Dominic Winter

Antiques & Fine Art Photography 15 OCTOBER 2015

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

MILITARY & AVIATION HISTORY MEDALS, ARMS & MILITARIA TO INCLUDE A LARGE COLLECTION OF MEDALS TO THE GLOUCESTERSHIRE REGIMENT

Friday 13 November

A casualty group to Private M. Leonard, Gloucestershire Regiment. Estimate £200-300 For further information please contact Henry Meadows henry@dominicwinter.co.uk Front Cover: Lot 463 • Back Cover: Lot 718

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

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

ANTIQUE FURNITURE, CLOCKS, CERAMICS, SILVER & JEWELLERY ANTIQUITIES, TRIBAL ART & TEXTILES PAINTINGS, WATERCOLOURS & PRINTS PHOTOGRAPHY Thursday 15 October 2015 Lots 1-747 commencing at 10am

On view in Salerooms One & Two Viewing Tuesday 13 October, 9am-7pm, Wednesday 14 October, 9am-6pm and morning of sale from 9am

Payment may be made while the sale is in progress: please see the cashier in the auction office.

Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale.

Please ensure that all commission bids reach us by 10am on the morning of sale.

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

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

Fax: 01285 862461 info@dominicwinter.co.uk

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

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Edward Lear. Black-Tailed Gannet, 1835, hand-coloured lithograph, 33 x 52cm.

One of 25 Edward Lear ornithological prints to be offered singly in our Natural History, Sporting & Wildlife sale on Wednesday 11 November. Various estimates

FORTHCOMING SALES Thursday 14 October

Printed Books, Maps & Documents

Thursday 16 October

The John Camfield Collection of British Etchings 1850-1980

Wednesday 11 November

Natural History & Sporting Art Printed Books, Maps & Documents

Thursday 12 November

History of Transport, Automobilia, Early Cycling Clocks & Scientific Instruments

Friday 13 November

Military History, Medals, Arms & Militaria History of Aviation, Stamps & Coins

Friday 13 November

Islamic, Indian & Oriental Arts

Wednesday 16 December

Science, Medicine & Cookery Printed Books, Maps & Documents

Thursday 17 December

Modern Literature, Children’s & Illustrated Books Modern Architecture: The Library of Robert Hornung

For further information and consignment advice, please contact the main office or speak to one of our specialists.

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461 www.dominicwinter.co.uk info@dominicwinter.co.uk

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CONTENTS Commencing at 10am Ceramics & Glass Oriental Works of Art Tribal & Ethnographic Art Antiquities Textiles & Furnishings Collectables Jewellery & Watches Silver & Plate Clocks & Scientific Instruments Furniture

1-44 45-70 71-104 105-135 136-149 150-198 199-226 227-279 280-302 303-399

Approximately 2pm or thereafter Watercolours Stained Glass Oil Paintings Portraits & Miniatures Prints & Drawings Sculpture Etchings Modern Prints Modern Watercolours Modern Paintings

401-434 435-437 438-465 466-481 482-499 500-507 508-511 512-529 530-560 561-583

Approximately 4pm or thereafter Photography Marcus and Gilbert Adams Photography Archive

601-727 728-747

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IMPORTANT NOTICES All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office.

A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%.

Artist's Resale Right Law ("Droit de Suite") Lots marked with

AR

next to the lot number may be subject to Droit de Suite.

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

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

Please refer to the DACS website www.dacs.org.uk for further details.

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

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

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

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CERAMICS & GLASS To commence at 10am

5* Coalport. A modern Coalport two handled pedestal vase and cover, painted with fruit by Peter Gosling, on a navy blue ground, blue printed mark to base, 25cm high, together with an earlier similar vase, circa 1910, pedestal vase painted with fruit signed ‘F.H. Chivers’, green printed mark to base, 26cm high

Lot 1

1* Art Deco. An early 20th-century satin glass circular bowl, inlaid with silver decoration, 18cm diameter, together with a clear glass bowl with applied silver decoration, 23cm diameter, plus a black glass bowl plus octagonal glass stand with applied foliate silver decoration, stamped ‘silver’ by ‘Shreve Crump & Low Co.’ 17.5cm wide (4)

(2)

£150-200

£100-150

3* Chestnut Basket. An early 19thcentury twin handle pottery blue and white chestnut basket, transfer-printed with Chinoiserie scene depicting buildings, fence and boats, within lattice pierced decoration (minor damage), 24cm long Provenance: The actor & historian Robert Hardy.

(1) £50-80

6* Coalport. A modern Coalport two handled pedestal vase, painted with a view of Derwent Water by Peter Gosling, blue printed mark to base, 25.5cm high, together with another Coalport vase and cover painted with mountainous landscapes , 33cm high (some damage) (2)

2* Art Glass. A Loetz style Papillion glass vase, with a swirl design in green lustre, ground pontil mark to base, 24cm high (1)

£80-120

4* Clyne Farquharson. An Art Deco clear glass bowl, of conical form with leaf pattern cut decoration, signed and dated ‘36’ edition no. 9/250, 30.5cm diameter (1)

£100-150

5

£150-200

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Lot 7

Lot 12

Lot 9 7* Cream Ware. An 18th century twin handled chestnut basket, of tapered form with lattice work decoration, painted with black sprigs, 25cm long on a matching stand (minor damage)

8* Delft. An 18th century blue and white delft pottery charger, decorated with sprays of flowers within repeating borders, 36cm diameter

10* English Ceramics. A collection of 18th-century and later ceramics, including a Chamberlain Worcester fluted tea cup, circa 1805, painted with blue and gold flowers, 6cm high, a porcelain baluster jug painted with floral sprays on a ribbed ground with domed lid, 14.5cm high (some damage), a pair of Rockingham-style floralencrusted vases, 20cm high, four various tea bowls, three saucers plus an inkstand base (general damage throughout)

(1)

(12)

(1)

£150-200

£100-150

£80-120

9* Dolls House. A collection of Victorian blue and white transfer print miniature ceramics, including five graduated meat plates, decorated with figures walking in the grounds of a castle, largest 13.5cm long, together with nine dinner plates, 8.5cm diameter and seven bowls, 6cm diameter plus three tureen and covers and other items (some damage) (a carton)

11* Footbath. A Victorian blue and white twin handle pottery footbath, printed with landscapes, 21cm high x 49cm wide (some damage) (1)

12* Jugenstil. A bronze and pottery centrepiece attributed to Fritz Christ, the substantial bronze base cast with a man wrestling a serpent on a naturalistic tree stump base, with pottery vase in the form of a pipe, finely hand painted with humorous figures, on a marble plinth, 44.5cm high (1)

£80-120

Lot 11 6

£80-120

£1000-1500

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Lot 14

Lot 16 16 Lalique (Rene, 1860-1945).

‘Chataignier’ coupe, circa 1933, moulded opalescent clear glass, engraved mark ‘R. Lalique, France’ to base, diameter 35cm (13.75ins) (1)

£400-600

13* Keeler (Walter, 1942-). A bottle-form lidded jar, Whieldon type green glaze, lid with raised finial, the base with concentric circles mark, 16cm high (1)

£100-150

14* Keeler (Walter, 1942- ). A blue salt glaze teapot, with raised finial, large loop handle and spout, 27cm long (1)

£300-500

18* Martin Brothers. A pottery vase circa 1885, the elongated neck with ovoid base, blue, green and brown decoration, the base incised ‘Martin & Bros London & Southall, 10 - 85’, approx. 20cm high (1)

15* Keeler (Walter, 1942- ). A blue salt glaze lidded pot, with stepped finial, sloping base and concentric circles, 14cm high, together with a matching milk jug, 10cm high (2)

£100-150

17* Martin Brothers. An early period pottery shoulder vase by R.W. Martin, with blue, green and brown incised decoration, the base incised ‘RW Martin Fulham M.2.’, 20cm high Robert Wallace Martin started making pottery at the Fulham workshop from 1873 and was joined by his brothers Charles, Walter and Edwin soon after. In 1877 they moved to Southall, Middlesex producing unusual art pottery until 1914.

(1) £200-300

7

£300-500

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19* Meissen. A late 19th-century Meissen porcelain sweetmeat dish, modelled as a maiden in 18th-century dress holding a flower, seated on two baskets painted with flowers on a rocaille base, underglaze blue crossed swords mark to base, incised ‘3024’, 14cm long (some damage), together with a porcelain figure modelled as a lady after the original by Michael Victor Acier with feathered muff reading, on a rocaille base, spurious overglazed blue crossed swords mark, plus incised beehive mark and No. ‘844’, 21cm high, plus two other porcelain figures (4)

21* Meissen. Two 19th-century porcelain figures, modelled as a gardener holding a bouquet of flowers, leaning against a watering can and spade, blue crossed swords mark to base, incised B69, 19.5cm high, with a female flower seller, standing holding a basket of flowers, blue crossed swords mark to base, incised C68, 19.5cm high (2)

23* Meissen. A 19th-century porcelain figure modelled as a boy wearing a plumed hat standing by a classical ruin, blue crossed swords mark to base, incised E94, 16.5cm high, together with a similar Continental figure, modelled as a man firing a crossbow standing before a Classical ruin, blue mark to base, 17cm high (some damage) (2)

£150-200

£200-300

£200-300

24* Meissen. An impressive porcelain figure group, modelled as a girl in the centre with a goat, surrounded by four children with sheep, one girl resting her head and with flowers, on a naturalistic base, blue crossed swords mark to base, incised G13, 19.5cm high (some damage) (1)

20* Meissen. Two 19th-century porcelain modelled as a young man figures, standing by a tree stump collecting kindling in his hat, blue crossed swords mark to base incised F69, 18.5cm high, with a young girl and goat standing on a tree stump, blue crossed swords mark to base, incised F68, impressed 122, 18cm high (some damage) (2)

22* Meissen. A 19th-century porcelain figure, modelled as a lady card player with suits of card in each hand standing before a pedestal card table, blue crossed swords mark to base incised F64, 17cm high (some damage and restoration) (1)

£150-200

£200-300

8

£200-300

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Lot 25

Lot 26

25* Meissen. A porcelain figure of Cupid, late 19th century, holding a small bouquet of flowers, with quiver of arrows across his back, standing before a tree stump on naturalistic foliate base, blue crossed swords mark to base, incised L120, (very slight wear to edges of bouquet), 19.5cm The figure was modelled by Heinrich Schwabe, circa 1878. The Meissen L-Series consists of 26 Cupid figures. Provenance: The actor & historian Robert Hardy.

(1) £300-500

26* Military Figures. A collection of four porcelain figures by Michael Sutty, comprising British Officer, 4th Cavalry, circa 1900, 15/1000, 28.5cm high, Governor’s Bodyguard, Madras Model No. 137, 29.5cm high, Skinner’s Horse No. 284, 28.5cm high and 14th Bengal Lancers No. 136, 25cm high, Grenadier, No. 8, 23cm high, Colonel Walter Fane 19th Bengal Lancers (Fane’s Horse), circa 1865, No. 20/1000, 30cm high, (with certificate), Hodson’s Horse, 31/1000, 29.5cm high (with certificate),together with a Capo-diMonte figure of Napoleon, limited edition 38/250, with certificate signed in ink by the director, 22.5cm high, plus another Capodi-Monte figure of a Hussar and sweetheart, 28cm high (9)

27* Mixed Ceramics. A late 19th century Chinese Famille Rose style bowl by Samson of Paris, decorated with floral swags and sprays of flowers within multibanded border, red mark to base, 25cm diameter, together with various decorative ceramics including an 18th century Worcester saucer decorated with a mother and child standing by large vases, blue crescent mark to base, 12cm diameter, plus four Royal Copenhagen dishes including two scallop shape dishes all painted with floral sprays and blue mark to base, 21cm wide (10)

£70-100

£300-500

28* Monart. A glass vase with inverted rim multi coloured banding and aventurine decoration on a green ground, 17.5cm high (1)

£80-120

29* Orrefors. A Kraka glass vase designed by Sven Palmqvist, with net design on a yellow and blue ground, signed on base and Nr 322, 27cm high (1)

9

£100-150

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32* Pot Lids. A good collection of Victorian pot lids, comprising twenty-eight different types and rarities, including Cherry Tooth Paste, Cold Cream, etc., mounted in a modern glazed frame, 72 x 61cm, together with four stoneware bottles, including Harley & Bloore, Nottingham (5)

(2)

£50-80

£80-120

30* Parian Ware. A collection of Victorian Parian busts, including a Classical maiden wearing a flower garland mounted on a circular column, 50cm high, a Copeland bust of a Classical maiden on socle, 29cm high, another similar, a bust of Charles Dickens, 27cm high, another of William Gladstone by Turner & Wood, Stoke, and other items (7)

35* Royal Doulton. A large pair of Royal Doulton Slater’s Patent vases, each with tubular lined floral decoration on a brown chiné ground, impressed mark to base, No. 1359, 39cm high, (drilled for electric and one with chipped rim)

£200-300

33* Puzzle Jug. A 19th century blue and white pottery jug, probably Welsh, of baluster form with pierced lattice work neck, decorated with floral sprays, 18cm high (some damage) (1)

£100-150

36* Salt-glaze. Three salt-glaze stoneware pieces, including a tobacco jar with moulded oak leaf decoration and pewter cover, 14cm, together with a Victorian salt-glaze jug with blue applied floral decoration, serpent handle and spout, blue cherub ‘5’ mark to base, 20cm high, plus a large saltglaze jug with relief moulded decoration depicting Victorian gentlemen drinking beer amongst grape and vine decoration, lacking cover, 26cm high and other items (a carton)

£70-100

31* Porcelain Figures. A collection of porcelain figures including a 19th-century Meissen figural group, modelled as a skater and his maiden, blue crossed swords mark to blue incised No 36, 15cm high (damaged), another Meissen figure modelled as a young girl, 15cm high, a Meissen-style figural group modelled as a young gardener and his lover with lamb, blue crossed swords mark to base, incised A41 stamped ‘Foreign’, 20cm high, and other figures (some damage) (6)

£100-150

34* Royal Doulton. A pair of Royal Doulton figures, Pickwick H.N.2099 and Pecksniff H.N.2098, another Miss Demure H.N.1402, together with a collection of Royal Worcester, Royal Crown Derby and Coalport ceramics, including a Royal Worcester pedestal cup, painted with fruit

by M. Price, purple puce mark to base c.

1899, 8cm high, a Royal Crown Derby miniature tyg, 2451 c. 1910, and other items (11)

£150-200

37* Secessionist. An early 20th-century Continental glass vase probably Viennese, the frosted glass overlaid in copper foliate decoration, 18.5cm high together with an Art Nouveau pewter dish in the Orivit style, the base with number 129K cast in relief, 12.5cm wide (2)

Lot 32

10

£100-150

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38* Sevres. A pair of Sevres-style ormolu mounted porcelain pedestal cups, late 19th century, each painted on front and back with an oval scene of a putto, each holding a different accoutrement (bow, floral garland, bugle, and caduceus), within ornate gilt border, against a turquoise ground, one with small chip in rim, the other with interlaced ‘L’ mark to base with ‘SV’ below, each on an ormolu mount in the form of a dragon, diameter 7.5cm (3ins), overall height 13.5cm (5.25ins) (2)

Lot 43 43* Table Glass. A collection of Georgian and later drinking glasses, including four mitre-cut rummers each with long tapered bowl, knopped stem and circular foot, 16.5cm high, four slice-cut rummers, each with spherical knop on circular foot, 13cm high, a set of six Victorian ale glasses, each with wheel-cut grape and vine decoration, 13.5cm high, and an assortment of other glasses including a Georgian square base rummer, 12.5cm high

£100-150

(30)

39* Staffordshire. A pair of 19th-century pottery recumbent greyhounds, circa 1840, one modelled scratching its ear with hind leg, each on a cobalt blue pillow with traces of gilt-painted decoration (general signs of wear commensurate with age), approx. 12cm long (2)

£100-150

41* Studio Pottery. A pair of Winchcombe pottery lidded jars by Ray Finch (1914-2012), each with domed lid, and two handles, impressed seal mark to base, 14cm high, together with a two bowls, two vases and a pair of small plant pots all in the Winchcombe style, plus an Ashby Guild pottery vase with a light brown glaze and streaks of darker brown, the base incised ‘Ashby’, 20cm high plus a twin division slipware dish with white scroll decoration on a brown ground (9)

£150-200

42* Studio Pottery. A pottery jug by Ursula Mommens (1908-2010), of ovoid form with brown scrolls on a grey ground, seal mark to base, 22cm high 40* Studio Pottery A group of studio pottery wares, 20th century, including a stoneware vase by Duncan Woods, decorated with blue slip and bamboo design, 23cm (9ins), plus a stoneware lidded jar marked J. F. (3)

£150-200

Ursula Frances Elinor Mommens was an English potter who studied at the Royal College of Art under William Staite Murray and later worked with Michael Cardew at Winchcombe Pottery and Wenford Pottery.

(1) £70-100

£70-100

11

44* Tile. A Medieval Dutch encaustic tile decorated with a lion rampant, 15th century, teracotta with yellow slip decoration, some minor wear to edges, 15 x 15cm (6 x 6ins), together with another similar, probably later tile, cut down at top edge, probably at time of original installation (2)

£150-200

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ORIENTAL WORKS OF ART

48* Chinese Porcelain. A Chinese porcelain bowl decorated with three dragons, Kangxi mark, but later, pink ground with polychrome enamel decoration and lattice border, Kangxi mark to base in iron red, 34cm (13ins) diameter, together with four Chinese porcelain plates decorated in underglazed blue with mountain landscape (5)

£150-200

51* Chinese Porcelain. A Chinese porcelain squat meiping vase, probably Wanli period, Ming dynasty, 16th century, decorated in underglazed blue with stylised flowers, unglazed rim and foot, 20cm (8ins) high (1)

£200-300

45* Thai Bronze. A Thai bronze head of the Buddha embodying the guardian of the gates, Ayutthaya style but later, hollow cast patinated bronze, modern mount, 41cm (16ins) high including mount (1)

£150-200

49* Chinese Porcelain, A group of five Chinese porcelain bowls from the Tek Sing cargo, Dehua, Daoguang Period, circa 1820, comprising a large shallow footed bowl with block printed decoration in blue and an all-over celadon glazed, unglazed base, 28cm (11ins) diameter, plus a small footed bowl with underglaze blue decoration showing a landscape, 15cm (6ins) diameter, and three small decorated dishes 8cm (3ins) diameter, all with Nagel Auctions labels to base

46* Card Case. A Chinese early 20thcentury ivory card case, circa 1920s, with panels carved with figures and buildings, 10.5cm long (damaged) in original cloth box stamped Hoong Cheong, together with a Chinese boxwood carved box, carved with figures and buildings, 5.5cm square (1)

£80-120

47* Chinese Ceramics. A collection of 18th-century and later ceramics, including a globular teapot painted with flowers, 16cm high, a baluster famille-rose vase painted with floral sprays, 19cm high, eight various tea cups, and other items (19)

The Tek Sing ‘True Star’ was bound for Batavia, laden with cargo when she sank on 6 February 1822 in the Belvidere Shoals, South China Sea. All the pieces from the cargo show signs submersion.

(5) £100-150

£100-150

50* Chinese Porcelain. A pair of Chinese porcelain ink pots, probably Qianlong period, 18th century, underglazed blue decoration, unglazed footrim, 5cm (2ins) high, together with another similar (3)

£70-100

12

52* Chinese Porcelain. A pair of Chinese porcelain footed bowls, probably Yuan Dynasty, circa 14th century, all-over celadon crackle glaze, decorated with stylised flowers, unglazed base, 15cm (6ins) diameter and similar, together with another similar pair of Chinese porcelain footed bowls, possibly slightly later, decorated with underglazed blue (4)

£100-150

53* Chinese Porcelain. A Chinese porcelain footed bowl with incised comb decoration, Song Dynasty, 12th century, all-over celadon glaze, incised combe decoration, unglazed base, 16cm (6.25ins) diameter, together with another Chinese porcelain bowl in an all-over pale orange glaze, decorated with stylised flowers, 14cm (5.5ins) diameter (2)

£70-100

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54* Chinese Porcelain. A Chinese porcelain footed bowl, possibly Jingdezhen, Late Yuan Dynasty, 14th century, decorated with underglazed blue and an all-over blue-grey glaze, unglazed base, 14cm (5.5ins) diameter (1)

£70-100

Lot 57

55* Chinese Tile. A Chinese moulded teracotta tile, late Song Dynasty, 13th century, moulded decoration showing a crouching figure amongst stylised branches, 26 x 26cm (10 x 10ins) (1)

£100-150

Lot 58 56* Chinese Vase. A Chinese porcelain ginger jar, late Qing dynasty, early 20th underglazed blue decoration century, showing birds and animals in a landscape, 23cm (9ins) high, together with a Chinese brass vase emulating bronze, decorated with scholars in a garden, 30cm (12ins) height (2)

57* Fan. A Chinese fan, circa 1900, with sixteen lacquered staves, hand-painted with figures and buildings, 51cm wide in a silk box (1)

£200-300

£70-100

58* Fans. A 19th-century Chinese Export ivory fan, with twenty-one staves all intricately carved with buildings, figures and pine trees with monogram in cartouche, 34cm wide (minor damage), together with five other fans including a 19th century bone fan decorated with flowers, 29.5cm wide (6)

13

£200-300

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59* Imari. An early 20th-century Japanese imari porcelain double gourd vase, 25cm high, a brush pot (a/f), plus two lobed plates (4)

£50-80

Lot 61 63* Okimono. A Japanese carved ivory okimono of two men and a monkey, Kyoto School, Meiji period, late 19th century, carved ivory, incised decoration, signed to base, 7cm (2.75in) high (1)

£100-150

62* Netsuke. A Japanese ivory netsuke in the form of a rat, early 20th century, carved ivory with red eyes, signed to base, approximately 3.5cm high, together with another ivory netsuke in the form of a seated immortal holding a ruyi, plus a stag antler netsuke in the form of a man and child, plus two Chinese soapstone carvings of Shi, or temple lions, and a Tibetan brass skull pot with inset turquoise eye and vajra finial (6)

£100-150

60* Japanese Lamp. A Japanese bronze table lamp in the Meiji style, cast with panels of exotic birds, peacocks and pine trees, with pierced shade, decorated with dragons, 67cm high, together with a lacquered lamp stand, 79cm high (2)

64* Oriental Items. A group of Oriental decorative items including a pair of watercolour caligraphy panels, 20th century, together with a group of four watercolours signed Nank, all framed and glazed (9)

£100-150

65* Oriental Items. A group of Chinese decorative items, including a carved wooden figure of a rickshaw, 20th century, together with carved wooden temple panels decorated in lacquer and gilt

£300-500

61* Korean Spoon. A Korean bronze spoon of swallow tail type, Koyro period, bronze, incised circa 12th century, decoration, 26cm (10ins) long

(a carton)

Provenance: Bought in Seoul, June [19]13, then by family descent. The relatively high arch of the handle is typical of spoons from the later Koyro period.

(1) £100-150

Lot 63

14

£100-150

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68* Chinese Sculpture. A Chinese carved gilt wood figure of a luohan, early Qing dynasty, late 17th century, carved and gilt wood, some wear with loss of gilt, hands lacking, 21cm (8ins) high (1)

£200-300

69* Taj Mahal. A carved and pierced soapstone model of the Taj Mahal, 20th century, carved and pierced soapstone, incised decoration heightened in watercolour, gilt metal details, woodenbase and glass dome, 23cm (9ins) high (1)

£80-120

66* Root Carving. A Chinese carved figure of an immortal on a tree root base, late 19th century, carved wood painted black, lacking staff, 55cm high (1)

£100-150

67* Screen Base. A 19th-century Chinese hardwood stand, probably for a table screen, finely carved in relief with scrolls and double gourds, 45cm high x 57.5cm wide x 28cm deep

70* Whist. A Japanese shibayama whist marker, Meiji period, rosewood with gold lacquer decoration, eight winged ivory markers decorated with insects and birds in mother of pearl, abalone and semi-precious stones, 9cm long, together with another similar

(1)

(2)

£150-200

15

£80-120

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TRIBAL & ETHNOGRAPHIC ART

Lot 72

Lot 73

Lot 75 71* Africa. An African hardwood Tutsi stool, the frame intricately carved with geometric decoration and hide cover, 23cm high (1)

£100-150

72* Australia. An Aborigine hardwood boomerang, 64.5cm long, together with a Victorian pottery comport in The Australian Bush pattern by William Brownfield & Son, with transfer print design showing kangaroos, printed marks to base including registration mark, 24.5cm diameter (some damage), plus a carved polychrome painted mask, probably Burmese, mounted on a modern stand plus a papier mache and lacquer scroll box Provenance: Vivienne Rae Ellis (author).

(4) £100-150

74* Burkina Faso. A Lobi Janus tribe dance staff, carved with double headed tribesman on supporting shaft, 55cm high, presented on a modern stand, a good colour showing signs of age, 55cm high (1)

73* Bhutan. A group of three Bhutanese wooden masks, including one with the features of a monkey, late 19th to early 20th century, carved wood, overall patina and surface wear, 18cm (7ins) high, and similar (3)

£100-150

£150-200

75* Cameroon. A pair of early 20thcentury Bamun tribe cast bronze figures, modelled as a tribesman and woman, 25cm high Provenance: Collected from North East Zululand, near Swazi.

(2) £80-120

76* Cameroon. A large 20th-century Benin tribe cast bronze figure modelled as a tribesman in traditional dress, 42.5cm high (1)

16

£70-100

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79* India. A group of four Monpa carved wooden masks, various dates, late 19th to early 20th century, carved wood, some with traces of pigment or remains of applied hair, overall patina and some wear, 19cm (7.5ins) and similar (4)

£100-150

77* Cameroon. A 20th-century terracotta mask, polychrome painted with red face and incised hair, mounted on a contemporary stand, 37cm high, together with a 20thcentury Bamum Society bone and terracotta pipe, modelled as a characterful elder with carved stem, mounted on a contemporary stem, 37cm long (2)

£100-150

80* Melanesia. A Sepik River wooden figure, carved with elongated face and scarification marks, 30cm high, together with two further figures from the same region, 32cm high the other 37cm high Provenance: Vivienne Rae Ellis (author).

(3) £100-150

81* Melanesia. A Sepik River wooden figure, carved as a fully standing man with a lizard running up his chest, 61cm high together with two further figures from the same region, 37.5cm high the other 25.5cm The Sepik River is the so-called “Nile of New Guinea” measuring 700 miles with many cultural groups. The river is essentially split into three regions, the Lower, Middle and Upper Sepik.

Provenance: Vivienne Rae Ellis (author).

(3) £150-200

78* Ephiopia. A collection of four carved wood religious icons, including a handpainted late 20th-century triptych, with two doors heavily carved with knots, enclosing hand-painted iconography, 45.5cm long (4)

£100-150

82* Mixed Tribal. A collection of Zulu and Swazi items, including a ‘Multi’ double gourd container, 9cm high, a beaded gourd beaker, early to mid 1900s, 10cm high, an early 20th-century Swazi snuff pot, probably rosewood with detachable lid, 8.5cm high, a Swazi ladies bone comb, 18.5cm long, a rare carved wooden snuff bottle, with carved decoration, 10cm long, and other items (10)

Lot 79

17

£70-100

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83* Mixed Tribal. A collection of Zulu and Swazi items, all early to mid 20th century, including a Swazi horn, pipe and stone bowl, traditionally carved (4)

£70-100

84 Native American. A Native American greenstone hand axe, Michigan, USA, Late Archaic Period, circa 1500 BC, cut and polished stone, 6.5cm (2.5ins) long, together with four Native American arrowheads, all mounted on modern perspex stands (5)

Lot 85

£100-150

85* Nepal. A group of three Nepali wooden masks, including two large examples, various dates, late 18th to early 20th century, carved wood, one with traces of pigment, overall patina and some wear, 35cm (14ins) and smaller (3)

£100-150

86* Nigeria. A pair of Yoruba tribe Ere Ibeji twins, well carved with carved raised headdresses and skirts, standing with arms by their side, with old collection number ‘B264’, 26.5cm high, a good colour and showing signs of age (2)

£200-300

87* Native American. A collection of 20th century Indian beadware, including moccasins, a beadwork bag worked with American flags, dated 1938 with beaded tassels and blue cloth lining, a white metal Navajo powder flask, of circular form with engraved decoration and stopper, 8.5cm high, plus stone head club and other items (a carton)

£200-300

18

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92* Swazi. Four African Swazi wooden food bowls, comprising an early 20thcentury circular bowl on four feet, approximately 32cm diameter plus three mid 20th-century bowls, all a similar size All collected from a genuine remote Swazi hut, 1999.

(4) £100-150

88* Pipes. Two early Native American Indian stone effigy pipes, one carved as a human with manuscript label inscribed ‘Human effigy pipe Wayne Co, Kentucky’, 14cm long, the other carved as a parrot, detailed with feet beneath, 16cm long, together with two stone clubs (4)

£150-200

90* Pre-Columbian. A collection of PreColumbians terracotta masks and heads, various sites, mostly Mexico, various dates, 4th to 8th century, including a teracotta head with black pigment from Veracruz, 6cm (2.5ins) high, and others similar Provenance: Purchased by the current owner at a Nottingham auction in 2011, from the estate of a collector.

(8) £80-120

93* Swazi. A Swazi hand-carved wooden double food platter, circa 1960/70s, with large carrying handles on eight feet, 66cm long, together with a smaller double platter, plus a Zulu carved wooden meat platter with ‘Amazumpa’ (wart) decorations to the underside (first half 20th century), 65cm long First two were collected from a hut in remote Swaziland, Africa.

(2) £70-100

94* Swazi. A Swazi carved wooden headrest, circa 1900s, plain with reeded supports, 42.5cm wide 91* Scollins (Richard, 1946-1992). Hlubi, Zulu and Pedi Warriors, circa 1989, watercolour on paper, signed, 33 x 23cm (13 x 9ins), framed and glazed 89* Pre-Columbian. An Aztec figure, probably an incensario, of a seated figure on a pedestal, Guatemala, Late Classical Period, circa 750, course orange clay, incised decoration, three pierced openings to pedestal, unworked to verso, mounted on later base, 18cm (7ins) high overall (1)

Provenance: Collected in southern Swaziland close to the Zulu border.

(1) £70-100

Original illustration for Ian Knight’s Queen Victoria’s Enemies.

(1) £100-150

£300-500

Lot 92

95* Swazi. A rare African Swazi drinking horn, circa 1900s, with an element of carving, 64cm long, together with three carved Swazi hand mirrors, circa 1950/70s, reverses each with carving, and with hinged handle, 20cm long Provenance: Horn collected from a remote homestead south east of Melmoth, 1999.

(4) £100-150

19

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Lot 97

96* Swazi. A Swazi warrior’s shield, early 20th century, of typical cowhide and feather construction with wooden staff, shield 70cm long, overall length 170cm, together with a Zulu cowhide shield with two sticks to the reverse, mid 20th century (2)

£100-150

97* Terracotta Head. A Fante-style terracotta head from the Ashanto Southern Akan peoples, Ghana, well modelled, 20cm high on a modern stand with collection number ‘C173’ to the rear The heads were used in funeral ceremonies of their chiefs and usually left on the graves as a marker.

(1) £150-200

98* Tribal Masks. Three carved wood tribal masks including Barpende Tribe, Zaire, Africa, carved with scarification marks and white pigment, 23cm long another from the Bachokwe Tribe, Zaire, Africa, with scarification marks, white pigment and detailed hair, 24.5cm long Provenance: Vivienne Rae Ellis (author).

(3)

£80-120

99* Zulu. A large contemporary carved statue of a Zulu warrior, carved from Tamboti wood in traditional dress, signed J. Dava, 90cm high Provenance: Acquired in Zululand (Kwazulunatal), South Africa, circa 15 years ago, on a trip to Rorke’s Drift.

(1) £100-150

Lot 99 20

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101* Zulu. A collection of four Zulu ithunga’s (milk pails), including one circa 1900s, with two knee lobes and sloping bands of stylised ‘Amazumpa’ (warts) decoration Various provenance: First, collected in 2001 from a Zulu hut in the Ngwebeni Valley, east of Isandlwana.

(4) £100-150

103* Zulu. A Zulu carved wooden headrest ‘Isiqiki’, circa 1900s, carved with geometric decoration, 41cm long Provenance: Collected in Central Zululand.

(1) £70-100

100* Zulu. A Zulu carved ithunga (milk pail), circa 1900s, of bulbous form with carrying handles, 24cm high, together with a taller ithunga with geometric carved decoration, 39.5cm high, plus a Zulu handcarved spoon, mid 20th-century, with carved decoration, 42.5cm long, and another carved for Freedom Day 27 April 1994 (First Democratic and Non Racial National Election in South Africa) First, collected in 2004 from a Zulu hut, 10km south west of Nongoma, Zululand.

(4) £100-150

102* Zulu. A Zulu carved wooden headrest, circa 1900s, of plain solid form, 52cm long Provenance: Collected in 2003 from a homestead in the Hlomo-Hlomo Hills, West of Nongoma, in the former central district of Zululand, South Africa.

