Dominic Winter

Fine Art & Antiques 29 JUNE 2016

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FINE ART & ANTIQUES 29 June 2016

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

Tuesday 28 June - 9.00am-7.00pm Morning of sale from 9.00am

SPECIALIST STAFF

Furniture, Silver, Ceramics & Collectables Henry Meadows BA Hons, MRICS Matthew Farren BA Hons, FRAS Paul Rasti Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation) Tel: 01285 860006 info@dominicwinter.co.uk

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

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

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

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

The amount is calculated as follows: Royalty 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 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 10.30am on the morning of sale.

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

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CONTENTS Antique Ceramics, Studio Pottery & Art Glass A Private Collection of 18th Century & Later Glassware

1-45 46-119

Collectables

120-176

Oriental Works of Art

177-188

Silver & Jewellery

189-221

Furniture

222-231

Musical & Mechanical Instruments

232-298

18th & 19th Century Traditional Watercolours

301-358

Glass Paintings & Embroidered Pictures

359-366

Old Master & 19th Century Paintings

367-391

Portraits

392-403

Portrait Miniatures

404-412

Chinese Watercolours

413-430

Prints & Drawings

431-461

Sculpture

462-470

Modern Paintings

471-497

Reginald J. Lloyd

498-517

Modern Watercolours & Drawings

518-584

Modern Prints

585-657

Cover illustrations: Front cover: Lot 606 Back cover: Lot 32

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Michael Drayton. Poly-Olbion, 1st edition, 1st issue, [1612], coloured copy, recent antique-style calf, folio (270 x 185mm) Estimate: £2,000-3,000 (Wednesday 14th September)

FORTHCOMING SALES IN 2016 Wednesday 29 June

Paintings & Watercolours Old Master & Modern Prints Studio Ceramics, 18th Century Glass, Furniture & Musical Instruments

Thursday 30 June

The Art of the Book: The Bookbinding Studio of Philip Smith MBE Important Designer Bindings Bookbinding Equipment & Tools

Wednesday 20 July

Printed Books, Maps & Documents

Thursday 21 July

Children’s & Illustrated Books Modern Literature, First Editions & Private Press Classical Music including the Ridgewell Collection of Classical Records Film Posters, Rock & Pop Memorabilia

Wednesday 17 August

Unreserved Book Stock Sale

Wednesday 14 September

Antiquarian Books 15th-18th Centuries including The Cavalier World; Poets, Playwrights and Publishers: The Antiquarian Library of Christopher Rowe MA (Cantab)

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ANTIQUE CERAMICS, STUDIO POTTERY & ART GLASS To commence at 10am

2* Andrews (Tim, 20th/21st century) Raku vase, round raku fired footed vase with crackle-glazed interior, applied potters mark, fleabite chip to rim, 10cm (4ins) high Tim Andrews studied with David Leach and his work is now in many public and private collections.

(1) £50-80

3* Andrews (Martin, 20th/21st century) Stone series, 2011, hand-blown glass in blue and brown decorated with white streaks, etched signature and date to base, 16cm (6.25ins) high (1)

£30-50

Lot 2 4* Armstrong (Pat, 20th/21st century) Copper raku vases, circa 1995, a pair of copper raku vases after Anglo-Saxon forms, each with incised potter’s mark to base, 19cm (7.5ins) high and slightly smaller (2)

5AR* Batterham (Richard, 1936-) Large stoneware bowl with a celadon glaze, unsigned, 22cm diameter, together with a smaller tenmoku type bowl by the same hand, 13cm diameter

1* Andersen (J.,20th/21st century) Trumpet vase, 1998, heightened with gold, signed and dated to base, 26.5cm (10.5ins) high (1)

£70-100

(2)

£50-80

Lot 3

Lot 5

Lot 4

5

£100-150

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9* Caiger-Smith (Alan, 1930-) at Aldermarston Pottery Bowl with foliate decoration, footed bowl, brushwork red and gold lustre, painted potter’s monogram and date cyhper to base, very minor crazing, 28cm (11ins) diameter (1)

£200-300

7* Brannam (C.H.) An early 20th-century pottery cat, c.1910, modelled in the seated position with green and black glaze, incised marks to base, 28.5cm high together with a similar cat with a tear drop to its eye, 18cm high (2)

£150-200

6* Brannam (C.H.) An early 20th-century pottery cat, c.1910, modelled in the seated position with green and black glaze, glass eyes and incised marks to base, 27.5cm high

8* Bretby A collection of Bretby Pottery cats, various forms and sizes, including a playful cat clutching a cotton reel, 24cm long, impressed marks to base

(1)

(6)

£100-150

£80-120

10* Caiger-Smith (Alan, 1930-) at Aldermarston Pottery Large vase with foliate decoration, stoneware baluster vase with single handle, brushwork foliate decoration in red and gold lustre, potter’s monogram and date cypher to base, 27cm (10.5ins) high (1)

£300-500

11* Caiger-Smith (Alan, 1930-) Large bowl with underglazed blue decoration, large footed stoneware bowl, underglazed decoration in blue, green and red, potter’s monogram to base, broken in several places (with some loss), repaired, 38cm (15ins) diameter (1)

£30-50

Lot 8

Lot 11

Lot 9

6

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12* Caiger-Smith (Alan, 1930-) at Aldermarston Pottery Large teapot with brown decoration, oversized stoneware lidded teapot with additional handle, brushwork decoration in brown, potter’s monogram to base, small chip to inner rim of lid and fleabite to spout, 25cm (10ins) high (1)

£150-200

Lot 14

13* Caiger-Smith (Alan, 1930-) at Aldermarston Pottery Jug with brown and pink decoration, handled jug, brushwork foliate decoration in brown and pink, potter’s monogram to base, 19cm (7.5ins) high (1)

14* Clark (Pat, 20th century) Abstract forms in black, grey and white, circa 1970-74, four pieces in handbuilt porcelain, smoked grey, black and white decoration, 16cm (6.25ins) and smaller (4)

Lot 15

£100-150

£150-200

15* Clark (Pat, 20th century) Abstract forms in brown and grey, circa 1970-74, five pieces in handbuilt porcelain, smoked brown and grey decoration, second largest with potter’s mark to base, 13cm (5ins) high (5)

£150-200

16* Clark (Pat, 20th century) Abstract forms in white with black, circa 1970-74, two pieces in handbuilt porcelain, potter’s mark inscribed to base of larger, together with another pair of similar pieces with graduated decoration from white to black with orange and purple, plus another form in black, grey and white, 16.5cm (6.5ins) (5)

7

£150-200

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Lot 18

Lot 20

20* Hassall (Patricia, 1945-) Mountain World, circa 1974, round stoneware vase with applied and textured decoration, blue and white glazes, pierced details, 7cm flake from applied decoration to rear, autograph letter signed from the artist on The Hand Pottery Studio headed paper enclosed, 46cm (18ins) high Patricia Hassall was born in Glasgow and studied at the Glasgow School of Art before opening her own pottery with her husband Leonard. She exhibited throughout Scotland and her work shows different energies and forces of everything in the world.

(1) £300-500

17* Cloete (Shirley, 1921-2010) Round vase in pink and green, 1997, handblown glass, incised signature and date to base, 15cm (6ins) high (1)

£50-80

18* Delft An 18th-century Dutch Delft blue and white charger, decorated in the Chinese style with a peacock and landscape with geometric border, 34.5cm diameter, together with three other Delft chargers plus a 19th-century Spode blue and white meat plate printed with Chinese figures amongst a landscape with bridge, printed and impressed marks, 42.5cm long (5)

19* Fassett (Kaffe, 1937-) Blue mosaic vase, 2008, baluster vase decorated with blue mosaic and clay pipe fragments, signed and dated to base, 33cm (13ins) high (1)

£50-80

21AR* Hayes (Peter, 1946-) Sack form with textured decoration, 1997, raku fired stoneware slab with keyhole, 23cm (9ins) high

£200-300

(1)

8

£200-400

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Lot 22 22AR* Herman (Samuel J., 1936-) Swollen cylinder vase in pink and gold, 1981, hand-blown swollen glass vase with narrow aperture, etched signature, date and shape code STH 226 to base, 26cm (10ins) high (1)

£200-300

23AR* Herman (Samuel J., 1936-) Round vase in blue with green and gold, 1981, hand-blown swolen vase with narrow aperture, etched signature, date and shape number CD24 to base, 16cm (6.5ins) high (1)

£150-200

24* Limoges An 84 piece porcelain dinner and coffee service by Royal Limoges, decorated in the ‘Platinum Rosace’ pattern, comprising oval and circular meat plates, soup tureen and cover, vegetable bowl, salad bowl, sauce boat, pair of hors d’oeuvre dishes, twelve dinner, soup and side plates, twelve dessert bowls, coffee pot, cream jug, sucrier, cake plate, and twelve cups and saucers, each personalised with initials P. D., printed mark to base of each piece, with original printed certificate (84)

Lot 23 25* Moorcroft A 1920s Moorcroft Dawn landscape pottery bowl, decorated in blue on a white ground, blue signature with printed and stamped marks to base supported on a hammered pedestal base, stamped Hutton Sheffield, English Pewter 04649, 17.5cm diameter (some staining and small hairline) (1)

£200-300

26* Mulcahy (Louis) Squat bottle vase, all-over blue glaze, unglazed base, original potter’s label to base, 10cm (4ins) high, together with three stoneware bowls (4)

27* Newman (Bryan, 1935-) at Aller Vale Pottery Bottle vase with stopper, wheel-made stoneware bottle vase with original stopper, decorated with black, brown and cream glaze, impressed mark to base, 28cm (11ins) high, together with a jug, also

by Bryan Newman for Aller Vale, decorated with green glaze, plus another stoneware jug, initialled D. K. and dated 1973 to base (3) £150-200

£100-150

£100-150

Lot 27

25 9

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28* Porcelain cats A pair of WWI period porcelain cats, modelled as black cats seated on green bases, one with ‘Peace 1919’, the other ‘Luck’, 15cm high (2)

£100-150

29* Porcelain figures A collection of 18th-century-style porcelain figures, including a Meissen-style figure modelled as a woman standing by an artists easel holding brush and palate board, 22.5cm high, together with a similar figure with spurious blue crossed swords mark to base, another of a stonemason, a female playing a harp, a female playing a tambourine etc plus a pair of porcelain candlesticks modelled as ponies standing before a brocage, 21.5cm high (damaged throughout) (13)

Lot 29

£300-500

30* Pottery cats A collection of pottery cats including 1960s jugs modelled as seated cats, various colours and sizes including yellow and black, 20.5cm high, souvenir pieces including a pair of porcelain Louis Wain style candlesticks etc. (a small carton)

Lot 30

£200-300

31* Ravilious (Eric, 1903-42) for Edinburgh Weavers Garden Implements printed textile, a sample printed textile by Eric Ravilious for Edinburgh Weavers, with Garden Implements design on coated white fabric, circa 1950s, with E.W. monogram to left and right border, 83.5 x 119.5cm (33 x 47ins) (1)

£100-200

Lot 31 10

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32* Ravilious (Eric, 1903-42) for Wedgwood An Eric Ravilious for Wedgwood Boat Race bowl, circa 1938, Wedgwood urbanware bowl, the interior decorated with a scene of Piccadilly Circus at night, the sides with three successive scenes from the Oxford and Cambridge Boat Race, and a mermaid with oars as a smaller design, height 13.5cm (5.3ins), diameter 31cm (12ins) (1)

£1500-2000

33* Rogers (Ray, 1935-) Fungoid form vase, 1997, round raku vase with incised rim, burnished decoration, incised signature and date to base, 20cm (8ins) high (1)

£100-150

34* Royal Worcester A cased porcelain coffee set comprising 6 cups and saucers with red ground and gold floral decoration, purple mark to base with six silver spoons by Mappin & Webb, Sheffield 1938 (one saucer with chip), together with a modern Chinese famille-rose bowl, 30.5cm diameter on a hardwood stand (2)

Lot 32

£70-100

35* Sevres A pair of mid 19th-century porcelain cabinet plates from the Chateau des Tuileries series, finely handpainted with Chateau de Chenonceaux signed Guillou, with royal blue and gilded border, blue Sevres 1846 stamp to base, accompanying green Sevres mark and series marks, 22.5cm diameter, together with another of Chateau de Chaumont (3)

£200-300

Lot 35 11

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Lot 36

Lot 39

36* Staffordshire A pair of Victorian Staffordshire pottery pen rests modelled as recumbent greyhounds, 23cm long, together with a group of poodles, 18cm high, plus a pair of miniature poodles, all on cobalt blue bases, 9cm high (5)

£100-200

37* Stroomer (John, 20th/21st century) Blue bottle vase, 2011, cporcelain footed bottle vase with narrow neck, crystalline decoration in blue and green, incised signature and date to base, 29cm (11.5ins) high (1)

£80-120

Lot 41

Lot 37

38* Taylor (Sutton, 1943-) Multicolour charger, circa 2012, large footed charge decorated with iridescent multicoloured lustre glaze, potter’s mark to foot, 47cm (18.5ins) diameter Philip Smith collection label to base “Bought at Wills Lane Gallery, St Ives, 28 Aug. 2012, £1,300”.

(1) £500-800

39* Thornton (Harold, 1907-1976) Large vase with greens and browns, large stoneware vase, decorated with brown, green, and cream glaze, impressed potter’s mark to base, 30.5cm (12.ins) high Harold Thornton was a member of the Manchester Red Rose Guild of Design Craftsmen.

(1) £50-80

40 No Lot 41* Frith (David, 1943-) Lily-pad plate, Oribe-style decoration in blue and brown, impressed mark to base, 27cm (10.5ins) diameter

Lot 38

(2)

12

£100-150

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Lot 42 42* Salmon (Antonia, 1959-) Carved, burnished vase with drilled holes, smoke fired, carved and incised decoration, 14cm (5.5ins) high (1)

£200-300

43* World Cup A Lladro porcelain model of the football World Cup trophy, after the design of Bertoni, lettered at foot FIFA WORLD CUP, printed to base with Lladro mark and Sport-Billy Productions 1978, height 34.5cm (13.6ins), lacking plinth Originally issued to Fifa officials and later re-issued for the 1982 World Cup in Spain.

(1) £400-600

Lot 43

44* World The World in Planisphere, circa 1790, a Bristol pearlware jug, transfer printed with a double hemisphere map of the world, and with a rural scene to verso, height 23cm (9ins) Scarce.

