 129 x 83mm (5 1/8 x 3 1/4ins), mounted Provenance: L. Lépingle (died around 1903) of Brussels; private collection, Wiltshire, England (1) £300 - £500

Lot 10

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

10

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12* Attributed to Giovanni Lanfranco (Parma 1582-1647 Rome).

Study for the Transfiguration, black chalk heightened with white on grey-green, fibrous laid paper, in very good condition, very faint striations of pen and brown ink, a few tiny ink spots towards the upper sheet edge, hinged to a sheet of laid paper with decorative frame drawn in with pen and brown ink, inscribed in pencil 'École Italienne / XVI e scle', sheet size 28.6 x 19cm (11 1/4 x 7 1/2ins), framed and glazed (44.5 x 34cm)

13* Follower of Giovanni Lanfranco (1582-1647). Saint Anthony in the wilderness, pen and dark grey ink and grey wash on fine laid paper, inscribed 'Gio lanfranco' in pen and brown ink verso, in very good condition, pale scattered foxing recto and verso, pale discolouration in the blank area framing the subject, two tiny nicks, minor thinning and a small rust mark at the upper sheet edge, unobtrusive diagonal crease (a printer's crease inherent to production), sheet size 27.4 x 19.2cm ( 10 3/4 x 7 1/2ins), framed and glazed (38 x 29.7 cm, 15 x 11 3/4ins)

Provenance: Private collection, Warwickshire, England.

Lanfranco is known for a number of paintings of the Transfiguration of Christ (particularly ceiling frescoes in which figures are most often viewed suspended in the air), such as the version in the Certosa di San Martino in Naples, or the oil painting of this subject in the Galleria Nazionale d'Arte Antica in Rome.

(1) £1,000 - £1,500

Provenance: Private collection, Warwickshire, England.

(1)

11

£300 - £400

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14* Attributed to Stefano della Bella (1610-1664). Griffins guarding a martial cartouche, a hunting dog chasing a hare on the first tier; two eagles supporting a banner with a Roman trophy on the second tier; and two chained dogs, a dog eating grapes and a Roman trophy, probably early 18th century, fine pen and brown ink on laid paper, lined with laid paper with a pen and ink border in brown and rose ink, with an indistinct watermark, sheet size 12.2 x 20.4cm (4 3/4 x 8ins) framed and glazed (39 x 31.3cm) Provenance: Unidentified owner (partial printed collector's mark of intertwined initials LL or LZ within a black oval, not in Lugt); Weschler's Auctioneers, Washington DC, where purchased in 1972 for $80.

We are grateful to Dr Peter Fuhring of the Fondation Custodia, Frits Lugt Collection for pointing out that all the different elements of the drawing are inspired by three etchings from the series of 16 by Stefano della Bella, Ornamenti et fregi e fogliami, published in Paris shortly after 1647 (see A. de Vesme and P. Massar, Stefano della Bella, Catalogue Raisonné, New York, 1971, numbers 990, 992, and 995). The drawings are in the same direction as the etchings.

(1) £800 - £1,200

15* Attributed to Pietro Bernardi (circa 1585/90-1623). A young saint kneeling, pointing heavenwards, black chalk heightened with white on fibrous buff laid paper, sheet 41.0 x 27.8cm (16 1/8 x 10 7/8ins); together with Mary Magdalene in Penitence (?), black chalk heightened with white, and to verso Study of a putto’s leg, black and sanguine chalks with extensive heightening in white, on grey-green, fibrous laid paper, 273 x 415cm (1 study on one sheet and 2 studies on one sheet) Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

12

£1,500 - £2,000

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Lot 15

13

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16* Circle of Jan Breughel (1568-1625). Three Peasants, probably late 16th or early 17th century, pen, ink and brown wash on laid paper, with additional unfinished study of three carthorses in pen, brown ink and brown wash, inlaid to later laid paper (probably 18th century), inscribed in a 20th century hand in pencil ‘?Breughel’ some surface marks and light soiling, sheet size 98 x 140mm (3.85 x 5.5ins), framed and glazed (1)

£200 - £400

Lot 16

17* Attributed to Remigio Cantagallina (Florence 1582-1630). View of Pisa with a canal, pen and umber ink with brown wash on fine laid paper with inked in borderline, partially examined verso, a couple of small minor splits visible in the paper, some scattered foxing, the paper lined with Japan, sheet size 222 x 335cm (8 3/4 x 13 1/4ins), framed and glazed (35.5 x 45.5cm) The present work bears a close relationship to drawings by the artist held in the British Museum, for example 'A wooded landscape with a tower by a bridge, a tree in the foreground to left' of 1625 (accession number 1946,0713.709). The use of brown wash is also reminiscent of that in 'A Boat in a Harbour', sold with Stephen Ongpin Fine Art, London.

(1) £1,500 - £2,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

14

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19* Attributed to Pietro Bernardi (c. 1585/90-1623). St. Francis receiving the Stigmata with figures cowering beneath his cloak, black chalk heightened with white, together with Head of a young woman in a helmet (possibly Minerva) verso, black and sanguine chalks heightened with white, and Studies of an arm, hands gripping a spear, and a calf and foot, verso in black, white and sanguine chalks on fibrous, grey-green laid paper (3 studies on one sheet, 57.2 x 43cm, 22 1/2 x 16 7/8ins) Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1) £1,000 - £1,500

18* Follower of Domenico Zampieri, Il Domenichino (1581-1641).

Study of a male figure, possibly for a Transfiguration or Ascension scene, with a separate study of hands; and Study of an angel kneeling upon clouds, holding a palm and with upraised forefinger, black chalk heightened with white, on fibrous grey-green laid paper, the first with an initials RO watermark, the sheet slightly unevenly trimmed, a few small brown stains, a few pin holes towards the left sheet edge, minor handling creases, faint waterstaining towards the lower sheet edge at the upper right corner tip, generally in very good condition, sheet size 295 x 194mm, the second black chalk heightened with white on fibrous grey-green laid paper, sheet 412 x 266cm

20* Circle of Giorgio Vasari (1511-1574). Battle scene with pikebearers, pen and brown ink and wash, inscribed verso 'Matteo Rosselli / Vasari for fresco / Pal Vecchio' in pencil, on laid paper backed with laid paper, a few losses to the paper not affecting the main body of the subject, a central vertical crease inherent to paper production, sheet size 24.5 x 27.3cm (9 5/8 x 10 3/4ins), framed and glazed (41.5 x 43.5cm) Provenance: Private collection, Warwickshire, England.

The present work may derive from Vasari's well-known frescoes of battle scenes in the Salone dei Cinquecento (or Hall of the 500) in the Palazzo Vecchio, Florence, executed in the 1560's.

(1) £500 - £800

Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(2) £1,000 - £1,500

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21* Italian School. Study of a Young Boy Reaching Upwards, 17th century, red chalk on laid paper, laid down on old card, with pale blue wash outer border, and ruled borders in black ink, sheet size 49 x 39cm (19.25 x 15.25ins), backing sheet 56.5 x 46cm (22.25 x 18.1ins) (1)

£200 - £400

22* School of Carlo Maratta (Camerano 1625-Rome 1713).

Seated male figure, black chalk heightened with white, recto; and Group of Women and Children, verso, graphite on firm, fibrous grey-green laid paper, watermark Initials OW or OV, bearing inscription in pen and ink recto 'Carlo Maratta P...S (?)' and bearing the initials 'C-V' in pencil verso, in good condition, unobtrusive flattened creases where previously folded, an ink stain at left of subject recto, sheet size 20.5 x 26.8cm (8 x 10 5/8ins), framed and glazed 31.5 x 38cm Provenance: Purchased from E. Plan in 1972 for $500; Private collection, Warwickshire, England.

According to Margaret Morgan Grasselli of the National Gallery of Art, Washington, the Group of Women and Children on the reverse of this drawing is likely to be a studio copy, perhaps by one of Maratta's assistants or pupils.

(1) £300 - £500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 22

16

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23* Attributed to Conrad Martin Metz (1749-1827). Apollo playing his Lyre to an assembled group of figures in a clearing by a stream, pen, black ink and grey wash on laid paper, unsigned, sheet size 263 x 362mm (10 1/4 x 14 1/4ins), laid down on old backing card, modern cream card window mount (1)

£300 - £500

24* Attributed to Pier Francesco Mola (Coldrerio 1612–1666 Rome). Holy Family with Saint Joseph and Saint John the Baptist, pen and brown ink and wash on buff laid paper, collector's mark in red of William Bates (Lugt 2604), a skilfully repaired tear towards the upper sheet edge, a tiny filled in loss towards the lower sheet edge, lined with fine laid paper with crowned initials GR (the backing paper was produced under the reign of King George III), sheet size 19.3 x 29.6cm (7 5/8 x 11 5/8ins), framed and glazed (35 x 44.5cm) Provenance: William Bates (1824-1884), English professor at Queen's College Birmingham, whose collection was sold at Sotheby's London, 19 January 1887 (Lugt 2604); Private collection, Warwickshire, England.

(1) £1,000 - £1,500

Lot 23

Lot 24

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Lot 25

25 Circle of Pierfrancesco Mola (1612-1666), The Rest on the Flight into Egypt, pen, brown ink and brown wash on laid paper, sheet size 27.6 x 19.0mm (10.9 x 7.5ins), inlaid to 19th century backing paper with double rule outer framing border in brown ink, bearing initials and date '1726 / c.t.' in pen and brown ink verso, with the stamps of Heneage Finch, 4th Earl of Aylesford (Lugt 58), lower right corner of backing paper, and of Robert Low (Lugt 2222), at lower centre of backing paper Provenance: Heneage Finch, 4th Earl of Aylesford (1751-1812) Lugt 58; Robert Low (1838-1909) Lugt 2222; Mark Oliver (1899-1987) of Savile Gallery, London, thence by descent.

Putatively, according to facsimile label on back board of frame: Giovanni Battista Tiepolo (1727-1804); Sommasco Convent, Santa Maria della Salute, Venice; Count Leopoldo Cicognara (1767-1834); Antonio Canova (17571822); Francesco Posaro; Collection of Edward Cheney (1803-1884) of South Audley Street, London, and Badger Hall, Shropshire.

The facsimile handwritten note by Edward Cheney on the back of the original frame (cf, Lugt 444) reads: "This collection was collected by G.B. Tiepolo himself and given by him and his son for the Library of the Sommasco Convent (S. Maria della Salute (at Venice) in which he was professed. At the suppression of the Convents the volumes fell into the hands of Cicognara by whom they were given in an exchange to Canova from whom they passed after his death to Maestro Canova his brother, by him they were sold to Sigr. Francesco Posaro & by him to me. E.C. Venice 1842".

One of Cheney’s albums of Italian drawings, presumably purchased following the death of Robert Low in 1909, whose stamp is printed on the 19th century backing paper of the drawing, formed the basis of an exhibition of Tiepolo drawings in May 1928 at the Savile Gallery in London, run by Mark Oliver and Richard Edward Arnesby ('Ted') Wilson.

(1) £1,000 - £2,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

26* Attributed to Pierre Paul Prud’hon (1758-1823). Cupid and Psyche, black chalk heightened with white chalk on pale blue laid paper, some light spots, and one or two horizontal creases to upper portion of the sheet, inscribed in black chalk in an early hand to verso P. P. Prud’hon, sheet size 225 x 162mm (8 9/10 x 6 4/10ins), mounted (to left and lower edges only), on 19th century backing card with outer ruled borders in gold, black and red, some marks and slight losses to edges of the backing sheet Provenance: Jean-Marc Delvaux, Paris, Mobilier, dessins et Peintures, Bijoux: Succession du Dr Sophie Saint-Rapt, 28 March 2001, lot 12.

(1) £300 - £500

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28* Attributed to Giovanni Francesco Romanelli (1610-1662). Moses striking water from the rock, circa 1640-50, large-scale composition in pen and brown ink with brown wash over black chalk, on two conjoined sheets of laid paper, with watermark of an anchor within a circle with letters (J M ?) and star above (similar to Gravell Anchor 440.1 or 442.1), additional studies in black chalk of Carita Romana to verso, neat archival restorations to sheet edges and central crease, with some small losses, sheet size 390 x 532mm (15.3 x 21ins) Provenance: Chiswick Auctions, Old Master Paintings and Drawings, 27 August 2020, lot 31.

Drawings by Romanelli are often executed in pen and brown wash over black chalk, as here. The present work may relate to the series of four paintings on the life of Moses by Romanelli’s teacher Pietro da Cortona, and Nicolas Poussin, commissioned by Amadeo dal Pozzo, Marchese di Voghera of Turin, a cousin to the scholar, antiquary and secretary to Cardinal Barberini, Cassiano dal Pozzo.

For a similar work see Ciro Ferri (1634-1689), Moses striking water from the rock, black chalk, (Royal Collections Trust, Blunt & Cooke, The Roman Drawings of the XVII and XVIII Centuries in the Collection of Her Majesty the Queen at Windsor Castle, 1960, 125). An engraving after this drawing by the printmaker Pietro Aquila (1650-1692) was published by Giovanni Giacomo de Rossi in Rome in the 1670’s.

After first studying under Domenichino, Romanelli entered the studio of Pietro da Cortona, whose style greatly influenced his own. From 1631, while working as Cortona’s assistant on the decoration of the Palazzo Barberini in Rome (purchased in 1625 by Maffeo Barberini, later Pope Urban VIII), Romanelli contributed to the major ceiling fresco of Divine Providence as well as the decoration of the private chapel, where the Adoration of the Shepherds is generally attributed to him in its entirety (1632-39). Pope Urban VIII also commissioned Romanelli for a number of other works intended for the Vatican: the St Peter Healing the Sick, now in the Museo Storico Artistico, Vatican (1636-37), the frescoes depicting the life of Matilda of Tuscany (for the Sala della Contessa Matilda,1637-42), and the ceiling fresco Pasce oves meas for the Galleria delle Carte Geografiche (1638). The Presentation of the Virgin in the Temple, painted in 1638-42 for the Cappella Colonna in St Peter’s (now in Santa Maria degli Angeli), was the artist’s first major public altarpiece.

As superintendent of the Barberini tapestry manufactory, Romanelli also made cartoons for the series of seven tapestries of Putti with Swags, in imitation of Raphael’s famous set of tapestries made for Leo X, as well as the cartoons for a second series of tapestries representing the Life of Christ, in the Palazzo Barberini, Rome (both series 1637-43).

(1) £500 - £700

27* Roman School. Nymph chased by a Satyr, with Cupid and two Putti, first half 17th century, pen and brown ink, grey wash, heightened with black chalk, on oval laid paper with watermark of a fleur-de-lys within a double-rule circle, depicting a young female taking flight from a satyr appearing from some rushes, with two putti seated nearby and a cupid with bow in the sky above, some marks and light general soiling, several stains and small nicks to sheet edges with minor loss, tipped on to early-mid 20th century cream backing paper, inscribed at foot in pencil (by a framer) with owner’s name ‘Mr Epstein 60 Compayne Gdns’, also inscribed in black ink to lower left ‘540 18 1/4 x 15 1/4’, sheet size 358 x 295mm (14.1 x 11.6ins) Provenance: Epstein Collection (60 Compayne Gardens, West Hampstead, London).

(1) £200 - £300

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29* Hussey (Giles,1710-1788). Roman bust of Caligula, from threequarter profile to profil perdu, sanguine chalk on fine laid paper with watermark initials HR, 37.5 x 23cm (14 3/4 x 9 1/8ins), in good condition, taped to the mount verso, framed and glazed, inscribed on reverse of frame 'Probably from album of thirty drawings selected

by Benjamin West 'Coll: Lord Manchester P.Q.' (50 x 35.5cm) Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

The artist, most famed for creating the first, highly finished portrait drawings of Prince Charles Edward Stuart, 'The Younger Pretender', also produced fine neoclassical line drawings such as the present work. It is akin to the thirty-six drawings loosely inserted in a folio album of eighteenthcentury red morocco, with the arms of the Duke of Manchester, which was sold to Paul Mellon, Upperville, VA in 1967, who presented it to the Yale Center for British Art (B1977.14.2825V). An end-paper was inscribed: “The extraordinary outlines contained in this book (by Hussey) were selected by Benjn West as some of the best specimens of the artist.” The American artist Benjamin West (1728-1820) was a fervent neoclassicist, patronised by George III. Our drawing is the same size as the sanguine line drawing, a Head of Pan, now in the British Museum, 2015,7087.2, which was removed from the album before sale. The album, now containing 35 drawings, includes pen studies of the Laöcoon, other statues and a series of red chalk outlines of Roman emperors, Greek philosophers and statesmen. Tate Britain holds other examples of the artist’s neoclassical drawing (1) £200 - £300

30* Circle of George Romney (1734-1802). A group of oppressed male and female figures, brown ink and red chalk on pale buff textured laid paper, inscribed in brown ink to lower right corner with the date July 1781, two additional sketches in brown ink to verso, of a cardinal or bishop, and a young mother cradling an infant, sheet size 48 x 32cm (19 x 12 1/2ins), hinge-mounted in modern cream card window-mount, with 20th century pencil inscription to lower corner ‘George Romney’, together with another pen, brown ink and brown and pale blue wash study on paper of a family group in supplication, edges unevenly trimmed and several closed tears to margins, laid down on old pale brown textured backing paper, inscribed in pencil to verso with the date 1785, sheet size approximately 36 x 25cm (14 1/4 x 9 3/4ins), hinge-mounted in 20th century cream card window mount, with 20th century inscription in pencil to lower corner ‘George Romney’ Provenance: Cyril & Shirley Fry. Sold as lot 11, in Chiswick Auctions, Cyril & Shirley Fry: A Life in Art, 9 July 2021.

(2) £300 - £500

Lot 29

Lot 30 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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31* Van Loo (Carle, 1705-1765). Academy study: Reclining male nude with raised arm, red chalk on cream laid paper, single-rule framing line in brown ink to outer borders, signed in brown ink to lower right, some marks, and a closed tear towards the upper right margin, without loss, sheet size 535 x 350mm (21 x 13 3/4ins), laid down on gold backing old laid paper backing sheet A similar male life study in red chalk on paper of the same size was sold by Sotheby’s, Old Master & British works on paper 3 July 2019, Lot 330 (1) £1,000 - £1,500

32* Baratta (Antonio, 1724-1787). Dessein du Spectacle, que leurs Excellences Messeurs Nicolas Michieli, et Philipe Calbo Sages préposés au Trésor, ont donné par décret du Senat au Grand Duc, et à la Grande Duchesse de Russie, dans le très Noble Theatre à S. Benoit le 22 Janvier 1782, etching and engraving on laid paper, after Giambattista Canal (1745-1825), with later hand-colouring, some old restoration and small holes, with a little loss to centre of the image, marks and light soiling to margins, plate size 50 x 62.5cm (19 5/8 x 24 5/8ins) (1)

£300 - £500

Lot 31

Lot 32

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34* Beham, Hans Sebald (1500-1550). St Anthony the Hermit, 1521, engraving on laid paper, a very good impression on a laid paper support, trimmed to the subject, tiny losses at the lower corners with a tiny associated repair lower right, in good condition, 9 x 6.2cm (3 1/2 x 2 1/2ins), framed and glazed Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

Hollstein 64.

(1) £200 - £300

33* Bartolozzi (Francesco, 1727-1815). Bacchanal of seven children with wine barrel, & Bacchanal of nine children at play with a goat and satyr, 1765, mixed-method engravings on laid paper by Bartolozzi after Marcantonio Franceschini (1648-1729), printed in two colours, plate size 31 x 44cm (12.25 x 17.25ins), sheet size 34.5 x 47cm (13.5 x 18.5ins), framed and glazed Calabi & De Vesme 1255 & 1256.

(2)

£150 - £200

35* Bloemaert (Cornelis, circa 1603-1692). The Temptation of St. Anthony, engraving on laid paper, after Abraham Bloemaert, with engraved inscription at foot ‘Daemonis Antoni Frustra & verbera tentant, Nam praecibus vincis praebet solamina Christus’, one or two faint creases, trimmed to plate mark, sheet size 163 x 110mm, together with four other smaller copper engravings, including Lucas van Leyden, St. Andrew, circa 1510 [but later], a copy in reverse on laid paper, trimmed to plate mark (see new Hollstein 89, Marcantonio Raimondi, The Last Supper after the woodcut from the Small Passion by Albrecht Durer), a copy in reverse on laid paper, and two engravings after Hans Sebald Beham (Fortuna, and Standard Bearer and Drama), probably 19th century Hollstein, Dutch 39a.

(5)

Lot 34

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£100 - £150

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Lot 36

Lot 37

36* Buffagnotti (Carlo Antonio, 1660-(c.1715). Four etched plates of stage designs (including three for the spectacle entitled Endimione): Facciata della reggia di Diana con fonti e platani, Capanna di Silvano con Amore in una gabbia, Tempio di Diana, and Design for a Stage Set, after Ferdinando Galli Bibiena (Bologna 1656 – 1743 Bologna), circa 1699-1710, four etchings, fine vibrant impressions with an indistinct, circular watermark, with margins (the first two plates trimmed on the platemark at left), all generally in very good condition, a few minor flattened folds and minor surface dirt (printer's creases inherent to production), the first plate with a small stain in the lower margin and small wormhole with associated staining at right, the second plate with the lower right corner tip lost, size of each etching respectively: platemark 24.8 x 25.2cm, sheet size 33 x 26.5cm; platemark 25.2 x 25.6cm, sheet size 33 x 31.3cm; platemark 26.2 x 26.3cm, sheet size 33 x 28.2cm; and platemark 25 x 18.3cm, sheet size 33 x 20.9cm

37* Castiglione (Giovanni Benedetto, 1609-1664). Man with beard and moustache wearing a turban, from the series Large Heads in Oriental Headdress, etching on laid paper, trimmed just inside the plate mark, extreme upper left corner torn (without loss), sheet size 180 x 150mm (7.1 x 5.9ins), window-mounted, together with: Young man sounding a trumpet, wearing a flat cap (from the series Small Studies of Heads in Oriental Headdress), etching on thin laid paper, trimmed just inside the plate mark, sheet size 102 x 77mm (4 1/8 x 3ins), laid down on old card, with ink inscription to verso ‘Les petites tetes d’hommes coiffées à l’Orientale, BXX1, J.Kay, Lond 1826’, with card mount, plus: Desplaces (Louis, 1682-1739). To The Memory of Sir Isaac Newton, circa 1741, etching by Desplaces, from a drawing by D.M. Fratta after Pittoni and Baleriani, depicting an allegorical tomb of Isaac Newton, with figures engaged in astronomical calculations, and observing a beam of light refracted into a mirror, trimmed to plate mark, 64 x 40cm (25 1/4 x 15 3/4ins), some marks and marginal creases, with short closed tear towards head of left margin, without loss, and three others: Hans Burgkmair, The Triumph of Maximilian I, 1516-18, woodcut on laid paper, from the series of 236 plates, watermark of a spread eagle within a circle (probably later 16th century), with old inscription in brown ink to upper right giving the title of the work, sheet size 382 x 367mm (15 x 14 1/2ins), and Jakob Schmutzer (1733-1811), portrait of Wenzel Anton Count Kaunitz, 1786, etching and engraving on laid paper, after Johann Baptist Hagenauer, trimmed to plate margins, and with some light overall toning, a few marks and margins reinforced with archival tape to verso, 45.5 x 44.5cm (18 x 17 1/2ins)

From the series Varie opere di Prospettiua inventate da Ferdinando Galli d:o il Bibiena Bolognese Pittore, et Architetto dell A: SS.ma del Sig:re Duca di Parma Raccolte da Pietro Abbati, et intagliate da Carlo Antonio Buffagnotti, a collection of plates documenting Ferdinando Galli Bibiena’s early activity as a designer of theatrical scenery and ephemeral architecture, assembled by Pietro Giovanni Abbati (active 1683-1745), a pupil of Ferdinando Bibiena, in collaboration with Carlo Antonio Buffagnotti, a printmaker from Bologna. First issued by Giacomo Camillo Mercati, the prints were reissued by Giacomo Pelegrino Longhi around 1717-1719, when the number of plates was augmented from 60 to 71 with the addition of eleven plates depicting set designs for two spectacles performed in Turin in 1699, Esione and Endimione (as here), designed by Bibiena and executed

by Abbati. The plates depict Diana's Palace with fountains and plane trees (Act I Scene I); Silvano's shack with Love in a cage (Act III, Scene I); Diana's Temple (Act III, Scene III) and Design for a Stage Set (with two figures wandering in the vaulted room of a palace, pairs of columns on the left, and chandeliers hanging from the ceiling).

(4) £700 - £1,000

Bartsch 51; Bellini (1982), 44 & 51 for the first two works.

(5)

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£200 - £300

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38* Attributed to Antonio de Pereda y Salgado (1608/11-1678).

Saint John the Baptist, black chalk on laid paper with early attribution in brown ink to lower right corner 'Jerep Giussani’, some light creases and marks, and a little loss to the upper left corner, and at the lower left margin, also with a little loss, sheet size 34 x 22cm (13 3/8 x 8 3/4ins), framed and glazed (1)

£300 - £500

39* De Jode (Pieter II, 1603-circa 1674). King Charles I and Queen Henrietta Maria, after Sir Anthony van Dyck, circa 1650-55, two etchings on laid paper, published by Matheus Antonius, Antwerp, trimmed just inside the plate mark, portrait of Henrietta Maria with restoration to upper right and lower right corners and to lower left corner and lower left margin, sheet size 465 x 340mm (18 1/4 x 13 1/2ins) Le Blanc 37; Hollstein 60 & 61.

(2)

Lot 38

Lot 39 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£200 - £300

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41* Faber (John, 1684-1756). Hippocrates Hiraclidae, F. Cous, circa 1720-25, mezzotint on laid paper, with watermark of a shield and fleur-de-lys, some toning, and discolouration to sheet edges, narrow margins, sheet size 355 x 262mm (14 x 10 1/4ins), together with three other similar mezzotints by John Faber after Rubens (Pythagoras, Democritus and Marcus Aurelius), in similar condition, Pythagoras with small hole with loss to upper left, and Democritus with small hole with loss towards lower right corner, plus: Laurie (Robert, circa 1755-1836). Landscape with storm and fishermen by the river, 1773, mezzotint on laid paper, with indistinct watermark, published by Robert Sayer, and published January 30, 1773, central vertical crease where previously folded, closed tear repair to lower margin at right, without loss, plate size 452 x 550mm (17 3/4 x 21 5/8ins), sheet size 466 x 570mm (18 2/5 x 22 1/2ins), and: Walker (William, 1729-1793). Lions at Play, 1782, mixed method engraving, after Peter Paul Rubens, published by John Boydell, June 1st 1782, a very good, dark impression, upper plate margin close-trimmed, and with short closed tear, without loss, plate size 43 x 53cm (17 x 21ins), sheet size 44.5 x 54cm (17 1/2 x 21 1/4ins), and another copy of the same print, all unframed

40* De Vos (Martin, 1532-1603). Mulier Inclinata (plate 9 from Icones Illustrium Feminarum Novi Testamenti), circa 1590-1612, etching on laid paper, published by Phillipe Galle, together with other Old Master prints, various: Albrecht Aldegrever, The Testimony of Daniel, and The Stoning of the Elders, 1555, two engravings from the set of four plates illustrating the story of Susanna (Hollstein 32-33), & Lot with his Daughters, 1555, engraving from the set of four plates illustrating the story of Lot, Abraham Bloemaert, a chiaroscuro woodcut, Giovanni Andrea Sirani (16101670), Apollo and Marsyas (Bartsch 2), engraving, and a grey wash drawing by Mathieu Antoine Xhrouet, La Fontaine de la Sauvenière, pen and black and grey inks with grey wash, titled and signed ‘La Fontaine de la Sauveniere ‘xhrouuet fecit (8)

(7)

£150 - £200

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£200 - £300

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42* Florentine School. Satyr abducting a nymph, early 17th century, sanguine crayon on fine laid paper, in very good condition, a few unobtrusive creases, the upper left corner tip lost, a tiny split at the lower left corner, a pen and ink letter presumably verso showing through faintly recto at the lower right corner, slightly unevenly trimmed at left and bottom, hinged to the mount at the corners, unexamined verso, sheet size 208 x 148mm (8 1/4 x 5 7/8ins), framed and glazed (35.5 x 28.5cm) Provenance: Private collection, Warwickshire, England.

(1)

£500 - £800

43* Gheeraerts (Marcus, I, 1516/21 - circa 1590). The Horse and the Ass, & The Greedy Bird-Catcher (from Aesop's Fables), 1567, two etchings on laid paper, both trimmed to plate margins, collector's mark to lower left corner of Polycarpe Charles Séchan (Lugt 3904), sheet size 93 x 108mm (3 3/4 x 4 1/4ins) and 91 x 106mm (3 5/8 x 4 1/5ins) respectively, each with 20th century card window mount and descriptive label attached from Kunsthandel Borzo, Verwersstraat 21, 'S-Hertogenbosch (circa 1960s), giving details of the published editions of Gheeraert's series of illustrations to Aesop's fables Provenance: Polycarpe Charles Séchan (1803-1874), with his collector’s mark (Lugt 3904).