(1) £70-100

Lot 104 21

104* Zulu. A collection of Zulu beadwork and hat, including gauntlet-type arm bands ‘Ubusenga’, worn by young virgins, a snuff container ‘Ishungu’, made from a seedpod with beaded necklace, a 1950s traditional waistband ‘Umutsha’, in five cords of beadwork, worn by an unmarried girl on her wedding day, a married woman’s beaded apron ‘Itele’, and other items, all with various provenance attached (a carton)

£100-150

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ANTIQUITIES From a Private Collection, Nottinghamshire

105* Anglo-Saxon. A group of AngloSaxon bronze aretefacts, various dates 7th to 9th century, including a pair of disk brooches with ring decoration, 4cm (1.5ins) diameter, all reportedly found in a Saxon grave in Norfolk in 1970s, mounted, framed and glazed (1)

108* Bronze Age. A Bronze Age palstave axe head, Middle Bronze Age, circa 1000 BC, cast bronze with overall patina, reportedly found in Derbyshire, 10cm (4ins) long, together with a Bronze Age socketed axe head, and a fine Bronze Age scyth with cast decoration, ritually broken into five pieces (7)

£150-200

111* Egyptian Bronze. An Egyptian bronze apothecary vessel, Roman Period, 1st century, cast bronze in miniature amphora form, heavy green patina, some loss to rim, with later stand, 11cm (4.25ins) high

£70-100

Ex collection of Gaston Maspero; Biraben sale 24 June 2007; Simon Shipp 2010.

(1) £80-120

106* Anglo-Saxon Beads. A group of Anglo-Saxon beads, various dates, 8th to 10th century, including one in turned amber, drilled for suspension, reportedly found in Suffolk, plus other examples in ceramic and stone, loosely strung on modern wire (9)

£70-100

107* Arrowheads. A collection of arrowheads, various places, various dates, including some gilt bronze and iron types, 11cm (4.25ins) and smaller (9)

109* Canaanite Pottery. A Canaanite teracotta aryballos or flask, Bronze Age, circa 1700 BC, teracotta with traces of red decoration, twin pierced handles, rounded base, 7.5cm (3ins) high, together with a teracotta footed cup with line decoration and a teracotta figure of a man, probably Roman Mesopotamia (3)

£150-200

110* Celtic. A group of Celtic bronze horse wares, various dates, 1st century, including a chariot linch pin with traces of enamel, found in Yorkshire, 8cm (3ins) long (3)

£150-200

£70-100

112* Egyptian Shabti. An Egyptian teracotta shabti, Third Intermediate Period, 9th or 8th century BC, moulded teroacotta, incised detail, remains of inscription in black paint to front, small chip from foot, 7cm (2.75ins) high, together with another shabti in faience with later stand (2)

22

£200-300

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Lot 113 113* Egyptian Cartonage. A fragment of Egyptian cartonage finely decorated with head of Ra and an outstreached wing, probably from a mummy wrapping, circa linen and plaster 1st century BC, decorated with coloured pigment, 17cm (6.7ins) wide, together with another cartonage fragment decorated with four seated deities (2)

£200-300

115* Greek Vase. A Greek Apulian decorated cup, Magna Graecia, 4th century BC, wheel-thrown teracotta decorated with black slip in line and dot decoration, collection number to base, 5cm (2ins) high, together with a 4th century BC small jug or olpe in all over black slip, 7cm (3ins), plus a third century BC Daunia ware jug or olpe with brown slip, 9.5cm (3.75ins) high (3)

£100-150

117* Harappan Figure. A Harappan ceramic figure of a bull, Indus Valley, 2nd century BC, moulded teracotta, painted in brown, 8cm (3ins) high (1)

114* Egyptian Faience. A collection of Egyptian faience jewellery, various dates, mostly 5th to 2nd century BC, inclyding a pale blue faience wedjat, single sided, drilled for suspension, 2cm (.75ins) wide, an amulet in the form of Ptaikos, four beads with incised decoration, a collection of blue beads strung as a necklace and a collection of beads of various colours strung as a bracelet with modern catch (8)

£100-150

116* Greek Vase. A Greek Apulian krater with black-figure decoration, 4th or 3rd century BC, teracotta footed krater with black slip decoration in the form of bands and leaves, two loop handles, decoration worn with loss, 17.5cm (7ins) high (1)

£200-300

23

£100-150

118* Roman Amulet. A Roman bronze phallic amulet, 2nd or 3rd century, cast bronze with original suspension hoop, 4cm (1.5ins) long, together with another similar, probably Roman Spain, 1st or 2nd century, with yellow metal suspension hoop (2)

£150-200

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122* Roman Brooch. A Roman bronze brooch with zoomoprhic arms, 2nd century, cast bronze with some traces of blue enamel to central lozenge, original bronze pin, 6cm (2.3ins) long, together with another similar (2)

£100-150

123* Roman Brooch. A Roman bronze brooch in the form of a trireme, 2nd century, cast bronze with original bronze pin, overall patina, 3.5cm (1.3ins) long (1)

125* Roman Pottery. A Roman pottery vase of pelike form, Danube delta, circa 3rd century, wheel-turned teracotta, traces of all over brown slip, twin handles, 13cm (5ins) high, together with a Roman pottery squat footed jug, Danube, late 3rd or 4th century, 9.5cm (3.75ins) high (2)

£100-150

£70-100

119* Roman Bronze. A Roman bronze hand mirror with cover, 2nd or 3rd century, cast bronze with overal patina, ring decoration, 12cm (5ins) diameter (1)

£200-300

120* Roman Bronze. A Roman Bronze statue of Hercules, 1st or 2nd century, cast bronze, overall brown patina, broken in antiquity hence lacking arms and feet, 9cm (3.5ins) tall (1)

£100-150

121* Roman Brooch. A collection of Roman bronze bar brooches in the shape of animals, all 2nd or 3rd century, including one in the form of a salmon, another modelled as a doe and one as a boar, all with original pin, 6cm (2.3ins) wide and slightly smaller (3)

124* Roman Pottery. A collection of four Roman teracotta lamps, various dates, 2nd to 4th century, moulded teracotta, some incised decoration, 10cm (4ins) long and slightly smaller, together with two teracotta pots with twin handles (6)

£100-150

126* Roman Pottery. A Roman buffware pottery jug, North Africa, circa 2nd century, wheel-thrown pottery with ribbed body, single handle, 16cm (6.25ins) high (1)

£80-120

£100-150

127* Roman Ring. A Roman silver ring with portrait of Claudius, 1st century, broad shoulded ring with deep groove decoration, central profile portrait of Claudius, internal diameter 21mm (1)

Lot 120

Lot 121

Lot 122 24

£150-200

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128* Roman Coffin. A museum quality Roman lead tapering coffin lid, probably 4th century, wet sand-cast lead with cast decoration comprising bead and reel borders dividing into three sections, central section with scroll pattern, end sections divided with saltire cross of bead and reel, three of the quadrants filled with scallop shell (pecten), the last with a circle, sometime broken into three sections, 119cm x 34cm (47ins x 13ins)

Rare. Purchased by the present owner from metal detectorist Alan Pickering who discovered the piece together with another similar in Suffolk in the 1970s.

In 1977 Toller recorded just 243 Roman lead coffins in Britain and only a handful more have been discovered since.

(1) ÂŁ7000-10000

25

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129* Roman Bronze. A collection of Roman bronze implements and pins, various dates, 2nd to 4th century, including a pin with baluster terminal, another simple pin with knob terminal, a ear spoon and a toiletry spoon, plus a bronze asklepion, and a gilt bronze fragment with lapis lazuli insert, 14cm (5.5ins) long and smaller (6)

(3)

(1)

£200-300

£100-150

£100-150

130* Roman Bone. A group of nine Roman and Byzantine turned bone spindle whorls, various dates, 3rd to 6th century, turned bone, all but one with incised decoration, 2cm (.75ins) diameter and slightly smaller, mounted on modern stand (9)

131* Stone Age. A group of three British Stone Age hand axes, circa 5000-2000 BC, shaped and polished stone, 10cm (4ins) long and slightly smaller

133* Viking Bracelet. A fine Viking bronze penannular bracelet with chequered pattern, Northern Europe, 9th or 10th century, bronze with some verdigree, broadening flat terminals with incised chequered pattern, internal diameter 66mm

132* Syro-Hittite. A Syro-Hittie ceramic bird-faced figurine, Turkey, circa 1800 BC, moulded teracotta with incised decoration, broken at the neck and mid-way down body and repaired, 16cm (6.25ins) high (1)

£150-200

£70-100

134* Viking Spearhead. A large Viking iron spearhead, late 9th century, iron with overall patina, socket for fixing to wooden pole, 27cm (10.5ins) long Found by a householder in Quatford, Shropshire.

Presumed to date from the time of the viking camp at the crossing of the Severn near Quatford, established in 895. The mound of the camp can still be viewed.

(1) £200-300

26

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TEXTILES & FURNISHINGS

Lot 137

Lot 135 135* Carpet. An Oriental silk carpet, with arabesque design on a blue and red ground, with multi-banded border, approximately 215 x 130cm, together with two other wool carpets Provenance: The actor & historian Robert Hardy.

(3) £100-150

136* Carpet. A large Oriental woollen carpet, with foliate geometric decoration on a red ground within multi-banded border, approximately 360 x 260cm (1)

£200-300

137* Christening Gowns. A collection of eight Victorian and Edwardian christening gowns, together eight white or ivory cotton gowns variously embellished with pintucks, lace, drawn threadwork, etc., some lightly marked and in need of repair, various sizes, together with a large early 20th century coverlet composed of cotton squares handembroidered with floral and tennis motifs, in shades of blue and cream, joined with lace inserts, some light staining and lace worn, backed with pink cotton, approximately 186 x 214cm (73 x 84ins), plus a quantity of large and small fragments of old lace, some handmade, including collars, edgings, bonnets, cuffs, trains, mats, runners, etc.

(2 cartons)

£100-150

138* Curtains. Two matching pairs of large heavy curtains, late 20th century, four lined and interlined curtains, thick printed cotton depicting sporting and musical trophy motif alternating with deer within a woodland motif between vertical floral stripes incorporating a hare, in terracotta and shades of green on a cream ground, lined with ivory cotton, width 390cm (153.5ins), drop 256cm (101ins), together with two matching padded pelmets with velcro fixing, and four tasselled gold tie-backs Provenance: The actor and historian Robert Hardy.

(4) £100-150

Lot 143

139* Curtains. A pair of large curtains, late 20th century, two lined curtains, thick cotton printed with a pattern of classical pillars, flowers, and fruit, in shades of pink and green, lined with thick yellow hessian, width 241cm (95ins), drop 252cm (99.25ins), together with matching padded and piped hold-backs, plusA pair of large heavy curtains, two lined and interlined curtains, thick cotton with an armorial print on a chequered ground, in shades of orange, yellow, and green, lined with glazed ivory cotton, width 264cm (104ins), drop 232 (91.5ins), together with matching padded and piped hold-backs, plus another pair of large curtains, lined and interlined thick cotton, with a blue, red, and beige stripe, ivory cotton lining, width 256cm (100.75ins), drop 257cm (101.25ins), together with matching hold-backs Provenance: The actor and historian Robert Hardy.

(6) £100-200

140* Embroidered Picture. A large embroidered picture of a young lady at a tomb in a landscape, circa 1820, worked in silk and chenille threads on cream silk, mainly in shades of green, yellow, and brown, with the tomb in beadwork in red and other colours, some tears in silk ground to edges of design, contemporary dealer’s engraved label on verso ‘P. Boscetti & Co., Amsterdam’, 63.5 x 52cm (25 x 20.5ins), together with five other textile pictures, including an oval chenille embroidered and watercolour landscape with figures by a river and a fortification in the background, early 19th century, verre eglomise mount, framed, with contemporary framer’s engraved label on verso (Marnoch, Edinburgh), and an oval picture embroidered in silks and chenille, with a Biblical scene of three figures, early 19th century, framed, with contemporary engraved label on verso ‘Kearney’s Looking-Glass Ware-House, No.49 Henry Street, Dublin’ (6)

£100-200

27

141* Embroidered Picture. Rustic figures by a cottage and stream, circa 1800, oval woolwork picture on silk, showing two young peasant women, and an older woman talking to a man with staff, beside a cottage, with a young goatherd carrying a bindle, worked in wool, in long and short stitch and stumpwork, in a variety of shades, with hand-painted faces, silk perishing to upper left, 33.5 x 42cm (13.25 x 16.5ins), mounted, framed and glazed (1)

£80-120

142* Household Linen. A collection of table and bed linen, late 19th/early 20th century, including eight white or cream coverlets, mainly knitted or crocheted, one chenille, sixteen tablecloths, mostly lace, but some linen or embroidered, a bolt of napkin damask stamped ‘Richardson & Sons Belfast’, a crocheted skirt, a large embroidered linen purse, a monogrammed damask runner, etc., various sizes and condition (approx 30)

£150-200

143* Kimono. A hand embroidered silk kimono, early 20th century, pale green silk kimono, embroidered overall with roses and sprays of cherry blossom, in padded satin and stem stitch, lined, with matching tasselled sash, both with some minor wear and marks, length 140cm (55ins) A very pretty and beautifully worked kimono.

(1) £70-100

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144* Luggage. Two 1930s suitcases by Lincoln, De Lux, New York, belonging to the actress Gladys Cooper (1888-1971), each with brass catches and green trim, one inscribed ‘Hardy’, 82cm wide and smaller, together with a similar travelling vanity case by Airport, Registered Lightweight Luggage, plus a 1920s leather dome top travelling chest, 98cm wide Provenance: The actor & historian Robert Hardy.

Gladys Cooper’s second daughter Sally Pearson was Robert Hardy’s second wife. Her other daughter Joan married the actor Robert Morley.

(4) £70-100

146* Morris (William). Five rolls of hand printed Golden Lily wallpaper, Sanderson, mid 20th century, five complete rolls of hand printed wallpaper stamped ‘Morris & Co’, with Golden Lily design in shades of orange and brown, each roll ink stamped on verso with colour batch number ‘142002HT’, four rolls contained in the original cellophane wrapping, each roll 10 metres long and 55.5cm (21.75ins) wide, together with instruction leaf ‘Directions for Hanging Sanderson Hand Printed Wallpaper’

145* Minton’s China Works. A pair of Elfins Series tiles, Staffordshire: Stoke-onTrent, circa 1880, together two blockprinted blue and white tiles, one showing an elf riding a shrew, and the other showing an elf battling a lizard, some craquelure and edge-chipping, with Minton markings impressed on verso, each 153mm (6”) square, together with four other tiles, including a Puginesque encaustic tile, and a 19th century Continental tile hand-painted in blue, green, and yellow, with an urn and flower design

When Morris & Co went out of business in 1940 its former competitor, Sanderson, bought the firm for just £400, including the showroom contents, printing blocks, fabrics and logbooks. Except for a brief period during the Second World War Sanderson continued offering Morris & Co. designs throughout the 20th century, although for obvious reasons, complete and unused rolls rarely come onto the market.

(5) £300-500

147* Morris (William). A Tulip and Trellis pattern tile, circa 1870-1880, tin-glazed earthenware tile, hand-painted with blue flowers and green foliage, slightly chipped in places (mainly to edges), 153mm (6”) square Provenance: From the collection of artist decorator Charles Eaton (1885-1963); thence by descent to the god-daughter and cousin of his daughter Lilian Eaton, the current vendor. Scarce tile designed by William Morris; a pattern which was produced concurrently by both Morris & Co. and William de Morgan’s Chelsea Pottery.

(1) £200-300

Provenance: From the collection of artist decorator Charles Eaton (1885-1963); thence by descent to the god-daughter and cousin of his daughter Lilian Eaton, the current vendor.

(6) £70-100

Lot 147

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148* Oriental Carpet. A fine Persian Kashan-style silk hand knotted carpet, 20th century, hand knotted silk coloured with synthetic dyes, floral arabesque decoration over a blue-black ground, original retailer's label of 'Al Khaleej Carpets, Doha' to verso, 204 x 133cm (1)

149* American Quilts. A crazy pattern patchwork quilt, circa 1930s, handstitched quilt, in velvet and other fabrics, embellished with stitching in various coloured wool, including feather stitch, chain stitch, and herringbone stitch, 216 x 192cm (85 x 75.5ins), together with A large log cabin patchwork quilt, circa 1930s, handstitched barn raising pattern cotton patchwork quilt, in a variety of printed fabrics, predominantly shades of blue, brown, red, and green, backed in cream linen, and with printed fabric edging, some light staining, slightly frayed in one or two places, 212 x 212cm (84 x 84ins), plus A cube pattern silk patchwork quilt, circa 1910, handstitched silk patchwork tied quilt, in black and various other shades, backed in silk printed with an art nouveau design of stylised lilies in pale pink and green, yellow cotton ties at intersections, some paint spots, fraying, and loss, 175 x 105cm (69 x 41.5ins), plus A crazy pattern silk patchwork quilt, circa 1930s, hand-stitched silk and velvet patchwork tied quilt, in a variety of plain and patterned fabrics, red cotton ties, backed with paisley-patterned fabric in pink and green, some fraying and minor loss, 200 x 148cm (79 x 58ins), plus five others, including an early 20th century American handstitched Yo Yo quilt (apparently unfinished), a Rose of Sharon appliqued quilt in pink, green, and yellow, on a white cotton ground, and a Dresden Plate appliqued quilt, in a variety of colours

ÂŁ500-800

(9)

29

ÂŁ300-400

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COLLECTABLES

150* Art Nouveau. A collection of pewter comprising an Orivit metalwares, chamber stick, well cast with organic whiplash decoration, base stamped ‘Orivit 2142 Germany’, 14cm high, an Orivit hexagonal dish cast with a flower head design, with Orivit mark No. ‘3152’, 22cm wide, a similar dish plus a Tudric pewter ‘Rocket’ vase, with a beaten finish, stamped ‘Tudric 0227’, 23.5cm high (4)

152* Art Nouveau. An Orivit pewter platter, cast with organic whiplash decoration, stamped ‘Orivit 2166’, 60cm wide, together with a bowl similarly decorated, stamped ‘Orivit 2038’, 31.5cm wide (2)

£70-100

£100-150

153* Art Nouveau. A fine bronze dish, circa 1900, modelled as a young girl kneeling, flaring her dress which forms the bowl, unsigned, 17cm (1)

£100-150

154* Artist’s Box. Wooden artist’s colour box by Newman’s, late 19th/early 20th century, mahogany box, containing a number of colour blocks in tray with printed labels, some unused, two small palettes, and nine small saucers (four broken), palette lacking from drawer, hinged lid, with key (lock not working), 7.5 x 27 x 19cm (3 x 10.5 x 7.5ins), together with another mahogany artist’s colour box,

by G. Rowney, late 19th century, containing ten unused colour blocks, several brushes, and a small saucer of decorative gold, lacking palette, hinged lid, with key and functioning lock, printed label with Suggestions and Rules mounted inside lid, 4.5 x 23.5 x 11cm (1.75 x 9.25 x 4.5ins), plus a large Victorian wooden colour box, containing approximately thirty large and twenty smaller glass phials of powder paints mostly labelled Hancock & Son, Worcester, some held in compartmentalised tray, and fifteen glass bottles of powder paints, some with manuscript labels, drawer and hinged lid, box broken and paint-splattered, 13 x 35.5 x 26.5cm (5 x 14 x 10.5ins), plus a small cardboard box with compartments containing eight small unused corked phials of paint, lid with printed label ‘Goetheanum Farben Anthea, Anthea Institut fur Rudolf Steiner Pflanzenfarbenforschung Dornach Schweiz’ (3)

151* Art Nouveau. A bronze of a nude child, circa 1900, her hands clenched together on her chest, on a square marble base, unsigned, 33cm high (1)

£150-200

Lot 154

30

£200-300

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

£100-150

155* Box. An 18th-century French gilt metal box, the lid chased and decorated with knights in battle within rococo scroll border, the side panels with military trophies, the base with a shell and scroll design, 4cm high x 7cm wide x 5cm deep (1)

£150-200

157* Bronze. A Victorian bronze lamp base formed as two classical maidens holding a sconce, on a well-detailed circular base, 34cm high (1)

£150-200

158* Casket. A George III shagreen casket, with silver straps engraved with squirells, hinged catches, enclosing velvet lined interior and bullion braiding, 9.5cm high x 19cm wide x 7cm deep (some damage)

(4)

(1)

(1)

£150-200

£70-100

162* Electrolier. An Edwardian eight branch glass chandelier, with glass lustres, 37cm high x 52cm 82cm wide £150-200

163* Electroplate. A Victorian coppered oak beer jug with electroplated mounts, the hinged cover with ivory finial, 24cm high, plus matching conical beaker, 14.5cm high, together with a Norwegian sailors knife, a glass dump paperweight, an Edwardian electroplated tea urn, with rams head handles, 52cm high (lacking cover), plus an Edwardian electroplated oval twin handle tray, with foliate engraved decoration, 73cm wide, and other items

156* Bronze. A small bronze figure of a cobbler boy, circa 1900, indistinctly signed on a black slate base, 14.5cm high (1)

161* Crucifixes. A collection of religious crucifixes, late 19th century onwards, including a silvered wooden example with Parian figure of Christ, 46cm high, another mounted on rosewood, 29cm high, and others

£70-100

(a carton)

159* Casket. An 18th-century Continental shaped enamel box, probably French, painted with a musician and maiden in a mountainous landscape, the side panels similarly decorated with brass banding and thumbpiece, various marks to base, 5cm high x 10.5cm wide x 7cm deep (minor damage) (1)

£150-200

31

£100-150

164* Fire Irons. A mixed collection of Georgian and later steel fire irons including pokers, together with two pierced steel fire guards (7)

£100-150

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Lot 165 165* Grand Tour. A boxed set of early 20th century plaster plaques, comprising 96 plaques in four tiers, each of various size and shape, all cast with a classical scene or profile, 13cm high x 27.5cm wide x 23cm deep (1)

167* Iffland (Franz, 1862-1935). Bronze of a child with bat and ball, on a green veined marble base, signed, 38.5cm high (1)

£200-300

£200-300

166* Hair Curlers. A set of metal hair curlers with stand, circa 1870s, steel curling tongs with decorative patinated brass handles, complete with the original ornate patinated brass stand incorporating spirit heater with hinged lid, overall length 24cm (9.5ins) (1)

Lot 167

168* Inkwell. A good Edwardian metal inkwell, formed as a foxes head with riding crops and stirrup on an oak-leaf base, with glass liner, 12cm wide (1)

£100-150

£70-100

32

169* Jelly Mould. A Victorian pewter jelly mould, formed as three hinged sections with detachable cover cast with fruit, the base with registration mark, stamped ‘MO 21, 1 1/2 Quart’, 17cm high x 15cm diameter, together with another one stamped ‘12 2 P’, 17cm high (2)

£70-100

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Lot 174

Lot 175 172* Lapis Lazuli. A good coloured boulder with banding, 13.5cm high, presented on a wooden stand (1)

£70-100

(a carton)

170* Keswick School of Industrial Art. A plated hammered finish circular bowl, with three stylised handles each with leaf design on three spade shape feet, stamped K.S.I.A. M , approx. 28cm diameter (1)

£70-100

£100-150

173* Lead Mark. A Victorian lead insurance mark, cast with a winged angel, 24 x 14cm (1)

171* Lamp Bases. A pair of Victorian brass lamp bases, each in the Gothic style, with shaped base on square plinth, 42cm high (2)

175* Mixed Items. Various fountain pens including a cased Parker 61, cased spectacles including a yellow metal pair, Mauchlineware egg with printed design of St Paul’s Cathedral plus another small pot of Beddington Church, Surrey, a silver plate and enamel shipping stamp case for New Zealand Shipping Company, a Lund type corkscrew, Indian carved wood card case and other items

£70-100

174* Marriage Domes. A late 19th century French “marriage dome”, with a display of wax flowers, mirrors, gilded leaves and decorations, housed under a glass dome with ebonised base, 53cm high, together with two others, 48cm and 37cm high (3)

£100-150

£100-150

33

176* Mother of Pearl. The Last Supper, after Leonardo da Vinci, 20th century, mosaic of mother of pearl and abalone with incised decoration, glazed and with mother of pearl easel frame, 22 x 20cm (9 x 8ins) overall (1)

£80-120

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177* Nailsea Court. A carved oak griffin reputedly from Nailsea Court, North Somerset, 22 x 21cm, together with a carved oak panel and cast brass key plate The last of three lots of carved oak panels sold in these rooms in 2015.

(3) £70-100

178* Razor Set. An Edwardian 7-day razor set by Kropp, Sheffield, presented in a red leather case with crimson silk lining Provenance: The actor & historian Robert Hardy.

(1) £50-70

179 Reliquaries. A pair of French Catholic reliquaries, 19th century, each with oval lithograph showing scenes from the life of Christ, surronded by quilled decoration, gilt borders, and five mounted relics (of wood and plant material), each with caption, oval, 30 x 24cm (12 x 9.5ins), framed and glazed (2)

£200-300

180* Scrimshaw. A mid-19th century whale’s tooth, engraved with a young lady holding a Union Jack flag, 16cm long Provenance: Vivienne Rae Ellis (author).

(1) £150-200

181* Scrimshaw. A 19th-century whale’s tooth, engraved with a whaling scene and sailing ships, probably circa 1850s, 10cm long (1)

183* Statue. A ¾ lifesize 20th-century marble statue, carved as a young girl holding a long dress (some damage), 160cm high (1)

£500-800

£100-150

182* Sewing Box. A Regency rosewood sewing box, of sarcophagus form, the hinged lid inset with mother pearl cartouche, enclosing lift-out tray with various divisions, bone and mother of pearl accessories, with loose ring turn handles on bun feet, 14cm high x 26cm wide x 19cm deep (1)

£100-150

34

184* Stone Carvings. A modern hardstone carved elephant, 30cm long, together with an alabaster carved owl on naturalistic base (2)

£70-100

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Lot 188 (detail)

Lot 188 185* Surveying Instruments. A Victorian rosewood box containing technical drawing instruments, 5.5cm high x 20cm wide x 13cm deep, together with another

by Solomon’s Opticians containing brass and ivory accessories, and other items including a Victorian presentation shovel for the opening of the Lithographic and Photographic Department Building in Calcutta, 1888, in a fitted case, manufactured by J. Boseck, Calcutta (7)

£70-100

187* Tea Caddy. A Victorian walnut dome top tea caddy, applied with shaped brass mounts, the hinged lid enclosing division for tea and glass mixing bowl, 16.5cm high x 24cm wide x 15cm together with a Victorian oak sewing box of rectangular form, the hinged lid enclosing lined interior, various accessories including bone pin cushion, on four squat bun feet, 14cm high x 30cm wide x 21cm deep (2)

186* Swiss Carving. A well carved wooden model of a cow, finely detailed with bell attached to its neck on a naturalistic base, 42cm long (some damage) (1)

£100-150

£70-100

188* Toothpick Case. A George III ivory toothpick case, the lid inset with an enamel plaque inscribed ‘Pensez A Moi’ (Think of Me) within gold border, enclosing mirror, 8.5cm long, together with a George III circular ivory box, the cover engraved with repeating border and silver ring handle, 3.3cm high plus a Victorian tortoiseshell sewing case by Lund of Cornhill, London, with accessories but incomplete (3)

£200-300

189* Tray. A Victorian Pontypool toleware circular tray, painted with fruit and floral sprays within pierced border, 45.5cm diameter (general pitting) (1)

190* Tudric. A pewter cake basket designed for Liberty, of oval form with stylised forget-me-nots and geometric design with carrying handle, stamped ‘2 Rd440032 English Pewter 0357 Made in England’, 30.5cm long (1)

35

£100-150

£100-150

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191* Tudric. A pair of pewter “rocket” vases designed for Liberty, each with a hammered finish supported on three stylised feet, stamped 04578, 23cm high

194* Tudric. A collection of pewter items designed for Liberty, comprising a three piece condiment set, the pepperette, salt and mustard pot with blue glass liner, all with a hammered finish, stamped 01641, together with a circular pedestal bowl, number 01353, 17cm diameter, a circular bowl and cover, number 01481, a coffee pot, number 01455, a tankard lacking cover, with stylised design, number 0279, 15cm high

(2)

(7)

£100-150

196* Walter Anson (Minnie, 1875-1959). miniature watercolour on ivory of a mother and child, circa 1930s, signed lower right, 10 x 7.5cm, framed and glazed (glass cracked), together with another miniature on ivory by L. Adams, circa 1910, portrait of a middle aged lady, signed on the left, approx. 12.5 x 8.5cm, in a gilt metal rococo framed, plus two miniatures of Arab’s (one on ivory), 8.5 x 6cm, plus a Victorian pinchbeck brooch with photographs of children, in a fitted leather case (5)

£150-200

£100-150

197* Woodworking Plane. A treen carpenter’s plane, the hardwood block carved with heart-shaped motif and naively engraved with initials and dated ‘1766’, 12.5cm long (1)

192* Tudric. A pair of pewter dwarf candlesticks designed for Liberty, each with a hammered finish, stamped ‘Made in England Tudric Pewter 01543’, 7.5cm high (2)

£80-120

195* Typewriter. An early 20th-century typewriter by Lambert, with circular composite keyboard, metal base No. 8916, 27cm wide (1)

£150-200

198* Yoke. An interesting Indian carved wood yoke, probably for a bullock, carved with confronting animals, fish and geometric decoration, 170cm long, together with a heavily carved Indian wooden panel carved with two peacocks and Ganesh, within geometric border, with iron nails to each side, 146cm long (2)

193* Tudric. A pewter tea service designed for Liberty, comprising tea and coffee pot, milk jug, two sugar bowls on a circular tray, all with a hammered finish, all stamped Tudric but with differing pattern numbers, tray 37.5cm diameter (6)

£150-200

Lot 196 36

£80-120

£70-100

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JEWELLERY & WATCHES 203* Aquamarine. A Victorian aquamarine pendant, set in a rocaille yellow metal mount with suspension loop, the facet cut stone measuring approx. 1.8 x 2.3cm, overall size 2.5 x 4.3cm including suspension (1)

£400-600

201* Amethyst. An Edwardian navette shaped pendant, the central facet cut stone surrounded by pearls set in yellow metal with three stone pearl suspension loop, 4cm long, on a yellow metal chain (1)

£100-150

199* Amber. A cherry red string of 52 amber beads, largest 3cm long, 38cm drop, approximately 95g (1)

204* Bracelet. A 15ct gold curb link stamped 15ct on catch, bracelet, approximately 25g with a yellow metal skiing medal dated 1971, 5g plus a similar silver medal

£100-150

(1)

£250-350

202* Amethyst. An Edwardian yellow metal bangle, set with a circular facet cut stone surrounded by pearls, with catch and safety chain, 6.5cm wide, in a fitted case (1)

£100-150

205* Brooch. A Georgian oval brooch, painted on ivory depicting a family meal, mounted in a yellow metal, approx. 4cm x 3.5cm (hairline)

200* Amber. A butterscotch string of 47 amber beads, largest 2.8cm long, 33.5cm drop, approximately 55g (1)

(1)

£200-300

Lot 203

37

£100-150

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206* Brooch. A Victorian Scottish silver pebble brooch, in the form of a shield with heraldic lion and crown, 7cm high, together with a cameo brooch carved as mercury in a silver mount 4.5cm long (2)

£70-100

210* Mixed Jewellery. An Italian micro mosaic brooch, inset with a floral spray on black hardstone, a yellow metal pendant set with turquoise, inscribed and dated 1847, Victorian mourning brooch with black enamel frame inscribed ‘In Memory Of’, early 19th-century silver fob, engraved with an anchor and with the legend ‘Hop’e, yellow metal jewellery including a corn on the cob brooch, foliate enamel brooch and other items (17)

£150-200

207* Brooch. A late 19th-century tortoiseshell butterfly brooch, applied with yellow metal mounts and red stone and turquoise cabochons, some additional pieces missing including pin, 6cm wingspan (1)

£200-300

208* Costume Jewellery. A collection of brooches, beads and buttons, together with a tin of empty jewellery boxes, many Edwardian, plus two cased Gents Seiko wristwatches, vintage clutch bags, cigarette and postcards, ephemera etc. (a carton)

£70-100

209* Mixed Jewellery. An 18ct gold bar brooch set with three garnets, 4cm long, together with a Norwegian silver and enamel leaf brooch by David Anderson, an agate cabochon brooch with yellow metal mount, Victorian yellow metal locket and other items (7)

£70-100

Lot 212 38

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214* Omega. A 1970s gents Omega Seamaster Electronic F300 H2 chronometer, stainless steel bracelet and wristwatch, with screw back case, silvered dial, raised baton numerals, calendar aperture, plus a Pulsar wristwatch (2)

215* Omega. A 1960s ladies 9ct gold wristwatch, the 18mm circular silvered dial with gold raised baton numerals, integral gold bracelet, stamped ‘375’ in its red leather case

211* Mourning Jewellery. A Victorian yellow metal brooch, formed as a Ouroborus with pearls and glass compartment, approximately 2.5cm long, together with a Victorian yellow metal heart shape pendant with pearls and encasing hair, lacking rear pin, approximately 2cm high (2)

(1)

£100-150

212* Necklace. A fine Edwardian seed pearl necklace by Asprey & Company, beautifully entwined with drop, backed on mother of pearl, 21cm long, in a fitted presentation case with remains of trade label (some damage) (1)

£100-150

Lot 214

216* Pendant. An Edwardian navette shaped yellow metal pendant, set with pearls arranged in a floral design on an open back mount, 5cm long, on a yellow metal chain in Goldsmiths & Silversmiths fitted case, together with an Edwardian bar brooch, with light blue sapphire set in a circular mount with petals set with diamond chippings in a yellow metal mount, 4cm long, in a fitted case, plus a Victorian yellow metal mourning brooch inset with a floral painted panel, 3.5cm long (3)

£200-300

£80-120

£100-150

217* Pocket Watch. An Edwardian 9ct gold half hunter pocket watch, with blue enamel roman numerals, white enamel dial, engraved with presentation inscription, stamped ‘375’, in a fitted leather case, together with a 9ct rose gold pocket watch chain with T-bar and 9ct gold octagonal locket, chain and locket approx. 34g (2)

213* Necklace. An Edwardian row of graduated cultured pearls, with yellow metal navette clasp set with turquoise and pearls, approximately 52cm long (1)

Lot 215

£80-120

Lot 216

Lot 217 39

£400-600

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Lot 225

218* Pocket Watches & Barometer. A Victorian gilt metal pocket barometer, the 4.5cm circular silvered dial in original maroon morocco leather case together with two silver pocket watches including a half-hunter with two subsidiary dials plus an Edwardian silver cased travel clock, Birmingham 1903 (5)

221* Ring. An 18ct yellow gold ring set with three Victorian rough cut diamonds each approx. 6mm x 5mm, inner circumference 19mm (1)

£600-800

224* Ring. A yellow metal cluster ring, set with central sapphire and surmounted by pave set diamonds, inner circumference 19mm (1)

£100-200

£100-150

225* Rings. Five various rings, including a Continental yellow gold ring stamped 585 set with polished quartz, and a navette shaped pierced ring set with pearls and emeralds (5)

219* Ring. A Georgian yellow metal and five stone diamond ring, the old cut stones aligned in lyre mount, inner circumference 1.9mm, together with an 18ct gold ring set with sapphires and diamonds (one sapphire missing), inner circumference 19mm (2)

£100-150

222* Ring. A Victorian yellow metal cluster ring, set with seed pearls, ruby and emeralds, inner circumference 18mm (1)

£80-120

223* Ring. A Continental yellow metal ring, claw set with three cornelians, inner circumference 18mm (1)

£80-120

226* Watches. 18ct gold ladies fob watch, with white enamel dial blue Arabic numerals, the back of the case with applied monogram inset with diamonds and bow brooch inset with two small diamonds with safety chain, together with a silver half hunter fob watch, plus a 9ct gold Rotary ladies wristwatch

220* Ring. An 18ct yellow gold ring set with three pave set graduated diamonds, inner circumference 18mm (1)

£80-120

(3)

£300-500

40

£150-200

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SILVER & PLATE

Lot 227

Lot 228

227* Art Nouveau. A silver-plated fivepiece tea set by Reed & Barton, comprising teapot, milk jug and sucriers, with stylised organic whiplash decoration, teapot 26cm high (5)

£100-150

228* Art Nouveau. A white metal milk jug, of baluster form embossed with organic decoration, various stamps to base, 11cm high (1)

£80-120

Lot 230

229* Art Nouveau. A fine German circular silver box, circa 1900, the hinged lid inset with an enamel panel of a girl with a headdress inset with ruby cabochons, artist monogram to the lower right, the silverwork with an acanthus design, stamped with a series of hallmarks including the crescent and crown 800 standard marks, 7.5cm diameter (1)

£300-500

230* Arts & Crafts. A Victorian silver bowl, makers mark rubbed but probably Charles Harris Stuart, London 1897, embossed with stylised cabochons and beaded rim, the base with presentation inscription, 11cm diameter, 6oz (1)

£80-120

231* Basket. A Victorian silver basket by Rowlands & Frazer, London 1889, embossed with ribbons and floral decoration, two handles formed as putto on four c-scroll feet, 23.5cm long, 13oz Lot 229

41

(1)

£100-150

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232* Flagon. A George III silver jug probably converted from a tankard, London 1790, engraved with armorial and crest of Francis Noel Mundy of Markeaton Hall, Co. Derby (died 1903), later Victorian decoration and spout with characterful face, the domed lid with thumb-piece, scroll handle on flared foot, 26.5cm high, approx. 61.5oz Francis Noel Mundy married in 1864 Emily Maria Georgiana Cavendish, third daughter of Richard Cavendish (second son of the 2nd Baron Waterpark) of Thornton Hall and Crakemarsh Hall.