(1)

£500-800

45* Tableware Dinner service, tableware and lead crystal glasses, a collection of tableware in ceramic and porcelain, including pieces by Limoges, Shelley and others, together with four boxed sets of glasses (2 cartons)

£50-80

Lot 44

13

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A PRIVATE COLLECTION OF 18TH CENTURY AND LATER GLASSWARE

46* Bell Glass A fine pair of George II glasses, circa 1730-40, with drawn bell bowl, plain stem with enclosed tear on a conical foot, 16cm high (2)

£200-300

Lot 47

47* Bowl An impressive Georgian Irish turned over glass bowl, with diamond cut decoration on a deep star cut foot, 24.5cm high (1)

£400-600

48* Bowl An Anglo-Irish bowl, circa 1800, of navette form engraved with stars and vines on plain stem with square foot, 23cm high x 30cm long (1)

£400-600

Lot 48

49* Bowl A George III cut glass bowl, circa 1825, with cross cut diamonds, fan cut rim on facet cut stem and conical star cut foot, 15.5cm high, together with a small similar bowl (2)

£60-80

50* Candlesticks A pair of George III glass candlesticks, circa 1760-70, with facet cut stems on domed feet with detachable save all (one replaced) with chips and one with old rivet repair, 25.5cm high In the style of metal petal feet candlesticks of the period.

(2)

£600-800

Lot 50 14

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Lot 51

Lot 56

51* Celery vases A pair of Georgian glass celery vases, possibly Waterford, circa 1820s, with all over cut body and base with fan cut rim, 20cm high (2)

53* Claret jug A Georgian glass claret jug, with lancet cut decoration and cut stopper, 30cm high, plus other of the similar period, 28.5cm high (2)

£100-150

£300-500

52* Champagne flutes A matched set of six champagne flutes, early 19th century, with knopped stem on conical foot, 17.5cm and 16cm (6)

£40-60

54* Commemorative glass A Continental glass, circa 1815, engraved with the motto of the Treaty of Vienna 1815 ‘Peace to all the World’, 10cm high The Treaty of Vienna, 1815 (also known as the “Treaty of General Alliance”), when Austria, Britain, Prussia and Russia agreed to put 150,000 men in the field against Napoleon Bonaparte.

(1) £100-150

55* Communal glass A large George II communal glass, circa 1740, with drawn trumpet bowl, the stem with long enclosed tear on a large folded foot, 22.5cm high (1)

Lot 54

£200-300

56* Comports A fine pair of glass comports and covers, early 19th century, cut with strawberry diamonds on square feet, 28cm high (2)

Lot 53

£500-800

57* Condiments A collection of Georgian and later glass condiments, including shakers with silver tops (a small carton)

£80-120

Lot 55

15

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Lot 58

Lot 59

Lot 60

58* Decanters A pair of Georgian spirit decanters, circa 1800, each of mallet shape form with three ring neck and lozenge stopper, 23.5cm high

60* Engraved glass A George III wine glass, the bowl engraved with a cornucopia symbolising Peace and Plenty, with a facet cut stem on a thick foot, 16cm high

62* Funnel glass A George III wine glass, circa 1760-70, with funnel bowl engraved with a floral rim on a double series air twist stem on a conical foot, 15.5cm high

(2)

(1)

(1)

£60-80

£200-300

59* Decanters A matched pair of Edwardian spirit decanters, with hobnail cut decoration (slight variation), electroplated collar with lock by James Dixon & Sons with stopper, 25cm high

61* Firing glass A George II firing glass, circa 1745, with trumpet bowl on a drawn stem with enclosed tear on a folded foot, 12cm high, together with a George II cordial glass, 11.5cm high

Not part of the collection (2)

(2)

£100-150

£200-300

£100-150

63* Funnel glass A George III wine glass, circa 1780, with round funnel on a facet cut stem with plain conical foot, 14.5cm high, together with another glass with engraved chinoiserie landscape on a facet cut stem and conical foot, 16cm high (3)

Lot 61

Lot 62 16

£100-150

Lot 63

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64* Glass goblet A late 19th-century oversized glass goblet, with amber bowl, clear knopped stem and conical foot with ground down pontil mark, 27cm high Not part of the collection (1)

£100-150

65* Goblet A George III glass goblet, circa 1790, the bowl cut with flutes and bands on a facet cut stem with plain foot, 18.5cm high (1)

£60-80

66* Honey jar A Georgian cut glass honey jar and cover, circa 1825, of ovoid form with diamond cut design on vertical prismus round foot and star cut base, 23cm high (1)

£150-200

Lot 64

Lot 66

67* Jelly glasses A collection of 18 Georgian and later jelly glasses, of varying styles and forms, 11.5cm high (18)

£150-200

68* Jug A Georgian cut glass water jug, circa 1820, with diamond and star cut decoration, wavy rim on circular foot, 17cm high (1)

£70-100

69* Jugs A pair of Georgian Irish cut glass jugs, circa 1820, with diamond cut bands, 16cm high (1)

£200-300

Lot 69

70* Jugs Four Georgian cut glass jugs, including a tall baluster jug with slice cut decoration facet stem on conical star cut foot, 16cm high (4)

£60-80

71* Jugs Three Georgian cut glass jugs, including a tall slice cut jug on conical star cut foot, 15cm high (3)

£60-80

72* Kit-kat glass A George I kit-kat glass, circa 1720, with drawn trumpet, inverted baluster stem with fluted knop to base and enclosed tear on a conical foot, 17cm high (1)

£300-500

Lot 68 17

Lot 72

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Lot 73 73* Leech Jar A large Georgian glass leech vase, with ovoid bow, with turned over rim, plain concave stem and deep folded foot, 31cm high, together with another leech vase, 29.5cm high (2)

£150-200

74* Lustres A pair of Georgian clear glass table lustres, circa 1810, each with cut decoration and glass lustres on shaped foot, 21cm high (2)

Lot 74 75* Masonic glass A 19th-century toasting glass with trumpet bowl engraved with Masonic insignia, on an opaque twist stem and conical foot with pontil mark, 18cm high Not part of the collection (1)

Provenance: From the Walter Harding Collection, P108, illustrated, Liverpool 1930.

(1) £150-200

£200-300

76* Mixed glassware A collection of Georgian and later glassware (a carton)

80* Mug. A Georgian Irish glass porter’s mug, circa 1800, with diamond cut engraving, 9cm high

£80-120

81* Mug A Georgian glass tumbler, cut and etched repeated border, 9cm high, together with a later glass mug engraved with initials and ‘Forget Me Not’, star cut base, 11cm high (2)

£150-200

77* Mixed glassware A collection of Georgian and later glassware (a carton)

£80-120

78* Mixed glassware A collection of Georgian and later glassware (a carton)

£40-60

82* Mugs A pair of George III mugs, cut with diamonds and star cut base, 9cm high (2)

£40-60

£80-120

79* Mixed glassware A collection of Georgian and later glassware (a carton)

Lot 75

£80-120

Lot 80

18

Lot 83

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Lot 85

Lot 86 87* Rummer A George III glass square base rummer, circa 1810, the bowl engraved with masonic insignia, on a moulded square foot, 13cm high

83* Ogee glass A fine George III wine glass, circa 1760, with ogee bowl on a muti-spiral opaque twist stem with swelling knop on a plain foot, 15cm high (1)

(1)

£60-80

£100-150

84* Paté pans Eight Georgian glass paté pans, varying sizes, largest 8cm diameter

88* Rummer A George III large glass rummer, circa 1800, engraved with initials amongst hops and barley ears on a conical foot, 16cm high

(8)

(1)

£80-120

£100-150

85* Port glasses A set of six Georgian port glasses, circa 1760/70, with funnel bowls engraved with OXO on facet stems, 12cm high

89* Rummers A pair of William IV glass rummers, engraved with initials amongst thistles and roses on a deep conical foot, 14.5cm high

(6)

(2)

£200-300

86* Round funnel glasses A pair of George III wine glasses, circa 1760, with round funnel bowl, on double series opaque twist stem with plain conical foot, 15.5cm high (2)

Lot 88

£200-300

90* Scent bottles A Georgian double-ended scent bottle, with diamond cut body, white metal mounts and presentation inscription, 12.5cm long, together with three glass scent bottles including an amethyst glass example etc, 7.5cm long (5)

Lot 89

Lot 90 19

£100-150

£150-200

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91* Spa glass A George III spa glass, circa 1800, engraved with leafy vines, pierced to hold a ribbon on a deep conical foot, 12.5cm high Believed to hang on the fountains in Spa towns for all to drink from.

(1) £60-80

92* Spoon tray An 18th-century shallow moulded glass spoon dish, circa 1760, with cut decoration and shaped edge, 22cm long Purchased at Fortnum & Mason, London, in the mid-1990s.

(1) £80-120

Lot 91

93* Sweetmeat stand A Georgian sweetmeat glass cut bowl, circa 1750-60, on an 8-sided Silesian moulded stem with diamond shoulders on a moulded foot, 16cm high (1)

£150-200

94* Sweetmeat tree An unusual Georgian stand, circa 1765-75, with circular brass top pierced with six holes each engraved with respective number, on a facet stem and foot, 15.5cm high Probably for a sweetmeat tree or candleabra.

(1) £40-60

95* Tankard A large glass tankard, 18th century, with turned over rim and scroll handle, broken pontil mark to base, 12cm high (1)

Lot 97

£80-120

96* Tazza A Georgian plain glass tazza with dished circular top, concave stem and plain circular foot, 16.5cm diameter (1)

Lot 93

£40-60

97* Tazza An 18th-century set of three graduated glass tazzas, each with Silesian stem and domed foot, largest 35.5cm diameter, total height 41.5cm high, surmounted with a long stemmed bowl and cover (3)

£300-500

98* Toasting glass A George II toasting glass, circa 1740, with drawn trumpet bowl, plain stem and conical foot, 15.5cm high (1)

Lot 92 20

£100-150

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Lot 99

Lot 102

Lot 107

Lot 109

99* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem and conical foot, 16.5cm

106* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem and conical foot, 16.5cm high

(1)

(1)

£80-120

100* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem and conical foot, 16.5cm (1)

£80-120

£80-120

107* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem with enclosed tear on a conical foot, 16.5cm high (1)

101* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem and conical foot, 17cm high (1)

£80-120

102* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, the stem with enclosed tear on a folded foot, 16cm high (1)

£150-200

103* Trumpet glass A George II glass, circa 1740, with drawn trumpet, the thick stem enclosing tear on a conical foot (1)

£150-200

104* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem and conical foot, 16.5cm (1)

£80-120

105* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem and conical foot, 17cm high (1)

£100-150

£100-150

108* Trumpet glass A George II glass, circa 1740, with drawn trumpet bowl, plain stem with enclosed tear on a conical foot, 17cm high (1)

£100-150

109* Trumpet glass A George II wine glass, circa 1740, with drawn waisted trumpet bowl, plain stem with enclosed tear on conical foot, 16.5cm high (1)

£100-150

110* Trumpet glass A George II wine glass, circa 1745, with trumpet bowl on multiple spiral air twist stem with conical foot, 16.5cm high (1)

Lot 110

£150-200

111* Tumbler A rare Continental glass tumbler, circa 1800-20, engraved with four foot soldiers in frock coats standing before a fort, 10.5cm high (1)

£200-300

112* Urn A Georgian cut glass urn and cover, cut with diamonds and flutes, 17cm high (1)

£50-80

Lot 111 21

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Lot 113

Lot 115

Lot 116

Lot 117

113* Wine glass A George II circa 1745 wine glass, the waisted bell-shaped bowl with multiple spiral air twist stem on folded foot, 20cm high (1)

£200-300

114* Wine glass Three George III wine glasses, including a glass, circa 1760, with an ogee bowl on plain stem with folded foot, 12cm high, another with a bucket bowl on plain stem and with folded foot, 15cm high (3)

£100-150

115* Wine glass A George II drawn wine glass, circa 1740, with waisted bell form bowl, the plain stem enclosing a tear on a plain conical foot, 17.5cm high (1)

£150-200

116* Wine glass A George II tall wine glass, circa 1740, with bell bowl on plain stem and conical foot, 19cm high (1)

£100-150

117* Wine glass A George II drawn wine glass, circa 1745, with waisted bell bowl, the stem with enclosed tear on a large folded foot, 19cm high

Lot 118

(1)

£100-150

118* Wine glasses A fine set of six George II wine glasses, circa 1750, with trumpet bowls engraved with fruiting vine on plain drawn stem with plain conical feet, 17.5cm high (6)

£800-1200

119* Wine glasses A set of six Georgian wine glasses, circa 1760/70, with funnel bowls engraved with OXO on facet cut stems, 14cm high (6)

Lot 119 22

£200-300

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124* Black Forest An early 20th-century Black Forest carved tobacco jar, carved in the form of a bear’s head with glass eyes and hinged lid, 22cm high

COLLECTABLES 120* Bags An early 20th-century green leather gladstone bag, containing gentleman’s ivory brush set, inkwells, travelling mirror, etc., in an all weather bag with initials D.A.C., 38cm long, together with a green leather jewellery case with Bramah lock and initials C.H.C. (Celia Hermione Coates October 8th 1906) (2)

(6)

£70-100

126* Black Forest An early 20th-century Black Forest desk thermometer, carved as a vagabond fox leaning against a sign post with brass scales and glass tube, 18cm high, together with another carved with playful bears, 12cm high

£200-300

123* Black Forest A fine early 20th-century Black Forest tobacco jar, carved in the form of a dog with glass eyes and hinged lid, the base enclosing a musical box and with original trade label on four turned feet, 21cm high (1)

£200-300

Lot 123

122* Black Forest A collection of early 20th-century Black Forest carved wood nutcrackers, comprising dark wood bear, 22cm long, light wood bear, 18.5cm long, monkey, 19.5cm long, a smaller monkey, 17cm long, dog 19cm long, plus a characterful fisherman, 20cm long (6)

£150-200

125 Black Forest A collection of Black Forest ornaments, including an inkwell in the form of a dog, the hinged lid enclosing glass bottle, 10cm high, an inkwell in the form of an owl, with glass bottle, 11cm high, various bear carvings including a desk stand and articulated bear etc.