From the series of 108 illustrations for De Warachtighe Fabulen der Dieren, first published in 1567.

(2) £200 - £300

Lot 42

Lot 43

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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44* Gillot (Claude, 1673-1722). Witches’ Sabbath, etching on laid paper, with indistinct watermark, pale overall toning, close-trimmed to plate margins, old paper restrengthening to verso of upper margin, sheet size 250 x 345mm (9 7/8 x 13 1/2ins) Bernard Populus, Claude Gillot, Catalogue de l’oeuvre gravé (1930), 10.

A Witches’ sabbath at night, with a necromancer seated on a rock holding an open book, with an owl above, while naked male and female figures dance in a circle to the right to a tune played by a goat violinist, and various witches, sorcerers, strange animals and monsters to the left, from the series entitled Les Sabbats (The Sabbaths). Gillot is best known as the inventor of the fête champêtre genre, and was the teacher of Antoine Watteau.

(1) £200 - £400

45* Glass Paintings. A Matronly Lady in white satin be-ribboned bodice and lace cap, circa 1760, reverse glass mirror painting, framed as an oval, frame opening 20.2 x 16.6cm (8 x 6 1/2ins), gilt wood frame (34 x 30.5cm), together with four mezzotint transfer glass pictures: Faber (John, the Younger, 1684-1756), Portrait of Abraham Stanyan, after Sir Godfrey Kneller (1646-1723), 1733, mezzotint on glass, frame opening 36 x 25.7cm (14 1/4 x 10 1/8ins), framed 43 x 32.5cm; Simon (Jean, or John, 1675-1754), His Royal Highness Frederick Duke of Glocester, 1718, hand-coloured mezzotint laid on panel, published by the artist, frame opening 35.2 x 25cm (13 7/8 x 10ins), framed and glazed (41 x 31.5cm); Britannia Crowning the Duke of Wellington with Victory after the ever Memorable Battle of Waterloo, printed by W. B. Walker, 1815, frame opening 25.5 x 35 (10 x 13 3/4ins), framed and glazed 30.5 x 40.5cm; and Burford (Thomas, circa 1710-1780),The Death of the Fox, after James Seymour, 1766, from the set of four, frame opening 25.4 x 35.5cm (10 x 14ins), framed and glazed 32 x 42.5cm, all apparently in good condition (unexamined out of frames) The 18th century English School Portrait of a Lady glass painting showcases a straightforward technique, in which paint has been applied to one side of the glass.

The remaining four mezzotint transfer glass pictures are achieved by the very delicate operation of fixing the original black and white mezzotints to the back of the glass, then carefully scraping it off to leave an outline, or transfer, of the subject, which is then painted.

Provenance: English 18th Century School, Portrait of a Lady: With Mary Wise & Grosvenor Antiques, London; After Godfrey Kneller, Portrait of Abraham Stanyon, and with Sue Killinger of Great Missenden; Thomas Burford after James Seymour, The Death of the Fox, with Nicholas Fowle Antiques, Norwich.

(5) £700 - £1,000

Lot 45

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46 After Guercino (Giovanni Francesco Barbieri, detto Il Guercino, 1591-1666). Racolta di alcuni disegni del Barberi da Cento, detto Il Guercino, Rome: Giovanni Generoso Salomoni, 1764, letterpress title with vignette by Ottaviani after Guercino, additional full-page etched title

by G.B. Piranesi incorporating Saint Joseph resting, after Guercino (from the collection of the famous sculptor and restorer of antiquities Bartolomeo Cavaceppi), and with dedication to Thomas Jenkins of the Academy of Saint Luke, and 30 fine etchings printed in black and sanguine on 29 sheets, including 13 by Bartolozzi, 6 by Nevay, 5 by Ottaviani, 3 by Piranesi, 2 by Piroli, one by Giovanni Battista Buratto, and one very large etching by Aureliano Milani on three sheets, all printed on fine heavy laid paper (several watermarks, including a fleur-de-lys within double-rule circle, another fleur-de-lys within single-rule circle and letters M V below), wide blank margins, untrimmed, contemporary plain buff paper wrappers, some soiling and minor marks to wrappers, large oblong folio (external dimensions 580 x 790mm, with the single leaves measuring 580 x 445mm, and the largest, partly folded, sheet 625 x 745mm) Hind, Piranesi (1922) page 86; Focillon 983-986; Wilton-Ely 1015-1018.

A magnificent series of plates in excellent original condition, principally after the works of Guercino, but including a number of additional works by or after other artists including Caravaggio, Sebastiano Ricci, Antonio Balestra and Aureliano Milani. The publication appears to have been originally planned by Piranesi when he purchased twelve etchings after Guercino from (and by) the eminent printmaker Francesco Bartolozzi in 1764, who left Italy that year for a career in London. Piranesi added further plates, including several of his own. At least one of the original drawings by Guercino after which these plates were designed came from Piranesi’s own collection. The inclusion of Piranesi’s etched title in addition to the printed titlepage suggests that the Raccolta was sold at Piranesi’s address in the Strada Felice. The letterpress title page with the imprint of Salomoni and vignette

by Ottaviani seems to have been used to present various groups of plates, but usually always including the Piranesi title and the very large folding plate by Aureliano Milani, here un-conjoined on three large sheets.

Aside from the printed title, and the additional etched title by Piranesi, this album contains 20 mostly full-page etchings after Guercino (12 by Bartolozzi, 2 by Giacomo Nevay on one leaf, 4 by Giovanni Ottaviani including two on one leaf, and 2 by Piranesi), one single-page etching by Piranesi after Pier Leoni Ghezzi, 4 etched studies of heads on one page by Nevay, a single-page etching by Piroli after Caravaggio (The Entombment of Christ), three double-size etchings by Bartolozzi after Sebastiano Ricci (Camillus rescuing Rome from Brennus), Piroli after Guercino (Vénus desolée pour la mort d’Adonis), and Giovanni Battista Buratto after Antonio Balestra (Apotheosis of Saint Ignatius of Loyola), and one very large etching of Christ Carrying the Cross

by Aureliano Milani on three sheets.

(1) £2,000 - £3,000

47* Isselburg (Peter, circa 1568/1580-1630 or later).

Double Portrait of the Holy Roman Emperor Matthias I and Queen Anna of Austria, after Gabriel Weyer, 1613, fine copper engraving on laid paper by Isselburg after Gabriel Weyer (1576-1632), published by Balthasar Caijmox, or Caymox, of Nuremberg), trimmed to plate margins, one or two very slight nicks to extreme edge of the sheet (generally in very good condition), sheet size 234 x 310mm (9 1/5 x 12 1/5ins), cream card window mount

Lot 46

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Hollstein, German, 89. Matthias I married his cousin Archduchess Anna of Austria-Tyrol, daughter of his uncle Archduke Ferdinand II of Austria in 1611, but their marriage did not produce surviving offspring.

(1) £100 - £150

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Lot 47

Lot 48

48* Laurie (Robert, circa 1755-1836). Tippoo Saib’s Two Sons deliver’d up to Lord Cornwallis, as hostages, after he had so gloriously conquered that proud Sultan at Seringapatam, the capital of the Mysore Country, in the East Indies, in 1792, 12th May 1794, uncoloured mezzotint on heavy wove paper, published by Laurie & Whittle 12th May 1794, with printed number 287 to the left of the caption, and (Plate 2) to the right of the plate, some light marks and one or two minor creases, plate size 355 x 250mm (14 x 9 4/5ins), sheet size 440 x 305mm (17 1/4 x 12ins), modern black and gilt frame, glazed

49* Attributed to Johann August Nahl (1752-1825). Acquedotte di Claudio a Tivoli, fine sepia wash over etched outline, on laid paper (bears partially visible watermark ‘Zoonen’), single-rule outer border, sheet size 34 x 48cm (13 2/5 x 18 7/8ins), laid down on cream laid backing paper, with pale blue-green wash applied to the outer borders, with collectors mark of Johann Wilhelm Nahl (1803-1880) to verso (Lugt 1954), and inscribed in brown ink to lower left ‘Acquidotti di Claudio a Tivoli’, a few light surface marks, but generally in very good condition, overall size of the backing sheet 42 x 56cm (16 1/2 x 22ins)

The companion print to Tippoo Saib’s two sons taking leave of their mother, published as Plate 1 by Laurie & Whittle on the same day, which was a retouched, reissue of an engraving first published by Robert Sayer on 24th December, 1792.

(1) £100 - £150

Provenance: Johann Wilhelm Nahl (1803-1880), son of Johann August Nahl, whose collections of prints were sold in Cassel in 1881, according to Lugt.

The present work, although attributed to Nahl, is also similar in composition and mood to the output of Johann Christian Reinhart (1761-1847).

(1) £200 - £300

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50* Circle of Guido Reni (1575-1642). Study of the head of a youth, with a study of a hand palm upraised (verso), & Study of a hand, youth’s head in black, sanguine and white chalks, with a hand study verso in black and white chalks, on grey-green, laid paper with a Winged Figure watermark, the sheet slightly unevenly trimmed, with a few fine perforations towards the left sheet edge and a few pinholes at the lower left corner, a vertical drying fold towards the right (inherent to the paper), the upper left corner folded, further minor handling creases, generally in very good condition, sheet size 29.4 x 19.7cm (11 1/2 x 7 3/ 4ins), the Study of a hand in black, sanguine and white chalks on grey-green, laid paper with a Winged Figure watermark, the left and lower edge untrimmed, a small brown stain and three pinholes and inherent paper creasing towards the bottom of sheet size 29.1 x 17.8cm (11 3/8 x 7ins), unframed Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£3,000 - £4,000

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51* Sadeler (Aegidius, 1570-1629). Portrait of Charles de Longueval, Duc de Bucquoy (1571-1621), 1621, engraving on laid paper, trimmed to (or just inside) the platemark, sheet size 395 x 265mm (15 1/2 x 10 1/2ins), framed and glazed (60 x 45cm) Hollstein XXI, 304.

Fine engraving by Sadeler from life (ad vivum delineavit) of Charles, Duc de Bucquoy, who fought for the Spanish Netherlands, and became Commander in chief of the Imperial Army of the Holy Roman Empire in 1614, during the Thirty Years War. He conquered Moravia following the Battle of the White Mountain on 8 November 1620 (represented to the lower left of the print), but died in action in July 1621.

(1) £150 - £200

52* Sichem (Christoffel van, 1546-1624). Judith with the Head of Holophernes after Hendrick Goltzius (1558-1617), woodcut, a very good impression on fine laid paper, trimmed to the borderline, window mounted, in very good condition, sheet size 133 x 101mm (5 1/4 x 4ins), framed and glazed, together with Leyden (Lucas van, 1494-1533). The Creation of Eve, 1529, engraving on laid paper, a good but later impression, trimmed to the subject, laid to the mount in places, losses at three corners, tiny losses at the left and right sheet edges, traces of pen and ink at the upper and lower sheet edges, sheet size 16.4 x 11.7cm (6 5/8 x 4 5/8ins), framed and glazed (30.3 x 25cm), plus Boissard (Jean Jacques,1528-1602). Skanderbeg (from Vitae et Icones Sultanorum Turcicorum, Principum Persarum...ad Mahmonetem II), 1596, engraving on fine laid paper, with a partial Eagle watermark, collector's mark of Thomas Kirk to verso (Lugt 1623), trimmed to or on the platemark, in good condition, 15.6 x 13.3cm (6 1/8 x 5 x 1/4ins) framed and glazed, 24.5 x 22cm Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

Hollstein 131 (van Sichem); Hollstein X,1 (van Leyden); Blackmer 159 (Vitae et Icones Sultanorum Turcicorum, Principum Persarum, 1596).

(3) £200 - £300

Lot 51

53* Stolker (Jan, 1724-1785). Backgammon Players in an inn, mezzotint after Jan Steen (circa 1625-1679), on laid paper, two or three short closed tears to right margin neatly repaired to verso, trimmed to plate margin, 282 x 370mm (11 1/8 x 14 1/2ins), window mounted (with a typewritten label to mount, possibly by Christopher Mendez) Le Blanc 17.

(1)

Lot 52

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£100 - £150

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PORTRAITS & MINIATURES

54* Follower of Hans Holbein (1497/98–1543). Portrait of Erasmus, circa 1550, oil on linden ? wood panel, with an early 19th century paper label to verso, inscribed ‘Erasmus Holbein’ in brown ink, also to verso an early to mid 20th century typewritten label: ‘Erasmus by Hans Holbein (1497-1543). Portrait on panel 14 1/2 x 11. Sold by order of the Trustees of Lord North May 24th. 1933, at Wroxton Abbey, Oxon, for several centuries the home of the North family. Mr. Tipping F.A.I Oxford, when selling this picture, imparted the knowledge that the late Lord North was of the opinion that this portrait was one of Wroxton’s most valuable possessions.’, 360 x 270mm (14.2 x 10.6ins), old stained black wood frame, with remains of circular label to upper left corner verso, inscribed in pencil: 39 Wroxton’ Provenance: William North, 11th Baron North (1836-1932); sold by order of Lord North’s Trustees, Wroxton Abbey sale, on the premises, 24 May 1933, lot 39?

Literature: George Vertue, Notebook IV, Walpole Society, volume XXIV, 1936.

Erasmus of Rotterdam (1466 – 1536) was the most famous Dutch humanist of his day. A noted theologian and classical scholar, he published new editions in Latin and Greek of the New Testament, and his sermons and satirical writings were widely disseminated. Although he was critical of the Catholic Church, he never officially joined Luther and the other reformers, preferring instead to work for change as a priest within the Church. Called the “Prince of Humanists,” Erasmus was widely admired, and portraits of him were in great demand throughout Europe.

Erasmus and Holbein were close friends who become acquainted when both were living in Basel. It was there in 1523 that Holbein painted two important portraits of his friend, one of which is in the Musée du Louvre, Paris, and the other in the collection of the Earl of Radnor, Longford Castle, Salisbury. The latter portrait served as the model for subsequent images, which were produced in three different versions: a half-length view of Erasmus holding a book, either open or closed; a half-length figure with overlapping hands, exemplified by the painting from the Robert Lehman Collection; and a bust-length roundel of which the primary example is in the Kunstmuseum Basel. The Lehman Collection type, the most popular, inspired further copies, namely those from the workshop of Lucas Cranach the Elder after 1535 and others by Georg Pencz dated 1536 – 37. While in the Arundel Collection during the sixteenth century, the Lehman portrait was engraved by Lucas Vorsterman, then exiled in England, and this engraving was copied later by Andries Stock in a print dated 1628 made in The Hague. This particular image of Erasmus also served as the model for a woodcut in Sebastian Münster’s Cosmographia Universalis, the earliest German description of the world, published in Basel in 1550.

(1) £8,000 - £12,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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55* English School. Oval portrait miniature of a lady, circa 15801600, oil on copper, head and shoulders portrait of a lady wearing a reticella lace-trimmed Medici collar, and dress similarly embellished, with a rosette to her décolletage, a pearl necklace round her neck, and a feather in her hair, 46 x 37mm (1.75 x 1.5ins), mounted, framed and glazed (114 x 96mm), verso with manuscript note ‘This miniature on copper circa 1580-1600 was sold in Sothebys many years ago with a diamond encrusted frame. The lady purchaser only wanted the frame, giving this miniature to her friend’ (1)

56* Continental School. Portrait miniature of a bearded young gentleman, Northern European, 17th century, watercolour and gouache on ivory, head and shoulders portrait of a young gentleman with chinstrap beard, wearing a diamond-patterned blue tunic, and white falling collar, corners clipped to give elongated octagon shape, 37 x 27mm (1.5 x 1ins), framed and glazed (78 x 71mm) (1)

£300 - £500

£500 - £800

57* Manner of John Saunders (circa 1682-1758). Portraits of a lady and gentleman, circa 1730-50, two pastel head & shoulders portraits on laid paper, later laid down on canvas, one depicting a lady wearing a pink gown with ruffled neckline over a lace-edged chemise, her coiffured brown hair in ringlets, some spotting and a few short creases, the other depicting a gentleman wearing a sky-blue collared jacket and matching waistcoat, and a white cravat, his brown hair worn long, some light spotting and a small water-stain to upper right, a couple of tiny holes, each sitter within painted oval frame, 55.5 x 40.5cm (22 x 16ins), matching bird’s eye maple frames, glazed (66.5 x 51cm) (2)

£400 - £600

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60* Continental School. Oval portrait miniature of a gentleman, circa 1780-1790, watercolour and gouache on ivory, head and shoulders portrait, half profile to right, of a gentleman with powdered hair worn en queue, wearing a green coat with brass buttons, and a ruffled necktie, 55 x 42mm (2 1/8 x 1 5/8ins), oval wooden frame, glazed (102 x 86mm) (1)

£200 - £300

58* Attributed to Sir William Beechey (1753-1839). Portrait of Sir David Wilkie, R. A., black chalk with traces of white chalk on wove paper, unsigned, a few marks, laid down on later plain backing paper, framed and glazed, with typewritten title label to verso, a Christie’s red printed receipt label dated 31/1/99, and further printed labels for the Cyril & Shirley Fry auction sale at Chiswick Auctions, 9 July 2021 (part of lot 98) (1)

£200 - £300

61* Circle of John Downman (1750-1824). Portrait of a youth, in three-quarter profile, circa 1770-1785, oval graphite on laid paper, with sanguine chalk border, laid to the mount, pale discolouration, 15.8 x 12.3cm (6 1/8 x 4 7/8ins), framed and glazed, 25 x 21.5cm

59* Bogle (John, circa 1746-1803). Oval portrait miniature of a young gentleman, 1800, watercolour and gouache on ivory, head and shoulders portrait, half profile to right, of a young gentleman with grey hair, wearing a blue coat with brass buttons and white necktie, initialled and dated lower right, 65 x 49mm (2 9/16 x 2 7/16ins), ebonised frame, glazed (122 x 106mm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

We are grateful to Stephen Lloyd for dating this work on the basis of the powdered hair and long ‘queue’, or ponytail.

(1) £300 - £500

£300 - £500

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63* English School. Circular portrait miniature of a lady, circa 1810-1820, watercolour and bodycolour on ivory, head and shoulders portrait, half profile to right, of a lady with dark hair piled on her head and curls on her forehead, wearing a high-waisted pink gown with muslin neckline and high frilled collar, diameter 46mm (1.75ins), ebonised frame, glazed (137 x 133mm) (1)

62* English School. A pair of oval portrait miniatures of a lady and gentleman, circa 1820, 2 head and shoulder portraits in monochrome watercolour and gouache on card, the first profile to right depicting a lady with short dark curls, wearing a high-waisted black gown with muslin neckline and frilled collar, a brooch and drop earrings, and an elaborate hat with gathers and sequins, hat highlighted with touches of silver, 71 x 63mm (3 x 2.5ins), the other profile to left depicting a grey-haired gentleman wearing a black gown over a black coat, and white bands, 75 x 60mm (3 x 2.5ins), matching cream satin-lined red morocco oval cases (90 x 75mm), first item loose in case with loss of interior velvet rim and glass (2)

£200 - £300

64* Follower of Mary Beale (1633-1699). Portrait of a young girl, oil on canvas, trimmed, re-lined, and laid over board, half-length portrait of a young girl with auburn ringlets, wearing an orange and white gown embellished with jewels, a pearl necklace and pearl drop earrings, and a bejewelled pearl band in her hair, within a trompe l'œil architectural cartouche, rubbed with some surface loss, 76 x 62.5cm (30 x 24 1/2ins)

£400 - £600

The particularly English feature of the painted architectural frame recalls the work of Mary Beale, a copyist of Sir Peter Lely as well as an independent portraitist. Beale's portraits are often similarly enclosed by moulded cartouches, and Lely himself occasionally used the device. In Lely's case the frame would have been painted in later by a studio hand, whereas Mary Beale's sons were known to add the frame after the portrait had been painted.

(1) £500 - £700

Lot 63 35

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65* English School. Oval portrait miniature of a gentleman, circa 1780-1790, watercolour and gouache on ivory, head and shoulders portrait, half profile to left, of a gentleman with powdered hair worn en queue, wearing a blue coat and white necktie, 64 x 50mm (2 4/8 x 1 7/8ins), ebonised frame with verre églomisé glass (152 x 132mm) (1)

£200 - £300

67* English School. Oval portrait miniature of a young gentleman, circa 1820, watercolour and gouache on ivory, head and shoulders portrait, half profile to right, of a young gentleman with dark curly hair, wearing a black coat and black cravat, 56 x 43mm (2 1/8 x 1 5/8ins), set into a bookform red cloth case (rubbed with surface wear) with oval gilt mount and brass clasp (76 x 70mm), together with: Oval portrait miniature of a young gentleman, circa 1820-1830, watercolour and gouache on ivory laid down on card, head and shoulders portrait, half profile to right, of a young gentleman with dark hair and side whiskers, wearing a black coat, embroidered white waistcoat, and black necktie, 75 x 61mm (2 15/16 x 2 3/8ins), ebonised frame, glazed (131 x 111mm)

66* English School. Oval portrait miniature of a gentleman, circa 1750s-1760s, oil on wood panel, half-length portrait, half-profile to right, of a bewigged gentleman, wearing a blue coat with brass buttons and matching waistcoat, a few faint spots, 19.2 x 14.8cm (7 1/2 x 5 7/8ins), gilt moulded frame (35 x 31cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(2)

£300 - £500

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£150 - £250

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68* English School. Oval portrait miniature of a young lady, circa 1805, watercolour and bodycolour on ivory, half-length portrait of a young lady with brown hair piled on her head and curls framing her face, wearing a high-waisted low-cut white muslin gown and a blue shawl, 75 x 63mm (3 x 2.5ins), gold mount and walnut frame, glazed (195 x 185mm), with modern manuscript label attached ‘sister-in-law of Cosby & Elizabeth Nesbitt of Dorset’ (1)

70 English School. Portrait miniature of a lady, circa 1790-1800, watercolour and bodycolour on ivory, laid down on card, halflength portrait of a lady with powdered hair, wearing a white dress and muslin fichu, a blue ribbon choker, and a tied turban, 82 x 68mm (3.25 x 2.75ins), housed in a cream silk-lined oval red morocco case (93 x 77mm) (1)

69* English School. Portrait miniature of a gentleman, circa 1830, oval watercolour and gouache on card, half-length portrait, half-profile to right, of a gentleman seated beside a window, wearing a black coat and necktie, his right hand resting on a book, 45 x 37mm (1 3/4 x 1 7/16ins), yellow metal brooch frame with decorative wreath border (6.7 x 5.7cm), together with a glazed oval locket frame attached to a fob chain, with brown hair inserted into both sides, one side enclosing a metal monogram ‘MT’, 4.7 x 3.9cm (11 4/16 x 1 1/2ins) (2)

£300 - £400

£150 - £200

71* English School. Portrait miniature of a young gentleman, oval watercolour and gouache on ivory, half-length portrait of a young gentleman with dark curly hair, wearing a dark blue coat, white waistcoat, and black necktie, 53 x 45mm (2 x 1.75ins), grosgrain mount and decorative glazed brass frame with stand (122 x 89mm) (1)

£100 - £150

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£150 - £200

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72* English School. Portrait miniature of a young gentleman, circa 1800-1810, watercolour and gouache on ivory, head and shoulders portrait, half profile to left, of a dark-haired young gentleman, wearing a dark blue coat and white necktie, 64 x 53mm (2.5 x 2ins), oval yellow metal frame with hanging loop and glazed compartment containing plaited hair on verso (89 x 60mm)

74* English School. Portrait miniature of a young lady, circa 1800, oval watercolour heightened with bodycolour on ivory, half-length portrait of a young woman with dark curls, wearing a white spotted muslin gown, a white fichu held with a brooch, drop earrings, tortoiseshell combs in her hair, and gold chains about her person, 62 x 50mm (2.5 x 2ins), oval brass frame with hanging loop (77 x 56mm), verso with oval engraved label bearing the words ‘Jas. Shaw, Milkman, No. 16, Beauchamp’s Street, Brook’s Market, Holborn’ within a bead and foliate wreath, housed in an olive green velvet-lined brown morocco case (116 x 98mm), with 2 hinged doors to front and stand to back, gilt tooled with border of stars, stand gilt lettered ‘A&N.C.S.L.’, rubbed and extremities a little worn

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(1)

£300 - £500

73* English School. Portrait miniature of a young lady, circa 17801790, watercolour and bodycolour on ivory, head and shoulders portrait, half profile to right, of a young lady with powdered hair, wearing a muslin fichu and a beaded cloth headdress, 40 x 30mm (1.75 x 1.25ins), oval yellow metal locket frame with hanging loop, housed in an oval black shagreen case (49 x 40mm) (1)

75* English School. Portrait miniature of a young lady, circa 1810, oval watercolour and gouache, head and shoulders portrait, half profile to right, of a young woman with a red bead band in her short dark hair, wearing a white muslin gown, 57 x 47mm (2.25 x 1.75ins), oval gold-plated frame with hanging loop (80 x 54mm), border and verso elaborately engraved with arabesques, verso a little scratched, contained in a red morocco case (134 x 114mm) with hinged double doors and stand (intended for a slightly larger miniature portrait)

£200 - £400

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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£150 - £250

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76* English School. Portrait miniature of a young lady, circa 1810, watercolour and gouache on ivory, backed with thick paper, head and shoulders portrait of a young lady with fair hair tightly curled around her face, wearing a high-waisted white gown with frilled collar and trimmed with blue ribbon, and a white bonnet embellished with ostrich feather plumes, 73 x 64mm (2.75 x 2.5ins), glazed ebonised frame (138 x 123mm) (1)

78* English School. Portrait of a lady, circa 1830s, watercolour and gouache on ivory, half-length portrait of a lady with dark curls framing her face, wearing a purple gown and lace-trimmed muslin fichu secured with a brooch, and a beribboned and lace-trimmed wide-brimmed bonnet, 62 x 49mm (2.5 x 2ins), engraved yellow metal oval frame with hanging loop (84 x 59mm), the reverse with glazed aperture containing a lock of brown hair held by 3 faux pearls and embellished with fine gold wire on opalescent glass, housed in a cream silk-lined red morocco oval case (85 x 70mm)

£200 - £300

(1)

77* English School. Portrait miniature of W.S. Rickword, 1814, circular watercolour and gouache on card, laid down on thick card, head and shoulders portrait of a military gentleman wearing a crimson coat with blue sleeves and gold epaulettes, with early inscription in black ink on verso ‘Copy. “Painted by a Native of the ancient City of Delhi, at Muruh Ev. Co. (?) January 1814. W.S. Rickword Veterinary Surgeon HM 8th Light Dragoons or Royal Irish, in the 53rd year of his age. A present to his Wife & children in England. By favour of Mr Carter 1818’, diameter 78mm (3ins), ebonised circular frame (diameter 13mm), together with a circular portrait miniature in coloured crayons, head and shoulders portrait, profile to left, of a gentleman smoking a pipe, titled ‘The Commandant’, and signed and dated lower right Hamish Milne 1941, diameter 126mm (5ins), gilt decorated ebonised frame (diameter 13.7cm) (2)

£500 - £800

79* English School. Portrait of Samuel Barton, circa 1810-1820, watercolour and gouache on ivory, laid down on card, head and shoulders portrait, half profile to right, of a brown-haired gentleman wearing a dark blue coat and white cravat, inscribed in pencil on verso with the sitter’s name and attribution ‘John Barry? or E. Taylor’, 68 x 55mm (2 11/16 x 2 1/8ins), ebonised frame, glazed (123 x 101mm) John Barry (active 1784-1827) lived in London and exhibited at the Royal Academy. John Wesley, the founder of Methodism, was among his sitters, and his works are housed in various institutional collections, including the V&A. Little appears to be known about the artist E. Taylor (1780-1830) who was active between 1802 and 1830.

(1) £200 - £300

£150 - £200

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81 Hoppner (John, 1758-1810). Portrait of a boy holding a book in a landscape, black and sanguine chalks with touches of wash, 278 x 234mm, framed and glazed Provenance: With J. Leger & Son, Bond Street, September 1944 (1) £300 - £500

80* Attributed to Andrew Geddes (1783-1844). Portrait of a young woman in a bonnet, oil on paper laid to board, sheet size 28.5 x 25.6cm (11 1/4 x 10 1/4ins), framed (40 x 37.5cm), with handwritten note regarding attributions in the hand of Michael Jaffé to verso: Agnew's suggested attribution to Geddes, Carl Winter to George Chinnery, Michael Jaffé to Calvert Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1) £500 - £700

82* Humphrey, Ozias (1742-1810). Portrait of Edward Leveson Gower, 1782, pencil, red and black chalks and charcoal on paper, inscribed and dated by the artist in pen and brown ink ‘Master Edward Leveson Gower AO:1782’ to verso (visible in window mount on the backboard), laid onto the mount, the paper incised to make an oval at top and incised to just beneath the inscription verso, discoloured under the mount, pen and ink inscription faintly visible recto, 17.8 x 15.3cm (7 x 6ins) where incised, full sheet size 21.2 x 15.5cm (8 3/4 x 6 1/8ins), framed and glazed Provenance: The artist; bequeathed by him to a member of the Longman family; collection of A.G. Fisher Esq., 25 George Street, Hanover Square, London; with Thomas Agnew & Sons Ltd. (their label stock number 10336 on reverse).