(1) ÂŁ700-1000

42

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236* Bottle Stand. A George III silver bottle stand, Rebecca Emes & Edward Barnard, London 1826, with acanthus carrying handle, apertures for eight bottles, on gadrooned base with knurled feet, 24.5oz (1)

£150-200

233* Bon Bon Dish. A pierced silver bon bon dish, by Henry Matthews, Birmingham, date letter rubbed, with repeating border on pedestal foot, 12cm long, 2oz, together with a Georgian-style silver sugar bowl, of baluster form with two handles on pedestal foot, stamped ‘Georgian’, by Cooper Brothers & Son, Sheffield, 9cm high, 7.5oz, total weight 9.5oz (2)

£100-150

234* Bottle Coasters. A pair of Elizabeth II silver coasters, by WI Broadway & Co, Birmingham 2001, with pierced gallery, turned mahogany base inset with silver plaque, 13cm diameter

237* Breakfast Set. A Victorian silver-gilt breakfast set by Hunt & Roskell, London 1869, comprising, circular bowl and cover, 12cm diameter, conforming circular dish, 16.5cm diameter, finely engraved with floral decoration and monogram, stamped ‘Hunt & Roskell Late Storr & Mortimer, 5155’ plus a similar fork and spoon

by Edward Farrell, London 1851, total weight approx. 21.5oz

(2)

(4)

£100-150

235* Bottle Labels. A collection of silver and porcelain bottle labels, comprising Gin, Whisky and Brandy by Alexander Clark & Co, Birmingham 1935, shaped, pierced and engraved, 6cm long, a modern pair for Port and Sherry, another for Whisky by Robert Pringle, Birmingham 1910, plus a porcelain pair by Royal Crown Staffordshire for Gin and Vermouth, all with chains (8)

£300-500

238* Candlesticks. A set of four Victorian silver Corinthian column candlesticks, by William Gibson & John Lawrence Langman, Sheffield 1893, with detachable sconce, 14cm high (one sconce missing), weighted (4)

£70-100

43

£150-200

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Lot 240

239* Candlesticks. A pair of George III silver candlesticks, by S.C. Younge & Co, Sheffield 1818, each with detachable sconce and foliate embossed decoration, weighted with oak and drilled for electricity, 22.5cm high, worn (2)

Lot 243

Lot 242

£100-150

241* Cigarette Case. A heavy gauge George V silver cigarette case, London 1948, with yellow metal border and monogram, 14cm long, approx. 6.5oz, together with another silver cigarette case plus a white metal cigarette case, weighable silver 12oz (3)

Lot 245 243* Coffee Pot. A George II silver coffee pot, by John Edwards II London 1736, of plain tapered form engraved ith crest, the cover with turned finial, faceted spout and ebonised scroll handle, overall weight approx. 25.5oz (1)

£400-600

£100-150

240* Chocolate Pot. A George V silver chocolate pot by Daniel & John Welby, London 1909, of plain tapered form with domed cover and urn finial, faceted spout and fruit wood handle, 24cm high, overall weight approx. 25oz

242* Coffee Pot. A Victorian silver coffee pot, by William Hutton & Sons, of baluster form with half gadrooned and acanthus decoration on a pedestal foot, 21cm high, approximately 13oz

244* Comport. An American glass comport finely engraved with floral baskets, with rose encrusted silver rim, stamped ‘Wallace Sterling 4309-9’, 19.5cm diameter, together with 12 silver and glass coasters plus a larger similar dish, 14cm diameter

(1)

(1)

(14)

£300-500

£100-150

£100-150

245* Cream Jug. A George III silver cream jug by Robert Hennell I & David Hennell II, London 1796, of slender form engraved with floral wreaths and borders, 12cm high, 4.5oz (1)

£80-120

246* Cream Jug. A George III silver cream jug probably by Duncan Urquhart & Naphtal Hart, London 1809, of oblong form, finely engraved with acorns and oak leaves, on four ball feet, 13cm long, approx. 3.5oz (1)

Lot 244 44

£100-150

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247* Dressing Table Bottles. A collection of Art Deco silver top bottles and jars, belonging to the actress Gladys Copper with her monogram (1888-1971), engraved to each top, comprising three cologne bottles, 9cm high, two trinket boxes, 6cm diameter, and a hat pin jar, all with engine turned decoration and circular motif, with import marks, circa 1930s Provenance: From the private collection of actor and historian Robert Hardy. Gladys Cooper’s second daughter Sally Pearson was Robert Hardy’s second wife. Her other daughter Joan married the actor Robert Morley.

(6) £80-120

Lot 249

250* Mixed Silver. A Victorian silver and glass toddy glass, by Hukin & Heath, Birmingham 1859, 11cm high, together with a silver heart shape ring box, by Boots Pure Drug Company, Chester 1913, 5.5cm long , plus a silver milk jug and three silver cigarette cases, weighable silver, approx.

11oz (6)

£100-150

248* Forks. A set of six George III silver fiddle pattern table forks, by James Barber, George Cattle II & William North, London 1790, each engraved with family crest and initial B, 20cm long, total weight approx.

15oz (6)

(5)

(10)

£100-150

£100-150

253* Mixed Silver. A Victorian silver sugar bowl by Daniel and Cheales Houle, London 1864, engraved with c-scrolls and floral sprays, on four cabriole supports with pad feet, 13cm diameter, 6.5oz, together with a Victorian heavy gauge milk jug by Goldsmiths and Silversmiths & Co, London 1892, of pedestal form, 9cm high, 6oz plus five further silver bowls, various shapes, sizes and weights, total weight approx. 25.5oz

£100-150

249* Mixed Silver. A cased silver condiment set by Mappin & Webb, Birmingham 1934, comprising two pepperettes, two salts each with blue glass liner and two mustard pots, with liners and spoons, together with a cased set of twelve silver grip tea knives, plus six silver coffee spoons and two further silver spoons

252* Mixed Silver. A Victorian silver card case by Edward Smith, Birmingham 1855, engraved with monogram within shells and foliate scrolls, 10cm long (lacking pin to hinge), together with a Victorian novelty hair pin box, of reeded rectangular form by Birmingham 1891, the cover applied with a silver hair pin, 9cm long, plus a Victorian silver and glass double end scent bottle, cased sewing kit, mother of pearl fruit knife and other items

(7)

251* Mixed Silver. A collection of silver including two dressing table items, mirrors, five brushes, seven silver top jars and bottles, plus other items (a carton)

£100-150

45

£180-220

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Lot 254 254* Mixed Silver. An Art Deco silver toast rack by Adie Brothers Ltd, Birmingham 1935, 11cm long, together with another by Elkington & Co, Birmingham 1935, approx. 7cm long, George V silver quaich by William Bruford & Sons Ltd, London 1935, 12cm wide, a cased pair of silver salts by Mappin & Webb Ltd, Birmingham 1935, each with blue glass liner and spoon, plus a set of four condiments by William Neale & Sons Ltd, Birmingham 1935, comprising a pair of lidded salts and pepperettes, each with an engine turned ground and a pepper grinder, weighable silver approximately 13oz (9)

£150-200

Lot 258 259* Mixed Silver. A pair of Victorian silver salts, London 1863, embossed with a geometric decoration, 6.5cm diameter, Victorian silver spoon in the 17th century style, London 1901, various condiments including a pair of salts each with blue glass liner, silver and tortoiseshell ring box, silver and glass scent bottle, silver toddy glass, numerous teaspoons etc, weighable silver 21oz (35)

256* Mixed Silver. A Victorian silver photograph frame by Henry Matthews, Birmingham, circa 1890, with lattice embossed frame, 17cm high, together with a pair of specimen vases, hallmarks worn, but circa 1900, 18.5cm high, weighted, a candlestick probably by Elkington & Co, Birmingham 1906, of plain form, 18cm high, and other items (6)

255* Mixed Silver. A Victorian silver pedestal bowl, London 1889, embossed with scrolls and floral sprays, 9.5cm diameter, 3oz, together with a heavy gauge George V silver mug by Henry Wilkinson & Co Ltd, Birmingham 1918, plain, 9cm high, 5oz, plus four napkin rings and a salt pot, total weight approximately 12oz (7)

£100-150

£200-300

£80-120

257* Mixed Silver. A pair of Victorian silver sauce ladles, London 1897, each with rat tail bowl, 17.5cm long, approx.

4.5oz, four pairs of George III and later sugar tongs, George III sugar scissors, various brite-cut teaspoons. George III snuff box, knife rests and other items, weighable silver approx. 22.5oz (a carton)

£150-200

258* Mixed Silver. A George III pepperette, of pedestal form with pierced roundels, hallmarks rubbed but probably Chester 1808, A George III drum shape mustard pot by Robert Hennell II, lacking liner, 8cm long, a drum shape salt, lacking liner, a pair of George III oval salts, by David Hennell I and Robert Hennell, London 1767, both with blue glass liner and one with broken leg, 8cm long and other items, weighable silver 11oz (7)

£100-150

46

260* Mixed Silver. A pair of Victorian glass beakers, each with a hobnail cut design, silver rim by Horace Woodward, London 1879, 15.5cm high, together with four silver top bottles, mostly Victorian, plus a silver and glass spill vase, 18cm high (7)

£100-150

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263* Mug. An Elizabeth II silver mug by Walker & Hall, Sheffield 1958, of plain form on pedestal foot, 13.5cm high, 10 oz (1)

£80-120

264* Mug. A George VI silver mug by Hicklenton & Sydal, London 1935, of baluster form with scroll handle, 12cm high, 10oz (1)

£80-120

265* Mug. A George VI silver mug by Hicklenton & Sydal, London 1935, of tapered form with scroll handle, 11.5cm high, 12oz (1)

£100-150

261* Mug. A George III silver mug by John King, London 1777, of baluster form with scroll handle, later inscription on the base, 12cm high, 11oz (1)

£150-200

Lot 264 266* Porringer. A George V silver twin handle porringer by Carrington & Co, London 1913 with Britannia Standard marks, chased and engraved acanthus decoration, presentation inscription and dolphin moulded handles, 15cm wide, approx. 7oz (1)

£100-150

267* Salver. A George III circular silver salver by Solomon Hougham, London 1798, of plain circular form engraved with monogram, on three outsplayed feet, 25.5cm diameter, 21oz (1)

Lot 265 262* Mug. A George II silver mug by Thomas Whipham, London 1750, of baluster form, engraved with a crest, and initials to the scroll handle, 12.5cm high, approx. 13.5oz (1)

£300-500

Lot 267

Lot 263

47

£200-300

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Lot 268 268* Sauce Boat. A George V silver sauce boat, by S. Blanckensee & Sons Ltd, Birmingham, 1935, with flying scroll handle on three cabriole supports each with shell decoration, 15cm long, 3oz, together with two further silver sauce boats, total weight 8.5oz (3)

£70-100

Lot 273 271* Spoon. A Victorian silver fiddle pattern basting spoon by William Eaton, London 1842, 32.5cm long, approx. 5oz (1)

£50-80

272* Spoons. A cased set of six Victorian silver teaspoons by Henry Wilkinson, Sheffield, 1894, each with shaped bowl and c scroll decoration, together with an associated pair of sugar tongs by Walker & Hall, 1898, total weight approximately 4oz (1)

269* Sauce Boat. A George II silver sauce boat, makers mark rubbed probably

by John Swift, London 1752, engraved with crest and shaped rim, flying scroll handle, on three cabriole supports, 15.5cm long, approx. 6oz (1)

£50-70

273* Spoons. Four Art Deco Danish silver gilt teaspoons, each with blue enamel stems, stamped ‘Ela Denmark Sterling 925.5’, 13cm long, together with 6 Norwegian silver gilt coffee spoons, with blue and green enamel decoration, stamped ‘Sterling, J. Tostrup, Norway’, 10cm long, plus a Masonic glass ashtray with silver decoration, 15cm diameter, weighable silver approximately 4.5oz (11)

£70-100

274* Sugar Basket. A Victorian silver sugar basket by Walter & John Barnard, London 1893, of faceted pedestal form, the interior with gilded bowl, 13cm long, 5.5oz, together with a Victorian silver octagonal sugar caster by makers mark rubbed but probably Henry Matthews, Birmingham 1897, with pierced cover and faceted finial, 16.5cm high, approx. 5.5oz, plus a Victorian silver porringer and a navette shaped bonbon dish, total weight approx. 15.5oz (4)

£100-150

270* Silver Plate. A collection of plated items, including an Old Sheffield Plate biscuit box, of oval form with concave cover and gadrooned edges, 13cm long, a pair of Edwardian candlesticks, 25.5cm high, a small salver by Goldsmiths & Silversmiths Company, 19cm diameter, pair of white metal peacock menu holders, 7cm high and other items (16)

£80-120

Lot 275

48

£100-150

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Lot 278 275* Teapot. A George IV silver teapot by Joseph Angel I, London 1822, profusely decorated with c-scrolls and floral sprays, the cover with acorn finial, on a pedestal foot, 28cm long, approx. 24oz (1)

£200-300

276* Teapot. A George III silver teapot by Peter, Ann & William Bateman, London 1803, of oblong form, the domed lid with treen pineapple finial, engraved with initials and leafy borders, fruitwood handle and curved spout, 26.5cm long, overall weight 14.5oz (creases and some dents) (1)

£150-200

277* Teapot. A Victorian silver bachelors teapot, probably by Edward Brown London, 1880, of drum form with ebony handle and finial, 19cm long, total weight approx. 10oz (1)

£150-200

278* Tray. A George V silver twin-handle tray, of rectangular form with acanthus and repeating border, hallmarks rubbed, 68cm long, approx. 101oz (1)

£800-1200

279* Vanity Box. A Victorian coromandel wood travelling vanity box, by Asprey & Company, with brass inlaid name plate, Bramah lock and brass edging, enclosing seven silver top jars and bottles, with lift out tray and secret drawer beneath, 17cm high x 28cm wide x 20.5cm deep (1)

£300-500

49

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CLOCKS & SCIENTIFIC INSTRUMENTS 282* Barometer. A Regency mahogany mercury stick barometer, stamped ‘D.S.B.’ within sun crest, paper scales with remains of print, 83cm long, with manuscript label on reverse ‘This barometer was given by one of Nelson’s flag officers to the Rev. Jones Rector of West Peckham, Kent, who left it to his nephew after Larry Towse’(?)

A Reverend Thomas Henry Jones is recorded as Royal Navy chaplain, 1839.

(1) £200-300

283* Barometer. A Victorian mahogany wheel barometer, the circular silvered dial signed ‘D. Ortelli, Marlborough’, the case inlaid with circular foliate panels, 49cm (glass cracked) (1)

280* Altimeter. A rare late 19th-century moutaineering/ballooning altimeter by Hottinger & Cie, Zurich, with brass case and silvered drum, containing a curved tube thermometer signed and numbered ‘1305’, the side with ivorine vernier secured in a black leather case, 6.5cm long (case tatty), together with a collection of Victorian and later microscope slides (1)

284* Barometer. A Victorian aneroid wheel barometer, with white circular enamel dial and thermometer, 103cm high (1)

£200-300

Lot 282

281* Art Nouveau. A Continental early 20th-century wooden wall clock, carved with faces amongst gilt-painted trees, with arabic numerals and brass hands, with a simple brass movement and chains, 38cm high x 26cm wide, together with an Art Nouveau oak cased mantel clock with pressed copper circular dial, arabic numerals, the top with steel bell and brass carrying handle, with a simple movement, the inner door stamped ‘V.E. Merz’, 28cm high (2)

£80-120

£100-150

Lot 287 50

£80-120

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Lot 285

285* Clock. An Victorian Boulle inlaid tortoiseshell mantel clock by Goldsmith Company, Regent Street London, the signed circular enamel dial with black roman numerals, balloon shaped case with gilt metal mounts and window to base to expose the pendulum, the rear door enclosing brass movement and pendulum, 43cm high (some damage to the dial) (1)

£400-600

Lot 286

286* Clock. A late 19th-century French the brass skeleton mantel clock, movement stamped ‘Pert Bally, Brevette A Paris, No. 5048’ with white enamel dial, blue roman numerals, blued steel hands raised on an octagonal gilt metal pedestal finely engraved with floral scrolls leading to white marble base, 25cm high, under a glass dome with ebonised base, 36cm high overall (1)

£400-600

51

287* Clock. A late 19th-century mantel clock, with white circular enamel dial, black roman numerals signed ‘Della Salle, A Fellet’(?), with gilt metal figural decoration depicting a Catholic woman and child, mounted on a white marble base with gilt borders and feet, 33cm high (1)

£100-150

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292* Compass. A Victorian brass surveying compass, the 4-inch engraved silvered dial signed Bradford, London, additional sighted arms, in pine box (1)

£100-150

289* Clock. An Edwardian inlaid mahogany mantel clock, with circular white enamel dial, black roman numerals, in a caddy top case inlaid with festoons, brass carrying handle, finials and feet, drum movement, 24cm high (1)

£70-100

290* Clocks. A Victorian mahogany drop dial wall clock, with white enamel dial, black roman numerals, in a mahogany case with ebonised mounts, 104.5cm high, together with a brass anniversary clock, with orange engine-turned dial, foul ball pendulum under a glass dome, 32cm high, plus a Huntley & Palmer’s biscuit tin (3)

£70-100

291* Clocks. A late 19th-century Belgium slate mantel clock, with circular white enamel dial, arabic numerals, in a substantial case with pressed metal hunting frieze, brass movement, with key and pendulum, 48cm high, together with a late 19th-century alabaster mantel clock, with circular white enamel dial, black roman numerals with gilt painted figural decoration of a young girl and boy, with key and pendulum, 30cm high 288* Clock. A George III longcase clock, circa 1820, the white-painted dial with black roman numerals, indistinctly signed William Hallam Nottingham, fruit painted spandrels, in an oak and mahogany case with broken swan neck pediment, the door with patarae inlay, 208cm high, with pendulum and weight (1)

(2)

£80-120

£300-400

52

293* Gyroscope. A Victorian lacquered brass gyroscope by F.E. Becker & Co, 25cm high, in a mahogany box with ivory manufacturer plate and various accessories including two pots each containing lead shot (1)

£200-300

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Lot 295 294* Gyroscope. A modern all steel gyroscope on a substantial circular base, approximately 35cm high (1)

£70-100

295* Instruments. A collection of surveying instruments and timepieces, including a goliath pocket watch, the 65mm white enamel dial with black roman numerals, brass hands and subsidiary seconds dial, nickel plated case, and movement with perplex cover, a circular brass timepiece, the 85mm white enamel dial with black roman numerals, brass case and drum movement, a brass sextant by Stanley dated 1911 (reproduction) another sextant (reproductions), Singer’s Patent Night Compass, Fowler’s Universal Calculator in original leather case (a carton)

296* Irish Clock. An early 20th century mantel clock by Chancellor of Dublin, circa 1930s, the silvered dial signed with chapter ring engraved with black roman numerals, subsidiary dials for speed and chiming, 19 x 15.5cm, in mahogany case with four bevel edge panels, the rear door with cloth and brass grill, enclosing brass movement stamped ‘W&H.Sch’, 26cm high x 20.5cm wide x 18.5cm deep, with brass winding key (1)

297* Mantel Clock. A 19th century Belgian slate clock, of architectural form, the copper dial with black chapter ring and gilt engraved roman numerals, flanked by bronze classical figures within fluted columns, on block plinth with brass presentation plaque inscribed and dated 1887 to the Reverend A.O. Hardy, M.A., 32.5cm high x 42cm wide Provenance: The actor & historian Robert Hardy.

(1) £100-150

£150-200

£100-150

Lot 296 Lot 297 53

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298* Optician’s lenses. An impressive collection of late 19th-century optician’s lenses by Nachet & Fils, 17 Rue St, Paris, contained in a hard case with brass catches and lock engraved ‘Nachet a Paris’, with lenses titled Concaves, Convexes, Cylindriques, Prismatiques and Droptries Metrique, with supporting brass and steel spectacles, 6.5cm high x 48.5cm wide x 29.5cm deep (1)

£150-200

Lot 298

299* Protractor. A Victorian brass 360 degree 12 inch protractor, signed Halden & Co, Manchester, together with a 6.25 inch protractor signed Cary, London, plus a pair of iron callipers, 30.5cm long (3)

£100-150

Lot 300

300* Spectacles. An extensive collection of George III and later spectacles, including three pairs of Georgian silver spectacles, each with turnpin sides, circa 1807, Victorian steel and brass framed spectacles, vast array of 20th-century examples plus lorgenttes and cases together with a reference book by Peter Owen, Fashions in Eyeglasses, published 1967 by R. & R. Clark Ltd., Edinburgh (a carton)

£300-500

301* Theodolite. A Victorian brass theodolite, signed T.B. Winter, Grey St, Newcastle on Tyne, in fitted mahogany box with additional lens and original trade label, with tripod stand, plus an early 20th century brass surveying level by Cary of London, 31cm long, in mahogany case (1)

£100-150

302* Theodolite. A mid 20th-century brass theodolite by Stanley, in mahogany box with various accessories, on a mahogany and brass stand, 152cm high (some damage), together with a WWI brass clinometer Mark III by Taylor, Taylor & Hobson Ltd. dated 1915, 14cm high (2)

£100-150

Lot 302 54

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FURNITURE

307* Arts & Crafts. A set of early 20th century William Morris beech ‘Sussex’ chairs, comprising a pair of armchairs and four side chairs, each with rush seats (not original, probaby later), 86cm high

303* Altar Table. A Chinese hardwood altar table, 19th century, rectangular top with inset burr panel, on plain supports with scroll decorated pierced spandrels, joined by stretches on decorated feet, 85cm high x 102cm wide x 33cm deep (1)

This type of chair was named after a country chair found in Sussex, and inspired the original design by Morris.

(6) £600-800

£700-1000

304* Art Deco. A light rosewood standard lamp, on octagonal base with satinwood crossbanding with shade, 188cm high (1)

£70-100

305* Art Deco. A mahogany fluted standard lamp with aluminium mounts on a circular base with shade, 186cm high (1)

£70-100

308* Arts & Crafts. An oak four-fold screen with pokerwork floral decoration in red, orange and green, 173.5cm high, together with a similar three-fold screen, with a printed fox hunting panel, 173.5cm, with a recent Liberty & Co. receipt (2)

306* Arts & Crafts. An oak cabinet, circa 1930s, the rectangular top with hinged section, slide-out panel, above two panelled doors, with single drawer beneath on turned baluster supports united by stretchers, 106.5cm high x 77.5cm wide x 42.5cm deep (1)

£150-200

55

£100-150

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312* Bottle Stand. A good Victorian mahogany four bottle stand, the square base with long straight carrying handle and pineapple finial, 40cm high

309* Bedroom suite. A Victorian carved oak bedroom suite, comprising mirrored wardrobe, double bed frame, five drawer bedside chest and fall-front desk, all well carved with barley twist supports, wardrobe approximately 350cm high x 110cm wide x 60cm deep (4)

(1)

£100-150

£300-500

313* Box. A 19th-century leather box, of octagonal form with tooled leather panels and brass nailed borders, brass key plate and handles, on six brass ball feet, 31cm high (locked and without key) (1)

310* Bookcase. A George III mahogany breakfront bookcase, with three astragal glazed doors enclosing shelves, above five panel doors enclosing shelves, 237cm high x 290cm wide x 43cm deep (1)

£1500-2000

311 No Lot

56

£200-300

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317* Bureau. A George III mahogany fall-front bureau, enclosing drawers above four drawers on ogee bracket supports, 101cm high x 91cm wide x 48cm deep, (with later additions) (1)

£70-100

314* Box. A George III-style satinwood box, the lid inlaid with a conch shell and walnut oval panels amongst leafy borders, 8.5cm high x 30.5cm wide x 26.5cm deep (1)

£70-100

315* Box. An oak bible box, probably 18th century, the double panel lid with initials S & D in brass nailed formation, with iron lock and hinges, 20cm high x 64.5cm wide x 38cm deep (1)

£80-120

318* Bureau. A George III mahogany fall-front bureau, the hinged fall enclosing drawers, above four drawers each with brass handle, on bracket supports, 107cm high x 106.5cm wide x 55cm deep (1)

319* Bureau. A George III walnut fall-front bureau, the hinged fall enclosing drawers and inlaid cupboards, above four drawers, each with brass handles and pierced backplates, on bracket supports, 102cm high x 96.5cm wide x 57.5cm deep

316* Bureau Bookcase. An 18th-century walnut bureau bookcase, the twin arched top with two mirrored doors, enclosing shelves, above two candle shelves, and fall-front enclosing drawers, above three long drawers each with brass handles and shaped backplates on bracket supports, 204cm high x 97cm wide x 55.5cm deep (1)

£300-500

(1)

£300-500

57

£500-800

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320* Cabinet. A Victorian pine hanging corner cabinet, with dentil moulding, two glazed doors, enclosing shelves, 124cm high x 98cm wide x 72cm deep (1)

£150-200

322* Carter (Ronald). A 1980s light oak “Whitney” dresser designed for David Miles Furniture Ltd, the shelved top above rectangular base with four cupboard doors enclosing cutlery drawer on four chamfered supports, 186cm high x 168.5cm wide, sold with accompanying paperwork Ronald Carter (1926-2013), studied Industrial and Interior Design at Birmingham Central College of Art winning a scholarship for Silversmithing, he then progressed to the Royal College of Art in London, where his professor was Dick Russell who was also chief designer for Gordon Russell Ltd. During the 1980s Carter established a company with David Miles in Wirksworth, Derbyshire, notable commissions include the chairs in the library at the British Museum and V&A, London.

(1) £200-300

321* Campaign Chest. A Victorian brass bound mahogany chest of drawers, the rectangular top above central door enclosing secretaire, flanked by two deep drawers, over three long drawers, each with brass recessed handles, brass lock stamped ‘J.T. Needs, 100 New Bond St, Late J. Bramah 124 Piccadilly’ on ovoid feet, 108cm high x 98.5cm wide x 47.5cm deep (1)

£700-1000

323* Cellerette. A George III mahogany cellerette, of octagonal form bound in brass with lion’s head ring turn handles, the hinged lid enclosing tin-lined interior, on four tapered supports with brass casters, 56cm high x 57cm wide x 43cm deep (1)

58

£700-1000

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Lot 324

Lot 325

324* Chair. A 1960s tubular steel armchair, with stuffed leather upholstery, 73cm high (1)

Lot 326

327* Chairs. A pair of 19th-century Louis XV-style fauteuils, each painted white with gilt-painted carved top rails, red floral upholstery on cabriole supports, 104cm high

£100-150

(2)

325* Chair. AA George III mahogany hall chair, the shield back painted with crest, solid seat on tapered supports with spade feet, inscribed in pencil under the seat ‘Bishop of York’, 96cm high (damaged back)

328* Chairs. Four chairs including a late 19th-century oak monks chair with studded leather seat, 72cm high, another oak and leather chair carved with lions, 95cm high, and two others

The Arms on this hall chair are most probably those of The Most Reverend The Hon. Edward Harcourt, PC. (1757-1847).

(1) £150-200

(4)

£70-100

329* Chairs. A set of six oak ladderback chairs, circa 1900, comprising two armchairs and four side chairs, each with rush seat, 109cm high

326* Chair. A William IV mahogany library/cock fighting chair, upholstered in leather with padded arms, reading stand and brass nailed beading, on turned tapered supports with splayed legs to the rear each with brass casters, 82cm high (1)

£100-150

(6)

£100-150

£500-800

Lot 327

Lot 329 59

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330* Chairs. A fine pair of George I walnut chairs, circa 1720, each with carved scallop shell top rail, vase back splat, contemporary tapestry upholstered drop in seats, on cabriole supports with carved shell and claw and ball feet, 101.5cm high, (some later repairs) Provenance: By repute, from the estate of Dr Richard Bright (1789-1858), a Bristol physician.