£70-100

121* Binoculars A pair of early 20th-century binoculars by W. Dixey & Sons, London, contained in a leather carrying case, with manufacturer’s markings, retailed by Mortimer, Ripon, together with a Victorian horseman’s knife by Mappin & Webb with seven tools, ivory grips in a brown leather case, a Nawell’s patent saltglaze stoneware footwarmer, 22cm long, plus a sampler dated 1834 (faded), 66 x 31cm, framed and glazed (4)

(1)

£400-600

(2)

Lot 124

Lot 122

Lot 125

23

£150-200

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127* Black Forest A collection of miniature Black Forest carved bears, many of them thimble holders, plus a desk calendar carved with a seated bear, 10cm long and other items (17)

£80-120

128* Black Forest A collection of early 20th-century Black Forest bears, comprising three cotton spool holders, one carved standing with pincushion rucksack, 15cm high, plus two pin cushions (5)

£100-150

129* Black Forest A collection of early 20th-century Black Forest bears, comprising a cotton spool holder carved as a bear seated on kindling and carrying a pin cushion basket, 16cm high, another similar with drawer beneath, plus two thimble holders each with pincushion (4)

£150-200

Lot 127 130* Bow & Arrow An early 20th-century hardwood bow inlaid with mother of pearl, 156cm long, plus various arrows and quiver, together with a quantity of early 20th-century sea fishing rods (qty)

£50-80

131* Boxes A Victorian rosewood writing box, inlaid with brass, the hinged lid enclosing beize fall and compartments with associated ink bottles, 16cm high x 40cm wide x 24.5cm diameter, together with a mahogany writing box, plus coromandel jewellery box (3)

£100-150

132* Boxes A collection of boxes including Victorian oak stationery box, with sloping doors enclosing fitted interior, single drawer beneath with brass handle, 28cm high x 38cm wide x 21cm diameter, together with a William IV rosewood tea caddy, with two lift-out canisters on bun feet (one missing), 22cm high x 36cm wide x 20cm diameter, Tunbridge inlaid glove box, etc.

Lot 128

(5)

£100-150

Lot 129

133* Bronze casket A 19th-century Renaissance style bronze box, of rectangular form, profusely cast with Medieval figures hunting amongst foliate scrolls, cedar lined on four dolphin feet, lion mark to base, 14cm high x 29cm wide x 16.5cm deep (1)

24

£200-300

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

£100-150

135* Candelabra An elaborate pair of Edwardian boar tusk three-branch candelabra, each with gilt metal mounts, the curved tusk being supported by a griffin, on three scroll feet, 53.5cm high (1)

Lot 135 136* Carved cats A Swiss carved jewellery box, the lid carved with a playful cat clutching a ball of wool, 15cm high x 21cm wide x 13cm deep, together with two novelty cat inkwells, one carved as a souvenir from Geneva, 13cm long, plus a Louis Wain poker work cat box, 22.5cm wide (4)

137* Carving An Arts & Crafts period carved pine dragon, with well-detailed face, outswept wings and curled tail, 75cm wide (1)

£100-150

£100-150

£400-600

Lot 136

Lot 137

25

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Lot 138 138* Chandelier A Victorian gothic revival five branch chandelier, cast with a fleur-de-lis and cruciform design, each branch with a drip pan and Registration mark, 66cm high (converted for electrical use) (1)

ÂŁ300-500

139* Clock A mid 18th-century 8-day longcase clock, the brass dial with black roman numerals, silvered chapter dial, calendar aperture and subsidiary seconds dial, signed John Cannon, Malborough [sic], striking bell movement, in an oak case with caddy hood, movement 40 x 30cm, case 213cm high (1)

Lot 139

ÂŁ500-800

Lot 139 26

Lot 139

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146* Horn beakers A set of 6 Edwardian graduated horn beakers each with silver rim by F & Co Ltd, London 1902, each with glass bottom, largest 13cm high, smallest 6.5cm high in a brown leather case together with a plain set of 5 graduated beakers in brown leather case (2 sets)

140* Clock A French brass mantel clock, c.1850, the brass case with circular white enamel dial, black Arabic numerals within classical columns and copper fret cut panels, on a block plinth, the brass movement with pendulum and key, 36cm high x 25cm wide Believed to be by the French clockmaker Vincenti and recently overhauled.

(1) £200-300

143* Doorstop A Victorian brass doorstop, modelled as the Warwick bear, 34.5cm high (1)

£100-150

144* Gold A gold propelling toothpick, by Hockley Hill, Birmingham, stamped ‘375’, with suspension ring, approx. 5.8g, a similar silver toothpick plus a cased gold plated Dupont lighter and Victorian cased ivory and steel manicure set with six interchangeable tools (4)

141* Corkscrew A Victorian ‘Naughty corkscrew, 7cm long (1)

£80-120

147* Icon An Orthodox icon in the antique style, probably 20th century, coloured pigment and gilt on thick wooden panel, 28 x 24cm (11 x 9.5ins), framed Nineties’

legs

(1)

£150-200

148* Lamp An Edwardian electroplated standard lamp, with telescopic action and pierced rococo style mounts, 158.5cm high, with a later glass shade

£150-200

142* Croquet set A modern Jacques croquet set, with mallets, balls and instructions in original box (1)

£500-800

(1)

£100-150

£80-120

145* Grand Tour A boxed set of late 19th century plaster plaques, comprising seventy-eight plaques, cast with Classical busts and figures in high relief, one damaged and two missing, various shapes and sizes, contained in a wooden four tier box, 12cm (4.75ins) high x 24cm (9.5ins) wide x 15cm (6ins) deep (1)

£200-300

27

149* Marble bust A Victorian marble bust of a young gentleman, 26cm high, well carved on a green marble socle and ebonised plinth (detached) (1)

£150-200

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Lot 150

Lot 151

Lot 153

150* Marble Urns A pair of modern porphyry marble urns each of campagna form, 35.5cm high (2)

£200-300

151* Marble Urns A pair of modern porphyry marble urns each of campagna form, 31cm high (2)

£150-200

152* Oil lamp A Victorian oil lamp, with globular acid etched shade and chimney on a brass columnar base with cranberry reservoir, 74cm high (1)

153* Optician’s eyes A collection of 100 Victorian glass optician’s eyes, various sizes and colour, presented in a black case (1)

Lot 152

28

£100-150

£1000-1500

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Lot 156

154* Babies Rattle An Edwardian silver babies rattle in the form of a seated cat, with two bells leading to a red coral handle, 9cm long, together with two further rattles including an early 20thcentury pewter example with whistle in the form of a cat playing a violin with two bells leading to an ebonised handle, 14cm long (3)

£100-150

155* Sewing box A 19th-century Continental sewing box, c.1850, of canted rectangular form with mother of pearl cartouche, profusely inlaid throughout, the hinged lid enclosing blue silk lining and gilt metal accessories on bun feet, 12cm high x 22cm wide x 15cm deep, (with key), together with a smaller 19thcentury sewing box probably veneered in amboyna, with some ivory accessories, 13cm wide, plus a Victorian papier mache box, inlaid with floral sprays, 19cm wide (3)

£200-300

Lot 158 157* Surveying Instruments A Victorian brass surveyor’s cross, with circular silvered dial engraved with scales, in an octagonal brass case with handle, 14cm long in a mahogany box, together with an early 19th-century wooden pocket compass with printed paper dial (lacking needle), 7.5cm square, plus a Victorian printing die engraved with heraldic crest believed to be John Pearson and so inscribed on the base, contained in a treen case, 3.5cm high, plus a circular treen box containing a wax seal, 5cm diameter (4)

156* Sundial An early Victorian slate multi-dial sundial by Richard Melville, 1859, subsidiary dials to the angles for New York, Alexandra, Bombay and New Zealand, surface deposits and some wear, 36 x 36cm (14 x 14ins) (1)

£500-800

£70-100

158* Table cabinet A late 19th-century Continental ormolu table casket, in the Renaissance style, with a hinged compartment surmounted by a dog finial (detached), another compartment beneath, with c-scroll and leaf moulded decoration throughout with a single drawer to the base, on eight splayed feet, 33cm high x 33cm wide x 27cm deep (1)

£600-800

29

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Lot 161

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

(1) £100-150

160* Timepiece A Continental enamel timepiece circa 1880, the oval timepiece with black roman numerals, hinged glass door, surmounted by an angel holding a scythe, on blackamoor pedestal and domed foot inset with classical panels depicting cupid and maidens, the rear panel of the timepiece similarly decorated, with a French gilt metal movement, 21cm high (1)

£300-500

161* Tortoiseshell frames A pair of 18 / 19th century tortoiseshell veneered frames, in restored condition encompassing modern prints, 45 x 40cm (2)

(1)

£150-200

167* Walking cane A late 19th-century French swordstick, with white metal knop embossed with flowers on a bamboo shaft with concealed stiletto blade engraved ‘Acier Bedel’, with brass ferrule, 92cm long (1)

£80-120

£200-300

162* Walking cane A late 19th-century Malacca Gentlemans “Tipple” stick, with screw top cap enclosing original stemmed drinking glass and a further compartment containing the original glass flask, with iron ferrule, 89.5cm long

168* Walking cane A shark vertebrae stick, probably late 19th century, with grey bone knop with graduated roundels and horn spacers and ferrule, 88cm long (1)

£70-100

163* Walking cane A 19th-century whale bone cane with cylindrical baleen knop and white metal collar, 83cm long

169* Walking canes A Chinese Malacca cane with white metal top decorated with elders, 92cm, long together with a walking stick with carved wood duck handle inset with glass eyes, 91cm long, plus a 1930s parasol with composite parrot head handle

(1)

(3)

(1)

£150-200

£200-300

164* Walking cane A 19th-century folk art walking stick probably carved from beech, the integral handle beautifully carved as a boot with copper laces, with brass ferrule, 102cm long (1)

Lot 160

166* Walking cane A 19th-century African Ibex stick, with rosewood or coromandel two section screw top handle encasing compartment for snuff and dished base for snuff taking, with brass ferrule, 86cm long

£80-120

165* Walking cane A George III period walking cane, with rosewood shaft ivory and shagreen handle large wrist cord and ivory toggle and ferrule, 103.5cm long (1)

£150-200

30

£50-80

170* Walking canes An Edwardian walking stick with lignum vitae bowling ball knop with ivory insert on an ebony shaft with metal ferrule, 91cm long, together with two further sticks including a 19th century stick with ivory knop inset with a pearl mounted on a rosewood shaft with copper collar and horn ferrule, 89cm long (3)

£80-120

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Lot 162

Lot 163

Lot 170

Lot 165

Lot 171

171* Walking stick An Art Nouveau style walking stick with silver top formed as a reclining nude, Birmingham 1997, with black ebony shaft and horn ferrule, 92cm long (1)

Lot 164

£100-150

Lot 166

Lot 172

172* Walking stick A late 20th-century rustic walking stick, with deer antler handle carved with a Gold Finch nestling within the antler signed ‘GL Morgan’ mounted on a hazelwood shaft with horn ferrule, 89.5cm long together with another stick carved with a parrot handle and hazelwood shaft, 91cm long G.L. Morgan was an Oxfordshire artist who specialised in birds.

(2) £80-120

31

Lot 167

Lot 168

Lot 173

173* Walking stick An unusual sawfish bill walking stick, probably late 19th century, with substantial horn handle and 18 teeth, 80cm long (1)

£70-100

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ORIENTAL WORKS OF ART

174* Wall sconce A French ormolu wall sconce, circa 1850, with two branches surmounted by a classical urn, 54.5cm high, together with another similar with two detachable drip pans, 43cm high (1)

£150-200

Lot 178 177* Bidri Ware A 19th-century Indian Bidri vase, of long slender form with brass inlaid decoration of vases and floral swags, on a flared foot, 27cm high, together with an 18th-century Chinese blue and white provincial vase, of baluster form decorated with boats, buildings and landscapes, old label to base inscribed ‘Bought in Cairo Feb 1924’, chips to base, 22cm high, plus a Tibetan silver and steel flint pouch, with red hardstone cabachon and embossed silver mounts, with cutter to base and leather carrying handle, 14cm wide (3)

£80-120

178* Blanc de Chine A group of four Chinese porcelain libation cups, early 20th century, moulded porcelain, each with all over blanc de chine white glaze, 7.5cm (3ins) high and smaller (4)

175* Wine Chateau Haut-brion 1959, one bottle of red Bordeaux, from Pessac-Leognan, Graves, glass embossed on shoulder, capsule intact, label good but slightly dust soiled, wine 3 cm below cork A great vintage; often described as 'the vintage of the century'. 1959 was an excellent growing year with a fine warm summer with rain in midSeptember which swelled the grapes. Previous cellaring unknown.

(1) £200-300

176* WVS Uniform A WWII-period uniform, circa 1940s, belonging to Mrs Julian Goodman (190689), overcoat of grey/green tweed with badge ‘W.V.S. Civil Defence. London’, together with a military great coat of heavy khaki wool cloth, belonging to 2nd Lt. V.M.R. Goodman MC, Coldstream Guards (later Sir Victor Goodman KCB 1899-1967), plus Page’s uniform of the Royal Horse Guards for William Goodman (age 7) at the wedding of his cousin Lt. Col. James Oliver, 1968, at the Guards Chapel Wellington Barracks (3)

£70-100

£150-200

179* Blanc de Chine A Chinese porcelain figure of Guanyin, late 19th or early 20th century, moulded porcelain figure with applied decoration, all-over blanc de chine white glaze, poseable hand glued, 41cm (16ins) high (1)

£200-300

Lot 179 180* Chinese Porcelain A Chinese pottery footed bowl with celadon glaze, probably early Ming Dynasty, 15th century, incised decoration celadon glaze, unglazed foot and base of interior (where stacked for firing), 15.5cm (6ins) diameter Provenance: from a private collection, Norfolk.

(1) £100-150

Lot 180

32

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Lot 183

Lot 181 181* Chinese Porcelain A Chinese pottery footed bowl with qinbai glaze, Southern Song dynasty, 13th century, all over qingbai glaze, unglazed rim, slightly ribbed, 18cm (7ins) diameter, together with three similar bowls (8)

£200-300

182* Chinese vase A late 19th-century famille noire vase, of baluster form with prunus blossom and and exotic birds on a black ground highlighted in green, 45.5cm high (1)

£150-200

183* Dishes A pair of 19th-century Chinese dishes, each formed with a large mother of pearl shell, white metal handle and butterfly mounts on three bamboo moulded feet, 26cm long (2)

184* Gaming counters A collection of eighty-two Chinese mother of pearl gaming counters, mid 19th century, each carved and pierced with birds and flowers, each with blank roundel, 63mm (2.5ins) and similar, together with a small quantity of ivory and bone counters, one or two stained

186* Gaming counters A collection of 19th-century Chinese mother-of-pearl gaming counters, various forms including fish, rectangular and oval, all finely engraved, approx.

