Dominic Winter Auctioneers

Fine Art & Antiques 18/19 JULY 2018

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PAINTINGS, WATERCOLOURS & PRINTS 18 July 2018

ANTIQUES & 20TH CENTURY DESIGN 19 July 2018

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

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AUCTION DETAILS COMMENCING

10.00 am

VIEWING FOR BOTH DAYS

Tuesday 17 July - 9.00am-6.00pm Wednesday 18 July - 9.00am-6.00pm Thursday 19 July - from 9.00am Viewing at other times by appointment only Tel: 01285 860006 info@dominicwinter.co.uk

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

A buyer’s premium of 24% 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 20%.

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

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

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

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

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

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

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

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

BIDDING Bidding in Person: Customers are asked to pay cash or establish a credit with the Auctioneers prior to the sale.

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

For all other payment arrangements please refer to information at the end of the catalogue.

Online Bidding: Live online bidding is available at the-saleroom.com and invaluable.com.

Commission Bids: Commission bids may be submitted for this sale in a number of different ways: T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk Via our website www.dominicwinter.co.uk Please ensure that all commission bids reach us by 10am on the morning of sale.

Telephone Bids: Telephone bids accepted for lots with estimated value greater than £300, requests for which should reach us by 9am on the morning of sale

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

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

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CONTENTS Day One - 18 July 2018 Old Master Prints & Drawings

1-47

Old Master Paintings

48-54

19th Century Paintings & Drawings

55-91

English Watercolours 1770-1950 Evelyn De Morgan & Pre-Raphaelite Art

92-166 167-184

Etchings, Lithographs & Woodcuts 1820-1950

185-304

Japanese Watercolours & Prints

305-314

Modern British & European Art

315-417

Modern & Contemporary Prints

418-490

Day Two - 19 July 2018 Ceramics & Glassware

500-506

Collectables

507-539

Silver, Jewellery & Watches

540-550

Tribal Art

551-558

Oriental Works of Art

559-575

20th Century Decorative Art & Design

576-646

Furniture

647-659

SPECIALIST STAFF

Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Antiques & 20th Century Design Henry Meadows BA Hons, MRICS Colin Meays BA Hons (Conservation) Tel: 01285 860006 info@dominicwinter.co.uk

Cover illustrations: Front cover: lot 356 Inside front cover: lot 3 Inside back cover: lot 184

Nathan Winter

Colin Meays

Henry Meadows

Susanna Winters

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David Roberts, The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, 6 volumes in 4, 1st edition, 1842-9, tinted issue with fine later hand-colouring ÂŁ20,000-30,000 (Fine Books & Manuscripts, Wednesday 12 September)

FORTHCOMING SALES IN 2018 Wednesday 25 July

Printed Books, Maps & Documents

Wednesday 15 August

Printed Books Online Catalogue including Bookbinding Tools, Equipment & Reference Books

Wednesday 12 September

Fine Books & Manuscripts: Dominic Winter 30th Anniversary Sale

Wednesday 3 October

Printed Books, Maps & Documents Travel & Exploration

Thursday 4 October

Fine Art & Antiques

Friday 5 October

Vintage Photography

Wednesday 7 November

Printed Books, Maps & Documents

Thursday 8 November

Motoring Literature, Automobilia & Mascots Historic Bicycles, Accessories & Cycling Literature

Friday 9 November

Militaria, Aviation, Maritime & Railway History Medals, Arms & Armour

Wednesday 12 December

Printed Books, Maps & Documents

Thursday 13 December

Modern Literature & First Editions Children’s, Private Press & Illustrated Books

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

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OLD MASTER PRINTS & DRAWINGS To commence at 10am

1* Aquila (Pietro, 1650-1692). Imagines Farnesiani cubiculi cum ipsarum monocromatibus et ornamentis, Romae in aedibus sereniss. ducis parmensis ab Annibale Carraccio aeternitati pictae; a Petro Aquila delineatae incisae, Rome, Giovanni Giacomo Rossi, circa 1690, double-page engraved title and 12 double-page engraved plates, some waterstaining and minor marks to margins, contemporary vellum, soiled and some wear to spine, folio (42 x 30.5cm) (1)

2* Attributed to Federico Barocci (1526/35-1612). Study of a male head seen from below, black, red and white chalk on grey prepared paper, irregularly contoured, sheet size 17.2 x 17.8cm (6.8 x 7ins), mounted with 20th century pencil description to verso attributing the work to ‘Roman School 17th century’ and marked ‘Sotheby’s 27 March 1979, 182’ Provenance: Private Collection, Worcestershire, England.

(1)

£200-400

£300-500

3* Attributed to Ferdinando Galli Bibiena (1656-1743). Facade and Portico of a Palazzo with figures and receding columns, pen and dark brown ink on laid paper, some ink marks and early doodles in ink to verso, sheet size 13.5 x 19.7cm (5.5 x 7.75ins), together with two other pen, brown ink and wash studies of architecture with receding columns, attributed to Giuseppe Galli Bibiena (1696-1757), the first in pen, brown ink and grey-brown wash on laid paper (watermarked indistinctly) with additional design to verso in pen, brown ink and grey wash, with some blue, red, purple and pink watercolour, partial manuscript title to right… ‘…di Teatro, a uso di Arena, per una villegiatura, 230’ [a design for the auditorium in a country villa), sheet size 28.7 x 23.8cm (11.25 x 9.4ins), the other drawing in pen, brown ink, grey and brown wash on laid paper with Strasburg Lily watermark (similar to Churchill 404 or 407) dateable to circa 1725-1758, with additional design of a multi-storey façade in brown ink, grey, brown and light pink wash to verso, sheet size 28.7 x 23.5cm (11.3 x 9.3ins.

Provenance: Formerly in the collection of the artist and stage designer Edward Gordon Craig (1872-1966), with his handwritten notes relating to these and one other drawing by Bibiena (not present), on two sheets, contained in his own purpose-made brown paper folder, titled by hand to upper cover, and dated 1940. Purchased by Gordon Craig in Florence in 1922 (according to his notes). With a letter from John Carter of Sotheby’s, New Bond Street, London, to Edward Craig (Carrick), Gordon Craig’s son, dated 14th February 1957, acknowledging receipt of the drawings.

A similar study of architecture with porticoes and columns, by Ferdinando Bibiena in brown ink, measuring 26.1 x 20cm was sold by Gonnelli Casa d'Aste, 14 June 2012, lot 210, featuring the same type of decorative columns.

(3) £700-1000

5

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Lot 5

4* Bolognese School. Saint Christopher carrying the infant Christ, pen & brown ink and wash, and dark blue ink on laid paper, inscribed to foot of sheet in brown ink indistinctly ‘Malo a Bologna’, and A.M. to lower right corner by an early hand, sheet size 19.1 x 14.6cm (7.55 x 5.75ins), mounted Provenance: Collection of Conrad Martin Metz (1749-1827), German engraver, and author of Imitations of Ancient and Modern Drawings Engraved and Published by C. M. Metz (1789). Private Collection, Worcestershire, England.

(1) £300-500

5* Bolognese School. Landscape with Italianate ruins and man walking, second half 17th century, pen, brown and black ink on laid paper, laid down on 18th century laid paper, inscribed in brown ink below the image ‘Fratri di Bologna’, thick border line in gold, with triple rule outer border in brown ink, inscribed to verso in pencil in an old hand ‘Ralf Willets sale/June 1808/at Philipes’, sheet size 29.5 x 22.8cm (11.6 x 9ins), mounted Provenance: Collection of Ralph Willett (1719 - 1795), Merly, Dorset, England. His sale of drawings, Thomas Philipe, 13-16 June 1808. Private Collection, Worcestershire, England.

(1) £300-400

6 No lot 7* Attributed to Adrian Brouwer (1600-1638). Peasants fighting, pen and brown ink with brown wash on laid paper, inscribed in an old hand to lower edge ‘Ostaden’, and overwritten in a different hand ‘Bruwer’, old initials EP or EJ to lower left corner, laid down, sheet size 20.8 x 18.3cm (8.2 x 7.2ins), mounted Provenance: Private Collection, Worcestershire, England.

(1)

£200-300

Lot 7

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

6

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8* Bruyn (Nicolaes de, 1571-1656). Portrait of Julius Caesar, 1594, copper engraving on laid paper, published by Ahasuerus van Londerseel, Antwerp, some archival repair to top margin, plate size 12.5 x 9cm (5 x 3.5ins), framed and glazed (unexamined out of frame)

9* Cignani (Carlo, 1628-1719). The Mystic Marriage of Saint Catherine, pen & dark brown ink and wash on laid paper, with traces of red chalk, inscribed with artist’s name to foot of sheet( in light and dark brown ink), and also inscribed ‘Octtantsette’ (?) by an early hand, verso inscribed with artist’s name and with initials AS in a later hand (probably later 18th century), sheet size 30 x 21.8cm (11.8 x 8.6ins), mounted

New Hollstein (Dutch & Flemish) 265.I. From a series of 12 plates showing heads of kings in ornamental borders (New Hollstein 263-271).

(1) £100-150

Provenance: Private Collection, Worcestershire, England.

(1)

£500-800

10* Attributed to Della Rovere (Giovanni Battista, called Il Fiammenghino, 1561-after 1627). Christ in Glory surrounded by the Virgin, Saints and Angels, pen and brown ink, brown and grey wash on laid paper, heightened with white and black ink, some loss to left hand side (replaced with pale brown blank paper), 22 x 29.5cm (8.7 x 11.6ins), mounted on another old sheet of paper with brown ink outer ruled border, window-mounted Provenance: Private Collection, Worcestershire, England.

(1)

£400-600

7

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11* Dutch School. Landscape with bull and cow by water, with sheep and peasant, 18th century, pen and black ink with black and grey wash on laid paper, sheet edge ruled in brown ink, 16.9 x 24cm (6.6 x 9.5ins)

13* French School. Venus and Cupid resting in a landscape, early to mid 18th century,brown and black chalk on paper, pinholes to each corner, laid down on card, sheet size 24.5 x 34.5cm (9.6 x 13.5ins), mounted

Provenance: Private Collection, Oxfordshire.

Drawings of this type are typically associated with 17th century Dutch artists such as Adriaen van de Velde, or Herman and Cornelis Saftleven, although similar compositions continued to appear throughout the 18th and early 19th century, by Jacob van Strij amongst others.

(1) £200-300

(1)

12* Flamen (Albert, 1620-1692). Seconde partie de Poissons de Mer, dessignes et graves au naturel, Paris, P. Gallays, circa 1700, together 8 etchings on laid paper, with watermarks, consisting of plates 1 (title page), 3, 5, 7 and 9-12, plate size 10 x 17.5cm (4 x 6.75ins), sheet size 12 x 19.5cm (4.75 x 7.5ins) or similar, mounted on thin backing card

14* German School. Hunting Scene, circa 1600, pen and brown ink on laid paper, showing two men on horseback encountering a team of four huntsmen with dogs, enclosed by a circular line border, image size 19.6 diameter (7.75ins), a few small holes to extreme left edge of the image, paper browned to blank margins, with loss to lower left corner and along lower left margin, whole sheet size 22 x 21.3cm (8.7 x 8.4ins)

A reissue of the series of 24 engravings in total first issued around the 1650s

by Van Merlan in Paris.

(8) £150-200

(1)

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

£200-300

8

£150-200

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Lot 16

15* Attributed to Jacopo Palma II Giovane (circa 1548-1628).

Assumption of the Virgin, with Saint Luke and Saint Anthony, late 16th century or early 17th century, pen and dark brown ink, light brown wash, over traces of pencil, and touches of white bodycolour on laid paper watermarked with shield, inscribed in brown ink by an early hand with names of the two saints below the image and at foot ‘Nelle Chiesa di S. Procolo in oggi d. Macillare’, squared in pencil for transfer with numbered sequence to right and lower edge of the image, sheet size 37.1 x 25.6cm (14.6 x 10.1ins), mounted Provenance: Sotheby’s 30 October 1980, lot 43. Private Collection, Worcestershire, England.

(1) £400-600

16* Goltzius (Hendrik, 1558-1617). The Holy Family with Saint John, after Federico Barocci, 1593, engraving on laid paper, by Goltzius after Federico Barocci, from the series The Life of the Virgin, trimmed to plate margins, several short closed tears to margins (some with minor paper reinforcement to verso), sheet size 47.2 x 35.5cm (18.5 x 14ins) Bartsch 20 III. Hollstein 14 III. Strauss 317 III. (1)

£200-300

17* Italian School. Study of a Kneeling Saint, early 18th century, black and white chalk on pale blue laid paper, light creases towards lower right corner, sheet size 38.5 x 27.2cm (15.2 x 10.75ins), mounted (1)

£150-200

Lot 17

9

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18* Italian School. Mother and Child with surrounding figures, 17th century, pen and brown ink, brown wash, and white bodycolour on laid paper, laid down on old paper, some damage and slight loss to lower centre of the image, sheet size 18.5 x 15.2cm (7.3 x 6ins), mounted Provenance: Private Collection, Worcestershire, England.

(1)

£200-300

19* Italian School. View of the Ponte Salario, near Rome, mid-18th century, gouache on paper, unsigned, 35.5 x 50.2cm (14 x 19.75ins), framed and glazed The Ponte Salario, on the northern outskirts of Rome, crosses the River Aniene near where this river flows into the Tiber. A view of the bridge features in the series of views entitled Delle Magnificenze di Roma Antica e Moderna by Giuseppe Vasi published in 1747, in Piranesi’s Vedute di Roma, dated 1754 (both showing the bridge from the opposite side) and an oil painting by Hubert Robert of circa 1775 in the Samuel H. Kress Collection of the National Gallery of Art, Washington.

(1) £300-500

Lot 18

Lot 19 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

10

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20* Lievens (Jan, 1607-1674). Bust of a man with thick lips, circa 1640, etching on laid paper, third state (of 3), with all-over crosshatching, some marks and light waterstaining, small hole below the head of the figure, minor paper loss towards bottom of right margin, trimmed to plate margin on all four sides, 77 x 62 mm (3 x 2.5ins), 19th century wood frame, glazed, together with another head of a bearded prophet, initialled in the plate J.S. no. 4 lower left, similar size and frame Hollstein 88, iii/iii. Bartsch 308 (as Rembrandt). Hind 353 (as Rembrandt).

(2) ÂŁ100-150

21* Leyden (Lucas van, 1489/94-1533). The Conversion of St. Paul, 1509, large engraving on cream laid paper (without watermark), 18th century copy after the engraving by Van Leyden, one or two small touches of light brown watercolour wash, trimmed to margins, sheet size 28.9 x 41.3cm (11.4 x 16.3ins) New Hollstein (Dutch & Flemish) 107. Bartsch VII, 394, 107.

(1)

ÂŁ200-300

Lot 20

Lot 21 11

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Lot 25

Lot 22 22* Follower of Michelangelo. Male nude springing forward from a stone plinth, head turned to the left, with arms holding a drape above his head, 16th century, pen and brown ink with brown wash on laid paper, with study of a putto in brown ink to verso (inscribed ‘tribolo’ by the artist below the figure), small collector’s stamp PL (Lugt 2094) to lower right, initialled in brown ink to lower right corner WE (Lugt 2617), additionally inscribed in brown ink to verso ‘1824 WE Formerly in the Coll of Sr Peter Lely’, and with a second line by the same hand below now trimmed and illegible, except for ‘Michael Angelo’ just visible towards the right, old repair to lower right corner and edges re-strengthened with blank paper, 21 x 16.3cm (8.25 x 6.5ins), double-sided window-mount Provenance: Sir Peter Lely (1618-1680), court painter to Charles II of England. William Esdaile (1758-1837). Private Collection, Worcestershire, England.

A study of an animated male nude figure, possibly a copy or variation after the nude male figures on plinths used by Michelangelo to surround the main scenes in the Sistine Chapel ceiling. Apart from his role as the leading portrait painter of his day, Sir Peter Lely is famous as one of the first great collectors of art in Britain, amassing an important collection that included 10,000 prints and drawings and nearly 600 paintings. The banker and collector William Esdaile collected drawings of all schools, writing the provenance and date of acquisition on the reverse of his most important examples.

(1) £700-1000

23 No lot Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

24* Palma il Giovane (Jacopo, 1548-1628). The Virgin appearing to St. Nicholas of Bari, pen, ink and light brown wash on pale grey-green laid paper, depicting a sleeping saint, with the Virgin Mary appearing above him, and three men in the background around a wooden chest, inscribed in an old hand in brown ink 'Giacomo Palma' lower left corner, with collector's blindstamp of a flower just above, and small circular stamp with initials WSK to verso, 34.4 x 22.6 cm (13.5 x 8.9 ins), some surface marks and minor stains, with one or two minor repairs, mounted along left margin to late 19th century card with wash border, (with extensive handwritten note in ink in German) Provenance: Nicholas Lanier (1588-1666), musician, collector and art agent for Charles I (his star mark Lugt 22285). Pietro Malenza, lawyer, Verona. His sale, Leipzig, 25 February 1867.

Unidentified German collector W.S.K. (apparently not in Lugt).

Attribution to Palma il Giovane (Jacopo, 1548-1628), confirmed by Professor Stefania Mason Rinaldi on the basis of a photograph.

Nicholas Lanier was appointed Royal Lutenist in 1616, and became Master of the Musick to Prince Charles in 1618. He was selected by Charles I to supervise the acquisition and transport of the Duke of Mantua's collection to England during 1625-1628. He is particularly known as a collector of drawings, his star mark being one of the earliest recorded collector's marks. The inscription 'Giacomo Palma' in brown ink below is likely therefore to be in Lanier's own hand. The present drawing may have been obtained by Lanier directly from the artist, who died in 1628.

(1) £2000-3000

25* Palma il Giovane (Jacopo, 1548-1628). Apollo, Mercury and Hercules, with attendant putti holding a torch and three bacchantes, pen & brown ink, pale brown wash, heightened with white bodycolour, on pale grey-brown laid paper, corner-mounted on a 19th century sheet of backing paper, with stamped monogram JD, and ‘No. 1822’ in brown ink to lower margin, additionally marked in ink to top margin verso with the name Camillo Bolognese, and numbered 357 in red pencil (in an 18th century hand), 28.5 x 19.7cm (11.25 x 7.75ins) Attribution to Palma il Giovane confirmed by Professor Stefania Mason Rimaldi on the basis of a photograph.

(1) £1000-1500

12

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Lot 24

13

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26* Panneels (Willem, circa 1600-circa 1640). An angel gives Elijah cake and water, etching on paper, published by Frans van den Wyngaerde, trimmed just inside plate margin, sheet size 15.2 x 11.6cm (6 x 4.5ins), framed and glazed, together with other Old Master prints, various, mostly 17th century, including Bolswert, Stormy Landscape after Rubens, published by Gillis Hendricx, Antwerp (framed and glazed), Mathias Arteaga, Cathedral Interior after Valdes Leal, circa 1672 (framed and glazed), Wenceslaus Hollar, Portrait of Richard Bernard, 1641, Hans Bol, allegorical landscape engravings published by Edwardus ab Hoeswinkel, Antwerp, Thomas Barker of Bath, landscape with bridge, etching, with added grey wash (framed and glazed), Valentin Lefevre, Holy Family, engraving after Titian, published by Jan van Campen, etc, various sizes, unframed (40)

£200-300

27* Attributed to Francesco Maria Mazzola Parmigianino (15031540). Study of a standing female nude, black chalk on laid paper, partial watermark of .., with another study in black chalk to verso of an extended arm, inscribed by a later hand in brown ink ‘Parmigiano’ lower right, sheet size 29.8 x 14cm (11.7 x 5.6ins), mounted Provenance: Private Collection, Worcestershire, England.

(1)

£300-500

Lot 27

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

14

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28* Piola (Domenico, 1627-1703). Child with a mask frightening two small children with their mother, design for a lunette in pen and brown ink, brush and brown wash over chalk block on laid paper, collector’s stamp of Sir Robert Ludwig Mond (1867-1938), London to verso (Lugt 2813a), 16 x 29.1cm (6.4 x 11.5ins), mounted Provenance: Sir Robert Ludwig Mond (1867-1938). Sotheby’s London, 27 March 1979, lot 136 (pencil note to verso of mount). Private Collection, Worcestershire.

Literature: Tancred Borenius and Rudolf Wittkower, Catalogue of the Collection of Drawings by the Old Masters formed by Sir Robert Mond, London 1937, number 168 (as School of Mola).

A similar semi-circular drawing by Piola depicting a man with a hunting dog, was sold by Cambi Casa d’Aste, Genoa, Disegni Antichi, 29 October 2013, lot 10.

The Genoese artist Domenico Piola was part of an artistic dynasty that dominated ceiling decoration and artistic production generally in Genoa for the whole of the second half of the 17th century. The studio, known as Casa Piola, included Piola’s younger brother, his brother-in-law, his three sons, and his two sons-in-law. They guided large decorative projects with a series of drawings, from careful studies of details through compositional sketches to fullscale cartoons. The Piolas also supplied designs for sculptors and for craftsmen in wood, ceramics, and metalwork. Domenico Piola derived his mature style from Giovanni Benedetto Castiglione’s undulating figures, streamlined twisting draperies, and diagonal compositions.

(1) £500-800

15

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Lot 29

Lot 30

Lot 31

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

16

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29* Piranesi (Giovanni Battista, 1720-1778). Veduta del Porto di Ripetta (from Vedute di Roma), 1753, etching on laid paper, 4th state, with address and price ‘Presso l’Autore... Palazzo Tomati... due paoli e mezzo’, a good clean impression with margins, plate size 39.5 x 59cm (15.5 x 23.25ins), framed and glazed Hind 28 iv/viii.

(1)

£300-500

30* Piranesi (Giovanni Battista, 1720-1778). Veduta di Piazza di Spagna (from Vedute di Roma), 1751, etching on laid paper, the 4th state with the address and price ‘Presso l’Autore... Palazzo Tomati... due paoli e mezzo’, a good clean impression, with margins, plate size 40.5 x 60.5cm (16 x 23.75ins), black and gilt frame, glazed Hind iv/viii.

(1)

£400-600

31* Piranesi (Giovanni Battista, 1720-1778). Veduta del Ponte Molle sul Tevere due miglia lontan da Roma (View of the Milvian Bridge Over the Tiber Two Miles outside Rome), from Vedute di Roma, 1762, etching on laid paper, the first state (of 4), with price and address below the title, plate size 43.5 x 67.5cm (17.5 x 26.7ins), framed and glazed, with framer’s label of David Cossart, 49 Roland Gardens, London SW7 to verso Focillon 767. Hind 64 i/iv. Wilton-Ely 197.

(1)

33* Rembrandt (Harmensz. van Rijn, 1606-1669). St. Jerome in a dark chamber, 1642 (Bartsch 105; Hollstein 201), etching on laid paper, without watermark, probably a 19th century impression from the original plate, by Henri Louis Basan or Auguste Bernard, some light overall browning, plate size 15 x 17.3cm (6 x 6.8ins), sheet size 16 x 18.2cm (6.35 x 7.2ins), mounted, together with a collection of 95 various Old Master etchings and engravings by Rembrandt, Durer, Claude, Frans van Bloemen, Jan van Kessel, Israel, Silvestre, Karel Dujardin, Stefano della Bella [the majority apparently from Kay’s reissue of 1826, entitled Collection of Original Etchings by Kay of Welbeck Street, Cavendish Square, London], and including 12 etchings of Italian scenery by Farington, Gandon, E. Rooker, M. Rooker and W. Hodges after Richard Wilson, published by John Boydell in 1776, the majority mounted on album leaves and bound in an early 19th century gilt-decorated morocco binding, worn, and one other worn and broken gilt-decorated red morocco binding, both folio

£400-600

32* Quarenghi (Giacomo, 1744-1817). Italian landscape capriccio, pen and black ink with grey and brown wash on paper, mounted on laid paper with single rule framing line to outer edge, 9.9 x 16.6cm (3.9 x 6.5ins) A fine draughtsman, Quarenghi’s graphic output includes many fantasy landscapes, in which the imaginary is interwoven with buildings that actually existed. After an early career in Bergamo and Rome and several architectural commissions in Italy, France and Britain, Quarenghi was summoned to Russia in 1779 by the Empress Catherine the Great. He became one of her favourite architects and was responsible for a large number of buildings, both public and private.

(1) £300-500

(96)

Lot 32

17

£200-300

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34* Circle of Rembrandt van Rijn (1606-1669). Portrait of a bearded man, half-length, wearing a dark coat, white cravat and dark headcap, black and white chalk on blue-grey laid paper with fleur de lys watermark to centre, old professional restoration to edges, laid down on pale blue backing paper, 35 x 24cm (13.75 x 9.5ins) Provenance: A. Stewart Wright, mezzotint portrait artist active in the 1920’s.

Leggatt Brothers, 30 St James’s Street, London, circa 1954.

With a handwritten letter by A. Stewart Wright accompanying this drawing, addressed to Leggatt Brothers, dated January 11th 1954, on paper with printed name, telephone number and address 11, Lynton Road, New Malden, Surrey at head, stating: ‘The chalk drawing of a bearded man by Rembrandt, on blue-grey ‘wire’ paper, has a fleur de lys watermark in the centre of drawing. I repaired the damages to this drawing in December 1953.’ The firm of Leggatt brothers, Fine Art Dealers, was eatablished in 1820 and continued to trade until 1992, specializing in ‘PAINTINGS, DRAWINGS AND ENGRAVINGS OF ENGLISH AND CONTINENTAL SCHOOLS’ according to an advertisement of 1953. Pale blue or blue-grey papers were used by pupils of Rembrandt such as Jacob Adriaensz Backer (1608-1651), Govaert Flinck (1615-1660) and others.

(1) £700-1000

35* Roman School. Figures around an empty tomb, early 17th century, pen & brown ink and wash with traces of pencil on laid paper,laid down on later sheet, small stamp AF and stencilled numeral 23 to lower right corner, oval ink collector’s stamp to verso of Contessa Rosa Piatti-Lochis, Crocetta, sheet size 13.6 x 29cm (5.4 x 11.5ins), mounted Provenance: Contessa Rosa Piatti-Lochis Crocetta, Bergamo (Lugt S. 2026c; inventory number 23); Ferruccio Asta (1900-1952), Venice (Lugt 116a).

Private Collection, Worcestershire.

Rosa Piatti-Lochis was the only daughter of the great 19th century Italian cellist Alfredo Piatti (1822-1901). Ferruccio Asta, Venetian dealer and collector of prints and drawings, purchased the collection of the Contessa Rosa Piatti-Lochis Crocetta, Bergamo around 1935-37. A drawing by Luca Cambiaso with the same provenance (numbered 24 from the Piatti-Lochis collection) is in the Morgan Library, New York.

(1) £400-600

Lot 34

Lot 35 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 36 36* Roman School. Interior scene with warriors presenting a cloth to a Queen seated under a canopy, first half 17th century, pen, brown ink and brown wash on laid paper, laid down on old backing paper, inscribed in red chalk to verso in an old hand (possibly late 17th century) ‘80-3-m/-/x’ and in pencil in a later (18th or early 19th century) hand ‘305’, 19.6 x 37.7cm (7.71 x 14.84ins), window-mounted with pale green wash and gold framing border Provenance: Private Collection, Worcestershire, England.

(1)

£300-500

37* Rooker (Michael Angelo, 1743-1801). Studies of armour, costume and grotesques, pen and brown or grey ink on laid paper, a few with wash, depicting grotesque heads, classical helmets and armour, and a Roman tunic, 14 individual small studies in total, all laid on to a dark blue painted sheet of paper, with outer gilt edge, the whole sheet laid down on thick 18th century laid paper, with an additional pale orange wash wide outer border, inscribed in a contemporary hand in brown ink to lower left ‘Michael Angello Rooker’, some white discolouration to the blue background, and soiling to outer edges, sheet size 38 x 24.5cm (15 x 9.6ins), backing sheet size 47 x 32cm (18.5 x 12.5ins), collector’s mark in brown ink to top margin ED (or BD with the B reversed) with a vase motif and No 229 (all within a circle) Michael Angelo Rooker, a painter and engraver who was one of the first to be elected A.R.A., became principal scene painter for the Haymarket Theatre from 1779 to 1800. His personal collection of drawings were sold at auction by Mr. Squibb in Saville Passage, off Saville Row on April 29, 1801.

(1) £300-400

Lot 37

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38* Follower of Peter Paul Rubens (1577-1640). Head of a boy in a fur tunic, circa 1630-40, coloured chalks on paper, laid down on blue backing paper, some surface marks, 24.2 x 19cm (9.52 x 7.48ins), window-mounted Provenance: Private Collection, Worcestershire, England.

(1)

£400-600

39 Sadeler (Johannes, 1550-1600 & Raphael, 1560/61-1628/32).

Sylvae Sacrae Monumenta sanctioris philosophiae quam severa Anachoretarum disciplina vitae et religio docuit, 1594, engraved title, leaf of introductory verse, and 29 engraved plates on laid paper, numbered 1-29, each trimmed to image, a few marks and minor repairs, 17 x 21cm (6.75 x 8.25ins), and slightly smaller, bound with Oraculum Anachoreticum, 1600, engraved title and 27 engraved plates (lacking plate 9), numbered 1-28, plates trimmed to image (17 x 21cm or similar), plus Trophaeum Vitae Solitariae, 1598, engraved title and 16 engraved plates only (plates 1, 3, 6-8, 12-14, 16-19, 21 and 23-5 only), each trimmed to image, 17 x 21cm or similar, some marks and minor tears to margins, all mounted in early 19th century morocco-backed album with marbled boards, rubbed and marked, with minor wear to extremities, oblong 4to (1)

Lot 38

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

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£200-400

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40* Attributed to Giovanni Andrea Sirani (1610-1670). Head of Christ, pencil and brown wash on laid paper, laid down on old backing paper, inscribed in an old hand in ink to verso ‘Sirano’, sheet size 16.2 x 13.8cm (6.4 x 5.5ins), mounted

43* Circle of Anthony Van Dyck (1599-1641). Resting male figure looking upwards, pen and brown ink on off-white laid paper, 11 x 13cm (4.4 x 5.1ins), laid down on a large sheet of heavy laid paper (probably late 18th century), the mounted drawing surrounded by a pen, brown ink and pale brown wash framing border, and inscribed below ‘Van dyck’ in brown ink, numbered 65 to centre of top margin in brown ink, additionally inscribed in pencil to lower left corner Van dyck and inscribed in red ink to verso No. 219, and in pencil to lower right corner V. Dyk, dimensions of backing sheet 31 x 41cm

Provenance: Private Collection, Worcestershire, England.

Similar in appearance and technique to a drawing by Sirani titled ‘Christ enseignant’, sold by Millon & Associes, Paris, Collection de Dessins Anciens, 12 April 2013, lot 71.

(1) £200-300

41 No Lot

A rapidly executed sketch of a man awoken from his slumber, most likely a preparatory drawing for a larger work.

(1) £200-300

42* Attributed to Sir James Thornill (1675-1734). Study of Caryatids, pen, brown ink and brown wash on paper, triple rule outer border in brown ink, sheet size 10.2 x 10.2cm (4 x 4ins), laid down on backing paper, together with a series of 14 early 19thcentury pen and ink drawings after John Flaxman’s Odyssey of Homer (first published in 1805), each on laid paper, two with title inscribed to left hand margin in Italian, each with contemporary pencil title inscription to lower margin, and most numbered to upper corner in pencil 16.7 x 35.5cm (6.5 x 14ins), and slightly smaller, each mounted on later backing paper, with near-contemporary quotation from The Odyssey handwritten in pencil to lower edge (15)

44* Attributed to Cornelis van Haarlem (1562-1638). Battle of Centaurs and Lapiths, pen and brown ink with pale brown wash on paper, sheet size 17.5 x 27.5cm (6.9 x 10.85ins), mounted Provenance: Private Collection, Worcestershire, England.

(1)

£200-300

Lot 44 21

£300-500

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45* Venetian School. Moses Striking the Rock, mid 17th century, pen and brown ink, and brown wash on laid paper, collector’s stamp of Sir Robert Ludwig Mond (1867-1938) to verso (Lugt 2813a), corners trimmed, 26.5 x 34.2cm (10.5 x 13.5ins), mounted Provenance: Sir Robert Ludwig Mond (1867-1938). Sotheby’s London, 27 March 1979, lot 138 (pencil note to verso of mount). Private Collection, Worcestershire.

Literature: Tancred Borenius and Rudolf Wittkower, Catalogue of the Collection of Drawings by the Old Masters formed by Sir Robert Mond, London 1937, number 267.

(1) £400-600

46* Volpato (Giovanni, 1732-1803 & Ducros, Abraham Louis Rodolphe, 1748-1810). The Garden of The Villa Doria Pamphili, circa 1780, watercolour and gouache over etched outline, trimmed slightly inside the image, some light discolouration to sky, image size 49 x 69cm (19.25 x 27.2ins), period beaded gilt frame, glazed (1)

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

£400-600

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47* Attributed to Taddeo Zuccaro (1529-1566). Holy Family with Saint John the Baptist, Saint Elizabeth and Saint Joseph, pen & brown ink and wash on laid paper, inscribed with title in French to verso and attributed to Francesco Mazzolo, Il Parmigianino(1503-1540), sheet size 41 x 29.3cm (16.2 x 11.55ins), mounted, inscribed in English to verso of mount ‘Sothebys’ ‘Taddeo Zuccaro’ and ‘Other versions exist of this drawing’ Provenance: Private Collection, Worcestershire, England.

A fine large-scale drawing in ink and wash showing Zuccaro’s ability to evoke spatial depth from the two-dimensional surface of the paper by means of light and dark tones, a skill developed from the example provided by Michelangelo.

(1) £2000-3000

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OLD MASTER PAINTINGS

48* Austrian School. Portrait of a Habsburg Princess, circa 1770-1780, oil on canvas, 81.5 x 63cm (32 x 24.75ins), relined, old auction stencil to verso of stretcher 798 GR, gilded wood frame Provenance: Private Collection, Bath, England. Purchased by the current owner at auction. An important naïve portrait of a daughter of the Habsburg Dynasty, since the Habsburg Crown is seen large-scale on a table behind the young girl, and she wears a miniature profile portrait of an Austrian royal figure or archduke. Possibly one of the many daughters or grand-daughters of Empress Maria Theresa of Austria - the subject bears some resemblance to known portraits of Maria Teresa of Naples and Sicily (1772-1807), eldest daughter of Ferdinand IV & III of Naples and Sicily, later Ferdinand I of the Two Sicilies (1751-1825) and Marie Caroline of Austria (1752-1814), who married Francis II of Austria (1768-1835), the last Holy Roman Emperor.

(1) £1500-2000

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

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49* School of Joseph Goupy (1686-1763). A pair of mythological landscapes with figures, probably early 18th century, gouache on vellum, each inscribed in an 18th century hand to verso ‘These Paintings are done on Vellum’, one additionally inscribed ‘By Goupy’, one with small puncture mark to lower left, 10 x 17cm (4 x 6.75ins), matching gilt frames, glazed (2)

£100-150

50* After Bartolomeo Murillo (1618-1682). Two Boys Eating a Pie, oil on copper, a 19th century copy after the famous painting of 1662-72 in the Alte Pinakothek, Munich (Bayerische Staatsgemäldesammlungen), some surface marks, and loss to lower right corner, 20 x 16.3cm (7.9 x 6.3ins), period gilt frame (1)

£150-200

51 No lot 25

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52* Slingelandt (Pieter Cornelisz, van, 1640-1691). The Kitchen Maid, oil on canvas, 40 x 54.5cm (15.75 x 21.5ins), relined, modern gilded wood frame, with label of Academy Arts Pty. Ltd., 730 New South Head Rd., Rose Bay, 2029 to verso Provenance: Private Collection, Devon, England.

(1)

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£2000-3000

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Lot 53

53* After Tiziano Vecellio Titian (1485/89-1576). Sleeping Venus, later 18th century oil on canvas, relined, and with some restoration (by G. Morrill with his stamp to stretcher verso), 43 x 92cm (17 x 36ins), modern antique-style gilt frame with title label to lower centre inscribed ‘Venus Reposing after Titian 1538’ Provenance: Private Collection, Hampshire.