Exhibited: Agnew’s, 66th Annual Exhibition, February to March 1939, number 116.

Literature: George C. Williamson, Life and Works of Ozias Humphrey, R.A., 1918, p. 240 (illustrated). According to G.C. Williamson, this work was one of a collection of drawings, mostly signed, inscribed and dated, which were given by the artist to the Longman family, and subsequently passed on to Mr A.G. Fisher of George Street, Hanover Square. Williamson also states that the work is a preparatory drawing for a painting.

(1) £500 - £800

Lot 81

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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83* Manner of Angelica Kauffman (1741-1807). Portrait miniature of a young lady in classical dress, oval watercolour on ivory, head and shoulders portrait, half profile to left, of a young woman wearing a loose white robe and matching cloth headdress worn low over her forehead, her hands crossed over by her chin, and her pensive gaze downwards, 78 x 62mm (3 x 2.5ins), oval yellow metal frame with hanging loop and glazed compartment for hair on verso (100 x 68mm), contained in a red morocco oval case (rubbed) (1)

£400 - £600

84* Lewis (Grace Rosie, early 20th century). Portrait miniature of Cuthbert Preston Lewis, watercolour on ivory, half-length portrait of a young boy dressed in a blue jacket, sitting in a garden hammock with a large white rabbit, signed lower left, 2 cracks or joins to upper edge, 76 x 59mm (3 x 2 5/16ins), brass frame with hanging loop, glazed (93 x 68mm), annotated in contemporary ink on verso ‘Grace Rosie Lewis (Miss) 46, Brixton Hill, London, S.W. Portrait of Cuthbert, son of T. Preston Lewis Esq. M.D., together with: Johnson (Inés, early 20th century). Portrait miniature of a gentleman, watercolour on ivory, half length portrait of a greyhaired moustachioed gentleman wearing a brown jacket and matching waistcoat, and an olive green tie, signed lower right, 78 x 59mm (3 1/16 x 2 5/16ins), tarnished brass frame with hanging loop, glazed (96 x 65mm), housed in a yellow velvet-lined red-brown roan case (135 x 110mm), closure broken, and 3 other portrait miniature paintings, one of a young lady, signed G.H. 1829, one of a gentleman, signed J.D. 1847, adhered to glass, and the other of a gentleman, mid 19th century, all framed, and a miniature print in an ebonised frame 2nd Lieutenant Cuthbert Preston Lewis (1890-1917) was the only son of surgeon Thomas Lewis and his Indian-born wife, Lucy. He was a pupil at Dulwich College, before taking up a place at London University, from which he graduated with a B.Sc. degree. In September 1914 Cuthbert enlisted in the Honourable Artillery Company. He served at the Battle of Hooge, and shortly afterwards was drafted to the Chemical Section of the Royal Engineers, serving at Loos, before being promoted to Company QuarterMaster Sergeant, a position he held for just over a year, until June 1917. That month Cuthbert was granted a commission, still in the Royal Engineers, and shortly afterwards he was killed whilst leading his men under heavy fire at Ploegsteert.

(6) £150 - £200

Lot 84

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85* Attributed to John Linnell (1792-1882). Portrait of a gentleman dressed in black, black, sanguine and yellow chalks with touches of graphite on a white chalk ground, sheet size 168 x 133mm, framed and glazed Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1) £180 - £200

87* Attributed to Andrew Plimer (1763-1837). Portrait of a young lady, miniature watercolour and bodycolour on ivory, a head and shoulders portrait, half profile to left, of a young lady wearing a white muslin dress with high frilled neck, with pearls in her greypowdered curls and at her neck, 65 x 53mm (2.5 x 2ins), oval yellow metal frame with hanging loop set with faux seed pearls (92 x 64mm), the reverse with glazed aperture containing a lock of hair on opalescent glass, with beaded blue glass oval panel set with the initials ‘WCG’, some displacement of decoration

86* Miniature painting. “Cleopatra” Queen of Egypt, circa 18201830, watercolour and bodycolour on ivory, depicting a semi-nude female reclining on a day bed beneath gilt-tasselled crimson draperies, an oval portrait miniature on a chain by her side, and a comport dish with fruit and a book on a nearby table, titled in early manuscript on verso, 5.8 x 7.7cm (2 1/4 x 3 1/16ins), glazed ebonised frame (13.3 x 15.6cm), together with a portait miniature of a seated lady wearing a pale blue dress, frilled lace collar, and cap, circa 1830s, watercolour on card, 11.5 x 9.7cm (4 1/2 x 3 3/4ins), framed and glazed (19.1 x 17.3cm) (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Andrew Plimer had the good fortune to be apprenticed to miniature portraitist Richard Cosway (1742-1821) after running away from home with his brother and spending two years travelling with a group of gypsies.

(1) £700 - £1,000

88

£100 - £150

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19TH CENTURY PAINTINGS & PRINTS

89* Morland (George, 1763-1804). Gentleman & dog on a hillside, oil on panel, indistinct monogram G.M. lower right, old paper label to verso ‘George Morland, his usual signature G.M. under the reddish herbage right corner’, light craquelure to surface, 18.5 x 24cm, contemporary gilt moulded frame (32 x 37cm) (1)

£500 - £700

90* Buttersworth (James Edward 1817-1894).

A frigate firing a salute, with ship of the line and other vessels beyond, oil on canvas, signed lower right, relined, gilt gesso frame, Parker Gallery label to verso Provenance: Private collection, Monmouthshire, England, whence by descent.

(1) £3,000 - £5,000

Lot 89

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Lot 91

Lot 92

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Lot 93

91* Buttersworth (James Edward 1817-1894). Brig under sail (possibly The Needles, Isle of Wight), oil on canvas, showing a starboard view of the ship, signed lower right, relined, 40 x 31cm (15.75 x 12.25ins), gilt moulded frame, Parker Gallery label to verso Provenance: Private collection, Monmouthshire, England.

Fine example of one of Buttersworth's English marine pictures, showing a brig setting out from the Isle of Wight, wherethe artist was born.

(1) £3,000 - £5,000

92* Attributed to James Edward Buttersworth (1817-1894). Ship rigged sloop sailing from Portsmouth, oil on canvas, showing the coastline with Southsea Castle in the background, 32.5 x 47.5cm (12.75 x 18.75ins), unsigned, gilt gesso frame, Parker Gallery label to verso Provenance: Private collection, Monmouthshire, England, thence by descent.

(1)

£1,000 - £2,000

93 Calvert (Henry, 1798-1869). Bay Stallion in an Open Landscape, oil on canvas (re-lined) signed ‘H. Calvert’ lower right, 64.5 x 82cm (25 3/8 x 32 1/4ins), frame 84 x 101cm With McMillan Fine Art, London With Leslie & Peel, Brasted, Kent, their label verso (1)

£1,000 - £1,500

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Lot 94

94* Condy (Nicholas, the Elder, 1799-1857). Warships at Devonport, oil on canvas, a busy port scene showing naval ships at anchor, boats and figures, 61.5 x 81cm (24.25 x 31.75ins), unsigned, relined, acanthus gilt moulded gesso frame, with Parker Gallery label to verso Provenance: Private collection, Monmouthshire, England.

A fine large-scale view of the naval base at Devonport. Another, slightly smaller, version of this work is owned by Plymouth City Council (3 Elliot Terrace), measuring 54.3 x 75.2 cm (accession number PCF72) (1) £3,000 - £5,000

95* English School. Wooded landscape with castle and lake beyond, 19th century, oil on board, with label of Charles Roberson & Company, Manufacturers of Art Materials, 51 Long Acre, London to verso, unframed Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1) £100 - £200

Lot 95

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96 Faed (Thomas, 1826-1900). Portrait of a young girl with dog, oil on canvas, oval (re-lined), 32 x 25.5cm (12 5/8 x 10ins), in gilded frame 50 x 41cm With McMillan Fine Arts, London Thomas Faed was a Scottish painter of domestic genre and Highland scenes.

(1) £400 - £600

97* Faulkner (Charles, active 1880- 1900). Hounds in Full Cry, oil on panel, signed and dated lower left ‘CFaulkner / 1897’, the first initials interlaced, 18.5 x 32cm (7 1/4 x 12 5/8ins), gilt frame (32.5 x 46cm) Provenance: McMillan Fine Art, London; Private Collection.

Charles Faulkner was born in Farcham, Hampshire, and was a successful painter of hunting scenes full of vitality and atmosphere, as shown in the present work.

(1) £200 - £400

98

No lot

Lot 96

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Lot 99

99* Attributed to William Adolphus Knell (1801-1875). Ships at dawn, oil on canvas, unsigned, relined, 28 x 42cm (11 x 16.25ins), fine quality elaborate rococo-style gilt gesso frame Provenance: Private collection, Monmouthshire, England, thence by descent.

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£1,000 - £1,500

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Lot 100

100* Marine School. British Royal Navy warships with first-rate square-rigged battleship at anchor in foreground, circa 1810-20, oil on canvas (relined) depicting square-rigged British Navy warship at anchor and underway, some craquelure to paint surface, 425 x 665mm (16 3/4 x 26 1/4ins), modern gilt moulded frame (520 x 760mm) Provenance: Private collection, Monmouthshire, England, thence by descent.

(1) £300 - £500

101* Russian icon. A travelling icon of "Christ Pantocrator", mid 19th century, tempera on wood panel with silver oklad (84 - fine) punch-marked and dated BC 1867, 133 x 110mm (5 1/4 x 4 1/4ins), contained within overlayed gilt frame and black painted wooden case with glazed hinged lid (205 x 185mm) (1)

£300 - £500

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102* Short (Frederick Golden, 1863-1936). Mr. Lester’s Cottage near the church, Burley, Hants, 1894, oil on canvas, 26.9 x 37.5cm (10 5/8 x 14 3/4ins), contemporary ink inscriptions to stretcher and to label on stretcher (1)

£200 - £300

103 Turner (William Eddowes,1820-1885). ‘Beauty’: Portrait of a dapple grey horse in a landscape, with neoclassical villa in the distance, oil on canvas (re-lined), with an old label on the stretcher inscribed in pen and ink “Beauty” / A favourite Pony / Painted by W.E. Turner / New Stanton Nottingham’, 49 x 62cm (19 1/4 x 24 3/8ins), gilt frame (70 x 81cm) Provenance: McMillan Fine Art, London Willliam Eddowes Turner from Nottingham is thought to be self taught as an artist. He painted country scenes as well as horse portraits, exhibited locally, at the British Institution and at the SS* (1858-1862).

(1) £500 - £800

Lot 102

Lot 103

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104* Barbizon School. A river landscape with boaters, 19th century, oil on wood panel, attributed to Jean-Baptiste-Camille Corot on reverse, 23 x 35.3cm, in ornate gilt frame (35 x 44.5cm) (1)

£200 - £300

Lot 104

105* Whittle (Thomas the Younger, active 1856-1897), The Old Watermill at Trefriar, North Wales, 1876, oil on canvas (re-lined), signed and dated ‘T. Whittle 1876’ lower right, the title inscribed on the stretcher, 63.5 x 51cm (25 x 20 1/8ins), in a gilt frame (75 x 65cm) (1)

£200 - £400

Lot 105

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Lot 106 106 Williams (Edward Charles, 1807-1881), A Rural landscape with a Cottage and Shepherds droving their Flock, oil on canvas (re-lined), 63.5 x 76.3cm (25 x 30ins), in gilt frame (75 x 84cm) Provenance: with Arthur Ackermann & Sons Ltd, 3 Bond Street, London, their 19th century label on the stretcher Edward Charles Williams was one of six sons to his artist father, Edward Williams (1782-1855), the landscape painter represented in Tate Britain. Of the brothers, all landscape painters, he is the most closely associated with the style of his father, showing an early influence from the Dutch 17th century school of Salomon van Ruysdael (c. 1600-1670) and Meindert Hobbema (16381709). The Williams family was also known as ‘The Barnes School.’

(1) £1,000 - £1,500

107 Willis (Henry Brittan, 1810-1884). Landscape with cattle watering, oil on canvas (re-lined), 36.5 x 51cm (14 3/8 x 20 1/8ins) in a gilt frame (50 x 62cm) Provenance: McMillan Fine Art, from whom purchased by the current owner in 2010. Private collection, Gloucestershire, UK. Henry Brittan Willis was a painter of cattle and landscapes, as well as a lithographer. His ‘Highland Cattle’ was bought by Queen Victoria. Born in Bristol, he studied with his father who was a drawing master, after which he went to America and finally settled in London.

(1) £300 - £400

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 107

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BRITISH LANDSCAPE WATERCOLOURS 1770-1900 109* Le Cave (Peter, active c.1769-1816). Cattle Watering by a Mill, pen, ink and watercolour, depicting a drover talking to a woman while watering his cattle in a mill pond, signed lower right, 12.8 x 18.4cm (5 1/16 x 7 1/4ins), framed and glazed (37.4 x 42.7cm), verso with modern ink manuscript label and pencilled number 68, and with gallery label of Richard [and] Georgina Ivor, London (1)

£100 - £200

110* Beaumont (George Howland, 1753-1827). In the Roman Campagna, pencil on pale blue-grey wove paper, some light spots, sheet size 23.5 x 40.5cm (9 1/4 x 16ins), laid down on later backing card, with printed label ‘Beau 215’ to lower left, window-mounted, together with seven other studies of Italian landscapes by Sir George Beaumont, in grey and brown pen, ink and wash, several on paper watermarked with a Strasburg Lily and paper manufacturer C & I Honig, all late 18th century, similar size, plus Pars, (William, 1742-1782). Alpine Landscape with castle above a village, 1775, pen, ink and grey wash on laid paper, with bunch of grapes watermark, dated ‘17 July 1775’ to lower right corner, sheet size 21 x 33.5cm (8 1/4 x 13 1/4ins) some restoration to upper outer corners (with minor loss to upper left corner), modern cream card, and Cooper (Richard, 1740 -1814). Rocca di Papa and Monte Cavo, with the Temple of Jupiter Laziale, circa 1770-1775, pen, brown ink and grey wash on laid paper, indisinctly inscribed in brown ink to upper margin with title by the artist, 278 x 420mm (11 x 16 1/2ins), window-mounted, with 20th century pencil inscription, giving details of the composition to lower margin, plus another later 18th century English oval landscape depicting an artist seated drawing a river landscape with castle, on Whatman wove paper, 28 x 39.5cm (11 x 15 1/2ins)

108* Circle of Thomas Gainsborough (1727-1788). Landscape with a Hermit, pencil and brown wash on 18th century laid paper, sheet size 320 x 237mm (12 3/5 x 9 3/8ins), cream card window mount Provenance: C. R. Rudolf Collection, with pencil annotations by C. Rudolf to mount, ‘?Cotman, Mullaly. I still adhere to the view that the drawing is

by Gainsborough. C R.’ and ‘c. f. plate 396 John Hayes, The Drawings of Gainsborough for a landscape by Thomas Barker 1769-1847’.

Carl Robert Rudolf (circa 1884-1974), dental surgeon and collector of Old Master drawings. A large number of Italian, French and Spanish drawings from his collection were sold by Sotheby’s, London in 1977.

(1) £200 - £300

Provenance: Cyril & Shirley Fry; sold Chiswick Auctions 9 July 2021, lot 35.

Sir George Howland Francis Beaumont, 12th Baronet descendant of the patron and collector Sir George Beaumont of Coleorton, Leicestershire, who sold some of his collection of drawings to the British Museum in 1973.

The view of Rocca di Papa by Richard Cooper, depicts the view of the hillside village south of Rome with the Temple of Jupiter atop the Monte Cavo, which was destroyed in order to build a monastery between 1778 and 1784, by Henry Stuart (1725-1807), Cardinal Duke of York and an important supporter of the Jacobite Rebellion.

(11) £300 - £400

Lot 109

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111* Tomkins (Charles, 1757-1823). Winchester Tower, Windsor Castle, pen, black ink and watercolour over pencil on paper, mount aperture 17.7 x 25.5cm (7 x 10ins), gilt framed and glazed (37.0 x 43.3cm), Heather Newman of Painswick, Gloucestershire gallery label to verso, together with Gosselin (Joshua, 1739-1813). Gate of Nottingham Castle, watercolour on paper, mount aperture 10.6 x 17.6cm (4 3/16 x 6 15/16ins), framed and glazed (28.7 x 34.8cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, also with attached portion of original album page bearing ink manuscript inscription, plus English School. Figures on a river by a castle, later 19th century, watercolour over pencil on paper, heightened with white bodycolour, few spots to sky area, mount aperture 22.0 x 30.4cm (8 5/8 x 12ins), gilt framed and glazed (38.7 x 48.5cm), (all unexamined out of frames) (3)

112* Barret (George, circa 1767-1842). Mountain landscape with bridge and castle, watercolour, with touches of bodycolour, 19.5 x 27cm (7 3/4 x 10 5/8ins), framed and glazed, with Heather Newman, fine quality early English watercolours, label to verso (1)

113* Barret (George, circa 1767-1842). Classical landscape with peacock by a river, watercolour over pencil, 37.5 x 53.5cm (14 3/4 x 21ins), mount aperture, gilt frame, glazed, with Heather Newman of Painswick, Gloucestershire gallery label to verso (62.5 x 78.5cm) (1)

£200 - £300

Lot 113

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

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£200 - £300

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Lot 114

115* Baker (Thomas, of Leamington, 1809-1869). Windsor Castle with figures and river in foreground, watercolour over pencil on paper, heightened with bodycolour, unsigned, mount aperture 17.3 x 24.7cm (6 13/16 x 9 3/4ins), framed and glazed (32.5 x 38.7cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, together with: Attributed to Paul Sandby Munn (1773-1845), Rural scene with cottage and rider on horseback, watercolour over pencil on paper, unsigned, mount aperture 19.7 x 26.7cm (7 3/4 x 10 1/2ins), gilt framed and glazed (38.2 x 44.3cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, plus: Steeple (John, 1823-1887), Old Road between Pandy and Penmachno, 1871, watercolour on paper, signed and dated lower left, mount aperture 24.1 x 34.0cm (9 1/2 x 13 3/8ins), framed and glazed (44.0 x 53.0cm), verso with attached portion of old backboard bearing pencilled inscription, also with Heather Newman, Painswick, Gloucestershire gallery label, with: Jones (Millicent Helen, 1841-1928), Filey Sands, Yorkshire, & a group of 4 watercolours from an album, one inscribed ‘Gloucester & Berkeley Canals - Slimbridge Church in the distance’, another ‘Tewkesbury’, all watercolour on paper or thin card, Filey mount aperture 17.0 x 24.5cm (6 11/16 x 9 5/8ins), the group mounted together, with oval mount apertures, 11.5 x 20.5cm (4 1/2 x 8 1/16ins) and smaller, both gilt framed and glazed (Filey 34.7 x 41.5cm, the group 36.7 x 50.1cm), both with Heather Newman, Painswick, Gloucestershire gallery labels to versos, also with portions of original album pages bearing pencilled inscriptions, and with Cleeve Picture Framing labels to versos, and two other watercolours, one in the manner of Samuel Prout, a small Continental street scene with church, window mounted, framed and glazed (29.1 x 23.7cm), the other after Peter Paul Rubens (15771640), a portion of A Wild Boar Hunt, defective, framed and glazed (39.5 x 35.5cm), (none examined out of frame)

114* Barker (Benjamin of Bath, 1776-1838). View at Wick Rocks near Bath, watercolour with touches of body colour and scratching our, 23.5 x 34cm (9 1/4 x 13 3/5ins) mount aperture, framed and glazed, with Heather Newman printed label to verso Provenance: Canon Francis Henry Dunville Smythe (1872-1873-1966); R.E.S.Willison of West Cliff-on-Sea, Essex, solicitor.

Exhibitied: English watercolours 1750-1875 from the collections Revd.

Canon F. H. D. Smythe, Worthing Art Gallery, 1954. A note to verso suggests this work was exhibited in an exhibition at Hove in 1934, but we have traced only one exhibition of Canon Smythe’s collection which took place at Worthing Art Gallery, as well as the South London Art Gallery in 1954.

(1) £150 - £200

Lot 115

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55

£200 - £300

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117* Circle of David Cox (1783-1859). Landscape with sheep and trees, and sea in distance, watercolour on wove laid on mount board, occasional light spotting, 150 x 305mm (6 x 12ins), old manuscript note to mount board 'no. 60, Seascape, David Cox. From the collection of the late J. Palethorpe Esq., Halifax, Yorks, decd. 1905. Purchased from M. J. Holroyd (son-in-law), Halifax', framed & glazed (295 x 445mm) (1)

£200 - £300

118* English School. Mountain lake, 19th century, watercolour with graphite, on wove paper, 18.2 x 24.1cm (7 1/8 x 9 1/2ins), framed and glazed Provenance: with Agnew's (stock number 12624); Estate of Michael Jaffe (19231997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1) £100 - £200

116* Burgess (William, of Dover, 1805-1861). Marketplace in a Kentish Town, watercolour on paper, a few faint spots and marginal discolouration to sky area, unsigned, mount aperture 16.0 x 23.2cm (6 5/16 x 9 1/8ins), gilt framed and glazed (37.4 x 43.5cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, together with: English School (mid 19th century), Rudgwick Church, Sussex, watercolour over pencil on paper, some spotting to sky area, mount aperture 32.6 x 50.4cm (12 7/8 x 19 7/8ins), framed and glazed (50.0 x 62.9cm), (both unexamined out of frame) Provenance (first item): Albany Gallery. Agnew’s 1988.

(2)

£150 - £200

119* English School. Birmingham from Highgate, 1828, watercolour on paper, heightened with touches of bodycolour, titled, dated July 28th 1828, and signed Lathers? towards lower left, sheet size 17.0 x 25.8cm (6 11/16 x 10 1/8ins), laid down on backing card, with window mount, gilt framed and glazed (45.0 x 48.1cm) (1)

120* English School. Craggy landscape with distant windmill, tower, church, and glimpse of the sea, 1875, watercolour on heavy paper, heightened with gouache, initialled J.I.C. (or J.S.C.?) lower left, sheet size 21.5 x 48.4cm (8 7/16 x 19 1/16ins), laid down on later card, moulded gilt frame and glazed (40.0 x 66.5cm)

Lot 117

(1)

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£150 - £200

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£100 - £150

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Lot 121 121* Fielding (Antony Vandyke Copley, 1787-1855).

Homeward Bound off Eddystone lighthouse, watercolour with scratching out, unsigned but inscribed with title to verso (according to note on the back of the mount), 16.2 x 35.3cm (6 3/8 x 13 4/5ins), laid down on later backing card, mounted with ruled wash outer border, attributed to A. V. Copley Fielding in a later hand to verso, with note on the title of the work, together with four other English 19th century watercolours, including Edmund Morrison Wimperis (1835-1900), Moorland Scene with cattle droving, George Conway (exhibited 1854-71), a Bit of Epping Forest, and Italian Coastal Scene, indistinctly signed E.J.M.H., and a large oval watercolour study of a fishing girl in white cap and apron seated by the harbourside, unsigned, all mounted (largest mount size 56 x 36cm (22 x 15ins)) (5)

£300 - £400

122* Keeley (John, 1849-1930). Landscape views in Birmingham, surrounding areas and elsewhere, circa 1916, a collection of 37 fine watercolour studies of landscape on paper, some heightened with touches of white body colour, many depicting the changing conditions in weather and atmosphere, each signed to lower left or lower right corner, 140 x 160mm (6 1/4 x 5 1/2ins) or similar, all mounted in a contemporary padded leather album, and each titled and numbered 1 to 37 in ink to mount, album covers somewhat worn with partial loss of leather, album size 27.5 x 24cm (11 x 9 1/2ins) Provenance: A private collection, Cotswolds, UK. John Keeley was an important member of the Royal Birmingham Society of Artists, where he exhibited over 300 works, and a member of the Birmingham Art Circle.

The titles include: At Trent Vale, At Hall Green, Showry, At Yardley Wood, The Mill-pool, Trent Vale, In the Meadows, Evening, Tritterford Pool, The Edge of the Common, A Peat Marsh, A Staffordshire Farmhouse, On the Cole, Heralds of Night, Scissors to Grind, A Wet Road, etc.

With handwritten label to inside front cover ‘Thirty Seven Water-Colour Works by John Keeley 1916’, and at rear of the volume a handwritten New Year’s greetings card from L. & A. E. Keeley for 1922, with a mounted landscape watercolour by John Keeley. All watercolours are in excellent, fresh condition, as a result of being bound in the album.

(1) £500 - £800

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Lot 124

123* Payne (William, 1755/60-circa 1830). Combe Martin, Devon, 1815, pen, black ink and watercolour on paper, depicting a beach with boats and figures mending nets and other tasks, signed towards centre of lower margin, mount aperture 20.8 x 29.4cm (8 3/16 x 11 9/16ins), framed and glazed (40.6 x 48.2cm), Newman Fine Art gallery label on verso, mentioning inscription on verso of drawing, (unexamined out of frame) (1)

£200 - £300

124* Pearson (Cornelius, 1820-1891). Tintern Abbey, watercolour over pencil on paper, mount aperture 22.2 x 33.5cm (8 3/4 x 13 1/4ins), gilt framed and glazed (38.5 x 48.5cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, together with: Richardson I (Thomas Miles, 1784-1848), A riverside scene at Tintern Abbey, watercolour on paper, heightened with white bodycolour, signed lower right, mount aperture 29.5 x 43.8cm (11 5/8 x 17 1/4ins), framed and glazed (55.9 x 70.0cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, plus another scene by Richardson I: Country woman riding a mule on a lane through a wood, watercolour on paper, heightened with white bodycolour, signed lower left, mount aperture 42.0 x 32.3cm (16 1/2 x 12 3/4ins), gilt framed and glazed (63.2 x 52.2cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, and: English School, Upton-on-Severn, mid 19th century, pen & brown ink and umber wash on paper, heightened with white bodycolour, short tear to upper right corner, mount aperture 12.1 x 25.3cm (4 3/4 x 9 15/16ins), framed and glazed (32.3 x 45.1cm), (none examined out of frame) (4)

£200 - £300

125* Prout (Samuel, 1783-1852). Rouen Market Place, fine watercolour heightened with body colour, 31.5 x 23.5cm (121/2 x 91/4ins) mount aperture, period gilt moulded frame (some losses), with Heather Newman, printed label to verso, and additional early 20th-century label of A. E. Black, Fine Art Galleries, George Street, Halifax, glazed (60 x 48.5cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 125

£200 - £300

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127* Attributed to Paul Sandby (1730-1809). Crosthwaite Church, near Keswick, Lake District, circa 1790-1800, pen, brown ink and brown and grey wash on laid paper, inscribed in brown ink to verso ‘nr. Keswick, Parsonage House’, sheet size 145 x 246mm (5 3/4 x 9 5/8ins), neatly hinge-mounted in modern cream mount, typewritten label below the mount giving the artist’s name and dates, and title ‘Church [? St. John in the Vale] and Parsonage House, Keswick’, together with: Powerscourt Waterfall, on the River Dargle, County Wicklow, Ireland, pen and brown and black ink, with grey and brown wash on laid paper, inscribed to verso in brown ink ‘Powerscourt’, sheet size 145 x 245mm (5 3/4 x 9 5/8ins), neatly hinge-mounted in modern cream card mount, with typewritten label to verso giving the artist’s name and dates and title ‘Powerscourt on the Dargle, Co. Wicklow’, plus: View from Holker towards The Priory, pen and brown ink with grey wash on laid paper, inscribed in brown ink to verso with title, sheet size 145 x 244mm (5 3/4 x 9 5/8ins), neatly hinge-mounted in modern cream card window-mount Provenance: Cyril & Shirley Fry Collection.

(3)

126* Prout (Samuel, 1783-1852). View at St. Stephen’s near Launceston, Cornwall, watercolour with pencil on paper, signed centrally towards lower margin, mount aperture 43.0 x 55.7cm (16 15/16 x 21 15/16ins), framed and glazed (63.2 x 74.7cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, mentioning inscription on verso of drawing, (unexamined out of frame) (1)

£200 - £300

Lot 127

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£300 - £400

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129* Underwood (Thomas Richard, 1772-1835). Landscape in North Wales, pen, ink and grey wash on wove paper, inscribed in pencil to verso in an early hand T. R. Underwood, 142 x 200mm (5 5/8 x 7 7/8ins), modern cream card window mount, together with another similar landscape in grey wash attributed to Thomas Underwood, depicting a mountain landscape with cattle and figures on a path in the foreground, on laid paper, similar size, plus a profile portrait of Thomas Richard Underwood in pencil, attributed to George Dance junior (1741-1825), inscribed in pencil below the image with the sitter’s surname, lower right corner torn away and repaired, 215 x 150mm, and Harding (James Duffield, 1797-1863). The Gardens of the Villa Doria Pamphili, two fine pencil studies on pale cream wove paper, one inscribed by the artist in pencil with location to centre of lower margin, both hinge-mounted on modern cream card mounting card, each with typewritten exhibition label to lower margin, sheet size 168 x 242mm (6 5/8 x 9 1/2ins) and similar (5)

128* Attributed to Settle (William Frederick, 1821-1897). Ships in low water, chalk on paper, unsigned, 22 x 32cm (8.75 x 12.5ins), mount aperture, framed and glazed

£200 - £300

William Settle (1821-1897) was born in Hull, and was nephew and pupil to John Ward and focused mainly on marine art. He painted for Royal Yorkshire Yacht Club as well as many works on the Humber and Solent. Settle moved to London in 1863 and was commissioned by Queen Victorian to draw nautical ephemera.