5.5cm and smaller

(a small carton)

187* Kutani A pair of lidded hexagonal jars, mid to late 19th century, each with four panels decorated with birds and figures in gardens, signed to base, 26cm (10ins) high, together with a Kutani baluster vase decorated with two panels of fish and birds, signed to base, 30cm (12ins) high

£200-300

185* Gaming counters A collection of Chinese mother of pearl gaming counters, including many in the shape of fish, mid 19th century, carved and engraved decoration, including four elaborately carved as chrysanthemum, few with incised signature to verso, various sizes (a small carton)

(60)

(3)

£150-200

188 No lot

£300-500

Lot 182

Lot 186

Lot 187

33

£70-100

£150-200

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SILVER & JEWELLERY 189* Box A Victorian coromandel vanity box, inset with brass, enclosing part silver top bottles

by Thomas Johnson, London, 1862, various accessories, with lock stamped W.L. Buchars, London, 20cm high x 33cm wide x 24cm deep (1)

£70-100

191* Coins Two Edward VII gold 1/2 Sovereigns, 1907 & 1910 (2)

£160-180

192* Costume jewellery A mixed collections of items including an Art Nouveau leather purse with silver mounts by FS, Birmingham 1903, 13cm long, an agate cross with yellow metal mount, 3cm long, an Egyptian revival scarab pendant inset on a white metal mount, a Victorian silver bird brooch, 3.5cm long, four Art Nouveau silver buttons, Chinese jade pendant and mother of pearl gaming counters, pair of silverplated candlesticks etc. (a small carton)

190* Coffee pot A German silver coffee pot, with a hammered swirl finish, scroll handle on four scroll feet, stamped ‘835’, 19cm high, together with a German silver tray, circular with presentation inscription, stamped ‘925’, 21.5cm diameter, combined weight approx. 17oz (2)

£100-150

193* Dessert Spoons A set of 12 George III silver dessert spoons, each with scallop shell terminal, date marks for 1814 and 1815, approx. 10oz, together with 12 late 19th-century Continental silver teaspoons each with a rococo design, approx. 10oz (24)

£150-200

£150-200

194* Earrings A pair of modern 18ct gold yellow and white gold earring inset with diamond chippings, 3cm diameter, approx. 17g, together with a modern silver articulated fish pendant inset with red glass eyes on silver chain, approx. 27.5g (2)

£200-300

195* Entrée dish A Victorian silver entrée dish and cover by John Thomas Heath & John Hartshorne Middleton London 1892, the cover with a loop handle and radial decoration, the twin handle base with a beaded edge, 33.5cm long, weight approx. 35oz on a plated base with burner beneath (1)

Lot 193

£300-500

Lot 195

34

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196* Flatware A matched set of 24 George III and later silver King’s pattern table forks, various makers and years, 20cm long, together with 7 serving spoons, total weight approx.

95oz (24)

£800-1000

197* Frame A Boer War silver photograph frame by James Deakin & Sons, Chester, 1900, with panels of military figures, flags, weapons and shields, 22cm high x 16cm wide (1)

£80-120

198* Ink stand An Edwardian silver ink stand by Thomas Bradbury & Sons, London, 1907, the rectangular stand with gadrooned rim, twin handles encompassing two cut glass ink bottles with hinged silver covers, on four scroll feet, 21.5cm wide (1)

£100-150

199* Jensen (Georg, 1866-1935) A silver butter knife in the acorn pattern, stamped Georg Jensen Sterling Denmark, 15cm long (1)

£40-60

Lot 196

200* Mixed gold An 18ct gold signet ring, 9.5g, yellow metal ring, 4.2g, 9ct gold articulated fish pendant approx. 6.5g, 9ct gold chain 2.4g, 9ct gold dress ring approx. 2.4g, and three yellow metal bar brooches (8)

£200-300

Lot 198

35

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Lot 205 201* Mixed silver A French silver manicure set, circa 1900, by F. Veyrat, Paris, comprising two circular pots, nine accessories including nail buffer, all with rococo scroll decoration, in a purple velvet case, 27.5cm square (1 accessory missing), together with various silver and plate including Continental white metal coffee set, circa 1900, in black leather case, etc. (a small carton)

Lot 211 207* Mixed silver A heavy gauge silver cigarette box by Padgett & Braham Ltd, London 1937, the lid engraved with a heraldic lion, 11.5cm, together with four Eastern white metal bowls each inset with a coin, 6.5cm diameter plus a silver pepper grinder, by Adie Brothers, Birmingham 1938, 10cm high, and various white metal condiments plus plated ware

£70-100

(14)

202* Mixed silver A Victorian set of twelve dessert knives and forks by John Gammage, Birmingham 1864, each with mother of pearl grip and silver mount engraved with grape and vine decoration, knives 20.5cm long, together with a cased cheese set by Richard Martin & Ebenezer Hall, Sheffield 1883, comprising butter knife, fork and stilton scoop each with ivory grip engraved with heraldic crest, silver mounts plus a cased set of six coffee spoons, Birmingham 1921 (3)

£100-150

203* Mixed silver A set of six fruit spoons, by Searle & Co, London 1937, plain with round bowls, 14cm long, together with set of ten apostle teaspoons plus sifter spoon and sugar tongs by Mappin & Webb Ltd, Birmingham 1898, plus cased pepperettes, Birmingham 1906, plus Victorian King’s pattern mustard spoons and sugar tongs and other items, approx. 20oz (a small carton)

£100-150

208* Mixed silver A Victorian silver mug by Walter & John Barnard, London 1883, of baluster form with scroll handle, 9.5cm high, together with a Victorian silver beaker by George Unite, Birmingham 1871, plus a silver mustard pot (lacking liner), total weight approx. 15oz (3)

Lot 204 206* Mixed silver A George III silver helmet shape cream jug, maker’s mark rubbed, London 1787, 11.5cm high together with a pair of silver ladles by Charles Boynton & Sons, Sheffield 1937, 11.5cm long plus a pair of George III white metal sugar nips, total weight approx. 5oz (3)

£100-150

209* Photograph frame A George V silver photograph frame by Mappin & Webb, London 1911, of plain rectangular form with ribbon decoration, 25.5cm high x 18cm wide (1)

£50-80

£70-100

£100-150

204* Mixed silver A silver sugar caster by H. Philips, London 1938, with the Cheshire Regiment presentation inscription, 19cm high together with two Art Deco silver ashtrays, total weight approx. 10oz (3)

£80-100

205* Mixed silver A silver sauce boat by Tessiers Ltd, London 1938, with a hammered finish and scroll handle, 16cm long, together with a silver cup by Lowe & Sons, Chester 1937, 6cm high plus two small Armada dishes by Robert Comyns, London 1963, 10.5cm diameter and 8cm diameter, approx. 17oz (4)

£150-200

210* Russian silver A small Russian silver Kovsh or Kovshik, circa 1917, silver decorated with floral motifs in fine multi-coloured enamels set with gemstone cabochons, impressed marks to base, 98mm (3.9ins), approximately 93.5g Possibly the work of Ovchinnikov & Co who excelled in this type of work until the Revolution in 1917.

(1) £700-1000

36

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211* Sauce boats A matched pair of silver sauce boats by The Goldsmith & Silversmiths Company, Birmingham 1913 and London 1938, each with shaped rim, scroll handle and three cabriole supports, 16cm, total weight approx. 10oz (2)

£80-120

212 No lot 213* Soup ladle A George III silver soup ladle by James McKay, Edinburgh 1819, plain fiddle pattern form, 32cm long, approx. 5oz (1)

216* Teapot A pair of George III silver teapots by John Cope Folkland, London 1821, of squat form with stylised flower head finial and acanthus scroll handle engraved with family crest and ‘Bohea’, the other ‘Green’, 26cm long, approx. 40oz

£70-100

(2)

£400-600

214* Spoons A George II silver basting spoon, London 1734, engraved with a heraldic crest, 36cm long together with a George III fiddle pattern soup ladle, London 1785, engraved with a heraldic crest, 33cm long, combined weight approx. 12oz (2)

£120-180

217* Toast rack A Victorian silver 6-slice toast rack, maker’s mark worn, Sheffield 1851, with acanthus moulded handle and feet, 16cm long, approx.

9.5oz (1)

£80-120

215* Tea set A matched Continental silver 3-piece teaset, comprising teapot, milk jug and sugar bowl, wiith a swirl design on three scroll feet, teapot, 26.5cm high, stamped ‘835’, the others ‘925 Sterling’, total weight approx. 28oz

218* Tray A 1950s German silver tray, oval with presentation inscription and shaped edge, stamped ‘830’, 45.5cm wide, approx. 30oz

(1)

(1)

£200-300

37

£200-300

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Lot 219 219* Tray A 1930s German silver tray, square with leaf moulded handles and presentation inscription, stamped ‘925’, 32cm wide, approx. 30oz (1)

£200-300

Lot 220

FURNITURE 222* Armchairs A pair of Victorian spoon back armchairs, each with mahogany show frame, floral upholstery on cabriole supports, 104cm high (2)

£200-300

220* Vase An Edwardian silver vase by Daniel & John Welby, London 1907, of tall slender form with shaped rim, 27cm high, approx.

23.5oz (1)

Lot 221

223* Art Deco A 1920s oak grandmother type clock, the square brass dial with pierced Arabic numerals and hands, in a long oak case with four shelves beneath, 152cm high together with a chromed Art Deco standard lamp mounted on a square oak base with a frosted glass shade, 178cm overall (2)

£100-150

£200-300

221* Vase A Swedish silver trumpet vase by Guldsmeds Aktiebolaget Stockholm 1938, engraved with initials and dated 1938 amongst scrolls, gilt interior and swirl foot, 20cm high, approx. 18.5oz (1)

£200-300

224* Breakfast Table A Regency rosewood breakfast table, the circular top inlaid with brass on an acanthus pedestal base with splayed supports and brass castors, 71cm high x 125cm diameter (1)

£500-800

38

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225* Chair A Victorian carved oak armchair in the 17th-century style, with foliate scroll carving, finely carved arms on turned supports, upholstered in velvet with embroidered shield cartouche, 126cm high (1)

£100-150

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

£100-150

227* Collectors Chest A Victorian mahogany collectors chest, the two panelled doors enclosing on bracket supports, enclosing multiple drawers,109cm high x 80cm wide x 62cm deep (1)

£200-300

228* Longcase Clock A 19th-century longcase clock, the painted dial signed ‘J. Knight, Coggeshall’, black Arabic numerals, shell spandrels surmounted by a boy resting in a pastoral landscape 42 x 30cm, the oak case with fluted columns, single door enclosing pendulum, 199cm high (1)

£150-200

229* Penkill Castle A Victorian dressing table from Christina Rossetti’s Room, Penkill Castle, elaborately carved oak dressing table, composed of an occasional table with additions and embellishments, stained to match, including swing mirror within a shaped veneered frame, supported by large carved volutes, above a three drawer base, attached to a serpentine base with single full-length drawer, front with carved acanthus leaves, cabriole supports leading to hoof feet united by stretchers, some worm holes and repairs, one drawer containing a few ephemeral items relating to Penkill Castle, including a pencilled recipe for dark oak stain, an empty box for a powder prescribed to W.B. Scott, and an empty visiting card envelope printed ‘Miss Boyd, Penkill’, 183cm (72ins) high x 102.5cm (40.25ins) wide x 60cm (23.5ins) deep

Lot 229

Provenance: Penkill Castle, South Ayrshire, Scotland. Purchased by the current owner in the late 1970s. Believed to be the dressing table from Christina Rossetti’s Room, and said to have been assembled by William Bell Scott. Penkill was the home of Alice Boyd (1825-1897), 14th Laird of Penkill, and her lifelong companion Scottish artist William Bell Scott (1811-1890), and was frequented in the latter half of the nineteenth century by Pre-Raphaelite artists and writers such as Dante Gabriel Rossetti, William Morris, Lawrence Alma-Tadema, William Holman Hunt and Christina Rossetti. During this time the castle was a hive of artistic activity, with poems being penned, furnishings being collected, decorative schemes being devised and murals being painted. Many of the visits which took place are recorded by Scott’s inclusion of portraits of his friends in the most remarkable work of art at the castle, a huge mural covering the wall of the great circular staircase illustrating the medieval Scottish poem ‘The King’s Quair’. Christina first stayed at Penkill in 1866, and became a frequent visitor, always staying in the uppermost turret bedroom in the original tower, known as ‘The Windy Room’ or ‘Christina Rossetti’s Room’, the walls of which she painted with a mural of trees with falling autumn leaves. The room looks out onto the garden from a four-cornered window, where, it is said, Christina used to stand for hours, with her elbows on the sill and her hands supporting her face, lost in meditation. She wrote of Penkill: “Even Naples in imagination cannot efface the quiet fertile comeliness of Penkill in reality.”

(1) £800-1200

39

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230* Penkill Castle A spice cabinet from Penkill Castle, later 19th century, incorporating earlier components, oak cabinet, with veneered panelled door, with lock and key, interior with seven drawers around a central mirrored recess, painted decoration to drawer fronts and interior of recess (latter with painted trompe l’oeil drapes to sides and tiled floor), drawers with turned horn pendant pulls, one drawer containing some remains of gold leaf, an embroidered needlecase, and a tiny hand-stitched silk pin cushion, 38.5 x 42.5 x 23cm (15.25 x 16.75 x 9ins) Provenance: from Penkill Castle. Penkill was the home of Alice Boyd and Scottish artist William Bell Scott, and was frequented by PreRaphaelite artists and writers, such as Dante Gabriel Rossetti, William Morris and Christina Rossetti.