A copy after the version of the Sleeping Venus in Dulwich Picture Gallery, prized as an original work by Titian by Noel Desenfans and Francois Bourgeois (whose collections formed the basis of the Dulwich Picture Gallery), and then believed to be by Titian himself. The Dulwich Sleeping Venus is itself a version of the Sleeping Venus of 1510 by Giorgione, now in the Gemaldergalerie, Dresden.

(1) £700-1000

54* After Paolo Veronese (1528-1588). The Dream of Saint Helena, oil on Winsor & Newton prepared panel, a later 19th century copy of the famous painting by Veronese in the National Gallery, London, 25 x 17.5cm (9.8 x 6.9ins), ebonised wood frame (1)

£150-200

Lot 54 27

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19TH CENTURY PAINTINGS & DRAWINGS

Lot 55

Lot 56

55* Edouart (Augustin Amant C., 1788-1861). A full-length silhouette portrait of Francis Barnes D.D., Master of St. Peter’s College, 1828, black scissor cut, full-length profile to left, showing a gentleman in academic gown and mortar board, signed and dated lower left, titled on verso and with mounted printed advertising label of Mons. Edouart, sheet size 27 x 16.5cm (10.75 x 6.5ins), framed and glazed

56* English school. Portrait of Edmund Hardy, circa 1810, halflength oil on canvas portrait, recently professionally cleaned and also lined to verso (conservation reports included), retained manuscript caption label to verso 76 x 63.5cm (30 x 25ins), gilt moulded frame Provenance: The collection of the actor and historian Robert Hardy (19251917). Edmund Hardy (1785-1848) was the son of Robert Hardy (1758-1788, see lot 224) and Jane Nicoll (1749-1826). He married Grace Armitage (18011853), daughter of Eleanora Haistwell and Whaley Armitage. The caption label states “Edmund Hardy, Colonel Bombay Artillery, Born 4th February 1786, Died 28th March 1848, Married Grace Armitage 6th May 1823.” The portrait was tracked down in Argentina by the actor & historian Robert Hardy (the great grandson of the sitter), shipped back and restored.

(1) £300-500

Frenchman Augustin Edouart was one of the most famous silhouette artists of the nineteenth century. He came to London, where he began his career making portraits from hair, going on to work as a silhouette portraitist.

Edouart subsequently spent fifteen years touring England and also lived for three years in Edinburgh. Sitters included the exiled French royal family of Charles X, writer Sir Walter Scott and artist William Dyce. The National Portrait Gallery holds twenty-eight silhouettes by him.

(1) £200-300

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57* Portrait Miniatures. A pair of oval portrait miniatures, circa 1814, two head and shoulder portraits, gouache and watercolour on ivory, one depicting a young girl with dark curls wearing a high-waisted blue and white dress, inscribed on verso in contemporary pencil ‘Emma Fowler Aged 18 now the wife of Richd. Bremridge’ 64 x 52mm (2.5 x 2ins), the other depicting a dark-haired young gentleman wearing a black coat and white cravat, 56 x 46mm (2.25 x 1.75ins), double-aperture frame, glazed Emma Fowler (1796-1855) was the daughter of Mary and Christopher Fowler. Her marriage certificate states that she married Richard Bremridge in the parish of Saint Augustin in the City of London on 4th September 1816.

(2) £200-300

58* Portrait miniatures. Five oval portrait miniatures, mid-late 19th century, together five halflength portraits, hand-painted in gouache and watercolour on a printed ground, depicting: Lola Montez and Kanla (mounted together in double aperture frame); Napoleon (two portraits in separate frames); and the Dresden Venus, each approximately 8 x 6cm (3 x 2.25ins), all signed Renè, except for one with signature Dumar, similar contemporary panelled ivory frames glazed, most with engraved decoration, some minor chips and cracks to ivory in a few places, most with contemporary manuscript on verso Reproduced in reverse from well-known portraits, these decorative portrait miniatures are finely coloured products for the tourist market.

(4) £100-150

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59* Portrait miniature. Portrait of a lady, mid-late 19th century, gouache and watercolour on ivory, head and shoulders half profile portrait to right of a lady with fair hair wearing a diaphanous white shawl around her shoulders, monogrammed lower right (‘MXT’?), 5.5 x 4.5cm (2.25 x 1.75ins), in oval brass locket frame glazed, housed in a velvet and silk-lined red morocco case, with side hinged half door opening with central brass clasp, lightly rubbed and marked

61* Portrait miniature. Lady Cambridge, mid 19th century, oval portrait miniature, gouache and watercolour on ivory, depicting a half-length portrait of a young lady wearing a pearl headdress on her dark brown ringlets, and a blue dress with muslin neckline, gathered sleeves, and braided bodice decoration, toned, 8.5 x 6cm (3.25 x 2.5ins), contemporary panelled ivory frame glazed, a few minor cracks in ivory, titled in contemporary manuscript on verso

Believed by the vendor to be her great grandmother, Florence Deedes (1842-1890), who married William Saumarez Smith, Archbishop of Sydney (1836-1909). They married in 1870 and had a son and seven daughters.

(1) £200-300

(1)

60* Portrait miniature. Duke and Duchess of Wellington, mid 19th century, a pair of oval facing profile head and shoulder portraits, gouache and watercolour on ivory, one of the 1st Duke of Wellington wearing a blue and gold military jacket, the other of his wife wearing a blue dress with gathered sleeves and a white ruff, and a gold cross around her neck, 8.5 x 6.5cm (3.25 x 2.5ins), contemporary double aperture panelled ivory frame glazed, with engraved decoration, a few minor cracks in ivory, titled in contemporary manuscript on verso (1)

62* Portrait miniatures. A pair of Edwardian portrait miniatures, two oval portraits in the same hand, gouache and watercolour on ivory, one a head and shoulders portrait of a fair-haired lady wearing a white dress and a cross pendant around her neck (small mark to neck), 55 x 44mm (2 x 1.75ins), contained in a double-sided brass locket frame, the other a half length portrait of a small child with curly fair hair, wearing a white chemise and holding a posy of daisies, 50 x 40mm (2 x 1.5ins), contained in a brass frame with ribbon and bow border set with paste stones, verso with glazed aperture containing a lock of fair hair, and with locket loop and brooch fixings

£200-300

(2)

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

£100-150

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£200-300

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63* Attributed to John Constable (1776-1837). Figure by trees looking out over a landscape, & Stormy landscape with figure by trees, a pair of small-scale oil sketches on canvas laid down on wood panel, the second possibly signed J.C. in red to lower left corner, 11 x 14cm (4.3 x 5.5ins), later matching gilt frames, glazed Provenance: Private collection, London & Buckinghamshire, from whom inherited by the current owner.

These two landscape views bring to mind the countryside near Dedham or Stoke-by-Nayland in Constable’s native county of Suffolk.

(2) ÂŁ2000-3000

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64* Cooper (Thomas Sidney, 1803-1902). A Cumberland Sheep Resting, & A Goat Resting, 1835, two pencil studies on pale green paper, unsigned, 13.2 x 20.7cm (5.25 x 8.2ins), modern matching gilt frames, glazed with attribution and date inscribed to verso of each, and a receipt for purchase of the drawings from John V. Mahy of Winchester, dated 1977 (1)

65* Embleton (A., 19th-20th century). Messrs Traverse Bros “Burtonwood Beauty” 1st & “R.P” Cup St Helens Fed Show 1907.

1st Special Worsley 1909-10. 180 mls. 1st Prestwich & Dis. 1910. 1st Bolton & District 1910, oil on board, signed and dated lower right 37.5 x 28.5cm (14.75 x 11.25ins), framed and glazed, together with Messrs Traverse Brothers “Burtonwood Doubleduck” 1st Burtonwood H.S. Gloucester, Velocity 980 yds. 1st and Special Produce. 1st 6d and 1/- Pools. 1910, oil on board, signed and dated lower right, 37.5 x 28.5cm (14.75 x 11.5ins), framed and glazed

Lot 64

(2)

Lot 65

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

£150-200

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£400-600

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66* English School. Pair of Fox Terriers in long grass, late 19thearly 20th century, oil on board, initials H.P. lower left, 18.5 x 24cm (7.25 x 9.25ins), mounted, framed and glazed (1)

£100-200

67* Fasi-Gessner (Johann Conrad, 1796-1870). Three sketchbooks containing drawings of Swiss people, flower studies, alphabets, some Zurich town scenes, trees and landscape, by Johann Conrad Fusi-Gessner, circa 1820’s-30’s, consisting of one slightly larger album with 42 studies of individual figures, tradesmen and women, some children, many in traditional costume, mostly fine pencil, a few with light brown wash, artist’s printed name label to front pastedown, sheet size 28 x 21cm (11 x 8.25ins), a second slightly smaller album containing 45 pencil drawings on 37 leaves, including flower and plant studies, street scenes and interiors, seated figures etc., artist’s printed label to front pastedown, sheet size 22 x 17.5cm (8.7 x 6.9ins), and a third slightly smaller album of plant studies, alphabet and letter designs, some figures, pen & brown ink or pencil, sheet size 20.5 x 13.5cm (8 x 5.25ins), all original boards, rubbed and marked, some wear to edges

Lot 66

(3)

Lot 67 33

£400-600

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68* French School. Landscape with two women resting outside a rustic Italian house, early 19th century, oil on card, unsigned, 24 x 27.5cm (9.5 x 10.8ins) 19th century gilt frame, with old printed label of Chas. G. Smithers, Picture Frame maker & Printseller, 95 Leadenhall Street, London to verso Provenance: Private Collection, Dorset, England.

A fine neoclassical landscape study, most likely painted ‘en plein air’, or directly from nature, given the level of detail to be found in the sunlit and shadowed wall surfaces of the building. This work is thus stylistically connected to the French neoclassical landscape school of artists who travelled to Italy for inspiration in the early 19th century, such as Alexandre Hyacinthe Dunouy (1757-1841), whose typically small scale works were highly prized by Grand Tourists, Jules Coignet (1798-1860), and Francois-Marius Granet (1775-1849). See Asher Ethan Miller, The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785-1850, Metropolitan Museum of Art (2013).

(1) £400-600

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69* Manner of Sir John Gilbert (1817-1897). Don Quixote charges the barber on a mule with a basin on his head (Don Quixote, Part One, Chapter 21), mid-19th century, oil on canvas, unsigned, 28 x 36.5cm (11 x 14.5ins), late 19th/early 20th century wood frame by Andrew Duthie, 426 Sauchiehall Street, Glasgow, with his printed label to verso

Lot 71

Provenance: Private Collection, New Forest, Hampshire, England.

(1) £200-300

72 Herkomer (Hubert von, 1849-1914). An album of drawings and sketches by Hubert Herkomer, circa 1888-89, consisting of an etched invitation to a private view of Herkomer’s pictures at 22b Ebury Street, Belgravia, April 6th, 7th & 8 to Miss C. Swan, an unfinished oil sketch on canvas of a head-and-shoulders figure wearing a wide-brimmed hat, a pencil sketch of an underwater warrior on horseback, indistinctly signed Kenneth…, a handwritten invitation to a party from Professor Herkomer & Miss Griffiths to Miss Swan, dated April 13 1889, on paper headed Dyreham, Bushey, Herts., a photographic Christmas card from the Herkomers dated Xmas 1888, a library sketch of a soldier on horseback (probably by Herkomer), a printed bookplate for Alfred Marks, designed by H.S. Marks, a pen, brown ink and wash Christmas card entitled Lead Melting, signed with initials A.L.H., a profile study of a young woman in pencil, (apparently by Herkomer), another small scale pencil study of a boy, ditto, a watercolour study of a dancing faun child, printed programme for The Sorceress, A Romantic Musical Fragment composed by Hubert Herkomer, and a printed Christmas card from the Herkomers for 1889, all mounted on brown album leaves, various sizes (the illustration above measuring 16.5 x 12.7cm (6.5 x 5ins), all mounted on brown paper in the form of an album, folio

70* Grant (Francis, 1803-1878). Portrait of the artist John Rogers Herbert (1810-1890), pen, brown ink and brown wash on paper, 4.7 x 4.3 ins mount aperture, framed and glazed (1)

£200-300

71* Halifax (John, 19th century). Mill at Tewkesbury, circa 1830, oil on panel, showing two figures fishing by a mill, unsigned, attributed and titled verso, with G. Rowney & Co, Rathbone Place, London, 25.5 x 18cm (10 x 7ins), gilt moulded frame, glazed, 36.5 x 28.5cm (14.25 x 11.25ins) Previously sold at Mallams on 20 October 2005 (Lot 238).

(1)

£100-150

(1)

35

£150-200

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Lot 73

Lot 74

73* Attributed to George Armfield (1808-1893).

Ratting Terriers, oil on canvas, 34 x 40.5 (13.4 x 15.8 ins), unsigned, attractive period giltwood frame, a few marks to edges, glazed (1)

£200-300

74* Ibbetson (Julius Caesar, 1759-1817). Langdale Pikes, Ambleside, Lake District, circa 1800, oil on wood panel, 19.3 x 16.5cm (7.7 x 6.4ins), inscribed with auction sale number ‘309A’ by brush to verso, period carved and gilded wood frame (some damage and repair) Provenance: Possibly Christie, Manson & Woods, Ancient & Modern Pictures, June 28, 1873, lot 122, sold for 52 guineas to Graves.

A larger composition entitled Langdale Pikes from Lowood is at the Yale Center for British Art, Paul Mellon Collection, New Haven, USA. (1) £300-500

75* Israels (Jozef, 1824-1911). Figures by the shore, oil on board, signed lower left, a few minor surface marks and edges rubbed, top right creased, 25.5 x 30.5cm (10 x 12ins) (1)

Lot 75

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£500-800

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78* Linnell (John, 1792-1882). Portrait of Fanny Sheppard playing the guitar, 1825, pencil and coloured chalks on grey paper, inscribed by the artist in brown ink to lower right ‘Miss Fanny Sheppard J. Linnell fe. The Ridge Isley Glostrshr.’ and additionally in pencil beneath ‘Miss Fanny Sheppard’, sheet size 28 x 38.5cm (11 x 15ins), framed and glazed, with Martyn Gregory gallery label to verso Exhibited: John Linnell, Truth to Nature: A Centennial Exhibition, Martyn Gregory, 1982.

Literature: A.T. Story, The Life of John Linnell, 1892, volume 2, page 257.

The Ridge, near Uley in Gloucestershire was built in the 1820s by its owner Edward Sheppard, a wealthy clothier. The decline of the local woollen cloth trade in the 1830s led to the bankruptcy of Sheppard’s Mill at Uley in 1837.

Fanny Sheppard was one of John Linnell’s pupils - a pencil portrait of Linnell

by Fanny Sheppard was exhibited at the Fitzwilliam Museum in 2001, loaned by the Linnell Family.

(1) £300-500

76* Ivory Cameo Portrait. Victorian carved ivory brooch, believed to be the poet Elizabeth Barrett Browning, well detailed and carved in relief, with brass back, 6cm high According to the vendor the brooch was once one of a pair - the other being a portait of the Victorian author Mrs Gaskell.

(1) £300-500

77* Johnstone (George Whitton, 1849-1901). Landscape with stream in Scotland, oil on canvas, signed lower right, 32 x 42cm (12.5 x 16.5ins), contemporary gilt frame, glazed, with Aitken Dott & Son, 26 South Castle Street, Edinburgh printed label to verso (1)

£200-300

79* Ivory Cameo Portrait. Profile portrait of a young man, possibly the Pre-Raphaelite painter Sir John Everett Millais (1829-1896), circa 1860, Victorian pendant, with carved ivory portrait profile on oval carnelian with intricate gold frame and suspension loop, 8.5cm long (1)

37

£700-1000

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81* Moltino (Francis, 1818-1874). Italianate landscape, early morning, circular oil on board, signed with initials lower centre, 24.5 x 24cm (9.7 x 9.5ins), antique-style gilt frame, glazed Provenance: Private Collection, Hampshire, England.

(1)

£300-500

80* Miniature Drawings Album. An unusual Victorian album of miniature copies after Old Master paintings in Brussels, Antwerp and The Hague, circa 1860-80, 62 finely executed miniature versions of works principally by the Dutch and Flemish Old Masters, carefully mounted on seven thick card leaves, with a neat handwritten index at front giving details of the title of almost all the paintings, the name of the artist, and it’s location, ownership inscription (possibly in the same hand): ‘Rosa Martha Heaton, October 1880. “Treasure these for my father’s sake” Harold’, all edges gilt, original gilt decorasted dark green stained full calf, rubbed and scuffed, 4to (29 x 25cm, 11.4 x 9.8ins) Provenance: Rosa Martha Heaton (1858-1935), who married Harold Wright in 1881 at West Bromwich. The drawings therefore presumed to have been executed by Harold Wright’s father. Acquired by the present owner from Major General John Badcock, whose family once owned Fawsley Hall in Northamptonshire.

(1) £200-300

82* Oudes (Jacob, 1858-1921). Polder summer landscape with cows by a stream, oil on canvas, signed lower right, 39.5 x 57.5cm (15.5 x 22.5ins), framed, with old printed framer’s label of W. Volmer, Hilversum to verso (1)

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

38

£150-200

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84* Attributed to William Pitt (circa 1818-circa 1900). Eagle Tower, Caernarvon Castle, with the Anglesey Inn, oil on canvas, unsigned, 41 x 56.5cm (16 x 22ins), modern relining, framed A view of the Eagle Tower by William Pitt, dated 1872, is held by the National Library of Wales, Aberystwyth.

(1) £200-300

83* Pasmore (John Frederick, 1820-1881). The Cavalier’s Return, oil on canvas, stamped Geo. Rowney & Co., 51 & 52 Rathbone Place, London to verso, showing a wood panelled interior with two young ladies drawing at a table with spaniel and a gentleman and page boy in the doorway, signed lower left, 26 x 31cm (10.25 x 12ins), framed (1)

£200-300

85* Pownall (George Hyde, 1876-1932). The Upper Pool, oil on Reeves & Sons board, showing shipping on the Thames at dusk with St Paul’s in the distance, signed ‘Geo Hyde-P-’ lower left, and further signed and titled in pencil to reverse ‘144. The Upper Pool’ by the artist, 15.2 x 23.4cm (5.98 x 9.21ins), period frame, glazed, with partial framer’s label to verso with address 96 Southampton Row, Russell Square, London, W. C. Provenance: Private Collection, Bristol, England.

George Hyde Pownall is best known for his evocative views of London at night. His style derives from a combined influence of Whistler, Atkinson, Grimshaw, and the French Impressionists.

(1) £1000-1500

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88* Dutch School. River landscape, mid-19th century, oil on board, indistinctly signed lower left A.J. Rydielykhuysen (?), 40 x 60cm (15.75 x 23.5ins), period gilt moulded frame

86* Miller (John, active 1876-1890).Glasgow Port with steam and sailing boats, 1886,watercolour and bodycolour on wove, signed and dated lower left, 19.8 x 29cm (7.75 x 11.5ins), mounted, framed and glazed (1)

(1)

£200-300

£200-300

87* English School . “Heading the Drove”, painted from Benmore Cattle, 1879, oil on canvas, stamped George Romney, London to verso, indistinctly signed, and dated lower left, titled and with monogram AR to verso, 23 x 33cm (9 x 13ins), framed and glazed (1)

£200-300

89* Terry (Joseph Alfred, 1872-1939). Amsterdam at Dusk, oil on board, signed lower right, 30 x 25cm (12 x 10ins) mount aperture, fine decorative gilt frame within a period stained velvet-lined mahogany glazed case Born in York, Joseph Terry was a member of the Staithes group of artists, and lived for some time in Whitby. Nocturnes feature strongly in his output.

(1) £300-500

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

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Lot 90 90* School of Joseph Mallord William Turner (1775-1851).

View of the Doges Palace, Campanile and St. Mark’s Square, Venice, Italy, circa 1830s,oil on artist’s board, with engraved Roberson & Miller artist supplies label to verso, 20 x 25cm (8 x 10ins), attractive period gilt moulded gesso frame (1)

£300-400

91* Victorian School. Gentleman smoking seated by a rocky outcrop with landscape beyond, circa 1860-70, oil on thick wood panel, showing a gentleman with centreparted strawberry blonde hair seated by rocks or stone ruin, holding a cigarette, with valley and mountain landscape beyond (possibly Scotland), unsigned, several surface scratches lightly restored, 20 x 15cm (5.9 x 7.9ins), modern gilt frame An unusual composition possibly indebted in style to the work of John Everett Millais (1829-1896).

(1) £200-300

Lot 91 41

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ENGLISH WATERCOLOURS 1770-1950

92* Album of Watercolours & Drawings. An album of various watercolours, drawings, engraved views and portraits compiled by a member of the Cookson family of Dorset, circa 1820-40, containing 32 various watercolours and drawings, mostly landscapes and portraits, and approximately 65 prints and engravings (the latter mostly etchings after Dutch Old Masters, views of historic buildings and churches including St. Cross Hospital, the Cathedral and the Deanery at Winchester, Quorndon Church, Derbyshire, The Font at Bradford Abbas Church, Dorset, by the Reverend H. Turner, etc., and engraved portraits including George Lillingston, Lady Louth, Countess Cowper, Miss Marian Millicent Barton, Lady Hanmer, Lady Erskine and Lady Radstock), the watercolours include Tempio Antico, initialled FCC, a pen, ink and wash view of St. Peter’s Tower, Dorchester, initialled to verso E.A.C., pencil portraits of Emma Fisher and Mrs Fisher, Close, Sarum, a pen, ink and brown wash study of the pulpit in St. Martin’s Church, Salisbury, by Henry Wickens, dated 1838, an attractive landscape study of Windsor Castle in blue-grey wash over pencil on pale blue paper, etc.

Provenance: Purchased at an unidentified auction on 10 February 1977, lot 170 (ticket inside) by Desmond Burgess, map and print dealer.

This album appears to have been compiled by one of the Cooksons of Dorset, a prominent family which included Mary Cookson (born 1791), who married the reverend John Fisher (1788-1832), and lived in Osmington, Dorset. The Fishers became significantly close friends of the painter John Constable, who spent his honeymoon with his new wife Maria (nee Bicknell) there, and painted the Fishers’ portraits in 1816.

(1) £200-400

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

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94* Album. An album of watercolours, drawings and prints, compiled by Sir William Francis Drummond Gervois (1821-1897), circa 1840-50, containing 34 drawings, mostly in watercolour, but including several in pen and ink, eight prints and engravings, and including six fine miniature pen, ink and watercolour views of Constantinople (2), Malta (2), Ferrara and Venice, possibly by Gervois, each approximately 62 x 102 mm, three good-quality watercolour views of Nion, 12 miles north of Geneva, Lake Garda, Italy, & Vale of Berkley, Gloucestershire, from North Nibley, near Wootton under Edge (each inscribed in pencil to verso, and one marked ‘by a lady’), 12 colour aquatint views of Switzerland and Italy, other pencil or watercolour studies of English scenery, etc., all edges gilt, original gilt-decorated brown full morocco, heavily rubbed and scuffed, slight wear to extremities, 4to (29.5 x 23.5cm) (1)

£200-300

93* Album. An album of watercolours and prints compiled by a Miss Gibson, Derby, circa 1830-40, containing approximately 35 original watercolours, pencil, and pen & ink drawings, approximately 35 etchings, engravings and lithographs, a few cutouts, some manuscript verse and decorative cards, etc., with handwritten label to front pastedown ‘Chance Inn, September 21 1830. Miss Gibson, Derby Northesk’, all edges gilt, original giltdecorated green full morocco, with geometric patterned silk inlaid decoration to each cover, rubbed and some wear, with upper joint partly cracked, 4to (29 x 23.5cm, 11.5 x 9.25ins) Album includes two attractive watercolours on card by Henry Moore, Drawing Master at Derby (View at Matlock, and another rustic scene with cottage, man and dog, each signed to verso), several good-quality pencil studies on paper (one with blindstamp BE & S, Bath): The Sound and Breakwater from under Mount Wise, Devonport, Breakwater from under Mount Edgcombe, Eddystone Lighthouse, On the Tamar, In Witsand Bay, Mount Edgcombe, St. Nicholas Island, From Stonehouse Pool, one apparently signed H. Worsley, others signed Parsons, a pencil and white chalk study of the Queen’s Cross, Northampton, signed R. Morris 1837, and a watercolour view of Goodrich Castle on the Wye by the same artist, dated July 1839, several fine etchings of rustic scenes and ancient monuments, signed SFE, and dated 1833/34, lithographic views in and around Dartmouth, several steel engraved views of Stafford Asylum, Lilleshall Abbey, Shropshire, Haughmond Abbey, The Wrekin, Tutbury Castle, and Shrewsbury from the Welch Bridge, published by W. Emans, Birmingham, etc.

(1) £150-200

95* Album. An album of 25 various landscape drawings and studies, circa 1836-40, consisting of 22 pencil studies (West Entrance, Canterbury Cathedral, Ruins of Toglukeobad, Butteesa on the Jumna, Warwick Castle, View on the Seine, Temple dedicated to Krishna, Kalpi on the Jumna, The Seven Towers, Constantinople, St. Goar from the Rheinfels, Castle of Chillon, etc.), the India views initialled JLG, and possibly copied from Thomas Bacon’s First Impressions and Studies from Nature in Hindostan, 1837, two watercolours of a mountain view in Wales with cottage and figures, and Dolbadern Castle, North Wales, by Eliza Claridge, some marginal soiling, and loose leaves, all edges gilt, contemporary red full morocco gilt, rubbed and some marks and soiling, with minor wear to edges and corners, 4to (28.5 x 22.5cm, 11.25 x 8.8ins) (1)

Lot 94 43

£100-200

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Lot 98

Lot 96

96* Alken (Henry, 1785-1851). At Full Gallop, & Taking the Fence, a pair of pen, ink and watercolour hunting scenes, each signed lower left (indistinct), paper toned, 14 x 19.2cm (5.5 x 7.5ins) mount aperture, period maple veneer frames, glazed, together with another 19th century watercolour landscape with horse and cart on road by John Frederick Tayler (1802-1889), signed, framed and glazed (3)

£150-200

97* Ashburnham (George Percy, circa 1815-1886). Two Flemish church interiors, 1889 and 1890, pen, ink and watercolour, both signed and dated lower left, 42 x 32cm (16.5 x 12.5cm), mounted, framed and glazed (2)

£200-300

98* Attributed to George Balmer (1806-1846). Castle on a promontory, with figures, watercolour on paper, unsigned, 18 x 25.5cm (7 x 10ins), framed and glazed inscribed ‘George Balmer’ verso, together with Hulk (Abraham II, 1851-1922). Abbey ruins, watercolour on paper, signed lower right, 17.5 x 26cm (7 x 10.25ins), framed and glazed (2)

Lot 97

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

44

£100-150

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Lot 99 99* Barton (Rose, 1856-1929). The Thames, early morning, watercolour, signed lower left, 23.5 x 33.5cm (9.25 x 13.25ins) mount aperture, framed and glazed Provenance: Christie’s, British Watercolours, 11 June 1993, lot 46; Collection of D.A. Hall, Camberley, Surrey.

Irish artist Rose Barton trained under Paul Naftel (along with her contemporary Mildred Anne Butler), and then under the popular Salon painter Henri Gervex in Paris. She exhibited in Dublin at the Royal Hibernian Academy from 1878 onwards, and in London at the Dudley Gallery, and the Society of Lady Artists. She lived for many years at 79 Park Mansions, Knightsbridge from the early years of the 20th century until her death in 1929. Her London watercolours were reproduced in the A. & C. Black colour guide Familiar London published in 1904.

(1) £700-1000

100AR* Birch (Samuel John Lamorna, 1869-1955). Trees in a summer landscape with lane leading to a farmstead, gouache on paper, signed in pencil lower right, 25.5 x 28.5cm (10 x 11.25ins) mount aperture, old gilt frame, glazed, with label of Wilson & Phillips, Carvers, Gilders, and Picture Frame Makers, 17 Eign Street, Hereford, to verso (1)

£300-500

Lot 100

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103* Brock (Henry Matthew, 1875-1960). Four Cornish landscapes, together four watercolour on artist’s board, each depicting a coastal scene of sea and rocks, all signed, one titled ‘Strangles Bay’ and dated 1925 lower left, some spotting and toning, each 26.5 x 37cm (10.5 x 14.5ins), together with Brock (Charles Edmund, 1870-1938), An English landscape, watercolour on paper, depicting a river with tree-lined bank, some light toning and a few fox spots, light offset line at edges from previous mount, initialled lower left, 25.5 x 35.5cm (10 x 14ins), plus Brock (Richard Henry, 1871-1943), Children with horses watering, watercolour on paper, depicting a sunset scene with a girl sitting on a horse in a river, and a boy on the bank leading another horse into the water, initialled in pencil on verso, 25.5 x 35.5cm (10 x 14ins), plus three others by Richard Brock, all signed or initialled, two dated 1894 and 1895, and three woodland landscapes

by Thomas Alfred Brock, plus three unsigned landscapes

101* Bough (Samuel, 1822-1878). Rural scene, with thatched cottage, oil on board, signed lower right, 30 x 40.5cm (11.75 x 15.75ins), gesso moulded frame with old lot number 487 (1)

£200-300

102* Boys (Thomas Shotter, 1803-1874). River landscape with wherry, Belgium, watercolour over pencil, with scratching out and touches of bodycolour, signed ‘T. Boys’ in red lower left, 127 x 219 mm (5 x 8.6ins), framed and glazed, with Fine Art Society label dated April 1961 to verso Provenance: Collection of D.A. Hall, Camberley, Surrey.

(1)

£1000-1500

(15)

Lot 102 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

46

£300-500

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106* Buckler (John Chessell, 1793-1894). Oxford from Christchurch Meadows, circa 1860, Watercolour on paper, signed and indistinctly dated in the brown wash border to lower right corner, double-rule outer framing border in pencil, 22 x 28cm (8.75 x 11ins) mount aperture, framed and glazed Provenance: Purchased from Abbot & Holder, Museum Street, London in March 1982 (handwritten note to verso).

(1) £200-300

104* Brock (Charles Edmund, 1870-1938). Portrait of a gentleman, Aug. 1898, watercolour on artist’s board, three quarter length portrait of an elderly bearded man wearing a dark suit and waistcoat, sitting in a chair with hands clasped, signed and dated upper left, lightly toned and spotted, 28.5 x 26.5cm (11.25 x 10.5ins), together with six other similarly sized portraits by various members of the Brock family, including a pencil head portrait of Norah Gray (unsigned), a full-length portrait of a old countryman by R.H. Brock, signed and dated 1897, and a full-length female nude (unsigned), one portrait with loss to upper edge (not affecting image), some with spotting and one with a couple of short edge-tears (7)

£150-200

107* Burgess (Frederick, active 1882-1892). Christchurch, Hampshire, watercolour, depicting a rural landscape with sheep beside a wooden bridge over a stream, with cattle and a church in the background, signed lower left, some faint toning to sky, 16.5 x 25.5cm (6.5 x 10ins), mounted, framed and glazed, with Peter Cardiff Fine Art printed label on backboard, together with Cox (Gerald, 20th century), Tetbury, Gloucestershire, 1980, pen, ink & watercolour wash, depicting a view of houses and a church, titled lower left, signed and dated lower right, plus Brockway (Michael, b.1919), A large neo-Jacobean country house, 1981, pen, ink & watercolour, depicting a stately home with figures in the grounds, signed and dated lower left, 36.5 x 54cm (14.5 x 21.25ins), mounted, framed and glazed, titled, signed, and dated on backboard, plus two others framed and glazed 105* Buck (Adam, 1759-1833). A mother and her two children, watercolour, depicting a seated young woman wearing a diaphanous white dress and headdress, instructing a small child kneeling on her lap, and an older child with clasped hands kneeling on the floor beside, toned and a few fox spots, unsigned, 22 x 19cm (8.75 x 7.5ins), framed and glazed, with early manuscript attribution on verso of frame (1)

(5)

£200-300

47

£100-150

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109* Churchyard (Thomas, 1798-1865). Landscape with overshot mill, watercolour on paper, 100 x 166 mm (4 x 6.5ins), framed and glazed, with Eastbourne Fine Art gallery label and auction stencil BZ11S to verso Provenance: Collection of D.A. Hall, Camberley, Surrey.

(1)

£200-300

110* Cooper (Alfred Egerton, 1883-1974). Curfew Tower, Windsor, watercolour on paper, 35 x 25.5cm (13.75 x 10ins), signed lower left, period gilt frame, glazed, together with another watercolour believed to be a Berkshire lane by Alfred I De Breanski (1852-1928), 24.5 x 35cm (9.75 13.75ins), framed and glazed plus two views of Eton High Street, circa 1820s, each pencil on paper, unsigned, 36 x 25cm (14 x 10.25ins), the larger view 35 x 49.5cm (14 x 19.5ins), both mounted (4)

111* Dake (Carel Lodewijk, 1886-1946). Landscape in West Java (Gedeh), 1923, oil on board, signed lower right, 23.5 x 37cm (9.25 x 14.5ins), period oak frame with artist label verso inscribed ‘Landschap met Gedeh’, remains of manuscript label dated 1923

108* Callow (William, 1812-1908). View of a river with ruined abbey, watercolour heightened with white bodycolour, 247 x 350 mm (9.75 x 13.75ins), framed and glazed Provenance: Collection of D.A. Hall, Camberley, Surrey.

(1)

£200-300

(1)

£200-300

£150-200

112* Dibdin (Thomas R. Colman, 1810-1893). Bewsher Mill Littlebury, Essex, 185[6?], pencil, watercolour & wash on blue wove, heightened with bodycolour, captioned in pencil, signed and dated lower right (cropped to right margin with slight loss to caption and date), 24.5 x 30.5cm (9.5 x 12ins), mounted, framed and glazed, Abbott & Holder gallery label to backboard (with incorrect location to caption), together with four others, including watercolour of timber framed buildings in Coventry by John Paget, dated 1868, watercolour of Seaford coastline, Sussex by Frank Short, dated 1927, gouache of the Old Inn, Dorchester by George C. Haite, and pen & ink scene with soldier on horseback by William Heath, all framed and glazed (5)

£200-300

Lot 109

Lot 110 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 111

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113* English School. Portrait of a young boy, circa 1920, watercolour, 43cm (17ins) diameter, mount aperture, contemporary gilt frame (1)

115* English School. Oxford, circa 1830, gouache on card, 13 x 18.5cm (5 x 7.25ins) mount aperture, framed and glazed, Charles Plante Fine Arts label to verso, together with Ruined Scottish castle overlooking an estuary, circa 1860, pencil and wash on card, sheet size 16.5 x 23.5cm (6.5 x 9.5ins), framed and glazed

£100-150

(2)

116* English School. A group of 19th century pencil, wash or watercolour portraits and landscapes, including a pencil, wash and black chalk study of the head and shoulders of a young woman in medieval dress, a watercolour and gouache portrait of William Shakespeare, 13 x 10.5cm, a black ink and grey wash portrait of a female saint, 27.5 x 17cm, a trimmed mezzotint portrait of a young woman after Sir Thomas Lawrence, a view of picturesque old buildings and bridge (signed H. Ord), a large pencil and black chalk study of an old gnarled tree with ruin beyond (dated 1863), 39 x 28.5cm, and a pencil and sepia wash copy of the Gate of Justice, Alhambra, Granada, Spain, after David Roberts (1796-1864), the original of which is in the V & A Museum, London (Prints & Drawings Study Room, level D, case 87, shelf SC, box 32), but here probably taken from the engraved version in The Tourist in Spain: Granada, published in 1835, 20.1 x 14.2cm framed and glazed (with incorrect attribution on the mount to Thomas Allom)

114* English School. Saint Cecilia, late 19th-early 20th century, watercolour on paper, heightened with bodycolour and gilt, fulllength portrait of a female saint in sumptuous flowing robes, playing a handheld organ, within a painted trefoil frame, with angelic musicians in top corners, a few tiny holes and short closed tears to left margin (each with small adhesive tape repair on verso), monogrammed ‘CR’ to lower margin within image, 41.5 x 19cm (16.25 x 7.5ins), mounted (adherred to edges) (1)

£200-300

£100-150

(7)

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£100-150

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118* Foster (Myles Birket, 1825-99). Study of Clouds at Sunset, watercolour and gouache over pencil on paper, unsigned, 8 x 16.5cm (3.2 x 6.5ins), framed and glazed Provenance: Frances Foster, Birket Foster’s second wife (according to printed note on reverse).