(1) £200 - £300

130* Bates (David, 1840-1921). At Colwall, Malvern, 1904, & Little Malvern Church, with shepherd and sheep on the road, watercolour over pencil on paper, & watercolour on paper respectively, the first titled lower left, and signed & dated lower right, the second signed lower right, mount apertures 25.3 x 35.5cm (9 15/16 x 14ins) & 25.6 x 34.8cm (10 1/16 x 13 3/4ins) respectively, gilt framed and glazed (46.6 x 56.5cm and smaller), both versos with gallery label ‘Heather Newman, Painswick, Gloucestershire, that to Little Malvern Church mentioning signature and inscription on verso of drawing, (both unexamined out of frame)

Lot 129

(2)

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£200 - £300

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131* Wright (Richard Henry, 1857-1930). Lincoln Evening, 1904, watercolour over pencil on paper, depicting a tug pulling a barge on the river below the city and cathedral at Lincoln, signed and dated lower left, mount aperture 18.2 x 26.6cm (7 3/16 x 10 7/16ins), framed and glazed (38.2 x 45.2cm), verso with ink manuscript title, and with Heather Newman, Painswick, Gloucestershire gallery label, together with: Fall (George, 1848-1925), View of York, watercolour on paper, heightened with white bodycolour, depicting the river Ouse and Marygate water tower, with figures and a boat, the Minster in the background, signed lower left, mount aperture 17.8 x 23.0cm (7 x 9ins), gilt framed and glazed (27.2 x 35.5cm), plus: Lawes (Harold, 1865-1940), Bolton Abbey, watercolour on paper, signed lower left, inscribed below mount, mount aperture 28.0 x 44.0cm (11 x 17 3/8ins), gilt framed and glazed (47.6 x 62.5cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, (none examined out of frame) (3)

£200 - £300

Lot 131

132* Donne (Walter John, 1867-1930). The Castle, Rapallo, Italy, 1882, watercolour with pen and ink on wove paper, signed and titled to lower left, also additionally inscribed in pencil to verso (probably by the artist) The Castle, Rapallo, May 82, sheet size 190 x 370mm (7 1/2 x 14 1/2ins), window-mounted, together with two other similar watercolour views of Italy by William John Donne, of The Madonna del Sasso, Locarno, and Aci Castello, A Breezy Day, 31 x 45.5cm (12 x 18ins) and a little smaller, plus: Donne (Benjamin John Merifield, 1831-1928). Chalet near Champery, Switzerland, oil on card, unsigned, sheet size 24 x 35.5cm (9 1/2 x 14ins), window-mounted with typewritten exhibition label to verso giving the artist’s name and title of the work (4)

£300 - £500

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19TH CENTURY WATERCOLOURS, DRAWINGS & PRINTS

133* Keiserman (Franz, 1765-1833). Vue générale de Tivoli et des Cascatelles et la plaine de Rome, 1816, watercolour over pencil on laid paper, heightened with gum arabic, some light overall fading (colours generally still strong), with a few small dots of white discolouration to sky area (possibly due to past restoration), and a few minor spots (mainly to left edge), sheet size 53.3 x 75.9cm (21 x 29 3/4ins), inscribed and dated by artist on verso, framed and glazed (61.8 x 84.5cm), verso with label of the Fine Art Society, London, with ink manuscript title, artist’s name and date The ink manuscript artist’s inscription on the sheet verso reads: Vue générale de Tivoli & des Cascatelles & la plaine de Rome. Dessine et peint d’après nature par F. Keiserman, Rome 1816. This artist is often incorrectly listed as F. Kaisermann.

(1) £2,000 - £3,000

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134* Bertin (Francois-Edouard, 1797-1871). View on the outskirts of Marseille, pencil on pale blue-green wove paper, heightened with white chalk, inscribed ‘Marseilles’ in brown ink to lower right corner, some light handling marks to sheet edges, and minor loss to upper margin towards upper right corner, sheet size 395 x 563mm (15.5 x 22.2ins), together with: Rosenlaui, Switzerland, pencil on pale brown laid paper, heightened with dark brown chalk, with contemporary inscription in brown ink to upper right corner ‘Rosenlaui’, sheet size 440 x 490mm (17.3 x 19.25ins), window-mounted Provenance: Eric Carlson (1940-2016), Professor of Art History at SUNYPurchase, and art dealer in New York who specialised in 19th century French drawings and prints. These two drawings formed part of lots 115 and 124 in a sale at Swann Galleries, New York, Old Master Drawings, November 5, 2019.

(2) £200 - £400

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136* Burney (Edward Francis, 1760-1848). The Rake Reclaimed by his Father’s Liberality, & The Shipwreck, both oval pen, ink and watercolour on paper, 96 x 74mm (3 7/8 x 2 7/8ins), laid down on later backing card (with pencilled numbers 24 & 37 respectively), both window mounted and uniformly framed and glazed, 29.0 x 25.7cm, each verso with printed title label, The Rake with additional early ink manuscript title label, together with: Attributed to Richard Corbould (1757-1831), A Double Tragedy - Doctors Defeated, oval pen, ink and watercolour on paper, 97 x 75mm (3 7/8 x 2 15/16ins), laid down on later backing card (with pencilled number 20), window mounted, framed and glazed (29.0 x 25.7cm), verso with printed title label According to the printed labels, both of Burney’s watercolours were produced as illustrations for [later re-issues of] The Tatler. The Rake Reclaimed was an illustration for The Tatler no.60, for a story ‘from White’s Chocolate-house’, August 26, originally published 1709. The Shipwreck for issue no.192, for a story ‘From my own Apartment’, June 30, originally published 1710.

A Double Tragedy, according to its printed label, was produced as an illustration for an unknown story in The Spectator.

(3) £300 - £500

135* Boug d’Orschwillier (Hippolyte de, 1810-1868). The Ponte della Maddalena (also known as Devil’s Bridge), near Bagni di Lucca, circa 1830, pen, brown ink and brown wash on paper, with pencil, depicting a carter watering his horses in a river, beside the higharched stone bridge, with other figures and buildings, against a mountainous background, unsigned, verso with ink manuscript incription ‘Le pont de Madelaine [sic]/ près des bains de Lucques’, mount aperture 19.5 x 29.6cm (7 11/16 x 11 5/8ins), together with another similar sepia watercolour, by the same artist, depicting a wooded country path with figures, leading to a distant church, signed lower right and dated 1830, mount aperture 18.4 x 26.3cm (7 1/4 x 10 3/8ins), both uniformly framed and glazed (36.2 x 44.3cm and 37.8 x 47.7cm respectively) (2)

£300 - £500

Lot 136

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137* Continental School. Academy study of a standing male nude, early 19th Century, neo-classical academic drawing of a male nude in red (sanguine) chalk on laid paper, with white heightening, framed and glazed (1)

£200 - £300

138* D’ Oyly (Major General Sir Charles Walters, 18221900). Ruins of an Indian Temple on a rocky promontory, with figures, watercolour heightened with body colour, 28 x 43cm (11 x 17ins) mount aperture, gilt frame, glazed Charles Walters D’Oyly, 9th Baronet of Shottisham served in the Bengal Army and in India.

(1) £200 - £300

Lot 137

Lot 138

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139* D’Oyly (Major General Sir Charles Walters 1822-1900).

Rampore in the Sutlej Valley, Punjab, India, watercolour with traces of pencil on paper, 35 x 26cm (13 4/5 x 10 1/5ins), gilt frame, glazed (1)

£200 - £300

140* English School. Studies of animals, circa 1830-40, five pencil and wash drawings on card, depicting: a bull, 9.3 x 11.8cm; horned cattle watering, 9 x 17.9cm; horned cattle and a calf (with rough sketch of cows on verso), 9.2 x 18.5cm; cattle, a barking dog, and sheep, 9 x 25.7cm; and 2 stags, 11.2 x 16.8cm, each with a pencilled number to lower right, 2 with marginal pin holes Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(5) £100 - £200

Lot 139

Lot 140

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Lot 141 141* English School. A series of eleven llustrations to Robinson Crusoe by Daniel Defoe, circa 1850s-1860s, eleven drawings in pen and umber ink and brown or blue-grey wash, heightened with white, on fibrous blue wove paper, inscribed in pencil with extracts from the novel and page numbers to recto or verso, sheet size average 17.2 x 25cm (6 3/4 x 9 7/8ins), generally in very good condition, unframed Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(11) £1,000 - £2,000

142* Henshall (John Henry, 1856-1928). Esmeralda, 1889, heightened with white bodycolour on paper, signed to upper right, additionally inscribed to verso with title, artists name and address, and exhibition details for the Royal Society of Painters in Watercolours, summer 1889 exhibition, 23.5 x 13cm (9 1/4 x 5ins), frame and glazed together with Goodall (John Strictland 1908 1996). Elizabethan Figures, pen, ink and watercolour on paper, signed lower right,18 x 12.5cm (7 x 5ins), framed and glazed Exhibited: Royal Society of Painters in Watercolours, summer 1889, number 4.

(2) £200 - £300

Lot 142

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144* Hunt (William Henry, 1790-1864). Interrupted Bliss, watercolour on paper, signed lower left, 27.3 x 21cm mount aperture, framed and glazed, frame size 46.5 x 39cm (1)

£200 - £400

143* Howitt (William, Samual, circa 1765 -1822). Portraits of Hunting dogs, circa 1790, seven pen and black ink studies on laid paper, with Britannia watermark, (one with a smaller circular watermark of a crown and initials G R), three signed with initials to the collar of the dog, each inscribed (presumably by the artist) in brown ink to verso with the individual dog’s name (Smoker, Spring, Jowler, Tyger, Carlow, Lion and Rockwood), five with circular outer border in black ink, the largest sheet measuring 135 x 234mm (5 3/8 x 9 1/4ins), the smallest 102mm diameter (4ins) (7)

£150 - £200

145* Linnell (John, 1792-1882), Study of a sleeping baby, circa 1820, graphite on wove paper, signed in pen and ink 'J Linnell' lower right, generally in good condition, minor handling creases, old tape in places to verso, sheet size 19.5 x 24.5cm (7 3/4 x 9 5/8ins), framed (31.5 x 26cm) (1)

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£150 - £200

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147* After Alonso Perez (1881-1914). French Napoleonic soldiers desporting with young ladies in Paris, watercolour, signed ‘F. Marmonier (D’ap. A. Perez)’ lower left, 9 x 13.5cm mount aperture, together with Gentlemen at Billiards, watercolour, similarly signed F. Marmonier d’après Perez lower right, 9 x 13.5cm mount aperture, framed and glazed (2)

£100 - £150

146* Maclise (Daniel, 1806-1870). Costume Study, pencil on toned thin card, collector's mark to each lower corner, 278 x 140mm (5 1/2 x 11ins), mounted, modern gilt moulded frame, glazed (450 x 295mm) Provenance: Sir William Richard Drake (1817-1890), lawyer and member of the Society of Antiquaries, Oatlands Lodge, Weybridge,Surrey (Lugt 736); Henry Scipio Reitlinger (1882-1950); presumably included in his sales, Sotheby's London, 10 February or 14 April 1954 (Lugt 2274a).

(1) £150 - £200

148* Schouman (Martinus, 1770-1848). Dutch rural scene with wagon and figures among cornfields, pen, ink and watercolour on paper, sheet size 33.9 x 25.0cm (13 3/8 x 9 7/8ins), inset to 20th century gilt and wash ruled border, gilt framed and glazed (62.7 x 53.5cm), with typewritten label to verso, and yellow chalk auction stock number, (unexamined out of frame) Provenance: Sotheby’s, London, 19th Century Paintings and Watercolours, 26 September 2001, lot 38.

(1) £200 - £300

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149 Millais, Sir John Everett (1829-1896). Boadicea in triumphal procession, circa 1845, pencil on wove paper, minor mount-staining towards the sheet edges and recto, one or two minor foxmarks and handling creases, two small thin spots at the right of sheet, minor tapestaining at the upper and lower sheet edges verso, sheet size 16.5 x 24.7cm (6 1/2 x 9 3/4ins), framed and glazed (36 x 42.5cm) Provenance: In the collection of the Millais family; Purchased from Stone Gallery, Newcastle upon Tyne, 1968, for £20.

Dr. Malcolm Warner, former senior curator of paintings and sculpture at the Yale Center for British Art in New Haven, Connecticut, confirmed this work as an early drawing by the artist, executed when he was about 16. The subject is a characteristic Pre-Raphaelite one, featuring English rather than classical history, and will be included in Dr. Warner's forthcoming catalogue raisonné.

(1) £300 - £500

150* Millais (Sir John Everett, 1829-1896). Cavalier in the courtyard of an inn, circa 1845, pencil on paper, small paper loss at the lower right corner, minor mount-staining towards the sheet edges and recto, one or two minor foxmarks and handling creases, remains of old tape at upper and lower sheet edges verso, framed and glazed (16.2 x 24.7cm, 6 1/2 x 9 3/4ins) Provenance: In the collection of the Millais family; Purchased from Stone Gallery, Newcastle upon Tyne in 1968 for £26; Private collection, Warwickshire, England.

Dr. Malcolm Warner, former senior curator of paintings and sculpture at the Yale Center for British Art in New Haven, Connecticut, who is currently preparing a catalogue raisonné on the artist's work, kindly confirmed this work as an early drawing by Millais, executed when he was about 16. The subject, like that of the previous lot, is a characteristic Pre-Raphaelite one, featuring English rather than classical history, and will be included in Dr. Warner's forthcoming catalogue raisonné.

(1) £300 - £500

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152* Quaglio (Domenico, 1786-1837). Stadt Esslingen am Neckar, 1818, tinted lithograph, with double rule outer border, and printed title below, with Quaglio’s blind stamp to lower left corner, image size (including ruled border) 48.5 x 37cm (19 x 14 1/2ins), old card mount, a few light surface marks, mounted, together with: Schloss Kipfenberg im Altmuhlthale, 1818, tinted lithograph with single-rule outer border, and printed title below, image size (including ruled border) 42 x 49cm (16 1/2 x 19 1/4ins), old card mount

151* Wainwright (William J., 1855-1931). The Conveyancer, watercolour on paper, signed towards lower right, mount aperture 27.6 x 19.7cm (10 13/16 x 7 3/4ins), framed and glazed (49.2 x 39.8cm), Heather Newman, Painswick, Gloucestershire label on verso, together with: Hobson (Henry E., 1820-1881), Portrait of C.R. Elliston Esq., Liverpool, 1847, watercolour, heightened with bodycolour on paper, initialled and dated Feb. 1847 to lower left, a couple of closed tears to lower area, some staining (with previous amateur touchingup) mainly to background, oval mount aperture 32.8 x 26.5cm (12 7/8 x 10 7/16ins), moulded gilt frame and glazed (58.5 x 48.5cm), verso with modern ink manuscript label, (both unexamined out of frame) (2)

Trost L47 & L49; Winkler 40 & 42.

Esslingen lies to the east of Stuttgart. The River Altmuhl runs through the Franconian Alps to join the Danube west of Regensburg. These two prints form part of the collection of 33 lithographs published intially by J.G. Zeller in Munich under the title Sammlung denkwurdiger Gebaude des MittelAlters in Deutschland (Collection of Notable Buildings of the Middle Ages in Germany). See Griffiths & Carey, German Print Making in the Age of Geothe, British Museum (1994), pages 192-198 for a detailed history of the publication.

(2) £200 - £300

£150 - £200

153* Stephenson (James, 1808-1886). The Last Judgment, & The Plains of Heaven, after John Martin, mezzotint and engraving on thick wove paper, printed by Crowdy & Loud, 7 Pall Mall, London, and published by Fishburn & Jenkin, 1st December 1899, with wide margins, some light soiling to blank margins, plate size 42 x 59cm (16 1/2 x 23 1/4ins), sheet size 51 x 63cm (20 x 24 3/4ins) (2)

154 No lot

Lot 153 71

£150 - £200

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FAR EASTERN & INDIAN ART

155* Chinese School. Wei Hua ( 伟 华, 20th century), Yi wei du jiang 一苇 渡 江 (One reed across the river), Chinese brush drawing in black ink on paper depicting Bodhidharma 达 摩 像 .达 摩 (‘Da Mo’), the Buddhist monk standing on a reed branch, sheet size 64.5 x 50cm (25.4 x 19.7ins) (1)

156* Chinese School. Snow and Plum Flowers, in the manner of Cui Bai (Song Dynasty, 960-1127 AD), probably 18th century, fine pen, ink and watercolour on silk, depicting three birds on a branch of plum blossom covered in snow, 650 x 420mm (25.5 x 16.5ins), mounted on silk scroll, with manuscript title label, silk tying thread, handles missing

£100 - £200

Provenance: A.W. Bahr Collection.

Abel William Bahr (1877-1959), collector of Chinese art and antiquities, and Secretary of the North China branch of the Royal Asiatic Society. A.W. Bahr is the author of Old Chinese Porcelain and Works of Art in China, being descriptions and illustrations of articles selected from an exhibition held in Shanghai, November 1908, published in 1911. A survey of Chinese paintings in the Bahr Collection by Osvald Siren was published by the Chiswick Press in 1938.

(1) £400 - £600

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157* Indian miniature. Shah Jahan and Mumtaz Mahal, mid 19th century, gouche and gold on pale cream laid paper, depicting Shah Jahan and Mumtaz Mahal embracing, surrounded by 3 female attendants, with Persian script above and below, heightened with gold, and further script on verso, tiny perforation to central area, upper blank margin with some discolouration from previous adhesive tape, sheet size 29.7 x 17.7cm (11 5/8 x 7ins), together with: A pair of Indian miniatures, Krishna and Radha, mid 19th century, framed together, gouache and gold on paper, both depicting Krishna and Radha in a palace courtyard setting, with gardens in the background, with Persian script above and below, heightened with gold, both mount apertures 16.5 x 8.5cm (6 1/2 x 3 5/16ins), framed and glazed (32.7 x 37.5cm), verso with attached copies of Persian script (presumably the miniature versos), plus 4 other similar Indian miniatures, each gouache and gold on pale cream laid paper, comprising: one depiciting Akbar with a wife and attendants, another depicting Shah Jahan and Mumtaz Mahal with attendants (both with damage and losses, mainly to blank margins), another depicting a nobleman seated on a camel, and the 4th depicting a nobleman on a horse with servant following, returning from a hunt, all with Persian script above and or below (and some to the side), and further script on versos, sheet sizes 22.3 x 14.8cm (8 3/4 x 5 3/4ins) and smaller, with two additional Indian pen and ink drawings, one with watercolour, early to mid 19th century, both with defects and some loss to sheet edges (8)

£200 - £300

158* Hiroshige III (Utagawa, 1842-1894). Steam Train at Shimbashi Station (from Famous Places in Tokyo), circa 1875, colour woodblock triptych on three conjoined sheets, label to verso of T. Sakai, Tokyo, established 1874, total size 350 x 710mm (13 3/4 x 28ins), black frame, glazed (485 x 860mm) (1)

Lot 157

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£150 - £200

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Lot 159

159* Ikkei (Shosai, active 1870s-80s). Steam Trains near the Coast, 1874, colour woodblock triptych, with label to backboard of T. Sakai of Tokyo (established 1874), each image of the triptych 340 x 240mm (13 1/2 x 9 1/2ins), black frame, glazed (485 x 910mm) (1)

£150 - £200

160* Japanese School. Harbour scene with steam train and figures in a carriage, circa 1870, colour woodblock print, 350 x 235mm (14 x 9 1/4ins), varnished wood frame (590 x 425mm), plus another similar oban colour woodblock depicting figures taking tea around a table, 370 x 250mm (14 1/2 x 9 3/4ins), varnished wood frame (590 x 425mm) (2)

Lot 160

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£150 - £200

20TH CENTURY PAINTINGS, WATERCOLOURS & PRINTS

Lot 161

161AR*Dobson (Frank, 1886 - 1963). Reclinling female nude, circa 1930s, black chalk on pale cream wove paper, signed lower left, 20 x 38.5cm (8 x 15ins), mount aperture, framed and glazed Provenance: Private collection, Lincolnshire, England.

(1)

£600 - £800

162* Hartrick (Archibald Standish, 1864 - 1950). Portrait of a young woman in brimmed hat and fur stole, pastel, black chalk and pencil on pale brown wove paper, signed in pencil (twice) to lower left and lower right, 38 x 23.5cm (15 x 9 1/4ins), period recessed gilt frame, glazed (1)

Lot 162

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£200 - £300

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Lot 163

163AR*Maze (Paul Lucien, 1887-1979). Goodwood Racecourse, colour pastels on buff paper, depicting the paddock at Goodwood, signed lower left, sheet size 37.6 x 55.6cm (14 3/4 x 21 15/16ins), with 2 sheets of tracing paper tipped to verso, window mounted, framed and glazed (55.5 x 72.7cm) (1)

£700 - £1,000

164* Misti (Ferdinand Mifliez, 1865-1923). The Music Recital, watercolour and gouache on paper, probably a design for a poster, signed to left margin, and with artist’s circular printed stamp to lower margin ‘Misti, 3, Avenue Céline, 3, Neuilly S/S’, a few scattered spots, 48 x40cm (19 x 16ins), framed and glazed (1)

Lot 164

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£300 - £400

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165* Sleigh (Bernard 1872-1954). Polperroway [sic], near Looe, Cornwall, coloured chalks on pale blue-grey paper, signed with artist's monogram to lower left, title inscribed in pencil on verso, sheet size 19.2 x 29.4cm (7 9/16 x 11 5/8ins), together with: St. Ives, coloured chalks on pale buff paper, unfinished, title inscribed in pencil on verso, sheet size 21.8 x 33.7cm (8 9/16 x 13 5/16ins) (1)

167* Sleigh (Bernard 1872-1954). Four views in Holland, coloured chalks on paper, heightened with touches of white bodycolour, including two canal scenes with barges, and two scenes of Dutch houses, sheet sizes 26.0 x 33.5cm (10 3/16 x 13 3/16ins), and smaller, plus a study of a Dutch girl, coloured chalks on paper, sheet size 42.0 x 32.3cm (16 1/2 x 12 3/4ins), all unsigned

£200 - £300

(1)

£300 - £400

166* Sleigh (Bernard 1872-1954). Landscape with rainbow over mountain tarn, coloured chalks on blue paper, single small hole towards upper centre, 19.3 x 26.2cm (7 5/8 x 10 5/16ins), together with: Landscape (possibly Wales) with haycart and bridge over river with farm behind, coloured chalks on buff paper, 16.8 x 26.3cm (6 5/8 x 10 3/8ins), plus: Capo de Gata, [Southern Spain], coloured chalks on thin brown paper, titled in pencil to lower margin, with additional pencilled annotations adjacent, sheet size 24.1 x 32.0cm (9 1/2 x 12 5/8ins), tipped onto brown paper backing, verso with artist's pencilled signature and price (£1-1-0), (backing paper size 33.0 x 44.2cm), with a small winter scene of a thatched house in snow, watercolour and white bodycolour on buff paper, with black ink manuscript text by artist on verso, describing being snowed-in, sheet size 13.5 x 12.0cm (5 5/16 x 4 3/4ins), and The Very Rev. Father Bellasis RC, coloured chalks on dark grey-brown paper, titled to lower right, sheet size 30.1 x 23.9cm (11 13/16 x 9 3/8ins) (1)

£300 - £400

168* Sleigh (Bernard 1872-1954). Cornish Coast, Tintagel: Trebarwith, coloured chalks on grey-green paper, title inscribed in pencil on verso, sheet size 30.3 x 21.5cm (11 15/16 x 8 1/2ins) (1)

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£200 - £300

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169* Sleigh (Bernard 1872-1954). Gorran Haven, Megavissey, coloured chalks on grey-green paper, heightened with white body colour, pencilled title on verso, sheet size 24.7 x 25.7cm (9 11/16 x 10 1/8ins) (1)

£200 - £300

170* Sleigh (Bernard 1872-1954). Landscape with medieval procession over a bridge and towards a priory (?) on a rocky outcrop, 1953, watercolour on grey-cream paper laid on board, heightened with body colour, signed with monogram and date to lower right corner, verso inscribed with pencilled artist's name and titled 'Château Grosmont, St. Germans', 36.4 x 51.8cm (14 3/8 x 20 3/8ins) (1)

Lot 169

Lot 170

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£500 - £700

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171* Sleigh (Bernard 1872-1954). Lighthouses, Flambro' Head [sic], old 'n' new, coloured chalks on speckled pale blue-grey paper, title inscribed in pencil on verso, sheet size 19.5 x 26.3cm (7 11/16 x 10 3/8ins) (1)

£200 - £300

172* Sleigh (Bernard 1872-1954). Mystical Landscape, watercolour on cream paper, heightened with body colour, signed with monogram to lower right margin, sheet size 28.6 x 37.2cm (11 5/16 x 14 5/8ins), laid down on thin board (29.6 x 37.2cm ) (1)

£400 - £600

Lot 171

Lot 172

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173* Sleigh (Bernard 1872-1954). Rocky Valley, Bossiney, Tintagel, coloured chalks on dark grey paper, heightened with white body colour, inscribed with title in pencil to lower margin and additionally inscribed title on verso in pencil, sheet size 31.8 x 24.0cm (12 5/8 x 9 7/16ins) (1)

£200 - £300

174* Sleigh (Bernard 1872-1954). Two views of Whitby, coloured chalks on grey-brown paper, one heightened with white bodycolour, pencilled title inscribed to each verso, one verso also with a similar unfinished and crossed-out drawing, sheet size 36.2 x 16.3cm (14 1/4 x 6 1/2ins) and smaller (2)

£300 - £400

Lot 173

175* Smith (Sir Matthew Arnold Bracy, 1879–1959). Still life of Fruit and Pots on a Table, pen and blue ink on pale brown or buff paper, 207 x 197mm (8 1/4 x 7 7/8ins) mount aperture, green and gilt frame, glazed, together with a further pen and blue ink sheet of Studies of a Girl, and a Postage Stamp, on a pale brown manilla envelope addressed to the artist with postage stamp, laid to card, a small loss at the upper left and lower right corners, minor discolouration, 260mm x 190mm (10 1/4 x 7 1/2ins), framed and glazed Provenance: Thomas Alfred Good (1884 - 1916); Michael Hamburger, OBE, poet and critic, and by descent to his daughter Claire Hamburger.

The envelope is addressed to Sir Matthew Smith, 62 Chelsea Cloisters, Slown Avenue, S. W. 3, and bears a Queen Elizabeth II fourpence stamp of circa 1952-1955.

(2) £400 - £600

Lot 174

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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176* Zinkeisen (Doris Clare, 1898–1991). Six Costume Designs, six gouache designs for theatre costumes, on paper, each signed to lower right or left, one sheet with embossed stamp 'R.W.S. / 26 Conduit Street / Guaranteed pure paper' alongside embossed mark 'RWS / 1804', one with watermark 'T & J H Kent', each sheet size 38.2 x 28.0cm (15 x 11ins), all window mounted within matching gold frames, glazed (59.8 x 49.1cm), (one only examined out of frame) Doris Zinkeisen was a Scottish theatrical stage and costume designer, painter, commercial artist, and writer.

(6) £300 - £500

177* Kilgour (Andrew Wilkie, 1868-1930). A fisherman’s house, Lake St Francis, St Lawrence River, August 1917, oil on thin wood panel, signed lower left, inscribed in ink by the artist to reverse with the title and date, and additionally inscribed ‘To my friend Ernest L. Ford on the occasion of his marriage, with my best wishes, A. Wilkie Kilgour’, 13.2 x 17.8cm (5 1/4 x 7ins) Scottish-Canadian impressionist studied at the Glasgow School of Art under Francis Newbery, at the Heatherley School in London. He moved to Canada in 1910 and settled in Montreal where he became a charter member of the Arts Club of Montreal, and where he also studied under William Brymner and Maurice Cullen.

(1) £200 - £300

Lot 176

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Lot 178

178* Crealock (John Mansfield, 1871-1959). The Seine near Meudon, 1954, oil on canvas, signed lower right, inscribed on verso with title, artist’s name and date, and with ‘varnished with paraffin wax’, 49.8 x 65.3cm (19 5/8 x 25 5/8ins), framed (66.7 x 81.2cm), remnant of framer’s label on verso ‘James Bourlet and Sons, London’ (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

179* Taylor (Walter, 1875-1965). Still life of a yellow vase with flowers, oil on canvas, signed lower right, 50.5 x 36.6cm (19 7/8 x 14 3/8ins), gilt framed (62.0 x 49.2cm) (1)

£300 - £400

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£100 - £150

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Lot 180 180* Bouché (Louis Georges, 1896-1969). Reclining Female Nude, oil on wood panel, signed L. BOUCHÉ to upper right corner, with an unfinished study of a seated woman to verso, 40.5 x 51cm (16 x 20ins) framed Provenance: Private collection, Lincolnshire, England.