(2)

60

ÂŁ1500-2000

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331* Chest of Drawers. A Victorian mahogany bowfront chest of two short and three long drawers, each with oval handle and backplate, on splayed bracket supports, 104cm high x 107.5cm wide x 53.5cm deep (1)

£100-150

332* Chest on Stand. An oak chest on stand, converted from a coffer, the rectangular top with two front panelled doors flaking central panel with iron lock, all elaborately carved with scrolls, mounted on a stand with bulbous uprights and undertier shelf, on bun feet, 115cm high x 122cm wide x 56cm deep (1)

Lot 335

£150-200

333* Chest. A 19th-century carved oak chest, the rectangular top enclosing candle box, the front panel with three panels each with geometric decoration, amongst scrolls, two drawers beneath on bracket supports, 80cm high x 124.5cm wide x 57cm deep (1)

£200-300

334* Chest. A pine blanket box, of rectangular form, with iron carrying handles, 54cm high x 101cm wide x 50.5cm deep Provenance: The actor & historian Robert Hardy.

(1)

£70-100

335* Chest. A George III walnut chest on stand, the top with two short and three long drawers, the base with one deep drawer with inlay, with brass handles and backplates on shell carved cabriole supports, 163cm high x 106cm wide x 69cm deep (1)

£300-500

336* Chest. A George III oak chest on chest, the top inlaid with a barbers pole type frieze, three small drawers above three long drawers within reeded pilasters, above a brushing slide, three drawers on bracket supports, 186cm high x 115cm wide x 54cm deep (1)

£500-800

Lot 336 61

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337* Coffer. A 17th-century Welsh primitive oak coffer, with iron hinges and plate, the hinged lid carved with date 1616 to left-hand corner, enclosing vacant interior on tapered supports, 73cm high x 110cm wide x 47cm deep (1)

ÂŁ1500-2000

62

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339* Court Cupboard. An antique oak court cupboard, with two panel doors above single door enclosing shelves, with iron hinges, handles and key plates, on reeded block supports, 145cm high x 157cm wide x 68.5cm deep (1)

£300-500

340* Court Cupboard. An antique oak court cupboard in the 17thcentury style, with rectangular top and single panel door beneath inlaid with flowers, canted sides and bulbous carved uprights, above two heavily carved doors enclosing shelves, on block supports, 138cm high x 138cm wide x 44cm deep 338* Corner Cabinet. An early 19th-century mahogany cabinet on stand, with two arched panelled doors, enclosing shelves, brass key plates and hinges, on elaborate curved supports, 181cm high x 89cm wide x 53cm deep (1)

(1)

£300-500

£150-200

341* Crib. An early 19th-century Welsh oak crib, with raised canopy on curved rockers, 60cm high x 95cm long x 40cm wide (1)

Lot 339

63

£200-300

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Lot 345

342* Desk. A Victorian mahogany kneehole desk, the rectangular top with inlaid corners, rosewood crossbanded border, above two frieze drawers and three drawer pedestals, each with brass handles on bracket supports, 73cm high x 91cm wide x 68cm deep (1)

£200-300

343* Desk. A late Victorian oak partners desk, the leather inset top above three frieze drawers and two pedestals each with three drawers and a cupboard to the rear, 77cm high x 188cm wide x 133cm deep

346* Dresser Base. An 18th-century dresser base, with three drawers each with geometric carved fronts and brass drop handles on baluster supports united by stretchers, 79cm high x 187cm wide x 52cm deep

(1)

(1)

£500-800

£500-800

344* Dining Chairs. A set of four 19th-century button-upholstered mahogany dining chairs in the manner of A.W.N. Pugin, the chamfered swept x-frame sides decorated with roundels and floral rosettes, turned and graduated stretchers to front and rear, each foot with a recessed brass roller caster, each 84cm high (4)

£500-800

345* Dining Table. An Edwardian mahogany twin pillar dining table, in the Regency style, with d-ends, single leaf and turned pillar supports with reeded splayed legs and brass lion’s paw feet, 204cm long x 73.5cm high x 107cm deep, with additional composite leaf for further extension (1)

347* Dresser. A George III Welsh oak dresser, with solid three plate rack above a base with radial inlay and four drawers, three undertier drawers, turned uprights on bracket supports, 240cm high x 180cm wide x 42cm deep (1)

£200-300

64

£1500-2000

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348* Folk Art. A Victorian carved oak carved with figures depicting chair, William Shakespeare’s play ‘The Merry Wives of Windsor’, and so titled, the back with a man coming out of a basket held by standing figures, the arms similarly supported by figures, one carved ‘Made me drunk picked my pocket’, the other ‘Is Falstaff there’, 85cm high (1)

351* Library Steps. A pair of modern light mahogany library steps, with three steps and carved decoration, 81cm high x 45cm wide x 50cm deep (1)

£100-150

353* Linen Press. A 19th-century mahogany linen press, with twin panel doors enclosing hanging space and five drawers, each with brass handles, above two short and two drawers on bracket supports, 193cm high x 127cm wide x 60cm deep

£300-500

349* Heals. A limed oak triple wardrobe, circa 1930s, of canted form with three doors enclosing shelves and hanging space on raised block base, 179.5cm high x 139cm wide x 52.5cm deep (1)

(1)

£100-150

352* Linen Press. A George III mahogany linen press, with broken arch pediment, two panel doors enclosing five linen trays, above two short and two long drawers on turned supports, 215.5cm high x 113cm wide x 58.5cm deep 350* Jardinieres. A pair of Chinese hardwood jardinieres, early 20th century, carved and pierced supports with cross stretcher, inlaid decoration, inset marble panel to top, 93cm high (2)

£200-300

(1)

£300-500

354* Ludwig Mies Van Der Rohe (18861969). A Brno leather and chrome cantilever chair by Knoll International, upholstered in black with padded arms, the underside with label for ‘Knoll International, modello Depositanto Kiga S.p.A’, 76cm high x 58cm wide Provenance: Private collection, Italy. Designed

by Mies Van Der Rohe, one of the most influential and iconic designers and director of the Bauhaus. The inspiration for this chair came from his lover and fellow designer Lilly Reich and crossed architecture with art.

(1) £300-400

£600-800

65

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355* Mirror. A Victorian mahogany dressing table mirror, the shield shape bevel-edge glass above serpentine base with single drawer and herringbone inlay, 65cm high (1)

£70-100

356* Mirror. A Regency style convex mirror, the gilt painted gesso frame with foliate pediment, and base, two branches, converted for electrical use, 101cm high x 85cm wide (1)

358* Mirrors. A pair of oak Ecclesiastical mirrors in the Gothic style, heavily carved with later glass, 96.5cm high (2)

£400-600

£100-150

359* Mouseman. A Robert “Mouseman” Thompson of Kilburn oak cabinet, the rectangular top with hinged fall above two deep drawers, with panelled side panel on carved supports, the front left with the symbolic mouse, 109cm high x 76cm wide x 38cm deep (1)

357* Mirror. A good George III gilt wood wall mirror probably Victorian, carved with a pagoda, exotic birds and c-scrolls inset with bevel edge glass, 136cm high x 82cm wide (1)

£1500-2000

66

£400-600

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360* Night Table. A George III mahogany night table, with gallery top, twin cupboard doors, and single drawer beneath, on four block supports, 76.5cm high x 61cm wide x 46.5cm deep (1)

£100-150

Lot 362 362* Papier-mache Panels. Four large sections of a classical frieze from Lanrick Castle, circa 1790, together four papier-mache panels, each relief depicting a classical maiden picking grapes (two identical), some damage and loss, each 96.5 x 79.5cm (38 x 31.5ins)

361* Church Panels. A fine pair of finely carved oak panels, probably late Medieval, with faint traces of original paint and gold leaf remaining, 224cm high Provenance: By repute, from a French church and acquired by the present owner as architectural features for his home.

(2) £600-800

Provenance: Removed by the vendor from Lanrick Castle, near Doune in Stirling, in 1973, he having been informed that the castle was to be abandoned due to inheritance tax. The panels had been part of the decorative scheme in the entrance hall. Lanrick Castle was built around 1790, with Gothic additions made in 1815. In 1994 the castle was gutted by fire and lost its roof and in 2002 the remaining structure was demolished. The owner, Alistair Dickson, who inherited the building in 1984, was prosecuted for demolishing a listed structure without the necessary consent, and was fined £1,000.

Grand-scale use of papier-mache mouldings were first used in Britain around 1740 as a substitute for plaster mouldings. Most extant examples are still in situ, and given their fragile nature, a survival such as these is remarkable.

(4) £700-1000

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365* Pugin. A Victorian oak chair in the manner of A.W.N. Pugin, the curved top rail with circular ivorene plaque engraved ‘8’, green leather upholstered seat on block supports, 89cm high Provenance: Believed to be from the House of Commons Committee Room.

Bonhams, Knightsbridge, 24 July 2007.

(1) £100-150

363* Pole Screen. A Victorian mahogany pole screen painted in the Adam style, with floral sprays and adjustable shield shape screen inset with silk panel finely worked with flowers, 166cm high (1)

£100-150

364* Polescreen. A Victorian rosewood polescreen, with tapestry panel depicting a squirrel perched on a branch in a foliate carved frame with ivory panel inscribed with initials and Rangoon 1856, supported on a gilt metal pole leading to spiral base with three cabriole supports, 164cm high (1)

£100-150

366* Queen Victoria. A set of four Victorian hall chairs, each with tapered back, solid seat on hexagonal tapered supports, two stamped ‘VR 1845 OC’, 85cm high Provenance: Believed to be from Osbourne Cottage, which was a property on the north-east edge of the Osbourne Estate, Isle of Wight.

(4) £300-500

367* Settle. An antique oak settle, probably early 19th century, of curved form with panel back, shepherd's crook arms, on block supports united by stretcher, approximately 135cm high x 181cm wide x 73cm deep (1)

Lot 366

£300-500

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Lot 368

Lot 371

368* Settle. An 18th-century style oak settle, the back carved with Latin motto and dated 1788, with hinged box seat, on block feet, 89cm high x 186cm wide x 44cm deep

371* Sofa. A William IV chaise longue, painted in a grisaille effect with gold decoration on lion’s paw feet and brass casters, 73cm high x 176cm wide x 64cm deep

(1)

(1)

£200-300

£200-300

372* Sofa. A Victorian sofa, the curved upholstered back rail with gilt pine carved uprights, scroll arms, curved seat on scroll supports with brass casters, 73cm high x 145cm wide x 86cm deep (1)

370* Side Table. A 19th-century oak single drawer side table, in the 17thcentury style, the rectangular top above geometric panel drawer with two brass knobs on four uprights united by stretchers, 68cm high x 76cm wide x 47.5cm deep (1)

373* Sofa. A Regency mahogany framed sofa, with striped upholstery, reeded scroll arms on circular tapered supports with brass casters, 89cm high x 178cm wide x 82cm deep (1)

£70-100

369* Sewing Table. A Regency japanned sewing table, finely decorated in gold lacquer with Chinese figures, building and landscapes, the hinged lid enclosing divisional interior, lyre uprights leading to lions paw feet on brass casters, 72cm high x 65cm wide 45cm deep (1)

£500-800

Lot 373 69

£150-200

£300-500

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Lot 375 374* Stand. A Victorian ebonised jardiniere stand, with brass mounts, and undertier shelf on splayed supports, 85.5cm high (1)

£80-120

375* Stationery Box. A George III mahogany serpentine stationery box converted from a cutlery box, the sloping lid inlaid with patarae, barber’s pole stringing enclosing divisional interior, silver key plate and thumb ring, 39cm high (1)

£200-300

376* Stools. A pair of Antique joint oak stools, probably 18th century, each with rectangular top with clipped edges, on four carved supports each with carved stretches, 47cm high x 56cm wide x 27.5cm deep (2)

£200-300

Lot 376

377* Table. A George III mahogany drop flap table with gate leg action on pad feet, 74cm high x 106cm wide (1)

£150-200

378* Kinsman (Rodney, born 1942).

1960/70s dining table and six chairs for OMK Design Ltd, the table with two panel smokey quartz top, tubular steel frame, 71cm high x 160cm wide x 84cm deep, the chairs with black leatherette seats, 73.5cm high, together with a matching glass top coffee table, 31cm high x 84cm square OMK design was formed in 1966 by Rodney Kinsman, who began designing for Habitat.

Kinsman was born in London and attended the Central London School of Art until 1965.

(1) £200-300

Lot 378 70

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379* Table. A George III mahogany tilt top table, the circular top above turned pedestal on three cabriole supports, 70cm high x 79cm diameter (1)

£100-150

380* Table. A Victorian silvered side table, the rectangular top profusely carved with scrolls inset with marble panel and gadrooned edge above barley twist supports united by scroll stretchers, on bun feet, 72cm high x 69cm wide x 61cm deep (1)

Lot 379

Lot 380

381* Table. A Charles I-period oak refectory table, the rectangular top above carved frieze on bulbous supports united by stretchers, 75cm high x 147cm wide x 68cm deep (with later additions) (1)

Lot 381

71

£100-150

£1500-2000

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Lot 382 382* Table. A 1950/60s oak coffee table, the rectangular top inset with ceramic tile segments of all different shapes, colours and sizes, with brass presentation plaque inscribed ‘Presented to Robert Hardy from St. Dunstan’s Archery Club’, with a further plaque inscribed ‘Made by F. Galway, St. Dunstan’s’, 44.5cm high x 62cm wide x 41cm

383* Table. A fine George III mahogany side table, the substantial rectangular mahogany top over blind fret work base on conforming supports, 70cm high x 152cm wide x 82cm deep (1)

The charity Blind Veterans UK, formerly St Dunstan’s, was originally founded in 1915 by Sir Arthur Pearson (1866-1921), who had himself lost his sight due to glaucoma. It provided support for British soldiers suffering from blindness on returning from the front lines during the First World War. The charity continues to provide support to vision-impaired ex-Service men and women. Sir Arthur Pearson’s son Neville Pearson married the actress Gladys Cooper in 1927, and became president of St. Dunstan’s in 1947. Their daughter Sally Pearson was Robert Hardy’s second wife. Provenance: The actor & historian Robert Hardy.

(1) £70-100

Lot 383 72

£1000-1500

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Lot 385 387* Table. A George III oak tilt-top table, the circular top on gun barrel pedestals, with three cabriole supports, approximately 47cm diameter x 70cm high

384* Table. A Victorian walnut octagonal occasional table, inset with a stained walnut panel and walnut and ebony border, on four fluted supports united by stretchers on ceramic casters, 63cm high x 52cm wide (1)

(1)

388* Table. A Regency mahogany tilt-top breakfast table, the rectangular top with rounded corners and rosewood crossbanding on square tapered pedestal on quatrefoil base with line inlay and four curved supports, 70cm high x 96cm deep

£80-120

385* Table. A William IV mahogany foldover card table, with rounded corners hinged to reveal green baize on turned tapered supports with brass casters, 75cm high x 91.5cm wide x 45cm deep (1)

£80-120

(1)

£80-120

386* Table. A George III mahogany tilt-top table, the circular top on baluster pedestal with three cabriole supports, approximately 73cm diameter x 71cm high (1)

£80-120

£200-300

389* Table. A modern campaign chess table, with brass presentation plaque engraved ‘The Waterloo chess set, made to the order of Philip Jones Esq. No. 85, in an Edition of 250’, with brass carrying handles, recessed handles, 171cm high x 59cm square, enclosing a fine array of military pieces (1)

Lot 388

£300-500

Lot 389 73

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391* Table. A 19th-century Continental rosewood side table, probably French, the rectangular glass top inset with a coloured print depicting a Tudor scene, brass border on four curver cabriole supports, 73cm high x 86cm wide x 65cm deep (1)

390* Table. A Victorian walnut drum table, the circular top inset with Morrocan leatherette, four frieze drawers, on bulbous pedestal with three cabriole supports on brass casters, 75cm high x 113cm diameter (1)

£300-500

392* Table. An early 19th-century elm Cricket table, the circular top over three supports united by under-tier shelf, 64cm diameter x 70cm high

£200-300

(1)

£150-200

Lot 393

Lot 391

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393* Tallboy. A George III period oak tallboy, with two short and three long drawers, on a stand with three small drawers, each with brass handles and backplates, shaped apron on cabriole supports, 158.5cm high x 93cm wide x 52.5cm deep (1)

£300-500

395* Tea Caddy. A Victorian mother of pearl and ivory tea caddy, the inverted breakfront caddy finely veneered in mother of pearl richly engraved with flowers and shaped cartouche, the hinged lid enclosing twin division with covers, 11.5cm high x 17.5cm wide x 12cm deep (1)

396* Tea Caddy. A George III satinwood tea caddy, of rectangular form, the lid and panel inlaid with a conch shell, within rosewood crossband border, lacking covers for twin division, 13cm high x 21cm wide x 11cm deep, together with five further boxes including a George III square satinwood tea caddy, with turned brass handle, rosewood crossbanding enclosing felt lined interior, 12cm high x 11.5cm square

394* Tallboy. A George III mahogany tallboy, with three short and three long drawers each with brass handles and backplates, the lower section with brushing slide, secretaire drawer over two long drawers, on bracket supports, 194cm high x 109cm wide x 55.5cm deep (1)

£200-300

£200-300

(6)

75

£80-120

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397* Tea Caddy. A Victorian walnut and mahogany tea caddy, of concave form, the domed lid enclosing two lift-out canisters, cut glass mixing bowl, two brass ring handles to the side panels on four squat bun feet, 20cm high x 34cm wide x 19cm deep (1)

£150-200

398* Trunk. A Victorian pine trunk, the rectangular top enclosing trays, with rope carrying handles, 60cm high x 107cm wide x 57cm deep (1)

£70-100

399* Writing Desk. An Edwardian mahogany writing desk, the rectangular top with leather inset, above three drawers with brass handles on block supports, with moulded edges on brass casters, 77cm high x 105cm widxe x 62cm deep Provenance: The actor & historian Robert Hardy.

(1)

Lot 397

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£70-100

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OIL PAINTINGS & WATERCOLOURS

Lot 581

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WATERCOLOURS

403 Ba Thet (U, 1903-1972). Harbour Scene, watercolour on paper, signed lower right, 24 x 29cm (9.5 x 11.5ins), framed and glazed (1)

£200-300

401 Album of watercolours. An interesting album of watercolour views, 1844/45, 118 watercolour views and three pencil drawings, all by the same competent hand, comprising views of country houses and churches, castles, landscapes, village and street scenes, and seascapes, mostly titled and dated, including scenes of Bradenham, High Wycombe, Bristol, Thornbury, Clifton, Reading, Leatherhead, Ilfracombe, Lynton, Snowdon, Llanberis, Conwy, Caernarfon, Dolgetty, Barmouth, Cork, 19 x 28cm (7.5 x 11ins) and smaller, mounted on album leaves, marbled endpapers, original black half morocco gilt, rubbed and soiled, large 4to (1)

£300-500

404* Blickling Hall. A pair of architectural drawings of Blickling Hall, early 20th century, two pencil drawings with watercolour wash, enlarged from ‘Details of Elizabethan Architecture’ by Henry Shaw, published by William Pickering, 1839, one showing the Elevation of half of South Front, and the other depicting the Entrance Gateway and the Chimney Piece in the Dining Room (latter a trifle edge-frayed and with pin-holes at corners), both a little dusty, each 38 x 55cm (15 x 21.5ins), former mounted framed and glazed

402* Aldridge (Frederick James, 1850-1933). Making for Shoreham, watercolour on wove paper, signed lower left, 33 x 50cm (13 x 19.75ins), framed and glazed, Gallery Thirty Three, Billingshurst label to verso (1)

£100-150

(2)

78

£100-150

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405 Bridell (Frederick Lee, 1831-1863). View of Portland and Sands Foot Castle, Dorset, 1856, signed and dated to lower edge, 17 x 27cm (7 x 10.5ins), framed and glazed, together with another watercolour of a farmyard scene by L. M. Watts (2)

£150-200

407* Carter (Richard Harry, 1839-1911). Beachcombers on the Shore, watercolour, heightened with bodycolour, showing four figures on a beach, with a stormy sea crashing on rocks, signed lower left, 38 x 64.5cm (15 x 25.25ins), framed and glazed

406* Burgess (John, 1814-1874). Snowdon from Llanberis Road, watercolour, showing a mounted figure and dog driving cattle along a track, against a mountainous backdrop, signed and titled ‘Llanberis’ lower right, 36.5 x 54.5cm (14.25 x 21.5ins), titled gilt mount, framed and glazed (1)

(1)

£200-300

408 Attributed to William Stephen Coleman (1829-1904).

Farmer’s Daughter, watercolour, initialled lower left, 24 x 18.5cm (9.5 x 7.5ins) mount aperture, framed and glazed

£200-300

(1)

79

£70-100

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Lot 411

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409 Continental School. Mountain lake landscape with figures around a campfire, possibly Scandinavia, mid 19th century, gouache and opaque watercolour on paper, 16 x 27cm (6.25 x 10.5ins) (1)

£200-300

410 Manner of Thomas Hartley Cromek (1809-1873). Continental Street Scenes, 19th century, three watercolours on paper, 25 x 17.5cm (10 x 7ins) and slightly smaller, framed and glazed (3)

£100-150

411* Darvall (Henry, active 1848-1889). Exterior Stair in the Court of Palazzo Contarini Porta di Ferro, Venice, 1882, watercolour, showing a young lady wearing a green dress and black shawl, descending a short flight of stone steps with ornate balustrade, with a vista of a garden through a tracery doorway behind, signed and dated on lowest step, 69.5 x 39.5cm (27.25 x 15.5ins), gilt mount, framed and glazed, backboard with old framer’s label, and manuscript label in the artist’s hand, giving title, artist’s name, a price of 5, and his address ‘4138 Riva Schiavoni Venice - and care of Mr. Smithers, 95 Leadenhall St. London’

Lot 412

Provenance: From the collection of artist decorator Charles Eaton (18851963); thence by descent to the god-daughter and cousin of his daughter Lilian Eaton, the current vendor. Henry Darvall moved to Venice in 1875 and exhibited views of Venice at The Royal Academy for several years.

(1) £1500-2000

412 English School. Cattle Watering, 19th century, sepia watercolour on wove paper, 23 x 30cm (9 x 12ins), together with six other English watercolours including Brading Church, Isle of Wight, Henley and a maritime scene attributed to J. W. Carmichael (7)

£70-100

413 English School. An architectural watercolour study of a Regency house, circa 1830s, watercolour on paper, 41 x 65cm (16 x 25.5ins), framed and glazed (1)

£200-300

Lot 413

414 Feldwicke (R. C., 19th century). Abundance, 1893, fine lunette watercolour heightened with bodycolour, probably a design for a sopraporte, signed and dated lower left, some overall toning with one or two minor marks, 34 x 74cm (13.5 x 29ins), framed (1)

£300-500

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Lot 417

Lot 418

415* Frere (Pierre Edouard, 1819-1886). The Sisters, 1875, charcoal and watercolour, intimate portrait of a young girl and her older sister, seated facing each other in an attitude of prayer, signed and dated lower left, 36.5 x 29cm (14.5 x 11.5ins), mounted, framed and glazed (1)

ÂŁ200-300

416 Hardy (Heywood, 1843-1933). Study of an African Elephant, colour pastel on paper, 34 x 40cm (13.5 x 15.75ins), framed and glazed Original labels pasted to verso. Exhibited Grosvenor Gallery, 1988.

(1) ÂŁ300-500

Lot 419

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417* Lamb (John, late 19th century). Mountain landscape in South Africa, 1903, watercolour, heightened with body colour, signed and dated lower right, and titled indistinctly lower left (...mimosa bush in bloom), 30 x 44.5cm (11.75 x 17.5ins) mount aperture, framed and glazed (1)

£150-200

418* Markes (Albert Ernest, 1865-1901). Seascapes, two watercolours, one showing a sunrise over a partially submerged wreck on a beach, with rocks and headland, signed lower left, 14.5 x 35cm (5.75 x 13.75ins), the other showing sailing boats and figures on a beach, signed lower left, faintly spotted, 14 x 22cm (5.5 x 8.75ins), in matching mounts and glazed frames, each with old gallery label on backboard ‘Leggatt Brothers’ Albert Markes was a marine watercolourist who lived in Cornwall before coming to London. He painted scenes on the east coast of England, as well as working in Belgium and Holland.

(2) £150-200

423 Richardson (Thomas Miles, 1813-1890). Harbour Scene, watercolour on paper, initialed lower left, 12 x 23cm (4.75 x 9ins) mount aperture, framed and glazed (1)

£100-150

419 Marks (Claude, active 1899-1915). Bluebell Woods, watercolour and pastel on paper, signed lower left, 42 x 30cm (16.5 x 12ins) mount aperture, framed and glazed (1)

£200-300

424 Stannard (Ivy, 1881-1968). Flintwick Moor, watercolour, signed lower left, 17 x 24cm (6.75 x 9.5ins) mount aperture, framed and glazed, together with another Ivy Stannard watercolour of a moorland plus a coastal scene watercolour by J. H. Hartley (3)

420 Marks (Claude, active 1899-1915). Coastal Scene, watercolour and gouache on paper, signed lower right, 36 x 53cm (14 x 21ins), framed and glazed (1)

£100-150

£200-300

421 Montalba (Clara, 1842-1929). Monte Berico Vicenza, watercolour on paper, signed lower left, 26 x 18cm (10 x 7ins), framed and glazed (1)

£100-150

422* Potter (Charles, active 1867-1892). Classical ruins with figures on a path, Southern Italy, watercolour and gouache, signed, 59 x 89.5cm (23.25 x 35.25ins), framed and glazed A large-scale panoramic landscape, probably showing monuments on the Appian Way, outside Rome, with the silhouette of St. Peter’s in the distance.

Charles Potter was a member of the Royal Cambrian Academy, Manchester, who lived in Oldham and Tallybont, Conwy, and exhibited at the Royal Academy and elsewhere from 1867 to 1892.

(1) £200-300

425 Stark (James, 1794-1859). Landscape with house and lake, 1851, watercolour on paper, signed and dated 1851 to lower edge, one or two minor marks, 46 x 74cm (18 x 29ins), framed and glazed (1)

83

£300-500

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Lot 427

426* Stone (Sarah, circa 1760-1844). A rose-breasted grosbeak, 1785, watercolour, showing a bird perching on a branch, signed and dated to lower margin, toned, 38 x 29cm (15 x 11.5ins), framed and glazed, with remains of old framer’s label on backboard from earlier frame Sarah Stone’s father was a fan painter, and it was from him that she learnt her technique. When she was about 17 she visited the Leverian Museum at Leicester House in London. This vast and important collection of natural objects, including live animals, consisted of around 27,000 items. Its owner, Sir Ashton Lever, commissioned Sarah Stone to paint many of the specimens housed in the vast sixteen room mansion. Her artwork is considered of great importance as a record of some of the species collected by explorers and housed in the long-since defunct museum, some of which are now extinct or have endangered populations. The museum was put up as a lottery prize in 1786, with tickets priced at one guinea. The collection was eventually dispersed in 1806, selling at auctions over a period of sixty-five days. The library at the Natural History Museum has a large collection of Sarah Stone’s watercolours.

(1) £700-1000

Lot 428

427 Taylor (Andrew Thomas, 1850-1937). Interior of the Church of Santa Maria Novella, Florence, watercolour, initialled lower left, 22 x 15.5cm (8.75 x 6ins) mount aperture, framed and glazed (1)

£100-150

428* Tucker (Edward, 1830-1909). Mountain landscape with cattle, watercolour on paper, 112 x 256mm (4.5 x 10ins), framed and glazed, with Michael Bryan, 20A Cheyney Walk, London label to verso (1)

£150-200

429* After Joseph Mallord William Turner (1775-1851). Combe Martin, Devonshire, circa 1860s, watercolour, showing boats, mules, and fisherfolk, 14 x 22.5cm (5.5 x 9ins), mounted, gilt moulded frame, glazed Lot 430

The original watercolour drawing by Turner is in the Ashmolean Museum, Oxford. It was reproduced as an engraving in Cooke’s ‘Picturesque Views on the Southern Coast of England’, published in 1825.

(1) £200-300

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430* Varley (Cornelius, 1781-1873). Study of a landscape with thatched farm building, pencil on pale blue paper, heightened with white chalk, 18 x 28cm (7 x 11ins) mount aperture, framed and glazed, with mid-20th century label of Bonfiglioli, Oxford, to verso, together with Attributed to William Alfred Delamotte (1775-1863), River landscape in Switzerland, with figures on a path, and castle on a promontory, pen, ink and watercolour, some surface marks and light discolouration, 16.5 x 25cm (6.5 x 9.75ins) mount aperture, framed and glazed Provenance: Private Collection, Oxfordshire.

(2)

£150-200

433* Wallpaper panel. A large papier peint landscape scene, for an overdoor, by Arthur et Robert of Paris, 1786 [but later], printed from woodblocks on paper, linen backed, showing a stylised landscape scene incorporating italianate and dutch architectural motifs and costume, image size 66 x 108cm (26 x 42.5ins), gilt frame, glazed, together with a watercolour design for a wallpaper on an oriental theme, early 19th c., elevation depicting a central door with curtain surround, against a wall with oriental design wallpaper, dado rail and panels below, unsigned, 19 x 20.7cm (7.5 x 8ins), framed and glazed, plus four others, including A Pair of Broad Bottoms [1810], hand-coloured etching by William Heath (17951840), creased where previously folded, approx. 32 x 23cm (12.5 x 9ins), framed and glazed (6)

£300-500

431* Varley (John, 1778-1842). View of Conwy Castle, North Wales, with figures, fine watercolour on paper, 102 x 151mm (4 x 6ins), framed and glazed, with Colnaghi label to verso (1) £300-500

432* Varley (John, 1778-1842). View of Berry Pomeroy Castle above the River Dart, Devon, fine watercolour on paper, 163 x 210mm (6.5 x 8.25ins), framed and glazed (1)

£300-400

434* Weeks (Edwin John, 1849-1903). Street scene in Cairo with mosque, signed with initial lower right, 295 x 203mm (11.5 x 8ins), framed and glazed (1)

85

£300-500

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STAINED GLASS

435* Firkins (Ivy, late 19th/early 20th century). Jeanne d’Arc, pencil on thick paper, arched design for a stained glass window, showing Joan of Arc as a young girl standing with her hands clasped in prayer, with an angel behind presenting a sword, and sheep and a crook at their feet, with primroses, daffodils, and trees, some large pin holes to margins, and a closed tear in lower margin just encroaching on image, 149 x 45cm (58.5 x 17.75ins), with old typed identification label to lower margin below image, framed and glazed (1)

£200-300

Lot 436 436 Stained Glass. A pair of stained glass panels, circa 1900, clear glass panels depicting a bird in the branches of a tree and a dragonfly above a pond, enclosed within leaded coloured glass border (one or two cracks to coloured glass), 29 x 22cm (11.5 x 8.5ins), together with a pair of leaded coloured glass panels (4)

£200-300

437* Stained Glass. A large stained-glass panel depicting Christ, late 20th century, coloured and hand-painted glass panel, showing Jesus the Good Shepherd, with lamb and crook, two vertical sections in light oak frame, overall size 200.5 x 64cm (79 x 25.25ins) Provenance: Commissioned as an internal feature for a ‘designer’ house.

(1) £200-400

Lot 436

Lot 437 86

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OIL PAINTINGS

Lot 438

438* Ansdell (Richard, 1815-1885). Study of a Highland cow, gouache over pencil on paper, manuscript label pasted to verso, framer’s label of Gray & Sons, Carlisle, 21 x 30cm (8.25 x 12ins), framed and glazed The manuscript label states: 'By R Ansdell RA Bought at Christies by R Woodhouse, March 19th 1886'. Ansdell's studio contents were sold by Christies on this date.

(1) £1000-1500

439* Attributed to Robert Bateman (18421922). Landscape with rooks, oil on canvas, showing an overcast and blustery landscape with trees and three rooks, canvas verso ink stamped ‘Geo. Rowney & Co. 52, Rathbone Place and 29, Oxford Street, W. London’, 21.5 x 35.5cm (8.5 x 14ins), framed and glazed, with old framer’s labels on verso (1)

£300-500

Lot 439

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440 Bates (Frederick-Davenport, 1867-1930). The Shy Customer & Orientalist Bazaar, two oils on canvas, signed lower left and upper left respectively, the first with an early handwritten label attached to verso, 36 x 61cm (14.2 x 24ins), matching gilt frames (by Trumpington Gallery, Cambridge) (2)

ÂŁ1000-1500

88

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443 Continental School. Bishop flanked by two nuns in prayer, late 18th century, oil on canvas, indistinctly signed ‘Leblanc, f[ecit]?’, relined and restored, 56 x 92cm (22 x 36ins), gilt frame (1)

441* Clare (George, 1830-1900). A pair of still life paintings of fruit, oil on canvas, one showing plums, grapes, and raspberries, the other with plums, apples and raspberries, both beside a mossy bank, a few superficial marks, each signed lower right, each 15.5 x 23cm (6 x 9ins), matching gilt frames

444 Continental School. Venician Waterway, 19th century, oil on board, indistinctly signed lower right, 20 x 34cm (8 x 13.5ins), framed

The Clare family, consisting of George and his sons Oliver (1853-1927) and Vincent (1855-1930), are renowned for their precisely detailed fruit and flower paintings. George’s delicate stippling technique and choice of subject matter owes something to the work of William Hunt.