(1) £100-150

117* Flint (Francis Russell, 1915-1977). Gruinard Mountains and Little Loch Broom, North West Scotland, watercolour, signed lower left, 38 x 55cm (15 x 21.5ins) mount aperture, together with another slightly smaller watercolour view of the west coast of Scotland, signed with monogram (2)

£150-200

119* Foweraker (Arthur Moulton, 1873-1942). Rocks on the Beach at Newquay, watercolour with pen & ink, signed lower right, 22.5 x 28.8cm (8.75 x 11.3ins) mount aperture, framed and glazed, with Fine Art Society label to verso (1)

£150-200

120* Francia (Francois Louis Thomas, 1772-1839). Boats shipwrecked by a jetty with storm receding, watercolour on paper, with scratching out and touches of blue and red gouache, 21.5 x 42cm ( 8.5 x 16.5ins), framed and glazed, with J. S. Maas & Co label for a Spring Exhibition 1986 to verso (number 45) A fine watercolour coastal scene full of movement and atmosphere, showing Francia at his most expressive.

(1) £300-500

Lot 118

Lot 120 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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121 German School. Busy street scene, possibly Bad Pyrmont, Germany, circa 1880, pencil and sepia wash on paper, depicting a covered bandstand and numerous figures in formal dress beneath trees, against a backdrop of buildings including Schauspielhaus and a shop, ‘Nicolaus Bermann, Bijouterier, Kunstning’, signed [?]’E. Haner, Lipzg’ bottom right, 17 x 22cm, framed and glazed, together with German School, View of a gabled shop-front amid trees, 1935, watercolour on card, faded gilt lettering ‘Georg Bermann Kunstgewerke’ on side elevation, signed [?]Hans Seutemann’ and dated bottom right, 15.3 x 21.2cm, mounted, framed and glazed, with a repaired postcard depicting the same building, inscribed verso ‘With compliments to Frau Bermann, from Bertram R. Wally, October 1st 1925’, and a small silver gelatin print, also depicting the same building, with the clear lettering ‘Georg Bermann Hoflieferant’ on side elevation The market square scene appears to be labelled Leipzig (‘Lipzg’) but a Nicolaus Bermann is record as an art and music dealer in Bad Pyrmont (see Schulz, Allgemeines Adressbuch für den Deutschen Buchhandel ... 1847, volume 9, p. 11), and the depiction of the Schauspielhaus with its colonnaded portico closely resembles that which stands in the town today.

(2) £100-200

Lot 121

122 No lot

123* Grose (Francis, 1731-1791). Winchester Cathedral, circa 1785, watercolour with pen and black ink on laid paper, 25 x 38.5cm (9.9 x 15.1ins), framed and glazed with label of Henry Graves & Company, 182 Sloane Street London, to verso Provenance: Private Collection, Nottinghamshire, England. The English antiquary, draughtsman, and lexicographer Francis Grose first pursued a career in the army, although he maintained an interest in antiquities and topographical drawing from the 1750’s onwards. Between 1772 and 1787 he published The Antiquities of England and Wales, a collection of views of medieval ruins, each with accompanying text, for which the present work was intended. The engraved version, entitled Cathedral Church of Winchester, is dated January 1st 1787.

(1) £300-500

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125* Hallward (Reginald Francis, 1858-1948). Adoration of the Magi triptych reredos design for All Saints Church, Earsham, Norfolk, pencil and watercolour on paper, depicting the wise men worshipping the Infant Jesus, flanked by two smaller designs of child angel musicians, each design within a tracery frame, lightly spotted, 15 x 6.5cm (6 x 2.5ins) and 13 x 5cm (5.25 x 2ins), mounted together in multi-aperture mount, framed and glazed, together with a triptych stained glass window design by Reginald Hallward, pencil on brown paper, with some bodycolour, each design depicting a young angel, central angel with arms aloft in adoration, flanked by an angel gazing heavenwards with hands clasped, and an angel playing a viol, 12.5 x 8cm (5 x 3.25ins) and 12.5 x 6.5cm (5 x 2.5ins), mounted together in a multi-aperture mount, framed and glazed, plus an original illustration by Adelaide Hallward for The Baby’s Quest by Mrs. Reginald Hallward, published 1913, pen & ink on brown paper, heightened with bodycolour, depicting two small child angels sheltering under a toadstool, image size 4.5 x 7.5cm (1.75 x 3ins), laid down on card, together with a copy of the book for which it was drawn, original cloth-backed pictorial boards, in original glassine wrapper, small 8vo (4)

£200-300

124* George (Ernest, 1839-1922).The Oxford Arms, Warwick Lane, London, watercolour on wove paper, unsigned, 26 x 17.5cm (10.25 x 7ins), mounted, framed and glazed The Oxford Arms was one of the last remaining 17th century galleried inns in London and was demolished in 1876. The same view by Ernest George was published as an etching in 1884 by the Fine Art Society and in the same work the artist wrote “I have etched it from my sketch made shortly before it’s demolition”.

(1) £200-300

126* Hardwick (William Noble, 1805-1865). Heidelberg, 1853, watercolour on paper, inscribed in pencil lower left Heidelberg 53, 23 x 34cm (9 x 13.5ins) mount aperture, framed and glazed, with portion of old backboard afixed to verso, with old inscription in pencil ‘View of Heidelberg. 1853. Water-colour (by W.N. Hardwick)’, together with another similar watercolour view by the same artist of picturesque old houses on the Rhine or similar, 24 x 32cm (9.5 x 12.5ins) mount aperture, framed and glazed, with portion of old backboard affixed to verso, inscribed ‘Water-colour by W.N. Hardwick’ (2)

Lot 125

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

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£150-200

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Lot 127 127* Tucker (Edward, 1830-1909). View on the Rhine, with Castle by the water’s edge, and figures, circa 1850, watercolour on paper, heightened with body colour, signed to lower left corner, 34 x 51.5cm (13.25 x 20.3ins), period gilt frame, glazed (some damage to frame edges) (1)

£200-300

128* Leitch (William Leighton, 1804-1883 ). Landscape with figures on a track before a castle, with mountains beyond, 1872, watercolour, signed and dated lower left, 11 x 15cm (4.5 x 6ins) mount aperture, framed and glazed (1)

129* Low Countries. Interior of a Cathedral, with figures, c. 183050, gouache & watercolour on canvas, indistinctly signed to lower left corner ‘G. Ronose’(?), 480 x 380mm (19 x 15 inches), framed and glazed (1)

£100-150

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£200-300

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130* McEwan Brown (James Stuart Campbell, 1870-1949). A pair of landscapes, each signed lower left, together with W. Eyre Walker, Autumn Landscape, signed lower left, plus 8 other various English landscape watercolours by D.M. Morgan, Osgood Mackenzie, J. Morris Henderson, and others, all framed and glazed (11)

131* Mew (Thomas Hillier, 19th century). Steeplechasing, & A Close Finish, 1864, two watercolours, the first signed and dated lower right, 16.5 x 23.8cm (6.5 x 9.3ins) mount aperture, each framed and glazed with Parker Gallery label and auction stencil HN906 to verso Provenance: From the collection of D.A. Hall, Camberley, Surrey.

(2) £150-200

£200-300

132* Middleton (John, 1827-1856). Tunbridge Wells, 1847, watercolour over pencil, heightened with touches of white bodycolour, signed lower left, ‘Tunbridge Wells JM. 1847.’, 33 x 50.5cm (13 x 20ins) mount aperture, framed and glazed, with Fry Gallery, 58 Jermyn Street, St. James’s, London label to verso, and original purchase receipt from the Fry Gallery for D.A. Hall, dated 1st March, 1984, with photograph contained in an envelope also attached to verso Provenance: Fry Gallery; Collection of D.A. Hall, Camberley, Surrey. John Middleton was born in Norwich, and as a boy learned from John Berney Ladbrooke and Joseph Stannard. By the age of 20, the Norfolk Chronicle already referred to him as ‘one of the most rising young artists of the day’ (11 December 1847).

He moved to London in 1847 and exhibited at the Royal Academy and British Institution, returned to live in Norwich in 1849, and tragically died from consumption at the age of just 29.

(1) £1500-2000

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

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Lot 134

Lot 135 133* Milnes (William Henry, 1865-1957). Across the Meadows, watercolour on paper, unsigned, 20 x 30.5cm (8 x 12ins), mounted, framed and glazed, Titus Gallery to backboard certifying painting as being from the studio contents of W.H. Milnes Jnr. (1)

£150-200

134* Moore (Henry, 1831-1895). Kenilworth, 1867-72, watercolour on paper, signed and dated, 23 x 50cm (9 x 19.7ins) mount aperture, framed and glazed, with printed labels to verso for the Claydon Gallery, Worthing, to verso (1)

£200-300

135* Muncaster (Claude Graham, 1903-1974). Moorland Road to Llangollen, 1944, watercolour on paper, signed and dated lower right, 23 x 36cm (9 x 14ins) mount aperture, framed and glazed, with purchase receipt for this work from Vicarage Galleries, Henley-onThames, dated 31 August 1998 to verso (1)

£100-150

136* Muncaster (Claude Graham, 1903-1974). On the west coast of Scotland, 1937, watercolour on paper, signed and dated lower right, 23 x 37.5cm (9 x 14.75ins), framed and glazed (1)

55

£100-150

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137* Munro (Thomas, 1759-1833). Picturesque landscape with castle and figures by a river, charcoal and grey wash on paper, laid down on old backing paper, 9 x 16.2cm (3.5 x 6.9ins), framed and glazed, with old typewritten label to verso with the artist’s name and dates, priced 14 guineas (1)

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

£100-150

138* Nash (Joseph, 1808-1878). Fencing at Bramshill House, Hampshire, 1873, watercolour heightened with white bodycolour, signed and dated lower right, 33 x 48cm (13 x 19ins) mount aperture, period gilt frame, glazed, with label of J.P. Ballard, Reading Fine Art Gallery, 21 Cross Street, Reading to verso

(2)

An almost identical view by Joseph Nash, but dated 1874, was sold at Bonhams, Knightsbridge, London, British and Continental Pictures, 29 November 2011, lot 51 (incorrectly described as Haddon Hall, Derbyshire). Nash had also published views of Bramshill House in his influential series The Mansions of England in the Olden Times, first published between 1839 and 1849.

(1) £300-500

Lot 138

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

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£100-150

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Lot 140 141* Ragon (Adolphe, 1847-1924). Old Falcon, Gravesend in 1876, pen, black ink and watercolour on card, heightened with white bodycolour, signed and dated lower right, and titled to lower edge, 12 x 20cm (4.75 x 8ins) mount aperture, additionally inscribed by the artist to lower edge of mount, and with annotations to verso, together with Woolwich Dockyard, Old Hulk and North Woolwich Gardens & Pier, signed lower left and inscribed along lower edge, additionally inscribed by the artist to lower edge of the mount, and annotated to verso ‘Sketched in Lionel Constable’s yacht Breeze’, 7.5 x 20.8cm (3 x 8.2ins) mount aperture, plus six other pen, ink and watercolour studies by Ragon, mostly signed, and all with annotations: Shrimper’s House, Gravesend, 1870, with Constable, Canada Wharf (sketched in Lionel Constable’s yacht Breeze), a view of shipping on The Thames at low tide, dated 1886, boats at Rotterdam, Holland, 1869, Northfleet and Blois 1889, each mounted, some spotting, together with four watercolour studies by J.B. Hardy: Bamburgh Castle, 1883, Shoreham, July 1883, Dunstanboro Castle and Gorleston, some spotting and soiling, mounted

140* Stained Glass. An archive of designs for stained glass by J. Powell & Sons, Whitefriars Glassworks, late 19th-early 20th century, together approximately 120 drawings, mostly pen & ink, but some pencil, many with watercolour, on paper or card, most with the name of the firm lower right and the client’s name upper left, many with multiple drawings to a sheet, some dated, many annotations, including designs for both ecclesiastical and secular settings, e.g. church windows, libraries, conservatories, screens, staircases, doors, boudoirs, lanterns, etc., some folded, generally dust-soiled, some fraying, 68 x 71cm (26.75 x 28ins) and smaller A substantial archive, with proposed designs for private houses, institutions, and other firms, including: The National Portrait Gallery; All Saints Church, Swanscombe; Major General Albermarle Cator; Moxon & Carfrae; Pendell Court, Sir George Macleay; Bank Offices, Cornhill; Dulwich Library; Abbotsworthy; Christchurch, Southwark; Tortworth; Mrs. Basset, Tehidy - Summer House; Blatherwicke Hall; Viscountess Downe, Dingley; C. Pratt & Sons; Padbury Church; The Priory, Roehampton; Royal Courts of Justice, Chambers; Salperton Park, Haseltown; “White Swan” Hotel, York; Bute Hall, Glasgow University; Sansaw Hall; and Lady Shelley, Maresfield Park, Sussex. Whitefriars Glassworks was England’s longest producing glassworks. The firm is believed to have been established in 1680, and was purchased by James Powell in 1834, with production continuing until 1980. Although the firm produced high quality art glass on a par with Tiffany, it is best known for its stained glass. The firm under Powell became an innovative world leader in the field of decorative glass, and business was aided by the building of hundreds of new churches during the Victorian era. During the latter part of the nineteenth century Whitefriars Glass formed associations with a number of leading artists and designers, including Philip Webb, William Morris, Edward Burne-Jones and William De Morgan. (approx.130) £500-800

(12)

£200-300

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

Lot 141 57

£100-150

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144* Shapland (John, 1865-1929). Highland beck, and Coastal scene with cliffs and rocks, together a pair of gouache and watercolours on board, both signed lower left, 28 x 45cm (11 x 18ins), mounted, matching gilt frames, glazed (2)

£150-200

145* Simmons (Charles Eyres, 1872-1955). Poltesco Valley, The Lizard, Cornwall, watercolour, signed lower left, 24 x 35cm (9.5 x 13.75ins), framed and glazed (1)

£100-150

143* Roberts (David, 1796-1864). Town square with ancient buildings, Rouen, 1836, pencil and white bodycolour on light brown paper, partly unfinished to right hand side, inscribed in pencil lower right ‘At Rouen Sep 36’, laid down on card, some marks and minor damage to lower edge, sheet size 27.9 x 39.7cm (10.9 x 15.7ins), mounted, inscribed in a later hand in pencil to verso ‘Rouen/ David Roberts R A/ Guy Lancaster Collection’ Provenance: Collection of Percy Lancaster (1878 - 1951), landscape painter and etcher, born in Manchester, who originally trained as an architect but then attended Southport School of Art. (1) £300-500

Lot 144 146* Smith (Gerald Edward Roberts Smith, 1883-1959 ). The Ship Window, Church of the Ascension, Bitterne Park, Southampton, circa 1955, pen, ink and watercolour stained glass design on paper, designed by Gerald E. R. Smith for A. K. Nicholson, installed in 1957, image size 43 x 19cm 17 x 7.5 ins, framed and glazed Provenance: Formerly Collection of John Vigar, ecclesiologist and trustee of the Friends of Friendless Churches.

(1) £150-200

147* Syer (John, 1815-1885). Loch Lomond, 1868, watercolour on paper, signed in monogram and dated lower left 35 x 51.5cm (13.75 x 20.5ins), label to verso, framed and glazed, together with Dean (Frank, 1865-1947), House and Two Children, watercolour on paper, signed lower left, 14.5 x 31.5cm (5.75 x 12.25), framed and glazed, plus eight others including Study of a the Head of St. John,

by Sir Edward J. Poynter, 1880 and watercolours by Syer, Sidney Watts, T.F. Francis and others Lot 145

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

(10)

58

£100-150

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148* Thorburn (Archibald, 1860-1935). Common House Mouse, 1920, watercolour with white bodycolour on brown paper, signed and dated ‘Archibald Thorburn 1920’ lower left, 11.7 x 16.1cm (4.5 x 6.4ins), framed and glazed Provenance: Estate of M.T. Smith, Hampshire, England.

(1) £1000-1500

Lot 148 149* Thorburn (Archibald, 1860-1935). Lapwings by the Shore, 1885, grisaille watercolour on porcelain, signed and dated lower left, signed and dated ‘A. Thorburn 1885’ lower left, 18.5 x 14.5cm (7.3 x 5.75ins), period oak frame, glazed Provenance: Private Collection, Yorkshire, England.

(1) £1000-1500

Lot 149 59

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150* Attributed to Paul Sandby Munn (1773-1845). Interior of Tintern Abbey, pen, brown ink and watercolour on artist’s board, verso inscribed in pencil with title, date and indistinct name, 26.7 x 37cm (10.5 x 14.5ins), mounted

151* After J.M.W. Turner (1775-1851). Pembury Mill, Kent, sepia watercolour on wove paper, bears sloping monogram SP lower right, image size 18 x 26.5cm (7 x 10.5ins), sheet size 22.5 x 32.5cm (8.9 x 12.8ins), mounted

(1)

A 19th century copy after Turner’s mezzotint Pembury Mill, Kent from the Liber Studiorum, part III, published 10 June 1808. The size of the watercolour exactly matches that of the published print. The monogram SP suggests the artist Samuel Palmer, but the paper has a later 19th century texture, and this attribution has been doubted by Colin Harrison of the Ashmolean Museum, Oxford (email correspondence with the present owner).

(1) £100-200

£80-120

152* Turner (William, of Oxford, 1789-1862). View from Charlton Kings across Cheltenham, looking towards the Malvern Hills, circa 1810-15, watercolour on paper, with touches of bodycolour, signed to lower left, tear without loss to lower left corner, 19 x 30cm (7.5 x 11.75ins) mount aperture, framed and glazed, with remains of a London gallery label to verso (largely illegible Bond Street London W.1) with title supplied by hand Provenance: Private Collection, Hampshire, England.

William Turner exhibited at the Society of Painters in Watercolours from 1808 then aged just 17. The diarist Farington noted: ‘Varley spoke violently of the merit of a young man who has been his pupil in learning to draw in watercolour, and Reinagle said ‘He had never before seen drawings equal to them’. His name Turner.’ £1000-1500 (1)

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

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153* Warne-Browne (Alfred Joseph, c.1855-1915). Penzance, 1889, watercolour on paper showing sailing boats and rowing boat, with view of Penzance in the background, 19.5 x 44cm (7.75 x 17.25ins), signed and dated right side, mounted, gilt moulded frame, glazed Alfred Warne-Browne was born in Warminster, Wiltshire and spent much of his life in Cornwall, exhibiting at Newlyn Art Gallery from its opening exhibition in 1895.

(1) £100-150

Lot 155

Lot 156 154* Attributed to Henry Warren (1794-1879). River landscape, Barbados, watercolour on paper with traces of pencil, heightened with white bodycolour, some overall toning, signed with initials H.W. and dated ‘B/dos 1852 August’ lower left, 27.2 x 37.5cm (10.75 x 14.75ins) mount aperture, modern gilt frame, glazed Rare mid 19th century view of the Caribbean island of Barbados, at that time a part of the British Empire, and the seat of the colonial government of the Windward Islands. Slavery had been abolished in 1834 but plantation owners and merchants continued to exercise control of the island through restricted voting.

(1) £200-300

155* Watson (Harry, 1871-1936). Castle at the end of Loch Awe, Scotland, watercolour, signed lower left, 31 x 41.5cm (12.2 x 16.3ins) mount aperture, framed and glazed, printed label of the Royal Society of Painters in Water-colours to verso with name of the presumed purchaser Sir Laurence Halsey K.B.E. added, and additional handwritten label giving title and artist’s name and address, to verso (1)

£200-300

157* Wright (Richard Henry, 1857-1930). View of snow-covered Alpine peaks and glacier, watercolour and bodycolour on paper, signed lower right, 18.5 x 26cm (7.25 x 10.25ins), framed and glazed

156* Watson (John Dawson, 1832-1892). Wooded landscape with young couple crossing a stream, 1875, watercolour and gouache on paper, signed and dated lower right, 35.5 x 50.5cm (14 x 20ins) framed and glazed (1)

(1)

£200-400

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£200-300

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Lot 158

158* Australia. The Gowanbank at anchor, by J. Weldon Holmes, 1891, watercolour with pen and ink, heightened with white bodycolour on paper, signed and dated J W Holmes 7/91 lower right, 18 x 33cm (7 x 13ins) mount aperture, period gilt gesso frame, glazed with handwritten label by the artist to verso: ‘J W Holmes, Marine Artist, 8 Felton Street, North Sydney’ The Gowanbank, a four-masted steel barque built by Russell & Company, Port Glasgow, was launched in March 1891, and owned by the Andrew Weir Shipping Company. The present work depicts her arrival at Sydney in July 1891 on her maiden voyage from Barrow, under Captain John Ferguson.

(1) £200-300

159* Briscoe (Arthur, 1873-1943). Looking Aloft, 1940, watercolour on paper, signed, dated and titled lower right, 51.5 x 33.5cm (20.25 x 13.25ins) mount aperture, framed and glazed, with Fine Art Society label to verso, dated May 1945 (1)

£300-500

160* British School. Ocean Liner and Clipper Ship under way, 1924, oil on board indistinctly signed in red and dated 1924 lower right, 20 x 45.5cm (8 x 18ins), framed Lot 159

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

(1)

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£100-200

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Lot 161 161* De Martino (Edoardo Federico, 1838-1912). HMS Sultan, oil on canvas, showing the ship anchored probably on the Thames near Greenwich, signed lower right, some craquelure, 46 x 31cm (18 x 12.25ins), gilt frame with labels inscribed to verso, ‘Chevalier Eduardo de Martino, C.V.O. “H.M.S. Sultan” (?) Purchased 1972’, and H.M.S. Nelson or her sister ship the Northampton, Nat. Maritime Mus 1974’ (1)

£300-500

163* Attributed to Richmond W. Markes (active 1890-1920).

H.M.S. St. Vincent off Dover and H.M.S. Achilles Steamer off Dover, pair of watercolour on paper, each showing ships in stormy waters, both unsigned, 10 x 20cm (4 x 8ins), large gilt mounts with attribution and title to each, gilt moulded frames, glazed, 32 x 41cm (12.5 x 16ins) (2)

162* Hayes (Edwin, 1819-1904). A squall by the coast with fishing boats, jetty and three masted ship, watercolour on paper laid down on card, with scratching out, signed lower left, 10.5 x 18.5cm (4 x 7.25ins), framed and glazed (1)

£150-200

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£100-150

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164* Walton (Frank, 1840-1928). The Race off the Lizard, watercolour on paper, monogram lower left, 12 x 17cm (4.75 x 6.75ins, mounted, framed and glazed

166* Malta. Fishing Boats off Valletta harbour, Malta, circa 1830s, watercolour on paper, unsigned, some marks to surface and a few vertical creases to lower portion (without loss), 30 x 45cm (11.75 x 17.75ins) mount aperture, framed and glazed

(1)

(1)

£150-200

£150-200

165* Neapolitan School. Il Porto di Napoli, 19th century, pen, ink and gouache on paper, signed lower right “Chez Glass Naples”, two small repaired tears and a couple of small wormholes, sheet size 31 x 44cm (12.25 x 17.25ins), laid onto later board, framed and glazed (1)

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

£700-1000

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EVELYN DE MORGAN & PRE-RAPHAELITE ART Chiefly from the Collection of M.D.E. Clayton-Stamm 168* Burne-Jones (Edward Coley, 1833-1898). Days of Creation, circa 1890, five (of six) platinotypes attributed to Frederick H. Hollyer (1837-1933), depicting ‘The Days of Creation’ 1872-78 by Sir Edward Burne-Jones, each 34.5 x 12cm (13.5 x 4.75ins), contemporary card mounts, spotted and dust-soiled Lacking the sixth and final platinotype of the series featuring six angels.

(5) £300-500

167* Burne-Jones (Sir Edward Coley, A.R.A., 1833-98). Original preparatory design for the inscription to the painting “The Nativity”, 1888, pencil on paper, consisting of six lines of text in Latin from the Book of Psalms, Psalm 11, chapter 6: “Propter Miseriam Inopum Et Gemitum Pauperis Nunc Exsurgam Dicit Dominus”, ‘For the oppression of the poor, for the sighing of the needy, now will I arise, saith the Lord’ (King James version), some light marks and light soiling to central horizontal join, 43.5 x 43.5cm (17 x 17ins) mount aperture, framed and glazed

169* De Morgan (Evelyn, 1855-1919). Head of a young girl, pencil on card, tipped onto paper, head and shoulders portrait of a young woman with fringed hair smoothed back into a bun at nape, some light dust-soiling to upper margin, sheet size 17.5 x 17.5cm (7 x 7ins)

Originally commissioned for the chancel of the Church of St John the Apostle in Torquay in 1887, the picture was sold with its companion work, The King and the Shepherd, to Andrew Lloyd Webber, who donated the paintings in 1997 to the Carnegie Museum of Art in Pittsburgh, United States.

(1) £150-200

(1)

Lot 168 65

£400-600

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171* De Morgan (Evelyn, 1855-1919). Nude study for Phosphorus and Hesperus, pencil on card, showing a partial male figure kneeling in profile to left, with a thumb in outline below, slightly dusty, sheet size 30 x 24.5cm (12 x 9.5ins) ‘Phosphorus and Hesperus’ was exhibited in 1882 at the Grosvenor Gallery, London, and it is now in the Evelyn De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, plate 7). The oil painting depicts the Morning Star, Phosphorus, and the Evening Star, Hesperus. Phosphorus is rising, and holds his torch aloft, the flame burning brightly to herald the dawn, which is seen breaking in the sky behind. Hesperus sits with head drooping and his eyes closed as the flame in his torch weakens and gutters. This pencil drawing shows De Morgan working out the precise shape of the figure of Phosphorus, with a particular emphasis on the gracefully curved back and foreshortened left leg.

(1) £200-400

170* De Morgan (Evelyn, 1855-1919). Male head study for The Valley of Shadows, pencil on card, head and shoulders portrait of a young man, half profile to right, leaning chin on hand and gazing pensively, some marginal pin holes, sheet size 39 x 28cm (15.5 x 11ins)

172* De Morgan (Evelyn, 1855-1919). Male nude, black & white chalk on dark brown paper, full-length study of a male figure wearing a loin cloth and seated on the ground, some minor discolouration to lower margin (not affecting image), some marginal pin holes, sheet size 32 x 48cm (12.5 x 19ins)

‘The Valley of Shadows’ was executed in 1899, and it is now in the Evelyn De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, plate 38). Our head study is for the male figure on the left of the painting; the Foundation holds a double study of drapery and anatomy for the same figure.

(1) £400-600

Possibly a study for ‘Love’s Passing’ executed between 1883 and 1884 (‘Evelyn De Morgan, oil paintings’, DMF, plate 14), although the arrangement of the arms differs slightly.

(1) £300-400

173* De Morgan (Evelyn, 1855-1919). Study of legs, black & white chalk on dark brown paper, showing a pair of legs and the outline of a seated torso, some marginal pin holes, and slight loss to lower right blank corner, sheet size 31.5 x 48cm (12.25 x 19ins) (1)

Lot 171 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£200-400

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174* De Morgan (Evelyn, 1855-1919). An album of Italian watercolours, fifty watercolour sketches and one pencil sketch on card, mostly mounted on rectos of album leaves (between one and several to a page), but a number loosely inserted, some album leaves excised or partly excised, mainly depicting landscapes and buildings, but also two studies of trees, one of blossom, and two details after Italian Old Master paintings, including: a drawing of one of the Arsenale watchtowers in Venice; a view of a range of hills with sea in the distance annotated in pencil on verso ‘On the [...?] Hills looking North’; a loose sheet with watercolour landscape on recto and rough pencil sketch after a painting on verso; a couple of drawings indistinctly annotated in pencil with artistic notes; and a pencil drawing of drapery over a female bust dated 1875 in pencil (with several small holes), some dustsoiling, 22 x 33.5cm (8.5 x 13.25ins) and smaller, original half morocco, scuffed and soiled, folio

Evelyn De Morgan was a frequent visitor to Italy, making her first trip to the country as a young artist in 1875 when she visited Rome, Perugia and Assisi. She subsequently visited Venice as well as Florence, where her maternal uncle John Rodham Spencer-Stanhope owned the Villa Nuti, and where the De Morgans themselves eventually bought an apartment. This album likely dates from the artist’s earliest travels during the mid to late 1870s, at a time when she was coming to the end of her studies at the Slade School of Art and beginning to exhibit and sell her works.

(1) £1000-1500

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175* De Morgan (Evelyn, 1855-1919). Male nude with staff, 1875, charcoal on paper, full-length standing male nude wearing a loin cloth, with face in half profile to right, one arm outstrecthed and holding a staff, a little dusty in places, slightly creased and frayed to margins and with some pin holes, manuscript label tipped-on upper left ‘PRIZE 1.11 Mks’, verso inscribed in pencil in the author’s hand ‘E. Pickering May 1875’, sheet size 61.5 x 47cm (24 x 18.5ins), together with two other similar-sized charcoal drawings on paper of the same model, both full-length, one showing him holding the staff out to the side, annotated in pencil lower right ‘Mrs. Barrington’, edge-frayed and damp-soiled to upper right corner (encroaching slightly onto image), the other showing him in profile to right, signed ‘E. Pickering’ lower right, edge-frayed with slight loss to top of head and signature These highly accomplished drawings, one of which won the artist a prize, were executed whilst Evelyn De Morgan was a student at the Slade School of Art. Evelyn enrolled at the Slade in 1873 - one of the first three women to enrol - after spending a short time at the South Kensington National Art Training School.

Study of the living model was considered of paramount importance to the education of each student at the Slade, and Evelyn’s life drawings from this period demonstrate a level of skill and understanding of the human anatomy surprising for one so young. Her skilful draughtsmanship was acknowledged by numerous awards which she received during her time at the Slade, including equal first prize for this drawing from life in 1875. The De Morgan Foundation holds a number of life drawings in similar condition to those offered here. A forceful and highly-strung woman, Emilie Barrington was an art critic and novelist chiefly remembered for her biographies of G.F. Watts and Frederic Leighton. She was an amateur artist, taking drawing lessons from Arthur Hughes, and assimilated herself into the artistic and literary circles of the day. It is curious that Mrs. Barrington’s name appears on one of the studies offered here; there appears to be little known about her relationship with the De Morgans, although we do know that Evelyn, accompanied by the writer Violet Paget, went to lunch at Emilie Barrington’s in 1883, after which they visited the studios of Watts and Leighton.

(3) £700-1000

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176* De Morgan (Evelyn, 1855-1919). Head study, charcoal on paper, head & shoulders portrait of a young man, with full lips, arched eyebrows, and a mass of dark curly hair, with a pensive look on his face, annotated in pencil lower left ‘Mrs. Barrington’, damp-soiled lower left (just encroaching on a few faint pencil lines), creased and frayed at edges, sheet size 53 x 42.5cm (21 x 16.75ins), plus another study of the same model, full-length male nude wearing a loin cloth, seated sideways on a chair and leaning on right elbow, damp-soiled lower right (just encroaching on model’s left foot), creased and frayed to edges (just touching right elbow), sheet size 60.5 x 41cm (24 x 16ins) This pair of arresting drawings were executed whilst Evelyn De Morgan was at the Slade School of Art. See note to lot 175.

(2)

69

£500-800

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177* De Morgan (Evelyn, 1855-1919). Head of a young girl, charcoal on paper, head and shoulders half profile to right, of a beautiful young girl with pensive gaze and ornamental plaits in her dark hair, some soiling and creasing, edge-frayed with some loss (not affecting image), sheet size 62.5 x 46cm (24.5 x 18.25ins) Probably executed whilst Evelyn De Morgan was at The Slade School of Art. The drawings of faces she executed at this period convey an astonishing depth of expression and assured draughtmanship.

(1) ÂŁ1000-1500

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

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Lot 178

178* De Morgan (Evelyn, 1855-1919). Anatomical studies for Tobias and the Angel, pencil and watercolour on card, depicting several studies, comprising a full-length male nude study for Tobias in pencil and sepia watercolour, two pencil drawings for the hands of Tobias (one showing the string in his right hand), a pencil drawing for Tobias’s jaw, neck and shoulders, a pen & ink sketch for the left hand of the Angel, and a pencil head study for the Angel, slightly dusty, right edge a little water-stained (not affecting images), sheet size 35 x 50.5cm (14 x 20ins) ‘Tobias and the Angel’ was executed in 1875, and its current location is apparently unknown (‘Evelyn De Morgan, oil paintings’, DMF, plate 3). This single sheet is evidence of the thoroughness of her artistic preparation and preoccupation with detail.

(1) £500-800

179* De Morgan (Evelyn, 1855-1919). Head of a young woman, pastel with pencil on laid paper, half profile portrait to left of a young woman gazing upwards crowned with a garland of pink flowers, faint horizontal crease, pinholes and some creasing to edges, sheet size 46 x 30.5cm (18.25 x 12ins), together with another head study, pastel on card, profile portrait to left of a young woman with her hair swept into a bun looking down, annotated in pencil in the artist’s hand below image ‘Monday 18th Friday 22nd’, toned to lower blank margin, damp-stained to left margin (just encroaching on image), and with consequent 1.5” closed tear (not touching image), sheet size 36 x 26cm (14.25 x 10.25ins) (2)

£500-800

Lot 179 71

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180* De Morgan (Evelyn, 1855-1919). Double study of male nude figures, black & white chalk on grey paper, showing two full-length seated male nudes, one with head bowed and left arm draped over a support, the other facing forward with right leg drawn up and foot resting on seat, a few fox spots, slightly frayed at edges, sheet size 34 x 47cm (13.5 x 18.5ins) (1)

181* De Morgan (Evelyn, 1855-1919). Figure study for The Christian Martyr, pencil on card, depicting a full-length female figure against a wooden cross, clothed in diaphanous drapery, and shackled at the wrists, a little dusty, some marginal pinholes, sheet size 26 x 13cm (10.25 x 5.25ins), together with a figure study of the resurrected Christ, pencil on card, depicting a full-length figure clothed in drapery, raising his right hand and holding a banner in his left, slightly dusty, sheet size, 35 x 13.5cm (14 x 5.25ins), plus a study for a dancing figure, charcoal on thick paper, depicting a full-length female figure in flowing robes, with a halo round her head, and raising a pair of cymbals aloft, slightly toned, sheet size 21.5 x 3.5cm (8.5 x 5.25ins)

Lot 180

‘The Christian Martyr’ oil painting for which the first study was executed is in the holdings of the Southwark Art Collection (‘Evelyn De Morgan, oil paintings’, DMF, plate 9).

(3) £200-400

Lot 181 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300-500

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182* De Morgan (William, 1839-1917). Stained glass window designs, together four pen, ink, & watercolour designs on card, all dusty, comprising: a design for a large multi-light tracery church window, depicting scenes from the Life of Christ, and various angelic figures, some closed tears, sheet size 44 x 33cm (17.5 x 13ins), laid down on card; a design for a tracery church window depicting David as shepherd in the centre, flanked by decorative panels either side and below, annotated in pencil, ink inscription upper left ‘C.F. Hayward Archt. July 28/70’, 47.5 x 24cm (18.75 x 9.5ins); a design for a rose window for the east window of ‘Union’ Congregational Chapel, Brixton Hill near Streatham, titled in ink above and below, annotated in pencil with colours, 34 x 24cm (13.5 x 9.5ins), sometime laid down on linen; and a design for a two light window with cinquefoil above, annotated in pencil ‘Mr. Dimmock’s window’, 28 x 19cm (11 x 7.5ins); plus a small sheet of pencil sketches of architectural details, annotated in ink ‘Du Sommerard’, 14 x 22.5cm (5.5 x 9ins)

183* Richmond (William Blake, 1842-1921). Study of a hand holding a glove, a red chalk on pale blue-grey paper, with touches of white chalk, 21.5 x 15cm (8.5 x 6ins) mount aperture, framed and glazed Provenance: Collection of Anthony Fry (1927-2016).