A native of New York City who spent his teenage years in France, Louis Bouché came from an artistic family, his grandfather being a Barbizon School painter and his father an interior designer. From 1918 to 1931 Bouché was associated with and exhibited at the Daniel Gallery in New York, and between 1921-1926 he managed the BelMaison Gallery, the first to be located in a department store, Wanamakers, in New York. In 1933 he won a Guggenheim Fellowship to travel and study in Europe. In the early 1940s, he taught at the Art Student’s League.

(1) £300 - £500

181* British School. Twixt Night and Day, early 20th century, oil on thin wood panel, depicting a landscape with flowers by a woodland pond, indistinctly signed lower left, a few faint vertical hairline surface cracks, verso with faint pencilled title, indistinct signature, and faint address, possibly ‘The Studio, Mill Fall Cottage, Adel, Leeds’, verso also with chipped label of ‘D. W. & W., Edin.’, 44.8 x 36.5cm, moulded gilt frame (57.4 x 49.4cm) Possibly depicting Adel Moor.

Doig, Wilson & Wheatley (1895-1957) were picture dealers, framemakers, and restorers, based in George Street, Edinburgh.

(1) £150 - £200

Lot 181

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182AR* Dunlop (Ronald Ossory, 1894-1973). Kingston Bridge, oil on canvas, signed lower right, framed with label of Brook Street Art Gallery, 14 Brook Street, New Bond Street, W.1, to verso Provenance: Brook Street Gallery (with their label to verso); Private Collection, Lincolnshire, England.

Dunlop’s first one man show was held at the Redfern Gallery in 1928, and an exhibition of ‘colour sketches’ by Dunlop was held at the Brook Street Gallery in 1936: ‘Exhibition of colour sketches by R. O. Dunlop’, Brook Street Art Galleries, 14, Brook Street, London, 3rd-17th June, 1936. The present work may possibly be the one exhibited at the Royal Academy Summer Exhibition of 1946, under the title Yachting at Kingston on Thames (Royal Academy Catalogue of 1946, number 121).

(1) £2,000 - £3,000

183* Hall (Frederick, 1860-1948). Near Storrington, oil on board, verso with early ink manuscript label and modern typewritten label, 39.2 x 56.0cm (15 1/2 x 22ins), framed (59.4 x 76.5cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

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184* Mathers (Maud Angela, 1890-1921). Charlton Saw Mill, oil on canvas, signed lower left M.A. Mathers, verso with remnants of old artist’s label with partial name, address (Royal C... Holland Park) and with title, 47.8 x 58.4cm (18 7/8 x 23ins), framed (55.9 x 66.8cm) In New English Art Club Exhibitors 1886 to 2001 (2002) this painting is listed as Charlton Sawmill, Evening, number 142, exhibited at the New English Art Club in 1917.

(1) £300 - £500

185* McCall (Charles, 1907-1989). ‘The President & Council of the ROI’, 1963, oil on board, depicting 4 gentlemen seated at a large table, their backs to a large fireplace, signed in red top right, 23.1 x 31.5cm, 3 handwritten labels on verso in the artist’s hand, one including names of the sitters (Reginald Blackmore, Iain Macnab, Adrian Hill and Ben Mathews), one inscribed ‘To Carl From Charles with best wishes. 1979’, the third inscribed ‘final varnish applied 1964 (W&N. Mastic) C McCall’, framed and glazed, 36.8 x 45.2cm (1)

186* Millington-Drake (Edgar Louis Vanderstegen, 1932-1994).

Composition, November 1961, oil (or acrylic) on card, signed and dated Millington-Drake Nov’61 to lower left and additionally inscribed in pencil ‘Emma with love’, white painted frame (1)

£300 - £400

85

£200 - £400

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187* Peugniez (Pauline, 1890-1987). Tombola, oil on board, signed lower right, 37.5 x 47.2cm, framed (frame size 46 x 56cm) (1)

£200 - £300

188* St. Barbe Barker (Ella, 20th Century). In the Jungle, oil on canvas, signed in initials lower left, 61.5 x 51.5cm, framed (a few losses), frame size 69 x 59cm Provenance: First Summer Exhibition, Royal Institute Galleries, Piccadilly, London, 1936, price 10 Guineas (label to verso).

(1) £200 - £300

Lot 188 189* Thornton (Richard, 1922-1971). Canal Boats, acrylic on board, signed and dated lower left, 45.5 x 61cm (18 x 24ins), mount aperture, wood-framed, glazed (58 x 73.5cm) Richard Thornton studied at the Birmingham School of Art, and after the war at the school of Architecture in Birmingham 1946-50.

(1) £200 - £300

Lot 189

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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190* Twells (Arthur H., 1921-1996). Paris street scene with figures and the Basilique du Sacré-Coeur, Montmartre, oil on board, signed lower right, 40.5 x 50.5cm (15 15/16 x 19 7/8ins), framed (60.5 x 70.5cm), verso with inscription ‘varnish touch up 17/7/59’ and ‘1500/6’ (1)

£300 - £400

191* Shephard (Rupert, 1909-1992). Connemara, 1946, oil on board, signed and dated lower right, with Leicester Galleries printed label to verso, 24.5 x 35.5cm, framed Provenance: Leicester Galleries, London, July 1947 Annual Exhibition ‘Artists of Fame and Promise’ No. 93. (torn exhibition label to verso).

Shephard studied at the Slade School of Art from 1926 until 1929. He exhibited at various London venues, including the Cooling Galleries in 1935 (Watercolours by Vivien John, Nicolette Macnamara, Susan Palmer, Rupert Shephard : 22nd November to 5th December), and the Calmann Gallery in 1939, his first one-man show. In 1937, the inaugural year of the Euston Road School of Drawing and Painting, he exhibited with the school’s founder members William Coldstream, Claude Rogers, and Victor Pasmore at the Storran Gallery. During the Second World War he worked as an official war artist.

(1) £400 - £600

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20TH CENTURY PRINTS

192* Baumer (Lewis, 1870-1963). Four portraits of a young Lady, hand-coloured lithographs, presumably all laid to the mount, some discolouration, mount openings 19 x 15cm, framed and glazed (one examined out of the frame) (4)

£100 - £150

193* Cameron (David Young, 1865-1945). Ben Lomond, 1923, etching with drypoint, printed with plate tone, on fine japan tissue, signed in pencil, plate size 263 x 414mm (10 3/8 x 16 1/4ins), sheet size 300 x 445mm (11 5/8 x 17 1/2ins), framed and glazed Rinder 468.

One of the Cameron’s largest and finest Scottish landscapes, Ben Lomond was described by Rinder as “Cameron’s supreme landscape achievement as etcher” (D.Y. Cameron, An Illustrated Catalogue of his Etchings and DryPoints, 1887-1932, Glasgow, 1932, p.xx).

(1) £500 - £700

Lot 192

Lot 193 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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194* Dowd (James Henry, 1884-1956). Give Us Open-Air Nursery Schools for Little Children, circa 1925, colour lithograph poster, printed by Dangerfield Printing Co. Ltd., a few short unobtrusive closed marginal tears, lightly creased where previously folded, 73.5 x 48.25cm (29 x 19ins) (1)

£200 - £300

195* Drury (Paul 1903-1987). The Obstinate Hen, 1958, etching with aquatint, printed by Anthony Dyson, and published in Paul Drury: The Memorial Portfolio by Garton and Co., in 1994, in an edition of 25 impressions (edition A), plate size 28 x 27cm (11 x 14 1/2ins), with margins, framed and glazed, together with three other lithographs and etchings, all Scottish views, by Stewart Carmichael and Percival Gaskell, all framed and glazed (4)

Lot 196

£200 - £300

196AR* Gross (Anthony, 1905-1984). Chateau Correze, copper etching on thick Arches wove paper, printed by the artist’s daughter, Mary West, at the artist’s studio, circa 1984, published

by Merivale Editions, in an edition of 500, numbered in pencil 329/500, small crease/indent to image, plate size 152 x 228mm (6 x 9ins), sheet size 210 x 295mm (8.25 x 11.6ins), contained in original thin card folder with printed title to upper cover (1)

£100 - £150

197* Larcombe (Ethel, 1876-1940). Young lady in a bonnet, pair of colour aquatints, published by E.W. Savory Ltd, Bristol, each signed in pencil lower right margin, 24 x 21cm mount aperture, framed and glazed, frame size 43 x 37cm (2)

£200 - £300

198AR* Mackey (Haydn Reynolds, 1883-1979). Passing the Windmill, linocut with oil paint colouring, signed in initials lower left, 43 x 35.5cm (1)

£200 - £300

Lot 198

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199AR* Masson (André, 1896-1987). Les Amants Celebres, 1979, the complete set of 10 colour etchings, printed by Aldo Crommelynck, Paris, in an edition of 70 impressions, each signed in pencil, and numbered 49/70, with publisher's blindstamp to lower left corner, sheet size 66 x 50cm (26 x 19 3/4ins), in very good condition, loose in cloth portfolio (81 x 66cm) Saphire-Cramer 114.

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

90

£700 - £1,000

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201AR* Pasmore (Victor, 1908-1998). World in Space and Time I, 1992, etching and aquatint in colours on wove paper, printed by Vigna Antoniniana, Rome, and published by 2 RC Edizioni d'Arte, Rome (with their blindstamps) in an edition of 90 impressions, numbered, signed with monogram, and dated '92 in pencil lower right, and numbered 8/90 in pencil to lower left, plate size 49 x 144.5cm (19 1/4 x 56 7/8ins), sheet size 64.5 x 192cm (25 3/8 x 75 1/2ins), framed and glazed (75 x 198cm) (1)

202* Richter (Hans, 1888-1976). Dymos, una poesia e sei incisioni di Hans Richter, Pesaro & Milan, La Pergola edizioni d’arte, 1972, six colour etchings on Cartiera Magnani di Pescia, printed by Piergiorgio Spallacci in Pesaroeach signed with initials in pencil, and contained in card window mount, sheet size 400 x 437mm (15 3/4 x 17 1/4ins), loosely contained in original publisher’s drop-over black cloth portfolio, faded to spine (44 x 45cm), limited edition of 145 copies, this copy unnumbered, and marked ‘p.a.’

200* Matisse (Henri, 1869-1954). Vegetaux, & Nuit de Noel, two colour lithographs, printed by Mourlot under the artist’s supervision, published in Verve, Verve 35-36, Derniers Oeuvres de Matisse 1950-54, sheet size 355 x 265mm (14 x 10 1/2ins), matching black painted wood frames, glazed (55 x 45.5cm) (2)

£3,000 - £5,000

(1)

£150 - £200

Lot 201

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£300 - £500

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203AR* Tindle (David, 1932-). Moth, 1978, colour lithograph on heavy white wove paper, printed by Curwen Press, and published in an edition of 240 impressions, signed and numbered 115/240 in pencil, image size 311 x 486mm (12.25 x 19.2ins), sheet size 570 x 770mm (22.5 x 30.25ins) (1)

£70 - £100

204AR* Trevelyan (Julian, 1910-1988). Westminster Abbey, 1964, etching and aquatint and soft-ground in colours, on crisbrook paper, printed in an edition of 75 impressions, published by Editions Alecto, signed, titled and numbered 23/75 in pencil, closed tear to left blank margin, just touching plate mark, and another closed tear right blank margin (not touching plate mark), plate size 35 x 48cm (13 3/4 x 18 3/4ins) Turner, Julian Trevelyan Prints (2010), 163.

(1)

Lot 203

Lot 204

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

92

£200 - £300

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Day Two

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SILVER To commence at 10am

205* Candlesticks. A pair of George II silver candlesticks, probably Jas Gould, London 1730, with square-shaped foot central knop and detachable sconce, 12cm high, approximately 268g

207 Coffee Pot. A George V silver coffee pot by CS Harris, London 1926, of tapered form with short spout, curved wooden handle and scroll detail, dented, 24cm high, approximately 400g

(1)

(1)

£700 - £1,000

208 Cream Jug. A George III silver cream jug by Robert and David Hennell, London 1796, of ogee form with engraved decoration, with traces of monogram bordered by a wreath, 10.5cm high, approximately 105g

206* Candlesticks. A pair of George III silver candlesticks by T & J Settle, Sheffield 1819, each with acanthus decoration and engraved with a cockrell family crest, 31.5cm high, weighted (1)

£300 - £500

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

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£80 - £120

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209* Flatware. A collection of silver King’s Pattern cutlery, various makers including George Adams, and Edward Viner, comprising 3 serving spoons (London 1832), another serving spoon, 2 sauce ladles, 4 dessert spoons all by George Adams, London 1865, 4 soup spoons and 4 teaspoons all by Edward Viner, Sheffield 1961, plus 4 dinner and 4 dessert knives by the same maker each with stainless-steel blade, weighable silver approximately 1228g (26)

£300 - £500

211* Mixed Silver. A silver cruet set, the oval reeded stand by Goldsmiths & Silversmiths Company, London 1915, holding 4 associated egg cups (London 1883), combined weight 361g, together with various spoons including a pair of sauce ladles, London 1903, 4 George III Scottish silver mustard spoons by William Marshall, Edinburgh 1825 and other items, combined weight approximately 685g (18)

210 Mixed Silver. A George V silver sugar caster by Walker & Hall, Sheffield 1934, of octagonal pedestal form, 19cm high, together with another sugar caster, 2 silver cigarette cases and a purse, combined weight approximately 647g, plus a white metal tureen and cover, 26cm long (6)

£200 - £300

95

£150 - £200

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Lot 214

Lot 216

214* Serving Fork. A George III Old English Pattern silver serving fork by Hester Bateman, London 1788, the bowl with 6 tines and engraved with heraldic crest, 29cm long, approximately 1087g (1)

£100 - £150

212* Oil Lamp. An Edwardian silver corinthian column oil lamp by Hawksworth, Eyre & Co Ltd, Sheffield 1901, the fine and substantial base supporting a cut glass reservoir and the stepped base with presentation inscription, with glass chimney and ovoid frosted glass shade with foliate decoration (chipped), the base 69cm, the overall height including chimney 95cm, weighted (1)

£400 - £600

215* Silver Card Case. A George V silver card case by John Rose, Birmingham 1923, of curved form engraved with lines and vacant cartouche, 4.8cm x 8.5cm, 51g, together with a silver cigarette case

by Joseph Gloster Ltd, Birmingham 1913, 9 x 8cm plus an 18thcentury tortoiseshell circular patch box, the cover with a circular painted panel depicting cupid, with yellow metal borders, overall condition poor with cracks to the tortoiseshell and the panel detached, 6.5cm diameter (3)

216* Sugar Caster. A George III silver sugar caster by Thomas Daniel, London 1774, of baluster form with foliate pierced domed cover, 16cm high, 130g

213* Salver. A George II silver salver by George Wickes, London 1753, with shaped border and engraved detail showing arms with three palm trees eradicated and fructed on three rolled feet, scratch weight mark to base, approximately 885g, 30cm diameter (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£80 - £120

(1)

£600 - £800

96

£100 - £150

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217* Tankard. A George III silver tankard by John Swift, London 1773, the straight-sided tankard with ribbed body engraved with monogram and domed lid with lined detail, scroll handle with large pierced thumb-piece, 20cm high, approximately 915g (1)

£1,000 - £1,500

218* Tea Set. An Edwardian silver 4-piece tea set by William Hutton & Sons Ltd, London 1903, comprising teapot, spirit kettle on stand, milk jug and sugar bowl, all half gadrooned, engraved with a monogram (the spirit kettle with presentation inscription), teapot 28cm long, milk jug 12cm long, combined weight approximately 1890g (4)

£500 - £700

Lot 217

Lot 218

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Lot 219

Lot 220 219* Teapot. A George III silver teapot by William Turton, London 1783, of oval form with beaded edge to base, rim and lip, foliate cast finial and wooden handle, repaired, 27cm long, approximately 388g (1)

£150 - £200

220* Tobacco Box. An Edwardian silver tobacco box by Horton & Allday, Birmingham 1903, a fine piece of plain rectangular form, engraved with a family crest and concealed hinge enclosing gilded interior, with a concealed compartment to the side enclosing a cheroot holder, 8.5cm long, approximately 139g (1)

£100 - £150

221* Toddy Ladle. A George III period silver toddy ladle, the bowl with engraved decoration, twisted wooden handle with small silver tip, marks worn, 38cm long (1)

£80 - £120

222* Wine Label. A George IV silver wine label, London probably 1828, the ornate pierced label for ‘Port’ decorated with grape and vines with two foxes, hallmarks punched on rear and so half the marks removed, suspended on a chain, 6cm long, approximately 23g (1)

£80 - £120

Lot 221

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

98

Lot 222

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JEWELLERY

226* Mixed Jewellery. A modern gold ring stamped ‘750’ of continental manufacture, set with 6 small diamonds in an illusion setting, the shank split, size Q, overall weight approximately 10g, a yellow metal ring set with a facet cut amethyst, size O, a pair of hollow gold ear studs stamped ‘9ct’, approximately 1.7g and two red coral necklaces (one with a yellow metal catch), combined weight of coral approximately 73g

223* Brooch. An Edwardian 9ct gold spider bar brooch, set with a garnet and peridot, stamped ‘9ct’, 5cm long, overall weight 1.8g (1)

£50 - £80

(5)

£200 - £300

224 Diamond. A heart brilliant-cut diamond, fancy deep orangebrown (GIA certified) 5.81 x 7.61 x 4.00mm, 1.04ct, presented in GIA packaging GIA 5121899077 - 4 January 2011 (1)

£800 - £1,200

225* Diamond. A square emerald cut diamond, fancy light yellow (GIA certified) 6.12 x 6.05 x 3.04mm 1.06ct, presented in GIA packaging GIA 2155545029 - 19 August 2013 (1)

227* Necklace. A modern gold two-tone necklace stamped ‘750’ of continental manufacture, 43cm long, approximately 28.5g (1)

£1,500 - £2,000

99

£600 - £800

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COINS

228* Pocket Watch. An Edwardian goliath chronograph pocket watch, the 65mm white enamel dial with moon phase aperture and three subsidiary dials with blued steel hands, and 8-day movement, nickel case, the dial with hairline cracks, overall diameter 70mm, in a Morocco leather travelling case (tatty), the inner lid with gold block ‘Black Starr & Frost, New York’ (1)

232* Coins. Charles II silver crown, heavily worn and therefore unable to read the date, together with George III silver crown, 1819, George and dragon reverse with garter edge, two Victorian silver crowns, 1889 and 1897, George III cartwheel penny plus various Victorian and Edwardian commemorative bronze medals including an 1837-1897 Diamond Jubilee medal, 55mm diameter

£250 - £350

(11)

£80 - £120

229* Ring. An 18ct gold cluster ring, set with a sapphire surrounded by small diamonds, stamped ‘750’ , size O/P (1)

£100 - £150

230* Rings. Rose gold and 3-stone diamond ring, the 3mm brilliant-cut diamonds set in a diagonal fashion, the interior of the gold engraved, size M, total weight approximately 3.4g (1)

£70 - £100

231* Rings. A 9ct gold dress ring, set with a pale blue stone surrounded by small diamonds, stamped ‘375’, size N, together with 3 further 9ct gold dress rings

233* Coins. George III and later silver crowns, including George III, 1818 another with date worn, Victoria 1889, 1897 (2) and 1892, a George III cartwheel penny and other coins

(4)

(a carton)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

100

£100 - £150

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234* Coins. George III Cartwheel Twopence 1797, edge bruises, together with a mixed collection of English and European coins including Victoria, Florin, 1887, Victoria, Crown, 1890 (worn), France, Louis XV, 2 Sous 1786, and other various British and European coins (small box)

237* Medals. Gianello della Torre (Juanelo Turriano, circa 15001585), 19th century bronzed electrotype of the obverse of the famous medal of the Italo-Spanish clockmaker by Jacopo Nizzola da Trezzo, 80mm diameter, together with a mixed collection of medals including Capture of Sardinia and Minorca 1708, bronze, 40mm, Sir Isambard Marc Brunel, 19th-century bronze electrotype uniface medal, 57mm diameter, German Prussia 1757 Frederick the Great’s Victory at the Battle of Prague, copper medal, 47mm diameter, John Freind (1675-1728), Physician, 1728, copper tribute medal, drilled, 55mm diameter, two Royal Academy of Music bronze medals by John Pinches, 40mm diameter, cased plus a stained pine display case (lacking glass) 8cm high x 36cm wide x 35cm deep

£100 - £150

(36)

£200 - £300

235* Gold Coin. South Africa, 1/2 Pond 1896 gold coin, scratches to obverse and worn (1)

£100 - £150

238* Silver Medals. Association of Professional Numismatics silver medal, the reverse with a bust of Leonard S. Forrer, 60mm diameter, 135g, together with a Royal London Yacht Club silver medal struck by Benzie (The Yachtsmen’s Jeweller Cowes) to commemorate the Centenary Regatta 1838-1938, boxed, 38mm diameter, 24.5g, a South African Mail Service silver medal struck by Spink & Son Ltd in 1977, limited edition 311/1000, boxed with certificate, a Royal Southern Yacht Club silver medal, reverse engraved ‘Centenary Regatta Cowes Aug. 7th. 1937, 45mm diameter, 47.7g, boxed, plus other silver medals, combined weight approximately 252g

236* Medal. Chinese gold medal struck for the 150th Anniversary of the Chinese company Ewo 1832-1982, the reverse with the symbol of Jardines, 22 x 22mm, cased with certificate and packaging, 19.3g A limited-edition medal, number 5620 / 6000 struck in gold refined to a purity of 99.9%.

(1) £500 - £700

(6)

101

£100 - £150

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COLLECTABLES

Lot 239

239 Advertising Tins. A large collection of tins, including a Huntley & Palmers display cabinet tin, 18cm high x 14.5cm wide x 9.5cm deep, a Wright & Son Ltd tudor house tin, 12cm high x 15.5cm wide x 9.5cm deep, a Colman's Mustard cutlery box tin and others (approximately 120)

£300 - £500

241* Boulton (Matthew, 1728-1809). A silver-plated chamberstick, the sconce stamped ‘Soho Patent’, the base with sunburst marks, 15cm diameter, together with a Continental silver apostle spoon with hammered bowl and figural top, 18cm long, a cased silver Rifle Shooting prize medal, the reverse engraved ‘Won by R.M. Currie 1917’, 65mm diameter, 80g, a Victorian Naval Officers drawing set, the case with a plaque engraved ‘Presented at the Public Examination on the 13th June 1851 to Gentleman Cadet Alexander U.H. Finch by the Honble Court of Directors of the East India Company as a mark of the Courts approbation of his attainments in Military Drawing while at the Military Seminary’, the case enclosing an ivory rule by Troughton & Simms, London, 7.5cm long and a compass engraved with initials ‘A.U.H.F. from LF’ and other items

240* Ancient Egypt. A collection of Egyptian shabti, including a turquoise faience mummiform Shabti, modelled wearing a striated tripartite wig, long plaited beard, arms folded on chest, holding mattock and hoe, with seed bag over left shoulder, T-shaped inscription, back pillar and pedestal base, cracked and loss of glaze, 19cm high, together with two smaller pale green glaze shabti each with an old collection label to the base, 12.5cm high, four small bi-chrome mummiform unidentified ‘stock’ Shabti each white faience and traces of decoration (two damaged), approximately 10cm high and other items Collected by the vendor’s grandfather circa 1930s.

(10)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(9)

£100 - £150

242* Chess. A fine 19th-century Chinese export ivory chess set, carved in the traditional manner to depict the Chinese versus the Mongols, comprising 32 pieces, one side stained red the other natural, the king’s approximately 14cm high, the pawn’s 7cm, some loss and wear the staining (1)

£500 - £800

102

£1,500 - £2,000

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Lot 242

244* Chess. A 19th-century bone “Selenus” pattern chess set, comprising 32 pieces, one side stained red the other natural, the king’s 9.5cm high, the pawn’s 4cm, natural king and rook with old hairline cracks, some general loss of red staining, contained in a mahogany box together with a set of wooden draughts, comprising 12 rosewood and 12 light boxwood, plus 28 ebony and bone dominoes, complete with mahogany, rosewood and boxwood hinged games board, 33 x 33.5cm

243* Chess. A 19th-century Anglo-Indian carved ivory chess set, comprising 32 pieces, one side stained red the other natural, the king’s 14m high, the pawn’s 5.5cm, some pieces with old cracks, and rubbing to the red staining (1)

£500 - £700

(4)

103

£200 - £300

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245* Chess. A 19th-century ivory chess set carved the Calvert style, comprising 32 pieces, one side stained red the other natural, the king’s 9.5cm high, the pawn’s 4.5cm, 3 natural pawn’s with hairline crack to base, the queen with small chip to base, 1 red pawn with hairline crack to base, some general loss of red staining, together with a set of bone draughts, one side stained red the other natural, comprising 15 red and 15 natural, some pieces chipped commensurate with age and use, complete with rosewood and mahogany hinged games board, 45.5 x 38cm (3)

246* Chess. A 19th-century Chinese export ivory chess set, comprising 32 pieces, one side stained red the other natural, the king’s 9cm high, the pawn’s 5.5cm, the natural pieces with a king and queen, probably George III and Queen Charlotte, the red with a Chinese Emporer and Empress, some loss throughout and due to the fragility some pieces would benefit from restoration of weaponry, contained in an associated Victorian satin walnut box, the lid inset with beige velvet printed ‘Album’ under glass, 12cm high x 29cm wide x 19.5cm deep

Lot 245

(1)

Lot 246

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

104

£1,500 - £2,000

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249* Chess. A 19th-century ivory “Selenus” travelling chess set, comprising 32 pieces, one side stained red the other natural, the king’s 11cm high, the pawn’s 3.5cm contained in a mahogany box, complete with mahogany and sycamore chessboard, 27.5 x 27cm

247* Chess. A 19th-century English bone chess set carved in the “Barleycorn” pattern, comprising 32 pieces, one side stained red the other natural, the king’s 13cm high, the pawn’s 4.5cm, some general loss of red staining otherwise condition is generally good throughout, together with a set of boxwood draughts, one side stained black the other natural, comprising 15 red and 15 natural, complete with rosewood and satinwood hinged games board, the interior lined with a paper backgammon board, 41 x 40.5cm (3)

(2)

£300 - £500

£200 - £300

250* Chess. A 19th-century ivory “Staunton” pattern chess set, comprising 32 pieces, one side stained red the other natural, the king’s 9cm high, the pawn’s 4.5cm, some general loss of red staining otherwise overall condition is good, contained in a walnut box, together with a set of bone draughts, one side stained red the other natural, comprising 12 red and 12 natural, some pieces chipped commensurate with age and use, complete with rosewood and cedarwood chessboard, 35.5 x 36cm (3)

£300 - £500

248* Chess. A 19th century papier-mâché folding chessboard, the four-section folding board decorated in gold and black, the opposite side with a backgammon board, 86 x 86cm (1)

£200 - £300

251* Chess. A Regency period papier-mâché folding games box, decorated in gold with pagodas and landscapes on a black ground, the interior with a red and gold backgammon board, 42 x 42.5cm (1)

105

£100 - £150

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252* Chess. An Anglo-Indian ivory Vizagapatam ‘Pepys’ chess set circa 1820, comprising 32 pieces, one side green and the other natural, exquisitely carved, the kings 14.5cm high, the pawns 7cm high A similar set was sold at Bonham's, London on 19 May 2010 (lot 117).

For further reading refer to Master Pieces by Gareth Williams pp 103/104 “One very attractive design imported is normally referred to as a “Pepys” set. Such a set, with a box board and backgammon counters, was presented to the London Museum by the Pepys Cockerell family, descendants of the diarist Samuel Pepys... The sets made for export for the East India Company and those made to cater for English taste did to a certain extent modify the style of carving of the traditional Hindu Indian artist. They would carve in the inherited style used over centuries by masons whose sculptured masterpieces of their varied gods impressively adorn the ancient Hindu and Buddhist temples built throughout the subcontinent.”