(2) £150-250

(1)

442 Continental School. Town & Country, 1880, oil on canvas, showing horse-drawn carriages leaving the town with country figures looking on, indistinctly signed Zaldperp? and dated 1880 lower right, 37 x 69cm (14.5 x 27ins), framed (1)

£300-400

£150-200

445* Continental School. Landscape with peasant figures and animals, late 18th century, oil on canvas, showing two drovers with cattle and sheep, and two women sitting under a tree, with a castle in the distance, some minor damage with old repair on verso, 58 x 73cm (22.75 x 28.75ins), framed

£200-300

(1)

Lot 443

89

£200-400

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446 Dutch School. Still Life in a Landscape, 20th century, oil on board, showing three birds and fruits set in a woodland landscape, indistinctly signed lower right, 61 x 92cm (24 x 36ins), framed (1)

449* English School. Seascape with rocks, mid-late 19th century, oil on wood panel, showing waves crashing onto rocks, with distant sailing boats on the horizon, 15 x 22cm (6 x 8.75ins), framed, with pencilled name on verso ‘A. Williams’

£200-300

(1)

£70-100

450* English School. Landscape with a country seat, circa 1810, oil on canvas, showing a classical mansion with side elevations, walled garden, and bothy, nestling in parkland, amidst rolling hills and trees, re-lined, 34 x 61cm (13.25 x 24ins), framed (1)

£200-300

447* Dutch School. Seascape with Dutch settlers, early-mid 19th century, oil on canvas, with figures in boats coming ashore from a barque, with the Dutch flag flying on the wooden jetty, 22 x 29.5cm (8.75 x 11.5ins), gilt moulded frame, together with a mid-late 19th century oil on canvas depicting two sportsmen with a springer spaniel shooting ducks, re-lined, 19.5 x 24cm (7.75 x 9.5ins, framed (2)

£200-300

448 Dutch school. Interior scene with figures, mid 19th century, oil on canvas, showing a peasant woman holding up a coat, beside a man carrying a staff and wearing a hat, with several figures in the background, and a pile of objects in the foreground, including flagons, bellows, a bell, etc., re-lined and with some restoration, 41 x 51cm (16 x 20ins) (1)

£100-150

451* English School. Lamlash, Isle of Arran, Scotland, circa 1830s, oil on board, showing a bay with boats and figures, faint craquelure, 21 x 31cm (8.25 x 12ins), gilt moulded frame, with old manuscript label on verso ‘Sketch from Nature, Cottages Lamlash, Arran’ (1)

90

£100-200

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452* Etty (William, 1787-1849). Female Study From the Life, oval oil on board, showing a fore-shortened female nude curled up with her arms behind her back, one or two superficial scratches, verso with manuscript label in the artist’s hand stating title and ‘Sty 62’, with later manuscript label below in a different hand ‘AB From HSDM April 30th 1886’, 38.5 x 32cm (15.25 x 12.5ins), framed (1)

£700-1000

91

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Lot 454

92

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453* Manner of William Gale (1823-1909). The Holy Family, lunette-shaped oil on panel, depicting the Rest on the Flight into Egypt, with Mary, Joseph and the Christ Child seated by a tree in a sunset landscape, some craquelure, 22 x 34cm (8.75 x 13.5ins), gilt mount with title, gilt moulded frame (1)

£200-300

454 Herdman (Robert Inerarity, 1829-1888). Reverie, oil on canvas, artist’s monogram and indistinct date to lower right, 25 x 20cm (10 x 8ins), framed and glazed (1)

£1500-2000

455* Italian School. The Flight into Egypt, late 17th or early 18th century, oil on canvas, showing Mary cradling the infant Jesus and seated on a donkey led by a young man, with Joseph carrying a staff beside, being directed by an angel, with classical stone monument in the background, 52.5 x 40.5cm (20.75 x 16ins), framed (1)

£200-400

456 Attributed to John Leech (1817-1864). ‘Ciss’ out for a holiday, 1856, oil on artist’s board, 31 x 24cm (12 x 8ins), framed, with original framer’s label for William Thomas to verso

Lot 453

(1)

Lot 455

£200-300

Lot 456

93

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Lot 458

94

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457 Newlyn School. Mill House, late 19th century, oil on canvas, 20 x 25cm (8 x 10ins) (1)

460 Attributed to George Adolphus Storey (1834-1919). The Waif, circa 1880’s, oil on canvas, indistinctly initialled to left, relined, 25 x 20cm (10 x 8ins), framed and glazed, with early label of James Bourlet to verso

£200-300

458* Raeburn (Sir Henry, 1756-1823). David Martin, Portrait Painter of Edinburgh, 1813, oil on canvas, head and shoulders portrait of a grey-haired gentleman wearing a dark green mantle and white shirt, signed in black lower right 'H. Raeburn 1813' (date partly indistinct), stretcher with incised inscription 'David Martin, Portrait Painter of Edinburgh, by H. Raeburn, 1813', and with early manuscript labels, one inscribed 'Man's Head, Sir H. Raeburn', 61 x 50cm (24 x 19.75ins), gilt moulded frame

(1)

£300-500

Foremost Scottish portraitist David Martin (1737-1797) acted as mentor and instructor to Henry Raeburn when he was an inexperienced young artist.

Martin is said to have given his protégé some of his own works to copy, only to be profoundly upset when Raeburn sold one of his copies as his own work. It is known that Raeburn was in the habit of painting portraits posthumously, and often repeatedly, no doubt in response partly to his impecunious state, after being declared bankrupt in 1808.

(1) £2000-3000

459 Stothard (Thomas, 1755-1834). Titania and Puck from A Midsummer Night’s Dream, oil on wood panel, later pencil inscription to verso, 26 x 43cm (10 x 17ins), framed (1)

461 Tallerie (P., late 19th/early 20th century). Two Clerics, circa 1900, oil on canvas, signed lower right, 51 x 36cm (20 x 14ins), framed

£300-400

(1)

£100-150

462 Thomasse (Adolphe, 1850-1930). Tiger at a zoo, oil on canvas, signed lower right, relined, 27.5 x 40.5cm (10.75 x 16ins), framed (1)

Lot 460

95

£400-600

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463* After Titian (Tiziano Vecellio, 1485/89-1576). Girl with a Basket of Fruits (Lavinia), late 18th/early 19th century, fine oil on canvas, showing a young girl standing in front of an open window with a vista of mountains, holding a dish of fruit and flowers aloft, and turning to face the viewer, re-lined and some restoration, frame aperture 97 x 74cm (38 x 29ins), contemporary ornate gilt frame of moulded maple leaves and grapes (some repairs) After the oil painting by Titian of 1558, depicting his daughter Lavinia, now in the Staatliche Museen zu Berlin in Germany.

(1) ÂŁ1500-2000

96

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Lot 464

464* Trier (Adeline, active 1879-1903). Poppies in a Vase, oil on canvas, showing a profusion of poppies in shades of red, pink, and white, interspersed with grasses, in a bulbous green ceramic vase, standing on a ledge, signed lower right, re-lined, gilt moulded frame (1)

ÂŁ1500-2000

465 Manner of Richard Wilson (1714-1782). The Fishing Party, late 19th century, oil on oak panel, 24 x 31cm (9.5 x 12ins), framed (1)

ÂŁ100-150

97

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HISTORICAL PORTRAITS & MINIATURES

470 English School. Boy in a blue coat with a lap dog, early 18th century, oil on canvas, half-length, showing a young boy in a turquoise blue velvet coat with silver filigree clasps, over a white chemise, and an amber taffeta sash, with a small brown and white dog, framed by a stone oval against a landscape vista, re-lined, 76 x 63cm (30 x 24.75ins), framed (1)

£700-1000

466* Boys (E.J., late 19th/early 20th century). Portrait of a young lady, painted oval porcelain plaque, head and shoulders profile portrait, of a young lady wearing a turquoise gown, with a pale pink flower in her long fair hair, signed lower right, 30 x 23cm (12 x 9ins) (1)

£80-120

467* English School. Family group portrait, circa 1730s, oil on canvas, showing a gentleman and lady with their two young daughters and lapdog, with classical columns and drapery, and vista of a fountain and tall clipped hedges through a stone archway, re-lined and with some restoration, 73 x 58cm (28.75 x 22.75ins), framed (1)

£700-1000

468* English School. Portrait of a Boy, circa 1760s, oil on canvas, showing a curly-haired boy wearing a mustard tunic and red cloak, re-lined, 75.5 x 63.5cm (29.75 x 25ins), near contemporary gilt moulded frame (1)

£300-500

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

469 English School. Boy in a scarlet coat with a sighthound, early 18th century, oil on canvas, half-length, showing a boy wearing a red velvet coat with gold filigree clasps, over a white chemise with embroidered and fringed neck-tie, and an olive green taffeta sash, with a grey and white dog at his side, framed by a stone oval against a landscape vista, re-lined, 76 x 63cm (30 x 24.75ins), framed (1)

(1)

£700-1000

98

£100-150

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Lot 467

Lot 468

Lot 469

Lot 470

99

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473* After Alexis Grimou (1678-1733). Young Pilgrim Girl; Portrait of a Young Pilgrim; Portrait of a Gentleman, together three early 19th century oval oil paintings on board, the first a three-quarter length portrait of a young girl in a feathered hat and ruffled dress holding a scallop shell and a staff, the second a three-quarter length portrait of a young boy with frilled collar and cuffs holding a staff, and the third a head and shoulders portrait of a moustachioed young gentleman with a gold chain over his shoulder, each with overall craquelure, the first two with some minor surface abrasion, each 21.5 x 17.5cm (8.5 x 7ins), matching gilt mounts (3)

472 Manner of John Singer Sargent (1856-1925). Young woman in a taffeta and organza dress, oil on canvas, three-quarter length portrait, showing a lady in a cream dress with cinched waist and bustle, embellished with gold spangles, with a green curtain and pale pink peonies in the background, trimmed and re-mounted over smaller stretcher (with old framer’s label), 104 x 77cm (41 x 30.25ins), period gilt frame (1)

£200-300

Lot 474

£300-500

Lot 473

Lot 475 100

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474* McDonald (Madeline M., 1874-1942).

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

£200-300

475 Orde (Cuthbert Julian, 1888-1968).

Portrait of Philip Profumo in military uniform, 1945, charcoal and coloured chalk head and shoulders portrait, signed and dated lower left, inscribed in ink ‘To Baroness Profumo, Christmas, 1945’, 41 x 35cm (16 x 14ins), framed (1)

£150-200

476* Silhouette. Portrait of a young woman, circa 1840, circular painted head and shoulders silhouette portrait, with neck frill and mob cap painted in white and pink, diameter 6cm (2.5ins), circular ebony frame (1) £70-100

477 Smith (John Raphael, 1752-1812).

Mary & Elizabeth, the Artist’s Daughters, pastel, near contemporary manuscript label pasted to verso, 26 x 21cm (10 x 8.25ins), framed and glazed (1) £1000-1500

478* Tassie (James, 1735-1799). Two portrait busts of Mrs. Anthony Stewart and William Murray, Earl of Mansfield, together two wax portraits, both profile facing right, impressed on the truncation respectively 'Mrs. Anth. Stewart Edin. 1795, Tassie F.', and 'Uni Aequus Virtuti Edin. 1770', each mounted on red velvet, 12 x 9cm (4.75 x 3.5ins), framed and glazed

Lot 477

William Murray, 1st Earl of Mansfield (17051793), became Attorney General in 1754, and shortly afterwards, Lord Chief Justice. He is perhaps best known for his judgement in Somersett's Case (1772), where he held that slavery had no basis in common law.

(2) £200-300

Lot 478 101

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480* Porcelain plaque. A young mother and her children in a landscape, mid 19th century, painted porcelain, showing a young peasant woman holding a baby aloft, and a small girl clutching her skirt, with trees and a cottage in the background, signed lower right and on label on verso ‘Muller Fraiden’, 17.5 x 12.5cm (7 x 5ins), with carved wooden rococo frame (broken with loss) (1)

479* Continental School. A Catholic jewel, probably Portuguese, early to mid 17th century, two gouache miniature paintings highlighted in gold, one depicting the Virgin Mary and Christ Child, both attired in elaborate embroidered gowns, the Christ Child with neck ruff, the other depicting St. Anthony of Padua holding a white lily, with the Christ Child, each 47 x 41mm (1.75 x 1.5ins), contained back-to-back beneath bevelled rock crystal in a white metal hexagonal mount with pressed and twisted decoration and hanging loop, overall size 75 x 61mm (3 x 2.25ins)

£300-500

481* Turmeau (John, 1777-1846). Portrait of a lady, 1828, oval watercolour on ivory, head and shoulders portrait of a lady with dark curls, wearing a white turban and green dress, 7 x 5cm (2.75 x 2ins), mounted on card with old manuscript attribution and date on verso

St. Anthony of Padua, also known as Anthony of Lisbon, was born in Lisbon and raised by a wealthy family there. He became a Catholic priest and friar of the Franciscan Order and died in Padua, Italy.

(1) £400-600

(1)

102

£150-200

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OLD MASTER PRINTS & DRAWINGS

482* Augsburg School. The Judgement of Solomon, after Rubens,

by Johann Georg Kramoser, 1729, pen and coloured ink on vellum, signed and dated 1739 lower left, 170 x 247mm (6.7 x 9.7ins), period frame, glazed A version of Rubens’ Judgement of Solomon of circa 1617, now in the Statens Museum fur Kunst, Copenhagen.

(1) £200-400

483* Barker (Thomas, of Bath, 1769-1847). Hampton Birches, near Bath, circa 1814, pen and black ink on wove paper, signed with monogram lower left, image size 305 x 230mm (12 x 9ins), sheet size 309 x 234mm (12.2 x 9.2ins), with early inscription in ink to verso ‘Original Landscape, by the late Thomas Barker, painter of the ‘Woodman’. Date 1814.’, and additionally inscribed in pencil in an old hand Hampton Birches nr Bath (1)

Lot 483

£200-300

484* Barker (Thomas, of Bath, 1769-1847). Seven lithographs of landscapes with figures (from Pen Drawings of Landscape Scenery), 1814, together 7 pen lithographs on paper, from the edition of only 50 impressions ever printed, on original backing sheets, each inscribed in a contemporary hand, in ink with title and the artist’s name Thomas Barker Sen, 1814, image size 300 x 230mm (11.75 x 9ins), backing sheet 368 x 290mm (14.5 x 11.4ins) The titles are: Waterfall above Consiton Lake, under Old Man’s Mountain, Cumberland, from a Study made on Lansdown, near Bath, a Study from Hampton-Cliffs, from the Walks at Piercefield, near Chepstow, Rhaiadr Cynant y Vuch upon the Etilia, near Festiniog, Merioneth, Dinas Emris, in the Vale of Nant Hwynant near Bedd Kelert, & a Scene near Nant y Bellon, Winstay, Denbighshire.

(7) £200-300

Lot 484

103

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485* Barker (Thomas, of Bath, 1769-1847). 16 lithographs of rustic figures (from Forty Lithographic Impressions from drawings by Thomas Barker selected from his studies of Rustic Figures after nature), 1813, 16 lithographs on wove paper, one with brown wash, all except 3 mounted on backing paper, some marks and occasional minor stains and soiling, 220 x 145mm (8.5 x 5.75ins), and similar (16) ÂŁ150-250 486* Beham (Hans Sebald, 1500-1550). Melencolia, 1539, copper engraving, trimmed to margins, sheet size 81 x 55mm (3.2 x 2.15ins), framed and glazed, with late 19th/early 20th century label to verso of Jackson & Sons, Printsellers, 3 Slater Street, Bold Street, Liverpool, to verso Bartsch 144. Pauli-Hollstein IV, 145.

(1)

ÂŁ200-300

Lot 485

487* Beham (Hans Sebald, 1500-1550). Allegory of Christianity, 1548, etching on laid paper, trimmed to the plate mark, but retaining the black line border on all sides, 19th century purple collectors mark to verso, 75 x 47mm (2.95 x 2.85ins) Bartsch 128. Pauli/Hollstein 130.

(1)

Lot 486

104

ÂŁ100-150

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488* Bolswert (Schelte Adams, 1576-1659). Johannes Baptista Barbé, after Anthony Van Dyck, circa 1635-40, etching with engraving on laid paper with indistinct watermark, a good strong impression, with wide margins, plate size 245 x 160mm (9.6 x 6.25ins), sheet size 355 x 229mm (14 x 9ins), together with Margareta Princeps Lotharingia Ducissa Serenissima Aurelianensis, after Anthony Van Dyck, circa 1640, etching with engraving on laid paper, with margins, plate size 245 x 180mm (9.6 x 7.1ins), sheet size 285 x 219mm (11.25 x 8.6ins), with collector’s stamp of Oswald Stein to verso, plus Turner (Edward, 19th century), Rural landscape with ruined archway and figures on a path, pen & brown ink on paper, laid down on backing paper with contemporary ink ruled and wash mount, initialled E.T. to wash border lower left, and inscribed to verso ‘May Forbes The gift of E. Turner March 31st and last day’, 150 x 225mm (5.9 x 8.9ins), plus 14 other various pen & ink or pencil drawings, mostly 19th century, but including a few 18th century, including a pencil portrait on paper of the scriptural geologist Granville Penn (1761-1844), with monogram T.S. (autograph signature of the sitter attached to lower corner), a small pencil study of cherubs on laid paper, numbered in ink to top corner, 134, etc., various sizes

489* Bonington (Richard Parkes, 1802-1828). Eglise Saint Sauveur, Caen, 1824, lithograph on wove paper, image size 264 x 199mm (10.5 x 7.9ins), sheet size 295 x 221mm (11.75 x 8.75ins), framed and glazed, with William Weston Gallery label to verso Curtis 7, i/ii.

(1)

Mauquoy-Hendrickx 20 for the first item, a portrait of the Flemish engraver Jean-Baptiste Barbé, published as part of Van Dyck’s Iconographie.

(17) £400-500

105

£150-200

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490* German School. The Judgement of Paris, 17th century pen, ink and grey wash on laid paper, heightened with traces of orange/red chalk, with indistinct ink inscription in German to verso, dated 1613, 167 x 125mm (6.6 x 4.9ins), together with Christ on the Cross, with St. John, the Virgin Mary, and the Magdalene mourning, early 18th century pen, brown ink and grey wash drawing on laid paper, 119 x 105mm (4.7 x 4.15ins), plus the Raising of Lazarus, late 17th or early 18th century pen, brown ink and brown wash drawing on laid paper, 295 x 233mm (11.6 x 9.15ins), and 7 other 17th & 18th century pen & wash drawings, including one of a soldier mocking Christ, dated 1640, and initialled H.R., a virgin and child, inscribed in ink to lower margin Hans van der Heyden F., two wash drawings of a foundry and a bakery, each heightened with white chalk, a pen & brown ink and wash Baptism, indistinctly signed and dated 1678, and two others ÂŁ700-1000 (10)

106

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491 Attributed to William Samuel Howitt (1765-1822). Park Scenery, pen and black ink with wash on paper, tipped onto captioned mount, 10 x 16cm (4 x 6ins), together with two other similar drawings (1)

Lot 493

£300-500

492 Italian School. Classical Farmyard Scene, early 19th century, brown ink over pencil on wove paper, slight toning and fraying to edges, 25 x 33cm (10 x 13ins) (1)

£70-100

493 Lami (Eugene, 1800-1890). Study of heavy horses, black and white chalk on buff paper, 11 x 13cm (4.25 x 5ins), framed and glazed (1)

£150-200

494 Poynter (Sir Edward James, 1836-1919). Study of Drapery, black crayon, highlighted with white crayon, on buff paper, study of the lower half of a kneeling figure wearing a long draped gown, with right foot visible, stamped monogram ‘EJP’ lower right, sheet size 29.5 x 45.5cm (11.5 x 18ins), together with two other sketches by Poynter, comprising a sheet of pencil sketches and one pen & ink sketch for a large-scale work titled ‘More of More Hall and the Dragon of Wantley’ (1873), stamped monogram EJP lower right, one horizontal fold, sheet size 35 x 25cm (14 x 10ins), and a charcoal study of a windswept figure, also with monogram, sheet size 16.5 x 11cm (6.5 x 4.5ins) (1)

Lot 494

£400-600

107

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495* Pradier (James, or Jean-Jacques, 1790-1852). Reclining Bacchante, 1816, pencil on japan paper, signed and dated to centre of lower margin, sheet size 100 x 175mm (4 x 6.9ins), with additional artist’s signature in pencil mounted to backing paper, together with Sculptor and Winged Figure, 1818, pencil on wove paper, signed, dated Rome 1816, and inscribed ‘a son ami Roll’, sheet size 185 x 147mm (7.25 x 5.75ins), plus Desboeufs (Antoine, 1793-1862), 4 original pencil drawings of neo-classical figures, 1813-19, including Pan and Orpheus, (with pale brown wash), signed, dated Rome 1813, and inscribed ‘a son ami Roll’, the others also signed and two dated 1819, sheet size 168 x 135mm (6.65 x 5.3ins), and similar, and 6 other similar pencil drawings of neo-classical figures and subjects, including one by Etienne Jules Ramey (1796-1852), dated 1816, one

by Louis Messidor Lebon Pettitot (1794-1862), dated Rome 1816, another signed Brun, dated 1819, the remainder unsigned, sheet size 162 x 185mm (6.3 x 7.25ins), and similar A collection of drawings and studies in the neo-classical manner by French sculptors and antique engravers, awarded the Prix de Rome (the scholarship which allowed young French artists to live and study at the Academie de France in Rome for between 3 and 5 years). The Swiss-French sculptor Pradier studied in Rome between 1814 and 1818, and under Ingres in Paris. He was also a friend of the romantic poets De Musset, Hugo, Gautier, and Flaubert.

(12) £400-600

Lot 495

108

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496* Riviere (Briton, 1840-1920). The Pride, pastel on brown paper, initialled lower left, 38 x 71cm (15 x 28ins), framed and glazed (1)

£700-1000

Lot 498 497 Strutt (William, 1825-1915). Studies of a Lioness and Cubs, several studies on one sheet, pencil and yellow wash, 13 x 15cm (5 x 6ins), framed and glazed (1)

£200-300

498* Attributed to James Thornhill (1675-1734). The Triumph of Galatea, red chalk and grey wash on laid paper, showing Galatea seated on large shell drawn by two dolphins, accompanied by a cupid and two tritons, with another cupid holding up a swirling cloth, 175 x 240mm (6.9 x 9.5ins), period carved gilt frame, glazed (1)

£200-400

499 Leitch (William Leighton, 1804-1883). Castelamare, July 2 1836, pencil and body colour on brown paper, artist’s monogram stamp, pencil title and date to lower right, 19 x 28cm (7.5 x 11ins), framed and glazed (1)

£100-150

Lot 499 109

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SCULPTURE

Lot 501

Lot 502

Lot 503

500 English School. Female nude doing a handstand, circa 1960s-70s, bronze sculpture with grey-green patina, unsigned, height 325mm (12.75ins), on wooden plinth (48mm) (1)

£100-200

501 Limousin (Jacques, late 19th-early 20th century). Leaping Panther, circa 1930s, art deco-style hollow bronze sculpture with red-brown patina, signed Limousin to marble base, height 220mm (8.75ins), on marble plinth (height 30mm) (1)

£200-300

502 English School. A Setter retrieving wild fowl, early-mid 20th century, bronze sculpture with black patina, height 440mm (17.25ins), on marble plinth (height 25mm) (1)

£200-300

503 English School. Reclining Nude, mid 20th century, bronze sculpture with brown patina, height 305 mm (12ins), width 365mm (14.3ins), on wooden plinth (height 25mm) (1)

£150-200

Lot 500 504 Art Deco. Huntsman kneeling, early-mid 20th century, hollow bronze sculpture with dark brown-black patina, height 275mm (10.75ins), width 430mm (17ins), on black marble plinth (height 30mm) (1)

£150-200

505* Taulbut (John, M., 1934-). Leila, carved Cornish polyphant stone, original wooden base, artist’s impressed stamp to base, together with original receipt and autographed signed letter from the artist, both dated 14 June 1992, 20cm (8ins) high Taulbut has exhibited at the Royal Academy Summer Exhibition and galleries across Wales and the South West. His ‘Madonna and Child’ is now held by Llansteffan Parish Church, Carmarthen.

(1) £150-200

506* Van Der Straeten (Georges, 1856-1928). Bronze bust of a lady, bronze bust of a lady wearing a bow round her neck and a mob cap, signed, marble plinth, overall height 18.5cm (7.25ins) (1)

£100-150

507 Hornung (Greta, 20th century). Seated Figure, circa 1970s, bronze sculpture with brown patina on marble plinth in the manner of Ossip Zadkine, height 255mm (10ins), width 165mm (6.5ins), on black marble plinth (height 55mm) Lot 506

(1)

£200-300

Lot 504

Lot 505 110

Lot 507

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ETCHINGS 509* Gross (Anthony, 1905-1984). Chasteaux 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, plate size 152 x 228mm (6 x 9ins), sheet size 210 x 295mm (8.25 x 11.6ins), mounted (1)

508* Cruikshank (George, 1792-1878). Thirteen etchings from The Life of Sir John Falstaff, [1857-58], 13 etchings on chine collé, from the series of 20 published by Longman, Brown, Green, Longmans, and Roberts, originally issued in 10 parts, with 2 plates to each part, all first proofs, and each additionally signed and inscribed in pencil to lower margin ‘first proof Geo Cruikshank’, several plates with waterstain to left hand portion, a few plates with some marginal dampstaining and defects (the plates generally intact), plate size 178 x 252mm (7 x 9.9ins), sheet size 300 x 425mm (11.8 x 16.75ins), together with a group of 13 etchings after Rembrandt, studies and figures by John James Chalon (1778-1854), various sizes, all mounted on laid paper, sheet size 395 x 288mm (15.5 x 11.3ins)

510* Thorpe (Hall, 1874-1947). The Chinese Vase, colour woodblock print, showing anemones in a blue and white vase against a black ground, signed and titled in pencil to lower edge, sheet size 47.5 x 32.5cm (18.75 x 12.75ins), framed and glazed

See Cohen 96. The Cruikshank plates are titled: ‘Jack Falstaff breaking Skogan’s head, Sir John Falstaff arrested at the suit of Mrs Quickly, Sir John Falstaff and the fairies, at Herne’s Oak, Sir John Falstaff disguised as Mother Prat, Sir John Falstaff’s grand manoeuvre at the Battle of Shrewsbury, Sir John Falstaff on a visit to his friend Page at Windsor, Falstaff enacting the part of the King, Sir John Falstaff receiving a most unexpected rebuke from King Henry the fifth, Sir John Falstaff in the buck-basket, Sir John Falstaff flown into the muddy ditch close by the Thames side, Falstaff’s Ragged Regiment, Sir John Falstaff driving Pistol from his presence & the last scene in the life of Sir John Falstaff.

(13)

£100-150

(1)

£150-200

£200-300

511 Watson (Charles John, 1846-1927). Venezia, 1900, etching on laid paper, additional signed in pencil to lower margin, plate size 17.5 x 25cm (7 x 10ins), sheet size 24 x 33cm (9.5 x 13ins), together with Lancaster (Perry James, 20th century), The Archway, etching on lined paper, signed in pencil to lower margin, plate size 17 x 25cm (7 x 10ins), sheet size 23 x 31cm (8.5 x 12.25ins)

Lot 509

(2)

111

£100-150

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MODERN PRINTS

Lot 512

Lot 513

512 Beer (Richard, 1928-). L’Escargot, colour etching, heightened with gold, signed and numbered 40/90 in pencil to lower margin, plate size 54 x 40cm (21 x 16ins), sheet size 78 x 59cm (30.5 x 23ins), together with two other Richard Beer colour etchings, ‘Venice Cafe’ and ‘Hotel de la Gare’ (3)

£150-200

513 AR Blake (Peter, 1932-). ‘For instance, now, there’s the King’s Messenger’ (from Illustrations to Through the Looking-Glass), 1970, colour screenprint, signed in pencil, numbered 75/100, image size 241 x 178mm (9.5 x 7ins), with margins, framed and glazed (1)

£300-500

514 Brunsdon (John, 1933-2014). Mist Falling, colour aquatint, titled, signed and numbered 9/100 in pencil to lower margin, plate size 45 x 60cm (17.5 x 23.5ins), sheet size 57 x 79cm (22.5 x 31ins), together with another John Brunsdon aquatint ‘Evening’ (2)

£100-150

515 Brunsdon (John, 1933-2014). Solva, colour aquatint, titled, signed and numbered AP 8/8 in pencil to lower margin, plate size 58 x 44cm (23 x 17.25ins), sheet size 79 x 57cm (31 x 22.5ins), together with another John Brunsdon aquatint ‘Welsh Estuary’ (2)

Lot 514

£100-150

112

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516 Brunsdon (John, 1933-2014). Moonshine, colour aquatint, titled, signed and numbered 1/100 in pencil to lower margin, plate size 30 x 22cm (12 x 8.75ins), sheet size 58 x 40cm (23 x 16ins), together with another Brunsdon aquatint ‘Pebble Beach’ (2)

£80-120

517 Brunskill (Ann). A Glimpse of Thomas Traherne, Worlds End Press, 1978, eight etchings and block-prints, original cloth-backed pictorial boards, housed in original cloth slipcase, folio Limited edition, 19/50 copies, with 5 Artist’s Proofs.

(1)

£100-200

518 Clough (Prunella, 1919-1999). Carafe, [1950], colour lithograph, signed in pencil to lower margin, original Aitken Dott & Son label to verso, 22 x 17cm (8.75 x 6.75ins), framed and glazed (1)

£200-400

Lot 516

519 Gear (William, 1915-1997 ). Harbour Scene, colour lithograph on paper, additionally signed and numbered 6/200 in pencil to lower margin, 29.5 x 44cm (11.5 x 17.3ins), framed and glazed (1)

£150-200

520 Gear (William, 1915-1997 ). Abstract, colour lithograph, signed and numbered 6/200 to lower margin, 30 x 50cm (12 x 19.5ins), framed and glazed (1)

Lot 517

113

£150-200

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521 Hearld (Mark, 1974-). Jay, 2009, colour lithograph, signed, dated and numbered 1/75 in pencil to lower margin, sheet size 36 x 48.5cm (14 x 19ins), framed and glazed (1)

£80-120

523 Indiana (Robert, 1928-). The Santa Fe Opera Twentieth Season, 1976, colour screenprint, signed, dated ‘76 and numbered 151/250, image size 788 x 558cm (31 x 22ins), with margins, framed and glazed (1)

£400-600

524 Martin (Frank, 1921-2005). Rue d’Alesia, colour woodcut, titled, signed and numbered 12/30 in pencil to lower margin, plate size 41 x 54cm (16 x 21ins), sheet size 59 x 71cm (23 x 28ins), together with another Frank Martin colour woodcut ‘Jan’, plus a colour etching ‘Nude Pattern’ and a black and white etching of the same (4)

£150-200

522*AR Hockney (David, 1937-). Catherina Dorothea Viehmann (from Illustrations for Six Fairy Tales from the Brothers Grimm), 1969, etching with aquatint on Hodgkinson handmade paper, printed by the Print Shop, Amsterdam, and published by Petersburg Press, London, 1970, signed and numbered in pencil 99/100, plate size 290 x 235mm (11.4 x 9.1ins), sheet size 460 x 383mm (18.1 x 15.1ins) (1)

£300-500

Lot 525

114

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525 Anderle (Jiri, 1936-). Madame Henrietta as Flora, after JeanMarc Nattier, 1985, colour etching on wove paper, signed and numbered 16/70 in pencil to lower margin, plate size 32.5 x 33cm (12.75 x 13ins) with margins, framed and glazed (1)

£80-120

526 AR Piper (John, 1903-1992). Gloriana Street Scene, 1953, colour lithograph on wove paper, unsigned, printed and published by the Royal College of Art, image size 155 x 215mm (6 x 8.5ins), framed and glazed (unexamined out of frame) Levinson 85A. (1)

£300-500

Lot 528

527 Thornton (Valerie, 1931-1991). St. Davids, 1971, etching with aquatint, signed, titled and dated to lower margin in pencil, plate size 40 x 53cm (16 x 21ins), sheet size 59 x 73cm (23 x 29ins) (1)

£150-200

529 Vanghan (Keith, 1912-1977). Tree, 1949, colour lithograph, signed and dated in pencil, Abbott & Holder label to verso, 34 x 55cm (13.5 x 21.5ins), framed and glazed

528* Toulouse-Lautrec (Henri de, 1864-1901). Jane Avril, 1893, colour lithograph poster, margins trimmed, and corners rounded off, various creases and some discolouration, some fraying to margins with several short tears and a little loss, 790 x 580mm (31 x 22.75ins) Sold with all faults, not subject to return.