(1)

Known chiefly as a ceramicist, William De Morgan’s work as a designer of stained glass is less well documented. In 1863 at the age of 24 De Morgan met William Morris, and the pair, both to become central figures in the Arts & Crafts Movement, became lifelong friends. It was at Morris’s suggestion that De Morgan gave up his training in fine art and turned to design work.

Between 1863 and 1872 he designed glass, tiles and furniture for Morris & Co, including collaborations with Edward Burne-Jones on stained glass production for The Firm (as it was known).

(5) £300-500

73

£150-200

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

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184* John Hardman & Co. (1838-2008). The glass plate negatives archive of the firm of John Hardman & Co, Birmingham, circa 18601920, comprising over 1000 glass plates of stained glass window designs (including approximately 400 full plates and 250 half plates), a minority with identification or numbers to plate margins or sleeves, churches and buildings identified including House of Parliament (Peer’s Corridor and Royal Gallery), London Docks, Queen Elizabeth Hospital, Birmingham, Volth Presbyterian Church, Buffalo, St Patrick’s Church, San Francisco, Stuartholme, Brisbane, New Rochelle, New York, Manly, Sydney, plus churches in Durban, Coventry, Cambridge, Liverpool, Crewe, Lightwater, Caldmore, Yarkhill, Felton, Saltley, Tenby, Crewe, etc., plus a further group of over 800 glass plate negatives of Hardman’s designs for ecclesiastical fittings and related metalwork and glassware (including approximately 100 mammoth and full plates and 60 half plates), some cracks and damage, occasional mostly numeric markings to sleeves and plate margins, occasional identification of places, plus over 200 damaged and fragmented glass plates, mostly of stained glass, plus a group of approximately 850 lantern slides and similar of Hardman cartoons and a box of over 500 photographic prints by Hardman, etc., a total of over 3,000 items including copy negative glass plates and some positives, partly arranged by size and subject in various archive boxes John Hardman was one of the pioneers of the stained glass revival of the nineteenth century. It was at the suggestion of Augustus Welby Northmore Pugin (1812-1852) that the business expended into glass manufacture in 1845. Pugin designed for the firm until his death when this role passed onto his nephew John Hardman Powell (1827-1895). Throughout the world most major cathedrals, churches and many civic buildings contain some of the distinctive windows designed and made by Hardmans. The firm was renamed John Hardman Studios in about 1939, at which time Donald Battershill Taunton and Patrick Feeny were designers. Able to move on from the Victorian and Edwardian Gothic Revival styles, the firm survived and continued until its closure in 2008. This glass plate negatives archive was acquired by the current owners directly from Hardmans at this point. The records of the firm of John Hardman are held at Birmingham Archives & Heritage, the cartoons and illustrations produced by the firm are at Birmingham Museums & Art Gallery, and original designs for some of Hardman’s 20th-century stained glass windows are held by the University of Birmingham. (an archive) £5000-8000

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ETCHINGS, LITHOGRAPHS & WOODCUTS 1820-1950

185AR* Anderson (Stanley, 1884-1966 ). Quai Duperré, La Rochelle, 1928, drypoint etching on Milbourn British handmade pure rag paper, one of 85 published proofs, signed, plate size 20.7 x 33.9cm (8.2 x 13.3ins), sheet size 28.3 x 44cm (11.2 x 17.25ins), window-mounted Hardie 126.

(1)

£200-300

186AR* Anderson (Stanley, 1884-1966). A Devon barn, 1922, miniature etching on cream wove paper, the second state (of 3), before the published edition of only 12 impressions, signed, marked ‘2nd St.’, and titled in ink, image size 23 x 38 mm (1 x 1.5ins), sheet size 78 x 63 mm (3 x 2.5ins), window-mounted

187* Arms (John Taylor, 1887-1953). The Church of St. Francis and the Natizone, Cividale, 1931, etching on pale cream laid paper, from the published edition of 128 impressions, signed, dated, and inscribed in pencil ‘To my friends Kerr and Frances Eby’, plate size 18.8 x 25.5cm (7.4 x 10ins), sheet size 27.5 x 37.5cm (10.8 x 14.75ins), window-mounted

Hardie 94. Meyrick & Heuser 144, ii/iii (listing only one impression of the second state). This minute print was commissioned for the library of Queen Mary’s dolls’ house, designed by Lutyens.

(1) £200-300

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

Fletcher 238 iii/iii. Number 22 from the Italian Series.

(1)

76

£100-150

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190* Beaumont (Leonard, 1891-1986). Spanish Townscape, etching, signed and numbered 30/75, framed and glazed, together with other various etchings (-)

£100-150

188* Austin (Robert Sargent, 1895-1973). The Cathedral, Palma, 1927, etching on cream laid paper, a signed proof printed in brown ink, signed and dated 1928 in pencil, plate size 20.3 x 34.3cm (8 x 13.5ins), sheet size 26.7 x 43.5cm (10.5 x 17.25ins), window-mounted Campbell Dodgson, 79. Ashmolean Museum, Oxford, Robert Austin, 16 February-16 March 1980, 24.

(1) £100-150

191* Benson (Frank Weston, 1862-1951). Three Geese, 1931, lithograph on wove paper, from the edition of 10, signed in pencil lower left, image size 24 x 33cm (9.5 x 13ins), period frame, glazed (1)

£300-500

189* Austin (Robert Sargent, 1895-1973). Cat and Mandolin, 1925, copper engraving on cream laid paper, the second published state (of 2), printed in an edition of 50, plate size 10.5 x 15.6cm (4.1 x 6.2ins), sheet size 18.6 x 24.5cm (7.3 x 9.7ins), window-mounted Campbell Dodgson 60 ii/ii.

(1)

£200-300

192* Besnard (Albert, 1849-1934). Reverie, 1887, etching and aquatint on cream laid paper, the second state (of 2), printed in an edition of around 75 impressions, signed in pencil, plate size 8.4 x 14cm (3.3 x 5.5ins), sheet size 13.5 x 17cm (5.3 x 6.7ins), windowmounted, together with Brouet (Auguste, 1872-1941), Joueur d’Orgue, etching on pale blue laid paper, one of only 10 artist’s proofs aside from the published edition, signed and number 8/10 in pencil, plate size 9.3 x 10.4cm (3.7 x 4.25ins), sheet size 20 x 25.5cm (7.9 x 14ins), both window-mounted Godefroy 60, ii/ii & Geffroy 198.

(2)

Lot 190

77

£100-150

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194* Bone (Sir David Muirhead, 1876-1953). The Convent of San Payo, Santiago de Compostela, Spain 1929, drypoint etching on cream laid simili Japan paper, a unique proof of the 10th state, signed in pencil, a few spots, plate size 12 3/16 x 7 8 (sheet 15 1/4 x 10 3/4), mounted Campbell Dodgson/Wright 434, x/xviii. Unique proof of the 10th state, from a total of 18 states made by the artist between 1929 and 1937. The total edition being 102 impressions.

(1) £150-200

195AR* Bone (Sir David Muirhead, 1876-1953).

The Shot Tower, 1904, drypoint etching on cream laid paper, the 5th and final published state, printed in an edition of 35 impressions, signed and titled in pencil, plate size 17.5 x 22.5cm (6.9 x 8.8ins), sheet size 19.7 x 24.6cm (7.75 x 9.75ins), laid down on backing card, window-mounted, with printed labels of the Montclair Art Museum, New Jersey, and M. Knoedler & Co., New York 193* Beurdeley (Jacques, 1874-1954). Barques de peche au repos (Tamise), etching with drypoint on laid paper, from the published edition of 50, a good impression with plate tone, signed and numbered 45/50 in pencil, plate size 15 x 23cm (5.9 x 9ins), sheet size 17.2 x 25cm (6.75 x 8.7ins), mounted, together with Bracquemond (Felix, 1833-1914), La Seine au Bas-Meudon, 1868, etching on laid paper, the final state, as issued in the Gazette des Beaux Arts in 1884, light crease to lower right blank margin, plate size 15.7 x 22.8cm (6.2 x 9ins), sheet size 18.5 x 27.5cm (7.25 x 10.75ins), mounted, plus six other etchings by Edgar Chahine (St.-Germain-L’Auxerrois, 1902), Louis Legrand (Flore artificielle), Leon Lhermitte, and Auguste-Louis Lepère, each mounted Beraldi 187, iv/iv.

(5)

Campbell Dodgson 160, 5th state. ‘The Shot Tower is Bone’s best study of The Thames, and indispensable to a representative collection’.

(1) £200-300

£150-200

Lot 194 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 195

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198* Brammer (Leonard Griffiths, 1906-1994). Evening Landscape, Five Towns, 1932, etching and mezzotint on cream wove paper, a signed proof, a rich impression in excellent condition, plate size 16 x 25cm (6.25 x 9.8ins), sheet size 26.2 x 36.8cm (10.3 x 14.5ins), window-mounted (1)

£200-300

196AR* Bone (Sir David Muirhead, 1876-1953). The East Breast, Greenock, 1900, etching with drypoint on wove paper, one of approximately 30 impressions, signed and titled in pencil, plate size 16.8 x 21.7cm (6.6 x 8.5ins), with margins, framed and glazed Acquired from Garton & Cooke. Campbell Dodgson 76.

(1)

£150-200

197AR* Bone (Sir David Muirhead, 1876-1953). Old Linlithgow, Scotland, 1901, etching on pale grey-brown paper, one of only two known impressions, inscribed in pencil to lower margin ‘Muirhead Bone to J. McG.’ and dated Sept. 1902, plate size 12.5 x 7cm (4.9 x 2.75ins), framed and glazed Provenance: Charles Jacob Rosenbloom (Lugt 633b). Acquired from Garton & Cooke, circa 1984 (Catalogue 29, Item 10). Dodgson records only one impression of this print which Bone kept himself. There is another impression in the Wiggin Collection of the Boston Public Library. The present work was purchased from T. & R. Annan & Sons of Glasgow in 1913 by G. Mayer.

(1) £150-200

199AR* Brockhurst (Gerald Leslie, 1890-1978). Ranunculus, 1921, etching on cream wove paper, from the edition of 76 proofs, published September 1921, signed in pencil, plate size 201 x 152 mm (7.9 x 6ins), sheet size 318 x 250 mm (12.5 x 9.8ins) Wright 25, iv/iv.

(1)

Lot 197

£300-500

Lot 198

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200AR* Brockhurst (Gerald Leslie, 1890-1978). Phémie, 1923, etching on laid paper, one of 76 proofs published in 1924, signed in pencil, plate size 100 x 74 mm (3.9 x 2.9ins), sheet size 270 x 200 mm (10.6 x 7.8ins), together with Anais I, 1920, etching on laid paper, from the edition of 55 proofs published in July 1920, signed in pencil, plate size 138 x 111 mm (4.4 x 5.4ins), sheet size 235 x 188 mm (9.25 x 7.4ins), plus Aglaia, 1926, one of 111 proofs published April 1926, signed in pencil, and additionally signed by the artist in ink to lower left, plate size 137 x 105 mm (5.4 x 4.1ins), sheet size 290 x 215 mm (11.4 x 8.5ins), each in card passepartout (with Craddock & Barnard pencil annotations) Wright 42 ii/ii, 6, ii/ii, & 54 ix/ix.

(3)

£300-400

201AR* Brockhurst (Gerald Leslie, 1890-1978). Corinne, 1925, etching on cream laid paper, one of 106 proofs of the fifth state published December 1925, signed in pencil, plate size 139 x 102 mm (5.5 x 4ins), sheet size 286 x 211 mm (11.25 x 8.3ins), together with In The Wood, 1920, etching on wove paper, one of 111 proofs, signed in pencil, plate size 125 x 149 mm (4.9 x 5.8ins), sheet size 223 x 274 mm (8.75 x 10.75ins) Wright 50 v/v & 14. Fletcher 50 & 14.

(2)

£200-300

Lot 200

202AR* Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, one of 111 proofs published August 1927, signed in pencil, a fine, rich impression, remains of mount hinges to head and foot of extreme left blank margin, plate size 223 x 159 mm (8.75 x 6.25ins), sheet size 375 x 270 mm (14.75 x 10.6ins) Wright 58, ix/ix. Fletcher 58.

(1)

Lot 201

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

80

£300-500

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205* Buhot (Felix, 1847-1898). Les Petites Chaumieres, 1878, etching, drypoint, aquatint and roulette on laid paper, an excellent impression, signed with the artist’s red owl stamp to centre of lower blank margin (Lugt 977), plate size 10 x 13.7cm (4 x 5.4ins), with margins, framed and glazed Bourcard-Goodfriend 149, iv/iv. A scene of old rural cottages in Quinéville, Normandy. Provenance: Acquired from Garton & Cooke in 1988.

(1) £200-300

203* Brockway (Harry, 1957-). Essays, Or, Counsels, Civil and Moral, by Francis Bacon, Folio Society, 2002, series of 38 wood engravings, each signed, dated ‘02, individually titled and numbered 3/50, sheet size 17.7 x 15.3cm (7 x 6.1ins), loose, plus 3 autograph letters from the artist to the owner regarding the prints, a handwritten invoice, and a typewritten reply from the owner (38)

£150-200

206* Buhot (Felix, 1847-1898). La Ronde de Nuit, 1878, etching and drypoint on wove paper, signed and inscribed ‘planche detruite’ by the artist in pencil, with the artist’s red owl stamp to centre of lower blank margin (Lugt 977), collector’s marks of Alfred Barrion and Andre-Jean Hachette to recto and verso respectively, plate size 13.2 x 14.4cm (5.25 x 9.6ins), with margins, framed and glazed

204AR* Buckland Wright (John, 1897-1954). Composition No. 5, 1935, wood engraving on japon paper, from the edition of 30 (but only 22 printed), signed, dated, titled and numbered 10/30, image size 17.8 x 12.9cm (7 x 5.1ins), sheet size 27.3 19.5cm (10.8 x 7.7ins), mounted Buckland Wright L106.

(1)

Bourcard-Goodfriend 70, ii/iii. Provenance: Alfred Barrion (Lugt 76). AndreJean Hachette (Lugt 132). Acquired from Garton & Cooke in 1988.

(1) £300-500

£300-500

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208* Cameron (David Young, 1865-1945). The Fisher’s Hut, etching with drypoint on laid paper, signed in pencil, plate size 12.5 x 26cm (4.9 x 10.25ins), sheet size 15 x 27.5cm (5.9 x 10.9ins), framed and glazed, with old Colnaghi printed label to verso bearing the title in ink

207* Calvert (Edward, 1799-1883). The Brook, 1829, wood engraving on light grey-brown wove paper, as issued in A Memoir of Edward Calvert, Artist, by his Third Son, 1893, in an edition of 350, mount staining, image size 51 x 88 mm (2 x 3.5ins), sheet size 16 x 26.2cm (6.25 x 10.3ins), framed and glazed Lister 12c.

(1)

(1)

£100-150

£200-300

209* Cameron (David Young, 1865-1945). The Workshop, 1905, etching and drypoint on thin laid paper, a strong contrasted impression with plate tone, short margins on all sides, signed in pencil, plate size 20.5 x 30.2cm (8.1 x 11.9ins), sheet size 22 x 31.5cm (8.6 x 12.4ins), mounted Rinder 369 ii/iv. No published edition.

(1)

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

£200-300

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210* Cameron (David Young, 1865-1945). Souvenir d’Amersterdam, 1915-30, etching and drypoint on laid paper, published in an edition of 60, a very good impression with plate tone, with margins, signed in pencil, plate size 37.5 x 26.2cm (14.75 x 10.3ins), sheet 41 x 29cm (16.2 x 11.5ins), mounted Rinder 460, iv/vi.

(1)

£200-300

211* Cameron (David Young, 1865-1945). The Avenue, Gargunnock, 1905, etching with drypoint printed in very dark brown ink on simile Japan paper, the third state, a fine impression with plate tone, short margins on all sides (as desired by the artist), signed in pencil and marked 3rd State, plate size 14.5 x 15.7cm (5.75 x 6.2ins), sheet size 15.7 x 16.3cm (6.2 x 6.4ins), mounted Rinder 373 iii/iv. Exhibited at the Society of Twelve.

(1)

£200-300

212* Cameron (David Young, 1865-1945). The Horse Guards, 1899, etching on white paper, printed with plate tone, the third state, signed in pencil, plate size 11.5 x 12.5cm (4.5 x 4.9ins), framed and glazed, together with Greendyke Street, 1891, etching, initialled and dated 1891 in the plate, signed in pencil, trimmed to margins, sheet size 10.7 x 15.2cm (4.25 x 6ins), framed and glazed Rinder 292 and 88.

(2)

£150-200

Lot 210

Lot 211

Lot 212

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213* Clausen (Sir George, 1852-1944). Little Meg, 1892, etching on pale blue-grey paper, margins trimmed, sheet size 12 x 8.4cm (4.75 x 3.3ins), mounted on thick backing paper, and inscribed to lower edge by the artist to fellow artist Mark Fisher ‘For Mark & Mrs Fisher, with greetings’, framed and glazed (1)

£100-150

214* Copley (John, 1875-1950). An Old Genovese, 1927, etching on pale grey paper, the second state (only impression in this state), signed in pencil, captioned to lower edge of the sheet, plate size 23.7 x 21.9cm (9.4 x 8.65ins), sheet size 40 x 29.6cm (15.75 x 11.7ins), window mounted Copley 27.

(1)

Lot 213

£200-300

215AR* Anderson (Stanley, 1884-1966 ). Les Arcades, Dieppe, etching, signed, small worm track to lower righthand plate mark, and pin hole towards lefthand margin, plate size approx. 210 x 315 mm (8.25 x 12.5ins), period frame, glazed (1)

£150-200

216* Anderson (Stanley, 1884-1966 ). La Lieutenance, Honfleur, 1926, drypoint etching on cream wove paper, from the published edition of 60 proofs, signed and titled in ink, plate size 19.7 x 37.7cm (7.75 x 14.8ins), sheet size 28 x 45cm (11 x 17.75ins), windowmounted, together with Bentley (Alfred, 1879-1923), Near the Braid Hills, Edinburgh, drypoint etching on cream laid paper, watermarked F J Head & Co, signed in pencil, plate size 18.5 x 23cm (7.25 x 9ins), sheet size 29 x 36.5cm (11.5 x 14.3ins), window-mounted (2)

Lot 214

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

84

£100-150

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218* Craig (Edward Gordon, 1872-1966). Nine woodcuts, wood engravings on thin light brown wove paper (except one on thin pale cream wove paper), all unsigned proofs, including three duplicates, sheet size 16 x 12.2cm (6.4 x 4.8ins) and slightly smaller (9)

£100-150

217* Craig (Edward Gordon, 1872-1966). A collection of 20 proof engravings of illustrations to Robinson Crusoe, circa 1938-39, a group of 20 various wood engravings on thin tissue, each annotated in pencil, 4 signed and dated 1938-39 with Gordon Craig’s monogram, sheet size 10 x 14cm (5.5 x 3.9ins) or slightly smaller Following the success of Gordon Craig’s illustrated edition of Hamlet printed by Count Harry Kessler at the Cranach Press in Weimar, an illustrated edition of Robinson Crusoe was planned but never published due to the advent of the second world war.

(20) £300-500

219* Dawson (Nelson Ethelred, 1859-1941). Campanile Tower, Venice, soft-ground etching on laid paper, signed in pencil, plate size 23.8 x 17.3cm (9.4 x 6.8ins), sheet size 36.5 x 26.5cm (14.25 x 10.4ins), together with 10 other etchings by the same artist, of which 8 are signed in pencil, including In A Gondola, A North Country Fishing Village, Three Fisherwomen from Etaples, Basilica di San Marco, Venice, etc., sheet size 33.5 x 49.5cm (13.2 x 19.5ins), and smaller (11)

Lot 218

85

£150-200

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221* Drake-Brookshaw (Percy, 1907-1993). Art students drawing in class, lithograph on Japanese tissue, signed and indistinctly dated 1936 to lower margin, 35.5 x 49cm (14 x 15.5ins), together with four other similar lithographs (unsigned) and 12 linocut prints on tissue, including nine of cats from the 'Nine Lives' series, each signed and captioned, plus an original pen and wash study on thin wove paper of a deer, signed and dated 1937 (1) £200-300 222 No lot

220* Drake-Brookshaw (Percy, 1907-1993). Calvi, Corsica, artist proof lithograph on Japanese tissue depicting a figure descending a passage way to the water’s edge and moored sailing boat, captioned and signed lower margin, damp stain to leaf margin and adhesive marks to edges, 37 x 53.5cm (14.5 x 21ins), together with 12 other lithograph and linocut prints by Drake Brookshaw, including views, portraits and studies, mostly signed, plus an original watercolour and gouache painting on Japanese tissue laid on board of an entrance to a grand Moorish building, signed lower margin, plus a study of an ape and pony (16)

£200-300

223AR* Evans (Merlyn Oliver, 1910-1973). Eurydice, 1956, etching with drypoint on heavy wove paper, a strong, rich impression, signed, titled and numbered 1/50, plate size 30 x 13.5cm (11.75 x 5.3ins), sheet size 36 x 25cm (14.2 x 9.8ins), mounted Provenance: Purchased by the current owner from the Redfern Gallery, London, in 1988.

(1) £300-500

Lot 221

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

86

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224* Fitton (Hedley, 1859-1929). The Bell Tower, St. Etienne, Beauvais, 1910 & Tour de l’Horloge, Amboise, two etchings on laid paper, watermarked O.W.P & A.C.L, each signed in pencil, the first from the edition of 50, plate size 45.5 x 27.5cm (18 x 10.8ins), sheet size 59 x 45.5cm (23.25 x 18ins) and similar, both window-mounted (2)

£100-150

225* Forain (Jean-Louis, 1852-1931). Similitudes, 1880, etching and drypoint, a later impression on pale green wove paper, plate size 14.7 x 10cm (5.8 x 4ins), sheet size 25.4 x 18.2cm (10 x 7.2ins), together with seven other etchings by Forain including Maison Close, L’Ambulante, Les Folies Bergere, Le Bouquet, etc, all later impressions, unsigned, each window-mounted (8)

£150-200

Lot 224 226* Francais (Francois Louis, 1814-1897). Baigneuses, lithograph on paper after Alexandre Gabriel Decamps (1803-1860), printed by Imprimerie Bertauts, Paris, for Les Artistes Contemporains, small publisher’s blindstamp to centre of lower blank margin, image size 17.5 x 24.5cm (6.8 x 9.6ins), with margins, framed and glazed, together with 17 other various 19th century French and continental lithographs and etchings, including Charles Jacques, Le Pecheur (from Souvenirs d’Artistes), several lithographs by Louis Marvy after Decamps, Corot, J. Laurens, L’Affut after Paul Flandrin, Cheveaux dans un paturage, after Diaz (for Les Artistes Anciens et Modernes), etc, many with print seller’s stamp of G. Boy, Alliance des Arts, 80 Rue Lafayette, Paris, some marks and light soiling (18)

Lot 225

87

£100-150

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Lot 228

227* Fry (Roger, 1866-1934). St. Jacques, Dieppe, 1927, lithograph on paper, small puncture to upper left corner, sheet size 64 x 42cm (25.25 x 16.5ins), together with Interior of Cluny, lithograph on paper, minor discolouration to top margin, sheet size 61 x 42.5cm (24 x 16.75ins), plus two other lithographs by Roger Fry of French architecture, including one of medieval dwellings titled ‘La Charité’, the other a study of an old farmhouse with geese in the foreground, all framed and glazed (4)

£200-300

228* Gibbings (Robert John, 1889-1958). Sitting Out, 1929, woodcut on laid paper, watermarked Hand Made, signed in pencil, image size 12.8 x 11.3cm (5.1 x 4.5ins), sheet size 21.5 x 17cm (8.5 x 6.7ins), together with another woodcut on thin pale cream japan paper by Robert Gibbings of a snake coiled in tropical undergrowth, signed, sheet size 12 x 16.5cm (4.75 x 6.5ins), plus Gill (Eric, 18821940). Dress 1920, wood engraving on paper originally designed the Welfare Handbook (after the illustration by Edmund Sullivan for A Modern Utopia by H.G. Wells), here reissued by Douglas Cleverdon in 1929 (Engravings by Eric Gill, Bristol, Douglas Cleverdon, 1929) (3)

229* Gill (Eric, 1882-1940). Divine Lovers I, 1922, wood engraving, image size 90 x 75 mm (3.5 x 3ins), framed and glazed, with Goldmark Gallery label to verso, together with two other wood engravings by Eric Gill: Initial A with princess and gypsy, & Initial I with trumpeter and drummer, both 1923, issued in an edition of 400 in 1929, unsigned, image size 23 x 27 mm, both framed and glazed, with Goldmark Gallery label to verso

£200-300

Physick 193, 242 & 249.

(3)

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

88

£100-150

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232* Griggs (Frederick Landseer, 1876-1938). The Quay, 1916, etching on antique laid paper, the third state (of 3), from the edition of 40 published proofs, signed ‘F.L. Griggs imp’ in pencil lower right, plate size 16.6 x 20.3cm (6.5 x 8ins), sheet size 23 x 35.5cm (9 x 14ins), framed and glazed Comstock 15, iii/iii.

(1)

£300-400

230* Goff (Robert Charles, 1837-1922). Mosque Entrance, Boulag, near Cairo, etching on wove paper, signed in pencil, plate size 30 x 22.7cm (11.75 x 9ins), sheet size 41 x 31cm (16.2 x 12.25ins) (1)

£70-100

233* Gross (Anthony, 1905-1984). The Mule Cart, 1924, etching with drypoint on laid paper, signed, dated and titled in pencil, 14.5 x 26cm (5.75 x 10.25ins), sheet size 28.5 x 38.5cm (11.25 x 15.2ins), mounted (1)

231* Grant (Duncan James Corrour, 1885-1978). Trees in Summer, etching on handmade paper, watermarked New York, signed in ink lower right, some light handling marks, plate size 15 x 20.2cm (6 x 8ins), sheet size 23 x 33.5cm (9 x 13.2ins), mounted (1)

£150-200

89

£150-200

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234* Gurschner (Herbert, 1901-1975). A collection of 12 uncoloured woodcuts of Tyrolean landscapes with figures in the snow, church processions, an ex libris for Louis Golding, and a woodcut version of the artist’s painting The Judas Kiss of 1926, 12 uncoloured woodcuts on handmade paper, the largest sheet size 20.5 x 22.5cm (8.2 x 9ins), the smallest sheet size 13 x 12.5cm (5.2 x 5ins) Provenance: The artist’s estate, thence by descent to the present owner.

(12)

£400-600

236* Haden (Francis Seymour, 1818-1910). Horsley’s Cottages, 1865, etching with drypoint, with plate tone, signed in pencil, plate size 17.5 x 25cm (7 x 10ins), with margins, a few light spots to upper portion, framed and glazed (1)

235* Guthrie (James, 1859-1930). Sunrise after the storm, pen and black ink on card, artist’s monogram lower left, 11.8 x 11.6cm (4.7 x 4.6ins), framed and glazed (1)

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

£150-200

90

£150-200

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237* Haden (Francis Seymour, 1818-1910). Early Morning, Richmond Park, 1859, etching and drypoint on thin laid paper, the third state (of 3), as issued in Etudes a l’Eau-Forte in 1865, in an edition of approximately 180, plate size 11.4 x 27.8cm (4.5 x 11ins), with margins, framed and glazed Schneiderman 25, iii/iii. Provenance: Cleveland Museum of Art. Acquired from Garton & Cooke in 1985 (catalogue 31). Haden dedicated this romantic view to his wife Dasha (her name etched at the base of the large tree trunk to the right). The plate is further inscribed ‘The Lark at Heaven’s Gate Sings’ towards the lower left margin.

(1) £200-300

238* Haden (Francis Seymour, 1818-1910). Penton Hook, 1864, etching on old laid paper, a rare touched proof, signed in pencil lower right, a fine impression with full margins, with pencil additions to the main tree trunks, plate size 14.8 x 23.7cm (5.8 x 9.3ins), framed and glazed Schneiderman 65, iii/vi. Only 30 impressions were printed, according to the Buffalo catalogue of 1891. Provenance: Acquired from Garton & Cooke.

(1) £300-500

91

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Lot 239

Lot 241

239* Haden (Francis Seymour, 1818-1910). Kensington Gardens, No. II (Large Plate), 1860, etching with drypoint on chine colle, signed, as issued in A Selection of Etchings by the Etching Club, 1865, plate size 20.2 x 12.7cm (8 x 5ins), with margins, framed and glazed

241* Haden (Francis Seymour, 1818-1910). Horsley’s House at Willesley, 1865, etching and drypoint on thick laid paper, a trial proof, a very good, richly printed impression, signed and inscribed ‘D.88’ and ‘trial proof’ by the artist in pencil, light mount stain, plate size 17.6 x 24.8cm (7 x 9.75ins), with margins, framed and glazed

Schneiderman 31, iii/iii. Provenance: Acquired from Garton & Cooke in 1985.

(1) £200-300

Schneiderman 89 i/ii. John Callcott Horsley R.A. (1817-1903) married Haden’s sister Rose, and lived at Willesley House near Cranbrook in Kent.

The house was remodelled in 1864-65 by the architect R. Norman Shaw, and became an artist’s colony. Haden produced five etchings at this location (Schneiderman 89-93). Provenance: Acquired from Garton & Cooke in 1985 (Catalogue 31).

(1) £200-300

240* Haden (Francis Seymour, 1818-1910). Egham Lock, 1859, etching on laid paper, with light plate tone, a signed proof aside from the Gazette des Beaux Arts edition, plate size 15 x 22.6cm (5.9 x 8.9ins), with full margins, framed and glazed 242* Haden (Francis Seymour, 1818-1910). Battersea Reach, 1863, etching with drypoint on laid paper, a good, rich impression on laid paper, the 4th state (of 12) as issued in the Gazette des Beaux Arts in 1864, inscribed in the plate ‘Old Chelsea out of Whistler’s window’, plate size 15 x 22.5cm (5.9 x 8.8ins), with margins, framed and glazed

Schneiderman 21. Harrington 161. Provenance: Acquired from Garton & Cooke in 1985.

(1) £150-200

Schneiderman 48 iv/xii. Provenance: Acquired from Garton & Cooke in 1985 (Catalogue 31).

(1) £100-150

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

92

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243* Haden (Francis Seymour, 1818-1910). Five original copper etching plates for Nine Barrowdown, Challow Farm, Wareham Bridge, The Little Boathouse & Haunt of the Mosquito, 1864-1897, together five cancelled copper etching plates, each with manufacturer’s stamp to verso of Hughes & Kimber (Limited), generally heavily worn and with cancel lines across each, 15.2 x 22.8cm (6 x 9ins), each contained in card envelope, one with old printed label of N.W. Lott & H.J. Gerrish Ltd. Harrington 167, 175, 176, 177 and 243.

(5)

£200-300

245* Hainard (Robert, 1906-1999). Pinson chantant (Chaffinch singing), 1951, colour woodcut, signed and numbered 45/50, printed signature,location and date Bernex 5 Mai 1951, image size 16 x 14.5cm (6.25 x 5.75ins), with margins, framed and glazed with Tryon Gallery label to verso (1)

246 Haden (Sir Francis Seymour, 1818-1910). Recollections of Fly Fishing for Salmon, Trout, and Grayling, with notes on their haunts, habits, and history, by Edward Hamilton, 1884, mezzotint engraved frontispiece by Seymour Haden, untrimmed, original vellumbacked plain boards, 8vo, with presentation inscription to front endpaper ‘To Francis Seymour Haden with the author’s kindest regards, Nov. 1884.’, together with another copy of the same work in the standard edition, original cloth, rubbed and some fraying and wear to corners, a copy of Hector France, Sur L’Oreiller avec une Eau-Forte de A. Legros, Londres, 1880, etched frontispiece by Legros, untrimmed, original printed boards, worn, with manuscript copy of the birth certificate of Alphonse Legros of 1837 loosely inserted, dated Dijon, 8 Octobre 1860 and Paris 10 Aout 1861, and a copy of Philip Gilbert Hamerton, Etching & Etchers, 3rd edition, 1880 (lacking the etchings by Whistler and Palmer), folio

244* Hainard (Robert, 1906-1999). Gobe-mouche becfigue (Flycatcher), 1932, colour woodcut, the second state, signed and numbered 35/50, printed location and date Aire-La-Ville 25 Avril 1932, image size 10 x 10cm (4 x 4ins), with margins (some light discolouration to edges), framed and glazed with Tryon Gallery label to verso (1)

£200-300

£200-300

(4)

93

£100-150

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247* Isabey (Eugene, 1803-1886). Chateau de Pesteil a Polminhac, 1832, lithograph printed in black on chine collé, as issued in Baron Taylor’s Voyages Pittoresques et Romantiques dans l’Ancien France, 1832, 22.5 x 30.5cm (8.8 x 12ins), sheet size 35 x 52.5cm (14 x 20.75ins), window-mounted, together with Rue de Gros a Clermont, 1833, lithograph in black on wove paper, image size 32.2 x 24.2cm (12.7 x 9.5ins), plus Souvenir de Bretagne, lithograph in black on wove paper, some light discolouration, short closed tear to extreme lower margin below the printed title, image size 29.7 x 22cm (11.7 x 8.7ins), sheet size 33.5 x 25cm (13.2 x 9.8ins), window-mounted Curtis 44 (only state), 29 & 61 respectively.

(3)

248AR* John (Augustus, 1878-1961). The Flute of Pan, photogravure print on chine colle, with printed title below, signed by the artist in pencil, plate size 26.5 x 32cm (10.5 x 12.5ins), framed and glazed Provenance: Collection of Eric Kennington (1888-1960), thence by descent.

(1) £150-200

249AR* John (Augustus, 1878-1961). The Tinkers, 1920, lithograph, signed and dated in pencil lower right, image size 29.5 x 36cm (11.5 x 14.1ins), with margins, framed and glazed (1)

£150-200

Lot 249 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

94

£300-500

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Lot 250

Lot 251

250AR* Brockhurst (Gerald Leslie, 1890-1978). Fabian, 1921, etching on cream laid paper, from the edition of 76 proofs published February 1921, signed in pencil, plate size 175 x 125 mm (6.9 x 4.9ins), sheet size 295 x 235 mm (11.6 x 9.25ins) Wright 23, iii/iii. Fletcher 23, iii/iii.

(1)

£150-200

251AR* Brockhurst (Gerald Leslie, 1890-1978). Study for a decoration, 1923, etching on cream laid paper, from the edition of 76 proofs published 1924, signed in pencil, plate size 157 x 121 mm (6.2 x 4.75ins), sheet size 288 x 210 mm (11.3 x 8.25ins) Wright 46 iii/iii. Fletcher 46 iii/iii.

(1)

£150-200

252AR* Brockhurst (Gerald Leslie, 1890-1978). Noemi, 1926, etching on Whatman wove paper, one of 111 proofs published in October 1926, signed in pencil, plate size 183 x 108 mm (7.25 x 4.25ins), sheet size 290 x 215 mm (11.4 x 8.5ins) Wright 57 vi/vi.

(1)

£150-200

Lot 252 95

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253* Jongkind (Johan Barthold, 1819-1891). Jetée en bois dans le port de Honfleur, 1865, etching on laid paper, printed by Delatre, Paris, and published by Cadart & Luquet, Paris, for the Société des Aquafortistes in 1866, a good impression with plate tone, oval publisher’s blindstamp to centre of lower blank margin, plate size 237 x 314 mm (9.3 x 12.4ins), sheet size 29 x 34.5cm (11.4 x 13.5ins), mounted Delteil 12 ii/iii. Melot 12 ii/iii.