(1) £400-600

231* Table A Regency mahogany tilt-top breakfast table, the rectangular top with rounded corners and rosewood crossbanding on square tapered pedestal on quatrefoil base with line inlay and four curved supports, 70cm high x 96cm deep (1)

Lot 230

Lot 231

40

£100-150

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MUSICAL & MECHANICAL INSTRUMENTS

Lot 236

Lot 237

Lot 238

232* Amplifier Various electric amplifiers, comprising Marshall 100 watt lead guitar amplifier, Craft Cruzer 10 watt, Kustom 25 watt plus White Horse 80 watt base amplifier together a microphone stand and two hand drums each in a soft carrying case

236* Banjo A post WWII German made 4-string banjo probably by Ludwig, segmented construction, rosewood neck inlaid with mother of pearl and composite adjustment screws, overall length 84.5cm, in its hard case

(7)

(1)

£100-150

£150-200

233* Banjo mandolin A Windsor Z 8-string banjo mandolin No2, rosewood construction, the neck inlaid with mother of pearl, 54cm long in a case together with a Lorenzo mandolin plus a Barnet Samuel Dulcetta banjo ukulele

237* Banjo An Alabama Blue Grass 5-string banjo, rosewood construction with clear skin, the neck inlaid with mother of pearl and faux mother of pearl adjustment screws, overall length 97cm in a hard case

(3)

(1)

£80-120

£100-150

234* Banjo A John Grey & Son tenor 4-string banjo, with rosewood and ebony neck inlaid with mother of pearl, overall length 74cm long in its faux crocodile case with original trade label to inner lid

238* Banjo An American G Lange 5-string banjo, mahogany construction with carved neck with simulated ivory finish, the neck inlaid with mother of pearl, overall length 96cm (restored condition), in a hard case

Built by Houghton, Birmingham for John Grey & Sons.

(1) £70-100

(1)

235* Banjo A Georg P Matthew G 5-string banjo, rosewood construction with bone adjustment screws, the neck inlaid with mother of pearl with ivorene manufacturer’s plaque, overall length 90.5cm long, together with a Windsor Eclipse Model 11 5-string banjo, mahogany construction with ivorene adjustment screws, the neck stamped ‘The Windsor Eclipse Model 11’ and inlaid with mother of pearl, overall length 89.5cm, both with case (2)

£80-120

£150-200

239* Banjo A Windsor Whirle Ambassador Supremus 5-string G banjo, rosewood construction, stamped ‘Ambassador Supremus’ with manufacturer’s plaque beneath, the neck inlaid with mother of pearl and ivorene adjustment screws, overall length 94.5cm, in a hard case, together with an American Esor A Banray 5-string banjo, the neck inlaid with mother of pearl and ebony adjustment screws, with Patent number for 4 January 1887, overall length 86cm (2)

£80-120

41

Lot 242 240* Banjo A Windsor 5-string G banjo, ebonised construction with foliate transfers, the neck inlaid with mother of pearl and bone adjustment screws, overall length 94cm, together with a Windsor (Popular) Model 6 banjo (lacking strings), walnut construction with manufacturers plaque, the neck inlaid with mother of pearl, overall length 95cm, both in leather case (2)

£80-120

241* Banjo A Sunray G banjo, rosewood and pierced brass construction the back with an engine turned design, the neck with mother of pearl, overall length 90cm, in carrying case (1)

£70-100

242* Banjo A Windsor Short Scale G banjo, rosewood construction with metal machine head plates, the neck inlaid with mother of pearl, overall length 76cm, in a carrying case (1)

£100-150

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Lot 243

Lot 244

243* Banjo A Windsor New No3 4-string banjo, rosewood construction with manufacturer’s plaque, the neck inlaid with mother of pearl with ivory adjustment screws, overall length 94cm together with a Windsor Ideal No9 5-string banjo, walnut construction with manufacturer’s plate and closed rim, the neck inlaid with mother of pearl and ivorene adjustment screws, overall length 90cm (2)

£80-120

244* Banjo An American Washburn Style C 4-string banjo, maple construction, stamped No 1419, rosewood neck inlaid with mother of pearl, overall length 76cm (1)

Lot 250

247* Banjo The Windsor ‘Popular’ 5-string banjo, the rosewood neck inlaid with mother of pearl, stamped ‘The Windsor Popular Model 3’, 90cm overall in a canvas bag, together with a John Grey & Sons Ltd (Dulcetta) G banjo (lacking strings), 94cm overall (2)

£80-120

248* Banjo An American John Henry Buckbee fretless 7-string banjo, with rosewood neck inlaid with ivorene, stamped ‘Guaranteed Ame Rigan by S. Wallis & Sons J.H.B. 738’, 90cm long (in restored condition) John Henry Buckbee, New York was in business from 1861-1897.

(1) £80-120

£100-150

245* Banjo A William Temlett G 5-string banjo, rosewood construction, the neck inlaid with mother of pearl, serial no. 2897, 95cm overall, together with a Tanglewood 6string banjo, 89cm overall William Temlett, London was in business from 1846-1903.

(2) £80-120

246* Banjo An Eric Beharrell 17 fret 4-string tenor banjo, rosewood construction, the neck inlaid with mother of pearl, brass plate engraved ‘Hand Built EB27 England’, 78cm overall, together with an Essex & Cammeyer 5-string banjo, 92cm overall (2)

Lot 248

249* Banjo A Windsor Ideal Model 9 5-string banjo, walnut construction, the neck inlaid with rosewood and stamped ‘The Windsor Ideal Model 9’, with manufacturer’s plaque, 90cm overall in a tooled leather case, together with a Windsor Eclipse Model 11 5-string banjo, 88cm overall, in a hard case (2)

£80-120

250* Banjo A Windsor Pioneer No 2 RN 5-string banjo, ebonised construction, the rosewood neck inlaid with mother of pearl with engraved manufacturers plate, bone adjustment screws, 97cm long, in original leather case (1)

£100-150

£80-120

42

251* Banjo A Windsor G 5-string banjo, No 2464 SN with metal machine plates, fruitwood construction, the neck inlaid with mother of pearl and metal adjustment screws, 90cm overall together with a similar Windsor G banjo, No48, 90cm overall, both with case (2)

£100-150

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Lot 252

Lot 253

252* Banjo A Windsor Popular No1 5-string banjo, nickel plated construction, the rosewood neck inlaid with mother of pearl stamped ‘The Windsor Popular Model 1’, invorene adjustment screws, 93cm overall, together with a Windsor Z No4 banjo mandolin, rosewood construction, the neck inlaid with mother of pearl, ivorene adjustment screws, 59cm overall, both with case (restored condition) (2)

256* Banjo A single string banjo, stained pine with mother of pearl inlay and ebonised adjustment screw, 80cm overall (1)

£70-100

257* Forty-two Edison Amberol Four Minute Cylinders, all in original boxes, some with lids missing, but all appearing to be in good, playable condition

Lot 256

259* Edison Red Gem Phonograph Housed in an oak plywood case with a serial number of 315614D, circa 1908, in fine condition, with original red enamel and gilt lining, offered with a demountable red enamel horn with threaded connecting centre, and support (3)

£120-180

258* Twenty-three Edison Gold Moulded Cylinders, suitable for Gem Two Minute Machines, all in original boxes, with lids, and all appearing to be in good, playable condition

260* Edison Gem Phonograph Housed in an oak plywood case with a serial number of G133968, circa 1910, with black enamel and gilt lining, turned wooden handle missing from removable crank, otherwise in good condition, with a George King of Hull retailer’s plate, with a reproduction horn

(23)

(2)

(42)

£120-180

£100-150

253* Banjo A Windsor Premier Model 3 4-string banjo, nickel plated construction the rosewood neck inlaid with mother of pearl, metal adjustment screws, 93cm overall, in a case (1)

Lot 254

£80-120

£80-120

£80-120

254* Banjo A Windsor Popular SN No1/12 4-string banjo, nickel plated construction, the rosewood neck inlaid with mother of pearl, 93cm overall in a case

261* Edison Gem Phonograph Housed in an oak plywood case with a serial number of 223503, circa 1908, with black enamel and gilt lining, with correct crank handle and reproducer, and a reproduction horn

(1)

(2)

£80-120

255* Banjo A Starsun 4-string banjo, aluminium construction decorated with musical notes, the rosewood grip inlaid with mother of pearl, 68cm overall, together with a Dixie Slingerland Velum plus a Windsor Whirle ukulele banjo (3)

£80-120

262* Edison Gem Phonograph Housed in an oak plywood case with a serial number of 301864C, circa 1910, with black enamel and gilt lining, with correct crank handle, reproducer, horn and support (3)

£80-120

Lot 259

43

£120-180

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263* An Edison Standard Phonograph, with serial number 689100C, in a stained oak case with black enamel and gilt finish, and a reproduction horn (2)

£80-120

267* An Edison Ediphone Cylinder Shaving Machine, housed in a green enamelled casing, mounted on a stand with castor wheels, height 35 ins (1)

264* An Edison floor-standing Dictaphone 140 Volt Shaving Machine, with cable, housed in a stained oak case, 29ins high, 16 ins wide (1)

£100-200

265* An Edison Ediphone Dictaphone and Shaving Machine, 140 Volt, with cable, mounted in a steel frame with castor wheels and including nine Dictaphone cylinders (1)

£100-200

£80-120

271* An Edison Ediphone Cylinder Shaving Machine, housed in a black enamelled casing, on a stand with four castors, together with a complementary Dictation Machine of similar build and period, for restoration (2)

268* An Edison Ediphone Cylinder Shaving Machine, housed in a black enamelled casing, mounted on a stand with castor wheels, height 32 ins (1)

£80-120

272* Twenty-five Gem Phonograph Two Minute Cylinders (assorted makes), all in original boxes, with lids, and all appearing to be in good, playable condition (25)

269* An Edison Ediphone Cylinder Shaving Machine, housed in a black enamelled casing, mounted on a stand with castor wheels, height 32 ins (1)

£80-120

£80-120

273* Two Gramophone Horns (2)

£40-60

£80-120

270* An Edison table-top Dictaphone Recording Machine, 140 Volts, with mouthpiece and controls, together with two cylinder carriers with cylinders, and foot control with cable (3)

£100-150

274* Gramophone Needles.

A good collection of transfer-printed needle tins, packets and containers, many unopened, most in excellent condition, to include a pyramid example etc., housed in six boxes (approx. 130)

£150-200

275* Eight Gramophone Reproducers, to include examples for Songster and Sackville (8)

£40-60

276* A Columbia Free-Standing Gramophone, 1930s, with winding handle and felted record turntable, with controlled sound vents, standing on a complementary floorstanding cabinet, total height 49 ins (1)

266* An Edison Dictaphone in a black enamelled case, mounted on a stand with castor wheels, and including a reproducer, headphone, six mounted cylinders, and with a further six cylinders in a hand-held carrier, Serial Number 54151, height 33ins (2)

£80-120

277* An H.M.V. Free-Standing Gramophone, 1930s, with replaced motor and no winding handle, height 34 ins (1)

£100-200

£80-120

278* An H.M.V. Table-Top Gramophone in playing condition Lot 271

44

(1)

£80-120

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281* Guitar A collection of acoustic guitars, comprising Encore, Elevation Model W-560/N, Resonata, Jose Ferrer El Primo and Terada No1200 (5)

£100-150

282* Guitar A Harmony acoustic guitar, with original trade label, Model No. H68508, 105cm overall in a hard case, together with a Westfield acoustic guitar, Model No. B200L, finished in green, 104cm overall, a Liberty guitar, Model No. EA-405 WBS plus a Hohner acoustic guitar, Model MC-05 in hard case (4)

£100-150

283* M. Hohner’s Chromatica Harmonica No. 261, made in Germany, introduced in 1910, housed in its original cloth-covered box (1)

279* Guitar A 1960s Hofner Congress guitar, with original trade label serial no. 13316, two piece back , the rosewood neck inlaid with mother of pearl, composite adjustment screws, 105cm overall, in a hard case (1)

£100-150

£50-80

284* M. Hohner’s Polyphonia Harmonica No. 6, made in Germany, circa 1910, housed in its original cloth-covered box (1)

£50-80

285* M. Hohner’s Vineta No. 4 Chord Harmonica, ‘F’, ‘C’ and ‘G’, made in Germany, circa 1910, housed in its original cloth-covered box (1)

Lot 276

280* Guitar A Tanglewood TMO 7 CAE Delux electro acoustic guitar, with Parametric Equalizer, and original trade label, 104cm overall, together with a ‘Kay’ synthesiser electric guitar, the rosewood neck inlaid with mother of pearl, 100cm overall, in a hard case (2)

Lot 280

£50-80

286* M. Hohner’s Trutone ‘G’, ‘D’, ‘A’, ‘E’ Harmonica, made in Germany, pre-1910, for tuning a four-string tenor banjo (1)

£50-80

£100-150

Lot 281

45

Lot 282

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292* Four Cylinder Shaving and Dictation Machines, in various conditions, together with six boxed cylinders in a carrier, and a further six in a tray (6)

287* Melodian A collection of melodians, comprising Hohner single row with 3 stops, a post WWII German Melodian, an Empress Melodian single row with 3 stops, a Ludwig melodian with 4 stops plus an unknown single row and 2 stops (5)

£150-200

£80-120

293* Fifteen boxed Two Minute Cylinders, to include a blank cylinder, together with a rare Pink Lambert Cylinder (16)

£150-200

294* Ukulele A Eric Beharrell 4-string ukulele, maple construction, the neck inlaid with mother of pearl, 57cm overall, together with a Rose Morris & Co Ltd Savana 4-string banjo ukulele, maple construction with finely engraved back plate, the neck inlaid with mother of pearl, 60cm overall (in restored condition), both in hard case

296* Ukulele A collection of instruments, comprising buskers ukulele banjo, dragon fly Soprano and four others (5)

£100-150

297* Zither banjo A Windsor Artiste Model 5-string zither banjo, rosewood construction inlaid with mother of pearl, the neck stamped ‘The Windsor Artiste Model 3’, with manufacturer’s plaque to the rear, overall length 96cm, together with a Barnes & Mullins banjo (lacking strings), overall length 95cm

Rose Morris & Co Ltd in business circa 1923.