(1)

(1)

£700-1000

115

£400-600

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MODERN WATERCOLOURS & DRAWINGS 530* Berlin (Sven, 1911-1999). Composition, 1945, pen and indian ink and watercolour on thick wove paper, signed and dated lower right, 251 x 299mm (9.85 x 11.75ins), with an additional drawing to verso in pencil and colour crayon, titled Arrangement of Forces, signed and dated 1941 (1)

£300-500

531 AR Brangwyn (Frank, 1867-1956 ). Child’s Tomb, circa 1906, watercolour with pen and ink, heightened with body colour, captioned in pencil to lower margin ‘Mr. & Mrs B.E. Woodfold, Capel’, 34 x 25cm (13.25 x 10ins), framed and glazed (1)

£70-100

Lot 530

532 Brangwyn (Frank, 1867-1956 ). Study of two seated Middle Eastern boys, red and white chalk on paper, squared up for transposing to larger scale, image size 480 x 450mm (19 x 17.75ins), sheet size 620 x 580mm (24.5 x 22.75ins) (1)

Lot 531

116

£300-500

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Lot 534

533 Brangwyn (Frank, 1867-1956). Study for Refugees leaves Antwerp, circa 1915-16, black, brown and red chalk on paper, inscribed to lower margin ‘layout for poster’, some creases and one or two repaired tears, laid down on archival tissue, sheet size 542 x 363mm (21.25 x 14.25ins) A preparatory study for the main figure group in Brangwyn’s first world war poster Refugees leave Antwerp, circa 1915-16.

(1) £300-500

534* Brangwyn (Frank, 1867-1956 ). Three sketches and studies of figures and decorative motifs, one in pencil on light brown paper, with handwritten annotations by the artist, another of decorative patterns in blue and black watercolour on paper, and one other a design for a metal bowl or salver, pencil and black ink on paper, signed in pencil lower right, 26 x 22cm (10.25 x 8.7ins), 23 x 41cm (9 x 16.2ins) and 50 x 76cm (19.75 x 30ins) respectively (3)

£300-500

535 Caprioglio (Nino, 1926-1993). A collection of fashion drawings, approximately fifty pen & ink or pencil drawings, some coloured in various media, some initialled or signed, 42 x 29.5cm (16.5 x 11.5ins) and smaller, together with a black and white photograph of the artist Nino Caprioglio was a prominent fashion designer and illustrator for over forty years. He did sketches for fabric houses and manufacturers throughout Europe, including Jaeger, Valentino and Versace, and his illustrations appeared in major publications even after photographs superseded original artwork (e.g.

‘The Daily Telegraph’, ‘The Sunday Telegraph’, ‘Vogue’ and ‘Country Life’). (a folder) £300-500

Lot 535 117

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Lot 536 536 AR Chandra (Avinash, 1931-1991). Abstract Trees, 1959, pen, ink and watercolour on paper, signed and dated lower right, 53 x 62.5cm (21 x 24.5ins), framed and glazed (1)

£400-600

537* Dunlop (Ronald Ossory, 1894-1973 ). Female Nude, watercolour and black chalk on cream paper, signed lower right, sheet size 210 x 270mm (8.25 x 10.6ins), together with Portrait of a boy seated, watercolour and pencil on wove paper, with additional study of a girl to verso, signed lower right, and inscribed ‘Andrew’ lower left, sheet size 255 x 178mm (10 x 7ins), both window mounted (2)

£150-200

Lot 537 118

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538 Eaton (Charles Henry, 1885-1963). An archive of studio materials, ephemera, and other belongings, including two medals issued to Charles Eaton by the Incorporated Institue of British Decorators and Interior Designers, one awarded in 1963 for ‘meritorious service’ (the first time such a medal had been awarded for thirty years), and three enamel badges, a large wall-mounted mahogany glass cabinet containing approximately thirty mounted paint brushes of various shapes and sizes, 85.5 x 75cm (33.75 x 29.5ins), a box of twenty-four large paint brushes, thirty-five small paint brushes, and a roller, a smaller box containing various artist’s tools, a quantity of lantern slides for teaching, a black wool suit with tailcoat and waistcoat, and additional pair of trousers, a pair of black leather gloves, a silver-cased watch with hallmarks for Birmingham 1847, together with hallmarked silver watch chain with graduated links, and silver vesta case with hallmarks for Birmingham 1906, engraved with Eaton’s monogram, a cigarette case containing four cigarettes and cigarette pouch with roller, a plaster pipe holder in the shape of seven monks (one lacking), and a box of seals and wax, together with a quantity of ephemeral items, including Charles Eaton’s passport and will, photographs of him, his family, students, and studio, certificates, etc.

539 Edwardian Sketch Book. A sketch book of portraits, twentyseven leaves, most with a pencil portrait on recto, some leaves with more than one study, plus a few other sketches of interiors, a drawing of Tower Bridge, and one page of manuscript, sheet size 17.5 x 25cm (7 x 9.75ins), original cloth, slightly soiled and worn, oblong 8vo A sketch book of carefully detailed and accomplished portraits.

(1)

Provenance: The vendor is the god-daughter and a cousin of Lilian Eaton, Charles Eaton’s daughter, who was a scientist. Charles Eaton was a decorative artist and lecturer, who taught at the Northern Polytechnic for thirty-one years.

He was instrumental in raising the standard of learning there so that it became the first school whose course was recognised by the Institute of British Decorators & Interior Designers, of which Eaton was Director from 1954 to 1955. He was also Chairman of the London & General District Incorporated Institute of British Decorators, President of the Association of Painting Craft Teachers in 1958, Fellow of the Institute of British Decorators & Interior Designers and Fellow of the Royal Society of Arts. Charles Eaton’s retirement from the Northern Polytechnic was marked by a dinner in 1950, and ‘The Journal of Decorative Art’ reported: “‘The Maestro’ had been asked to bring six friends of his own choosing, and so his daughter, Miss Lilian Eaton, who appeared to know the ‘old boys’ was there to witness the tributes paid to one of the most conscientous teachers who ever graced the profession.” (an archive) £300-500

£150-200

540*AR Evans (Merlyn Oliver, 1910-1973). Composition, 1934, watercolour and black ink on paper, signed and dated Nov 34 lower right, 74.8 x 55cm (29.5 x 21.75ins), framed and glazed (1)

119

£400-600

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Lot 541

Lot 543 541 Fuller (Martin, 1943-). The Two-The Two / A Matter of Concern, 1973 / 1975, two coloured pastels on paper, each signed, titled and dated, the first with some marks and one or two short closed tears, 56 x 76 cm (22 x 30 ins), framed and glazed (2)

£150-200

542 Glasgow School. A sketchbook of portraits, 1918, approximately forty leaves, each with a pencil study or several studies, on one side of the leaf only, all portraits, many of children, some leaves detached (one or two edge-frayed), leaf size 24 x 16.5cm (9.5 x 6.5ins), inscribed in pencil front and rear ‘Started at Glasgow November 23/1918, original cloth-backed boards, somewhat stained and worn, 4to (1)

£100-150

543* Attributed to Duncan Grant (1885-1978). Design for a Poster, circa 1960s/70s, coloured pastels and gouache on paper, with stencilled title in black ink ‘Modern British Art’, unsigned, a few minor marginal restorations, 75 x 49.5cm (29.5 x 19.5ins) mount aperture, framed and glazed

Lot 542

Provenance: Formerly with Anthony D’Offay Gallery, London.

(1)

120

£300-500

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544* Greaves (Walter, 1846-1930). Band Stand, Cremorne Gardens, pen, ink, pencil and watercolour on paper, signed lower right, 273 x 212mm (10.75 x 8.25ins) mount aperture, with original printed ticket for the Royal Cremorne Gardens, Season 1876 separately mounted below, old oak frame, glazed, with old handwritten title to upper margin of the mount, and old framer’s label of Chapman Bros., 241 King’s Road, Chelsea to verso (1)

£700-1000

121

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545* Hayman (Patrick, 1915-88). Woman, pencil and biro on wove paper, signed upper right, 180 x 245mm (7 x 9.6ins) mount aperture, framed and glazed (1)

£150-200

547AR Hilton (Roger, 1911-1975). Concert Pianist, pen and black ink on verso of ‘The Corner House, Northwood’ headed paper, some scattered spotting, Dan Klein exhibition label to verso, 22.5 x 18cm (9 x 7ins), framed and glazed (1)

546 AR Hilton (Roger, 1911-1975). The Marching Band, pen and black ink on ‘The Corner House, Northwood’ headed paper, Dan Klein exhibition label to verso, 22.5 x 18cm (9 x 7ins), framed and glazed (1)

£200-300

548 AR Hilton (Roger, 1911-1975). Self Portrait, pencil on paper, two creases where previously folded, Dan Klein exhibition label to verso, 27 x 20cm (10.5 x 8ins), framed and glazed

£200-300

A similar Hilton self portrait is in the National Portrait Gallery.

(1)

122

£300-500

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549 Jones (David, 1895-1974). Study of a Garden, brown chalk on paper, signed in ink lower right, 40 x 30cm (15.75 x 12ins), framed and glazed (1)

£700-1000

550* Lloyd (Reginald J., 1926-). Standing stones and reclining figure, 1970, monotype on laid paper, signed and dated 1970 lower right, 305 x 445mm (12 x 17.5ins) mount aperture, framed and glazed, together with Seagull, 1993, watercolour on wove paper, signed and dated lower right, 40 x 25cm (15.75 x 9.75ins) mount aperture, framed and glazed (2)

Lot 551

£100-150

551*AR Reginald James Lloyd (1926-) & Ted Hughes. Sea Monster, 1998, pen, brown ink and wash on handmade paper, signed and dated lower right, 130 x 100mm (5.1 x 4ins), together with the autograph manuscript poem Sea Monster by Ted Hughes, handwritten in ink on similar handmade paper, signed at foot, 230 x 106mm (9 x 4.2ins), mounted together, framed and glazed The original preliminary drawing by Reg Lloyd together with the holograph poem by Ted Hughes for page 11 of The Mermaid’s Purse, published by the Sunstone Press in May 1993, in an edition of 100 copies. With printed label for the R. J. Lloyd and Ted Hughes exhibition at Shellhouse Gallery, Ledbury Poetry Festival, 1997 to verso.

(1) £400-600

552*AR Maddox (Conroy, 1912-2005). Metaphysical Landscape, gouache and black ink on card, signed lower right, 203 x 247mm (8 x 9.7ins) (1)

£200-300

Lot 552

123

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Lot 554

553 Pares (Bip, 1904-1977). Artist’s sketchbook, 1934, approximately fifty leaves each with pencil or pen & ink drawings on recto (and most with drawings on verso also), some with the addition of watercolour or pastels, mostly portraits and figure studies, including a selfportrait, but also book illustrations and dustjacket designs, some titled and dated 1934, first leaf near-detached, sheet size 25.5 x 19cm (10 x 7.5ins), front pastedown with ownership name and address in pencil in the artist’s hand, dated 1934, original clothbacked boards, 4to Ethel Pares, known as ‘Bip’ from her infant attempts to pronounce the name of a family horse, was best-known for her dustjacket designs and book illustrations, although she also produced poster designs, including some examples for London Transport. She studied at the Slade in the early 1920s, and her best and most striking work was art deco in style, characterised by bold colours and designs. She is said to have designed some 600 dustjackets in all. There are several designs for dustjackets contained herein, including six leaves of preliminary sketches for her striking dustjacket design for Susan Ertz’s 1934 publication ‘Now We Set Out’.

(1) £200-300

554* Attributed to Vaughan Price (late 19th/early 20th). A collection of four female head and shoulder studies, charcoal on paper, with some pencil, comprising a portrait of a dark-haired lady in pensive mood, 44 x 31.5cm (17.25 x 12.5ins), a profile turned to the left of a young lady wearing a hat, 46 x 31cm (18.25 x 12.25ins), both mounted, framed and glazed, with attribution in ink on backboard, and an unframed sheet with portraits on recto and verso, one a profile turned to the left of a dark-haired lady, the other of a young girl in a mob cap, sheet size 49.5 x 35.5cm (19.5 x 14ins)

555* Robinson (Charles, 1870-1937). Young woman with basket and birds, watercolour heightened with body colour, on card mounted on artist’s board, signed lower left, 18 x 28cm (7 x 11ins), mounted (1)

According to the attribution Vaughan Price was a sister-in-law of Andrew Carnegie of New York.

(3) £100-150

124

£300-500

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Lot 556

Lot 557

Lot 560

556 Sands (Henry Southgate, 1900-1971). Daphne, 1934, pencil on paper showing a head and shoulders portrait of a young girl, titled, signed and dated Aug 22nd 1934 to lower margin, 38 x 27cm (15 x 10.5ins), framed and glazed (1)

£100-150

557 Spurrier (Steven, 1878-1961). Artist’s sketchbook, 1944, fortythree leaves, each with a pencil sketch or sketches on recto, some with crayon colour, including figure and animal studies, flower still lifes, and buildings, one dated 1944, one or two leaves detached, and an additional pen & ink sketch is loosely inserted, sktchbook sheet size 26 x 19.5cm (10.25 x 7.5ins), front pastedown with ownership name and address in the artist’s hand with pencilled note ‘Apl to July 1944’, original cloth-backed boards, 4to British artist Steven Spurrier is best known as an illustrator of books, posters and periodicals. His work appeared in publications such as ‘Madame’, ‘Black and White’, ‘The Graphic’, ‘Illustrated London News’ and the ‘Radio Times’.

He exhibited at the Royal Academy from 1913, was made an associate member in 1945 and became a full member of the Academy in 1952.

(1) £100-150

558 AR Vaux (Marc, 1932-). Untitled, 1987, coloured and lead pencil on Fabbriano paper, signed and dated lower left, sheet size 290 x 350mm (11.4 x 13.75ins), framed and glazed (1)

Lot 558

£200-300

559 AR Vaux (Marc, 1932-). Composition Study, 1964, pencil and colour pastel on paper, signed and dated ‘64 to lower margin, sheet size 380 x 558mm (15 x 22ins), framed and glazed (1)

£300-400

560 Woodhouse (William, 1857-1939). Studies of Lions, several studies on both sides of one sheet, pencil on paper, 23 x 17cm (9 x 6.75ins) mount aperture, framed and double glazed (1)

£150-200

Lot 559

125

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MODERN PAINTINGS

561 Aldunate (Carmen, 1940-). La Lujuria, ‘Lust’, 1963, oil on canvas, signed, titled and dated to verso, Chilean export stamp to verso, 120 x 120cm (47x 47ins), framed Provenance: From a private collection. Purchased by the vendor in a Santiago Gallery in 1969 (export stamp to verso is dated 31 January 1970). Carmen Aldunate is a leading light in the Latin American Neo-Figurative movement, bringing a distinct feminist flavour clearly evident in the present work. Her work has been exhibited by galleries worldwide including Museum of Modern Art in 1977, The Minones Art Gallery, Essex and a travelling exhibition in 2004.

(1) £5000-8000

126

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564*AR Barrie (Mardi, 1931-2004). Moon Off Shore, oil on canvas, signed to lower edge, Royal Scottish Academy 1967 Exhibition labels to verso, 77 x 101cm (30 x 40ins), framed (1) £400-600

562* Armstrong (R.M., 20th century). Classical nudes in a landscape, 1935, oil on canvas, showing three female nudes, one with an exotic bird in her palm, and one male nude, sitting beside a tree, signed and dated lower left, some rubbing and marks, 44.5 x 51cm (17.5 x 20ins), framed (1)

£150-200

565 Dishington (Simon, 20th century). Abstracted Forms, 1964, oil on board, signed and dated in pencil lower right, 60 x 89cm (24 x 35ins), framed together with Abstract Landscape, 1961, oil on board, signed and dated lower right, 50 x 92cm (20 x 36ins), framed (2)

563* Baillet (Ernest, 1853-1902). Autumn Landscape, oil on wood panel, signed lower right, with old stencil to verso S701, some surface marks and panel with horizontal split to lower half, 254 x 325mm (10 x 12.75ins), period gilt frame (1)

£200-300

127

£150-200

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Lot 567

128

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567 AR Epstein (Sir Jacob, 1880-1959). Peonies and Roses, circa 1936, watercolour and gouache on paper, signed ‘Epstein’ in black to lower left, 44 x 57cm (17.25 x 22.5ins), framed and glazed This flower painting is one of around three hundred painted by Epstein in later life. The artist was commissioned by the Dutch old master dealers Ascher & Velber in 1933 to produce a series of flower paintings of the present type.

Painting flowers became an obssession with boxes of fresh flowers arriving weekly from Holland. The outbreak of the Second World War saw an end to the weekly air-freight deliveries and Epstein returned to his sculptural work.

See David Messum, Epstein; The Flower Paintings, exhibition catalogue, 1992.

Provenance: Private Collection, London.

(1) £2000-3000

568* Ertz (Edward Frederick, 1862-1954). Winter Landscape with woman feeding geese, Rambouillet, Poigny, oil on canvas (stamped Paul Foinet to reverse), signed lower right, 37 x 46cm (14.5 x 18ins), period moulded gilt frame, with handwritten note in ink by the artist describing the picture attached to the reverse of the canvas, and label for the 48th Exposition Versaillaise, 1901 to stretcher, with artist’s name and an address in Paris

566* Ege (Mogens, 1892-1946). Vesuvius and the Aqua Augusta, oil on canvas, showing a donkey and cart on a lane before the ruins of an aqueduct, with Vesuvius in the background, signed lower right, 43.5 x 63.5cm (17 x 25ins), framed (1)

The artist’s manuscript note attached to this painting, provides information on the work, most likely to an early owner: ‘The little snow picture you have was painted at Poigny in the forest of Rambouillet. I painted several large ones there, which were exhibited at the Salon - R.A. and R.B.A. and sold. One was awarded a medal in France. All three were exhibited at my exhibition in Paris. I used to have a studio and cottage in the forest of Rambouillet: which is about an hour from Versailles’.

(1) £400-600

£100-150

Lot 568

129

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Lot 569

Lot 571 569 Freedman (Barnett, 1901-1958). Young Woman Seated, oil on canvas of a full-length seated portrait of a young woman in a black skirt, laid on panel, 33 x 43cm (13 x 17ins) (1)

£300-500

570 Freedman (Barnett, 1901-1958). Female nude, standing, oil on canvas, 61.5 x 50cm (25 x 20ins) (1)

£200-400

571 Freedman (Barnett, 1901-1958). Man in trunks, oil on canvas, laid onto board, 36 x 29cm (14 x 11.5ins), together with Woman in black dress, oil on canvas laid into board, 50 x 24cm (20 x 9.5ins) (2)

£200-400

572 Freedman (Barnett, 1901-1958). House in landscape, possibly Kenwood, oil sketch on paper, laid on panel, 25 x 43cm (10 x 17ins), together with another similar view on canvas laid onto board (2)

£300-500

573 Freedman (Barnett, 1901-1958). Farmhouse, oil on canvas laid onto board, initialled lower right, 26 x 42cm (10 x 16.5ins) (1)

£200-400

574 Freedman (Barnett, 1901-1958). Still life of lemon and radishes, oil on canvas, 35.5 x 45.5cm (14 X 18ins) (1)

Lot 570 130

£200-300

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Lot 572

Lot 573

Lot 574 131

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Lot 575

Lot 575 575 Freedman (Barnett, 1901-1958). Landscape with stooks, oil on canvas showing a patchwork of fields lit by shafts of sunlight, laid on panel, initialled lower right 50 x 61cm (20 x 24ins) (1)

ÂŁ300-500

576 Freedman (Barnett, 1901-1958). Self-Portrait, oil on canvas showing a half-length portrait of the artist in a shirt and tie at his easel, laid onto board, 54 x 37cm (21 x 14.5ins)

Lot 576

(1)

577 No Lot

132

ÂŁ300-500

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578 Gissel (Petri, 1895-1975). Notre Dame, Paris, 1930, oil on artist’s board, initialed lower left, additional signed and dated to verso, brief biographical note in German pasted to verso, 38 x 46cm (15 x 18ins), framed (1)

580* Newberry (John, 1934-). ‘Four Horsemen’, 1967, oil on board, showing four cavorting horses, each with a naked rider, verso inscribed in the artist’s hand with his name, address, title, and date, 35 x 40cm (14 x 15.75ins), framed

£100-150

John Newberry is a member of the Royal Watercolour Society and has exhibited widely, including at the Royal Academy. He taught at the Ruskin School of Drawing in Oxford from 1963 to 1989, and was acting head for the last two years. John Newberry paints on the spot, usually sitting on the ground, giving his works an unusual perspective. His work is highly regarded and included in many leading collections.

(1) £200-300

579 McNairn (John, 1910-2009). Landscape - Spring, oil on board, signed lower right, with handwritten label to verso giving the artist’s name and title, 65 x 107 cm (25.5 x 42 ins), gilt frame (1)

£200-400

Lot 579 133

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581 AR Nicholson (Kate, 1929-). No Mosque without Water, 1971, oil over metallic paint on artist’s board, signed, dated and titled by the artist to verso, 79 x 49cm (31 x 19ins), framed and glazed (1)

£300-500

582 Wilens (Dorothy, 1902-1986). Kinsfolk, collage with acrylic on artists board, signed to lower right, artist’s label to verso additionally signed in ink, 41 x 51cm (16 x 20ins) Dorothy Wilens (1902-1986) was an American artist working in West Hartford.

The present work was her entry for the Conneticut Artist’s Award and bears her identification label to the verso.

(1) £150-200

Lot 581

583* Xam (1915-2001). Still life of fruit in a bowl, pitcher, glass and decanter on a table, 1952, oil on canvas, signed, additionally inscribed to verso “Agosto 1952”, approx. 725 x 490mm (28.5 x 19.25ins), framed (1)

Lot 582

134

£300-500

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PHOTOGRAPHY

Lot 692

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PHOTOGRAPHY

603 Allen (Albert Arthur, 1886-1962). The Model, Technical Edition, Series Number One, Allen Art Studios, Oakland, California, 1925, 11 pp., original stapled printed wrappers, slightly creased and soiled, slim large 8vo, together with the original set of 15 vintage gelatin silver prints of the 7 nude female models described in the booklet, various group poses including chorus line and dance routine study plus archery, tug of war, etc., images 16 x 24cm, three with pencil identification codes to lower margin, one image with light short scratch to centre and crease to lower left corner, printed on card with plain backs A rare survival of a complete set with original booklet.

(1)

601* Afong (Lai, circa 1859-1941). Commercial Street, Canton, circa 1860s, albumen print, 28.5 x 21.5cm, contemporary mount, spotted (1)

£200-300

602 Allen (Albert Arthur, 1886-1962). The Female Figure, Series One. Technical Edition, Oakland, California, [1923], comprising a set of 10 vintage gelatin silver print photographs of female nude studies, each plate with two, three or four studies of the same nude and all with printed and dated wetstamp details to versos (some details indistinct), two photographs slightly creased, each approximately 16.5 x 26.5cm, loosely contained with printed note and order form for Series Number Two (? but lacking other printed details of models) and contained in broken printed card portfolio with old sellotape repairs (1)

£200-300

Lot 604

136

£400-600

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604* Alpine Photography. A collection of 35 large-format gelatin silver print photographs of the Alps and Alpine scenery by F.N. Ashcroft, 1930s, approximately 22 x 30cm or 16.5 x 21.5cm and similar sizes, printed on thick paper with wide margins or pasted on original mounts, the largest (36 x 27cm) with original exhibition backing board and label present, from an exhibition of Alpine photographs at the Alpine Club, identifying the photographer and date (July 1935) and title of print ‘The Gerstenhorner and the fall of the Rhone Glacier’ (35)

£100-150

605 Annan (Thomas). The Old Country Houses of the Old Glasgow Gentry, 2nd edition, Glasgow, 1878, 100 mounted carbon prints and 3 plates, each 11.5 x 16cm, some spotting and marginal dust-soiling throughout, contents shaken with some leaves loose and inner hinges near-broken, original quarter morocco, rubbed and some wear, 4to One of 225 copies. The first edition as mentioned by Gernsheim was published with albumen prints.

(1) £200-300

607* Baldus (Edouard-Denis, 1813-1882). A group of 3 albumen print views of Paris, circa 1860, including Hotel de Ville, Pont Neuf and the Louvre (rue de Rivoli), each 28 x 21.5cm or the reverse, original mounts (some spotting) with Baldus name stamp beneath each image lower right (3)

£100-150

606* Australia & New Zealand. A group of 41 albumen print views of locations in Australia and New Zealand, circa 1880, the 14 Australian prints of Sydney, Blue Mountains, etc. all with blindstamp of C. Bayliss, the remaining New Zealand views mostly captioned in the negative and some initialled F.A.C. [Frank Arnold Coxhead], most images approximately 14 x 19.5cm or slightly larger, pasted back to back on 10 contemporary album leaves (41)

£100-150

608* Barker (George, attrib.). Niagara Falls, circa 1870, mammoth albumen print view, some tonal variation at margins where previously mounted and chipping to extremities, 50 x 43.5cm, modern matted mount (1)

137

£200-300

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Lot 609

609 Barnard (Edward Emerson). A Photographic Atlas of Selected Regions of the Milky Way, edited by Edwin B. Frost and Mary R. Calvert, 2 volumes, 1st edition, Washington, D.C., 1927, volume 1 with portrait frontispiece (offset to title and half-title verso), plate of the Bruce Telescope and 51 gelatin silver prints mounted on linen, each 23 x 23cm, volume 2 with 50 charts and accompanying tables, original cloth gilt, rubbed and slightly soiled, 4to The first significant photographic star atlas, issued in an edition of 700 copies and for which Barnard personally inspected all 35,700 photographs printed (see Preface). Barnard established photography as the main form of astronomical observation and also discovered a dark nebulae, this work including his ‘Catalogue of 349 Dark Objects in the Sky’, completed by his assistant, Mary Calvert, after his death in 1923.

(2) £700-1000

610* Beaton (Cecil, 1904-1980). Evelyn Waugh, [1955], gelatin silver print, later printing, full face and half-length, smoking a large cigar and leaning on a wooden fence with the sign ‘Entree Interdite aux Promeneurs’, silver print, faint crease to lower left corner, photographer’s stamp to verso, 190 x 190mm, together with a vintage print of the same image, slightly damaged at all four corners, 200 x 192mm, plus a mounted and framed reproduction photograph of Mussolini (3)

138

£100-150

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611* Bisson (Louis-Auguste & Auguste-Rosalie). Four mammoth albumen prints of Rome, circa 1865, all Italian views on original mounts with Bisson Freres red ink stamp, embossed stamp and French pencil caption to lower mounts, showing Arch of Constantine, St. Pierre and the Vatican, Temple of Esther and Greek columns, Venice, images 35 x 44cm, mounts spotted, dust-soiled and frayed with a little loss, together with a group of 5 large albumen prints of Italy, circa 1860s, including one of a frieze by Altobelli & Molins with stamp to lower mount, 27.5 x 35.5cm, another of a Roman fountain and temple with two small closed tears in image where lifting from mount, 27 x 38cm, plus 3 photographs of wall painting in the basilica of St. Clement, Rome, each 25 x 32cm or slightly smaller, original mounts with printed captions beneath, all mounts somewhat soiled and frayed at margins (9)

£200-300

612 Brazil - Football and Cricket. A personal photograph album mostly relating to Rio de Janeiro, circa 1924-28, containing approximately 170 mounted gelatin silver prints, the majority smallformat snapshots of postcard sizes and smaller, largely of British young men engaged in recreational activities, the compiler referenced as ‘Myself’, also including some sporting interest, including two hockey snapshots, a larger group portrait of a cricket group, Rio, September 1925, including Kirkby, Spankie, Rait, Hayes, ‘Myself’, Miller, 17 x 23cm, five postcard-size photographs of Inter-State cricket at Santos, July 1925, another posed cricket group of similar size and date, three similar size photographs of Rio Cricket Soccer XI versus SS Baronega, June 1927, six further cricket photos from August 1927 (Rio won by innings and 59 runs), names cited include Brooking, Muriel, Cunningham, Tatam, and two taken at Belgrano cricket ground, two photos of the Hood and Repulse Cup, plus one further small snapshot of a posed football group, the Boyes Cup team, 1928, featuring Gould (Captain), Riddell, Goodrich, Dowle, ‘Self’, Campbell, Swiggs, and others, mounted as multiples and back to back on 15 leaves, ink captions to mounts throughout, contemporary card wrappers with spine tie, soiled and worn, oblong folio

613* Brittany. A group of 10 albumen prints of Brittany peasants, circa 1885, a few annotated in pencil to versos and two initialled A.C.H., each 16 x 10cm and similar, all unmounted (10)

£100-150

614 Campbell Family. A photograph album relating to the Campbell family in Italy, Scotland, England and India, 1898-1901, an assortment of neatly presented albumen and gelatin silver prints, collotypes, colour photos, etc., all corner mounted and back to back on 22 leaves with occasional captions, images 19 x 26cm and smaller, contemporary cloth with crude repair and new upper board, rubbed, oblong folio (1)

The largest photograph in the album a posed cricket club group could be Sao Paulo Railway Company team. The Miller featured in the front is Miller, possibly Carlos Miller (born 1907) whose father was the Brazilian sportsman Charles William Miller (1874-1953) who was considered to be the father of football in Brazil.

(1) £150-200

139

£70-100

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615* Cameron (Julia Margaret, 1815-1879). Portrait of Alfred, Lord Tennyson (1809-1892), 1869, albumen print, head and shoulders, three-quarter profile, small closed marginal tear to upper right margin and small ding above Tennyson’s head upper right, image 29.9 x 24cm, recto mount inscribed in ink by JMC: ‘From Life. Registered Photograph Copyright. Julia Margaret Cameron. The last Photograph taken JM[C]’, mount now largely detached from thin card backing mount, verso browned and soiled Cox and Ford, Julia Margaret Cameron: The Complete Photographs, 810.

(1)

140

£1000-1500

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616* Mudd (James, 1821-1906). Portrait of Alfred, Lord Tennyson (1809-1892), 1861, albumen print, full length, seated in three-quarter profile with hat and open book held in left hand, 24 x 18.5cm, original card mount, some spotting and soiling, together with a second albumen print portrait of the same sitter, by Elliott & Fry, 1865, head and shoulders in profile facing left, oval format, 178 x 130mm, original mount with facsimile signature of Tennyson and printed studio details to lower mount, some spotting Malcolm Rogers: Camera Portraits (1989), p. 59.

(2)

ÂŁ300-500

141

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620 Ceylon, Middle East, etc. A photograph album containing 8 mounted albumen prints of Singalese interest, circa 1870s, including 3 large views of a fishing boat at Colombo, Breakwater, (both by Scowen) and Galle Face, each 22 x 28cm, the remaining 6 ethnographic interest including a head profile of a Singalese gentleman by Scowen, each approximately 14.5 x 9cm and similar, the album also containing 18 mounted albumen print views and ethnic studies of Middle East interest, various sizes, four views of Malta and Gibraltar, plus assorted British and European albumen print views, etc., mostly mounted as multiples and back to back on 24 stiff card leaves, occasional captions, contemporary half morocco, soiled and worn, covers detached and backstrip deficient, folio

617* Cartes de visite. A large quantity of cartes de visite and cabinet cards, both loose and in albums, together with a quantity of stereocards and cased images (a carton)

£100-200

618 Cartes de visite. A carte-de-visite album containing 191 windowmounted albumen print cartes de visite, circa 1870s, including approximately 150 topographical and ecclesiastical photographs from life, plus portraits and views including some front engravings and artworks, views and scenes include Derbyshire, Paris, Isle of Wight, Dartmouth, Great Malvern, Ross, Lynmouth, Liverpool, Jersey, Tunbridge Wells, Chester, Harrogate, Lyons, Geneva, the Alps, Interlaken, Lucerne, Cologne, Salisbury, Dorchester, Torquay, Cowes, Barmouth and Weymouth, some spotting to mounts, windowmounted four to a page, all edges gilt, contemporary embossed morocco with brass clasp, skilfully rebacked, a little rubbed, together with a late 19th-century British album with 49 mounted photographs (approximately 20 albumen prints, the remainder collotypes), including coastal views in England, mostly half plate and smaller sizes and mounted as multiples to 9 stiff card leaves (remainder blank), ink captions to mounts, contemporary cloth, rubbed and marked, morocco reback, oblong folio (2)

(1)

£150-200

621 Chapman (Harold). Paris - Les Halles, Codognan, 1985, twelve mounted gelatin silver prints (from photos taken in the 1960s), loosely contained, as issued, with preface and contents leaves in original black cloth solander box (marked), folio Signed limited edition, 15/16 copies.