(1)

£100-150

255* Kennington (Eric, 1888-1960). Saint Stanislaus Kostka, 1926, wood engraving on japan tissue, signed and dated in pencil, image size 148 x 91 mm (5.8 x 3.6ins), sheet size 255 x 195 mm (10 x 7.75ins), tab mounted Black, Graphic Art of Eric Kennington (2001), 12A. (1)

£500-800

256* Kennington (Eric, 1888-1960). The Eternal Itch & The World, The Flesh and the Devil, circa 1925, together a set of four wood engravings on japan tissue, unsigned, sheet size 29.5 x 23cm (11.6 x 9.1ins), one with blank margins trimmed, framed and glazed, three of the four with handwritten label (probably by one of the artist’s family) dated ‘1979 Eden Cottage’, and printed and typewritten National Portrait Gallery label for the exhibition Lawrence of Arabia at the NPG, 1988-89 Black, Graphic Art of Eric Kennington (2001), 18-19. The set of four wood engravings designed by Eric Kennington for the endpapers of T.E. Lawrence’s Seven Pillars of Wisdom, first published in 1926 but never used.

Exhibited: National Portrait Gallery, T.E. Lawrence, 9 December 1988-12 March 1989.

(1) £800-1200

254AR* Kauffer (Edward McKnight, 1890-1954 ). Flower Piece or Sunflowers, 1922, woodcut on thin laid paper, signed and dated in pencil, pale mount-stain, image size 23 x 18cm (9.1 x 7.1ins), sheet size 36.5 x 26.5cm (514.5 x 10.5ins), mounted One of only five woodcuts made by Kauffer between 1916 and 1918, the others being Trees and Houses, Rooftops, Flight, and Study. This woodcut is based on Kauffer’s oil painting ‘Sunflowers’ of 1917 (V & A Museum, London).

(1) £500-800

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

96

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Lot 256

97

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257* Kennington (Eric, 1888-1960). The Believer, 1926, wood engraving, and artist’s proof, inscribed EHK within the image, image size 27.5 x 18cm (10.82 x 7.08ins)

258* Lalanne (Maxime, 1827-1886). Demolitions pour le percement du Boulevard St. Germain, etching on heavy laid paper, printed by Delatre, and published by Cadart and Chevalier, for the Société des Aquafortistes, plate size 32 x 24cm (12.5 x 9.5ins), together with A Neuilly - Bras de Seine avec lavoir, 1864, etching on Whatman wove paper, a proof prior to the first issue, plate size 17.5 x 25cm (6.8 x 9.8ins), with margins, plus 8 other etchings by Maxime Lalanne, including Le Bas Meudon, Bords de la Seine, 1884, Le Passage de la Marmite, circa 1863 (first state), Rade de Bordeaux, 1868, Rouen, 1884, Port de la Plataine a Royan, Vue prise du Louvre, Paris, 1882, Tour de Montalban, Amsterdam, 1884, etc, various sizes, each window-mounted

Black, Graphic Art of Eric Kennington (2001), 12. The present work was issued as the frontispiece to The Vocation of Aloysius Gonzaga, by Cyril Martindale, published by Sheed & Ward in 1927.

(1) £200-300

(10)

£200-300

259* Langmaid (Rowland, 1897-1956). Shipping on The Thames, by Waterloo Bridge, with Lambeth Shot Tower and Works, etching on handmade paper, watermarked England to lower right corner, signed in pencil, mount stained, plate size 9.2 x 34.5cm (3.6 x 13.6ins), sheet size 19 x 45cm (7.5 x 17.75ins), old frame, glazed, together with Harding (Frank, late 19th/early 20th century), Dover, etching, signed and titled in pencil, plate size 11 x 30cm (4.3 x 11.75ins), with margins, some light discolouration, framed and glazed (2)

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

£150-200

98

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Lot 261

261AR* Lawrence (Edith Mary, 1890-1973). Houses under the Hill, circa 1925-30, linocut printed in colours on off-white japon tissue, with full margins, signed and numbered 1 from the edition of 50, and titled by the artist to top margin ‘Houses under the Hill Exhibition Print’, some pale discolouration, image size 23 x 33.5cm (9.1 x 13.2ins) sheet size 26.7 x 36.5cm (10.5 x 14.4ins) Rare linocut by Edith Lawrence, possibly one of those works exhibited at the Redfern Gallery ‘First exhibition of British lino-cuts’, July 4-27, 1929, (or the British linocuts exhibition at the same gallery in August 1930). The youngest daughter of the founder of Jackson’s grocery store in Piccadilly, Edith attended the Slade School of Art from 1910-14, where she was a prizewinning student. After a short period in St. Ives she returned to the Slade in 1916 for further study under the Canadian born artist Percyval Tudor Hart, and began to exhibit at the Royal Academy and New English Art Club. In 1920 she met fellow artist Claude Flight, moving into Flight’s studio in 1925.

(1) £2000-3000

260* Larkins (William Martin, 1901-1964). Copenhagen Place, Limehouse, 1925, fine pen and black ink over pencil showing the backs of old houses with stacks of beer casks, inscribed with title lower left, some minor surface soiling, sheet size 10.5 x 21cm (4.2 x 8.25ins), framed and glazed Provenance: Acquired from Garton & Cooke in 1985. Larkins produced an etching of the same title focused on the central portion of this drawing in 1925.

(1) £200-300

99

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Lot 262

Lot 263

262AR* Leighton (Clare, 1898-1989). Lambing (January from The Farmer’s Year), 1931-32, woodcut on laid paper, the full sheet, signed, titled, marked Second State, and numbered 1/30 by the artist in pencil, a rich, dark impression, image size 20.3 x 26.5cm (8.1 x 10.5ins), sheet size 28 x 38cm (11 x 15ins), mounted Provenance: Private Collection, Somerset, England.

(1)

£500-800

263 Leighton (Clare, 1898-1989). Vegetable Seller, Toulon, 1926, wood engraving on pale cream chine, published in an edition of 75, signed, titled and numbered 18/75 in pencil, a very good impression with margins, image size 16.5 x 12cm (6.5 x 4.75ins), framed and glazed Martin Hardie, Wood Engravings of Clare Leighton, Print Collectors Quarterly, volume XXII, 1935, pages 139-165, number 31.

(1) £200-300

265* Lucas (David, 1802-1881). The Glebe Farm, Weymouth Bay, Dorsetshire, Old Sarum, View on the River Stour, Sir Richd. Steele’s Cottage, Hampstead Road, & Opening of Waterloo Bridge (from English Landscape Scenery by John Constable), six mezzotint engravings by David Lucas after John Constable, on thick wove paper, plate size 17.5 x 25cm and similar, sheet size 29 x 41cm and similar, together with other various 19th and early 20th century engravings and etchings, including Kirkstall Abbey on the River Aire

by John Bromley after J.M.W. Turner, 1826, 3 engravings after John Martin published by James Virtue, a signed wood engraving by Leslie Benenson of Balcombe House, 1970, a signed etching with drypoint by Alfred Ehlers of women in a box at the theatre, 1910, an etching by Alphonse Legros entitled The Wayfarer, William Strang, Lucien Boucher, an etching by Nikolaas Eekman entitled Vliegers, signed and marked Epreuve d’artiste, Brunet-Debaines, a lithograph by Eugene Carriere entitled L’enfant au chien, signed and titled, etc., various sizes (65)

264* Luard (Lowes Dalbiac, 1872-1944). Heavy cart horse, etching, signed, numbered 12/80, and inscribed To Catherine 1932 in pencil to lower margin, plate size 12.7 x 17.7 (5 x 7ins), with margins, framed and glazed (1)

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

£100-150

100

£150-200

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266* McBey (James, 1883-1959). April in Kent, 1912, drypoint etching on laid paper, from the edition of 5 letttered and 40 numbered proofs, signed and numbered XXXIX in ink, a very good, clean impression, plate size 15.4 x 28.5cm (6 x 11.25ins), with margins, framed and glazed, together with Zaandijk, 1910, etching on paper, from the edition of 41 proofs, signed and numbered XXVII in ink, some light discolouration, plate size 10.4 x 17.7cm (4.1 x 7ins), with margins, framed and glazed Hardie 114 & 73.

(2)

£200-300

Lot 266 267* McBey (James, 1883-1959). Ebbesfleet, 1912, drypoint etching on antique laid paper, from the only edition of 40 proofs, signed and numbered VII in ink, a fine impression, plate size 18 x 30.2cm (7.1 x 11.8ins), with margins, framed and glazed Hardie 115 (only state). Provenance: Acquired from Garton & Cooke in 1988.

(1) £200-300

Lot 267 268* McBey (James, 1883-1959). The Deserted Palace, 1928, etching printed with warm brown ink on pale blue antique laid paper (with bunch of grapes watermark) , with plate tone, from the published edition of 80 proofs, signed and numbered XXXV in ink, a fine impression, plate size 21 x 25.3cm (8.25 x 10ins), with margins, framed and glazed Hardie 236. Provenance: Acquired from Garton & Cooke.

(1) £300-500

Lot 268 101

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271AR* Bone (Sir David Muirhead, 1876-1953). The Shot Tower, 1904, drypoint etching on off-white laid paper, signed and titled in pencil, plate size 17.5 x 22.5cm (6.9 x 8.8ins), with margins, framed and glazed

269* Menpes (Mortimer, 1855-1938). Cathedral Doorway, drypoint etching on thick wove paper, a rich warm impression, printed with plate tone, signed in pencil, plate size 25 x 20cm (9.8 x 7.9ins), sheet size 38.7 x 28.6 ins (15.25 x 11.25ins), together with Strang (William, 1859-1921), Rudyard Kipling, etching on Arches laid paper, an unsigned proof, printed by David Strang (signed by David Strang in pencil lower left), printed with plate tone, closed tear to left margin (repaired) touching image, signed and inscribed in ink to lower right corner of the image by Rudyard Kipling ‘very sincerely always, Rudyard Kipling’, now somewhat faint, plate size 35 x 25cm (13.75 x 9.8ins), sheet size 45 x 32cm (17.75 x 12.6ins), plus other various etchings, wood engravings, and lithographs, including Ian Strang, Legros, Frank Benson, Leonard Squirrell, Orovida Pissarro, W. Giles, etc., some signed, various sizes (40)

(1)

£200-300

272* Meryon (Charles, 1821-1868). Tourelle Rue de l’Ecole de Medicine, 22, Paris, 1861, etching on chine colle, 9th state (of 10), with birds added in the sky and new monogram to upper right, as published in the Gazette des Beaux Arts in 1863, plate size 21 x 13cm (8.25 x 5.1ins), sheet size 27 x 17.9cm (10.6 x 7ins), mounted

270* Menpes (Mortimer, 1855-1938). Westminster Abbey, drypoint etching on wove paper, a signed proof, plate size 22.5 x 31.3cm (8.8 x 12.4ins), framed and glazed, together with Wyllie (William Lionel Leonard, 1851-1931).Sugar Boats off Greenwich, drypoint etching on cream wove paper, signed in pencil, plate size 12.5 x 32.7cm (5 x 12.8ins), framed and glazed, plus six other etchings, various, including Marjorie Sherlock, Fred Farrell, Johnstone Baird, R. Muller etc, all framed and glazed (8)

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

£150-200

Delteil 41 ix/x. Schneiderman 72 xiii/xiv.

(1)

£200-300

102

£200-300

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274* Haden (Francis Seymour, 1818-1910). The Little Boathouse, 1877, drypoint etching on antique white laid paper, the third state (of 4), signed in pencil, light mount stain, plate size 14.9 x 22.3cm (5.9 x 8.75ins), with margins, together with Ludlow Castle, 1869, etching with plate tone on laid paper (with F J Head & Co watermark), the only state, plate size 13.9 x 21.3cm (5.5 x 8.4ins), with full margins, both framed and glazed Schneiderman 157, iii/iv & 130. Provenance: Acquired from Garton & Cooke.

(2) £150-200

273* Meryon (Charles, 1821-1868). Chateau de Chenonceau, 1864, etching on wove paper, plate size 12 x 18.5cm (4.75 x 7.25ins), with margins, framed and glazed, together with Flameng (Leopold, 1831-1911), Charles Meryon sur son lit, 1858, soft-ground etching, plate size 22 x 27.5cm (8.7 x 10.8ins), with margins, framed and glazed, plus Bracquemond (Felix, 1833-1914), Charles Meryon, 1853, heliogravure on paper, plate size 19.5 x 14.5cm (7.7 x 5.7ins), with margins, framed and glazed

275* Haden (Francis Seymour, 1818-1910). Shepperton, 1864, etching on thin laid paper, a proof aside from the edition published in Etudes a l’Eau-Forte, signed and numbered 71 in pencil, plate size 13.8 x 12cm (5.4 x 4.75ins), with margins, together with Kew Ait, 1864, etching on laid paper, printed with plate tone, watermarked O.W.P., third state (of 4), signed in pencil, plate size 15 x 13cm (5.9 x 5.1ins), with full margins, both framed and glazed

Provenance: Acquired from Garton & Cooke. Schneidermann 62.

(3) £200-300

Schneiderman 74b, ii/iii & 76b, iii/iv. Provenance: Acquired from Garton & Cooke in 1985 and 1986 respectively (catalogues 31 and 35).

(2) £150-200

Lot 274

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277* Haden (Francis Seymour, 1818-1910). Kilgaren Castle, 1864, etching on laid paper, as issued in Haden’s Études à l’eau-forte, plate size 11.4 x 15cm (4.5 x 5.9ins), sheet size 15.2 x 20.5cm (6 x 8ins), framed and glazed Schneiderman 60 i/i. Provenance: Acquired from Garton & Cooke in 1985.

(1) £100-150

278* Haden (Francis Seymour, 1818-1910). The Holly Field, 1860, etching with drypoint on thin laid paper, the second state (of 3), plate size 5 x 12.4 cm (2 x 4.9ins), with margins, together with Little Calais Pier, 1865, etching and drypoint on laid paper, signed in pencil lower right, plate size 7.4 x 15.4cm (2.9 x 6.1ins), plus Geddes (Andrew, 1783-1844), Halliford on Thames: Stump of a Tree, etching with drypoint, a very good impression on laid paper, third state (of 4) prior to Laing’s publication in 1875, collector’s mark of Phillipe Burty (Lugt 413) and T.W. Wallter (Lugt 2472), with margins, plate size 10 x 15.5cm (3.9 x 6.2ins), all framed and glazed

276* Haden (Francis Seymour, 1818-1910). Firs (a study), 1868, etching on thick laid paper, printed with plate tone, the first state (of 2), signed in pencil lower left Seymour Haden Imp., plate size 25.3 x 17.5cm (10 x 6.9ins), a very good, clean impression, with margins, framed and glazed Schneiderman 116, i/ii. Provenance: Acquired from Garton & Cooke in 1985 (catalogue 31).

(1) £100-150

Provenance: Acquired from Garton & Cooke.

(3)

Lot 278

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

104

£200-300

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279* Nevinson (Christopher Richard Wynne, 1889-1946). After a Push, 1918, lithograph on Antique de Luxe laid paper, from the edition of 25, signed an dated in pencil lower right, some pale discolouration to upper central portion of the sheet, with a few minor archival repairs, several short marginal tears with occasional slight loss to blank outer edges, image size 33.5 x 43.5cm (13.2 17.2ins), sheet size 39.5 x 51.5 cm (15.5 x 20.25 ins), mounted Black 27.

Provenance: Major Charles Fair DSO (1885-1950) and Marjorie Fair, purchased from the Leicester Galleries in March 1918, shortly after the couple’s wedding on 18 September 1917. Having enlisted on 10 August 1914 Charles Fair was commissioned in the 19th London Regiment, and saw significant action during the Battle of the Somme at High Wood, Le Transloy Ridge and Bourlon Wood.

This very rare lithograph was first exhibited at Nevinson’s second exhibition at the Leicester Galleries in March 1918, entitled ‘War Pictures by Nevinson Official War Artist on the Western Front’. Only one other impression of this ten has appeared at auction in the last 10 years (Christie’s South Kensington, 4 December 2014, lot 107).

(1) £7000-10,000

105

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280* Nicholson (William, 1872-1949). H.R.H. The Prince of Wales, Henrik Ibsen, Lord Kitchener, Li Huang Chang, Rt. Hon. Joseph Chamberlain & President McKinley, together six colour woodcuts with touches of hand colouring (from Twelve Portraits, First & Second Series, published in 1899 and 1901), image size 25.4 x 23 cm (10 x 9ins) and similar, all except McKinley mounted on original backing card, together with a woodcut portrait of Lord Roberts, 1899, a lithograph portrait of Queen Victoria, a reproduction of John Price Barnstormer and Thief, and a watercolour copy of the figure for Nicholson’s G For Gentlemen of 1898

281* Osborne (Malcolm, 1880-1963). Sir Francis Joseph, Lord Dudley Gordon, Charles John Vint, Douglas Cockerell, 1935-49, together with two unidentified portraits, all etchings on laid paper, trial proofs, all except one signed, four dated, and marked ‘first trial proof’ or ‘darker proof from altered plate’, plate size 34 x 26.5cm (13.5 x 10.5ins) and slightly smaller, all with good blank margins

(10)

(6)

£300-500

£200-300

282* Raverat (Gwen, 1885-1957). Poplars in France, 1916, wood engraving on wove paper, signed in pencil, image size 8.4 x 17.9cm (3.3 x 7ins), sheet size 9.2 x 18.1cm (3.6 x 7.1ins), mounted Selborne & Newman 74. Edition of 100.

(1)

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

£200-300

106

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Lot 283

Lot 285

283* Rayner (Henry, 1903-1957). R.W. Sickert, 1931, etching on cream wove paper, signed, titled and dated, and annotated below ‘Portrait of my master at breakfast, 14 Barnsbury Park, London’ below, plate size 11.2 x 9cm (3.6 x 4.5ins), sheet size 28 x 18.3cm (11 x 7.2ins), together with 11 other etchings by Rayner, including Winston Churchill, T.E. Lawrence, Lytton Strachey, Montgomery Sickert, The Rising Horse, Old Bedford, etc., all signed, mostly titled and some dated 1931, 1938, 1939, 1941 and 1945, plus 7 etchings by Albany E. Howarth of Oxford Colleges, 1909, including New College, Queen’s College, Canterbury Gate Christchurch, etc., each signed in pencil, sheet size 27 x 42.5cm (10.6 x 16.75ins) (18)

284* Royds (Mabel Allington, 1874-1941). Sunspots, colour woodcut on japan paper, signed in pencil, a little spotting and slight marginal creasing, 133 x 232mm (5.25 x 9ins), framed and glazed (1)

£300-400

285* Rushbury (Henry George, 1889-1968 ). Monte Aventino, Rome, 1929, drypoint on laid paper, from the published edition of 80, signed in pencil, pale mount stain, plate size 14 x 29.8cm (5.5 x 11 75ins), sheet size 18.4 x 32.2cm (7.25 x 12.7ins), mounted, together with Sant’ Agostino, San Gimignano, Italy, 1927, drypoint on wove paper, signed in pencil, plate size 15.1 x 22.7cm (6 x 9ins), mounted, plus a drypoint by Alex Fridell (1894-1935) of The Thames at Fulham, 1926, signed, mounted

£300-500

Rushbury & Ramos (2010), 64 & 57.

(3)

Lot 284 107

£200-300

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286* Sickert (Walter Richard, 1860-1942). Sussex Place, Regent’s Park, 1920, etching on laid paper, with Hand of Pope watermark, published by Ernest Brown & Phillips at the Leicester Galleries, [1929], faint mount stain, plate size 180 x 213 mm (7.1 x 8.5ins), sheet size 261 x 337 mm (10.3 x 13.25ins) Bromberg 197, iii/iii.

Provenance: From the collection of Lady Ottoline Morrell, thence by descent.

(1) £200-300

288* Simpson (Joseph, 1879-1939). Portrait of James Pryde, 1930, etching on cream laid paper, the second state, published in an edition of 75 proofs, signed in pencil, and marked ‘S2 75’, to lower margin, some very pale spotting, plate size 30.1 x 21.2cm (12 x 8.4ins), with margins, framed and glazed (1)

287* Signac (Paul, 1863-1935). Le Pont des Arts avec Remorqueurs, 1927, etching and aquatint on japan, from the edition of 250 published in Dix Peintres au XX Siecle, Paris, 1927, plate size 125 x 190 mm (5 x 7.5ins), sheet size 24 x 32cm (9.5 x 12.5ins), mounted Kornfeld 24.

(1)

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

£100-150

108

£80-120

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290* Sparks (Nathaniel, 1880-1956). Adam (Memorial Plate for Henry Hardy), 1990, line engraving on wove paper, one of 75 published proofs, a very good impression, signed in pencil, additionally marked to lower edge of the sheet by the artist ‘Adam.

No 75. 1 Proof’, 26 x 21.3cm (10.25 x 8.4ins), sheet size 42 x 32.5cm (16.5 x 12.75ins), mounted

289* Smith (Percy J. D., 1882-1948). A sketchbook of pencil drawings, approximately 50 pages, each with numerous pencil sketches, including studies of anatomy and bone structure, drapery and figure studies, animal drawings, etc., a few additional leaves loosely inserted, together with several autograph letters signed from Percy Smith to his wife Marion (Ellen Marion Delf-Smith, 18831980), one containing a small sketch, plus a thin notebook with manuscript title label on upper wrapper ‘P.J.S. Notes 1938. (27 Rudall Crescent, Hampstead, N.W.3)’, and a copy of The First Edition Club Opening Speech by Mr. Holbrook Jackson at An Exhibition of Percy Smith’s Typographical Work, original printed wrappers, one of 500 copies, plus an apparently unrelated small album of original drawings, some signed M.L. Burnell

Exhibited at the Royal Academy and Royal Society of Painter-Etchers.

(1) £150-200

Etcher and letterer Percy Smith trained at the Camberwell School of Arts & Crafts. He served in WWI, taking his sketchbook with him. He was arrested twice for his propensity to draw, on the suspicion that he was a spy. However, after he was proved to be innocent, he was asked to draw the stages of assembly of a huge howitzer gun. His famous ‘Dance of Death’ series of seven etchings show the futility of war. The letters from Percy Smith to Marion, written in the 1940s, are in the chatty and informal style one might expect from husband to wife and cover a range of topics, including description of a portrait in progress of Lieutenant Gunz, talk of air raids, information about the weather and the garden ‘the rain has “picked up” the lettices [sic] astonishingly’, amusing anecdotes about Tittles (presumably a cat), health issues, description of a Rembrandt ‘all the near paintings nearby looked so “thin” in comparison so shallow’, and mention of a visit to Sir Edwin Cooper.

(2) £100-150

291AR* Bone (Sir David Muirhead, 1876-1953). Stockholm, drypoint etching on wove paper, signed in pencil, plate size 20 x 24.7cm (7.9 x 9.75ins), with margins, framed and glazed Dodgson 405.

(1)

109

£150-200

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292AR* Bone (Sir David Muirhead, 1876-1953). Castle of St. Angelo, Rome, 1913, drypoint etching on fine Japan paper, one of only four impressions of the only state, inscribed to upper left blank margin ‘MB’ (indicating a proof reserved by the artist for himself), and to lower margin ‘MB & GHB Old Print only state - 2’, plate size 22.8 x 35.3cm (9 x 13.9ins), framed and glazed

294* Strang (William, 1859-1921). Hilltop Church (from Spanish Etchings), 1913, etching with drypoint, from the series of seven etchings published by Maclehose and Sons, Glasgow in 1913 in an edition of 100, a very good impression, with margins, signed in pencil, plate size 26.5 x 31.5cm (10.5 x 12.4ins), pencil caption, framed and glazed

Provenance: Lady Bone. Acquired from Garton & Cooke, circa 1984 (probably Catalogue 29, Item 57). Campbell Dodgson 300.

Harold Wright notes in his supplement to Dodgson’s catalogue that there were two early impressions, of which this is one, with two further printed in 1946.

(1) £200-300

Binyon 342/348 for the Spanish set.

(1)

£200-300

293* Strang (Ian R.E., 1886-1952). Repaving Oxford Street, 1923, drypoint on pale cream paper, presentation trial proof to the printer David Strang, an excellent impression with plate tone, signed by artist and printer in pencil, and marked Trial Proof, plate size 27.6cm x 34cm (9.3 x 11.9ins), with good margins, framed and glazed with CCA Galleries label to verso (1)

£150-200

295* Tanner (Robin, 1904-1988). Study for “Autumn”, 1931, pencil study on paper, signed, dated October 3, 1931, and titled lower left, 14.5 x 13.5cm (5.7 x 5.3ins) mount aperture, framed and glazed, with Garton & Co printed label to verso A preparatory study for the curled leaves clearly visible in Tanner’s etching Autumn, printed in 1935.

(1) £150-200

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

110

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297* Tunnicliffe (Charles Frederick, 1901-1979). Pigs Foraging, etching with aquatint on japon paper, signed in pencil and inscribed 4th state, some mount staining, printing flaw to sky area, plate size 12 x 17cm (4.75 x 6.7ins), sheet size 19 x 24.8cm (7.5 x 9.75ins), stamped Charles Tunnicliffe R.A. Studio 1980 to verso of the sheet, framed and glazed, with Christie’s printed auction label for their sale Modern British Prints, Wednesday 12 April 2006, lot 21, to verso (1)

£200-300

296* Tissot (James Jacques Joseph, 1836-1902). Apparition Mediunimique, 1885, mezzotint on heavy wove paper, the second state, with lettering, and stamped monogram lower right, lower edge of plate mark neatly restrengthened with archival tissue to verso, plate size 490 x 340 mm (19.29 x 13.38ins), sheet size 690 x 525 mm (27.16 x 20.66ins) Wentworth 76 ii/ii. The published state of Tissot’s remarkable mezzotint depicting the spectral appearance of his deceased muse and mistress Mrs. Newton (described by the artist’s French friends as ‘la ravissante irlandaise’) at a spiritualist séance, arranged for him by the practitioner William Eglington.

The accompanying male figure, named Ernest, is a benign spiritual guide.

(1) £300-500

298* Van Muyden (Evert Louis, 1853-1922). Self-portrait by Lamplight, 1890, etching on cream laid paper, numbered in pencil 142 to lower margin, plate size 11.6 x 8cm (4.6 x 3.1ins), sheet size 31 x 24cm (12.2 x 9.4ins), together with Liebermann (Max, 1847-1935), Kellergarten in Rosenheim, 1895, etching on wove paper, plate size 19 x 23.8cm (7.5 x 9.4ins), with full margins, plus Schmutzer (Ferdinand, 1870-1928), Lehenbruder, Klosterkuche in Assisi (A lay brother in the kitchen of the monastery of Santa Chiara, Assisi), 1908, soft-ground etching on thick wove paper, signed in pencil, plate size 20.5 x 19cm (8.1 x 7.5ins), with margins, and two others related (another large signed etching by Schmutzer, possibly depicting the actor Josef Kainz as Hamlet, and an etching of a cafe interior, Munich, by Heinrich Wolff, circa 1895, issued by Gesellschaft fur Vervielfaltigende Kunst, Vienna), all mounted (5)

Lot 297 111

£200-400

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299* Vogeler (Heinrich, 1872-1942). Liebe, 1896, etching with aquatint on cream wove paper, margins trimmed, small nick to extreme upper right edge, sheet size 34.5 x 37cm (13.5 x 14.5ins), laid down on card Rief 13.

(1)

£100-150

300 Whistler (James Abbott MacNeill, 1834-1903). The Unsafe Tenement, 1858, etching on chine colle, the 4th state (of 4) with printer’s name and address erased, a rich clean impression with light plate tone, with margins, plate size 15.3 x 22.6cm (6.02 x 8.89ins), with good margins, framed and glazed Kennedy 17, iv/iv. Glasgow Online Catalogue 18, iv/iv (records 76 known impressions). From the series: Twelve Etchings from Nature first published in 1858.

(1) £300-500

Lot 299

Lot 300

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

112

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301* Whistler (James Abbott MacNeill, 1834-1903). The Rag Gatherers (or Rag Pickers, Quartier Mouffetard, Paris), 1858, etching and drypoint on laid paper, the 5th state (of 5) with figures present and date, a clean impression with light plate tone, with margins, plate size 15.3 x 8.9cm (6.02 x 3.50ins), with good margins, framed and glazed

302* Whistler (James Abbott MacNeill, 1834-1903). La Marchande de Moutarde, 1858, etching on laid paper, the 5th state (of 5) with printer’s name and address removed, a clean impression with margins, plate size 15.4 x 8.8cm (6.06 x 3.46ins), with good margins, framed and glazed Kennedy 22, v/v. Glasgow Online Catalogue 20, v/v (records 75 known impressions). From the series: Twelve Etchings from Nature first published in 1858.

(1) £300-400

Kennedy 23, v/v. Glasgow Online Catalogue 29, v/v (records 80 known impressions).

(1) £300-400

113

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303* Wilkie (Sir David 1785-1841). The Flemish Mother, 1820, etching on chine colle, image size 17.4 x 14.6cm (6.85 x 5.74ins), plate size 22.5 x 18.2cm (8.85 x 7.16 ins ), with good margins, framed and glazed (1)

£200-300

304* Wyllie (William Lionel, 1851-1931 ). Rouen, drypoint etching, signed in pencil lower left, light staining to lower blank margin, plate size 16 x 37.5cm (6.4 x 14.8ins), sheet size 26.4 x 45cm (10.5 x 17.8ins), together with a sepia aquatint of Framlingham Castle by G. Dudley Kaynes, signed and titled in pencil (2)

Lot 303

Lot 304

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

114

£150-200

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JAPANESE PRINTS

Lot 305

Lot 306

305* Hirokage (Utagawa, active 18551865). Srange Events at Tomonoura in Asakusa (Asakusa Tomonoura no kikai), from the series Comical Views of Famous Places in Edo (Edo meisho dôke zukushi), 1859, oban colour woodblock print, published by Tsujiokaya Bunsuke (Kinshôdô), some light soiling and a few small wormholes mostly not affecting image), 35.5 x 24cm (14 x 9.5ins), together with six other Japanese colour woodblock prints, including Hiroshige (2) and Utagawa Kunisada (2)

306* Hiroshige (Utagawa, 1797-1858).

Landscape with temple and market place, colour woodblock print, 21 x 35.5cm (8.25 x 14ins), framed and glazed, together with six other various Japanese woodblock prints, including one other by Hiroshige, three by Kunisada, one by Kuniyoshi , and one other, all in matching early 20th century frames by A. Taylor, 45-51 School Hill, Aberdeen, glazed (7)

£300-400

Ota Memorial Museum, Tokyo, Warau ukiyo-e (2013), 25.

(1) £200-300

307* Hokusai (Katsushika, 1760-1849).

Picnic at Takeda Racecourse, with an imported Dutch telescope to view Mount Fuji, 1804, double-page colour woodblock print, from Mountains upon Mountains: Picture Book with Kyoka (Ehon kyoka-yama Mata Yama), 20.5 x 30.5cm (8 x 12ins), mounted, together with other doublepage colour woodblock prints from the same work, depicting a Priest pointing at flying geese, figures in a boat breaking the ice, etc., a double-page colour woodblock print from Hokusai’s Pictures of the Beautiful Scenery of Edo, 1800, depicting an assembly going to worship at Zoshigaya Temple, Horinouchi, a double-page colour woodblock print from Toto Shokei Ichiran (A synopsis of the celebrated landscapes of Toto), 1800, etc., image size 20.5 x 30.5cm (8 x 12ins), and similar, with margins (7)

Lot 307 115

£150-200

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308* Indian Miniature. Portrait of the Mughal Emperor Muhammad Shah (1702-1748), early 19th century, pen & ink on laid paper, the ruler depicted enthroned, on a terrace, haloed, facing left, with sword, bow and arrows, holding a sarpech in his right hand, gouache roundel to upper corners heightened in gold, repaired closed tear at head, image approximately 15 x 13cm (6 x 5ins), lined with doublecolumn manuscript text leaf to verso, text with narrow decorative borders in blue and red, within a slim gold line border, leaf size 21 x 14.5cm (8.25 x 5.75ins), window mounted, framed and glazed (1)

309* Koson (Ohara, 1877-1945). Monkey on the Tree, mitsugiri colour woodblock print, published by Daikokuia, signed with artist’s signature and red seal lower left, 34.3 x 18.6cm (13.5 x 7.32ins), together with Swallows and Hanging Cherry Blossoms, mitsugiri colour woodblock print, 34.8 x 18.2cm (13.7 x 7.16ins), some fading, plus Copper Pheasant perching on a branch, mitsugiri colour woodblock print, artist’s signature and seal lower right, some marks and discolouration to edges, 34.3 x 19cm (13.5 x 7.48ins), and Nishijima (Katsuyuki, 1945-), After the Rain, colour woodblock print, signed and titled in pencil to lower margin, pale mount stain, sheet size 33 x 25.5cm (12.9 x 10.03ins)

£150-250

(4)

£100-150

310* Kuniyoshi (Utagawa, 1797-1861). The Miraculous Horse, The Miraculous Gourd, Scene on the coast with figure floating in the sky, & Boy carrying a pot overcome by smoke (from Biography of Prince Shotoku), four oban Yoko-e colour woodblock prints, image size 22 x 35cm (8.5 x 13.75ins), sheet size 24 x 36cm (9.5 x 14.25ins) and similar (4)

Lot 310

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

116

£200-300

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Lot 311

Lot 312

311* Kuniyoshi (Utagawa, 1797-1861). Shoriko Kwaei shooting at wild geese (from The 108 Heroes of the Popular Suikoden), 1827, oban colour woodblock print, sheet size 38.5 x 25cm (15.1 x 10ins) (1)

£200-300

312* Kuniyoshi (Utagawa, 1797-1861). Kaosho Rochishin (from The 108 Heroes of the Popular Suikoden), 1830, oban colour woodblock print, showing Kaosho Rochishin, the military captain turned monk, tattooed and wearing a Buddhist rosary, splitting a pine in two, with an iron bar, published by Kagaya Kichiemon, and with Kiwame censor seal, minor loss to extreme outer edge at upper left, otherwise generally in good condition, 36.8 x 25cm (14.5 x 10ins) (1)

£200-300

313 No lot 314 Shiomi (Nana, 1956-). Snail (number 34 in the series One Hundred Views of Mitate), 2000, colour woodblock print on Japanese paper, signed, titled and numbered 5/10 along lower margin in pencil in Japanese and English, image size 34 x 34cm, mounted, framed and glazed (1)

Lot 314

117

£100-150

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MODERN BRITISH & EUROPEAN ART

Lot 315

Lot 316 315* Ackermann (Arthur Gerald, 1876-1960). Norfolk estuary with boats, buildings and tall smoking chimney, watercolour, signed lower left, 24 x 35.5cm (9.5 x 14ins) mount aperture, gilt frame, glazed, with Mandell’s Gallery, Elm Hill, Norwich to verso (1)

£300-500

316 Adshead (Mary, 1904-1995). Lake scene with swans watercolour and pencil on paper, heightened with bodycolour, signed in pencil lower right, and inscribed lower left in pencil ‘With best wishes to Pat on her 21st birthday’, a few spots, small portion of water-staining towards bottom edge, 61 x 39.5cm, framed and glazed (1)

£200-300

317ARR* Agard (Charles Jean, 1866-1950). Les cueilleuses de pommes, oil on canvas, signed lower right, 41 x 33.5cm (16.1 x 13.2ins), Kaplan Gallery, 6 Duke Street, St. James’s, London printed label to verso, gilt moulded frame Provenence: Private Collection, Wiltshire, England (1) £700-1000

Lot 317 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

118

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318ARR* Agard (Charles Jean, 1866-1950). Enfants jouant sous les saules, oil on canvas, signed lower right, minor indentation mark towards lower left edge, 33 x 46cm (13 x 18ins), Kaplan Gallery, 6 Duke Street, St. James’s, London printed label to verso of stretcher, gilt moulded frame Provenence: Private Collection, Wiltshire, England (1)

£700-1000

319ARR* Ardizzone (Edward, 1900-1979). Bathers, pencil on paper, signed with initials lower right, 21 x 29cm (8.25 x 11.5ins) mount aperture, framed and glazed Provenance: Private Collection, London.

(1)

Lot 319

119

£400-600

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320* Camden Town Group. Street scene in London, with two fashionable women in a carriage, circa 1920, oil on wood panel, unsigned, 24 x 16.5cm (9.5 x 6.5 ins) A small scale animated London street scene, possibly connected with the circle around Charles Ginner, Spencer Gore, Robert Bevan and Harold Gilman.

(1) £200-300

321* English School. Bathers, circa 1920s, art deco oil on canvas, unsigned, 102.5 x 77cm (40.5 x 30.25ins) (1)

£300-500

322* Aynscomb-Harris (Martin John, 1937-).