(2) £80-120

(2)

£80-120

295* Ukulele A collection of ukuleles comprising 4string Sunray, rosewood and brass construction with engine turn back plate, the neck inlaid with mother of pearl, 54c, overall, plus a Jetel No5, John Grey & Sons and Windsor Whirle, each in hard case

298* Zither banjolin A Windsor zither 8-string banjolin Artiste No1, rosewood construction, the neck inlaid with mother of pearl, ebony adjustment screws, 60cm long in its faux crocodile case

288* Orpheum An American 5-string G Orpheum No.1. by Rettburg & Lange (1897-1922), with birds eye maple neck inlaid with mother of pearl and ivorene adjustment screws, overall length 93cm (in restored condition) (1)

£150-200

289* A box of assorted spares and fittings for phonographs and gramophones (a carton)

£40-60

290* A Columbia (New Process, No Scratch) Record Cleaner with a copper finish (1)

£40-60

291* Ten Assorted Reproducers in their delivery boxes, to include examples for Goldring, Songster and H.M.V. (10)

(4)

£150-200

£100-150

46

(1)

£100-150

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OIL PAINTINGS & WATERCOLOURS

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18TH & 19TH CENTURY TRADITIONAL WATERCOLOURS To commence at approximately 2pm

301 Watercolour Album Album Choisi [so titled to cover], circa 1835-70, containing handcoloured decorative title, and approximately 50 original watercolours and drawings, including 20 watercolour views of Oxford, Malvern 1835, Alderley Rectory 1840, Tewkesbury Abbey, The Wynde Cliff 1841, Sedgley 1840 (all apparently by the same hand, and several initialled CG), Laleham Middlesex, Bloxham 1840, several views of the Thames at Eton, Windsor, Virginia Water, etc., 20 mostly pencil drawings including some pen & ink, including one of Broad Street, Oxford by Delamotte, 1834, A Mill near Barnstaple, River Iffley, near Oxford, by Sarah Golden, etc., 12 mostly fine botanical and bird studies by Sophia Parker, Sarah Golden and Ann Patteson, including one leaf of four fine watercolour studies of butterflies, etc., mounted, some loose (on album leaves, watermarked Whatman 1832), all edges gilt, contemporary gilt-decorated plum full morocco, rubbed and scuffed, 4to (267 x 215mm, 10.5 x 8.5ins)

Lot 302

Provenance: Likely to have belonged to Sarah Parker, daughter of John Parker of Oxford, who married John Golden, of Lincoln’s Inn in April 1824 (the marriage listed in Gentlemen’s Magazine Volume 94, Part 1).

(1) £200-400

302*AR Brockbank (Albert Ernest, 1862-1958) Market town with figures, watercolour on paper, signed lower right, 39 x 29cm (15.25 x 11.5ins) mount aperture, framed and glazed (1)

303* Buchanan (William Cross) A band of armed men in Mexico, 1869, watercolour and graphite, signed in pencil by artist to lower right, titled ‘Mexico 1869’ to lower left, 19 x 29cm (7.5 x 11.5 in), mounted, framed and glazed

£70-100

(1)

48

£200-300

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304* Carridrelli (U., 20th century) Arezzo, 1910, panoramic watercolour, signed, inscribed and dated lower right, 20 x 53cm (8 x 21ins), framed and glazed (1)

£50-80

307* Cruikshank (William, 19th century) A pair of oval still lifes of birds’ nests and primrose against a mossy bank, 1852-53, watercolour on paper, initialled and dated, 23 x 28cm (9 x 11ins), framed and glazed (2)

£200-300

305* Collingwood (William Gershom, 1854-1932) Landscape watercolour, mountain scene, possibly the Alps, signed with initials lower right, 14 x 18.5 cm (5.5 x 7.25 in), mounted, framed and glazed (1)

£150-200

308 Dawson (Alfred, 1843-1931) An album of watercolour views, 1874/5, twenty-five watercolours, mostly to rectos, but one or two on versos, and a few pencil sketches, some titled, dated, and signed or monogrammed, including ‘Dartmouth’, ‘Teignmouth’, ‘Nr. Shaldon’, ‘Moonlight Dawlish’, ‘Berry Pomeroy [Castle]’, ‘Bolt Head’, ‘At Salcombe’, ‘Heene near Worthing’, ‘Brickyard at Arundel’, and ‘Sea at Dartmouth’ with anotations by the artist regarding colour, composition, and form of the wave, album leaves 17.5 x 25cm (7 x 9.75ins), biro inscription on front pastedown, stitching partially broken, original cloth, with crude adhesive tape repair to spine, edges rubbed, oblong 8vo Alfred Dawson was taught to paint by his father, a marine and landscape artist, eventually establishing himself as a successful etcher and landscape artist in Chertsey, Surrey. He exhibited regularly at the Royal Academy between 1860 and 1889, as well as at the Suffolk Street Gallery and the Royal Institute of Oil Painters. In addition to his career as a landscape painter he produced illustrations for a number of books, including ‘A Royal Warren, or Picturesque Rambles in the Isle of Purbeck’ and ‘A History of Dorset’. In later life he was frequently commissioned to produce etchings for ‘The Portfolio’.

(1) £300-500

306* Continental School Salzburg, 19th century, pen and brown ink with wash, heightened with bodycolour, inscribed lower left, 22 x 31cm (8.75 x 12ins), framed and glazed (1)

£100-150

49

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309* De Simone (Antonio, 1851-1907) British destroyer in heavy sea, 1891, watercolour heightened with body colour, signed and dated to lower right, 27.5 x 43cm (10.75 x 17ins), mounted, framed and glazed (1)

£400-600

310* Dowson (Russell 1841 - 1914) Fuji Sama from the Plains of Heaven, watercolour, 25.5 x 35.5cm (10 x 14 in) with two other similar watercolours of Mount Fuji various sizes

311* Dowson (Russell 1841 - 1914) Point du Garillon, Cap d’Antibes, watercolour, 28 x 37.5cm (11 x 14.75 in) with another similar of a French provincial town

Russell Dowson was a Landscape and coastal painter who exhibited at the Fine Art Society, The Royal Insitute for Painters in Watercolours, Royal Birmingham Society of Artists and exhibited at the Royal Academy between 1883 and 1896. This collection of watercolours which cover the Iberian peninsula, the Mediterranean, Suez and the Gulf, the Far East, Japan and the Indian ocean were compiled on a world cruise taken by Dowson between 1874 and 1876.

(3) £200-300

Russell Dowson was a Landscape and coastal painter who exhibited at the Fine Art Society, The Royal Insitute for Painters in Watercolours, Royal Birmingham Society of Artists and exhibited at the Royal Academy between 1883 and 1896. This collection of watercolours which cover the Iberian peninsula, the Mediterranean, Suez and the Gulf, the Far East, Japan and the Indian ocean were compiled on a world cruise taken by Dowson between 1874 and 1876.

(2) £200-300

50

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312* Dowson (Russell 1841 - 1914) A collection of thirty-eight watercolours (on thirty-four sheets of card), watercolours of coastal seascapes of Spian, Malta, Suez, Ceylon, India, Indonesia and Japan, including two portraits of Japanese natives, various sizes and condition Russell Dowson was a Landscape and coastal painter who exhibited at the Fine Art Society, The Royal Insitute for Painters in Watercolours, Royal Birmingham Society of Artists and exhibited at the Royal Academy between 1883 and 1896. This collection of watercolours which cover the Iberian peninsula, the Mediterranean, Suez and the Gulf, the Far East, Japan and the Indian ocean were compiled on a world cruise taken by Dowson between 1874 and 1876.

(38) £300-500

313* Dowson (Russell 1841 - 1914 & others) A mixed collection of thirty-eight watercolours and pencil drawings, watercolours and pencil drawings of cooastal scenery, topographical views and bucolic scenes, various sizes and condition Russell Dowson was a Landscape and coastal painter who exhibited at the Fine Art Society, The Royal Insitute for Painters in Watercolours, Royal Birmingham Society of Artists and exhibited at the Royal Academy between 1883 and 1896. This collection of watercolours which cover the Iberian peninsula, the Mediterranean, Suez and the Gulf, the Far East, Japan and the Indian ocean were compiled on a world cruise taken by Dowson between 1874 and 1876. This collection also contains drawings by Anna Enfield (who married one of the numerous Dowson family).

(38) £100-200

314* Eldridge (Mildred Elsie, 1909-1991) A collection of watercolours, mainly natural history subjects, including birds, flowers and butterflies, ten watercolours on various papers, mostly signed and some captioned in pencil to lower edge, various sizes, 25 x 21cm (10 x 8.25ins) and similar, some mounted, two framed and glazed, together with a scraper board of a monkey, captioned “Samba” to verso, 22 x 14cm (8.75 x 5.5ins) (11)

£100-150

315* English school Three children playing, mid 19th century, watercolour study of three children standing in a garden, 28 x 25cm (11 x 10cm), in a contemporary maple frame, together with, Weigall (Charles Harvey 1791 - 1877 attributed), The Wood Brothers, mid 19th century, watercolour of two children with a rocking horse, 27 x 22cm (10.5 x 8.5 in), mounted (2)

Lot 315

£200-300

51

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317* English School The Brenner Pass, early 19th century, watercolour on paper, 27 x 19cm (10.5 x 7.5ins) mount aperture, framed and glazed (1)

£100-150

316* 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 to verso (1)

£300-500

318* English School Brunneghorn, 19th century, watercolour on paper, 35 x 50.5cm (13.75 x 20ins), framed and glazed (1)

£50-80

319* English School Picturesque river landscape, circa 1780s, watercolour on laid paper, showing a river with sailing boats, with houses by the riverside, and rocky cliff on the left surmounted by a weather vane, 380 x 540mm (15 x 21.25ins), framed and glazed Provenance: Private collection, London. Possibly part of the North family collection at Wroxton Abbey, Oxfordshire.

(1) £300-500

Lot 317

52

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322* Gastineau (Henry, 1791-1876) Lucerne, watercolour on paper, several repaired creases or small tears and slight loss to sky, 39 x 64cm (15 x 25ins), framed and glazed

320* French School Chateau de Chillon, chanté par Lord Byron, 1888, pencil on grey paper, heightened with bodycolour, minor spotting, 13 x 20cm (5 x 8ins) mount aperture, framed and glazed (1)

(1)

£100-150

£150-200

323* Gianni (Maria, 20th century) Sorrento and Amalfi, watercolour and gouache on artist’s board, signed lower left, 30 x 47cm (12 x 18.5ins), tippedinto mount, together with three other similar works by the same hand, one framed and glazed (4)

324* Gianni (Michele, late 19th/early 20th century) The Bay of Naples, watercolour and gouache, showing figures on a path overlooking the Bay of Naples, with Vesuvius erupting in the background, signed lower left, 29.5 x 47.5cm (11.5 x 18.75ins), mounted, framed and glazed

321* Attributed to George Frost (1754-1821) Wooded Hillside with Sheep Grazing, black chalk on paper, sheet size 213 x 203mm (8.4 x 8ins), framed and glazed (1)

£70-100

(1)

£100-150

53

£200-300

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325* Goff (Frederick Edward Joseph) Thames below Erith, circa 1880, watercolour, signed and titled by artist in lower right, 18.5 x 26cm (7.25 x 10.25ins), mounted, framed and glazed

327 Hawksworth (William Thomas Martin, 1853-1935) Sketchbook containing various views in Salisbury and surrounding areas, circa 1890s, containing 34 various landscape studies and sketches, many pen & brown ink, some pencil, and several watercolour views, Charles Roberson publisher's label to front pastedown, original slate orange cloth contained in later drop-over book box, 140 x 107mm (5.5 x 4.25ins)

With a dealer’s (David James, Brompton Road, London) letter of provenance to verso of frame.

(1) £300-500

(1)

326* Goodall (John Strickland, 1908-1996) The Question, watercolour heightened with bodycolour, showing a courting couple seated on a wooden bench under a tree in a meadow, signed lower left, 19 x 14cm (7.5 x 5.5ins), mounted, framed and glazed (1)

£150-200

£200-300

328* Hayes (Michael Angelo, 1820-1877) The Sixth Dragoons on the march and taking refreshment, 1839/40, a pair of watercolours on thick paper, heightened with white body colour and gum arabic, each signed with artist’s monogram, dated, and with the address No 34 Westmoreland Str. Dublin, lower right, 222 x 315mm (8.75 x 12.4ins), old walnut veneer frames, glazed (2)

£700-1000

54

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Lot 329

Lot 332

329* French School Rifle practice, circa 1900, graphite and watercolour, indistinctly signed to lower left, 28 x 58 cm (11 x 23 in), mounted, framed and glazed

332* Italian School Italian peasant, circa 1850, watercolour, indistinct signature to lower right, part label on verso of frame ‘Caliabrian A.Buzzi’?, 39 x 29cm (15.5 x 11.5 in), mounted, framed and glazed

(1)

(1)

£100-150

330* Holland (Philip, 19th century) ‘Two Finches’, watercolour on paper, signed in initials lower right, 24 x 17cm (9.5 x 6.75ins) mount aperture, hand-written label to verso with title and artist name and address, framed and glazed (1)

£150-200

333* Knell (William Adolphus, 1805-1875) Yarmouth beach, watercolour, signed ‘WK’ in pencil to lower left, 13 x 18cm (5 x 7 in), mounted, framed and glazed (1)

£80-120

£100-150

Lot 333 331* Inman (Roger, 20th century) Fisherman on the banks of a river, North Yorkshire, 1989, pastel on paper, signed and dated lower right, 42 x 61 cm (16.5 x 24 ins), mounted, framed and glazed (1)

£200-300

55

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Lot 334

Lot 335

333* Attributed to Edward Lear (1812-1888) Tivoli, 24th October 1839, pencil and watercolour on paper, unsigned, but inscribed in pencil with location and date lower right, light overall toning, sheet size 235 x 400mm (9.25 x 15.75ins), laid down on modern backing card, window-mounted

336* MacGaw (John Thorburn, 1872-1952) Storm clouds over Lake Annecy, watercolour on paper, 38 x 54cm (15 x 21ins), framed and glazed Purchased by the vendor as part of a portfolio of works including many signed.

(1) £70-100

In May 1839, Lear left Rome, obstenibly destined for Florence, but first headed east to Tivoli and nearby Arcinazzo and Civitella di Subiaco (where he stayed until mid-October). The pencil inscription bears comparison with examples of Lear’s handwriting.