(1)

£100-150

£100-150

619* Cased images. A group of 4 daguerreotypes, circa 1850s, including a quarter-plate oval daguerreotype of a seated woman, tinted highlights, two arched top sixth-plate daguerreotypes, one in good condition of a middle-aged man, the other of a couple, tinted, lid detached, the smallest of a young woman, lacking case, plus three ninth-plate ambrotypes, all lacking cases and one with half of backing glass deficient (7)

£100-150

622* China & Hong Kong. A group of 7 albumen print photographs, circa 1880, including view of Hong Kong harbour and hillside (both spotted), a Chinese execution site with western onlookers, two Chinese prisoners, a Chinese pagoda, plus two interior views of antiquities, each approximately 21 x 27cm, contemporary card or paper mounts (7)

£300-400

623* China. A group of 17 large albumen print views, circa 1870s, all rural scenes without figures showing rock hill and river valley formations, several featuring a house or other sign of dwelling, four numbered in the negative (11, 21, 22 and 24), each 23.5 x 28.5cm, original card mounts, some soiling, one photograph and mount heavily soiled, loosely contained in original cloth portfolio, gilt-titled ‘China/1875/JMH/3’ to upper cover, some soiling and wear, oblong folio (1)

Lot 620

142

£400-600

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Lot 623

143

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624* Churchill (Winston Spencer, 1874-1965). Portrait of Winston Churchill at the Garter Ceremony at Windsor Castle, circa 1960, vintage gelatin silver print, possibly by Cecil Beaton’s Studio, the sitter seated, full-length in ceremonial robes, 19.5 x 13.5cm, matted mount (1)

£100-150

625* Clifford (Charles, 1819-1863). View from the bottom of the Cuesta del Chapiz of Arab mills and the Alhambra, 1862, albumen print, 414 x 306mm (16.25 x 12ins), original mount (a little spotted to extremities including upper blank area of image) with photographer’s blindstamp at foot, ‘C. Clifford / Photo of H.M.’ (1)

£800-1200

626* Coster (Howard, 1885-1959). Portraits of William Wymark Jacobs (1863-1943), Charles Langbridge Morgan (1894-1958), Edward Verrall Lucas (1868-1938) and Sir Alan Patrick Herbert (18901971), circa 1930s, 4 vintage gelatin silver prints, various poses, each signed ‘Harold Coster, London’ in white china ink to lower area of image, 26.5 x 21.5cm and similar sizes, photographer’s copyright stamp to versos, plus photographic portraits of W.H. Auden (by Mark Gerson), Seamus Heaney (by Lucinda Douglas-Menzies) and Robert Lowell (by Judith Aronson), each signed by photographer, all framed and glazed (7)

£200-300

Lot 624

627* Darwin (Charles, 1809-1882). Portrait by Maull & Polyblank, circa 1855, mounted albumen print, three-quarter length and in threequarter profile, heavy spotting to left light blank area of image, 17 x 14.5cm, framed and glazed, remains of studio label pasted to verso Notable as the first popular image of Darwin, but one which Darwin disliked intensely, noting once in an 1860 letter to Hooker that “it makes me look atrociously wicked”.

(1) £200-300

Lot 625

144

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628* Darwin (Charles, 1809-1882). Portrait by [Herbert Rose] Barraud (1845-1896), [1881], albumen print cabinet card photograph, half-length, in three-quarter profile facing right, 140 x 96mm (5.5 x 3.75ins), printed signature of Charles Darwin and blind stamp of William Luks [1840-1911, photographic and fine art publisher and print dealer] to lower mount, Barraud’s printed name and address details to lower mount and verso This is one of five known poses by Barraud from 1881, believed to be the last (official) photographs taken of the great man before his death in 1882.

Provenance for lot 627 and 628: Arthur George Davis (1892-1957), palaeontologist, naturalist, book collector, by descent through the family.

(1) £300-500

629* Delamotte (Philip Henry, 1821-1889, attrib.). Two albumen print views of Crystal Palace, Sydenham, circa 1860, the first showing an exterior view of the centre transept and north tower from South Wing, the second an interior view of the Nave from the south, 19.5 x 25cm and the reverse, contemporary card mounts (2)

£200-300

Lot 628

630* Dorset. A group of 12 large-format albumen print views, circa 1880s, all on original mounts, ink captions include Wilham’s Bridge, Christchurch, Wimborne Minster (two exterior view, one interior and one view of the Chained Library with duplicate (by Frances Frith)), the remaining seven of Priory Church, Christchurch, all 24.5 x 29.5cm and similar, mounts a little soiled and chipped at extremities (12)

£150-200

631* Dutreux Family Photo Archive. A small archive of assorted family photographs and related, late 19th and early 20th century, mostly portraits and including Belloc Lowndes family, various formats and sizes, some framed and some contained in an ornate wooden box with family crest and monogram of Elisabeth Pescatore Dutreux (a carton)

£100-200

632* Edis (Olive, 1876-1955). George Bernard Shaw, c. 1936, half length, seated at desk with face turned to camera and lit by natural window light, vintage platinum print, 35.5 x 28 cm, together with David Lloyd George (1863-1945, prime minister), c. 1910, head and shoulders portrait, vintage platinum print, 48 x 38cm, flush mounted on original board, both with photographer’s signature in pencil to mount lower right, framed and glazed (2)

Lot 629

145

£200-300

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633* Egypt. A collection of approximately 30 albumen print views, late 19th century, including views of ruins at Karnak and Upper Egypt, a few identified A. Beato in the negative, the majority 20 x 27.5cm and mounted singly and back to back on thick card leaves, plus six related album card leaves with collotype views of Madrid, etc., all with ink captions to mounts dated 1906 and 1907, contained in contemporary worn cloth portfolio (1)

636 Essex Yeomanry - Robert Edwards. A group of three photograph and scrap albums relating to Robert Edwards and family, circa 1900-1920, one album containing mostly formal group portraits from schooling at Hazelwood through Wye Agricultural College sporting team and Essex Yeomanry, the second album a photographically illustrated scrap album containing cuttings, articles, letters, telegrams, etc., concerning World War I and Edwards’ involvement with the Essex Yeomanry, the third smaller album containing 40 window-mounted snapshots of family life and holidays, various bindings and sizes

£100-150

(3)

£100-150

634* Emerson (Peter Henry, 1856-1936). On the River Bure, [from Life and Landscape on the Norfolk Broads], 1886, platinum print, 13.2 x 23.4cm, original mount, together with a group of 30 mostly late 19th and early 20th-century British pictorialist photos of rural scenes and similar, various processes and sizes, one exhibition print with photographer identified as Marigo Scaramanga (14)

£200-300

637* Exhibition Prints. An assorted collection of 20th-century photographs, including photographs by O. Wunderlich of views in Spain, Haunts of Shakespeare photogravures tipped in to original mounts with letterpress tissue guards, plus other miscellaneous amateur photographer portraits, views, tree and genre studies, etc., mostly medium and larger format, many signed and titled on mounts (approx. 120)

£200-300

635* English Architecture. A group of 8 albumen prints, circa 1860s, including Fountains Abbey, Ripon Cathedral, etc., images 25 x 19.5cm and similar, minor marginal fraying and one short closed tear (8)

£150-200

Lot 638

146

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638* Exhibition Prints. A group of 40 large exhibition-size gelatin silver prints by F.L. Kennett, circa 1960s, including still life studies of vegetables, Albert Bridge, London, tableware, engines, etc., numerous duplicates and multiples, one with Kennett’s name identifying the photographer, approximately 50 x 40cm and similar sizes, some on thick card mounts (40)

£100-200

639* Fiske (George, 1835-1918). A group of ten albumen print views of Yosemite and Yellowstone Park, circa 1880s, plus two albumen print views of San Francisco Bay and coast, some titled and identified in the negative, 18 x 10.7cm (and two 16.5 x 21cm), all laid on contemporary card or paper mounts (12)

£300-400

641 Frith (Francis). Cairo, Sinai, Jerusalem, and the Pyramids of Egypt: A Series of Sixty Photographic Views, with Descriptions by Mrs Poole and Reginald Stuart Poole, published James S. Virtue, [1860], 25 mounted albumen print views only (of 60), each approximately 23 x 16cm, all but three with accompanying letterpress, two mounts cut down (‘Sinaitic Inscriptions’), some spotting and scattered damp staining to mounts, a little marginal fraying and chipping, contents (including title-page) loosely contained in original quarter morocco over cloth boards, rubbed, soiled and frayed, folio

640* France. An albumen print view of a town in southern France viewed from a hillside, by Miguel Aleo, circa 1860, photographer’s signature in red lower right, 19.5 x 25 cm, framed and glazed Miguel Aleo, active 1860s, is best known for his views around Nice and in Corsica.

(1) £100-150

Gernsheim, Incunabula, 129. This is volume 3 of Frith’s 1857 expedition.

(1) £300-500

147

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643 Gibbons Family Archive. A group of 4 photograph albums relating to the Gibbons family of the Leasowes, Halesowen, West Midlands, circa 1860s-1890, including two albums containing approximately 280 albumen print carte-de-visite portraits including some royalty, military and ecclesiastical interest but largely family related, one album with portraits pasted in and some with cut signatures pasted in adjacent, the albums also containing over 100 other albumen print views, including architecural interest, ink captions to mounts, some spotting and soiling, a few leaves detached, various contemporary bindings, mostly worn, oblong folio/4to (4)

644* Glamour Studio Portraits. A group of 10 studio portraits by Mayfair Photographers, 1930s, including a portrait of Gertrudge Lawrence by Paul Tanqueray, 29 x 24cm, signed clearly by the sitter and dated 1930 in the lower image, a similar portrait of Lettice by Hugh Cecil, signed and dated 1924 by the sitter to lower margin, further signed photograph including Joan Gardner by Tunbridge, Elspeth March by Denis De Marney, Angela by Walter Bird, a jumping dancer by Dorothy Wilding by unidentified signature, plus further glamour portrait studies by Baron of Rene Jainmare, Kazan Jian, Dorothy Wilding and a photograph of ice skater Sonja Henie with facsimile signature mostly on mounts, various sizes and all but one medium and larger format, plus 4 large hand-coloured glamour photographs by Studio Shergold with hand-colouring by Marjorie Morton, each 36 x 28cm

642 Georgia. An album containing 37 mounted gelatin silver print photographs of Kutaisi, Georgia, circa 1920s/1930s, including scenes of Rioni River through Kutaisi, White Bridge, Botanical Garden, Church of Annunciation, Kutaisi University, Bagrati Cathedral, street and market scenes, river scenes and railway scenes, Geguti Palace, beehives, Summer Dacha, etc., images 12 x 17cm, some matte and some glossy, some with thin border and some full bleed, possibly collected from different dates, mounted back to back and entirely uncaptioned on thick card leaves, contemporary ink inscription to front endpaper, inner hinges near broken, contemporary cloth, spine frayed and corners bumped, small oblong folio (1)

ÂŁ200-300

(14)

ÂŁ200-300

148

ÂŁ100-150

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645* Greece, Turkey, Italy. A group of 20 albumen prints, circa 1870-188, including buildings and views, three of Turkish merchants and traders, all medium and larger format, many on contemporary album leaves, others unmounted (20)

£100-150

646* Hepworth (Cecil, 1874-1953, British filmmaker). A group of 55 black and white prints from photographs, 1960s(?), showing scenes and characters from Hepwood films, approximately 19 x 29cm and similar, each mounted to backing board with ‘Hepworth L5160’ stamp and occasional annotations to mount verso, some with tracing paper tissue guard, seemingly made up for exhibition or promotional editing Hepworth was among the founders of the British film industry and continued making films into the 1920s at his Walton Studios.

(55) £100-200

Lot 644

647* Hill (David Octavius & Adamson, Robert). Three photogravure prints by James Craig Annan, circa 1905, from the original calotype negatives, circa 1845, each image approximately 20 x 16cm or the reverse, each titled in block capitals in pencil in lower margin (Miss McCandlish, The Birdcage, The Fish Quarter St Andrew’s - Newhaven Fish Wives), each tipped in to folded card at top corners (3)

Lot 645

149

£150-250

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Lot 648 648* Hill (David Octavius & Adamson, Robert). A group of 4 carbon prints, probably printed by Jesse Bertram from the original calotype negatives by Hill & Adamson, circa 1920, including portraits of Thomas Duncan, Albert Cay and Mrs Anna (Brownell Murphy) Jameson, plus Presbytery Group, Dunbarton, each approximately 20 x 15.5cm and one the reverse, original mounts (4)

650 Hong Kong. An album containing 72 corner-mounted mostly early 20th-century colour postcard views of Hong Kong, presented in 4s and back to back on 9 hand-painted silk leaves over board with thread for corner mounting, hand-painted silk pastedowns, contemporary lacquered boards with large partly damaged onlay of an eagle on a branch with flowers, a little edge wear, backstrip deficient with remains of crude old tape repair, together with a late 19th-century Japanese photograph album, 48 mounted hand-tinted albumen print views, including scenes in Nikko, Tokyo, Yokohama, Kyoto, Kobe, Nagasaki, etc., all with numbered printed caption in the negative, mounted back to back, each 21 x 26cm, contemporary linen-backed wrappers, some soiling and wear, both oblong folio

£200-300

649* Hong Kong. A group of 8 gelatin silver prints, 1905-06, including views of Glenealy Road, Botanical Gardens, Arthur Kennedy monument (Botanical Gardens), Chamber in the temple of the flowery pagoda, Canton, Chamber in medicine temple, Canton, European visitors at temple at Cheung Chau, Flower pagoda, Canton, and view of Macao, with the first Roman Catholic church, all 10.5 x 15cm, modern mat mounts (8)

(2)

£200-300

651* Hong Kong. A group of 33 diapositive lantern slides, circa 1910, mostly views, one badly cracked, plus two China lantern slides, all with pencil numbers and brief captions, including Chinese graves, Hong Kong harbour (HMS Tamar), Praya, Green Island, water conduit through hill, Kennedy Road, Human traction, Tytam Reservoir, etc., all 8 x 8cm, contained in four contemporary slide boxes with lids

£100-150

(36)

150

£150-200

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653* India & Ceylon. A group of 33 albumen prints of India and Ceylon, circa 1870-1880, including views and scenes by Bourne, Craddock, Skeen and Apothecaries Company, approximately 21 x 27cm and smaller, some on contemporary mounts and some unmounted

Lot 651

(33)

£100-150

654 India, New Zealand, etc. A photograph album containing British and other views, circa 1870s, albumen prints, including 15 views in India, 8 views in New Zealand, an oval view of Bahia, Brazil, 20.5 x 25cm, the remainder mostly British views, various sizes, pasted to rectos of 60 album leaves (2 photos loose), some pen or pencil captions to mounts, disbound, folio (1)

652* Hugo (Victor, 1802-1885). Signed portrait by Nadar, c. 1880, albumen print cabinet card, head and shoulders with near full face and arms folded, boldly signed at bottom border across photographer’s imprint details, photographer’s printed details to verso (soiled and marginal adhesion marks), photograph somewhat faded, small chip with loss to top right corner, short (2cm) vertical split at centre of lower border, paper surface loss affecting lower border and imprint details to right of ‘Victor Hugo’ autograph, 158 x 105mm (6.25 x 4.125ins) (1)

£200-300

151

£100-150

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655* India - (George) Victor Pont (1846-1931). A collection of 100 early and large platinotype views of India, mostly circa 1880s but some later, a total of 35 initialled V.P. and numbered in the negative, 65 not initialled or numbered but seemingly taken by Pont also, a total of approximately thirteen duplicates, plus 9 Victor Pont albumen print with initials and negative numbers, plus seven further albumen print views of India including one by E[rnest] Pont, one by Phillips and five blank (one identified W.H. Horton to verso), plus a photograph of Horton Stores, circa 1923, and two small studio portraits of Victor Pont’s son Leon (1883-1982), the majority of platinum prints and most albumen prints 24 x 29cm and similar sizes, a few much smaller, many with pencil identifications to verso, many platinum prints with some spotting or browning, the collection including approximately 13 duplicates

A rare and interesting photographic archive of India with notable early use of the platinum process. Not too much detail is known about Victor Pont, who was a district engineer for the East Indian Railway, while his brother and fellow noted and prizewinning photographer Ernest (18501922) worked as an inspector for the same Railway.

Photographs identified and dated from captions include: Kunaon: Bjhimthal Lake, about 1885, Annie Pont; A Road near Darjeeling; Primeval Forest near Kalingpong and Tibet Border; Teesta River between Darjeeling and Kalingpong; Benares. The Ghat where they burn the dead before committing ashes into the Ganges, about 1886; Beneares on the Banks of the Ganges; Hindoo Funeral - Cremation of a woman not he banks of the Ganges; New Bathing Ghat; Top of Bathing Ghat, Mirzapur; Bridge, Mirzapur; Grounds of Numair Museum; Ghat at Benares and showing various Temples; Tank at Numair Mausoleum; Gryuthee Bridge, 26.6.1889; Near Mirzapur, about 1890.

The bearded Victor is identifiable in two family group photographs in the collection. Provenance: The family of Victor Pont, by direct descent. (approx. 120) ÂŁ3000-5000

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153

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656* India. Manuscript diary of John Evelyn Gibbs (1879-1932) describing his extended visit to India, from 6 November 1907 to 1 January 1909, printed page to view with entries written in neat pencil giving details of daily routines, visits to Delhi, Agra, etc., contemporary morocco with gilt monogram and remains of clasp, 4to, together with an accompanying album containing approximately 70 photographs of his life in India, including some of the Viceroy Lord Minto, plus other ephemera pasted in, some annotations, contemporary straight-grain red morocco with gilt monogram to upper cover, worn and backstrip deficient, oblong folio John Evelyn Gibbs was part of the dynasty of Antony Gibbs & Sons, a British trading company with initial interests in cloth, guano, wine and fruit. He was veteran of the Boer War and of WWI. In 1919 he married Lady Helena Cambridge.

(2) £100-150

658 India. A group of 5 family photograph albums, circa 1910-30, containing hundreds of mounted snapshots and similar, many relating to military life in India and some First War World period spent in Kamloops, British Columbia, photographs of biplanes, Zeppelins, Quetta earthquake, etc., plus family and recreational activities, mostly in England or India, mostly small format and mounted or cornermounted as multiples in six albums, various bindings and sizes, plus two Lumiere autochromes of a garden with a young woman, each 3.25 x 4.25ins, plus a small contemporary autograph album and notebook with military signatures, sketches, cigar labels, etc.

657* India. A large group of approximately 100 photographs of India, circa 1900, all unmounted and included many photographs with printed captions and credit for Clifton & Co. in the negative (18.5 x 23.5cm), the remainder mostly 10.5 x 15.5cm, mostly annotated in pencil to versos in English, unmounted, together with original red morocco album in which the photos were originally loosely inserted, cracked on upper joint, folio (approx. 100)

(9)

£100-150

£150-200

659* Italian Antiquities. A group of 32 albumen prints of Italian antiquities and related, circa 1870s, mostly sculptures in Florence and Rome, 19 x 25cm and similar, original individual mounts including 14 with blindstamp of photographic studio (Reeve - 2 x Pompeii, Naya x 2, Brogi x 8, Cuccio and Breca), some mounts with contemporary ink captions and annotation, occasional spotting and soiling (32)

£100-150

660* Italy. The Forum, Rome, attributed to James Anderson (18131877), circa 1860, mammoth albumen print, laid on card, small chip to upper left corner, 41 x 55cm (16 x 21.75ins), together with a group of approximately 50 Italian albumen print views, artworks, etc., all unmounted, 20 x 26cm, plus 7 mounted similar and albumen prints of Italian artwork, mostly contained in a contemporary cloth album (approx. 50)

154

£100-150

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662* Italy. An album containing approximately 70 albumen print views of Rome, etc., circa 1880s, including temples and ruins, a few street scenes, mostly Rome but also including Taormina, also including albumen prints of Roman antiquities, some with printed captions in the photograph margins, various sizes, some spotting, mounted mostly as ones or twos and back to back on stiff card leaves, together with two further albums containing approximately 150 albumen prints of Roman antiquities and related, approximately 20 x 27cm and smaller, mostly loosely interleaved with album leaves, all contemporary half morocco, some wear, folio, plus a second edition of Constantine Rhomaides, ‘Olympia. The Hermes of Praxiteles’, Athens, 1894, with seven large phototype plates of antiquities (three large related albumen prints loosely inserted), original linen-backed wrappers, rubbed and soiled, chipped at edges with loss and several old sellotape repairs, slim large folio (4)

£150-200

661* Italy. A group of 80 mounted medium and large-format albumen prints, circa 1870s, mostly views in Rome plus some sculptures, etc., photographer credits include Somer (3), Naya (19), Brogi (15) and approximately 20 attributed to James Anderson, many with indistinct blindstamp of Jos. Spithover to mounts, plus approximately 20 further mounted albumen prints, mostly artworks (including some by Naya) and 8 views in France including 2 by Baldus, image sizes mostly approximately 23.5 x 18cm and similar, prints generally somewhat faded and mounts somewhat spotted, dust-soiled and chipped (approx. 100)

£200-300

663* Japan. An album of hand-coloured albumen print views, circa 1880, including scenes in Tokyo, Nikko, etc., some captioned in the negative, incomplete album with lower lacquered board present, together with four hand-coloured albumen prints of Japanese tradesmen and women, all photos approximately 20 x 26.5cm, plus one further uncoloured smaller albumen print of a Japanese basketmaker, 9 x 13cm (35)

Lot 662

155

£100-150

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Lot 664

664 Japan. A group of 4 photograph albums compiled by H.A. Scott [Canadian trade commissioner], circa 1911-18, mostly relating to life in Yokohama including scenes of the typhoon damage from 1911, street scenes, processions, village life, masonic meetings, cricket and hockey, one album also including scenes in Europe at the end of the war with visits to war graves in northern France, etc., a total of over 800 black and white photographs, mostly postcard-size and smaller format snapshots but also including some posed group photographs by J. Fukazawa, some larger posed group portraits by J. Fukazawa, partly chronological but slightly erratic and sporadically captioned to mounts, contained in four uniform contemporary cloth albums, two spine ties broken and contents partly loose, some edge wear, oblong folio (4)

£200-300

665 Japan. An album containing 50 colour-tinted albumen prints, late 19th century, views and scenes, including Nikko, Hakone, Nara, Nagasaki and Kyoto, plus tea gathering and other agricultural activities, flowers, women and children, etc., some with English title captions and numbers in the negative, 21 x 25.5 cm, mounted back to back on 25 stiff card leaves, a little spotting, contemporary pictorial lacquered boards with inset relief design of birds and leaves using mother of pearl and bone to upper cover, a little loss, bumped at extremities, neatly rebacked, oblong folio

666* Java. A four-part panorama of a quarry in Java, circa 1900, linen-backed gelatin silver prints, 20 x 180cm

667 Lake District. An album containing 40 finely executed small watercolour drawings over photographs of English Lake District (and a few Scottish Lake) scenery, early 20th century, image size approximately 8 x 10.5cm, mounted on thick paper within grey wash single-rule border, unsigned, all captioned in pencil, original card wrappers with cord spine tie, wrappers frayed, 4to

(1)

(1)

(1)

£250-350

£100-150

Lot 666

156

£300-500

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Lot 668

668* Lockwood (Lee). Fidel Castro in Cuba, mid 1960s, 4 vintage U.S. fibre-based gelatin silver prints, three showing Castro with workers and one with stethoscope examining a woman, 30.5 x 21.5cm or the reverse, wide margin, the last with small dye stain to lower left corner, Lee Lockwood New York wetstamps to versos Rare and fine examples on good paper.

(4)

ÂŁ700-1000

669* Macpherson (Robert, 1811-1872). Falls of Terni, Rome, circa 1856, oval albumen print, 275 x 375mm, numbered 139 in pencil within embossed stamp on the original mount, a little soiled and frayed at extremities A superb condition print.

(1)

ÂŁ700-1000

Lot 669

157

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Lot 670

Lot 671

158

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670* Macpherson (Robert, 1811-1872). The Coliseum on a smaller scale, with distant Latin and Alban mountains, and Church of St. John Lateran, circa 1856, oval albumen print, 220 x 385mm, numbered 32 in pencil within photographer’s embossed stamp to lower original mount (1)

£500-800

671* Macpherson (Robert, 1811-1872). View of the Valley and Town of Narni, circa 1856, oval albumen print, 245 x 325mm, together with Forum Romanum - General view from the Clivus Capitolinus, circa 1856, 300 x 400mm, plus The Castle and Bridge of St. Angelo, with the Vatican in the distance, circa 1856, 200 x 383mm, all with pencil numbers (140, 16 and 34) within photographer’s embossed stamp to lower original mount, plus 4 others by Macpherson from the same period, all on original mounts, numbers 33, 58, 101 and 123 (last two oval format), all with some degree of fading, some soiling and fraying to mounts not affecting images (7)

£300-500

673* Macpherson (Robert, circle of). Temple of the Sybille, Tivoli, circa 1857, albumen print, with hotel visible to the left and laundry hanging out to dry, 40 x 32cm, numbered 19 in negative, inscribed and captioned by James Spedding and dated 1857 to mount verso (1)

674* Magic Lantern Slides. A collection of 1,300 assorted magic lantern slides collected by Reverend Francis Edward Powell of St James Church, Southam, Warwickshire, circa 1880-1920, including much biblical interest including prayers and biblical quotations, but also including photographic views in Jerusalem and the Holy Land, photographic scenes around Naples and Capri, Greece, Pompeii, British castles and cathedrals, genre studies by Powell and assorted views including North America, Pan-Anglican Campaign, Romeo and Juliet, Little Black Mimbo, etc., all contained in 25 numbered wooden slide boxes and with fully detailed modern catalogue in ring binder giving provenance and notes, together with Powell’s original magic lantern with modern modification and accessories, in working order

672* Macpherson (Robert, 1811-1872). The Three Columns in the Forum, circa 1856, albumen print, 402 x 292mm, together with Fountain of the Piazza Barberini, taken in winter, 263 x 365mm, plus Temple styled ‘Della Tosse’, Tivoli, 310 x 405mm, all numbered in pencil (92, 40 and 120) within photographer’s embossed stamp to lower original mount, plus 7 further large albumen prints of Rome interest by Macpherson, all on original mounts with pencil numbers (58, 64, 66, 72, 85, 150 and 154) within photographer’s embossed stamp to lower original mount, all with some fading, some soiling and fraying to mounts not affecting images, plus four unmounted albumen print views of Venice (?all by Ponti) (14)

£300-400

£300-500

(an archive)

£200-300

675* Magic Lantern Slides. A large collection of mostly late 19thcentury magic lantern slides, including approximately 60 hand-coloured magic lantern slides showing action in the AngloEgyptian War and its various battles, portraits of Generals, views of Egypt and the Nile, plus approximately 120 photographic slides of Asia and Far East including many hand-tinted, plus a small group of photographic slides relating to Osborn machinery and manufacture, plus a group of approximately 70 photographic lantern slides of France, mainly scenes in Brittany, plus a complete set of a handcoloured photographic story about temperance produced for the United Kingdom Band of Hope Union titled ‘Ruth Burnett’s Prize’, some seals worn, contained in 7 wooden or card lantern slide boxes (a carton)

159

£150-200

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676* Magic Lantern Slides. An assorted group of photographic views and colour story slides, late 19th and early 20th century, some in boxes but largely loose, some seal wear, mostly 8 x 8cm but also including 8 x 11cm, etc. (a small wooden box)

£70-100

679* Mendelssohn (Hayman Selig, 1847-1908). Portrait of an unidentified young woman, circa 1900, hand-painted photograph, half-length in front of a heavy drape, signed ‘H.S. Mendelssohn’ lower left, 29 x 24cm, framed and glazed in a velvet-covered desk photo frame (marked ‘H.S. Mendelssohn, Pembridge Crescent, W.’), with two hinged covers and gilt clasp, velvet partly rubbed and wood showing through a few splits at front (1)

£150-200

680* Middle East. A group of 9 albumen prints by Antonio Beato and Jean-Pascale Sebah, circa 1870, the two by Beato of temples at Karnak, both signed in the negative, 22 x 25cm and slightly smaller, card mounts, the others by Sebah mostly of ruins but including one view of Cairo, signed and mostly captioned in the negative, three loose, three on contemporary mounts and one on modern archival mount, 20.5 x 27cm and 2 larger, plus a large albumen print of a Middle Eastern mosque [by F. Meissner, 1860s], 26.5 x 42.5cm, original mount, some marks to image and mount, plus other British and European albumen print photography interest including an album with 40 views

677* Mance (Henry Christopher, 1840-1926). Portrait of the English electrical engineer Henry Mance sat at a small table with a prototype of his invention the heliograph, circa 1869, albumen print carte de visite, printed credit stamp of Sind, Kurrachee to verso and near-contemporary pencil note dating the photograph to November or December 1869, 9 x 6cm In the photograph the young and bearded Mance sits in his army uniform with his hand resting on a morse code key attached to a swivelling device on which is mounted a rectangular plate with a hole in its centre, the apparatus is mounted on a rotating stand. Apparently a prototype of the heliograph, Mance started working on his invention in 1869 while stationed in Karachi. Mance made a patent application at the US patent office in February 1876. Rare.

(1) £100-150

(17)

£200-300

681* Miscellaneous photography, late 19th and early 20th century, a group of 10 albums containing mostly British and European views, family pictures, genre subjects, etc., various bindings and sizes

678* Maull & Polyblank. A group of 4 portraits, late 1850s, arched top albumen prints on original mounts within gilt borders with photographers’ imprint details at foot of each, subjects include Robert Stephenson (1803-1859), Thomas Graham (1805-1869) and Samuel Warren (1807-1877), images 19.5 x 14.5cm, plus a head-andshoulders portrait of Viscount Palmerston, photographed for Herbert Fry’s National Gallery of Photographic Portraits, late 1850s, oval albumen print, 20 x 16.5cm, original mount with imprint and facsimile autograph of the sitter to lower mount, all framed and glazed, plus other mostly French Woodburytype portraits, mostly framed and glazed

683* Miscellaneous photography, late 19th and 20th century, an assorted collection of broken albums and loose and mounted photographs, including British and European views, Japan and India interest, plus erotica, etc.

(20)

(a carton)

(10)

£100-200

682* Miscellaneous photography, 19th & 20th century, including albums, loose prints and press photos, various subjects and sizes (2 cartons)

£100-150

160

£100-200

£150-200

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684* Miscellaneous photography, mostly late 19th century, a group of 12 assorted photograph albums including views, snapshots, etc., mostly British and European interest, various bindings and sizes, mostly worn, together with a group of early 20thcentury glass plate negatives, mostly relating to a British family and mostly contained in 20 medium and small-format Ilford card boxes and two wooden slide boxes (2 cartons)

688* Mountaineering. A group of 44 vintage photographs of Himalayan, Alpine views, etc., by Sir George Bishop, circa 1960s1970s, including 26 colour photographs and 18 gelatin silver prints, mostly 30 x 38cm and similar, 12 on contemporary mounts and 23 mounted, framed and glazed, together with 40 assorted smaller photographs by and relating to Bishop including some further mountaineering interest, plus a small case and bag containing Bishop’s maps, guides and trekking holiday correspondence

£200-300

Sir George Sidney Bishop (1913-1999), civil servant and businessman. An avid climber from the age of 8, he began climbing in the Alps with his wife Una in the 1960s. Moving further afield he went on eighteen Himalayan expeditions, mainly to Nepal. He became President of the Royal Geographical Society from 1983 to 1987. A good and keen photographer who took some 12,000 photographs in the Himalayas, most of the larger photographs here being exhibition prints, a few with annotation to verso or mounts. (an archive) £150-200

685 Miscellaneous photography, late 19th and early 20th century, a group of 20 assorted albums containing views, snapshots, etc., mostly British and European interest, various bindings and sizes, mostly worn (20)

£100-200

686* Miscellaneous photography, 19th century, a large quantity of assorted albumen print views, etc., including Europe, Middle East, various sizes, a mixture of old album leaves and unmounted photos, plus a small group of 20th-century photographs (a large folder)

£100-200

689 Mountaineering. An album of photographs recording climbing expeditions in the Alps, 1922-26, seemingly compiled by J.C. and/or H.J. Gait, mostly mountain and valley views, occasionally with figures, a total of approximately 180 gelatin silver prints, all but approximately 20 mounted as multiples to album leaf rectos and versos, neat ink captions in English to mounts, the majority 8 x 10cm and four or five to a page, four loose leaves with brief summaries of earlier expeditions loosely inserted, contemporary boards with cloth spine tie, a little rubbed, oblong folio

687* Modern photography. A large archive of modern photography interest, mostly circa 1980s and later, including colour and black and white professional photographs, slides, contact sheets, negatives, advertising sheets, the majority of photographs by unidentified photographers, various sizes, some framed and glazed for exhibition display (10 cartons & framed items)

Other names identified in the notes include R.S. Morrish and Boardman. J.C. Gait is identified in the album once and otherwise by initials.