Boating scene, circa 1990s, semi-abstract scene in black, brown and white, oil on canvas, signed lower right, 102 x 102cm (40 x 40ins) (1)

£200-300

Lot 320

Lot 321

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

Lot 322

120

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323* Aynscomb-Harris (Martin John, 1937-). A group of four watercolours of an Austin Seven, circa 1990s, each signed in pencil and one titled ‘Baby Austin’, plus an etching with aquatint of the same subject, signed and titled ‘Austin Seven’ to lower margin and identified as an artist’s proof, images approximately 20 x 20cm (8 x 8ins) and similar sizes, all framed and glazed (5)

325 Aynscomb-Harris (Martin John, 1937-). A group of six landscapes and boating scenes, circa 1990s, watercolour and gouache on paper, the colours predominantly red tones, all signed, approximately 40 x 65cm (16 x 25.5ins) and slightly smaller, all framed and glazed (6)

324* Aynscomb-Harris (Martin John, 1937-). Boating scenes and landscapes, circa 1990s, a group of four semi-abstract drawings in watercolour and gouache, all signed, approximately 50 x 74cm (19.75 x 29ins) and slightly smaller, all framed and glazed (4)

£200-300

£150-200

326* Aynscomb-Harris (Martin John, 1937-). Boating Scenes, circa 1990s, a group of six watercolours with gouache on paper, all signed, 21 x 33cm (8.25 x 13ins) and smaller, all but one framed and glazed

£150-200

(6)

121

£200-300

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327* Aynscomb-Harris (Martin John, 1937-). Boating scenes, circa 1990s, a group of six boating scenes, watercolour with gouache on paper, all signed, 32.5 x 46cm (13 x 18ins) and slightly smaller, all framed and glazed (6)

£200-300

330* Blampied (Edmund, 1886-1966). Sketch of Young Jersey Farmer, 1939, coloured pastel on paper, signed, titled and dated Dec/39 lower right, 28 x 22.8cm (11 x 9ins), framed and glazed, with Boots Picture Framing Department printed label to verso (1)

£200-400

328* Aynscomb-Harris (Martin John, 1937-). A group of four landscapes, circa 1990s, watercolour, gold and gouache on paper, together with an etching with aquatint artist’s proof titled ‘White Sail’ by Aynscomb, all signed, approximately 29 x 54cm (11.5 x 21.25ins) and slightly smaller, all framed and glazed (6)

£200-300

329* Aynscomb-Harris (Martin John, 1937-). A group of six city views, circa 1990s, watercolour and some pen and pencil on wove paper, all signed in pencil ‘Martin’ and all but one titled in pencil lower left, including Amsterdam (x 2), Tower Bridge (London) and Delft, 35 x 56cm (14 x 22ins) and smaller, all framed and glazed (6)

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

331* Bradbury (Arthur Royce, 1892-1977). Young woman in traditional costume, probably Italian, oil on board, showing a woman resting on a rail with sea behind, signed lower left, gilt frame, 32 x 26cm (12.5 x 10.25ins) (1)

£200-300

122

£100-150

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334* Burman (John Reginald, 1936-). Cattle by the River, oil on board, river landscape with trees and cattle, signed lower left, 33 x 50.5cm (13 x 20ins), glazed linen mount, framed, titled in pencil on verso (1)

£100-150

332* Bratby (John Randall, 1928-1992). Goat, graphite on paper, signed and titled lower right, sheet size 29.5 x 21cm (11.61 x 8.26ins), framed and glazed (1)

£150-200

335* Carrick (Edward, 1905-1998). Female Nude, pastel drawing on thin paper, monogrammed lower left, pin holes to upper corners, 57 x 45cm (22.5 x 17.75ins), together with a black & white photograph of the artist at work, with the nude study displayed in the background, horizontal crease to photograph, verso with ink stamp, name of sitter ‘E. Craig’ and photographer ‘Elisabeth Chat’, 25 x 24cm (10 x 9.5ins)

333* Burman (John Reginald, 1936-). The Strand, oil on board, coastal landscape with figures on a beach, signed lower left, 32 x 42.5cm (12.75 x 16.75ins), glazed linen mount, framed, titled in pencil on verso (1)

Edward Carrick (born Edward Anthony Craig, 3 January 1905- 21 January 1998) was the son of Edward Gordon Craig (1872-1966) and an art designer for film, as well as author and illustrator.

(2) £200-300

£100-150

123

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Lot 337

336* Colahan (Colin, 1897-1987). Still life of a rose in a glass, oil on Winsor & Newton Rathbone canvas board, signed lower left, 23.5 x 19cm (9.25 x 7.5ins), framed Australian painter Colin Colahan was born in Woodend, Victoria, and studied at the National Gallery School and at Max Meldrum’s School in Melbourne. He emigrated to England in 1935, and built a reputation as a portrait, landsape and still life painter.

(1) £150-200

338* De la Fougere (Lucette, 1921-2010). Mirror stand and glass vase by a window, oil on board, signed lower left, 25.5 x 20.5cm (10 x 8ins), framed

337* Damoye (Pierre Emmanuel, 1847-1916). Paysage avec figure en été, 1874, oil on wood panel, signed and dated lower left, 25 x 49.5cm (11.5 x 19.5ins), framed (1)

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

(1)

£500-700

124

£150-200

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340* Durey (Rene, 1890-1959). Vue sur Paris depuis Meudon, 1950, oil on canvas, signed lower right, 38 x 46cm (15 x 18ins), inscribed in pencil with title (presumably by the artist) and with Marlborough Fine Art label to verso of stretcher, framed (1)

£150-200

341* Edwardes (May de Montravel, 1887-1967). Landscape at dusk on the Riviera, watercolour on paper, signed lower left, 12.5 x 17cm (4.92 x 6.69ins) mount aperture, framed and glazed Provenance: Collection of Anthony Fry (1927-2016).

(1)

£100-150

339* Dreville (Andre Georges, 1872-). French soldier returning home, 1916, watercolour on laid paper, signed and dated 1916 upper right, 56 x 37.5cm (22 x 14.75ins) (1)

£100-150

342* Emerson (Sybil, 1884-1959). A portfolio of 15 oil portraits, landscape watercolours, monochrome wash drawings and pencil studies, circa 1910-20, including a self portrait of Phyllis Dawson (the artist’s sister), Leonard Ainsworth Emerson (the artist’s brother), Winifred Ridgeway, etc., 60 x 45cm and smaller, loose in portfolio Provenance: Purchased by the current owner from a descendant of the family. Sybil Emerson was the daughter of the Norfolk photographer Peter Henry Emerson (1856-1936), who studied under the Norfolk artist Thomas F. Goodall (circa 1857-1944). She is listed in the Dictionary of British Artists 1880-1950.

(15) £200-300

Lot 340

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Lot 343

343* Fantasy Art. Garden of Eden, circa 1970s, pen, ink and gouache with gold on circular board, depicting a male and female figure in an exotic landscape filled with animals, including lions, snakes, monkeys, a hippo and crocodile, deer, elephants, cockatoos, rabbits etc with jagged snow-topped mountain peaks beyond, signed B.E. Craig (to the right of the stork at foot), 71 x 71cm (28 x 28ins), green and black painted wooden frame in the form of an intertwined serpent (a little wormed) (1)

£200-300

344* French School. Summer landscape with figures by water and trees, with farmstead beyond, circa 1920s, postimpressionist oil on canvas, unsigned, 25.5 x 33.5cm (10 x 13.25ins), period gilt frame (1)

£200-300

Lot 344

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

126

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345* Glashan (John, 1927-). Figures before an English Castle, 1970s, pen, black ink and brown wash on paper, signed lower left, and inscribed with caption by the artist: 'How do you manage to keep your house free from week-end guests? When I first came here I sent out week end invitations to everyone I knew, every day for nine months... they stopped coming after six weeks...', 19 x 28.5 cm (7.5 x 11.25 ins), framed and glazed, with Chris Beetles Gallery label to verso, and annotated 'Original illustration for Harpers and Queen magazine, late 1970's' (1)

ÂŁ200-300

346* Glazunov (Ilya, 1930-2017). Russian winter landscape with mother and child approaching a monastery church, 1966, coloured chalk & bodycolour on brown paper, signed and dated lower left, 69 x 109cm (27.5 x 43ins), framed and glazed Provenance: Josephine van Gasteren (1917-1989), an actress born at the Hague, who travelled widely and spoke seven languages, one of which was Russian.

It is possible she acquired the painting whilst visiting St. Petersburg or through the Academy of Arts in Russia. She lived and died in Amstelveen, a suburb of Amsterdam (printed note to backboard).

(1) ÂŁ700-1000

127

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348ARR* Graham (Rigby, 1931-2015). Sutton Cheney, 1976, ink, crayon and watercolour, signed and dated bottom left, additional ink annotations by the artist top left and right, 37 x 83cm (14.5 x 32.5ins), mount aperture, framed and glazed Exhibited: Graham’s Leicestershire, Gadsby Gallery, Leicester, 1980, number 53.

(1) £300-500

349ARR* Graham (Rigby, 1931-2015). Whatborough Hill, 1979, ink and watercolour on paper, signed and dated within image with additional explanatory annotations by the artist beneath, 28 x 39cm (11 x 15.25ins), mount aperture, framed and glazed Exhibited: Graham’s Leicestershire, Gadsby Gallery, Leicester, 1980, number 89.

(1) £300-500

350ARR* Graham (Rigby, 1931-2015). Farm at Scalford, 1977, watercolour on paper, signed and dated at foot, 25 x 31cm (9.75 x 12.25ins), mount aperture, framed and glazed

347* Goodall (John Strickland, 1908-1996). The Flower Seller, watercolour with pencil, heightened with bodycolour, showing a small barefooted girl in a head scarf carrying a basket and proffering a posy to a lady and her little girl, signed lower left, 14.5 x 19.5cm (5.75 x 7.75ins), together with The Empress, watercolour with pencil, heightened with bodycolour, showing two female figures with parasols and accompanied by two small dogs promenading along a balustraded walkway, with a gentleman in a top hat walking behind, signed lower right, 15 x 19.5cm (6 x 7.75ins), matching mounts and frames, glazed, both titled on backboard (2)

Exhibited: Graham’s Leicestershire, Gadsby Gallery, Leicester, 1980, number 29.

(1) £300-500

£150-200

Lot 348

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

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Lot 349

Lot 350

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351ARR* Graham (Rigby, 1931-2015). Abbey Tintern Furnace, 1990, pen, ink and watercolour on paper, signed and dated lower right, 39 x 49.5cm (15.25 x 19.5ins) mount aperture, framed and glazed (1)

£300-500

352* Green (Alfred Rozelaar, 1917-2013). Female nude resting, 1987, charcoal & pencil on wove, signed and dated lower right and inscribed ‘for Patsy & Sean’ lower left, 55 x 75cm (21.5 x 29.5ins), mounted, framed & glazed, together with an exhibition catalogue of works by Alfred Rozelaar Green, Trianon Press, Paris & London, [1981], numerous tippedin colour plates, original wrappers side sewn, with limp card covers, oblong 8vo (limited edition 767/1000) (2)

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

£150-200

130

353* Gribble (Bernard Finegan, 1873-1962).

Corfe Castle, Dorset, oil on “Rathbone” canvas board, signed lower right, 40.5 x 30cm (16 x 12ins), oak frame, glazed (1)

£200-300

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355ARR* Gibbs (David, circa 1925-).Composition, 1965, pen, black ink, pastel and gouache on cream wove paper, signed and dated lower right, 39.5 x 58cm (15.5 x 23ins) David Gibbs was a director at Arthur Tooth & Sons in the late 1950s and he also ran his own dealership in Bond Street. He owned a large collection of American abstract art and was co-manager of Jackson Pollock's estate with Lee Krasner helping to develop a European platform for the artist's work. In the late 1960s Gibbs moved to the USA to pursue his artistic career there, working from a studio in Manhattan. He held solo exhibitions of his interlocking abstract compositions in New York in the 1970s & 80s. In 1971 the New York magazine wrote "... Gibbs' electrically charged acrylics, reams of dripping, frenzied, dazzling striations of brilliant colour... like so many bolts of frenetic lightning... a vibrant, exhilarating and exciting show".

(1) ÂŁ200-300

354* Grundle (Jack, 1922-2004). The Sentinel, 1984, watercolour, signed and dated lower left, 22 x 35cm (9.6 x 13.75ins), framed and glazed (1)

ÂŁ150-200

Lot 355

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356ARR* Gurschner (Herbert, 1901-1975). Altar des Lebens, 1938, oil on canvas triptych, depicting the three ages of man, each signed, the two outer panels both dated 1935, two of the canvases stamped G. Rowney & Co., with stencilled stock number 6781, with autograph inscription to verso of the central panel by the artist in capitals: ‘Deren seele das werden “sein” und “vergehen” so versteht-wiedme ich diesen altar des lebens. Christmas 1938 H.G.’, the larger central panel 131 x 79cm (51.5 x 31ins), the side panels both 122 x 66cm (48 x 26ins), a few minor surface marks, and small puncture and abrasion to upper right of central panel (with very minor damage), original gold painted frames Provenance: The artist's estate, thence by descent to the present owner.

Exhibited: Agnew's, London, 1938.

Literature: Claudia and Roland Widder, Herbert Gurschner, Ein Tiroler in London (2000), page 41 (illustrated).

This major work by the Austrian artist Herbert Gurschner is one of the most important examples of his work to appear on the art market. Painted in the year of the Austrian Anschluss (March 1938), this triptych is both a powerful political statement, and an expression of the artist's strong ties with his native soil. Gurschner was born in Innsbruck, he studied at the Munich Academy of Fine Art. In 1924, he married the English actress Ella Delores Erskine, through whom he was introduced to international high society and English collectors. He exhibited in England and America from 1925 onwards, including the Fine Art Society in 1929 and 1931, Agnew's in 1938 and the Cooling Galleries, New York in the same year. At the second Fine Art Society exhibition in June 1931, his painting of The Annunciation was purchased by Lord Duveen on behalf of the Tate Gallery.

(1) £20000-30000

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

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357ARR* Gurschner (Herbert, 1901-1975). Tiroler Kirche, oil on canvas, 41 x 30.5cm (16 x 12ins), framed Provenance: The artist’s estate, thence by descent to the present owner.

Previously offered at auction by Christie’s London, Impressionist & Modern Art, 26 June 2015, lot 770, with a confirmation of the authenticity of this work by Roland Widder.

(1) £3000-5000

Lot 357

358ARR* Gurschner (Herbert, 1901-1975). Vivienne Woolley-Hart, 1932, oil on canvas, signed, inscribed and dated ‘HERBERT GURSCHNER TIROL 1932’ lower right,50 x 40cm (19.5 x 15.75ins) Provenance: The artist’s estate, thence by descent to the present owner.

Previously offered at auction by Christie’s London, Impressionist & Modern Art, 8 February 2013, lot 106.

Marguerite Vivienne Woolley-Hart, née von Bernstorff (born 1888), an American-born German baroness, and wife of the English coal magnate Arthur Woolley-Hart (1859-1941), supported Gurschner over a long period, and continued to do so after she moved to New York and opened a gallery there in 1946.

(1) £3000-5000

Lot 358 133

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Lot 359

Lot 361

Lot 362

359ARR* Guttuso (Renato, 1911-1987 ). Head of a Woman, 1963, Indian ink and brown felt pen on paper, signed and dated lower right, 57 x 41cm (22.5 x 16ins) mount aperture, framed and glazed, with Art & Picture Framing, Lamcy Plaza, Dubai framer’s label to verso (1)

£400-600

360* Hacker (Arthur, 1858-1919). Children at a table beside a window, oil on wood panel, signed lower left, 40.5 x 32cm (16 x 12.5ins), early printed label of John Magee, 4 Donegall Square West, Belfast (with reference number D35644), and small printed removals/storage label of T. Johnson & Sons Ltd, Belfast to verso, later gilded wood frame (1)

£700-1000

361* Hayward-Young (Eric, born 1908). Six miniature still lifes, 1942, oil on board, each signed and dated lower right, 7.5 x 7.5cm (3 x 3ins), framed and glazed (6)

£150-200

362* Holmes (Charles John, 1868-1936). Quarries at Tenby, 1911, watercolour and black chalk on paper, signed, dated and titled in brown ink lower left, 24.5 x 33cm (9.6 x 13ins), framed and glazed (1)

Lot 360

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

134

£100-150

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

£150-200

363* Hoskin (John, 1921-1990). Standing figure, 1960, pen, black ink & grey wash on wove, signed and dated in pencil lower right, 55 x 37cm (21.5 x 14.5ins), framed and glazed John Hoskin was a British sculptor from Cheltenham. He began drawing when he returned from Germany after serving in the Second World War, and was encouraged to persue sculpture by the painter Terry Frost.

(1) £150-250

364 No lot

367* Impressionist School. Young woman with parasol on a boat, oil on board, indistinctly signed ‘H A Putet’ (?), lower left, 59 x 50cm (23.25 x 19.75ins), antique-style frame, glazed 365* Hoyland (Francis, 1930-). Seated Girl, oil on board, signed with initials lower right, 23 x 28cm (9 x 11ins), framed, with Belgrave Gallery, 22 Mason’s Yard, Duke Street, St. James’s, London, label to verso

(1)

£200-300

368* Johnson (Edward Borough, 1866-1949). Group of seven studies of the female nude, red chalk on paper, several with a further similar drawing to verso, some spotting, three signed, sheet size 37 x 24.5cm (14.5 x 9.6ins), each mounted

Exhibited: Camberwell Artists of the 40s & 50s, Belgrave Gallery, 1988, Number 33.

(1) £150-200

(7)

135

£150-250

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369* Kennington (Eric, 1888-1960). Ship’s figurehead of H.M.S. Marlborough, 1954, colour pastels on board, signed with monogram and dated lower right, framed and glazed, with printed labels to verso stating that this work is from the Eric Kennington estate, and an additional label from the picture restorer Phillip Stevens of Broadwick Street, London W1, indicating that this work was restored in December 1979 to eradicate mould The artist and sculptor Eric Kennington was an official war artist in both world wars. Having been wounded on the Western Front in 1915, he returned to the Front in 1917, producing over 170 drawings and watercolours, including sketches of men wounded during the German Spring Offensive of 1918. In the early 1920s he met T.E. Lawrence and became closely involved in the preparation of Lawrence's Seven Pillars of Wisdom. During the second world war Kennington produced numerous portraits of Royal Navy and Air Force crew, as well as the Home Guard. He became a full member of the Royal Academy in 1959.

(1) £3000-5000

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

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370* Lee (Debbie, 20th century). Breakfast with the Duchess, 2001, acrylic on paper, 42 x 60cm (16.5 x 23.5ins) mount aperture, framed and glazed, Boundary Gallery label to verso, together with “The Caucus Race”, 1995, colour print, titled, signed and numbered in pencil at foot, 16.5 x 15cm (6.5 x 6ins) mount aperture, framed and glazed, limited edition 4/20 (2)

372* Livens (Horace Mann, 1862-1936). English town square seen through an archway, watercolour and bodycolour with black chalk on grey paper, signed lower right, 28 x 37cm (11.1 x 14.5ins), framed and glazed, with printed biographical labels to verso A similar work on same-sized grey paper, depicting Noah’s Ark Public House, Oxford Street, London, was offered by Bonhams Knightsbridge, 28 February 2006, lot 85.

(1) £200-300

£150-200

373* Lloyd (Reginald J., 1926- ). Spring, 1993, watercolour on paper, signed and dated at foot, 14.5 x 20cm (5.75 x 8ins) mount aperture, framed and glazed (1)

371* Lessore (Frederic, 1879-1951). Portrait of James Bonar (18521941), Scottish economist, 1914, black chalk on Michallet laid paper, watermarked, signed lower left, 46.5 x 30cm (18.3 x 11.9ins) mount aperture, framed and glazed (1)

£100-150

374* Lloyd (Reginald J., 1926- ). Figure Contours, 1953, pen and ink on paper, signed and dated lower right, 19.5 x 34cm (7.75 x 13.25ins) mount aperture, framed and glazed

£70-100

(1)

137

£150-200

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377* Lloyd (Reginald J., 1926- ). Figures and Stones, 2016, oil on wooden board, signed and dated bottom left, 40 x 50cm (15.75 x 19.75ins), framed (1)

£200-300

375* Lloyd (Reginald J., 1926- ). Cliffscape, 2012, oil on board, signed and dated lower left, 65 x 51.5cm (25.5 x 20.5ins), framed (1)

£200-300

378* Lloyd (Reginald J., 1926- ). Moonscape, 2013, oil on canvas, signed and dated lower right, 40 x 49.5cm (15.75 x 19.5ins) mount aperture, framed (1)

£200-300

379* Lloyd (Reginald J., 1926- ). Figures in a landscape, 2016, two oils on board, each signed and dated, 31.5 x 40cm (12.25 x 15.75ins) and 27 x 40cm (10.5 x 15.75ins), framed (2)

376* Lloyd (Reginald J., 1926- ). Two figures, 2016, oil on board, signed and dated lower left, 40.5 x 51cm (16 x 20ins), framed (1)

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

£200-300

138

£200-300

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Lot 379

380 Löwengard (Kurt, 1895-1940). Beach scene with boats and mooring posts, 1935, black bodycolour and grey wash on pale brown wove paper, signed and dated lower right, hessian mount, 36 x 53cm mount aperture, framed and glazed (1)

382* Monk (William, 1863-1937). Mountain landscape, West of Ireland, watercolour, signed lower right, 32 x 48cm (12.5 x 19ins) mount aperture, framed and glazed (1)

383* Moroni (Federico (1914-2000)). Steam roller and telegraph poles, 1955, pen, ink and watercolour on paper, 39.5 x 64.5cm (15.5 x 25.25ins), framed and glazed, with Leicester Galleries labels to verso

381* Gourley (Alan Stenhouse, 1909-1991). Landscape with fishermen, oil on board, signed lower left, additionally inscribed with artist’s name and address 69 Freelands Rd., Bromley, Kent, to verso, 63.5 x 76cm (25 x 30ins), framed (1)

£200-300

£150-200

Exhibited: Leicester Galleries, London, April 1955 (purchased by J. Levy).

(1) £200-300

£150-200

139

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384* Multrus (Josef, 1898-1957). Girl at a table, with still life of lobster on a plate, seashells and pot plant, oil on canvas, signed lower right, 42 x 41cm (16.5 x 16ins), framed

385* English School. Still life with Staffordshire figurine on a plinth, coffee pot and flowers, circa 1920, oil on canvas, unsigned, 42 x 50.5cm (16.53 x 19.88ins), framed

Czech artist Joseph Multrus studied at the School of Applied Arts, and then at the Academy of Fine Arts in Prague, where he became a member of the Union of Fine Artists in 1924.

(1) £300-500

Provenance: Collection of the artist Anthony Fry (1927-2016), thence by descent.

(1) £500-800

386* Palmer (Garrick, 1933-). Three figures in a landscape, 1965, acrylic on paper, signed and dated lower right, 29 x 38cm (11.5 x 15.25ins), mounted, gilt frame, glazed Garrick Palmer was born in Portsmouth and studied at Portsmouth College of Art and Design (1951-55) and later at the Royal Academy (1955-59). He taught at Winchester School of Art from 1958-86.

(1) £400-600

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389* Petley-Jones (Llewellyn, 1908-1986). The Kite Flyers, 1962, oil on canvas, signed and dated lower right, some craquelure, 19 x 41cm (7.5 x 16ins), inscribed with title, artist’s name and address 86 Mount Ararat Road, Richmond, Surrey to verso by the artist, framed (1)

£200-300

387* Parker (Constance Anne, 1921-2016). Seated female nude, oil on canvas, unsigned (name to stretcher), 77 x 52cm (30.25 x 20ins), modern painted & moulded frame, together with Portrait of standing female nude, oil on canvas, unsigned, 76 x 34.5cm (30 x 13.5ins), modern painted & moulded frame, with Woman in blue dress looking at a picture book, oil on canvas, unsigned, 61.5 x 49.5cm (24.5 x 19.5ins), modern painted moulded frame, plus Woman with red shawl seated on a bed, oil on canvas, unsigned (with name Parker written to verso), 75.5 x 62.5cm (29.75 x 24.5ins), unframed (4)

£200-300

390* Piener (Werner, 1897-1984). Mars and Venus, circa 1945, a pair of watercolour and pencil drawings on light brown paper, heightened with white bodycolour, signed Piener and with monogram respectively lower left, 24 x 14cm (9.5 x 5.5ins), framed and glazed together, with arched card mount to each image Provenance: Major Robert Graham Holt (1921-2008), Suffolk, England; his stepdaughter Judy Boyt; recently acquired from the latter by the present owner.

Previously associated during the Weimar Republic of the early 1920’s with the New German Romantic movement, Werner Piener was one of the most significant artists to receive official support from Hitler’s National Socialist government. Major Holt met and befriended the artist (interned due to his connections to the Third Reich) in Germany after the war, whilst serving in the Royal Observer Corps, where he was appointed Quartering Officer in Munster, Westphalia, as part of the Allied teams liaising with German communities in the post-war reconstruction of Germany.

(1)

388* Payne (Edward Raymond, 1906-1991). Figures on a village street in the Cotswolds, 1936, pen, ink and wash on paper, with traces of pencil, signed with initials and dated lower right, 36 x 54.5cm (14.2 x 21.5ins), framed and glazed

£200-300

391* Pitchforth (Rowland Vivian, 1895-1982). Findhorn Salmon Traps, watercolour on paper, signed lower right, 40.5 x 57cm (16 x 22.5ins), framed and glazed (1)

Stained glass artist and painter, Edward Payne lived in Box, Wiltshire, taught at Stroud Art School, and was a member of the Cheltenham Group of Artists. Several of his war drawings are held by the Imperial War Museum.

(1) £100-150

141

£70-100

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392* Ragless (Maxwell Christopher Richard, 1901-1981).

Flinders Ranges, South Australia, 1938, watercolour on card, signed and dated 1938 lower left, 47 x 62cm (18.5 x 24.5ins), framed and glazed (1)

£200-300

Lot 392

393ARR* Rizvi (Jacqueline, 1944-).

Rose Border Porcelain in an Interior, watercolour and bodycolour on light brown paper, initialled and dated upper right, 40.5 x 48cm (16 x 19ins) mount aperture, framed and glazed, with Royal Society of Painters in Water-colours, Bankside Gallery, London to verso Provenance: From the collection of D.A. Hall, Camberley, Surrey.

(1) £500-800

Lot 393

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Lot 394

Lot 395

Lot 396

394* Roboz (Suzanne, 1929-2012). Portrait of Carel Weight, black charcoal on laid paper, signed lower right, sheet size 61 x 48cm (24 x 19ins), framed and glazed (1)

396* Romano (Armando, 1935-). Campo di Cavoli, oil on canvas, signed lower left, artist ink stamp, signature and caption to verso, 40 x 50cm (15.75 x 19.75ins), modern painted and moulded frame with Clifton Gallery Bristol label to verso

£200-300

Armando Romano is particularly known for his views of Tuscany and Venice.

(1) £150-200

395* Roboz (Suzanne, 1929-2012). Portrait of David Sylvester, black charcoal on laid paper, signed lower left, sheet size 65 x 50cm (25.5 x 19.75ins), framed and glazed (1)

397* Simmons (Anna, 1939-). Railway station concourse, 1997, oil on canvas, signed and dated lower right, 61 x 122cm (24 x 48ins), moulded colour wash wooden frame

£200-300

(1)

Lot 397

143

£200-300

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398ARR* Simpson (Charles Walter, 18851971). Snow Clouds, gouache, 36 x 52cm (14.25 x 20.5ins), framed and glazed with Newlyn Orion gallery label to verso Exhibited: Newlyn Orion, Charles Walter Simpson Exhibition, 1988 (1) £300-400

399ARR* Simpson (Charles Walter, 1885-1971). Sunset - Ella’s Gorse, gouche, 36 x 52cm (14.25 x 20.5ins), framed and glazed with Newlyn Orion gallery label to verso Exhibited: Newlyn Orion, Charles Walter Simpson Exhibition, 1988 (1) £300-400

400* Smith (Ed, 1923-1988). Red Buildings, two watercolours with gouache and pastel on paper, each signed to verso, 55.5 x 76cm (22 x 30ins), both mounted

Lot 398

(2)

£150-200

401ARR* Spear (Ruskin, CBE RA, 19111990,). Woman on the Underground, black chalk and coloured pastel on paper, 24 x 17.5cm (9.5 x 6.8ins) mount aperture, framed and glazed (1)

£200-300

Lot 399

Lot 400

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

Lot 401

144

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Lot 402 402* Spencer (Kenneth Abendana, 1929-2005). Figures harvesting sugar cane by hand, in a hillside landscape, 1960, oil on board, signed and dated lower right, 61 x 91.5cm (24 x 36ins), gilt and painted frame

404* Suddaby (Rowland (1912-1972). Moorland road near Penistone, Yorkshire, 1949, watercolour and gouache with black ink on wove paper, signed and dated lower right, inscribed in pencil with title to verso, few marks to edges, sheet size 345 x 560 mm (13.5 x 22ins), together with On the borders of Wales, 1946, pen, black ink, watercolour and gouache on wove paper, signed and dated lower right, sheet size 330 x 560 mm (13 x 22ins), plus Still life of fruit in a bowl, circa 1940, coloured pastels on wove paper, with watermark S O and King George VI crown, unsigned, sheet size 330 x 405 mm (13 x 16ins)

Kenneth Abendana Spencer (born Kenneth Abandamo) was a Jamaican artist without formal training. He specialised in scenes of Jamaican life.

(1) £300-400

403* Kirmsie (Persis, 1884-1955). 'Truro Dick's Dog', 1939, pastel on paper portrait of a black cocker spaniel, signed and dated lower right, 43 x 37cm (17 x 14.5ins), framed and glazed, engraved brass caption plate to foot of frame (1)

The S O watermark was in use in England during the late 1930s and early 1940s.

(3) £200-300

£600-800

Lot 403

Lot 404

145

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405ARR* Tilson (Joe, 1928-). Artichokes on a table, charcoal on paper, dated ‘Cefalu 1956’ and inscribed ‘For Elizabeth from Joe Tilson’, 42.5 x 48cm (16.73 x 18.89ins), framed and glazed Provenance: Given to the current owner by the artist.

Between 1949-52 Joe Tilson studied at St Martin’s School of Art alongside Leon Kossoff and Frank Auerbach, and from 1952-55 at the Royal College of Art with Peter Blake, David Hockney, R.B. Kitaj and Richard Smith. After winning the Rome Prize in 1955, he lived and worked in Rome where he met the sculptor Joslyn Morton, then studying under Marino Marini at the Brera in Milan. They lived together at Cefalù in Sicily, and were married in 1956 in Venice. Initially associated with the Pop Art movement in Britain in the 1960’s, Tilson gravitated quickly away from the celebration of technology and mass communication evident in the work of his contemporaries towards a communion with the past fuelled by his experience of living in Italy.

(1) £500-800

406* Tress (David, 1955-). Still life of daffodils and ferns, 1990, watercolour on paper, signed and dated lower right, 54 x 61.5cm (21.25 x 24.25ins) mount aperture, gilt frame, glazed (1)

407ARR* Tunnicliffe (Charles Frederick, 1901-1979). Pigeon Study.

Ancient Tumbler, pen, pencil and gouache on pale grey/blue paper, titled with pencil annotations lower right, 23.5 x 27.5cm (9.25 x 10.75ins) mount aperture, framed and glazed, Charles Tunnicliffe R.A. Studio 1980 No. 397/20 (stamp and manuscript number to verso)

£100-150

(1)

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

146

£300-500

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408ARR* Tunnicliffe (Charles Frederick, 1901-1979).

Pigeon study. Berlin Short-faced Tumbler, pen, pencil and gouache on white paper, titled in pencil at foot, 23.5 x 25cm (9.25 x 9.75ins) mount aperture, framed and glazed, Charles Tunnicliffe R.A. Studio 1980 No. 403/20 (stamp and manuscript number to verso) (1)

410* Weatherhead (Tim, 20th century). Storm over the Heath, oil on board, 27.5 x 35.8cm (10.75 x 14in), signed and captioned to gilt frame (1)

£100-150

£300-500

409* Vignon (Victor, 1847-1909). Le chemin de la Plaine a Fontenelle, oil on canvas (with manufacturer’s stamp to verso of Rey et Perrot, Paris), signed lower right, 33 x 46cm (13 x 18ins), Kaplan Gallery, 6 Duke Street, St. James’s, London printed label, and several early handwritten labels in French to verso, gilt moulded frame Provenance: Kaplan Gallery, London. Provate Collection, Wiltshire, England Victor Alfred Paul Vignon studied under Corot and Adolphe-Felix Cals. He painted in the Val d'Oise and during the 1870s was associated with Camille Pissarro and his circle at Auvers-sur-Oise.

(1) £500-800

147

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411* Wesson (Edward, 1910-1983). On Farley Heath, Surrey, watercolour, signed lower right, 33 x 49.5cm (12.9 x 19.48ins) mount aperture, framed and glazed (1)

£200-300

412* Wesson (Edward, 1910-1983). Landscape near Inverary, watercolour, signed lower left, 31 x 48cm (12.25 x 19ins), mount aperture, framed and glazed, together with another similar watercolour view by John Pillow, titled On Arran, Chichester House Gallery label to verso (2)

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

£200-300

148

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413* Willoughby (Vera, 1870-1939). Pasiphae, tempera on wood panel, bears monogram lower left, some marks and surface wear, signed and titled by the artist to verso (somewhat indistinct), 66.5 x 73.5cm (26.25 x 29ins) Hungarian-born Vera Willoughby studied at the Slade School of Fine Art in London, and designed a number of posters for the London Underground between 1928 and 1935.

(1) £400-600

414* Wood (Charles). ‘Crusaders’, 1964, a pair of large-scale acrylic paintings on board, each signed and dated, 122 x 90cm (48 x 35.5ins), framed (2)

£200-300

149

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416 Young (Isabel, 1976-). The Sea Dragon, 2003, watercolour on wove paper, sheet size 30.5 x 41cm, float-mounted, framed and glazed, ARTfutures 2005 label to rear (1)

415* Wood (Albert Victor Ormsby, 1904-1977). Elegant lady washing, with maid assisting, watercolour over pencil on wove, signed lower right, 73 x 29.5cm (28.75 x 11.5ins), framed and glazed (1)

£100-150

417* Zinkeisen (Anna Katrina, 1901-1976). Portrait of the artist’s daughter, oil on canvas, of Julia Zinkeisen as a baby, dressed in a white gown with blue ribbon, and lying on a lace-trimmed pillow, with a silver rattle, signed lower right, 71 x 61cm (28 x 24ins), moulded frame

£200-300

Anna Zinkeisen was a portrait painter and muralist. Moving from Scotland when she was eight, she grew up in the London suburb of Harrow. At the Royal Academy Schools she studied painting under Sir George Clausen, Glyn Philpot, and Charles Sims. She went on to design ceramics for Wedgwood, as well as many book covers and illustrations. Zinkeisen was commissioned to produce a mural for the ballroom of the Queen Mary liner in 1934, entitled ‘The Four Seasons’.

(1) £300-500

Lot 416

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

150

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MODERN & CONTEMPORARY PRINTS

420* Aynscomb-Harris (Martin John, 1937-). Siamese cat, circa 1990s, charcoal on wove paper, signed in pencil lower left, 19 x 24cm (7.5 x 9.5ins), framed and glazed, together with Top cat, artist’s proof, circa 1990s, etching in red on wove paper, image size 12.5 x 25cm (5 x 10ins), signed and titled in pencil to lower margin, plus Village cross, circa 1990s, etching with aquatint and gouache on wove paper, image size 16 x 21cm (6.25 x 8.25ins), signed, titled and numbered 48/100 in pencil to lower margin, framed and glazed

418* Ardizzone (Edward, 1900-1979). Girls fighting at the Warrington, 1930, goutelette print on Hahnemuhle paper after the original watercolour by Ardizzone, image size 29.5 x 19.5cm (11.61 x 7.67ins), sheet size 35 x 26cm (13.77 x 10.23ins), framed and glazed with Gillian Jason gallery label to verso (1)

£100-150

(3)

£100-150

419* Ardizzone (Edward, 1900-1979). Trinity College, Oxford.