(1) £3,000 - £5,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

106

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255* Draughts. Victorian turned ebony and boxwood draughts, complete, one side black, the other natural, 3cm diameter, contained in a later inlaid box, 5.5cm high x 15cm wide x 10.5cm deep, together with a set of 19th-century ebony and bone dominoes, contained in a pine box with sliding lid, plus a rosewood and boxwood hinged games board inlaid with bone, 42 x 42cm (3)

£100 - £150

253* Draughts. 19th century Indian carved ivory draughts, complete, one side stained red the other natural, each finely pierced with a floral motif, approximately 3cm diameter, contained in a later papier mache box 6cm high x 11cm wide x 9cm deep (1)

£100 - £150

256* Draughts. Victorian turned ivory draughts, complete comprising 30 draughts with one side stained red the other natural, 3cm diameter, contained in a later inlaid wood box, 5.5cm high x 17cm wide x 10cm deep (1)

£100 - £150

254* Draughts. 19th-century ebony and boxwood draughts, one side black the other natural, 3cm diameter, contained in a mahogany box with sliding cover, 5cm high x 17.5cm wide 8cm deep, together with a boxed set of ivorene and ebony dominoes plus a rosewood and boxwood hinged games board, the opposite side with a backgammon board, 41.5 x 42cm (3)

£100 - £150

257* Games Box. A Regency chinoiserie papier-mâché games box, of sarcophagus form decorated in gold with pagodas and landscapes, the hinged lid enclosing three-division interior, lined by turquoise paper on four ball feet each with brass wire-work decoration, 9cm high x 22cm wide x 15.5cm deep (1)

Lot 255

107

£300 - £500

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258* Lions. An impressive pair of 20th-century reconstituted stone lions, modelled upright holding a sheild, formerly garden or gate ornaments, 80cm high (2)

260 Coconut. A 19th century carved coconut, carved with the title ‘Un Recuerdo Amor Mio San Carlos Noviembre De 1894’, amongst foliate decoration mounted on a stepped wooden base, 17cm high

£100 - £150

Probably Sailor Art. (1)

£150 - £200

261* Decanters. A set of 4 George III period glass decanters, the cut glass bottles each with globular stopper, 21cm high, contained on a red leather stand and mahogany box with brass recessed handle, 25cm high 24.5cm wide 25cm deep, 2 bottles with chips to neck (1)

262* Dog Collar.A late 17th-century leather dog collar, circa 16441661), with brass plaques engraved 'James Duke of York' and 'His Royal Highnes' with an additional ducal coronet symbol, 26cm long, the leather has perished and broken in half

259 Coaching Lamps. A large and impressive pair of Victorian coaching lamps, of black painted square form, with elaborate finials and two-tier swag decoration, glass panels and a door to the rear, approximately 85cm long (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£250 - £350

The engraving probably refers to James Stuart (1633-1701) who was the Duke of York from 1644-1685) and King James II from 1685-1688. The D beneath the coronet relates to hunting dog pack D and shows a hunting crop.

(1) £500 - £800

£200 - £300

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Lot 262

264* Golf Clubs. A Victorian 'rut iron' or 'track iron' by A. Bryant of Reading, hand-forged on a hickory shaft, 98cm long, together with an Edwardian 'Leighs Patent' putter in the 18th century style but circa 1910, the spliced long nosed wooden head stamped 'Sellars London' with brass saltweight stamped 'Leighs Patent No 27874/1910', on a hickory shaft with bound leather grip, 93cm long Rut irons were introduced from the 18th century and were commonly used throughout the 19th century when many golf courses were located on town or public land. Residents would often drive their wagons over the courses resulting in ruts from their wheels. A new type of club was needed to compensate for this and the rut or track iron was introduced.

(2) £100 - £150

263* Fountain Pens. A collection of pens, including a black Parker fountain pen with 14K nib (lacking clip), Parker 51, Parker 17, green marbled Conway Stewart (14ct nib), black Watermans (14ct nib) plus matching pencil, 9ct gold Yard-O-Led propelling pencil in original box with instructions, 2 silver propelling pencils and other items (17)

£100 - £150

265* Grand Tour Plaster Intaglios. A collection of approximately 150 mounted miniature red plaster intaglios of classical and neoclassical subjects, Italian, circa 1820-1840, each intaglio edged in laminated paper gilt, manuscript number to each, various sizes, framed and glazed, frame size 47.5 x 67.5cm Provenance: W.H. Hyett (born William Henry Adams), Painswick House, Gloucestershire. Hyett departed for the Continent in 1815, and was among the first civilians to visit the field of battle at Waterloo. After spending three months in Paris he travelled to Switzerland and Italy before travelling to Athens via Albania in 1819, before proceeding across ‘the plains of Troy’ to the Dardenelles where.he swam across the Hellespont from Sestos to Abydos (echoing the Greek mythological figure Leander) in under two hours, returning to England by way of Constantinople, Vienna and Geneva. He was made a Fellow of the Royal Society for contributing to agricultural science and served as MP for Stroud from 1832-34.

(1) £300 - £500

Lot 264

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266 Grand Tour Plaster Intaglios. A group of approximately 35 miniature white and red plaster intaglios of classical and neoclassical subjects, Italian, circa 1820-1840, a few white intaglios mounted on a cloth-covered wooden frame, each intaglio edged in laminated paper gilt (some tears and stains to cloth), other intaglios, mainly red plaster intaglios loose with manuscript numbers (one broken in half, a couple unframed), one contemporary morocco-backed double hinged box, each side with manuscript list headed ‘Monumenti in vari luoghi’, listing a total of 36 subjects (box rubbed and scuffed), 8vo See lot 265.

(1)

£100 - £150

267* Grand Tour Plaster Intaglios. A collection of approximately 150 mounted miniature red plaster intaglios of classical and neoclassical subjects, Italian, circa 1820-1840, each intaglio edged in laminated paper gilt, manuscript number to each, various sizes (two detached and loose), framed and glazed, frame size 47.5 x 67.5cm See lot 265.

(1)

£300 - £500

269* Henning (John, 1771–1851). A pair of patinated copper relief panels of biblical scenes after Raphael, March 1820 & July 7, 1821, each with caption & date within lower border, depicting biblical scenes after Raphael's cartoons from John 21:17 'Jesus saith unto him, feed my sheep' & Acts V 4-5 'Thou hast not lied to men, but unto God and Ananias hearing these words fell down and gave up the ghost and great fear came on all them who heard these things', 18 x 26.5cm, matching burr walnut frames (29 x 37cm) The Raphael Cartoons are designs for tapestries commissioned from Raphael by Pope Leo X (reg. 1513-21) shortly after his election in 1513. The tapestries were intended to hang in the Sistine Chapel in Rome, built by one of Leo's predecessors Pope Sixtus IV. (2) £200 - £300

268* Grand Tour Plaster Intaglios. A collection of approximately 150 mounted miniature red plaster intaglios of classical and neoclassical subjects, Italian, circa 1820-1840, each intaglio edged in laminated paper gilt, manuscript number to each, various sizes, framed and glazed, frame size 47.5 x 67.5cm See lot 265.

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

110

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271* Marchant (Nathaniel, 1739-1816). Hercules, engraved intaglio on amber glass, signed by Nathaniel Marchant, 20 x 20mm, tiny nick to rim of verso, together with Artemis holding a deer, engraved intaglio on amethyst glass, signed by Nathaniel Marchant, 22 x 18mm, two chips to rim of recto and verso, with 18 other late 18th and early 19th century intaglios on varicoloured glass, of oval, square and rectangular form, various sizes and subjects including a clear glass intaglio of a putto atop a lion, engraved 'Amor vincit omnia', another of a dog, engraved 'When this dog barks our friendship ends', a few chipped Nathaniel Marchant studied under Edward Burch and after spending time in Rome and became a noted engraver of intaglios, medals and cameos,and became assistant engraver to the mint, gem sculptor to the Prince of Wales and engraver to the king, and later full academician of the Royal Academy in 1809.

(20) £1,500 - £2,000

270* Grand Tour Intaglios. A collection of 34 late 18th / early 19th century intaglios, mixture of coloured glass, white marble and black basalt oval intaglios and reliefs of classical, neo-classical, and male and female portraits, subjects including Hercules, Horatio Nelson, a Greek theatre mask, a Roman Emperor, a satyr, bulls, two signed by the engraver, one of a classical scene by M. Harris, 1789 (possibly Moses Harris of the Wedgwood factory), the other signed C. Brown F. of lions, various sizes (the largest 45 x 35mm), one or two with small chips (34)

£700 - £1,000

272* Burch (Edward, 1730-1814). Intaglio portrait of a classical figure, oval intaglio on clear glass, signed by Edward Burch, numbered 'CXXXVI' & '749' to verso 25 x 23mm, small chip to rim, together with 34 other late 18th and early 19th century intaglios on varicoloured glass of allegorical classical and neo-classical subjects and portraits, various shapes and sizes, including Lady Justice, Hermes, Hercules slaying the Lernaean Hydra, one or two with small chips Edward Burch RA was one of the most celebrated gem-engravers of the eighteenth century, engraving intaglios and medals of mainly antique subjects and portraits of contemporary worthies. In 1788 he was appointed engraver to the King and Duke of York. His pupil was the engraver Nathaniel Marchant (1739-1816).

(35) £1,000 - £1,500

Lot 271

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Lot 273

Lot 274

Lot 275

273* Lighting. An Art Nouveau brass table lamp circa 1910, in the form of a swan, with a green etched glass shade, 50cm high (1)

£200 - £300

274* Lighting. An Art Nouveau brass table lamp, with pink glass shade, 48cm high (1)

£150 - £200

275* Lighting. An Art Nouveau brass table lamp, with a green glass shade, 50.5cm high (1)

£150 - £200

277* Stained Glass. A Victorian stained glass panel, showing three angels with the latin motto beneath ‘nenit. exite obbiam Christo Domino’ (he cometh to meet Christ the Lord), 36 x 42cm (1)

276* Snuff Box. A 17th-century walnut and horn snuff box, of oval form, the cover inset with bone panels ‘If You’ and dated ‘1662’ (three panels missing), 8.5 x 7cm (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

112

£80 - £120

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278* Symphonium. An early 20th century Continental musical box, the walnut box inscribed ‘Symphonium’, enclosing a gold painted movement numbered 508790, the inner lid with a colour print showing a wintery landscape with figures by a bridge, 13cm high x 21cm wide x 19cm deep, with 6 discs, working (1)

£200 - £300

279* Taxidermy. A Eurasian otter (Lutra Lutra) by Rowland Ward circa 1920, finely executed in a naturalistic setting within a bamboo effect glazed display case, etched ‘The Jungle, Rowland Ward 7.Z.S. 166 Piccadilly’, 61cm high x 86cm wide x 35cm deep (1)

£2,000 - £3,000

Lot 278

Lot 279 (detail)

Lot 279

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280* Teapot. A Victorian oversized creamware pottery teapot (possibly Leeds), the large ovoid teapot with relief moulded floral decoration on a stippled ground with floral moulded spout and handle, hinged pewter cover with finial, 25cm high x 35cm long (1)

£150 - £200

282* Walking Stick. A George III period whale bone walking stick, the handle with tortoiseshell and silver roundels, 92.5cm long (1)

£300 - £500

281* Vanity Box. A 19th century inlaid brass and rosewood vanity box, with J. Needs Bramah lock, the brass cartouche engraved with a crest, the hinged lid enclosing several silver top bottles and containers, some hallmarked for Archibald Douglas, London 1826, engraved with family crest, some pieces missing and restoration required, 16cm high x 42cm wide x 29cm deep

283* Walking Stick. A George I piqué cane, the ivory top finely inlaid with pique work with silver collar engraved ‘Thomas Lowe de Sutton, August 3d 1721’, on a malacca shaft with eyelet for wristband, missing ferrule, 85.5cm long

(1)

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£400 - £600

114

£500 - £700

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GLASS

Lot 284

Lot 285

284* Drinking Glasses. A collection of 18th-century drinking glasses, including a flared funnel glass over open air twist stem on conical foot, 15.5cm high, together with three further glasses each with opaque twist stem, largest 14.5cm high, smallest 12cm high (4)

Lot 286

288* Drinking Glass. An 18th-century drinking glass, with flared bowl on an opaque twist stem and conical foot, approximately 17.5cm high (1)

£100 - £150

£150 - £200

289* Drinking Glass. An 18th-century drinking glass circa 1750, the flared bowl engraved with a bird and grape and vine decoration over an opaque twist stem on a conical foot, slight imperfection to the underside of foot near the pontil mark (probably a manufacturing fault), 16.5cm high

285* Drinking Glasses. A pair of 18th-century drinking glasses, each with tapered bowl on opaque twist stem and conical foot, both with chips on to foot, 13.5cm high (2)

£100 - £150

(1)

286* Drinking Glass. An 18th century ale glass, the conical bowl engraved with hop and barley on facet stem and conical foot, 16.5cm high (1)

£100 - £150

290* Drinking Glass. An 18th-century drinking glass circa 1750, the tall funnel bowl engraved with wheat over an opaque twist stem on a conical foot, 18.8cm high

£100 - £150

(1)

£100 - £150

287* Drinking Glass. An 18th-century drinking glass, the bowl engraved with flowers and a latticework swag, opaque twist stem and conical foot, 13cm high (1)

£100 - £150

Lot 287

Lot 288

Lot 289 115

Lot 290

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Lot 291

Lot 292

291* Drinking Glass. Five George III glass rummers, each with an ogee tapered bowl over a knopped stem and conical foot, 15.4cm high, together with three later drinking glasses

292* Firing Glass. An 18th-century firing glass, the bowl engraved with a bird on a branch, the opaque twist stem on a substantial circular foot

(8)

(1)

£100 - £150

£300 - £500

ORIENTAL WORKS OF ART 293* Bowl. A 19th-century Chinese porcelain bowl, coral red glaze with bamboo design, the interior white, the base with a blue Daoguang mark, some rubbing to the red, 5.5cm high x 11cm diameter (1)

£500 - £800

294* Bowl. A Chinese blue and white porcelain bowl, late Qing Dynasty, the exterior decorated with five-claw dragons chasing a pearl, the interior similarly decorated, the base with a sixcharacter ‘Guangxu’ mark, 8.5cm high x 17cm diameter (1)

£400 - £600

295* Bowl. A Chinese blue and white porcelain fish bowl, Republic period, decorated with fish to the interior and exterior, unmarked base, 8cm high x 20.5cm diameter (1)

£150 - £200

Lot 293

Lot 294

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 295

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297* Brush Pot. A Chinese transitional style porcelain brush pot, circa 1900, the large pot with everted rim and incised scrolls to the rim and lower section decorated with figures in a landscape with pine trees, 23cm high x 21cm diameter (1)

298* Celadon. A collection of provincial Ming celadon and Swatow ware bowls produced for the South East Asian market, including a bowl with incised decoration with an unglazed foot and old label inscribed 'Ming Philipines' [sic], crazing to the glaze, 4.5cm high x 13.5cm diameter, a shallow dish, 3cm high x 12cm diameter, with a label inscribed 'Sung Philipines', 3cm high x 12cm diameter, a lobed bowl and other items

296 Bowl. An 18th century Chinese blue and white porcelain bowl, floral decorated, minor chips to the underside rim, 22.5cm diameter together with an 18th century octagonal blue and white porcelain plate, decorated with a vase of flowers, fence and flowers, 22cm wide (2)

£300 - £500

£80 - £120

(8)

Lot 298

117

£200 - £300

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301* Chinese Ceramics. An 18th-century blue and white porcelain dish, decorated with a peacock within trees and panels of foliage, similarly decorated to the underside and with stylised flower mark, hairline crack, 35cm diameter, together with a later Chinese blue and white porcelain vase, of baluster form decorated with a dragon and immortals holding ruyi sceptres, six-character mark to base, 24cm high

299* Censer. A Chinese bronze censer, 18/19th century, of rectangular ogee form with beast head handles, the base with a “Xuande” mark, 8cm high x 15cm wide (1)

(2)

£100 - £150

£200 - £300

302* Chinese Frame. A 19th century Chinese ivory picture frame, the oval frame carved with dragons, oxidised colour, 15 x 11.5cm (1)

300* Censer. A Japanese bronze censer, Meiji period (1868-1912), of ovoid form with pierced cover and bird finial, the whole piece cast with birds and flowers with conforming handles, on a circular base, 31cm high (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

118

£80 - £120

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Lot 305

Lot 306

306* Funerary Pot. A Chinese Neolithic earthenware funerary pot, circa 2000 BC, the ovoid two handle pot painted with black and red net decoration, 36cm high Provenance: Private Collection, South Wales.

(1) £200 - £300

303* Currency. A large bronze Chinese medallion, cast with two confronting dragons chasing a pearl, the opposite side with four characters, square hole to the centre, 11cm diameter with an old manuscript label inscribed ‘Cheng Ta 1506-1522 Medallion’, together with three further pieces of currency including one piece with label inscribed ‘Wang Mang (A.D. 9-23) Huo Pu ‘Exchange Coin!

Lockhart 160’ 5.5cm long (4)

£100 - £150

304* Deity. An early 20th-century Indian sandalwood deity, carved as the goddess Lakshmi playing a lute, surrounded by a temple on a stepped base, 15cm high (1)

£80 - £120

305* Food Box. A 19th-century Chinese food box, the red lacquer box on a later stand, 48cm high x 48cm wide x 31cm deep Provenance: Sarah Gildon Antiques, London 2008.

(1) £200 - £300

119

307* Islamic Tray. A large circular brass Islamic tray, Mamluk revival probably 19th century, finely engraved with geometric decoration, 60cm diameter A similar tray was sold at Christie’s, London 18 October 2001 (lot 116).

(1) £150 - £200

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312* Vase. A Chinese bronze vase, age unknown, of ovoid form with flared rim and foot, illegible marking to the base, 14cm high (1)

£50 - £80

313* Vase. A 19th-century Persian pottery vase, with a tin or lead glaze in yellow, blue and red, decorated with mythical beasts and stylised flower heads, blue mark to base and restoration, 28cm high (1)

£70 - £100

308* Moorish Table. An early 20th century inlaid octagonal occasional table, profusely inlaid with mother of pearl and bone, the top hinged for storage over a bobbin turned upright and splayed supports, general loss and wear commensurate with age, top 47.5 x 47.5cm x 57.5cm high A style regularly associated with Liberty & Co, London.

(1) £150 - £200

310* Stick Stand. A Japanese bamboo stick stand, Meiji Period (1868-1912), profusely carved with a Samurai warrior in a mountainous landscape, inlaid with bone and mother of pearl on a large carved base, 52cm high (1)

£300 - £500

314* Walking Stick. A Japanese ivory top cane, Meiji period (1868-1912), the spherical top carved with multiples masks on a rosewood cane with brass ferrule, 87cm long (1)

£100 - £150

309* Silver Bowl. A late 19th-century Indian silver pedestal bowl, finely embossed with geometric foliate decoration, the pedestal base secured by a thread and nut, unmarked, slightly misshapen and some minor holes from overpolishing, 11cm high x 11cm diameter (1)

£100 - £150

311* Thanka. An early 20th century Tibetan thanka, painted in the traditional style with a goddess surrounded by immortals, with tigers, snakes, and landscapes, bordered by foliate silk panels, 126.5 x 76cm (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£80 - £120

120

315 Wine Cup. A Chinese blue and white porcelain wine cup, Republic period, decorated with dragons, the base with a ‘Qianlong’ mark 4.5cm high x 8.5cm diameter on a wooden stand (1)

£80 - £120

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TRIBAL ART

Lot 316

316* Ashanti. A large collection of miniature wooden stools, carved in the traditional style and individually inscribed on the base, for example, Bantama Stool, Kintampo Stool, Aboabugga Stool etc, all approximately 7cm long (51)

£150 - £200

317* Bamana. A Tji-Wara Society antelope headdress, carved with long horns and retaining woven and cloth cap inset with cowry shells. 135cm high, together with another similar, some loss and mildew to both Tji-Wara comes from the Bamana for work animal and the antelope represents the mythical being who taught men how to farm. The ceremonial headdresses are worn in Bamana community festivals that celebrate agriculture.

(2) £1,000 - £1,500

Lot 317 121

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318 Benin. A carved wood recumbent lion, with long mane and roundels to its back suggesting a “zoomorphic” beast, 38cm long (1)

£200 - £300

319* Ethiopia. A Jimma region carved wood stool, the light wood stool with dished circular top above three splayed supports, 37cm high x 35cm diameter (1)

£80 - £120

Lot 322

Lot 319

Lot 318

320* Ghana. An early 20th century Akuaba wooden fertility doll, carved in the traditional form with outstretched arms, overall painted in black, 39cm high mounted on a perspex base

322* Nigeria. A Mumuye tribe carved wood helmet mask, with polychrome decoration, long beak and surmounted by a figure, 38cm high (1)

£80 - £120

Akuaba women hoping for a child would carry these dolls in their clothes. They traditionally have large round flat heads which represent the moon goddess who was associated with fertility.

Once the doll had fulfilled its purpose, the mother would place it on her domestic altar, where it was worshipped in a shrine. They were ancestral pieces often handed on to the next generation.

(1) £70 - £100

323 South Sea Islands. A large hardwood cylindrical stick stand probably 19th century, reeded decoration and hollowed with no base, 67cm high x 24.5cm diameter (1)

Lot 320

321* Indonesia. A substantial Dyak tribe carved wood stool or vessel, of tall form with flared rim and figural and beast columns, the interior hollowed, 68cm high x 43cm diameter (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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£150 - £200

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FOSSILS

324* Ammonite Plate. A multiple ammonite plate, Jurassic Period, Lyme Regis, Dorset, this piece has 3 Asteroceras and 8 Promicroceras embedded on this lovely shard of rock, the largest ammonite measures approximately 6.5cm across (1)

327* Fossil Starfish. Brittlestar, Ophiuroidea from the Middle Ordovician of El Kaid, Morocco, this is a very attractive specimen with lots of fine detail, the fossil is preserved in a coating of Limonite which gives the fossils its orange colouration, the matrix approximately 28cm x 22cm

£300 - £500

(1)

£70 - £100

325* Drotops Megalomanicus. One of the larger trilobites from the Devonian Period, Morocco, the specimen has been cleaned away from the surrounding rock and even the Hypostome has been revealed from the underside, measuring 13cm along its axis (1)

£150 - £200

328 Fossil Wood. This fossil wood slice weighs around 20 kilos and is from the Triassic Period of Madagascar, 48cm across x 13cm deep, an impressive piece (1)

326* Fossil Crinoid. This example is of the species Scyphocrinites and is from the Silurian of South Morocco approximately 420 Million years old, approximately 28 x 26cm (1)

£150 - £200

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£400 - £500

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329* Marston Magna Ammonite. A Marston Magna ammonite display fossil, Jurassic Period, Somerset, there has been over 80 hours of work to reveal all of the small ammonites, both sides of the rock have been cleaned to reveal hundreds of ammonite specimens, 28 x 27cm (1)

£1,500 - £2,000

330* Flint. A collection of Neolithic and Paleolithic Flint, various shapes and sizes with original paperwork dating back from 1924 showing maps and locations (17)

331* Scraper. A Neolithic scraper fashioned from fossilised wood, Upper Triassic, New Mexico, USA, 8cm long

£100 - £150

This Scraper was knapped by Neolithic people in what is now North America, the person who made this tool would have selected the fossil food for its ease of working and its beauty as an object.

(1) £150 - £200

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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332* Paradoxides. A Trilobite, Cambrian Period, approximately 490 Million years old, this is a very well preserved specimen which is preserved in Limonite which gives the orange colour to this impressive interiors piece, the specimen measures 28cm with a larger matrix (1)

335* Stingray. A stingray from the Cretaceous Period, Lebanon, this is a very rare and well preserved fossil with fine detail to the fringes of the fins, a rare and beautiful fossil that measures approximately 11.5cm in length, the rock measures approximately 17 x 14cm

£150 - £200

Stingrays are members of the cartilaginous fish group and as such do not easily preserve as fossils.

(1) £300 - £500

336* Tyrannosaurus Tooth. A large and impressive Tooth from the T-rex of North Africa. The species is Caracharodontosaurus and would have been equally as ferocious as its North America counterpart. The specimen measures nearly 7.2cm in length and has excellent enamelling and serrations (1)

£200 - £300

333* Plesiosaur Paddle. This is a Humerus bone from a Cryptoclidus that was found in Peterborough in the 1980s, many hours of work has gone into exposing this extremely rare British fossil, the bone measures 39cm in length with a larger matrix (1)

£300 - £500

334* Spinosaurus Tooth. This is an exceptional tooth from one of the largest predators to have walked on our planet. This tooth is fully rooted with good ornamentation to the blade. A beautiful example which is extremely large at 15.6cm

337* Woolly Rhino Jaw. A Woolly Rhino jaw found in Poland, this is a very large low left mandible from an adult Woolly Rhino with three intact teeth, the specimen measures 53cm in length and would have come from an adult

(1)

(1)

£200 - £300

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£300 - £500

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FURNITURE AND PIANOS

Lot 338

338* Mouseman. A Robert “Mouseman” Thompson of Kilburn (1876-1955), oak pedestal desk, the kneehole flanked by 3 drawers each with handle, the mouse carved to the front right leg, some water damage to the top, 74cm high x 136cm wide x 50cm deep (1)

£2,000 - £3,000

339* Art Deco. A pair of bedside cabinets, circa 1930, veneered in birdseye maple, the hinged door enclosing shelves,cm high xcm wide xcm deep Provenance: Gallery 1930, London 2007.

(2)

Lot 339

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

126

£300 - £500

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340* Art Deco. A cocktail cabinet attributed to Ray Hillle, circa 1930, of circular form veneered in birdseye maple, the hinged door enclosing shelves, stencilled ‘38’ mark to base, 58cm high x 66.5cm diameter Provenance: Hickmet Fine Arts, London 2008.

(1)

£700 - £1,000

341* Bookcase. A Victorian rosewood breakfront bookcase, the frieze carved with beaded decoration over four glazed doors each enclosing shelves above four-panel doors enclosing shelves on a block plinth, 196cm high x 218.5cm wide x 39cm deep, a particularly good example with a rich patina (1)

£1,500 - £2,000

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342* Coffee Table. A Danish rosewood coffee table in the style of Grete Jalk, the rectangular table on tapered supports, 56cm high x 161cm wide x 55.5cm deep (1)

£200 - £300

345* Display Cabinet. An Edwardian mahogany bowfront display cabinet, the breakfront frieze with barbers pole inlay and geometric stringing, the central glass door applied with oval moulding, flanked by bowed glass panels, enclosing shelves on tapered supports, 183cm high x 126cm wide x 41.5cm deep

343* Coffer. A joined oak coffer, predominantly 18th century, of rectangular form with iron hinges and lock, 67cm high x 98cm wide x 40cm deep (1)

(1)

£100 - £200

344* Console Table. A Victorian giltwood console table in the 18th century Rococo style, the white serpentine marble top on an elaborate c-scroll and shell base, some loss of carving, 78cm high x 87.5cm wide x 31.5cm deep (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

Lot 346

£200 - £300

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346* Jacob and Josef Kohn. A Mundus Furniture bentwood chair designed by Jacob and Josef Kohn circa 1915, the beech armchair with a fine grain effect solid seat, the underside with original manufacturers label, the overall condition good with some areas of fading, usual knocks and scuffs commensurate with ag, 84cm high The Hungarian furniture makers Mundus operated from the late 19th century and in 1914 the factory merged with J. & J. Kohn and with Gebrüder Thonet in 1922.

Jacob & Josef Kohn was an Austrian furniture maker and interior designer from Vienna. The company was founded in 1849 and would later rise to become one of the leading furniture makers in Austria-Hungary. Kohn worked with the Wiener Werkstätte Josef Hoffmann in the design of many pieces.

(1) £200 - £300

347* Linen Press. A George III mahogany linen press, two-panel doors with brass foliate cast key plates, enclosing shelves above 2 short and 2 long drawers each with brass foliate and figural cast handles, on later casters, 182cm high x 137cm wide x 66cm deep (1)

£100 - £200

348* Work Table. A Victorian japanned work table, the rectangular top with raised lacquer work enclosing, various compartments and bobbin spool, with workbox beneath, on turned supports united by stretcher on shell and lions paw feet, generally worn but the interior retaining its vibrant charm, 74cm high x 64cm wide x 43cm deep (1)

129

£150 - £200

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349* Square piano. A mahogany and satinwood crossbanded square piano by Johannes Broadwood, c. 1795, inscribed serial no.

1720 internally, the satinwood fascia board inscribed 'Johannes Broadwood, Londini fecit 1795 Patent, Great Pulteney Street, Golden Square' above a five-octave keyboard, the stretchered base with four tapered legs terminating in brass caps and castors, front-hinged lid flap detached, some loss of veneer, requiring refurbishment, width 159cm, depth 54cm, height 85.5cm

351* Square piano. A mahogany square piano by Thomas Tomkison, c. 1820, stamped serial no. 5859 internally, satinwood fascia board inscribed 'Thomas Tomkison, Dean Street, Soho, Maker to His Majesty' above a 5 1/2 octave keyboard, mahogany case with ebony string detail, on four tapering legs terminating in brass caps and castors, pedal present, width 171cm, depth 65cm, height 85cm Thomas Tomkison (c.1764-1853?) received appointment as maker to the Prince of Wales in about 1810, which he stated on his name boards until 1820, when the Prince became King George IV. In 1820 he began to put “Maker to His Majesty” in his inscriptions.

(1) £400 - £600

It has been suggested that the present example might once have been in the collection of Thomas Jefferson (1743-1826), third President of the United States. Certainly, he visited Broadwood's London showroom in Great Pulteney Street, Soho in 1785, to discuss musical instruments with the proprietor.