(1) £150-200

£300-500

690* Mountbatten (Edwina, Lady). Full-length portrait by Kinsey(?), vintage gelatin silver print, signed by photographer in image lower right, 27.5 x 18.5cm, signed in the lower margin ‘With best wishes Edwina Mountbatten of Burma’, framed and glazed with provenance and cutting to the desk stand at rear, indicating that this was presented to Captain J. Telfer Dunbar from Lady Loms, 1947, and relates to the swearing in of Rear Admiral Lord Mountbatten of Burma as Governor General and Viceroy of India, together with a contemporary gelatin silver print of Rajah in his car outside the Grand Hotel, two Colombo street scenes by Scowen and three small panoramic photos (7)

Lot 688

161

£100-150

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Lot 691

691* Muybridge (Eadweard, 1830-1904). Cap of Liberty, Valley of the Yosemite No. 31, 1872, mammoth-plate albumen print, 1872, 423 x 535mm (16.75 x 21ins), contemporary card mount (1)

ÂŁ2000-3000

162

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692* NASA - Lunar Photographs. A group of 4 vintage chromogenic prints on fibre-based paper relating to Apollo 10, May 1969, including Apollo 10 viewed from over moon, view of moon and view of moon receding, all with Kodak Paper watermark on verso, three with printed red NASA numbers to upper margin, AS10-27-3873, AS10-27-3907, AS10-27-3956, the fourth with AS-10-34-5112 inscribed to verso, plus four vintage gelatin silver prints from the same Mission showing details of the moon, AS10-31-4537, AS10-31-4650, AS10-32-4819 and AS10-32-4845, mostly a little creased or bruised at corners, 20 x 25cm including margins, photocopy press release to accompany all but one photograph (AS10-34-5112) (8)

ÂŁ300-500

163

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Lot 693

164

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693 New Zealand & Australia. An album of approximately 120 mounted albumen print photographs, mostly circa 1870s, including two oval profiles of the last Tasmanian man and woman, each with embossed stamp of A. Winter, Hobart Town to blank area lower left, the remainder mostly views including Port Chalmers, Dunedin, Hawdon’s Station, Christchurch, Crossing the Bealey River, Headwaters of the Waimakariri River, Summit of Arthur’s Pass, Zigzag, Mount Cook, View in the Black Pine Forest, Cage for carrying passengers over the Teremakau River, Hot Spring, Rotomahana, Group in front of a house at Kansaiki, Wanganui, Milford Sound, Adelaide, Melbourne, Sydney, Blue Mountains, Murray River, etc., photographers identified include Mundy, H. King, Beattie, C. Bayliss, Burton and Sweet, approximately 28 x 21cm and smaller, mostly mounted between one and four to a page and back to back throughout, scattered ink captions to mounts, some spotting and soiling throughout, contents broken and loose in contemporary half morocco, covers detached and spine deficient, folio (1)

695 North Yorkshire - Guisborough Hall. Commemorative photograph album of Guisborough Hall, early 1900s, 24 carbon prints

by Walton Adams, Reading, many with studio blindstamp to lower corner, showing exterior and interior views of the Hall, 22 x 27.5cm and similar sizes, mounted singly and without captions to album leaf rectos with linen backing to each, blanks at rear, original oak carved album with decorative motif and lettering to upper cover, cloth base, slightly rubbed and soiled, heavy oblong folio, 31 x 43cm Gisborough Hall is a nineteenth-century mansion house, now a hotel, built in Jacobean style. The house at this time would have belonged to Richard Godolphin Walmesley Long, created Baron Gisborough in 1917. Walton Adams (father of Marcus Adams) had a studio in Reading from 1886 until 1922.

Provenance: The Adams family by direct descent.

(1) £200-300

696* Nudes. A group of 20 vintage gelatin silver prints by Stephen Glass, 1950s, mostly single-subject studies, credit stamps to versos, mostly 20 x 25cm and some smaller

£700-1000

(20)

694* North England. A group of 34 gelatin silver prints of Whitby

by R.A.R. Bennet, circa 1880s, mounted on 5 detached album pages, each approximately 11 x 15.5cm, together with 5 further album leaves containing 15 whole-plate photographs of Lake District

by G.P. Abraham, circa 1920s, plus 19 loose whole plates by Abraham with blindstamp or credit stamp to verso, plus a photograph of Windermere Ferryboat by A. Pettitt and 6 half-plate photos of Barnard Castle by E. Yeomans (30)

£70-100

697 Ogawa (Kazumasa). The Russo-Japanese War: Taken by the Photographic Department of the Imperial Headquarters, [Part 3], numbers 13-18 bound as 1, Tokyo, 1904, 182 collotype plates including one double page, correct as lists to each part, contemporary morocco gilt with title to lower cover and monogram ‘AJC’ to lower corner, rubbed and marked, oblong folio (1)

£100-150

Lot 695

165

£100-150

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698*AR Parkinson (Norman, 1913-1990). Air hostess waving in front of the nose of a British Airways aircraft with a second aircraft visible behind, circa 1950, vintage gelatin silver print, the reverse with photographer’s ‘Norman Parkinson, 1 Dover Street, Piccadilly, Regent 4388’ wetstamp and copyright stamp, further credit labels of John Stroud Collection and Aviation Picture Library (Austin J. Brown), 20.8 x 15.5cm (1)

700*AR Parkinson (Norman, 1913-1990). Two studies of a British Airways aircraft, circa 1950, vintage gelatin silver prints, one oblique and above from the front, the second oblique looking up from the ground from rear, both with Norman Parkinson wetstamp and copyright stamp to versos, 21 x 16cm (2)

£400-600

701*AR Parkinson (Norman, 1913-1990). Study of a British Airways aircraft, circa 1950, vintage gelatin silver print, taken on the ground directly from the back with white cloud sky backdrop, corners a little bumped, together with a second study, taken looking downwards obliquely from above and showing the whole aircraft with a flag fluttering in the foreground corner, both with Norman Parkinson wetstamp and copyright stamp to versos, the second with ‘Return to John Stroud’ inscribed to verso, 20 x 28cm and 15.5 x 20.8cm

699*AR Parkinson (Norman, 1913-1990). Three air hostesses laughing while stood next to a British Airways aircraft with pilot behind them, circa 1950, vintage gelatin silver print with Norman Parkinson wetstamp, copyright stamp and later credit labels of John Stroud Collection and Aviation Picture Library to verso, also printed caption label numbered 1419A, 15.2 x 20.6cm (1)

£500-800

(2)

£400-600

166

£400-600

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702*AR Parkinson (Norman, 1913-1990). British Aerospace aircraft studies, circa 1950, vintage gelatin silver prints, including one showing pilot and mechanic inspecting an aircraft, plus three partial views of an aircraft taken from the ground, each 18 x 24cm or very similar

704*AR Parkinson (Norman, 1913-1990). A group of 3 British Airways aircraft studies, circa 1950, vintage gelatin silver prints, each taken from the ground and showing a part of the aircraft and each with one or more pilots or passengers in view, two with John Stroud identification to verso, 19 x 24cm and slightly smaller

(4)

(3)

£500-800

£400-600

705*AR Parkinson (Norman, 1913-1990). Three studies of British Airways aircraft, circa 1950, vintage gelatin silver prints, each taken from the ground and looking obliquely upwards at the nose, each 19 x 24cm (3)

703*AR Parkinson (Norman, 1913-1990). A group of 5 British Airways studies, circa 1950, one showing an engineer working on the tailfin, the other four all showing inspections and works undertaken in the hangar, three with ‘Return to John Stroud’ inscribed to verso, 18.5 x 22.5cm or the reverse (5)

£500-800

167

£400-600

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706*AR Parkinson (Norman, 1913-1990). Five studies of British Airways aircraft, circa 1950, vintage gelatin silver prints, each closeups of the front of the aircraft taken upwards from the ground, 19 x 24cm (5)

£600-800

708*AR Parkinson (Norman, 1913-1990). Two studies of British Airways aircraft, circa 1950, vintage gelatin silver prints, one looking upwards from under the right wing, light vertical crease, the second looking obliquely along the aircraft from the tail, 23.5 x 18cm and similar, plus 4 further gelatin silver prints of British Airways aircraft attributed to Norman Parkinson, later printings, 16 x 20cm and similar (6)

707*AR Parkinson (Norman, 1913-1990). Six studies of British Airways aircraft, circa 1950, vintage gelatin silver prints, all showing the whole aircraft from the ground or above, one with minor scratch marks to sky area, 19 x 24cm and very similar (6)

£600-800

168

£300-5003

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711* Portraits. A large collection of gelatin silver print portraits by Vivienne studio, early to mid 20th century, many 16 x 12cm including multiples of the same mostly unidentified sitters, some stamped ‘Proof’, 16 x 12cm, plus a number of larger prints by Vivienne including some identifiable personalities, Helen Shapiro, Mai, Vanessa Redgrave, Pat Smyth, John Profumo, Leslie Mitchell, Keith Joseph, Celia Johnson, Julie Hopkin, Duke of Edinburgh (playing cricket), copyright stamp, Antony Beauchamp, Zena Dare, Carole Carr, Jane Asher, the majority with Vivienne credit stamps to versos, over 1,000 prints in total, plus a quantity of over 100 mid 20thcentury professional photographs of architectural interest, 26 x 20cm, plus a group of 8 larger format colour and black and white female modelling photographs, circa 1970s

709 Perckhammer (Heinz von). Edle Nacktheit in China, 1st edition, Berlin, 1928, 31 photogravure plates on 16 leaves, original stiff wrappers printed in red with linen spine tie, some dust soiling and marginal browning, several chips and nicks, 4to (1)

£200-300

(a carton)

£100-200

712* Press photos. A very large collection of assorted black and white photos from TV Times, Press Association, etc., circa 1950s/60s, largely organised in card folders, subjects including crime, murder, chess, gambling, entertainment, seaside, camping, pantomimes, operas, literature, numerous portraits, some photographed not from life, many with editorial markings, mostly 20 x 25cm and similar sizes (4 cartons)

710* Philippines & Java. A good group of vintage gelatin silver prints, circa 1890-1900, including seven ethnographic portraits in the Philippines, (16.5 x 11.5cm and similar, captioned in the negative, four tipped on to two album leaves), plus a rubber tree in Java, a cow and native in Madagascar and two scenes of a Chinese funeral in Java (21 x 28cm) (11)

£150-200

169

£200-300

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Lot 715

170

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713* Price (William Lake, circa 1810-1896). A Brace of Birds, 1857, photogalvanograph engraved after a photograph of two partridges

by Lake Price, arched top, 29.5 x 24.5cm, engraved details to lower margin, some spotting to borders, contemporary card mount (1)

£200-300

714* Prout (Victor Albert, 1835-1877). Eton from Lower Loch, published by Ingalton & Drake, Eton, circa 1860, arched top albumen print, 21 x 26cm, original mount with publisher’s credit at foot (1)

£70-100

715* Rejlander (Oscar Gustave, 1813-1875). Two portraits of Alfred, Lord Tennyson (1809-1892), early 1860s, albumen prints, half length from the same sitting, one full face and one three-quarter profile, each 15 x 10.5cm, original mounts, a little spotting and soiling (2)

Lot 716

£700-1000

716 Rome. An album of small-format lightly albumenised salt prints, circa early 1850s, 41 salt print views, each approximately 7 x 7.75cm or very slightly larger, mounted to album leaf rectos with neat ink captions in French lower right, some slight spotting and soiling and marginal insect damage to last few leaves not affecting photographs or captions, contemporary morocco-backed cloth, rubbed and soiled with a little loss at head of spine, 13.5 x 17.5cm Possibly attributable to Alfred Nicolas Normand (1822-1909) who certainly was photographing similar views in Rome, circa 1850-51. Besides typical views of buildings, monuments and ruins, several prominently feature trees and vegetation, including the Fountain of the Villa Medici, Villa Borghesi, Massif du Pincio, Villa Mondragone and Villa Pamphili.

(1) £300-500

717* Salt prints. A group of 3 large-format salt prints by an unidentified photographer, circa 1850, including a view through a winter woodland, a rustic bridge and a rocky riverbed in a valley, each approximately 22 x 30cm or the reverse, contemporary mounts (somewhat spotted) (3)

£300-500

Lot 717

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718* Shadbolt (Cecil Victor, 1859-1892) - Aerial Photography & Ballooning. A remarkable and historic collection of 76 magic lantern slides as owned and used by pioneering hot air balloonist-photographer Cecil Victor Shadbolt for his lecture ‘Balloons and Ballooning’, circa 1882-1892, including 27 vertical and oblique aerial photographic views of London and one of the Eiffel Tower, plus two colour photographic slides of Reliance and a second balloon with crowds, one of Shadbolt and ‘Captain’ William Dale in the balloon car for Reliance (with Shadbolt’s camera visible and attached to the basket), two further photographic slides of the balloon being inflated with Shadbolt just visible among crowd scenes of each, five further photographic slides of the second balloon [‘Victoria’] airborne taken with balloon to balloon photography, in one of which a man stands on the edge of the balloon car, one slide giving the brief handwritten details of Shadbolt’s first successful balloonphotography ascent on 29 May 1882, the remaining 37 magic lanterns slides from engravings or drawings, all but four coloured and including the first slide to the lecture with decorative title ‘Balloons and Ballooning, “Upward and Onwards”, by C.V. Shadbolt’, some slides with manuscript order numbers, occasional captions and Shadbolt’s name, presumed in his hand, scattered minor mildew, but generally very good condition with seals intact, one non-photographic slide with hairline crack, contained in one large and one small wooden lantern slide box An extraordinary collection, including the earliest known surviving aerial photograph of Great Britain, being that of Stamford Hill, taken on 29 May 1882 (reproduced from an original or copy held by George Eastman House in Beaumont Newhall’s The Airborne Camera: The World from the Air and Outer Space (1969), p. 37.

Cecil V. Shadbolt & ‘Captain’ William Dale

The lantern slide reproducing handwriting gives Shadbolt’s account of this historic occasion: ‘1st Ascent: 29th May 1882 (Whit Monday), Balloon ‘Reliance’ from Alexandra Palace. Started at 4pm. Descended at 5.30. Duration of voyage 1hr 30 mins. Distance travelled 14 miles. Miles per hour 9 1/3. Highest altitude 5,000 ft. Place of descent Ilford. 5min walk from station. Remarks: Weather fine and bright, but clouds were high so did not get above them. At 5000 ft noticed that although we were in shadow the sun was shining on the earth below. Obtained very successful photograph of Stamford Hill district at altitude of 2000 ft and several others not so good. Came down in a field of green corn and experienced very rough treatment at the hands of the crowds who tore the balloon and Barker’s coat in addition.’

The details and dates of some other sixty ascents by Shadbolt are not documented but it is thought that the majority or all of these aerial photographs were taken in the 1880s, and certainly no later than 1892 when Shadbolt died in a tragic ballooning accident at the Crystal Palace along with the balloon’s pilot Captain Dale.

Other views identified on the slides (probably in Shadbolt’s hand) include Catford Bridge from 1900 feet (two similar views) and 1960 feet, Sutton from 800 feet, Beckenham Junction from 1500 feet, January on Wardle River from 1000 feet, Thornton Heath from 1500 feet, 6,000 feet Belvedere, 4,800 feet Dartford. Also identifiable is Blackheath: see illustration of similar Shadbolt photograph in Gaston Tissandier, La photographie en ballon (Paris, 1886), p. 21. Interestingly, this is accompanied by a short two-page chapter about Shadbolt’s balloon photography experiences in England in 1883 (sic). This mistaken date of 1883 is repeated in the article on Aerial Photography in John Hannavy (ed.), Encyclopaedia of Nineteenth-Century Photography (2007), pp. 12-13. The other clearly identifiable photograph is that of Crystal Palace, Sydenham, which is captioned as photographed at 2,000 feet. This photograph is a little blurry compared to the others and may well be because it was taken from a tethered balloon rather than from a free floating balloon and thus liable to more shake and vibration. In spite of the regular tethered balloon flights at Crystal Palace this is believed to be the earliest known surviving aerial photograph of the building of Crystal Palace itself.

The one aerial photograph present in this collection not of London is that of the Eiffel Tower (opened 31 March 1889). ‘A very successful photograph of Paris, showing the Eiffel Tower and Exhibition Buildings, has been taken from a balloon by Mr Cecil V Shadbolt, of Chislehurst, and is published by Messrs Heywood and Co, 62, Ludgate Hill, EC’ (The Graphic, 30 November 1889). The Cambridge Daily News adds that the photo was taken ‘from the car of the captive balloon in the Exhibition grounds, at a height of about 1,000 feet. The landscape is remarkably clear, and the tower itself stands out boldly, dwarfing its surroundings into insignificance’ (23 November 1889).

The photographs are remarkably clear and when magnified show very clear detail of houses, railway cuttings and other landmarks, notably the River Thames appearing in several of the slides. Four views are seen through some cloud cover. Of the other photographic slides one is notable for showing Shadbolt (and Captain Dale) with his camera, sitting on the edge of the balloon car and looking straight at the camera. This photograph is credited to H. Chubb of Chislehurst, close to where Shadbolt lived. This photograph is reproduced in The Photographic News, 17 October 1884, p. 659. The same article also includes the ‘Blackheath’ vertical as later published by Tissandier. The majority of photographs present here have not been traced elsewhere.

Of the non-photographic slides (all but five of which are coloured illustrations) some show man’s various unusual attempts to fly and other incidents from ballooning history, real or imagined. Of the uncoloured slides two show scenes of mobbing, a not uncommon phenomenon with people angry at man’s unnatural and godly attempts at flight. As described in Shadbolt’s description of his first ascent in the slide included here it was something that Shadbolt suffered at least once. The other black and white slide that should be noted is the reproduction of a famous engraving from a drawing by W.L. Wyllie, reproduced in The Graphic, May 1884, showing a bird’s-eye view of London as seen from a balloon.

Timeline: 1784 Vincent Lunardi makes first successful balloon flight over British soil.

1787 Robert Barker patents the Panorama, depicting views seen from a lofty viewpoint.

1858 Nadar captures the first aerial photograph over Paris from a tethered balloon. The ‘tolerable’ result has not survived.

1860 Oldest known successful surviving balloon photograph: a view of Boston, USA, by Professor Samuel A. King and J.W. Black.

1863 Henry Negretti takes first successful aerial photographs over England in a free flight above the River Medway. Once again, the results have been lost.

1879 Jean Nicolas Truchelut credited with taking first dry-plate aerial photographs of Paris in a balloon.

1882 Earliest known surviving aerial photograph of Great Britain: Cecil V. Shadbolt, vertical view of Stamford Hill, London, 29 May. 1883 Earliest known air photograph from a balloon taken in Canada, by Captain Henry Esdale.

1909 Wilbur Wright takes first aerial photographs from an aeroplane, near Rome.

1946 US launched V2 gives first photographic view of Earth from space.

Digital slideshow available link available at the auctioneer’s website.

(76)

£7000-10000

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719 Smith (Theophilus). Sheffield and its Neighbourhood, Photographically Illustrated by Theophilus Smith, 1865, 16 mounted albumen print photos including additional vignette title, images mostly 10 x 8.5cm, some spotting, old water staining throughout, heaviest at front but affecting all leaves, slightly shaken, all edges gilt, original gilt-decorated cloth, rubbed and partly water stained, small 4to Gernsheim, Incunabula, 279.

(1)

£100-150

720* South Africa. An album of 62 albumen prints, late 19th century, including views and gardens, settlers and ethnic types, many with captions and initials of the photographer George Washington Wilson in the negative, including a four-part panorama of Cape Town and Table Mountain, linen-backed and partly laid down (23 x 115cm), other photographers include F. Pollard and Deale Brothers, many approximately 18.5 x 23cm and mounted one or more to a page and back to back on stiff card leaves throughout, contemporary half morocco gilt, rubbed, oblong folio, together with a group of 33 photographs of South Africa, circa 1900, mostly showing gardens, rural views and towns in Bulawayo and surroundings, some captioned and credited in the negative, photographers including W. Rausch, F. Pollard and J. & M. Lazarus, plus 4 other photographs depicting stuffed animals and identified to versos as exhibits at the Grahams Town exhibition of 1898, one photograph frayed without loss (99)

£200-300

Lot 719

721 South Africa. Pretoria - Pietersburg Railway Company Limited, 1899, a presentation photograph album given to G. Mayo by the Administration of the Company on the occasion of the opening to Pietersburg, 31 May 1899, 46 window-mounted gelatin silver prints, many with brief captions in the negatives, showing trains, groups of workers, bridges, stations and views, etc., window-mounted back to back on 23 stiff card leaves within printed gilt borders and with neat ink captions to mounts, lacks 47th and final photograph (Opening trains leaving Pretoria May 31st 1899), images 15 x 20cm, some spotting to mounts throughout, neat manuscript dedication leaf at front, somewhat shaken, original padded morocco with gilt title to upper cover, bruised and worn with several tears, oblong folio The Pretoria-Pietersburg Railway Company was founded on 13 May 1896 in London, and on 31 May 1899 the official opening of the railroad was celebrated.

The daily service became very popular but due to the outbreak of the South African war the service came to an end. The city is now known as Polokwane.

(1) £400-600

Lot 720

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722 Tamamura (Kozabura). A Japanese photograph album containing 36 hand-coloured albumen print photographs, late 19th century, including temples, views, a street scene (Osaka Street), geishas and tea ceremonies, a street brushes seller, textiles seller, tea pickers and a group of two young children with babies in papooses, many with captions in the negative, each 24 x 19cm, mounted back to back on stiff card leaves with tissueguards present, album complete, all edges gilt, contemporary Japanese lacquered boards with birds and blossom designs to covers, leather backstrip (rubbed) detached but present, oblong folio and contained in original pictorial cloth book box, rubbed and marked and split on folds (1)

ÂŁ1000-1500

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Lot 723 723* Victorian Celebrities. A group of four carte-de-visite size albumen print portrait photographs, early 1860s, including Chang Wu Gow 'The Chinese Giant' (1841-1893), Deerfoot (Lewis Bennett, 1828-1897) and two portraits of the first trapeze artist Jules Leotard (c. 1839-1870), all full-length poses, four contemporary card mounts with neat single word pencil caption to each, 9.5 x 6cm and slightly smaller, plus a contemporary album containing 40 pasted in cartede-visite albumen print portraits with military and theatrical interest, plus some larger portraits, country house views and mostly smallformat views in South Africa and the Alps, etc., some leaves detached, hinges broken, contemporary morocco, rubbed, 4to (5)

£150-200

725* Whistler (John, 1830-1897, attrib.). Study of broom, potato basket, pitcher and lamp in corner of sunlit brick courtyard, 1850s, salt print, 25.5 x 22cm, contemporary card mount, spotted, horizontal centre crease not affecting image Whistler was a prosperous builder and decorator from the village of Sherborne St. John, near Basingstoke in Hampshire. He took up photography in the 1850s, his only extant works being salt prints dating from this period, mainly cottage and rural scenes. He was the grandfather of the artist, Rex and Laurence Whistler. The Getty Museum hold an image of a girl leaning in the doorway of a brick farmhouse, the brick floor, broom, potato basket and pitcher featured in this photograph appearing identical.

(1) £300-500

724* West Africa. A collection of vintage gelatin silver prints of Nigeria and West Africa taken by A.G. Dunnington, MD of Advertising Publicity Techniques Limited, 1959, many relating to the principal purpose of the tour photographing the uses of steel fabrication, but also including many of ethnographic interest, all 20 x 25cm on glossy double weight paper, VG (approx. 100)

£200-300

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726 World Tour. A good large photograph album of worldwide views, 1890s, mostly medium and large-format albumen prints, pasted as singles and multiples to rectos and versos of 40 stiff card leaves with neat ink captions in English throughout, including a three-part panorama of Gibraltar, 16 x 52.5cm, 18 street scenes and ethnographic portraits of Morocco, one of a group in Egypt dated 1888, 7 views of Biarritz plus other views of Pyrenees and related, views of Germany (including collotypes), a three-part panorama of Funchal, Madeira, 14 views of Madeira and Canary Islands, 7 views of Warwick and Stratford, 3 views of New York, one of the Hudson, 4 of Niagara Falls, 11 views of Chicago from 1892 and 1893, photographers mentioned in the negative include J.W. Taylor and E.R. Walker, 16 views of Canada including a two-part panorama of Montreal by Notman, 18 x 46cm, 7 views of Boston, Philadelphia (3), Washington (8), Royal Chester Rowing Club 1893, scenes from the opening ceremony of the Wilhelms Canal, 1895, Prince Bismarck’s 80th birthday and similar, views in Lisbon (7) and ending with views of Spain including Malaga (38), some spotting, contemporary half morocco, some wear, upper board and spine near detached, large oblong folio (40 x 58cm) (1)

ÂŁ600-800

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727* Zimbabwe. An album of views of Victoria Falls and locality, circa 1905, the first twenty-two with printed captions beneath and identified by a printed photographer’s list loosely inserted as the work of L. Pedrotti, Bulawayo, the final fifteen uncaptioned platinum prints also mounted one to a page and back to back throughout, all approximately 21 x 29cm and similar sizes, hand-coloured printed sketch plan of Victoria Falls mounted to front pastedown (20 x 27cm), five stiff card leaves blank at rear, contemporary plain buckram, rubbed, folio The printed list offers twenty-seven views of Victoria Falls by Pedrotti as platinotype prints, this album containing all but numbers 13a, 15, 18, 19 & 20.

(1) £150-200

Lot 727

MARCUS AND GILBERT ADAMS PHOTOGRAPHY ARCHIVE (Arthur) Walton Adams (1842-1934) was a photographer who worked in Southampton and Reading. He was the co-inventor of the dryplate process. His son, Marcus Adams (1875-1959), established a reputation as a leading child photographer. In 1919 he joined up with Bertram Park (1883-1972) and his wife Yvonne Gregory (1889-1970) to form the 'Three Photographers'. In 1926, Marcus Adams took first official photographs of the Duchess of York and Princess Elizabeth (future Queen Mother and Queen Elizabeth II) and continued up to 1956 in a sitting with Princess Anne. His son, Gilbert Adams (1906-1996), assisted in his early years but later established his own highly successful career as a photographer, specialising in photographing the ballet.

All the following lots come from the estate of Gilbert Adams’ late widow, Rosalind Thuillier. See Rosalind Thuillier, Marcus Adams, Photographer Royal (1985).

728* Elizabeth II (Queen of the United Kingdom, born 1926). A group of approximately 75 studio portrait photographs of the infant Princess Elizabeth by Marcus Adams, circa 1926-30, gelatin silver prints including many bromoil, comprising individual portraits, multiples from the same sitting, some duplication, portraits with her mother and father and sister, some signed and dated in pen or pencil

by Adams to lower part of image, many with wet stamps to versos, some loose and some mounted, various sizes

730* Elizabeth II (Queen of the United Kingdom, born 1926). A group of approximately 70 studio portrait photographs of the teenage Princess Elizabeth by Marcus Adams, circa 1938-46, gelatin silver prints including many bromoil, comprising individual portraits, multiples from the same sitting, some duplication, portraits with her mother and father and sister, some signed and dated in pen or pencil

by Adams to lower part of image, many with wet stamps to versos, some loose and some mounted, various sizes

(approx. 75)

(approx. 70)

£200-300

731* Margaret (Princess, Countess of Snowdon, 1930-2002). A group of approximately 65 studio portrait photographs of the infant Princess Margaret by Marcus Adams, early 1930s, gelatin silver prints including many bromoil, comprising individual portraits, multiples from the same sitting, some duplication, portraits with her mother and father and sister, some signed and dated in pen or pencil

by Adams to lower part of image, many with wet stamps to versos, some loose and some mounted, various sizes

729* Elizabeth II (Queen of the United Kingdom, born 1926). A group of approximately 100 studio portrait photographs of the young Princess Elizabeth by Marcus Adams, circa 1930-38, gelatin silver prints including many bromoil, comprising individual portraits, multiples from the same sitting, some duplication, portraits with her mother and father and sister, some signed and dated in pen or pencil

by Adams to lower part of image, many with wet stamps to versos, some loose and some mounted, various sizes (approx. 100)

£200-300

(approx. 65)

£200-300

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£200-300

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Lot 728

Lot 729

Lot 730

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Lot 731

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732* Charles (Prince of Wales, born 1948). A group of approximately 100 studio portrait photographs of the infant Prince Charles by Marcus Adams, circa 1948-1956, gelatin silver prints including many bromoil, comprising individual portraits, multiples from the same sitting, some duplication, portraits with his mother Princess, later Queen, Elizabeth, and/or his sister Princess Anne, some signed and dated in pen or pencil by Adams to lower part of image, many with wet stamps to versos, some loose and some mounted, various sizes (approx. 100)

ÂŁ200-300

733* Anne (Princess Royal, born 1950). A group of approximately 100 studio portrait photographs of the infant and young Princess Anne by Marcus Adams, circa 1950s, gelatin silver prints including many bromoil, comprising individual portraits, multiples from the same sitting, some duplication, portraits with her mother and brother, some signed and dated in pen or pencil by Adams to lower part of image, many with wet stamps to versos, some loose and some mounted, various sizes (approx. 100)

ÂŁ200-300

Lot 732

734*AR George VI (King, and family). A large group portrait of King George VI and Queen Elizabeth with their two daughters Princesses Elizabeth and Margaret, in the entrance to the Music Room, Buckingham Palace, photographed by Marcus Adams, 1939, bromoil gelatin silver print, a few old small water splash marks discernible, 76 x 53.5cm, framed and glazed, printed details of the occasion to verso (1)

Lot 733

180

ÂŁ200-300

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735*AR Princess Elizabeth and Princess Margaret. Portrait of the young princesses by Marcus Adams, circa 1936, bromoil gelatin silver print, the two princesses seated smiling to camera, signed by the photographer and dated 1939 to lower margin of image, short closed tear lower right and a few minor marks, 57.5 x 46cm, framed and glazed (1)

£200-300

736*AR George VI (King, and family). A group of 10 exhibition standard portraits of the Royal Family by Marcus Adams, circa 192656, vintage bromoil gelatin silver prints, including portraits of Queen Elizabeth II with Princess Anne, circa 1956, Duchess of York and Princess Elizabeth, 1926, King George VI, Queen Elizabeth with princesses Elizabeth, Margaret and corgi at Buckingham Palace, Queen Elizabeth II with young Prince Charles and infant Princess Anne, Queen Mary and Princes Elizabeth aged one, Princess Margaret, Princess Elizabeth and Prince Charles as young children, the Duke and Duchess of York with Princess Elizabeth as a new-born baby, and Princess Elizabeth at age three with a Russian nesting doll, images mostly approximately 36 x 28cm and similar sizes, all in modern mat mounts (10)

£300-500

Lot 735

737* Adams (Gilbert, 1906-1996). A large group of Society and ballet photographs, etc., circa 1930s and later, gelatin silver prints including bromoil, many vintage, some signed, various sizes (approx. 100)

Lot 736

181

£100-200

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740* Society Portraits. A similar lot

738* Adams (Gilbert, 1906-1996). A similar lot (approx. 100)

(approx. 100)

£100-200

739* Society Portraits. A large group of Society photographs, etc., circa 1920s and later, vintage and later gelatin silver and bromoil gelatin silver prints, photographers include Walton, Marcus and Gilbert Adams, Bertram Park and Yvonne Gregory, some signed by photographer, various sizes (approx. 100)

£100-200

741* Society Portraits. A similar lot (approx. 100)

£100-200

182

£100-200

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Lot 743

Lot 744

Lot 745

745* Society Portraits. A similar lot (approx. 100)

£100-200

746* Marcus & Gilbert Adams Family. A large collection of glass plate negatives, 20th century, mostly relating to the work of Marcus Adams and his son Gilbert, mostly unidentified society subjects and their children, together with a large collection of proof prints including multiples, various sizes, plus a selection of the Adams’s photographic accessories (an archive)

£200-400

742* Society Portraits. A similar lot (approx. 100)

£100-200

743* Society Portraits. A similar lot (approx. 100)

747* Marcus & Gilbert Adams Family. A large collection of mostly professional letters and replies, cuttings, notes, plus some photos and copies, etc., 20th century, mostly relating to the work of Marcus and Gilbert Adams, partly organized and arranged in boxes

£100-200

744* Society Portraits. A similar lot (approx. 100)

£100-200

(an archive)

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£200-400

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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 the-saleroom.com cannot be invoiced or paid for until the day after an auction.

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

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

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

Debit Card There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge.

Credit Cards Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay.

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Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice.

Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help.

We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction.

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

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Dominic Winter SPECIALIST AUCTIONEERS & VALUERS Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows

A photograph of a Japanese lady in full dress, circa 1870,

by Pyor Floyd, from a rare album of Chinese photographs and watercolours of the 1860s and 1870s. Sold in these rooms 9 October 2014 for ÂŁ48,000.

Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Oriental & Islamic Art Matthew Farren Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury For free valuations without obligation, please contact any of the above specialists for further advice.

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 / firstname or info@dominicwinter.co.uk 185 www.dominicwinter.co.uk

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Conditions of Sale and Business 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims.

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.

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

8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer.

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission.

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

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

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

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

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

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

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

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

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

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

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

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

COMMISSION SLIP Please Bid on my behalf at the sale on 15 October 2015 up to the amount shown.

I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

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

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

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

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

01285 655299 / 07980 579947 01285 650850 01285 642767

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

01793 701701

Cirencester Visitor Information Centre

+44 (0)1285 654180 cirencestervic@cotswold.gov.uk

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

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

CHILDREN’S & ILLUSTRATED BOOKS ORIGINAL ILLUSTRATIONS MODERN FIRST EDITIONS Thursday 17 December

Kay Rasmus Nielsen (1886-1957). ‘The Nightingale’. Original watercolour for “Fairy Tales”

by Hans Christian Andersen, published in 1924. Estimate £30,000-50,000 For further information please contact Susanna Winters susanna@dominicwinter.co.uk Paul Rasti paul@dominicwinter.co.uk