(1) £600-800

335* Lewis (Lennard, 1826-1913) Quay de Paris, Rouen & Continental Canal Scene, 1902-03, a pair of watercolours, each signed and dated lower left, 26 x 17cm (10 x 6.75ins) mount aperture, wide gilt mounts, framed and glazed (2)

£100-150

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

Lot 336

56

£400-600

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338* Marrable (Madeline Frances Jane (1834-1916)) ‘Among the Alps’, 1873, watercolour, signed in monogram lower right, 44 x 74.5cm (17.25 x 29.25ins) mount aperture, framed and glazed (1)

341 Morrell (Lady Harriette, 1843-1924) A collection of eleven sketchbooks, containing numerous pencil drawings and watercolours, many annotated and dated, one book full of sketched patterns and designs taken from textiles, architecture, and china, etc. (one inscribed 'Philip thinks this hideous'), the others containing a variety of subjects: portraits, landscapes, flower studies, street scenes, figure and animal studies, Continental scenes (one album entitled 'Rome 1912'), e.g. 'Old woman at Bruges', 'Ewelme, Almhouse', 'S. Michael's Mount', 'H.S.J. Morrell', 'The Ferry - Walberswick. Sep.19.1891.', 'Street in S. Maurice, Vallais Aug 23 1896', most volumes with Harriette's ownership at front (one inscribed by her 'a book of things & places I shall never see again '), together with a scrapbook containing bookplates (including one designed by Walter Crane) and a few sketches relating to embroidery, with Harriette's bookplate on front pastedown, various bindings (two incorporating a paint palette), oblong 8vo

£300-500

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

Harriette Anne, a keen and accomplished artist and needlewoman, was the daughter of the Reverend Philip Wynter, President of St John's College, Oxford and Vice-Chancellor of the University of Oxford. She married Frederick Parker Morrell, and they lived at Black Hall, St. Giles, Oxford. Their second son Philip Edward Morrell married Ottoline Violet Anne CavendishBentinck in 1902. A memorial exhibition of Harriette's needlework and painting was held at Black Hall the year after her death, from 2nd to 14th February, 1925, for which Blackwell's published a catalogue entitled 'Harriette Anne Morrell. Born 26th March 1843, died 9th November 1924: A description by herself of some of her needlework and painting, edited by her son'. Her painted screen (lot 487) formed part of the exhibition.

(12) £300-500

339* McKinley (S.) Seville & Cordova, together 2 watercolours on paper, each signed lower left, each approximately 35 x 24.5cm (13.75 x 9.5isn), mounted, framed and glazed (2)

£200-300

340* Mildmay (Caroline St John, 1834-1894) Scottish boy with dog, pen and brown ink on paper, signed lower right, together with other early 19th-century drawings, including one grisaille wash scene, two large black chalk and watercolour portraits of a young boy and young woman with clasped hands, a pair of Regency figure scenes of a fashionable young lady leaving a house, and another of a young woman sketching, pen, ink and brown wash, heightened with white body colour, with overall varnish, etc.

(8)

342 Oxford Sketchbook of drawings, twenty-four watercolours and pencil drawings of Broughton, Adderbury, Shipton-on-Cherwell, Shotover and Holywell, together with two early photographs, loose in contemporary boards with the upper board having a pencil drawing of St Mary Magdalen Church in Oxford, album size 19 x 26cm (7.5 x 10.35ins)

£200-300

(1)

57

£200-300

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343*AR Palmer (John, 19th-c.)

A Chaffinch’s Nest, fine watercolour heightened with bodycolour, signed lower right, 24.5 x 34cm (9.5 x 13.5ins), gilt frame, glazed with original handwritten label to verso, with the title, artist’s name, and address of 12 Middleton Road, Camden Road [London] and a price of 11 Guineas (label chipped with some loss) (1)

£500-700

345*AR Rosenkrantz (Arild, 1870-1964) Adoration, pastel, showing a standing male figure in a blue tunic with arms outstretched in worship before an elevated cross transfigured by light, with a lantern on the ground beside, signed lower right, 63.5 x 45.5cm (25 x 18ins), original architectural gilt frame (slight loss to upper right), with Horner Galleries, Sheffield, label on verso Baron Arild Rosenkrantz was a Danish painter, sculptor, stained glass artist and illustrator, who studied in Rome and Paris, and spent much of his working life in England. He was influenced by the Pre-Raphaelites, in particular Edward Burne-Jones, and also by William Blake, Turner and Monet. In 1894 and 1895 he travelled to New York where he started working with stained glass, carrying out work for The Decorative Stained Glass Company and Tiffany. In England he showed work in the final exhibitions of the New Gallery, the favoured gallery of Burne-Jones and his followers in the 1890s, which closed in 1909. He had many commissions, including twelve large panels for the ceiling in the dining room at Claridges Hotel in London. He made stained glass windows and bronze sculptures for a number of English churches, houses and castles, and also established himself as a portrait painter, as well as a book illustrator. Arild Rosenkrantz was a spiritual seeker throughout his life, meeting Rudolf Steiner in 1912, founder of the philosophy of anthroposophy, the connection of the human understanding with the spiritual world. This painting, in both technique and subject matter, is typical of the deeply emotive and otherworldly quality of his work.

(1) £300-500

344* Rogers (Jane Masters, fl. 1847-70, circa 1823-1909) Portrait of a young woman in a white dress, 1855, pastel and pencil on dark buff paper, half-length, seated, signed and dated ‘J.M. Rogers, London, 1855’ lower left, 66 x 51cm (26 x 20ins), framed and glazed Jane Masters Macdonald (circa 1823-1909) was born into a family of artists from Cork. Her father was James McDaniel/Macdonald (circa 1789-1865) and her brother Daniel Macdonald (1820-1853), who painted the only known painting of the Great Famine. The earliest records for Jane’s works shown at the Cork Art Institute is 1841. She married William Richard Rogers and at some point moved to London. She worked as a portrait painter, exhibiting 16 works at the Royal Academy (including one in 1855 which may have been this painting), and others at the British Institute and Suffolk Street Gallery.

A similar portrait of a woman in a blue dress from 1863 is held in the collection of the Geffrye Museum, London.

(1) £200-300

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348* Sidney (Thomas, active 1900-1930) Lantern Hill, Ilfracombe, watercolour on paper, signed and captioned lower left, 24 x 67cm (9.5 x 26.3ins), framed and glazed (1)

£100-150

346* Rowbotham (Thomas Charles Leeson, 1823-1875) The Aiguille de Dru from near the Montanverc, watercolour heightened with body colour, signed lower left, 26 x 18 cm (10.25 x 7 ins), mounted, framed and glazed (1)

£150-200

349* Skelton (Joseph, 1783-1871) View of Balliol College, Oxford, circa 1820-30, watercolour on paper, heightened with touches of bodycolour, signed lower right, 185 x 284mm (7.3 x 11.15ins), laid down on card (1)

347* Sells (Alfred, 1822-1908) The Needles from Barton Court Hotel, Hampshire, August 1901, watercolour on paper, inscribed and dated to lower edge, 123 x 172mm (4.85 x 6.75ins), window-mounted, together with 7 other 19th century drawings and watercolours, including a mid-19th century busy street scene in Shoreditch, London, with the Church of St. Leonard’s, a watercolour study of rock formations and a thistle attributed to Albert Goodwin, a monochrome wash drawing of fishing boats on the shore at Hastings, by Joseph Murray Ince (1806-1859), a pencil and brown wash illustration for the Vicar of Wakefield Browne, a pencil sketch of Ballater, Scotland by Myles Birket Foster (1825-1899), dated 1892, a pencil study of Harewood Castle, Yorkshire

by John Scarlett Davis (1804-1844), and a watercolour view of Caen in Normandy, dated 1877, all similar size, mounted (8)

£200-300

350* Switzerland Insel Schwanau, 19th century gouache on paper, titled below image, image 16 x 22.5cm (6.25 x 8.75ins), framed and glazed (some damage to frame) (1)

£200-300

59

£100-150

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Lot 353

351* Switzerland Chalets on the Gros Scheideck, near Rosenlaui, 1869, pencil and watercolour on wove paper, with contemporary inscription in brown ink to verso “Chalets on the Gros Scheideck, near Rosenlaui 20 Sept. 1869”, laid down on card, 17.5 x 24.4cm (7 x 9.5ins) Grosse Scheidegg rises above the Rosenlaui valley south east of Interlaken.

(1) £150-200

352* French Alps View of the Cauteretz Valley, Pyrenees, South-west France, circa 1850, pencil heightened with pale blue wash and white bodycolour on paper, indistinctly signed, and inscribed cauteretz, 290 x 405mm (11.5 x 16ins) mount aperture, modern gilt frame, glazed (1)

£100-150

353* Turner (William, of Oxford, 1789-1862) Grimsdyke, watercolour with pencil, heightened with bodycolour, signed lower right, 273 x 386mm (10.75 x 15.25ins), laid down on card, together with a collection of 13 other pencil landscape sketches and studies by William Turner of Oxford, all scenes of Oxford and surrounding districts, including Long Crendon, Shotover Hill, Longworth, Brill, Thrup, Aldworth Church, Stratton Audley Church, Studley Priory (Sir Alexander Crook’s), West Hendred Church, etc., some signed, many inscribed with location, and some dated, various sizes

Lot 354

Provenance: Collection of Frederick Joseph Morrell (1811-1882), Solicitor to the University of Oxford, and a patron of the artist William Turner. Most, if not all, of these drawings were last offered for sale at auction in Oxford on 28th April 1925, at the sale of the contents of Black Hall, Oxford (see lots 161, 164 and 170).

(15) £150-200

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354* Turner (William, of Oxford, 1789-1862) ‘View taken from the garden of Sir George Cobb’s house at Adderbury, Oxfordshire, 1801 (taken down 1817)’, watercolour with pen and ink on paper, laid down on card, together with ‘Front view of Sir George Cobb’s House, Adderbury, 1801 (taken down 1817)’, watercolour with pen & ink on paper, each 229 x 332mm (9 x 13.1ins), plus Garsington, circa 1848, pencil, brown wash and white bodycolour on buff paper, 220 x 280mm (8.6 x 11ins), and other pencil landscape drawings and studies by William Turner of Oxford, mainly scenes in Oxfordshire, including Hincksey from Botley Meadows, the President’s lodgings at Trinity Coll: as they appeared in 1808, Shipton-onCherwell, North Hinksey, Oxford from Bullingdon Green on the descent to Cowley Marsh, some signed, most inscribed, and some dated, 300 x 455mm (11.75 x 18ins) and smaller, mostly mounted on card Provenance: Collection of Frederick Joseph Morrell (1811-1882), Solicitor to the University of Oxford, and a patron of the artist William Turner. Most, if not all, of these drawings were last offered for sale at auction in Oxford on 28th April 1925, at the sale of the contents of Black Hall, Oxford (see lots 117, 151, 166).

(15) £250-350

357* Whessell (John, 1760-circa 1840) Part of Godstow Nunnery, 1830 & Perch Inn, Godstow, 1830, together 2 watercolours with pen and brown ink, one signed and dated 1830 lower left, 220 x 335 mm (8.7 x 13.25 ins), laid down on card

355* Watercolours A mixed collection of ten watercolours, late 19th and 20th century, including topographical views, maritime scenes and portraits, various sizes and condition (10)

Provenance: Collection of Frederick Joseph Morrell (1811-1882), Solicitor to the University of Oxford, and a patron of the artist William Turner.

(2) £200-300

£120-180

356* Waterhouse (John William, 1849-1917) Figures amongst classical ruins, 1897, grisaille watercolour with pen and ink on grey paper, signed and dated lower right, 14 x 19cm (5.5 x 7.5ins), framed and glazed (1)

£200-300

358* Willson (Harry, active 1813-1852) Spa, 1846, watercolour on paper, captioned and dated lower left, monogram lower right, 36 x 28cm (14 x 11ins), framed and glazed (1)

61

£150-200

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GLASS PAINTINGS & EMBROIDERED PICTURES

359* Embroidered picture A silk picture of a pastoral scene with a horse and cart of the foreground, late 18th century, an attractive oval silk embroidered picture of a bucolic scene, 130 x 185mm, in a near contemporary gilt and black frame with a contemporary manuscript legend on the verso of the frame ‘Miss Tewring July 1788’ (1)

361* Embroidered picture Welsh Milk Maids, circa 1830, oval embroidery on silk with printed faces, two short splits affecting image, varnish to verso of glass, possibly to create a 'mount affect', 27 x 21cm (10.5 x 8.25in), manuscript label to verso of frame

£150-200

(1)

£150-200

362* Glass painting Three glass paintings of bucolic scenes, circa 1870, three paintings showing country scenes, 35 x 55cm (13.75 x 21.5ins) and two at 39 x 60cm (15.5 x 23.5ins), framed and glazed in maple frames (3)

360* Embroidered picture A silk picture of a young lady seated beneath a tree, early 19th century, an oval silk work picture, 200 x 165mm, in a black and gilt oval frame (1)

£100-150

62

£200-300

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364* Glass paintings Pair of glass paintings of bucolic scenes, circa 1880, both images show a windmill, a castle and cottage in a lakeside setting, each 40 x 53.5cm (15.75 x 21 inches), matching maple frames (2)

£150-250

365* Still Life Still Life aquatints, circa 1830, two fine aquatints with bright contemporary hand colouring, each approximately 15 x 20cm (6 x 8in) (2)

£70-100

363* Glass paintings Spring [and] Summer, Autumn [and] Winter, circa 1780, two bright and clean glass paintings of the four seasons, two seasons to each image, each approximately 255 x 260mm, matching late 19th century ‘Hogarth style’ frames (2)

£200-300

366* Sand painting Pair of sand paintings of bucolic scenes, mid-late 18th century, two oval sand paintings of domestic animals in the foreground with a ruined castle and a farm building in the background, 34 x 31cm (13.5 x 12.25 in), near contemporary oval gilt frames with the legend ‘Period Louis XV’ on frame border Provenance: From Kedleston Hall (Derbyshire). Purchased by the current vendor from Patrick Morley Antiques (Warwick).