(1) £800 - £1,200

350* Square piano. A mahogany and satinwood crossbanded square piano by John Broadwood & Son, c. 1805, inscribed serial no. 8665 internally, satinwood fascia board inscribed 'John Broadwood and Son, Makers to His Majesty, and the Princesses, Great Pulteney Street, Golden Square, London' above a 5 1/2 octave keyboard, retains original painted wood dust cover to the interior, the base with four tapered legs terminating in brass caps and castors, pedal present, width 166cm, depth 60cm, height 88cm

352* Square piano. A mahogany square piano by John Broadwood & Sons, c. 1815-1820, inscribed serial no. 2555(_) internally (final digit appears to be very faint/rubbed away), fascia board inscribed 'John Broadwood and Sons' above a 5 1/2 octave keyboard, mahogany case with brass edge decoration, two drawers beneath, on six turned & tapering reeded legs (repaired) terminating in brass caps and castors, pedal present, width 172cm, depth 65cm, height 85cm John Broadwood (1732-1812) produced his first piano in 1771. He traded as John Broadwood & Son from 1795 and when his third son joined in 1808, the firm assumed the name of John Broadwood & Sons Ltd. (1) £500 - £800

Broadwood produced square pianos with serial numbers 5397 to 9637 between the years 1800 and 1805.

(1) £500 - £800

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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353* Square piano. A mahogany square piano by William Henry Edwards, c.1830, satinwood fascia board with painted royal armorial and inscribed 'W. Edwards, Bridge-road, Lambeth, London' above a six octave keyboard, retaining dust cover to the interior, mahogany & satinwood case, with brass decoration, base with three drawers (one dummy) and six tapering reeded legs terminating in brass caps and castors, width 168cm, depth 61cm, height 91.5cm Rare. It is believed there are only a limited few examples of Edward's pianos in collections around the world. The firm of William Henry Edwards of 17 Bridge Road, Lambeth, London manufactured pianos from 1803-1850. There is evidence of some refurbishment of this example.

(1) £4,000 - £6,000

354* Square piano. A fine mahogany square piano by Van der Does of Amsterdam, c.1820s, inscribed with serial no. internally 'Van der Does Fecit 4519', fascia board inscribed 'Van der Does à Amsterdam' above a six-octave keyboard, with central folding music stand and folding stand for accompanist, dark mahogany case, with brass applied decoration, liar pedal present beneath, on four tapering legs terminating in brass knob feet, width 173cm, depth 68.5cm, height 88cm

Lot 353

The famous piano maker from Amsterdam Corneille Charles Emanuel (Carel) van der Does was born in 1769 in Voorburg and buried in 1827 in the Oude Kerk in Voorburg. This piano has evidence of some refurbishment.

(1) £2,000 - £3,000

Lot 354

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TEXTILES

355* After Robert Adam (1728-1792). A classical painted frieze on silk, 18th century, finely painted frieze depicting a rectangular stone plaque in centre with reclining female figure and an infant offering a posy of flowers, topped by a flower urn, and flanked by foliate arabesques and oval stone plaques, each depicting a female deity, on a dark cream silk ground, dusty, marked and perishing in places, edges with tack holes, remains of early manuscript label lower left ‘253 ... pair silk pan[els] ... from Robert Adam work sh[eet?] ...’, 54 x 167.5cm (21.25 x 66ins) (1)

£150 - £200

357* Bags. A collection of evening bags and purses, early 19th-early 20th century, 13 bags and purses, including: a Regency micro bead reticule with design of roses and floral sprigs, lined with cotton, 12 small metal rings to upper edge with fine double-chain closure/handle; a 1920s red velvet pouch bag with lattice pyramidal celluoid mount and matching chain handle, gold metal thread tassels to sides and lower end, some slight marks to velvet, one hinge broken and loose with slight loss; an Art Nouveau terracotta silk drawstring dolly bag with hand-embroidered stylised flowers to lower edge, lined with olive green twill; a Victorian beaded petite point shield-shaped reticule with 3 beaded tassels (1 slightly broken), lined with cream silk; an early 20th century envelope bag encrusted with gold sequins and beads, lined with cream moiré silk; and several small beaded purses, plus 2 other beaded items similar (a small cushion and a mat), various sizes (15)

£150 - £200

356* Bag. An early embroidered silk reticule, circa 1790-1810, hand-stitched pale pink silk bag, the front elaborately embroidered in pale silk thread and gold metal threads with a large central satin stitch floral motif, surrounded by 10 foliate circles, each enclosing a flower of pink silk ribbon embroidery, embellished overall with beads, foliate circle design repeated on upper flap, the back similarly worked, with a heart motif in centre enclosing a flower of ribbon embroidery, border and flap edged with foliate sprays, small area 1.5cm long on rear beginning to perish, lower edge with 3.5cm fringe of seed and bugle beads, carrying loops composed of 3 plaited strands of gold metal cord held by a band of gold metal lace on each side (one side with the loss of a few stitches), lined with cream silk (largely intact) with matching ruched ribbon to opening, dimensions not including fringe 30.5 x 21cm (12 x 8.25ins) A beautifully worked reticule surviving in unusually good condition.

(1) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 358

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358* Buttons. A collection of buttons and other fastenings, 18th20th century, 400+ buttons, button studs, buckles, brooches, etc., including cut steel, jet, enamel, micro mosaic, relief, linen, turquoise, pictorial, paste, Austrian tinies, painted wood, large cloak buttons, engraved, filigree, mother of pearl, some sets, including a set of 8 18th century brass and steel buttons, and a pair of 18th century black enamel and steel oval buttons, various sizes and condition, contained in a compartmentalised wooden box and a patterned fabric solander box (2 boxes)

£200 - £300

359* Buttons. A collection of buttons, 18th-early 20th century, approximately 100 buttons, and a few buckles and brooches, including: 23 large and 6 small matching paste buttons on original cream satin display shield; a set of 22 18th century domed wirewrapped buttons, some slightly worn, and 3 slightly larger similar; 7 matching 18th century sequin and metal bullion work buttons (3 worn with loss), and 2 others similar; 11 Georgian cut steel buttons (rusty) contained in a net miser’s purse; and a set of 21 large and 11 small matching 19th century filigree buttons on a red felt shield, various sizes and condition (1 box)

361* Carpet. Iranian ‘Afshar’ woollen carpet, circa 1910, with repeating medallions on a blue ground within a multi banded border, 147 x 116cm Provenance: Sanaiy Carpets, London, 2009.

(1)

£100 - £150

£100 - £200

360* Carpet. Iranian ‘Afshar’ woollen carpet, circa 1890, with repeating medallions on a blue ground within a multi banded border, 142 x 130cm 9

362* Carpet. Iranian ‘Bakhtiari’ woollen carpet, circa 1920, with polychrome medallions on a red and blue ground within a geometric border, 300 x 155cm

Provenance: Sanaiy Carpets, London, 2009.

(1)

Provenance: Sanaiy Carpets, London, 2009.

(1)

£100 - £150

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£200 - £300

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363* Cashmere Scarf. Two Etro cashmere scarves, as new with labels and box (2)

£100 - £150

365* Chinese. A lady’s embroidered coat, late 19th century, black figured silk coat, hand-embroidered with flowers and butterflies in cream and blue silk threads, with collar, cuffs, and edgings of cream silk hand-embroidered in polychrome silk and metal threads with oriental figures, exotic birds, animals, bridges, pagodas, and vegetation, lined with pale blue silk, toggle closures and one loop renewed, some marks and wear, especially to edges, some stitched repairs, cuff to cuff 142cm (56ins), length 107cm (42ins), together with a figured silk Chinese waistcoat, pale olive green with pale blue lining and interior pocket, lacking 2 toggle loops, and an under waistcoat of grey-lined blue silk, with collar, lacking a button, a few tiny holes and marks, some wear to collar (3)

£200 - £300

364* Chinese. A collection of matching fragments of painted silk, late 18th/early 19th century, 5 pieces of hand-painted silk, largest 211 x 70cm (83 x 27.5ins), smallest 82.5 x 51cm (32.5 x 20ins), and 4 small fragments, orignally part of a garment, depicting floral garlands and sprigs, and boughs of foliage with beribboned flower posies, on a cream ground, some wear and discolouration, especially to largest piece (9)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

Lot 366

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366* Chinese. A large embroidered shawl, late 19th/early 20th century, elaborately hand-embroidered overall in polychrome silk threads on a cream silk ground, with a large central circlular motif depicting an exotic bird with an insect in its beak, surrounded by flowers, leaves, birds, and a butterfly, and incorporating the maker’s signature in Chinese characters, large floral cornerpieces, and a scrolling floral and foliate border, some scattered small faint marks and 1 or 2 loose ends, lined with pale blue silk, wide cream silk hand-knotted macrame edging, dimensions excluding edging 165 x 170cm (65 x 67ins) A beautifully worked large Chinese shawl in excellent condition.

(1) £300 - £500

367* Chinese. A Qing Dynasty woman’s cloud collar, 18th century, multi-lobed silk collar, hand-embroidered with auspicious motifs, including flowers, butterflies, fish, and birds, worked in coloured silks and gold metallic thread, slightly dusty and faded, backed and bound with blue silk, lining slightly soiled, embellished with 3 pairs of coloured tassels (orange, cream, and green) and a knotted orange fringe of 13 tassels incorporating 3 white metal discs, rear closure with 2 knot buttons, dimensions not including tassels 47.5 x 34cm (18.75 x 13.25ins) (1)

368* Clothing & Accessories. A 1920s long lace coat, handmade Irish crochet coat or over-dress, intricately patterned with large and small flowers and floral baskets, with wide three-quarter length sleeves, a waterfall hem, and asymmetrical fastenings below waist consisting of a crochet-covered button (slightly discoloured) and three press studs, sleeves 42cm (16.5ins), length at back 132cm (52ins), together with: An ostrich feather fan, New York: B. Altman & Co., circa 1910, black ostrich feather fan mounted on celluloid sticks, the front guard stick monogrammed ‘FWAD’ in black, 47cm (18.5ins), contained in original silk-lined cream silk box (dust-soiled), with ribbon ties to hold fan intact, and maker’s name lettered in gold inside lid, plus an ivory ostrich feather fan with mother of pearl sticks, 41cm (16ins), and other accessories, including 2 tortoiseshell and platinum (untested) hair combs, one set with rhinestones, the other with marcasite (1 stone missing), both stamped ‘PLATUM F. & Co.’, a pair of fur Fortnum & Mason gloves, and an ermine fur muff and stole

£300 - £500

(15)

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£200 - £300

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370* Clothing. A Regency white cotton shift, circa 1810, handsewn white cotton shift, with high-waist and draw-string to neck, bodice, and short puffed sleeves, small hole to one sleeve, small mark on back of skirt, bust 71cm (28ins), sleeves 22.5cm (8.75ins), length 117cm (46ins), together with 8 other items, including 3 Regency muslin over-dresses, one embroidered with scattered white flower sprigs, a number of holes and losses to embroidery, some small brown marks on back, and the other 2 with elaborate embroidery to hem, both with marks and wear (including loss to sleeves), a large muslin shawl, probably Regency, with handembroidered border of lily-of-the-valley, a few small holes and marks, and an Edwardian tucked and lace-trimmed muslin tea dress, with woven label ‘Rose Brand’ (9)

Lot 369

371* Clothing. A whitework apron panel, English, circa 1720, finely hand-embroidered whitework muslin apron panel, worked with central armorial depicting a double-headed eagle surmounted by a crown within a circular wreath, flanked by rampant lions, and surrounded by numerous other animals and emblems (design mostly mirror image), including a military figure on a prancing horse brandishing a sword, a squirrel apparently mounted on a camel beside a palm tree, flower stems, floral urns, deer, cattle, pomegranates, elephants, exotic birds, etc., lower corners with embroidered heart between birds surrounded by floral motifs, scrolling flower border to uncut pockets and to sides and lower edge, top edge raw, some small tears, holes, and neat period darns, 91.5 x 135cm (36 x 53.5ins)

Lot 370

369* Clothing. A 1930s georgette dress, three-quarter length dress, with pink and black floral pattern on a grey-blue ground, round neck, short tulip sleeves, front opening with 7 self buttons and loops, decorative gathered panniers to hips (1 side with 1.5cm tear where joined to dress), and concealed side zip, a few pinprick holes to front right chest, sleeves 28cm (11ins), bust 85cm (33.5ins), waist 71cm (28ins), length 110.5cm (43.5ins), together with: An Art Deco evening dress, 1930s, black satin full-length gown, full draped elbow-length sleeves, boat neck with rhinestone oyster shell containing a faux pearl at either side (1 or 2 stones missing), v-shaped back with smocking on shoulders, long skirt with short train and long side flounce (with a small mark), and triple-pleated matching belt, side opening with press-stud fasteners (a little torn at top and bottom), bust 99cm (39ins), sleeves 43cm (17ins), waist 66cm (26ins), length 155cm (61ins), length with train 175cm (69ins), and 11 other early 20th century garments, including: a 1930s georgette dress with integral cape collar, patterned with orange, brown, and grey flowers on a yellow ground, torn to underarms; a 1950s red sleeveless dress with black woven checks by Horrockses and sold at Peter Robinson (both labels present), size 14, some small marks and pulled threads, small hole in lining of bodice; a 1940s brown 'beaver' jacket, lining splitting very slightly in a few places; a 1920s blue lurex coat, some wear, notably to neck, shoulders, and sleeves; a 1930s pale blue silk and lace long sleeveless nightdress; and a 1920s orange and black diamondpatterned swimming costume, occasional small marks and holes, various sizes (13)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

With typed British Museum report: ‘Whitework Apron, English: c. 1720. The decorative borders for the pockets have been embroidered near the top but the slits have never been cut. The floral sprigs and the animals are typically English and the figure on horse-back is probably the Duke of Marlborough (battle of Blenheim etc). However, the double-headed eagle in the centre is the emblem of the Hapsburg kings, possibly a reference to the War of the Spanish Succession, in which Marlborough fought.’

A rare early survival, carefully worked with some unusual and intriguing imagery.

(1) £200 - £300

372* Clothing. A woman’s linen nightdress, 18th century, handstitched fine white linen, wide gathered sleeves with narrow cuff, lawn frill to circular collar, front opening, and cuffs, threadcovered crosswheel buttons to front and cuffs (some wear), top button to front sometime renewed with a linen-covered button, some unexceptionable faint marks, small hole to collar frill, righthand cuff frill with small stitched repair, sleeves 53.5cm (21ins), length 137cm (54ins) A rare example of an 18th century woman’s night apparel, of fine quality, beautifully stitched, and in very good condition.

(1) £400 - £600

£150 - £250

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Lot 372

Lot 373

Lot 374

373* Clothing. An Art Deco velvet opera coat, 1930s, a plum velvet unstructured full-length evening coat, with padded and ruched spiral collar, long ruched angel sleeves, slightly flared lower panel to rear, and separate waist tie, right-hand armhole with 5cm tear, and seams to sleeves becoming a little unstitched where they join the back panel, but otherwise in very good condition, sleeves 58cm (23ins), length 142cm (56ins) A very striking and glamorous Art Deco piece, in very good wearable condition.

(1) £100 - £200

374* Clothing. An Edwardian silk taffeta gown, full-length cream silk taffeta dress, with fitted bodice, double-lobed frilled collar, with additional stand-up organza ruffle to neck, elbow-length sleeves trimmed with lace frill, and long train trimmed with lace, front fastening with metal hooks and stitched eyelet holes and loops (1 hook replaced and some possibly missing from lower part of skirt), fastenings to bodice covered by vertical tucks finished with a bow and silk tassels on cord, 1 decorative exterior pocket similarly embellished, and further big silk bows to skirt, lined with cream herringbone twill, occasional marks and some staining, including to hem and underarms, small hole in collar, bust 81cm (32ins), waist 61cm (24ins), sleeves 41cm (16ins), length 137cm (54ins), length with train 205.5cm (81ins), together with a 2-piece Edwardian gown, comprising a jacket and skirt in printed cotton, with floral and stripe pattern in pink, black, and pale green, on a cream ground, sleeves with large flared cuffs, neck with purple grosgrain ribbon trim and bow fastened with a yellow-metal filigree bow brooch, peplum back to jacket, brown frill to hem, some wear and alterations (covered buttons worn or replaced), and an 1860s red velvet jacket with flared sleeves, lined with cream silk, velvet and silk perishing in places (4)

£150 - £250

137

375* Curtains. A collection of 18th and 19th century damask curtains and fabric, comprising: an olive green curtain panel, pieced vertically in centre and backed with hessian (left hand seam open), old metal rings to reverse of top edge, 2 x 1ins hole to lower part of curtain, most of border fringe lacking, 223.5 x 120.5cm (88 x 47.5ins); a large pieced green brocade wall hanging backed with hessian, fringed to sides and lower edge, 188 x 355.5cm (74 x 140ins), and part of a matching panel, approximately 152.5 x 206cm (60 x 81ins), both worn; and 13 other pieces of fabric similar, some matching, generally with wear, some with period darns or patches, largest 173 x 236cm (68 x 93ins), smallest 74 x 30cm (29 x 12ins), together with 2 cushions, each fronted with a 17th or 18th century verdure tapestry panel (some wear), each approximately 40.5 x 52cm (16 x 20.5ins) Provenance: From the collection of Sir Harold Peto (with the exception of the two cushions); purchased in the early 1970s by the current owner from Lady Serena Matheson, daughter of Harold Peto’s nephew Sir Michael Peto.

(18) £300 - £500

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376* Curtains. A pair of shaped pelmets, Miss Frith, Kensington, London, circa 1890s, 2 matching stiffened glazed chintz pelmets, with a cream pattern of architectural motifs (carved plaques, Grecian urns, flower baskets), flower sprays, volutes, and putti, on a pink ground, self pleated edging to top and fringed braid to lower edge, each with woven label on verso ‘Miss Frith. Decorators.

Kensington 0140, 32 Beauchamp Place. Brompton Road. London.

S.W.3.’, 41 x 240cm (16 x 94.5ins) and 40 x 211cm (15 .75 x 83ins), together with 3 seat covers and 5 remnants in the same fabric, including 2 lined and interlined pieces (being the lower portion of a pair of curtains), some small marks, both approximately 62 x 164.5cm (24.5 x 65ins), and another shaped glazed chintz pelmet, with pink and green rose pattern on a dark cream ground, fringed braid to lower edge, a little dusty and worn in places to top edge, 32 x 170cm (12.5 x 67ins), plus other items similar, including: a pair of lined pale pink damask curtains trimmed with tufted braid, faded and occasional small marks, lining stained and with 1 or 2 tears, each approximately 204.5 x 142cm (80.5 x 56ins), with matching triple-pleated pelmet (faded) and 2 seat covers; a pair of lined blue silk curtains, slightly faded to one edge, each approximately 213 x 112cm (84 x 44ins), plus a third curtain slightly smaller, an ungathered pelmet, and some remnants, all in the same fabric; a large square floral glazed chintz cushion cover; a piece of red damask with tasselled braid to 2 sides, partially frayed, wrapped in newspaper annotated in ink ‘Old Red Damask Great grandmother Winants’, and a reversible puce pink/black satin cloth edged with metallic braid on both sides and with a lattice-covered large weighted finial at each corner

377* Dress. A brocade gown of circa 1770s Spitalfields silk, with later alterations, full-length brocade gown, with woven large flower sprays in shades of pink, blue, green, and yellow, incorporating silver metal threads, on a ground of cream silk figured with flower sprays and stems, boned bodice with v-shaped waist and short sleeves, with added embellishments (braid, ruffle trim, and lace), discolouration and repairs to underarms, occasional marks and 1 or 2 short splits to skirt, bust 71cm (28ins), waist 52cm (22ins), sleeves 15cm (6ins), length 129.5cm (51ins), together with a fulllength gown with straps and matching bolero made from Victorian fabric of silver and blue damask with floral detail picked out in blue and brown velvet, some fading and staining (3)

378* Dress. A chequered cotton day dress, circa 1850, hand-stitched fine cotton dress, with narrow stripes of pink, green, blue, and brown forming a chequered pattern on a cream ground, fitted bodice with high round neck, terminating in a v-shaped waist, long fitted sleeves with gathers at elbow, closegathered waist, rear-opening with 7 original brass hooks and corresponding stitched loops, integral cotton pocket in righthand seam, bodice and hem of skirt lined with cream cotton, 1 or 2 tiny holes and some pale brown marks but generally in good condition, bust 76cm (30ins), waist 46cm (18ins), sleeves 49.5cm (19.5ins), length 127cm (50ins)

The Frith sisters, Misses Louise (born 1851) and Fanny (born 1855), were the daughters of the artist William Powell Frith. In the 1891 census both women listed their occupation as ‘decorating furniture’, and Kelly’s Post Office London Business Directory from 1892 to 1896 lists the pair as interior decorators. The Frith sisters were also connected to the Working Ladies Guild, and a Miss Frith wrote an interior decoration column for the Lady’s Pictorial. Between about 1890 and 1895 Louise and Fanny, along with Lady Mary Louisa Monckton (née Long), traded from 18 Fulham Road under the name ‘The Spinning Wheel’, and occasionally ‘Monckton and Frith’, and they dealt in furniture and antiques as well as undertaking interior decoration.

(-) £150 - £250

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £400

138

£150 - £200

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379* Embroidered bedcover. A bullion-work coverlet, English, early 19th century, cream linen bedcover, hand-embroidered with central flower urn surrounded by sinuous floral and foliate stems, worked in thick linen thread, using a variety of stitches, including bullion stitch, French knots, latticework, herringbone stitch, and satin stitch, selvedges to sides, hand-stitched hem to top and bottom edges, one join to right hand edge, and additional vertical seam just in from right-hand edge probably forming a repair, several other neat patches and period darns, occasional small holes and marks, 236 x 190.5cm (93ins x 75ins), together with an early 20th century large whitework bedcover, with frilled scalloped edge, occasional small holes and marks, 401 x 249cm (158 x 98ins), and an early 20th century fine lawn quilt cover with lace insertions and frill to edge, a couple of holes in seam, 193 x 162.5cm (76 x 64ins) An unusual and striking piece of embroidery.

(3)

380* Embroidered bedcover. An Arts & Crafts coverlet, early 20th century, light beige broken twill weave bedcover, with crewelwork central panel within a large border, Jacobean-style stitching depicting sinuous leaf and flower stems, and pomegranates, handworked in wool in shades of green, yellow, and brown, using lattice stitch, long and short stitch, herringbone, stem stitch, and French knots, lined, a few small marks and edges a little dusty, but overall in good condition, 244 x 207cm (96 x 81.5ins) (1)

£300 - £500

139

£200 - £300

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381* Embroidered headboard. A fine rococo embroidered headboard for a bed, Italy: Piedmont, circa 1750, shaped headboard, with all-over design of arabesques, shell motifs, cornucopias, and floral motifs, and a central seated female figure flanked by standing male figures, each holding a quiver of arrows, expertly hand-stitched in coloured silk and metal threads, incorporating spangles, using long and short stitch, couching, satin stitch, bullion stitch, and stem stitch, on a cream silk ground backed with linen, silk perishing in places (and with some neat stitched repairs), but embroidery largely intact, 149 x 155.5cm (58.5 x 61ins), the whole piece carefully consolidated and stitch-mounted onto a cream silk backing over a stretcher, 152.5 x 160cm (60 x 63ins) A beautiful and large piece of early embroidery in very good condition, carefully mounted for future use as a headboard or decorative panel. Pieces such as this, which would have been purchased or commissioned for a large house as part of a decorative scheme, rarely come onto the market, especially in this state of preservation. The panel has elements of chinoiserie in its design, a style which came slightly later to Italy than to other European countries, but which eventually flourished rather spectacularly there during the 18th century, when a passion for all things oriental heavily influenced the rococo style, infiltrating all areas of art, architecture, and the decorative arts. Many of the Italian courts - for example, the Bourbons in Sicily and Campania, the Savoys in Piedmont, and the Medicis in Florence, not to mention papal Rome - indulged their enthusiasm for the exuberant decorative motifs of rococo chinoiserie, of which this magnificent headboard is a wonderful example.

(1) £2,000 - £3,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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382* Embroidered mirror. A mirror set with early embroidery, 1580-1600, early 20th century oak arched mirror frame with bevel-edged glass, lunette panel at top inset with fragment of late 16th century embroidery, depicting arabesques and flower stems, including a tulip, handworked in long and short stitch, satin stitch, and stem stitch, worn, with loss and over-painting, silk ground largely perishing, panel 21 x 60cm (8.25 x 23.5ins), panel and mirror bordered with woven braid (also over-painted), overall size 109 x 65cm (43 x 25.5ins) We understand from the vendor that this item was shown to a specialist at the V&A who dated the embroidery to 1580-1600.

(1) £200 - £300

383* Embroidered panel. A decorative metalwork panel, probaby English, 17th century, densely embroidered in gold metal threads incorporating highlights of coloured silk threads, with central stylised pineapple above a pair of serpent heads, flanked by flower urns, and surrounded by birds, hand-worked in couching forming chevron and lattice patterns, satin stitch, and stem stitch, on a blue silk ground (fraying slightly in places), sides and lower edge with matching hand-worked trim, sometime backed with scarlet fabric and top edge turned over to form a loop for hanging, 49.5 x 94cm (19.5 x 37ins), together with: A pair of embroidered metalwork panels, probably Spanish or Italian, 17th century, 2 matching shield-shaped embroideries (previously chair backs?), appliquéd with goldwork flowers and volutes and metal-woven ribbon on a red velvet ground backed with hessian, some wear, particularly to top edges, approximately 58 x 48cm (23 x 19ins), and a long decorative border similar, with red velvet appliqués edged with metal threads, on a silk ground incorporating metal threads, backed with hessian, 2 brass rings sewn to one end, worn, 20 x 197.5cm (8 x 77.75ins), A portion of early needlework, English, 2nd half 16th century, wool and silk cross-stitch on canvas, worked with stylised tulip stems within square border, and other flower stems between, central vertical join, 24 x 66cm (9.5 x 26ins), and other fragments of fabric, tassels, and hand-worked needlework items, including a cushion made from naqšeh embroidery, Iran, 19th century, the front composed of densely hand-worked portions of polychromatic embroidery, overlapping on linen reverse to create a border, a few breaks in seams, 41 x 38cm (16 x 15ins) Provenance: From the collection of Sir Harold Peto; purchased in the eary 1970s by the current owner from Lady Serena Matheson, daughter of Harold Peto’s nephew Sir Michael Peto.

See V&A accession number T.31-1914 for a piece similar to the portion of 16th century needlework.

The Holburne Museum in Bath has a needlework box and a panel of very similar naqšeh embroidery (F79 and T24), characterised by diagonal lines framing dense floral patterns, which was typically used for women’s trousers in Persia in the 19th century. The Museum notes that this type of embroidery was so sought after that husbands were said to unpick their wife’s clothing in order to sell it at the local bazaars.

(-) £300 - £500

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386* Embroidery. A piece of metalwork embroidery, English, 18th century, wide border of hand-stitched embroidery, depicting scrolling tulip stems, flower sprays, and foliage, worked in gold metal threads, silk threads, and chenille, in shades of pink, green, yellow, and orange, using satin stitch, French knots, bullion stitch, and stem stitch, and incorporating gold spangles and pearl beads, on a cream silk ground, selvedge to left hand side, remaining edges raw (embroidery truncated at top edge), some faint spotting but in bright robust condition, 95 x 24cm (37.5 x 9.5ins), together with 3 cushions made of matching vestment silk, circa 1900, in cream, red, green, and gold (4)

£200 - £300

384* Embroidered panel. A large silk embroidered hanging, probably Italian, early 18th century, coloured silks on canvas, hand-worked with a large two-handled floral urn in centre, and large flower and leaf stem cornerpieces, with a scrolling floral and foliate border, all in blue, green, yellow, and brown, on a cream diamond lozenge ground, extensive areas of wear, largely to background, with lost threads and canvas backing showing (canvas itself breached in a few places), modern backing of cream cotton and edged with green braid, 255 x 172cm (1)

£300 - £500

387* Embroidery. Border pieces for a pillow, English, late 16th/early 17th century, 2 long and 2 short matching border pieces, with geometric and vegetal pattern in raspberry red silk, handworked in Algerian eye stitch, cross stitch, and back stitch, on a fine cream linen ground, one of the long pieces with paper label sewn to one end inscribed in a 19th century hand ‘Part of the border of a linen Altar Cloth 17th Century, English, Lent by Mrs Stilwell’, 1 or 2 tiny holes (not affecting stitching), approximately 12 x 82cm (4.75 x 32.5ins) and 12 x 55cm (4.75 x 21.5ins), together with an irregularly shaped unused remnant of the same cream linen, approximately 46.5 x 64cm (18.25 x 25.25ins)

385* Embroidered panel. A metalwork hanging, late 19th/early 20th century, cream silk damask panel, with 5 Tudor roses, each framed by an arabesque border, a coronet entwined at each side of border, and a fleur-de-lys at top and bottom of border, expertly hand-stitched in relief using padded long and short stitch and couching in shades of yellow, and couched gold metal threads, 11cm wide ivory linen border to top edge (with water-stain to righthand side), backed in the same linen, large metal hooks on verso at top, cream, orange, and gold fringed braid to lower edge, occasional loose or lost threads, damask ground perishing, overall size 84 x 224cm (33 x 68.25ins) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Provenance: From the collection of Sir Harold Peto; purchased in the early 1970s by the current owner from Lady Serena Matheson, daughter of Harold Peto’s nephew Sir Michael Peto.