Chapel Quadrangle, uncoloured lithograph, printed title and signature at foot, image size 29.5 x 44.5cm (12 x 17.5ins), framed and glazed This lithograph is thought to have been commissioned by undergraduates at Trinity College, and published in 1954, in an edition of around fifty.

(1) £100-150

421* Blake (Peter, 1932-). Demonstrations, 1992, fine bone china plate by Wedgwood, numbered 203 from a limited edition of 500, from the set of six Art Plates commissioned by the National Art Collections Fund and Wedgwood, 30.5cm diameter (12ins), with printed limitation slip and original blue presentation box (1)

151

£150-200

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422* Blake (Peter, 1932- ). Alice Through the Looking-Glass and What Alice Found There, 1970, the complete set of eight colour screenprints on paper, from the edition of 100, each with printed caption at foot, pencil signed by the artist, numbered 38/100, image size 24 x 18cm (9.5 x 7ins), occasional light toning to a few sheets, framed and glazed (8)

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

ÂŁ1500-2000

152

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423* Broodthaers (Marcel, 1924-1976). La Bete Noire, Texte Marcel Broodthaers Gravures Jan Sanders, Brussels, Imprimerie Rene de Keersmaeker, 1961, 16 pages, woodcut designs by Jan Sanders, original red printed wrappers, outer corner to title and upper wrapper bumped and creased, presentation inscription in blue ink to title from Marcel Broodthaers to Maurice Wolmer (?) ce incomprehensible (s) ? things. With heartness, M. Broodthaers 26 may 1961 London’, slim oblong quarto (13.5 x 27.5cm) Limited edition 690/700.

(1)

£150-200

Lot 425

424* Brunsdon (John, 1933-2014). Barmouth, circa 1990, etching with aquatint on wove paper with artist’s name watermark, signed, titled and numbered 83/150 to lower margin, image size 28.5 x 31cm (11 x 12.5ins), framed and glazed (1)

£100-150

425* Caulfield (Patrick, 1936-2005). Ipanema, 1992, fine bone china plate by Wedgwood, numbered 203 from a limited edition of 500, from the set of six Art Plates commissioned by the National Art Collections Fund and Wedgwood, 30.5cm diameter (12ins), with printed limitation slip and original blue presentation box (1)

£150-200

426* Cisa (Pau Roig, 1879-1955). Cirque, Plates VII, XV and XVIII, 1911, colour lithographs on paper, the largest 36.5 x 27.5cm (14.25 x 10.75ins) mount aperture, framed and glazed (3)

153

£150-200

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427* Clarke (Graham, 1941-). Trattoria Romantica, Molto Economico, Carte Antico, & Fresco Oggi (from the series The Grand Tour), 1989, together four colour etchings, published by CCA Galleries, London, each signed, titled and numbered 26/400 in pencil, circular blindstamp of CCA Galleries and Graham Clarke to lower right corner of each, plate size 13.5 x 17cm (5.25 x 6.75ins), sheet size 22 x 32cm (8.7 x 12.6ins), matching frames, glazed (4)

£200-300

428* Coutu (Jack, 1924-2017). Autumn Plant, 1959, colour etching with aquatint, signed, titled, dated and numbered 4/50, plate size 60.5 x 42.5cm (23.75 x 16.75ins), sheet size 72 x 53.5cm (28.25 x 21ins) (1)

£100-150

Lot 427

429 Finlay (Ian Hamilton, 1925-2006). Headlines: Eavelines, for Eve Furnival, Openings Press from Bath Academy of Art, Corsham, Wiltshire, circa 1970, portfolio of 13 colour screenprints by Ann Stevenson, Christopher Lumgair, Susan Hudson, Simon Lord, Jonathon Willcocks, Virginia Robinson, David Mitchinson, Deborah Fulford, Ann Hildred, Angela Wellard, Paul Ansell, Simon Farrell and Elizabeth Kelly, numbered 9 from the edition of 50, light spotting to title leaf, sheet size 46.5 x 46.5cm (18.25 x 18.25ins), loose as issued in original cloth-backed portfolio, slight edgewear, square folio (1)

Lot 428

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

154

£200-300

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430ARR* Frink (Elisabeth, 1930-1993). Corrida II, 1973, colour lithograph, published by Leslie Waddington Prints Ltd., signed and numbered 3/72 in pencil, sheet size 57 x 77.5cm (22.5 x 30.5ins), framed and glazed (glass cracked). Wiseman 79.

432ARR* Frink (Elisabeth, 1930-1993). Corrida IV, 1973, colour lithograph, published by Leslie Waddington Prints Ltd., signed and numbered 7/72 in pencil, a few small flecks to print surface (from broken glass), sheet size 57 x 77.5cm (22.5 x 30.5ins), framed

(1)

Wiseman 81.

(1)

£300-500

£200-300

431ARR* Frink (Elisabeth, 1930-1993). Corrida III, 1973, colour lithograph, published by Leslie Waddington Prints Ltd., signed and numbered 5/72, sheet size 57 x 77.5cm (22.5 x 30.5ins), framed and glazed

433ARR* Frink (Elisabeth, 1930-1993). Corrida V, 1973, colour lithograph, published by Leslie Waddington Prints Ltd., signed and numbered 19/72 in pencil, sheet size 57 x 77.5cm (22.5 x 30.5ins), framed and glazed

Wiseman 80.

(1)

Wiseman 82.

(1)

£300-500

155

£300-500

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Lot 434

Lot 436

434ARR* Frink (Elisabeth, 1930-1993). ‘Nausicaa’, 1974, colour lithograph, numbered 12/30, titled and signed in pencil at foot, sheet size 56.5 x 38.5cm (22.25 x 15.25ins), framed and glazed, with Waddington Graphics gallery label to verso Wiseman 94.

(1)

£300-500

435ARR* Frink (Elisabeth, 1930-1993). Menelaus and Helen, 1974, colour lithograph, numbered 17/30, titled and signed in pencil at foot, sheet size 56.5 x 38.5cm (22.25 x 15.25ins), framed and glazed, with Waddington Graphics gallery label to verso Wiseman 100.

(1)

£400-600

436ARR* Frink (Elisabeth, 1930-1993). The Great Bow, 1974, colour lithograph, numbered 26/30, titled and signed at foot, sheet size 56.5 x 38.5cm (22.25 x 15.25ins), framed and glazed, with Waddington Graphics gallery label to verso Wiseman 101.

(1)

Lot 435

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

156

£400-600

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Lot 437

Lot 438

437ARR* Chagall (Marc, 1887-1985). XXe siècle - Hommage à Marc Chagall, 1969, colour lithograph on paper, printed caption to verso "Marc Chagall. Lithograpie originale pour XXe siècle.

1969", 31 x 24cm (12 x 9.5ins), mounted with pencil signature lower right, framed and glazed Mourlot 572.

Provenance: Harrods Auction Galleries, 3rd February 1972, lot 272, (catalogue included).

(1) £250-300

438* Gorg (Jurgen, born 1951). Tina mit Rosen & Dreierlei, 1985, two colour lithographs, both signed, dated, titled and numbered 87/180 and 115/180 in pencil to lower margin, 100 x 70cm (39.25 x 27.5ins), framed and glazed (2)

£150-200

439ARR* Graham (Rigby, 1931-2015). Composition, 1970, colour monotype with acrylic on paper, signed and dated bottom right, 56.5 x 41cm (22.25 x 16ins), framed and glazed (1)

£300-500

Lot 439

157

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440ARR* Graham (Rigby, 1931-2015). Composition, 1970, colour monotype with acrylic and oil on paper, signed and dated bottom right, 56.5 x 40.5cm (22.25 x 16ins), framed and glazed Exhibited: Rigby Graham Exhibition, Gadsby Gallery, 1974 (label to verso).

(1) £300-500

441* Heron (Patrick, 1920-1999). ‘Garden Plate’, 1992, fine bone china plate by Wedgwood, numbered 203 from a limited edition of 500, from the set of six Art Plates commissioned by the National Art Collections Fund and Wedgwood, 30.5cm diameter (12ins), with printed limitation slip and original blue presentation box (1)

£200-300

442* Hilton (Matthew, 1948-). Jugs, 1994, the complete portfolio of 11 colour screenprints on somerset satin paper, from the published edition of 30, printed by Kip Gresham and Ian Wilkinson at Curwen Chilford, Cambridge, published jointly by the artist and Curwen Chilford Prints, each signed with initials and numbered 16/30 in pencil, additionally signed to titlepage, sheet size 28 x 27cm (11 x 10.6ins), loose in original black portfolio box as issued (1)

£100-150

Lot 440

Lot 441

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

Lot 442

158

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443* Hockney (David, 1937-). On a besoin de plus grandes perspectives, 1985, offset colour lithograph poster, printed by Azur Offset Marseille, for Rencontres Internationales de la Photographie Arles 1985, initialled by the artist and dated ‘86 directly above the printed initials and date in the image, sheet size 57 x 75cm (22.5 x 29.5ins) Hockney Posters 127.

(1)

ÂŁ300-500

159

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444* Hockney (David, 1937-). David Hockney, New Drawings, Saltsmill, 1994 (Celia Birtwell & John Fitzherbert), two offset lithographs, printed by L H, Bradford, in 1994, each signed with initials, and dated ‘93 to lower right of the image, one or two minor marks to edges, the first poster with a line in black ink to extreme top left blank margin (possibly by the artist), and with sellotape removed to lower edge of verso with some paper thinning (not affecting the image), sheet size 98 x 69cm (38.5 x 27ins) (2)

£200-300

445* Hockney (David, 1937-). David Hockney: Some Very New Paintings, 1853 Gallery, Salts Mill, Saltaire, Yorkshire, 1 September to 30 November, 1993, colour reproduction poster, printed by LH, Bradford, initialled in black ink by the artist lower right, a few minor creases to extreme left and right margins, 63 x 101 cm (24.75 x 39.75 ins), together with David Hockney will be showing 45 paintings of Stanley and Boodge, his best friends, at the 1853 Gallery, Salts Mill, near Bradford, July August plus Sept, Montcalm Interior at 7 o'clock, David Hockney, 1853 Gallery, Salts Mill, Bradford, circa 1988, Stanley and Boodge, David Hockney New Drawings, Salts Mill, 1994, & John Fitzherbert, David Hockney, New Drawings, Salts Mill, 1998, together four printed posters, each initialled by the artist in black ink, lower right, the second with signature David H. (partly erased), the third also dated '93 (5)

£300-500

Lot 444

Lot 445

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

160

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447* Kinley (Peter, 1926-1988). Figure in a Doorway, colour screenprint, signed and marked Artist’s Proof in pencil to lower margin, image size 51 x 43cm (20 x 17ins), framed and glazed Based on the 1967 painting of the same name now in the collection of Tate Britain.

(1) £200-300

448* La Dell (Edwin, 1914-1970). Fishing at Marlow, 1951, colour lithograph, printed by Chromoworks Ltd for J. Lyons & Co., for Lyons Lithographs, Second Series No. 6, 76 x 102cm (30 x 40ins), period wood frame, glazed

446* Kestelman (Morris, 1905-1988). Busti the Clown, 1937-38, hand-coloured lithograph, 40.5 x 30.5cm (16 x 12ins), framed and glazed Exhibited: Boundary Gallery, London (labels to verso).

(1)

(1)

£150-200

£100-150

449* Larusdottir (Karolina, 1943-). Concert by the sea, colour aquatint, from the edition of 75, signed, titled and numbered 9/75 in pencil, plate size 30 x 39.5cm (11.75 x 15.5ins), with margins, framed and glazed, with printed label for the Railings Gallery, 5 New Cavendish Street, London, to verso (1)

Lot 447

161

£100-150

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Lot 450

Lot 451

450* Lloyd (Reginald J., 1926- ). Figures in a Lane, colour screenprint, signed, dated and numbered 12/20, sheet size 52 x 63.5cm (20.5 x 25ins) (1)

£100-150

451* Lloyd (Reginald J., 1926- ). Rain, 1953, monotype on paper, signed and dated lower left, 25 x 18.5cm (9.75 x 7.5ins) mount aperture, framed and glazed, together with Inner Harbour, 2012, monotype and watercolour on paper, signed and dated lower right, 45.5 x 30cm (17.75 x 11.75ins) mount aperture, framed and glazed (2)

£100-150

452* Lloyd (Reginald J., 1926-). Two Figures, 1969, monotype on wove, captioned, signed and dated in pencil lower margin, 33 x 45.5cm (13 x 18ins), framed and glazed (1)

£150-200

Lot 453

453* Lloyd (Reginald J., 1926- ). The Old Blowing House, Dartmoor, 1982, colour screenprint, signed and dated ‘A/P 1982’ at foot, sheet size 52 x 63.5cm (20.5 x 25) (1)

£100-150

454* Lloyd (Reginald J., 1926- ). Melting Snow, Dartmoor, 1982, colour screenprint, signed and dated ‘A/P 1982’ at foot, sheet size 52 x 63.5cm (20.5 x 25ins) (1)

£100-150

Lot 454 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

162

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Lot 456 456* Lloyd (Reginald J., 1926- ). Clay Tips, 1970, colour screenprint, signed, dated and numbered 20/25, sheet size 52.5 x 63.5cm (20.5 x 25ins) (1)

457* Lloyd (Reginald J., 1926-). The Old Blowing House, Dartmoor, 1982, colour screenprint, signed, dated and numbered 5/20 in pencil, 30 x 49cm (11.75 x 19.25ins) mount aperture, framed and glazed, together with Meanwhile the precipice rang aloud; The leafless trees and every icy crack Tinkled like iron. Wordsworth, 1970, colour screenprint on pale green-grey paper, signed, dated and numbered 11/15, 41.5 x 29cm (16.25 x 11.5ins) mount aperture, framed and glazed, plus I love you Eve, Overture 26 by John Moat, 1970, monochrome screenprint, signed and dated, and marked Proof Copy in pencil, 54.5 x 45cm (21.5 x 17.75ins) mount aperture, framed and glazed, and a proof before colours of a self-portrait screenprint by R.J. Lloyd, some spotting to edges and some handling creases and minor fraying to left margin, sheet size 76 x 50.5cm (30 x 20ins), framed and glazed

455* Lloyd (Reginald J., 1926- ). Sleeve Fold, 1970, colour screenprint, signed and dated ‘A/P 1970’ at foot, sheet size 52 x 63.5cm (20.5 x 25ins) (1)

£100-150

(4)

£100-150

163

£200-300

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Lot 458 458 Lloyd (Reginald J., 1926- ). Figure and Standing Stones, 1970, colour screenprint, signed, dated and numbered 19/20, sheet size 52 x 63.5cm (20.5 x 25ins)

459* Lloyd (Reginald J., 1926- ). Figure and Standing Stones, 1970, colour screenprint, signed, dated and numbered 17/20, sheet size 52 x 63.5cm (20.5 x 25ins)

(1)

(1)

£100-150

Lot 459 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

164

£100-150

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462* McLean (Bruce, 1944-). ‘Passed the Tangerine Test’, 1992, fine bone china plate by Wedgwood, numbered 203 from a limited edition of 500, from the set of six Art Plates commissioned by the National Art Collections Fund and Wedgwood, 30.5cm diameter (12ins), with printed limitation slip and original blue presentation box (1)

460* Lloyd (Reginald J., 1926- ). Two Figures and Monolith, 1970, colour screenprint, signed, dated and numbered 16/20, sheet size 63.5 x 52cm (25 x 20.5ins) (1)

463* Nash (Paul, 1889-1946). A small collection of letters, notes, postcards and photographs by Paul Nash, 1930’s-40’s, three in pencil, one ink mostly addressed to a Mrs Earl in London, “Thank you no end for the terrific birthday parcel. I was staggered, you were good to make all those sacrifices. The biscuits - oh those dear old digestives - I finished the last yesterday! But the poor old cake, well there’ll always be an England, but this looked like the poor old country after the first atomic bomb had hit it [sqiggly drawing of a devastated cake] all the same it was very tasty & some young fellows, what what what, came to tea said it was frightfully good what & awfully original what”, plus a photo postcard of Margaret Nash with pencil list of words for images to verso by Paul Nash “Figure, Emblem, Image, Sign, Idol, Symbol, Phantom, Thing, Object, Individual, Enigma, Phase, Aspect, Appearance, Method, Equation, Role, Phasma, a genus of insects! & aspect of landscape”, a small signed photographic print, postcards from Margaret Nash to Mrs Earl

£100-150

(18)

461* Lloyd (Reginald J., 1926-). Reclining Figure, 1970, colour screenprint, signed, dated and numbered 17/20, sheet size 52 x 63.5cm (20.5 x 25ins) (1)

£150-200

£100-150

165

£200-300

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464* Ovenden (Graham, 1943-). The Final Reproach, 1974-75, intaglio colour etching on heavy wove paper, signed and dated '79, marked P/P to lower margin, plate size 32.5 x 43 cm (12.75 x 17 ins), sheet size 66 x 66 cm (26 x 26 ins), together with 17 other signed intaglio prints by Ovenden on similar heavy wove paper, including Little Lorraine, 1970, Lo Thoughtful by the Lake, Lolita-Vanitas, 1974-75, Lolita Recumbent, Lolita Perturbed, 1975, etc., mostly signed and dated '79 in pencil, and marked P/P, but including two dated 1970 marked Artist's Proof, one dated 1970 and numbered 1/10, and another dated 1972, a/p, most with publisher's embossed W to lower right corner, similar sizes (a few slightly smaller) (18)

466* Paolozzi (Eduardo, 1924-2005). ‘Fabula’, 1992, black basalt plate by Wedgwood, numbered 87 from a limited edition of 500, from the set of six Art Plates commissioned by the National Art Collections Fund and Wedgwood, 30.5cm diameter (12ins), with printed limitation slip and original blue presentation box (1)

£200-300

£400-600

467* Pennie (Michael, 1936-). The Succession of Life Through Geological Time, 1961, colour screenprint, signed and dated ‘72, and numbered 9/50, additionally signed by the British novelist B.S. Johnson (1933-1973) in green ink, image size 52 x 68cm (20.5 x 26.75ins), some light mottled marks to margins, framed and glazed (1)

465* Ovenden (Graham, 1943- ). ‘We beg your acceptance of this elegant thimble’, 1970, screenprint, numbered, signed and dated in pencil at foot, sheet size 66 x 50.5cm (26 x 19.75ins), framed and glazed (1)

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

£50-80

166

£100-150

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468ARR* Piper (John, 1903-1992). Stansfield, 1986, colour screenprint on wove paper, printed by Kelpra Studios (with their blindstamp lower right), published by C.C.A. Galleries, London, in an edition of 100, signed and numbered 10/100 in pencil, with full margins, in excellent condition, image size 86 x 45cm (33.75 x 17.75ins), sheet size 104.5 x 63.5cm (41 x 25ins), framed and glazed Levinson 385.

(1)

ÂŁ1000-1500

167

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469ARR* Piper (John, 1903-1992). Harlaxton through the Gate (from Victorian Dream Palaces), 1977, colour screenprint on Arches paper, printed by Kelpra Studio, and published by Marlborough Fine Art in an edition of 75, signed in pencil lower right, and numbered 34/75, with margins, image size 71 x 53cm, framed and glazed, with Goldmark Gallery label to verso Levinson 275.

(1)

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

ÂŁ800-1200

168

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470ARR* Piper (John, 1903-1992). Kelham Hall (from Victorian Dream Palaces), 1977, colour screenprint on arches, printed by Kelpra Studio, and published by Marlborough Fine Art in an edition of 75, signed in pencil, and numbered 55/75, image size 47 x 69.5cm (18.5 x 27.3ins), sheet size 60.5 x 77.5cm (23.8 x 30.5ins), pale mount stain, printer’s K stamp and number 8351 to verso, framed and glazed Levinson 278.

(1)

£600-800

471ARR* Piper (John, 1903-1992). Courthouse, Long Crendon, Buckinghamshire, 1978, colour lithograph on T.H. Saunders waterleaf paper, printed by Curwen Studio for Christie’s Contemporary Art, and The National Trust in an edition of 120, signed and numbered 24/120 in pencil, with publisher’s blindstamp lower right, very light spotting to lower blank margin and minor waterstain to extreme lower left edge (generally in very good condition), image size 42.2 x 58cm (16.5 x 22.75ins), sheet size 57.3 x 77.3cm (22.5 x 30.5ins), framed and glazed, with Gold Mark Gallery labels to verso Levinson 285.

(1)

£600-800

169

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Lot 472

472ARR* Piper (John, 1903-1992). The Green Man, 1992, black basalt plate by Wedgwood, numbered 87 from a limited edition of 500, from the set of six Art Plates commissioned by the National Art Collections Fund and Wedgwood, 30.5cm diameter (12ins), with printed limitation slip and original blue presentation box (1)

£300-400

473* Piper (John, 1903-1992). Windsor Castle, circa 1948, offset lithograph on wove paper, published by Penguin Prints, sheet size 27 x 36cm (10.6 x 14.2ins), framed and glazed Levinson 67.

(1)

£100-150

Lot 473

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

170

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475* Reeve (Russell Sidney, 1895-1970). The Elephant Act, 1947, colour lithograph, printed at The Baynard Press for School Prints Ltd., London, image size 50 x 76cm (19.75 x 30ins), with margins, framed and glazed (1)

£100-150

474* Priest (Hartwell Wyse, 1901-?). Wind and Waves, colour lithograph on wove paper, signed in pencil, and numbered 8/12, mounted, image size 43 x 33cm (17 x 13ins), framed and glazed Hartwell Wyse Priest was born in Brantford, Ontario. She studied art at Smith College, and later with Andre L'hote in Paris, and in New York with several artists including Hans Hoffman.

(1) £70-100

476* Reynolds (Alan, 1926-). August Image-Chrystalline, circa 1962-63, rayon & linen textile by Edinburgh Weavers after the original design by Alan Reynolds, 610 x 655 mm (24 x 25.75ins) The original watercolour by Reynolds for this work was sold at auction by Christie’s, 20th Century British Art, London, 1 March 2006, lot 270.

(1) £200-300

Lot 475

171

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477ARR* Riley (Bridget, 1931-). Red Dominance, 1977, colour screenprint on Arches wove paper, printed by Graham Henderson, London, published by Pace Editions, New York, an artist’s proof, printed in an edition of 20 (aside from the published edition of 100), signed, dated, titled and marked Artist’s Proof, and numbered 13/20 in pencil, image size 88 x 39cm (34.5 x 15.5ins), sheet size 98 x 49cm (38.5 x 19.25ins), perspex frame Schubert 24.

Provenance: Private Collection, Somerset, England.

(1)

£1500-2000

478 No lot

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

172

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480ARR* Sutherland (Graham, 1903-1980). Articulated Forms, 1950, colour lithograph, printed by Curwen Press, and published

by Redfern Gallery, in an edition of 60, this impression not signed, but numbered 3/60 in pencil lower left, some toning and mount stain, several short tears to outer blank margins, sheet size 39.5 x 63.5cm (15.5 x 25ins), framed and glazed, with remains of printed label for the Redfern Gallery to verso giving the buyer’s name as Evill, dated 7th October 1960 Tassi 54.

(1)

479* Sedgeley (Peter, 1930-). Blue Scale, 1965, colour screenprint, printed by Kelpra Studio for Editions Alecto in an edition of 40, with their stamp to verso, signed and numbered 13/40 lower right, sheet size 48.3 x 48.3cm (19 x 19ins), together with King (Ronald, 1932), Pardoner (from the Prologue to The Canterbury Tales by Geoffrey Chaucer), 1978, colour screenprint, published by Editions Alecto, with their stamp to verso, signed, titled and numbered 47 from the edition of 50 in pencil, sheet size 52.5 x 35.5cm (20.7 x 14ins) (2)

£200-300

481ARR* Sutherland (Graham, 1903-1980). Two illustrations to Francis Quarles ‘Hieroglyphics’, 1943, colour lithograph on wove paper, printed by the Baynard Press for Poetry London, a signed proof aside from the published edition of 50 numbered and signed copies, signed and dated 43 in pencil, each 24.5 x 18.5cm (9.6 x 7.25ins), framed and glazed together Tassi 46-47. Fine Art Society, Graham Sutherland 1903-1980, Forms in the Landscape, 2003, number 22 (illustrated).

(1) £400-600

£150-200

Lot 481 173

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Lot 482 482ARR* Sutherland (Graham, 1903-1980). Illustration to Francis Quarles ‘Hieroglyphics’, 1943, colour lithograph, printed by the Baynard Press for Poetry London, an artist’s proof, aside from the published edition of 50 numbered and signed copies, signed and dated 1943 in pencil lower left, 24.5 x 27cm (9.6 x 14.5ins), framed and glazed Tassi 48.

(1)

£400-600

483* Sutherland (Graham, 1903-1980). Sketchbook, Marlborough Fine Art, [1974], facsimile sketchbook containing 60 pages of careful reproductions selected from four sketchbooks dating from 1968 to 1972, printed by Daniel Jacomet & Cie, Paris, each page with a ‘Procede Jacomet’ blindstamp to outer corner, bound in cloth-backed boards, with a separate illustrated booklet in printed wrappers containing texts by Sutherland and Bernard Baer, contained in original cream solander box, small 4to (25 x 19.5cm) Limited edition of 575 copies, this being number 68 of 200 copies in English, signed by the artist.

(1) £200-300

484* Sutherland (Graham, 1903-1980). Hybrid, 1972, colour lithograph on wove paper, from the edition of 800 issued for Fernand Mourlot’s portfolio Souvenirs et Portraits d’Artistes, published by Alain Mazo and Leon Amiel, in 1972, unsigned, sheet size 32.5 x 25cm (12.75 x 9.9ins), framed and glazed (1)

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

£70-100

Lot 484

174

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485* Thornton (Valerie, 1931-1991). Boxford Church, Suffolk, 1974, etching and aquatint on wove paper, from the edition of 150, signed, dated, titled and numbered 140/150 in pencil, plate size 40 x 62cm (16 x 24ins), framed and glazed (1)

£100-150

Lot 487

486 Tillyer (William, 1938-). Charlie Brown was here, 1971, etching in colours on wove paper, signed, dated, titled and numbered 2/15 in pencil in lower margin, a few marginal marks, plate size 36 x 49cm, sheet size 55 x 75, framed and glazed (1)

£100-150

488* Topolski (Feliks, 1907-1989). Pomp and Circumstance, 1983, colour screenprint on Arches paper, image size 40 x 60.5cm (16.75 x 23.75ins), signed in pencil and numbered 86/200 to lower margin, framed and glazed, together with Miles (Gordon, 20th century), Braunston Dock, 1983, etching with aquatint, signed, titled, dated and numbered 134/150 in pencil to lower margin, image size 47 x 50.5cm (18.5 x 20ins), plus Weber (Wolfgang, born 1936), The Hunting Stare, 1987, colour lithograph, signed and numbered 133/750 in lower margin, image size 54 x 66cm (21.25 x 26ins), plus Robinson (Geoffrey H., 20th century), Dolls on a Windowsill, 1984, colour lithograph, signed in pencil to lower margin, 50 x 68cm (19.5 x 26.75ins), all framed and glazed

487 Tilson (Joe, 1928-). Rank 2, 1967, screenprint in colours on wove paper, signed and numbered 45/67 in pencil in lower margin, image size 49 x 43cm, with margins, framed and glazed (1)

£100-150

(4)

175

£150-200

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489* Wacik (Franz, 1883-1938). Munchhausen, 1913, colour lithograph on wove paper, published by the Vereinigung Bildender Kuenstler Wiener Secession, with their embossed stamp to centre of lower margin, image size 39.2 x 29.5cm (15.5 x 11.6ins), mounted (1)

490* Weevers (Peter, 20th century). Set of six Alice in Wonderland illustrations, 1992-95, colour prints, each titled, signed and dated at foot in pencil, two ‘A Mad Tea Party’ & ‘The Pool of Tears’ limited edition of 200, the others numbered from an unspecified edition, image 26 x 20cm (10.25 x 8ins), framed and glazed, together with three smaller Alice prints by the artist, each captioned and inscribed to verso by the artist, 1987-2002, framed and glazed

£70-100

(9)

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

176

£200-300

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ANTIQUES & 20TH CENTURY DESIGN THURSDAY 19 JULY - 10AM

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CERAMICS & GLASSWARE

Lot 501

500* Blue and White. Large Victorian pottery meat plate, printed with classical figures, amongst a border of classical figures and buildings, 56cm long, together with a collection of mixed blue and white pottery including two further meat plates, two comports, a wash bowl and smaller wash bowl plus a tureen and cover (8)

£100-150

501* Diorama. 19th century pottery diorama, modelled as four elderly gentleman, signed Giaillon 1878, presented in a deep velvet frame, 25cm wide (1)

£200-300

502* Mixed Ceramics. Pair of Rockingham style floral encrusted pedestal vases and covers decorated with ruins and figures, together with Moore Brothers floral encrusted bowl, a Coalport porcelain pedestal vase plus a Doulton saltglaze stoneware mug

503* Paperweight. 19th century millefiori glass paperweight, with coloured canes and rough pontil mark, 8cm diameter

(5)

(1)

£100-200

Lot 502 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

178

£70-100

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Lot 504

Lot 505

504* Samson Chelsea. Pair of late 19th century Samson figures in the 18th century Chelsea style, modelled as a young man with bagpipes with recumbent dog and similar figure modelled as a female each on a rococo scroll base with gold anchor mark and impressed mark ‘66 2’ and ‘67 2’, 25.5cm high, some damage together with a 19th century German porcelain figure by Carl Thieme, Potschappel in the 18th century rococo style, modelled as a lady in a floral decorated crinoline dress holding a pug dog with another under her skirt, blue mark to base, 24.5cm high (3)

505* Staffordshire. 19th century Staffordshire pottery figural group, modelled as Moses and the Vicar in the pulpit, with marbled glaze, 24cm high, together with a George III agateware ceramic ball, c.1800, in blue, brown and white, 10cm across Moses and the Vicar was inspired from Hogarth’s engraving of “The Sleeping Congregation”, first published in 1736.

(2) £100-150

£200-300

506* Italian Maiolica Vases. An impressive pair of large-scale Italian majolica snake handled vases, later 19th century, with hand painted classical & biblical scenes (possibly including Noah & the Great Flood), and grotesque faces in relief to the sides beneath each snake handle, approximately 66cm (26ins) high, and 97cm (38ins) diameter, with some restoration Similar to work by the Cantagalli Pottery of Florence. In 1878, Ulisse Cantagalli (1839-1901) took over the family's factory in Florence and began to trade as Manifattura Figli di Giuseppe Cantagalli, producing highly decorative Italian ceramics in the Renaissance maiolica style. The Cantagalli factory closed in 1985. Cantagalli marked his works with a cockerel symbol, but this is not visible on these examples.

(2) £800-1200

179

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COLLECTABLES 507* Antiquities. Mixed collection of items, including an Ancient Egyptian chalk carving of a Pharaoh, 11.5cm long, a Roman terracotta head of a female, well defined face with headdress, 4cm high plus other items including a Japanese paperknife with bone blade, 21cm long, a modern amber suite comprising necklace and earrings etc (a small box)

£80-120

Lot 509

508* Automaton. Early 20th century birdcage automaton, with single singing bird perched on a branch in a gilt metal cage with carrying handle, 30cm high, working (1)

511* Caryatids. Pair of Antique carved oak caryatids, carved as a male and female carrying a harvest, each with a grotesque face beneath, 55cm high

£200-300

(2)

£100-150

509* Banjo. An unusual seven string banjo

by S-Rose & Co, Bombay, with plated casing engraved with foliate scrolls, inscribed with makers mark, the neck stamped ‘Riley-Baker Perfected Patent’ with ebony and mother of pearl decoration, seven tuning pegs, 91cm long, in its brown leather case with accessories (1)

£200-300

510* Barometer. 19th century mahogany wheel barometer by T Briggs, Spalding, with silvered dials and thermometer, 112cm high (1)

£100-150

512* Chest. 19th century Continental leather covered chest, probably Spanish, with tooled foliate leather covered decoration the hinged lid enclosing oak lined interior and iron lock plate, 21cm high x 61cm wide x 39cm deep (1)

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

180

£100-150

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Lot 513

Lot 514

517* Hoof Snuff Box. An unusual 19th century scrimshaw snuff box, the hoof engraved ‘The Hoof of the head prize Hereford Ox Fed by H.R.H.PRINCE ALBERT exhibited at the Smithfield Cattle Show 1846 London, Bought by MR N BUDGE LAMBETH’, the base of the box engraved ‘Lines, Two Brothers of the name of Bridge so full are esteemed by men, That which is best would pose a judge, Brother Nathan or Brother Ben, C.H. Wood’ with white metal cover engraved with a thistle and monogram, 10cm long

513* Crocodile Suitcase. 1930s crocodile skin suitcase by John Bagshaw & Sons, Liverpool, with nickel Best English Lever locks, enclosing grey silk lining, 18cm high x 55.5cm wide x 37cm deep, with protective weatherproof case (1)

£200-300

514* Crocodile Suitcase. 1930s crocodile skin suitcase by Finigans, London, with brass English Lever locks, enclosing brown floral cloth lining, 19cm high x 51cm wide x 35cm deep, with protective weatherproof case (1)

(1)

518* Mixed Collectables. Various items, including a micro mosaic panel decorated as a classical ruin set in white metal mount, 3cm long, together with a silver double ended spirit measure jigger with attached handle by Charles S. Green & Co., Birmingham 1912, 8cm (3.25ins high), plus other items including a victorian metal cased propelling pencil

£200-300

515* Croquet Set. Jacques Croquet Set, in original pine box with two large mallets, two smaller ones, four balls, two marker pegs and metal hoops, the box 19cm high x 110cm wide x 27cm deep (1)

£100-150

£100-150

Provenance: The collection of the actor & historian Robert Hardy (19252017).

(5) £100-150

516 No lot

Lot 517 Lot 515

181

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Lot 519 519* Musical Box. Victorian rosewood effect musical box, of rectangular form the lid inlaid with foliate decoration, enclosing brass cylinder and five bells each with butterfly hammer, glass cover, the inner lid with a lithographic card by Oswald Elsner, Zurich and inscribed with twelve tune including ‘The man that brocke [sic] the bank at Monte Carlo, 25cm high x 60cm wide x 32cm deep, working (1)

£200-300

Lot 523 520* Vintage Port. W&J Graham Vintage Port Wine, Finest Reserve 1945, Bottled in Oporto 1947, retaining original trade label and wax seal, the level is 23cm, the overall height is 30cm (1)

Lot 522

£200-300

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

182

Lot 524

Lot 525

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521* Pottery. A collection of 19th century pottery tiles, including three Persian Iznik tiles, together with a mixed collection of items including a 18th century Chinese vase of hexagonal form finely decorated with figures amongst buildings and landscapes, 23cm high (the neck cut down), four piece electroplated Indian tea service and other items

527* Shop Mannequin. Large wax mannequin modelled a young boy circa 1920s, with characterful face, composite body and articulated wooden arms, wearing socks and boots mounted on a velvet covered stand, 109cm high, some damage

(a carton)

528* Telescope. Victorian single draw telescope, stamped ‘A. Willings & Co, West Hartlepool’, with brown leather bound tube and cover, 61cm long fully extended, optics are clear but a little dirty, together with a pair of 1920s opera / jockey glasses

by Lumina, Paris, gilt metal with green tubes, 8.5cm wide in its green leather pouch

(1)

£70-100

522* Riding Crop. Continental riding crop, circa 1900, with yellow metal top embossed with a Rococo c-scroll design, two stamps including ‘R’, on a Malacca shaft with leather terminal, 75.5cm long (1)

£100-150

523* Riding Crop. Continental riding crop, circa 1900, with silver and yellow metal top applied with a female horse rider and scroll decoration, additional engraved with initials with two stamps including ‘20’ on a woven shaft with central yellow metal band, 94cm long (1)

£100-150

£300-500

(2)

£70-100

529* Telescope. Late 19th century telescope by A Santi, Marseille, with adjustable lens on a fine mahogany tripod stand with accessories, the telescope 100cm long (unextended) Lot 527

(1)

£300-500

524* Riding Crop. Continental riding crop, circa 1900, with spherical yellow metal top with two stamps on a woven shaft with additional yellow metal band, 87cm long (1)

£100-150

525* Riding Crop. Edwardian ladies riding crop, with embossed yellow metal top, unmarked, on a horn a woven shaft with addition yellow metal band, 72.5cm long (1)

£100-150

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

Lot 529

£100-150

183

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Lot 532

Lot 533

Lot 534

Lot 535

530* Tortoiseshell Box. 18th century French tortoiseshell box, of oval form carved with a biblical scene depicting Joseph sold by his Brothers, the lid inscribed ‘Josephe Veny Parses Ferre [sic]’ (Joseph Vendu Par Ses Frerres), with silver band and old repair, the base similarly decorated, 13cm long

Lot 530

The story of Joseph sold by his brothers is from the Bible book of Genesis, Joseph is sold into slavery by his jealous brothers, he rose to become vizier, the second most powerful man in Egypt next to Pharaoh.