(5) £200 - £400

£200 - £300

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Lot 388

Lot 389

388* Fabric. A collection of Spitalfields and other fabric, 18th & 19th century, 10 fragments of early silk damask or brocade, including a few pieces of Spitalfields fabric, largest approximately 137 x 24cm (54 x 9.5ins), and a few pieces of machine-embroidered fabric, together with: A collection of matching pieces of Georgian fabric, 8 fragments of 18th century yellow satin fabric woven with a grosgrain pattern, comprising 6 lengths, 124 x 55cm (48.75 x 21.5ins) and slightly smaller, 2 curved lined sleeves, each with covered button to cuff, and part of a lined bodice, plus approximately 30 small fragments of 18th and 19th century silk, some pieces taken from garments, some matching, various condition and sizes

390* Infants’ clothes. A child’s quilted cap, late 17th/early 18th century, hand-stitched ivory linen cap composed of 6 segments, quilted in tiny running stitches forming flower patterns, incorporating buttonhole and eyelet stitches, lightly toned and a couple of small nicks in lower edge, small remains of linen tie on one side, but overall in good condition, 16 x 17.5cm (6.25 x 7ins), together with: A child’s smock dress, Victorian, hand-made long-sleeved knee-length blue linen dress, with white smocking and embroidery to collar, yoke front and back, and cuffs, rear opening with 3 buttons (and lacking closure at top with associated small hole), a few small brown marks, 1 or 2 tiny holes in back of skirt, chest 66cm (26ins), waist 76cm (30ins), sleeves 25.5cm (10ins), length 61cm (24ins), A complete Prince ensemble for a child, L. & H. Nathan, 1930s, comprising: a lined gold lurex long-sleeved tunic with aiglet-trimmed lacing to neck and sleeves, and red velvet side cape, fezstyle hat with jewel and gilded feather, and jewelled purse (with slot for gold-painted wooden dagger) on belt; 2 tucked muslin blouses with jewels around the neck, one with long sleeves, the other sleeveless (with some foxing); a pair of red silk short knickerbockers (some holes and marks); a pair of gold tights with woven initials ‘BB’; and a pair of red leather slipon shoes, various sizes

(approximately 50)

£400 - £600

389* Handkerchief. “The Good Time’s Come At Last”, American, circa 1849, fine cotton handkerchief printed in raspberry red on a cream ground, depicting the Californian Gold Rush, with various figures and speech captions (including reference to Governor Stephenson and Monterry [Monterey]), a steam ship, a three-masted galleon, and slave workers, against a backdrop of mountains, bordered by more figures, including native American Indians, and a locomotive, wagons, etc., selvedges to left and right-hand sides, top and bottom edges hemmed by hand, some light spotting, 10 x 4mm hole to left-hand border, 38 x 50.5cm (15 x 20ins)

The Prince outfit was purchased by the owner from a lady at a church fête in 1975, who said it had been worn by her brother when he was a page boy at a wedding in the 1930s.

(9) £200 - £300

A rare printed handkerchief satirising the Californian Gold Rush; we have traced only one other at auction (2008).

(1) £800 - £1,200

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Lot 391

Lot 392

391* Infant’s clothing. A set of Victorian christening clothes worn by Lady Rodney’s children, 7 layette items, some trimmed with handmade lace, comprising: 3 long baby gowns; a cream sprigged muslin gown, embellished with tucks and lace, a few stitches broken at waist seam; a cream satin gown with tucked bodice, inserted waist ribbon, and lace to sleeves and hem; a white net over-dress, with tucks and lace insertions; a fine cotton lawn cape, with embroidery and lace insertions, silk lining neardetached at neck, occasional light toning, small holes, and marks; 2 fine lawn frilled crib covers, one with pale blue silk lining and matching large satin bow; and a lace apron (1 or 2 small holes), mostly in good condition, various sizes Accompanied by a contemporary mansucript note in brown ink on laid paper which reads: ‘Christening suit as worn by all Lady Rodney’s Children’.

(7) £150 - £200

392* Infant’s clothing. An early child’s smock, English, circa 1850, white linen smock, with hand-stitched smocking to yoke front and back and to lower part of sleeves, and hand-embroidered pattern to collar, turned-back cuffs, and flanking smocking, 3 pairs of thread-covered buttons to rear closure with loops, and cuffs similarly fastened with a pair of thread buttons, some toning and small holes, 5 x 3cm hole to rear, chest 89cm (35ins), sleeves 44.5cm (17.5ins), length 54cm (21.25ins), together with 10 other items of children’s clothing, 19th or early 20th century, including: a lace dress with woven Embroiderer’s Guild label sewn in, annotated in manuscript ‘Child’s Dress, Britain, late 19thc Given By Miss E Cooper’; a cream silk frock elaborately hand-embroidered in cream silk thread to yoke front and back, edges of short sleeves, and wide border to skirt, some brown marks, skirt beginning to come away from bodice in places; a highwaisted fine lawn dress with tucks and lace insertions; and a cream frock with smocked yoke front and back and hand-embroidered Art Nouveau-style floral and foliate detail to collar and cuffs, mostly in good condition, various sizes The V&A has a very similar child’s linen smock (accession number T.151-1941).

(11) £150 - £250

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 393 393* Japanese. A ceremonial or theatrical uchikake, probably Meiji Period, purple silk kimono coat, elaborately hand-embroidered with cherry blossom flowers and auspicious motifs, in pink, white, and green silk thread, incorporating couched gold threads, front left side with a Samurai warrior mounted on a white horse, worked in polychrome and gold threads, and rear with the back view of a warrior mounted on a black horse, lined with orange silk, heavily padded hem, some wear, mostly to hem, some faint discolouration to back, wingspan 122cm (48ins), length 157.5cm (62ins), together with: A wedding uchikake, probably Meiji Period, polychrome hand-embroidered and yuzen-dyed silk kimono coat, top half dark blue, lower half with vibrant mountain and river landscape on a grey and turquoise ground, depicting cranes, lotus flowers, and blossom stems, lower part of sleeves decorated to match, lining and padded hem in red silk, occasional small marks and minor wear, wingspan 124.5cm (49ins), length 150cm (59ins), plus a lady’s obi (kimono sash) with silk and goldwork embroidery, and 2 narrow lengths of Japanese hand-embroidered pale yellow figured silk, depicting figures in a landscape The heavily padded hem of these garments indicate that they are outer kimonos, or uchikake, designed to be worn over another garment without a sash, usually for formal occasions or stage performances.

(5) £200 - £400

394* Lace. A collection of handmade early lace, late 16th-18th century, 14 lengths and items of lace, including: Venetian gros point, 7.5 x 65cm (3 x 25.5ins); Italian reticella (2 pieces joined), 11 x 105cm (4.25 x 41.5ins); cutwork from an early linen cloth depicting birds, 19 x 170cm (7.5 x 67ins); Venetian flat point, 7 x 67cm (2.75 x 26.5ins); Flanders lace, 8.5 x 117cm (3.5 x 46ins); early Italian bobbin lace, 3 x 87cm (1.25 x 34.25ins); a needle lace cap back with fine linen bands, 18 x 17.5cm (7.25 x 7ins); a fine lace collar of 19th century construction using earlier lace; and a 19th century muslin fichu with remounted earlier Dresden-style lace, possibly English, some of the pieces with a few breakages in places, but generally all in very good condition, together with a length of fine linen needle lace, French, probably 19th century, bearing the emblems of Francis I and Queen Claude of France, i.e. a salamander in flames, a pierced swan, and a shield with fleur-de-lys, 10.5 x 118cm (4.25 x 46.5ins), and 2 matching square mats of handmade broderie anglais and filet lace, circa 1920s, 30.5 x 30.5cm (12 x 12ins) (17)

£600 - £800

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395* Lace. A cutwork linen coverlet, probably Italian, late 16th/early 17th century, hand-stitched white linen bedcover, finelyworked with short wide bands of cutwork and embroidery vertically to centre, featuring a geometric design including chevrons, pattern repeated in a similar wide border running horizontally to sides, fringed to each side, a few small brown marks and tiny holes, 1 or 2 breaks in lace, but overall in very good condition, dimensions excluding fringe 180 x 141cm (71 x 55.5ins) An impressive piece of early lacework, in remarkably good condition.

(1) £300 - £500

397* Lace. A pair of buratto lace bedcovers, late 19th/early 20th century, 2 hand-stitched matching coverlets, each with 7 rows of 4 pictorial squares of buratto lace, each square depicting an animal or bird, e.g. a unicorn, stork, peacock, a griffin and other heraldic creatures, a dog, pelican, dragon, rabbit, etc., between smaller squares of buratto depicting animals, and panels of cutwork and embroidery, buratto lace edge also featuring animals and birds, including elephants, swans, dogs, lovebirds, etc., 266.5 x 167.50cm (105 x 66ins) and slightly larger, occasional small holes and marks, but overall in very good condition, together with: A Carrickmacross wedding veil, Ireland, circa 1865/66, cream lace veil, hand-worked over machine net, with floral and foliate sprays and ears of wheat, some scattered small holes and marks, 157.5 x 157.5cm (62 x 62ins), with remains of paper wrapping annotated in ink ‘Real Lace Bridal Veil, grand mother Rachel Simmon, circa 1865/1866’, and a large quantity of other lace items, 19th and early 20th century, many pieces handmade, including lengths of lace trim, 6 lace over pale pink silk cushions, pillowcases, bonnets, collars, cuffs, handkerchiefs, a blouse, stoles, dolly bags, tablecloths and runners with lace edges or insertions (some matching sets), some items starched and interleaved with tissue, various sizes and condition

396* Lace. A long length of wide tape and needle lace, late 19th century, a long piece of handmade tape lace with needle lace fillings, width 23cm (9ins), length 4.5m (14.75ft), and another matching piece, length 114cm (45ins), together with a quantity of other lace items, some handmade, including 14 handkerchiefs, trimmings, parts of a collar, etc., various condition and sizes (a small box)

£100 - £200

(3 cartons)

145

£200 - £300

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399* Morris (William). A framed panel of Crown Imperial fabric, designed 1876, woven wool and mohair, in red colourways, depicting stylised fritillaria imperialis flowers enclosed by foliate arabesques, 75.5 x 51.5cm (29.75 x 20.25ins), framed and glazed, together with an embroidered picture, carefully worked with stylised flowers, including tulips, in coloured silk threads on linen, using under and over stitch, 34.5 x 35.5cm (13.5 x 14ins), framed, with later inscription on backboard ‘Design by William Morris, Silk Drawing, by Amy Simpson 1885’ (2)

398* Linen. A collection of monogrammed table and bed linen, 19th/early 20th century, including napkins, hand towels, tablecloths (including one very large damask cloth), pillow and bolster cases, and sheets, some matching sets, all with embroidered small or large monograms, a few pieces handworked, but mostly machined, some monograms elaborate incorporating bows, floral baskets, etc., some pieces with additional embroidery, lace inserts, or drawn threadwork, many items folded from laundering and interleaved with tissue paper, some browned and foxed from storage, otherwise in very good condition, various sizes

£300 - £500

400* Napkins. A set of fine Georgian napkins, 18th century, 6 large matching silk damask napkins, each finely hand-stitched with central motif of 3 interlocking crescents entwined with flower and leaf stems, and damask border between double rows of drawn threadwork, 1 napkin with 1 or 2 very small faint marks, each approximately 86 x 76cm (34 x 30ins), together with: Tablecloths. A large Art Nouveau banqueting cloth, circa 1900, white damask tablecloth, with large swirling pattern of beribboned posies of poppy flowers, buds, and seedheads, scattered marks and stains, several neatly darned small holes, 442 x 228cm (14.5 x 7.5ft), and 4 other tablecloths, comprising: a damask cloth with hand-worked monogram, 160 x 165cm (63 x 65ins); 2 lace tablecloths, the first a cream linen cloth with drawn threadwork border and corner decoration, and wide border of Maltese-style handmade Bedfordshire lace, circa 1920s/30s, overall size 107 x 105cm, width of lace 26cm, and the second a white cotton cloth hand-worked with Point de Venise-style insertions, and padded satin stitch and cutwork scrolls, circa 1900-1920s, 115 x 112cm; and a white damask cloth with red woven border of medieval-style hunting figures and animals, hand-worked initials ‘HB’ in red and white in centre, 84 x 70cm (33 x 27.5ins)

A large quantity of good quality monogrammed linen from one family, mostly seldom or never used.

(2 cartons) £150 - £200

A rare set of finely-stitched early napkins in near pristine condition. The vogue for large napkins in the 18th century was driven by the need to protect the elaborate clothes worn. In 1774 a French treatise stated that the napkin should cover the front of the body from the neck down to the knees.

(11) £150 - £200

Lot 399

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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402* Ottoman. A pair of metalwork letter bags, early 18th century, 2 square envelope-style bags, lower side composed of orange fabric woven with gold thread, upper side with 4 partially-stitched flaps, heavily hand-embroidered with goldwork and spangles, each flap point with a length of twisted metal thread, the 4 threads joined together with a silver and gold tassel, one wallet frayed to 2 flap edges, and with loss to tassel, each lined with striped silk, each approximately 22 x 22cm (8.75 x 8.75ins), together with 7 hand-embroidered items, mostly of Turkish origin, 19th or early 20th century, 4 with metalwork embroidery, including 2 square panels, each approximately 51 x 51cm (20 x 20ins), and a large late 19th century towel with wide border at each end worked in silver and coloured threads depicting stylised tree houses, some staining, and slight losses to embroidery, 195.5 x 81cm (77 x 32ins)

401* Needle sample boards. Bleacher’s Needles & W. Bartleet & Sons, mid-late 19th century, 3 trade sample boards, comprising: 2 identical boards with printed label ‘Bleacher’s Needles’, displaying 61 needles, various sizes and shapes, mostly large, with name and number labels, and manuscript annotations in gilt, e.g. oval eyed mattress needles, shoemakers’ sickle awls, long-eyed bookbinders, sail needles, egg eyed harness, and drilled eyed saddlers, some with rusting, each board with needles stitchmounted on black paper laid into a bookform green cloth folder, extremities slightly rubbed, black elastic closure (stretched), 33 x 16cm (13 x 6.25ins), width when open 34cm (13.5ins); and a folding compendium of needles issued by W. Bartleet & Sons, Redditch Needle Mills, composed of 16 boards of needles bound concertinastyle, 350+ stitch-mounted needles in all (approximately 40 missing or loose), accompanied by printed labels, some embossed, each board with armorial and Bartleet’s name stamped in gilt at head, advertisement in gilt on final board, burgundy morocco covers gilt, slightly rubbed, upper cover with gilt-stamped armorial, lettered above ‘W. Bartleet & Sons’ and below ‘Patentees of Perfect Eyed Needles’, 22.5 x 10.5cm (8.75 x 4.25ins), width when open 126cm (49.5ins)

Thought to be rare receptacles for carrying important messages, the flaps being stitched together after a letter had been inserted, so that only the recipient could break the stitching, therefore guaranteeing the integrity of the contents.

(9) £200 - £400

The folding needle compendium advises customers that ‘W. Bartleet & Sons Redditch Needle Mills, Sole Patentees of Perfect Eyed Needles and Manufacturers of every description of Needles and Fish Hooks, caution the Public against Spurious Imitations of their Needles bearing Counterfeit Labels’.

(3) £100 - £200

403* Painted panel. A large Arts & Crafts painted linen panel, circa 1920, depicting an Arcadian scene with a frieze of figures in a river or coastal landscape framed by trees, comprising 2 male figuress wearing animal skins, one playing a pipe, and 4 female figures in flowing robes, one with a garland of flowers around her head accepting a posy from her companion, Art Nouveau border of stylised grapes and vine leaves, monogrammed lower right 'CTN'(?), some light staining, 83 x 113cm (32.75 x 44.5ins) Possibly by the artist Charles Thrupp Nightingale (1878-circa 1939), who is chiefly known for his children's book illustrations and wood engravings.

(1) £200 - £300

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404* Perugian towels. A woven runner, Perugia, Italy, possibly 15th-16th century, a linen and cotton runner woven with a wide weft band in pale blue depicting pairs of centaurs with hawks, between bands of lettering comprising the repeated word ‘Perugia’, on an ivory ‘nightingale’s eye’ diaper ground, edged with blue and white twisted braid, faded, some toning and marks, 46.5 x 165cm (18.25 x 65ins), together with another Perugian towel similar, with weft bands in pale blue at each short end depicting pairs of griffins, each between bands of lettering as above, some scattered small brown marks, and a small hole at one end, 122 x 62cm (48 x 24.5ins), short ends fringed

406* Quilt. A patchwork hexagon quilt, late 19th/early 20th century, large bedcover, composed of hand-stitched hexagons in a wide variety of plain and printed fabrics, with machine-stitching to edges, generally dust-soiled, some marks and holes, backed with grey cotton, 218.5 x 206cm (86 x 81ins)

Provenance: From the collection of Sir Harold Peto; purchased in the early 1970s by the current owner from Lady Serena Matheson, daughter of Harold Peto’s nephew Sir Michael Peto.

Commonly known as Perugian towels, deriving loosely from the Italian ‘tovaglie perugine’, such textiles were used in both ecclesiastical and secular contexts, and were diverse in function, encompassing napkins, and table cloths, as well as altar cloths and sacristy towels. They were woven in mixed twill, ofter diaper, with white linen warp and weft, and typically had bands of pattern created with a supplementary weft of cotton, almost always dyed blue with indigo or woad as here, although occasionally in red or brown.

(2) £200 - £300

(1)

£100 - £150

405* Pincushion. Help the Unemployed and Guess, 1930s, a large red fabric spherical pincushion, set with numerous large steel pins all around the sides, top and bottom set with pins forming captions, ‘Help the Unemployed and Guess’ and ‘Help One Another’ respectively, fabric somewhat threadbare, diameter approximately 17cm (6.75ins) A rare fund-raising item, believed to be from the days of the Great Depression in the 1930s.

In the same way as one would pay to guess the number of sweets in a jar at a fête, so money would be paid to guess the number of pins in the pincushion, the money raised going to help the many unemployed, and the nearest guess presumably winning the pincushion, or perhaps some other prize.

(1) £100 - £150

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

407* Quilts. A large piece of patchwork, 1880s, unfinished piece of polychrome patchwork hand-stitched in small squares, each square 2.5 x 2.5cm (1 x 1in), composed mostly of satin-finish woven fabrics of various patterns and colours, occasional small holes, many of the squares with cardboard and tacking still in place, 165 x 147cm (65 x 58ins), together with 10 other smaller pieces of patchwork similar, 59.5 x 78.5cm (23.5 x 31ins) and slightly smaller, including 4 pieces of log cabin quilting in velvet and satin or silk, and 3 pieces of velvet hexagon quilting (probably seat covers), some wear but mostly in good condition (11)

148

£100 - £200

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409* Screen. A trompe l’œil screen, possibly Continental, circa 1880s, hinged wooden triptych screen, shaped and fabric-covered to give the appearance of part of a cottage, the 3 parts covered in textured fabric and painted brown fabric to simulate plaster within a timber frame, with velvet ‘bricks’ showing through in places, and lower part of each panel also with brick-effect velvet, central panel inset with a leaded stained glass window, and with appliquéd embroidered blossoms on velvet stems, pediment with flowers growing through and remains of a stitched cobweb, left-hand panel with appliquéd embroidered bunches of grapes, right-hand panel with embroidered goldfinch perching on a fabric hanging terracotta plant pot, with a fabric-covered cardboard cat lurking in the eaves above, somewhat worn, with fabric fraying in places, worming to right side of pediment, twill lining on verso largely perished, central panel 190 x 105.5cm (74.75 x 41.50ins), each side panel 151 x 21.25cm (59.5 x 54ins) A curious and most unusual folding screen, the like of which we have not encountered before. It may have been simply an entertaining room divider, perhaps for a nursery, or possibly made as a backdrop for the amateur dramatic productions of an affluent family in a large house.

(1) £200 - £300

408* Scarves. London pubs, by Jacqmar, 1950s, printed silk scarf depicting numerous London pubs arranged in a spiral and captioned beneath, on a pink-red ground, rolled hem, 81 x 89cm (32 x 35ins), together with: So This Is Britain, by Thirkell, 1950s, printed silk scarf, depicting a chequered pattern of red and brown rectangles with symbols of Britain depicted in dark blue between, e.g. football, Eton College, cricket, racing, Forth Bridge, shooting, Big Ben, etc., on a cream ground, 86 x 89cm (34 x 35ins), and 3 WWII pictorial handkerchiefs (one with rhyme “Mary had a little ‘plane ...”; one with wartime planes and badges; and the other with alphabet “A stands for Allies” etc., with embroidered initials F.G.) (5)

£100 - £150

410* Shawl. An Egyptian Assuit shawl, circa 1920s, black net woven with hammered white metal pieces forming geometric alternating horizontal bands of lozenges and figures in squares, 1 small brown stain, but otherwise in very good condition, 220 x 96.cm (86.5 x 38ins)

Lot 409

(1)

149

£100 - £200

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411* Shawls. A large Paisley shawl, circa 1860s, printed fine wool shawl, with allover polychrome pattern of large and small botehs on a cream ground, forming roundel and cross patterns, a few small holes and short tears, knotted fringe to short ends (largely intact), 160 x 325cm (63 x 128ins), together with 2 other printed Paisley shawls, a fine wool shawl fringed to all sides, with boteh pattern in red, blue, and brown, several small holes, and a 9cm edge tear with partial stitched repair, 166 x 174cm (65.5 x 68.5ins), and a silk shawl with all-over pattern of small botehs in purple, green, yellow, and brown, on a cream ground, some holes and tears, including a 24cm repaired tear to one edge, knotted fringe lacking on one short end, and becoming detached on the other with some re-stitching, 169 x 327.5cm (66.5 x 129ins), plus 20 large and small borders and fragments from 19th century woven shawls, mostly in good condition, various sizes, a wide hand-embroidered polychrome border of botehs, 25 x 96.5cm (10 x 38ins), and a pair of handembroidered large boteh motifs, each 15 x 27cm (6 x 10.5ins) (26)

412* Shawls. A Regency Empire-style finely embroidered muslin shawl, circa 1800-1820, whitework muslin shawl, handstitched overall with foliate sprigs, and a wide border of palmettes between pairs of leaf and berry stems, enclosed by a Greek key border (latter with a small portion of stitching missing at one corner), 2 selvedges, the other 2 hemmed by hand, some scattered small marks and tiny holes, a number of neat period darns, 151 x 145cm (59.5 x 57ins), together with: 2 other whitework muslin shawls, each with a finely hand-embroidered border, both with some small holes, each approximately 85 x 89cm (33.5 x 35ins); a muslin shawl hand-embroidered with scattered black floral sprigs, and the initial ‘R’ in black, short ends fringed, 79 x 190.5cm (31 x 75ins); and 2 large portions of whitework muslin shawls, both finely hand-embroidered with wide floral border, all Regency period (6)

£200 - £400

£400 - £600

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

150

413* Shawls. Four damask silk shawls, circa 1860s-1880s, comprising: a raspberry pink shawl, with wide knotted fringe edging, some faint discolouration and 1 or 2 small marks, 146.5 x 143cm (57.75 x 56.25ins); a cream shawl with printed border of scrolling palmettes in pink, orange, and green, occasional minor marks and a few small holes, occasional losses to knotted fringe edging, 151 x 147cm (59.5 x 58ins); a mustard shawl, a few very small holes, and a little discolouration in places, some losses to knotted fringe edging, 128 x 139.5cm (50.5 x 55ins); and a cream shawl, worn with holes and losses to edging, 132 x 129.5cm (52 x 51ins), together with 3 other shawls (7)

£150 - £200

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416* Theatre. A painted theatre backdrop, French, early 20th century, hand-painted on a thick cream cotton twill panel (2 widths joined in centre) with a figure holding a book, seated on a large garden urn, hemmed to upper and lower edges, sides hemmed in blanket stitch with black wool, 171 x 85cm (67 x 33.5ins) An unusual and striking piece, somewhat reminiscent of the Bloomsbury Group.

(1) £100 - £150

417* Chinese embroidery. A large piece of embroidered silk, early 19th century, hand-embroidered cream silk, composed of 3 vertically joined pieces each approximately 56cm (22ins) wide (middle piece missing lower 14cm/5.5ins), worked with wide vertical stripes composed of flowers, berry and leaf stems, and clouds between wavy lines, stitched in orange and green silk threads using satin and stem stitch, and couched gold metallic threads, lined with linen and edges hemmed, partial hexagonal ink stamp with symbol on lining, some overall light dust-soiling and spotting, 1 or 2 faint stains, occasional loose threads, a few small holes and tears, including where previously stitched with wide lower hem to conceal loss to middle panel, overall size approximately 102.5 x 168.5cm (40.25 x 66.5ins)

414* Sleigh (Bernard 1872-1954). A Map of Fairyland, circa 1920, printed linen produced by Rosebank Fabrics and so printed in the selvedge, 160 x 124cm Bernard Sleigh (1872-1954) was a Birmingham-born artist and illustrator best known for An Ancient Mappe of Fairyland, Newly Discovered and Set Forth, which depicts numerous characters from legends and fairytales showing elfin temples, dwarf treasures, and fairie shrines (published in 1917).

The linen map is based on his original work and was printed by the Manchester firm Rosebank.

(1) £300 - £500

(1)

415* Tapestry cushion. A cushion made from Flemish verdure tapestry, 17th or 18th century, 20th century cushion, the front made from a fragment of early Flemish tapestry, woven with foliage, flowers, and scrolling decoration, in shades of green, terracotta, brown, and cream, backed with pale russet velvet and edged with a tasselled braid, 49.5 x 46cm (19.5 x 18ins) (1)

£70 - £100

151

£200 - £300

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Printed Books, Maps & Documents WEDNESDAY 10 NOVEMBER 2021

Titus Lucretius Carus. In Carum Lucretium poetam commentarii a Joanne Baptista Pio editi: codice Lucretiano diligeter emendato, [Paris]: Venundatur ab Ascensio & Joanne Parvo, [1514], fine decorative woodcut title printed in red and black with large woodcut device of Jehan Petit, bound with Caius Valerius Flaccus.

Argonauticon libri octo cum eruditissimis Aegidii Maserii Parrhisien.

Commentariis, Joannis Parvi & Jodoci Badii, 1519, fine decorative woodcut title with printer’s woodcut device of Jodocus Badius, several woodcut illustrations, final few leaves with light waterstain to extreme fore-margins (both texts with clean wide margins), old vellum with red morocco title label to spine, rubbed and some marks, folio (32.5 x 22cm) Estimate £1,000-1,500

For further information please contact Colin Meays or Joel Chandler: colin@dominicwinter.co.uk joel@dominicwinter.co.uk

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MODERN FIRST EDITIONS CHILDREN'S & ILLUSTRATED BOOKS THURSDAY 16 DECEMBER 2021

Virginia Woolf (1882-1941). Jacob's Room, 1st edition, Richmond: Hogarth Press, 1922, some spotting, untrimmed, original crocus-yellow cloth with printed paper spine label, spine soiled, some edge wear, spine ends a little frayed and lower corners bumped, 8vo One of 40 copies for subscribers to the Hogarth Press, with hand-printed slip pasted to front free endpaper. This copy with slip filled out by the Virginia Woolf for C[harles] H[arold] Prentice [influential publisher at Chatto & Windus, 1914-1935], signed by the author and dated by her 'Oct. 1922'.

Kirkpatrick A6a; Woolmer 26.

Estimate £10,000-15,000

For further information please contact Chris Albury: chris@dominicwinter.co.uk Tel: 01285 860006

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

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

Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + VAT (Dominic Winter / Invaluable) or 4.95% + VAT (the-saleroom) will be added to your invoice.

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

Cash: Payments can be made at the Cashier’s Office, either during or after the sale.

Debit Card: There is no additional charge for purchases made with debit cards in the UK. Credit Cards: We accept Visa and Mastercard. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made.

Bank Transfer: All transfers must state the relevant invoice number. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges.

Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers.

Collection/Postage/Delivery: If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made.

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) or Pack and Send (tel: 01635 887237) who may be able to help.

We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite.

Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot.

The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

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

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

For free valuations without obligation, please contact any of the above specialists for further advice.

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

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CONDITIONS OF SALE AND BUSINESS 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims.

2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account.

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 20% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 20% and assents to the Auctioneer receiving the said commission.

4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared.

5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due.

6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded.

8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded.

"A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer.

9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof.

10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to theAuctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions.

11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage.

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

12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses.

13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots.

14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein.

15. These conditions shall be governed by and construed in accordance with English Law.

19th & 20th Century Photography THURSDAY 18 NOVEMBER 2021

Jorge Lewinski (1921-2008). Portrait of Francis Bacon (1909-1992), at the sitter's studio, 1967, vintage gelatin silver print, image size 40 x 33cm, signed and dated by the sitter in pencil to lower left margin, sheet size 46.5 x 37.5cm, dry mounted on card, framed and glazed A slightly smaller version of this rare portrait is held by the National Portrait Gallery, London (NPG x13707): 'When Lewinski came to photograph Bacon at his studio, 7 Reece Mews in South Kensington, he found Bacon to be "civil and helpful, a charming and fascinating conversationalist." With its multiple viewpoint and distorted features, the photograph resembles one of Bacon's own portraits.'

Estimate £3,000-5,000

For further information and to consign please contact Chris Albury chris@dominicwinter.co.uk Tel: 01285 860006