(1) £200-300

531* Vintage Port. Sandeman Coronation Vintage 1911 Port, with an old Christies’s label for Lot 172, retaining metal seal, the level is about 26cm, the overall height is 30.5cm high (1)

£200-300

532* Walking Cane. Edwardian sword stick with 69.5cm Toledo blade, with natural wood grip and shaft, 18ct gold plated collar and button, 87cm long overall (1)

£120-180

533* Walking Cane. 19th century walking stick, with carved wood shoe knop on shaft formed with leather roundels with brass ferrule, 87.5cm long overall (1)

£100-150

534* Walking Cane. Carved walking stick, the knop carved as an African elder the shaft with silver collar, 101.5cm long overall Lot 531

(1)

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

£100-150

184

Lot 537

Lot 536

Lot 538

535* Walking Cane. Carved walking stick, the knop carved with a bearded gentleman with a long headpiece, on a bamboo shaft with silver collar indistinctly engraved ‘C.T./Hu/KP’, 82cm long (1)

£70-100

536* Walking Cane. Carved wood walking stick, the shaft carved with an entwined snake, 94cm long (1)

£120-180

537* Walking Cane. An Edwardian novelty wood walking stick, the knop carved with a retriever with sprung mouth to become a kid glover holder, the rosewood shaft with silver collar, 93cm long (1)

£100-150

538* Walking Cane. A Victorian flick stick combined with a cosh, the heavy lead filled knop covered in woven waxed stringwork (turks head style), the shaft with two silver bands shaped as buckles and hallmarked 1897, 85.5cm long (1)

£150-200

539* Walking Cane. Japanese carved bamboo walking stick intricately carved with Samurai warriors and figures, 88cm long (1)

£50-80

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SILVER, JEWELLERY & WATCHES 542* Coasters. Pair of Victorian electroplated bottle coasters, each finely pierced and decorated with putto, recumbent lion and grape and vines, the base engraved with heraldic crest within c-scroll cartouche, 14.5cm diameter (2)

540* Brooch. Edwardian 15ct gold brooch, formed as a crescent set with two rows of pearls and turquoise stones, stamped 15ct with anchor mark for Birmingham, 3cm wide, 4.8g gross (1)

£70-100

543* Desk Stand. Victorian silver desk stand, maker’s mark rubbed, London 1876, shaped and engraved with stylised scrolls with presentation inscription to Alderman James Murrell from the friends of the West Ward in the City of Gloucester, dated 1877, with heavy cut ink bottle with silver cap, 23.5cm wide, approximately 10.5oz together with two contemporary photographic images of Alderman Murrell, each framed (3)

£150-200

£100-150

544* Grape Shears. Pair of George III silver grape shears by William Eley, William Fearn & William Chawner, London 1813, plain form and gilded, 16.5cm long, 2oz, presented in later red leather display box, the lid applied with a silver presentation plaque for service with Bell’s Asbestos and Engineering (Holdings) Limited 1929-1964 (2)

£150-200

545* Pocket Watch. 18th century pair case pocket watch by John Aspinwall, Liverpool, the tortoiseshell case painted with a courting couple with grazing sheep, the fusee movement signed and with serial no.

462, the inner silver case with hallmarks for John Adamson, Birmingham 1789 John Adamson is recorded as a watch case maker & silversmith, North Street, Liverpool and from 1790 onwards Johnson Street, Liverpool.

(1) £200-300

541* Brooches. A yellow metal mace brooch, inset with diamonds and rubies, 6.5cm long, 5.5g together with a yellow metal sword brooch with enamel George Cross and inset with rubies, 6cm long, 3.2g, both pieces unmarked but in Hickleton & Phillips Goldsmiths display boxes (2)

£300-500

Lot 544

Lot 543

185

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549* Wristwatch. Ladies Art Deco cocktail wristwatch, 18ct white gold case inset with diamonds, the Swiss movement with circular silvered dial batons, the case stamped 18ct with Leopard mark for London and serial no. 201/4251, on a black cotton strap with 9ct white gold catch

Lot 546

546* Porringer. George III silver porringer

by WC, London 1764, with two handles, embossed foliate decoration with bird, cscroll vacant cartouche, 10cm high, 5oz (1)

547* Reliquary. 18th century French silver and glass double sided reliquary pendant, one side applied with small unidentified objects with various manuscript inscriptions each within rolled card divisions, the other with a portrait miniature of a priest each side encased in convex glass with silver mount engraved with guilloche decoration, 5.5cm long including suspension Knottbohm Collection, Munich (1)

(1)

£200-300

£300-500

548* Wristwatch. Gents Omega Chronostop Seamaster wristwatch circa 1968, black dial with silver and illuminated batons, tachymetre chapter ring, winding crown and push button, screw back plate engraved with seahorse trademark and 120m Waterproof Tested on original leather strap with stainless steel catch (strap is damaged), with cardboard box and spare stainless steel strap (1)

£250-350

£300-400

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

186

550* Wristwatch. Ladies Omega Deville wristwatch, gold square dial with batons, gilt metal case and bracelet strap, together with another Ladies Omega wristwatch c.1940s, circular silvered dial, Arabic numerals and winding with white metal case engraved with presentation inscription, on a black cotton strap with white metal catch (2)

£80-120

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TRIBAL ART

Lot 553

Lot 551 Lot 552

551* Bronze. A substantial 20th century Benin bronze, modelled as a warrior on horseback, 59.5cm high x 46cm long (1)

£300-500

552* Congo. 18th/19th century Congo ivory staff top, carved as three males, with threaded rod presumably for fixing to a cane, 10.5cm long A similar example can be found in the Metropolitan Museum of Art, New York, accession number 1978.412.348.

(1) £1500-2000

553* Knobkerrie. 19th century Zulu knobkerrie hand club, with large spherical head and short shaft with chipped grip, 38cm long (1)

£150-200

554* Leopard. Taxidermy leopard’s head, prepared by Theobald Bros, Mysore, South India, with glass eyes and composite mouth, mounted on a wooden shield with tin trade label and black printed ‘760S’, the head approx. 28.5cm from nose to shield, the shield 36.5cm high x 27cm wide (1)

£700-1000

Lot 554

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Lot 558

Lot 555

555* Lion Head. Victorian taxidermy lion’s head by Rowland Ward, with glass eyes and composite moulded mouth, mounted on green felt with trade label, 58cm long, worn

557* Tribal. Mixed collection of tribal items, including an African sword, with 66cm curved steel blade, leather grip in its leather scabbard with tassels, an African knobkerrie, 39cm long, a smaller female’s knobkerrie, 56cm long, two African axes plus an Australian Aboriginal boomerang and other items

Purchased from the Clough Williams-Ellis family, Portmeirion (1) £700-1000

(8)

556* Tiger. Victorian tiger skin by Van Ingen & Van Ingen, mounted on black felt with remains of paper label and printed in black with manufacturer and no ‘717’, length approximately 230cm (poor condition), together with a small leopard’s skin approximately 195cm long (2)

£200-300

558* Tribal Mask. Early 20th century Songye Kifwebe tribe mask, carved with raised comb and scarification marks to the elongated face, in brown, black and white pigments, 58cm long (1)

£150-200

£200-300

Lot 556

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

Lot 557

188

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ORIENTAL WORKS OF ART

Lot 561

Lot 562

559* Antiquity. Section of a Babalonian cuneiform tablet, 5cm long (1)

£50-80

560* Brush Pot. Chinese bamboo brush pot, carved with frogs and lilly pads, 45.5cm high, cracked (1)

£50-80

561* Buddha. A 16th century Thai bronze head of Buddha from Thailand, the face contemplative and serene and the hair cast with snail-curls rising to a conical usnisha, 15cm high presented on a modern stand Provenance: private collection, purchased from Jonathon Tucker, Asian Art. Part of their the 2008 ‘Brilliance from the East’ exhibition with receipt.

(1) £1000-1500

562* Buddha. Ivory seated Buddha with elephants from Burma, Shan States, 1718th century, carved from a single tusk and seated in vajrasana on a high pedestal decorated with three elephants, his right hand lowered on bhumisparsimudra and left resting in his lap, the face youthful and serene with a smooth usnisha rising to an apex decorated with two rows of lotus petals, with extensive traces of red lacquer and gilding, 14cm high Provenance: private collection, purchased from Jonathon Tucker, Asian Art and formerly from a German collection, with receipt.

(1) £1500-2000

189

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Lot 563

Lot 567

563* Charger. Substantial Japanese blue and white porcelain charger, Meiji period (1868-1912), decorated with exotic birds amongst trees, blue foliate mark to base, 62cm diameter A good interiors piece (1)

£200-300

566* Cloisonné Box. Japanese cloisonné box, probably Meiji period (1868-1912), the cover with wireless enamel work decorated with a view of Mount Fuji, the interior lined in floral blue silk and with white metal, 6cm high x 13cm deep x 10cm deep (1)

564* Chinese Carving. Interesting lapis lazuli carving of the deity Shou Lao, carved holding a staff and clasping a fruit, one leg resting on a ball with dog of fo and exotic bird behind back, 15cm high (some damage) (1)

(18)

£300-500

565* Chinese. Chinese porcelain tableware, comprising eight bowls, six spoons and four large plates all decorated with blue and white dragons, blue character marks to base, the plate’s 24.5cm diameter (a carton)

£70-100

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

(1)

£100-150

£200-300

567* Dinnerware. Early 20th century Chinese porcelain, comprising two large meat plates (largest 51.5cm long), large tureen and cover and small tureen, two comports, meat strainer and warming dish, two soup bowls, four plates and four side plates, all decorated with exotic birds amongst foliage and borders of pagodas and insects in iron red, blue, green, yellow and purple, red character marks to base, the meat plates, warming dish and smaller tureen with damage

£100-150

568* Jade Carving. A Chinese Dog of Fo, carved in the archaic style, drilled with hole for use as a pendant, 4cm long

190

569* Jade Carving. A Chinese carving of a recumbent dog, carved in the archaic style, 14cm long (1)

£100-150

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Lot 570

Lot 571

570* Meat Plates. A matched pair of 19th century Chinese blue and white porcelain meat plates, each with foliate decoration within foliate borders with key decoration, 45.5cm long together with a smaller Chinese blue and white oval dish, decorated with pagodas, boats and trees, 29cm long plus a Chinese blue and white tulip vase, 30cm high (damaged) and Japanese porcelain lobed dish 31.5cm diameter (5)

£100-150

571 Oriental. Carved Buddhist sutra, 20th century, 8 alabaster panels with gilt carved Chinese text to both sides, each inset into wooden panel covered with patterned silk brocade, first panel additionally incised with twin dragon illustration, final panel incised with various seals and depiction of a goddess with a musical instrument, original carved and bevelled wooden boards, slightly rubbed, 8vo (22 x 14cm) (1)

£70-100

572* Roof Tile. Roof tile Chinese sancai pottery “merman” roof tile, Ming Dynasty (1368-1644), well modelled and polychrome painted, 35cm high (some damage commensurate with age) Provenance: Myddelton Family, Chirk Castle, Wrexham.

(1) £700-1000

Lot 572

191

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573* Tureen. 19th century Chinese blue and white octagonal porcelain tureen and cover, with foliate decoration and two stylised dog handles, the cover with scroll handle, 36cm long together with a Chinese blue and white porcelain plate, decorated with pagodas and trees, 35cm wide (chip to rim) (2)

£100-150

574* Vases. Pair of late 19th century Chinese porcelain vases, each of baluster form decorated with exotic birds in red, green, brown, blue and black, 47cm high (converted to table lamps) (2)

£150-200

575* Vases. Pair of large Oriental pottery vases, circa 1900, probably Korean, with incised dragon decoration between stylised scrolls, the neck with six moulded loops, 52cm high (converted to table lamps) (2)

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

192

£200-300

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20TH CENTURY DECORATIVE ART & DESIGN

579* Art Deco. “Mushroom” desk lamp, the circular ivory painted metal shade above 18 vertical fluorescent tubes on circular base, 23cm high not wired to current standards (1)

£80-120

577* Art Deco. Boch Freres pottery vase designed by Charles Catteau circa 1930s, model D.957, shape 898, decorated with abstract flowers in blue, green, turquoise and red on a craquelure ground, impressed and printed marks to base, 32cm high (1)

£100-150

580* Art Deco. Elo Ware composite jewellery box, circa 1935, the ivory coloured lid decorated with St. Mark slaying a lion amidst palm trees with parakeet above, the hinged lid enclosing lift out tray, 6cm high x 17cm wide x 9cm deep, together with a New York World’s Fair 1939 black Bakelite souvenir ashtray, 14.5cm diameter plus Royal Doulton bridge smoker’s set comprising ceramic dishes on a stand decorated as playing cards, printed marks to base 13cm wide

576* Art Deco. Schneider Charder cameo glass vase, circa 1930s, decorated with stylised flowed and signed ‘Charder’ on a yellow and green ground, 41cm high (1)

(3)

£300-500

578* Art Deco. Russian bronze modelled as a stylised athlete lifting a semi-globe with the letter ‘n’, mounted on a black slate base, 26.5cm high (1)

£100-150

193

£100-200

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582* Art Deco. Pair of chrome wall uplighters, each with a brass angel support, 32cm high x 40cm wide (2)

£200-300

583* Art Deco. Czechoslovakian porcelain part dinner service by Haas & Czjek, Chodau, comprising tureen and cover, sauce boat and stand, square bowl, pickle dish, large serving dish, oval serving dish, 7 bowls, 7 plates, 7 side plates and a serving bowl, all decorated with a printed deco design, printed mark to base (2 cartons)

581* Art Deco. Pair of French pottery “Skyscraper” table lamp bases, in mottled silver and cream with black decoration, the base stamped ‘C.H. France’, and one with label for ‘Parva’, 33cm high (some chips and crazing) (2)

£200-300

Lot 583

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

584* Art Deco. Czechoslovakian porcelain part dinner service by Ladislav Sutnar, comprising tureen and cover, oval serving plate, circular serving bowl, large circular serving plate, sauce boat and stand, 7 bowls, 6 plates, 5 side plates, 6 tea cups, 5 saucers, 12 coffee cups, 12 saucers, 2 teapots, milk jug and sugar bowl, with a white and red glaze, printed mark to base (2 cartons)

Lot 584

194

£100-150

£200-300

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585* Art Nouveau. Silver and enamel tulip vase by William Hutton & Sons Ltd, London circa 1900, with green and blue foliate enamel decoration in the Liberty & Co style, some damage to the enamel and hallmarks worn, 21cm high, approximately 5.7oz

587* Art Nouveau. Thomas Forrester earthenware vase designed by A Dean, decorated with purple stylised tulips on a green ground, printed and painted marks to base, 36cm high, some flaking to the paint

(1)

(1)

£150-200

586* Art Nouveau. Hammered silver bowl

by Goldsmiths & Silversmiths Company, London 1905, the circular bowl raised on three stylised suppots and domed foot, 12cm high x 13cm diameter, approximately 9.8oz (1)

589* Art Nouveau. Muller Freres cameo glass lamp base, decorated with a wooded river scene, the foot faintly inscribed ‘Muller Fres Lunerville’, 20cm high, chips to rim (1)

£100-150

£80-120

588* Art Nouveau. Silver dressing table set by Walker & Hall, Chester and Sheffield hallmarks, circa 1890s, comprising brush, mirror and comb, each finely decorated with stylised female amongst organic whiplashes, the brush 25cm long

590* Art Nouveau. Large French brass desk stand, cast with a butterfly and foliage, with glass inkwell and stamped ‘H.D.10 Depose’, 37cm wide together with a WMF Secessionist inkstand model no.47 with two glass inkwells stamped ‘OX WMF EP I/O’, 20cm wide plus an Arts & Crafts circular copper dish with embossed repeating border, 31cm diameter

(1)

(3)

£70-100

£150-200

195

£70-100

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591* Art Nouveau. Silver brooch with green and blue enamelled decoration, hallmarked with date letter ‘g’, 5.5cm wide, probably part of a belt buckle (1)

£50-80

594* Art Nouveau. A silver and pottery inkwell, maker’s mark rubbed, Birmingham 1900, with organic strap work mount on green glazed body, with three stilt marks to base, 8cm diameter, together with a Victorian silver cream jug retailed by Hunt & Roskell, London 1856, of reeded baluster form with gilded interior, 10cm high, approx 3.5oz plus an Arts and Crafts white metal napkin ring set with two green cabochons (3)

£100-150

592* Art Nouveau. Loetz style glass inkwell, the hinged metal lid decorated with a holly design, the glass base with a purple and smokey grey lustre swirl design, 12cm long together with an Art Nouveau Loetz style glass pate de verre glass bowl, green glass with black scalloped edge, 26cm diameter (2)

£150-200

595* Arts & Crafts. Arts and Crafts period white metal tazza, the hammered circular bowl inset with a profile of two doves, supported on three scroll supports on a domed circular base, 14cm high x 14.5cm diameter, together a larger electroplated tazza with circular bowl embossed with swags on a twisted stem on circular foot, 23cm high x 24.5cm diameter (2)

593* Art Nouveau. Pair of copper and brass wall lights fittings, each inset with a blue and turquoise “Ruskin” type heart shape motif on an organic back with fitting for two lights to each, 50cm long (2)

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

£300-500

196

£100-150

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598* Arts and Crafts. Oak and copper book trough, the hammered copper panels decorated with stags flanking a stylised tree, 11.5cm high x 34cm wide x 14.5cm deep, together with a 1930s Danish bronze bowl the foot stamped ‘Aegte Bronze Ildfast, 30cm diameter plus a brass ashtray in the form of a swan with the wings sweeping round to form the bowl, 14cm diameter (3)

£80-120

596* Arts & Crafts. Pair of pottery single panel tiles, in the style of Henry Stacey Marks, one painted with a jester the other a maiden, lacking marks, each in a period oak frame, tile size 66 x 17cm and frame size 76 x 28.5cm (2)

£200-300

599* Arts and Crafts. Silver pedestal cup by James Dixon & Sons, Sheffield, 1904, with a hammered finish, the bowl on stylised scroll supports leading to domed foot, 12cm diameter x 15.5cm high, approx. 9oz (1)

600* Ashtead Pottery. Ashtead Pottery chamber pot, with foliate decoration, 22cm diameter plus Ashtead pottery advertising jug for ‘Eno’s Fruit Salt Christmas 1927’, 14.5cm high with hairline cracks plus an Ashstead Pottery pottery ornament designed by Donald Gilbert modelled as Kaa for the Jungle Book series, model no.’M85K’, 17cm high plus a large Baron Barnstable pottery vase of ovoid form with three stylised handles and a blue / purple glaze, incised marks to base, 30.5cm high

597* Arts & Crafts. Interesting oak panel probably cut from a larger frieze, painted with crusaders and a priest, the top edge carved with repeating decoration the reverse with flowers on a light ground, 30 x 36cm (1)

£150-200

£100-150

(4)

197

£100-200

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601* Berry (Fred, active 1935). Interesting carved wood chain, with numerous strands encompassing balls in cages and other oddities, one piece inscribed ‘Fred Berry’, ‘1935’, approx. 157cm long with two letters from Buckingham Palace dated 1947 and 1948 It would appear from the letters that Fred Berry bequeathed this to Her Majesty Queen Elizabeth and the letters included with the lot give thanks for this kind gift.

(1) £100-150

603* Caiger-Smith (Alan, 1930-). Aldermaston pottery water jug, of tapered cylindrical form decorated in blue on a white ground, unsigned, 18cm high (1)

£70-100

604* Caiger-Smith (Alan, 1930-). Aldermaston Pottery red lustre ginger jar and cover, with stylised decoration, monogram mark to base, 17cm high, small chip to inner rim of cover (1)

£150-200

602 Brown (Caroline, 20th century). Bronze bust, circa 1960, modelled as a young girl, unsigned, 25cm high mounted on a white marble base, 35cm high With a letter of provenance from the artists husband dated 2005. The bust was made c.1960 when Caroline Brown was a student at the Royal College of Art. It is one of an edition of six bronzes.

(1) £300-500

605* Cardew (Seth, 1934-). Pair of pottery mugs, decorated with fish on a mixed brown ground, seal mark to lower handle, 9.5cm high (2)

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

198

£50-80

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Lot 607

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

£100-150

607* Cocteau (Jean, 1889-1963). 1950s triple level server designed by Jean Cocteau, with red melamine covers decorated with profile heads and gilt metal framework enclosing three melamine dishes, signed ‘Jean Cocteau’, the base stamped ‘PAT.NO.7205 APP. 729,730’, 29cm high (1)

608* Gurschner (Gustav, 1873-1971).

Bronze incense burner, modelled as a bowl bearer c.1910, signed on base, 14.5cm high (1)

£150-200

£150-200

199

609* Gurschner (Gustav, 1873-1971).

Alabaster commemorative plaque, applied with a bronze profile of King Edward VII, signed and dated 1906, 29 x 25cm (1)

£100-150

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613* Leach (Bernard, 1887-1979).

Celadon glaze rectangular box, the cover with a snail finial and wavy incised marks, two seal marks to base, 8cm high x 15cm wide 10cm deep, with old price label possibly the original, damage to the finial together with an Alan Caiger-Smith twin handle bowl, with stylised black and green decoration on a white ground, painted marks to base 16cm high x 32cm wide, cracked, plus a Michael Cardew Winchcombe pottery three handle vase in a dripping brown and black glaze, two seal marks to base, 20cm high, restored plus a large studio pottery charges with a marbled glaze, 43.5cm diameter (4)

£100-200

612* Leach (Michael, 1913-1985). Yelland Pottery ovoid marmite jar and cover, with a dark brown glaze, the cover with a graffito design, ML and Y seal marks to base, 30cm high Michael Leach was the youngest son of Bernard Leach. He spent a short time at the Leach Pottery in St Ives before serving in the army during WWII. After the war he returned to the Leach Pottery until 1948 before setting up the Yelland Pottery at Fremington, Devon. He worked there until his retirement in 1984.

(1) £100-150

614* Leach (David, 1911-2005). Pottery handled sauce boat and cover, with a speckled brown glaze, approximately 10cm long (1)

610 Attributed to Peter Hayden (1939-).

Abstract figure, bronze, green patina, wooden base, height excluding base 77cm (1)

£200-300

611* Lawrence (T.E.). Commemorative plaster plaque, A commemorative plaster plaque with a side profile of Lawrence of Arabia commemorating ‘88 1935, stamped ‘Copyright’, 27 x 18.5cm

Lot 613

Probably produced in 1988 to mark the 100 year anniversary of Lawrence’s birth.

(1) £50-80

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

200

£50-80

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615* Maltby (John, 1936-). Pottery bowl, with brown ribbon design on a cream glazed ground and deep foot, incised marks to base, 9cm high x 15cm diameter (hairlines) (1)

£50-80

616* Modernism. Czechoslovakian glassware, including 6 stemmed champagne glasses, various tumblers, etc (a carton)

£70-100

Lot 616

618* Morris Ware. Pair of Hancock & Sons Morris Ware vases by George Cartlidge, model C8-6, each of squat form decorated with purple and green peony flowers on a dark mottled ground, printed and painted marks to base, 18cm high, minor chip and hairline to rim of one vase

619* Morris Ware. Matched pair of Hancock & Sons Morris Ware vases by George Cartlidge, model C7-12 and C7-13, each of tapered cylindrical form decorated with purple tulips on a dark mottled ground, printed and painted marks to base, 20.5cm high

(2)

(2)

£200-300

£300-500

617* Mommens (Ursula, 1908-2010).

Pottery bowl and cover, decorated with swirls on a brown ground, seal mark to base, 9cm high x 14cm diameter (1)

£50-80

Lot 618

Lot 619

201

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Lot 620

Lot 621

Lot 622

Lot 623

620* Morris Ware. Hancock & Sons Morris Ware bowl by George Cartlidge, model C12-3, of squat form decorated with purple flowers on a green mottled ground, printed and painted marks to base, 23cm diameter, together with another Morris Ware bowl, model C19-27 (heavily crazed and with hairline crack) 30cm diameter (2)

£200-300

621* Morris Ware. Hancock & Sons Morris ware bowl by George Cartlidge, model C27-1, of large cylindrical tapered form with flared rim, decorated with purple flowers on a blue mottled ground, printed and painted marks to base, 32cm high (restored) (1)

£100-150

622* Morris Ware. Hancock & Sons Morris Ware candle base by George Cartlidge, model C39-2, decorated with purple tulips on a green mottled ground, printed and painted marks to base, 28.5cm high (1)

£200-300

623* Mubayi (Sylvester, 1942-). Stone carving of a boy, signed, 50cm high Sylvester Mubayi was born in 1942 and a native of the Chiota Reserve, Marondera, Zimbabwe. He joined the Tengenge Sculpture in 1967. In 2008 there was an exhibition of his work held at the National Gallery of Zimbabwe.

(1) £150-200

Lot 624

624* Nixon (G., 20th century). Walnut and cedar desk, designed

by G Nixon, Aldersley, Wellington, Salop, with gallery top above three frieze drawers and two pedestal cupboards enclosing shelves on tapered supports, 78cm high x 127.5cm wide x 54.5cm deep, together with matching desk lamp plus period black and white photograph of the desk and lamp inscribed verso ‘Studio White Kidsgrove’ (1)

£300-500

625* Pearson (Colin, 1923-2007). Pottery jar and cover, two handles with a speckled matt glaze, seal mark to base, 18cm high x 22cm diameter, together with a similar tea pot by the same potter with cane handle, 17.5cm long (2)

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

Lot 625

£100-150

202

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Lot 628

Lot 629

628* Rodin (Auguste, 1840-1917). Bust of The Age of Bronze, bronze with brown patination, from the edition of 11, executed in 2000 at the Guastini Foundry, Italy for Master Limited Edition, bearing signature A.Rodin and Reproduction and numbered 9/11, 28cm (11ins) high Provenance: Hay Hill Gallery; Sirin Fine Art Ltd; collection of Roy Davids.

(1) £700-1000

626* Poole Pottery. Six Poole pottery tiles probably decorated by Monica Fenton for Poole Pottery, decorated with a shepherdess, the tiles marked ‘Carter E1937 England’, in a period oak frame, 52 x 36.5cm (1)

627* Post-War Modernism. An unusual 1960s Perspex ceiling light shade, with intricate webbed design, 31cm high (1)

£80-120

£70-100

203

629* Rodin (Auguste, 1840-1917). Bust of Balzac, bronze with green patination, from the edition of 11, executed in 2000 at the Guastini Foundry, Italy for Master Limited Edition, stamped Reproduction and numbered 9/11, on a labrador granite plinth, 25.5cm (10ins) high (including base) Provenance: Hay Hill Gallery; collection of Roy Davids.

(1) £700-1000

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634* Silk Scarf. Hermes silk scarf ‘Cosmos’, designed by Philip Ledroux, approximately 85 x 85cm (1)

630* Ruskin Pottery. Ruskin pottery lamp base, circa 1930s, of triangular form with a crystalline green and orange glaze on stepped mottled blue foot, impressed marks to base, 32cm high (small chip to base) (1)

£100-150

632* Secessionist. Minton Secessionist pottery wash jug, model no.5, with tube lined foliate decoration on an aquamarine ground, printed marks to base, 30cm high (1)

£100-150

£100-150

635* Silk Scarf. Hermes silk scarf ‘Reprise’, designed by Philip Ledroux, approximately 90 x 87cm (1)

£100-150

633* Secessionist. Claret jug, of tall tapered form with stylised organic whiplashes, hinged cover and nickel base, indistinct marks but stamped ‘WMFB’ 38cm high, together with an Orivit beaker inscribed ‘Hubertus Sanctus a profile of St Hubertus and oak leaves, the base stamped ‘2181’, 14cm high plus an Arts and Crafts pewter cup, the handle inset with turquoise enamel decoration with raised swirl decoration to the body, 14.5cm long (3)

£70-100

631* Secessionist. Minton Secessionist pottery vase, No. 46, tube line decorated with flowers on a pink and two tone green ground, printed and impressed marks to base, 16cm high

636* Silk Scarf. Hermes silk scarf ‘Armes de Chasse’, designed by Philip Ledroux, approximately 88 x 86cm

(1)

(1)

£100-150

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

204

£100-150

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Lot 639 Lot 640 640* Studio Pottery. Mixed collection, including a Colin Callum pottery milk jug, with blue and brown decoration, impressed mark to base, 10cm high, an ovoid jar and cover by John Jelfs, 21cm high, various bowls, jugs, etc (6)

£100-150

637* Silk Scarf. Chanel silk scarf, 86 x 86cm (1)

£50-80

642* Terracotta Jug. 20th century North American Cherokee Indian terracotta jug, decorated with fish and a turkey, 14cm high (1)

£70-100

638* Silk Scarf. Silk scarf designed by Salvatore Ferragamo, 85 x 85cm (1)

£100-150

639* Studio Pottery. Mixed collection, including a Lucie Rie style bowl with a mottled brown glaze, incised mark to base, 11cm high x 18.5cm diameter, together with a brown glaze bowl, 10cm high x 16cm diameter, a pot by Joan Rowe and other items (7)

641* Studio Pottery. Stoneware ovoid jar and cover, with horizontal ribbed decoration on a grey / blue ground, ‘STM OP’ seal mark to base, 20.5cm high (1)

£100-150

643* Tudric. Liberty & Co Tudric pewter biscuit barrel, designed by Archibald Knox, model no.0194, of square form with stylised flowers, stamped marks to base, 13cm high (1)

£100-150

205

£200-300

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644* Tudric. Liberty & Co Tudric pewter biscuit barrel, designed

by Archibald Knox, model no.0194, of square form with stylised flowers, stamped marks to base, 13cm high x 15cm wide (splits along the seams) This is the larger version of this type of biscuit barrel (1)

646* Umbrella Stand. Victorian Aesthetic influence cast iron umbrella stand, with registration mark to the rear and removable drip pan, 60cm high

£200-300

645* Tweed (John, 1869-1933). Bronze sculpture of a female bather seated on a rock, 60cm high x 30cm wide (1)

(1)

£500-800

Lot 645

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

206

£70-100

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FURNITURE 647* Bedroom Furniture. Victorian Aesthetic influence satin wood washstand, with marble top surmounted by splash back inset with five pottery tiles printed in brown with foliate decoration, above two drawers on turned supports united by undertier shelf on ceramics casters, 110cm high x 92cm wide x 50cm deep together with a matching dressing table with hinged mirror with two smaller drawers above two short and two long drawers, 155cm high x 93cm wide x 47cm deep (2)

£100-150

648* Carpet. Large woollen carpet from Eastern Turkestan, with a foliate design on a brown ground, 353cm x 274cm Purchased from the Carpet Galleries, London in 1967 (1)

£50-80

650* Chest. Early 19th century floral marquetry inlaid chest of drawers, with six drawers within two columns on tapered supports, 153cm high, 100cm wide, 51.5cm deep (1)

£200-300

649* Chandelier. Glass five-branch chandelier, early/mid 20th century, with cut glass decoration, lustre swags and glass drops, approximately 61cm high x 57cm diameter, converted for electrical use Provenance: From the collection of the actor and historian Robert Hardy (1925-1917).

(1) £150-200

651* Chest. Victorian burr walnut collector’s chest, the inlaid doors enclosing five drawers each with brass recessed handle, 46cm high x 36.5cm wide x 22.5cm deep (1)

207

£100-150

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652* Desk. Edwardian rosewood writing desk, with brass gallery top above four raised drawers and tooled leather inset, over three frieze drawers on four tapered supports on brass casters (one lacking), 100cm high x 107cm wide x 60.5cm deep (1)

£100-150

654* Sideboard. Edwardian mahogany sideboard, the shaped top with brass back, above central drawer flanked by cupboard and cellerette drawer, lions head handles, carved festoons on tapered supports, 146cm high x 174.5cm wide x 76cm deep (1)

£200-300

653* Hall Chairs. Pair of late 19th century carved wood hall chairs, probably Swiss or German, each elaborately carved with stylised flowers and scrolls and with differing poker work pictorial panels, one of a shepherd with two mountain goat the other of two goats, with serpentine shape solid seat on four carved cabriole supports, 97cm high (2)

£300-500

655* Sideboard. Victorian rosewood mirror back sideboard, with serpentine marble top above three mirrored panel doors, 150cm high x 120cm wide x 40cm deep (1)

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

208

£100-150

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656* Table. Victorian ebonized and gilt occasional table, the octagonal glass top inset with foliate lithographic decoration, on scroll supports,, 74.5cm high x 50cm wide x 39.5cm deep together with a pair of Georgian style fret work mirrors, 64cm high (3)

£70-100

658* Tavern Table. Victorian cast iron pub table, the replacement circular top above a gilt painted base cast with rams heads amongst fruit vines on three splayed supports united by pierced under-tier shelf, 62.5cm diameter x 75.5cm high (1)

£100-150

657* Table. Spanish mahogany campaign table, circa 1900, the substantial rectangular top above splayed supports united by iron stretchers (detachable), 73cm high x 126cm wide x 70.5cm deep, with two carved oak chairs, 93cm high

659* Tea Table. Edwardian satin wood demi-lune fold-over tea table, painted in the Georgian style with roses and leaves on tapered supports and brass box casters, 76cm high x 100cm wide

(1)

(1)

£100-150

209

£100-150

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PRINTED BOOKS, MAPS & DOCUMENTS WEDNESDAY 25 JULY 2018

Terence Cuneo (1907-1996). Giants Refreshed.

LNER colour lithographic poster, printed by Waterlow & Sons Ltd, circa 1950, original folds, 101 x 126cm £500-800

Printed catalogues £15 (post free) or digitally online at www.dominicwinter.co.uk For further information please contact Lynne Shipley: lynne@dominicwinter.co.uk 01285 860006

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FINE BOOKS & MANUSCRIPTS: 30TH ANNIVERSARY SALE WEDNESDAY 12 SEPTEMBER 2018

David Roberts, The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, 6 volumes in 4, 1st edition, 1842-9, tinted issue with fine later hand-colouring Estimate £20000-30000

For further information please contact Nathan Winter or Chris Albury: nathan@dominicwinter.co.uk chris@dominicwinter.co.uk 01285 860006

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NINETEENTH & TWENTIETH CENTURY PHOTOGRAPHY FRIDAY 5 OCTOBER 2018

Elsie Wright (1901-1988) in collaboration with Frances Griffiths (1907-1986). Alice and the Fairies [first of a series of 5 Cottingley Fairies photographs], July, 1917, sepia gelatin silver print, 20 x 15cm, original mount with printed caption £700-1000 (5 October)

Alvin Langdon Coburn. Men of Mark, 1st edition, London & New York, 1913, author's signed presentation copy for Dr Malcolm Campbell, 30 September 1944, original cloth, 4to £2,000-3,000

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

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# 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 18/19 July 2018 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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INFORMATION FOR BUYERS AFTER THE AUCTION Online Results: If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended.

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

Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.

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

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

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

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

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

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

Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) or Pack and Send (tel: 01635 887237) who may be able to help.

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

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

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

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

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

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

214

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

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

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

www.dominicwinter.co.uk

215

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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