(2) £300-500

Lot 364

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369* Bond (William Joseph Julius Caesar, 1833-1926) Coastal scene, oil on wood panel, signed lower left, 8.5 x 15cm (3.3 x 6ins), framed and glazed

OLD MASTER & 19TH CENTURY PAINTINGS

(1)

£300-500

367* Australia Kangaroo Valley, New South Wales, oil on canvas-covered board, captioned lower right, 20.5 x 29.5cm (8 x 11.5ins), framed (1)

£150-200

370* Colls (R., 19th century) Still life of fruit, 1842, oil on canvas, showing a still life of exotic fruits and a water jug arranged on a woven mat, signed and dated lower left, relined, 75 x 61cm (29.5 x 24ins), framed (1)

£300-500

368* Barker (William, 19th century) The Shepherd’s Christmas, oil on panel, inscribed in an early hand to verso, 18 x 23cm (7 x 9ins), framed (1)

£150-200

371* Dutch School Kitchen Scene, early 19th century, oil on canvas depicting a young kitchen maid, 30.5 x 25.5cm (12 x 10ins), framed Lot 369

(1)

64

£100-150

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372* English school Lady with playing cards [and] The Spanish boy, mid 19th century, two oil on board paintings, ‘The Spanish boy’ titled on verso of frame, each approximately 36 x 30cm (14.25 x 11.75 in), matching gilt gesso frames (2)

374* English School The Virgin Mary sewing, early to mid 18th century, oil on panel, 370 x 275mm (14.5 x 10.8ins), framed (1)

£300-500

375* Freyburg (Frank Proschwitzry (1862-1940)) Sunlit landscape with sheep, oil on wood panel, summer landscape of a shepherd and a black dog herding a flock of sheep in a wooded valley, signed lower right, 29.5 x 39.5cm (11.5 x 15.5ins), framed and glazed, with Campden Gallery label on backboard

373* English School A pair of Dutch-style sea pieces, circa 1790s, two painted oval gouache on paper views of sailing ships and boats by night and day, 330 x 420mm (13 x 16.5ins), each with printed label of Rowling, Carver, Gilder & Framemaker to their Royal Highnesses the Princess Royal, Princess Augusta & Princess Elizabeth, No. 464 Strand, London, to verso, matching gilt frames, glazed (2)

£300-500

(1)

£200-400

65

£150-200

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376* Frost (William Edward, 1810-1877) Mother washing her child by a fountain, oil on wood panel, signed lower right, 250 x 200mm (9.8 x 7.8ins), framed (1)

Lot 378

£300-500

377* German School Portrait of St. Luke reading his gospel, with head of a black bull, 16th century, oil on quarter sawn baltic pine panel, showing St. Luke reading chaper 1 verse 5 of his gospel ‘Fuit in diebus Herodis Regis Judeae sacerdos quidam nomine Zaccharias ...’, 375 x 283mm Provenance: Possibly the sale of the art collection and library of Richard Bull (1721-1805), a well-known antiquarian and collector, Sotheby’s May 1881.

Subsequently, Reverend Henry Clark (1785-1862) vicar of Harmston, Lincolnshire. His daughter Susanna Harris (née Clark), wife of the Reverend Joseph Harris (1831-1892). Thence by descent.

(1) £1000-1500

378* Herbert (Arthur, 19th century) Near Godalming, 1876, a pair of oils on canvas, initialled and dated lower right, 39 x 30cm (15.25 x 12ins), framed and glazed (2)

£150-250

379* Follower of Louis Hersent (1777-1860) ‘Martin Luther surrounded by Protestant Reformers’, oil on panel, unsigned, manuscript label to verso, 43 x 57cm (17 x 22.5ins), framed (1)

Lot 379

£500-800

380 No lot

66

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Lot 377

67

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381* James (William). After William James (active 1761-1771) The Doge’s Palace, Venice, circa 1900, oil on canvas, 46 x 77cm (18 x 30.25ins), framed (1)

£300-500

383* Jansen (Harry J., circa 1895-1930) The steamer Sir William Stephenson, 1908, oil on canvas, signed and dated lower left, 330 x 530mm (13 x 20.8ins), period black frame

382* James (Matthew) Still life with wine decanter, later 20th century, oil on panel in the Dutch trompe l'oeil style, signed lower right, 24 x 34.5cm (9.5 x 13.5ins), framed (1)

The Continental passenger steamer Sir William Stephenson sailed from London to Antwerp prior to the First World War, until she was mined in the North Sea in 1915.

(1) £200-300

£100-150

68

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Lot 385

384* Jones (Raphael, early 20th century) Climbers Ascending an Alpine Summit, 1913, oil on canvas, signed lower right, dated ‘0. 13’, 30 x 61cm (11.75 x 24ins), framed and glazed (a few losses to frame) (1)

£300-500

385* Laporte (John, 1761-1839) A pair of North Wales views, together two landscapes, oil on wood panel, one showing a female figure in a mountain and river landscape, titled on verso in early manuscript ‘Capel Carrig’, the other showing a male figure standing on a riverbank accompanied by a seated female figure, with cattle and a village in the distance, indistinctly titled on verso ‘A scene on the banks of the [?] North Wales’, 8.5 x 12cm (3.25 x 4.75ins), matching gilt moulded frames (2)

Lot 386

£400-600

386* Meucci (Michelangelo, 1840-1909) Bee Eaters, 1874, oval oil on board, signed and dated lower edge, 27 x 22cm (10.5 x 8.,75ins), contemporary elaborate carved wood and gilt frame (1)

£200-300

69

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387* English NaĂŻve School.

Boy with a basket of cherries and a dog at his heel, circa 1800, large oil on canvas, near contemporary oak veneered frame, 90 x 72cm (38 x 28.5ins) (2)

ÂŁ3000-5000

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388* Price (Eveline Richardson, 1869-1959) Common Objects on the Sea Shore, 1888, oil on canvas, depicting a young boy holding a crab on the shore with Mumbles lighthouse in the distance beyond, signed and dated lower left, rubbed with a little surface loss, small hole to centre of canvas, inscribed in pencil to verso “original painting from life, by Eveline R. Price .... Neath, South Wales”, 61 x 40.5cm (24 x 16ins) Born in Neath to a Quaker family, Eveline R. Price is best known for her portraits of Maori, including two now held by National Library of Australia. She moved to Tasmania sometime before 1900 and was still there in 1920 when the Residents of Claremont Tasmania presented her with an album of photographs. She died unmarried and without children.

(1) £150-200

Lot 389

389* Price (Christiana Abberley, 1866-) The Village Politician, A Knotty Question, oil on canvas, depicting a bearded man reading a newspaper with rhubarb, titled and inscribed to the verso (partially indistinct) “by Christiana A. Price, Bryn Derwen Neath, South Wales”, slight hole to lower left quadrant of canvas, 61 x 45.5cm (24 x 18ins) The elder sister of Eveline Richardson, Christiana appears periodically in The British Friend, the magazine of the Society of Friends. Clearly an active Quaker, she attended meetings around the UK and supported the society with subscriptions.

(1) £150-200

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

391* Manner of George Turner (1843-1910).

The flock at rest, oil on canvas, relined and repaired, 17.5 x 30cm (7 x 12ins), framed (1)

£70-100

After the oil painting by Titian of 1558, depicting his daughter Lavinia, now in the Staatliche Museen zu Berlin in Germany.

(1) £700-1000

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PORTRAITS

Lot 392 392* Buhler (Robert, 1916-1989) Portrait of the author Robin Fedden, pastel on paper, head and shoulders portrait of a sandy-haired man half-turned to the right, wearing a white shirt, and blue jacket and tie, signed upper right, 53 x 41cm (20.75 x 16ins), framed and glazed Primarily a painter of places, Robert Buhler is also much praised for his portraits, which are characterised by simple and uncluttered design with the use of strong tones. He received many commissions but most of all enjoyed painting friends from London’s artistic and literary circles. Among his sitters were Steven Spender, Ruskin Spear, Barnett Freedman, John Davenport, John Minton and Francis Bacon. Henry Robin Romilly Fedden, CBE, (19081977) was an English writer, diplomat and mountaineer. He was the son of artist Romilly Fedden and novelist Katherine Waldo Douglas, and cousin to artist Mary Fedden who taught at the Royal College of Art alongside Robert Buhler. He served as a diplomat in Athens and taught English Literature at Cairo University, where he became part of the literary group of Cairo poets, and co-edited the literary journal ‘Personal Landscape’ with Lawrence Durrell and Bernard Spencer. After the second world war he worked for the National Trust, rising to the post of Deputy Director-General. He wrote a number of books on a variety of different subjects, his best-known being ‘The Enchanted Mountains: A Quest in the Pyrenees’ and ‘Chantemesle’.

(1) £150-200

Lot 394 394* Dighton (Richard, 1796-1880) Ladies of Cheltenham, a pair of watercolours on paper, each depicting a full-length portrait of a lady, one standing facing left carrying hat and parasol, the other seated wearing a blue dress and bonnet, each signed and inscribed “Cheltenham” in pencil to lower left, 24 x 19cm (9.5 x 7.5ins) and similar, matching maple frames and glazed, Charles Plante Fine Arts gallery label to verso (2)

£300-500

393* Attributed to Nathaniel Dance (1735-1811) Portrait of George Augustus North, 3rd Earl of Guilford, 9th Baron North, circa 1780’s, oil on canvas, 61 x 49cm (24 x 19.5ins), modern ornate gilt gesso frame Provenance: The Earls of Guilford, Wroxton Abbey, thence by descent.

Given by the 11th Baron to his daughter (Mina Fitzgerald) on June 11th 1911.

A manuscript label on verso of frame, signed 'North' confirms this. The 11th Baron was the last of the North family to live at Wroxton Abbey. The painting was thenceforth hung at the family residence in Chelsea Square. A manuscript volume (dated 1827) listing pictures and paintings at Wroxton Abbey refers to this work as being displayed in the library (volume available for examination). The present work is a smaller half size version of the painting fully attributed to Nathaniel Dance, and was presumably commissioned for another member of the family. This large version can be found in the online archive of historical portraits at Philip Mould Ltd., London. George was the son of Frederick Lord North, the British prime minister who was much castigated for his handling of the American war of independence. George never reached the high office achieved by his father, although he was well regarded as amiable and even tempered. His first marriage to Maria Hobart was met with strong family disapproval. This was because despite being the daughter of an Earl she came with no dowry. He more than redeemed himself with his second marriage to Susan Coutts of the Coutts banking dynasty who came with a dowry of £150,000.

(1) £3000-5000 72

395* Dunlop (Ronald Ossory, 1894-1973 ) Phyllida, oil on canvas, signed lower right, titled on stretcher to verso, 41 x 30.5cm (16 x 12ins), framed (1)

£200-300

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Lot 393

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396* English School Portrait of a young lady, 1823, watercolour and gouache on paper, depicting a half-length portrait of young woman wearing a gold coloured dress and bonnet, dated lower left, 15.5 x 13cm (6 x 5ins), framed and glazed, Charles Plante Fine Art gallery label to verso (1)

Lot 398

£150-200

397 Hall (Lilian May Bevis, late 19th/early 20th century) Seated flapper girl, watercolour on thick paper, showing a young woman in a black and red dress, a red cloche hat, and red Mary Jane shoes, seated on a bentwood chair, drawing pin mark to centre of upper and lower margin, signed lower right, sheet size 31.5 x 25cm (12.5 x 10ins) Lilian Hall was a prolific commercial artist. She married fellow-artist Stanley Rowles who was responsible for designing many shipping and railway posters in the 1930s. Their daughter Daphne also became a well-known artist in her own right, illustrating books by Michael Bond amongst others.

(1) £100-150

398* Millais (John Everett, 1829-1896) Self Portrait, etching on wove paper by Charles Waltner, artist’s and etcher’s signature in plate, printsellers association blindstamp to lower margin, plate size 31 x 23cm (12 x 9ins), framed and glazed (1)

£50-80

399* North (Frederica 1837 - 1915) Portrait of a French Army officer, watercolour, very slight spotting, 18.5 x 15cm ( 7.25 x 6ins), framed and glazed Provenance of artist and an excised artist’s signature on paper adhered to verso.

(1) £100-150

400* Patrick (James McIntosh, 1907-1998) Self portrait, circa 1940s, oil on canvas, unsigned, 46 x 35.5cm (18 x 14ins), framed (1)

Lot 399

£1000-1500

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Lot 400

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401* Smithers (Collier, 1867-1943) Portrait of J.P. Stilwell, Esq, J.P.,Chairman of the British Homoeopathic Association, 1909, oil on canvas, half-length, signed and dated indistinctly lower left, a few mostly marginal scratches, 74 x 56cm (29 x 22ins), together with original black on gilt-painted wood display plaque indicating that this was presented by members of the British Homoeopathic Association Council in 1909 John Pakenham Stilwell (1832 - 1921), of Yateley, Hampshire, was a British banker and navy agent. Stilwell had inherited the bank Stilwell & Sons from his father Thomas Stilwell, and was a patron of homeopathy from 1890. He was on the Board of Management of the London Homeopathic Hospital in 1882 and became the chairman in 1893. It is likely this portrait was commissioned when he became a patron of the new Henry Tyler wing of the London Homeopathic Hospital in 1909. Provenance: by family descent.

(1) £100-200

402* [Radcliffe, Ann, 1764-1823] ‘Mrs Radcliffe Authoress of the Mysteries of Udolpho’, circa 1830, watercolour on paper, portrait of a woman identified in ink with a contemporary inscription as above to lower margin, half-length, half facing left, wearing a pink and white bonnet with deep dark ringlets protruding over her forehead, pink scarf and white dress, holding a document with red seal in her right hand, Bristol Paper embossed stamp lower left, 224 x 183mm (8.75 x 7.25ins), verso blank, tipped onto a contemporary album leaf at corners A very sensitive and intriguing watercolour by an unidentified artist, with great care and detail given to the face and strongly suggesting this was done from life. There is no known portrait from life of the author Ann Radcliffe and its attribution as her appears spurious for a number of reasons. The Bristol Paper stamp was introduced in 1800 and that and the age of the paper are consistent with the early 19th century. The woman appears to be aged 30 to 40, which if of Ann Radcliffe from life would date this to between 1794 and 1804. The hair and dress are completely wrong for this early date and these features indicate a date of perhaps the late 1820s; the waist on the dress is still above the natural waistline and the sleeves have yet to become as exaggerated as they become in the 1830s. Mrs Radcliffe was supposed to be small-proportioned while this sitter seems to be big-featured and broadshouldered. Mrs Radcliffe had blue eyes and brown hair and a nose ‘inclining to aquiline’, all of which could be interpreted as true in this portrait. The document held by the sitter is indeterminate and in a portrait of Mrs Radcliffe one would expect here to be holding a novel, or something at least more romantic. One of the founders of Gothic literature, Ann Radcliffe’s most famous novel and for which she is lastingly famous, The Mysteries of Udolpho, was published in 1794. The only known image we have of Mrs Radcliffe is an imaginary portrait dated to 1853, some 30 years after her death, which appeared in J.S Pratt’s edition of The Romance of the Forest.

Provenance: Discovered in an album of prints and watercolours compiled by Sir Theodore Martin (see lot 437), friend of Queen Victoria and official biographer of Prince Albert. There is no evidence that Martin, (1816-1909), or his wife, the noted actress Helen Faucit, (1814-1898), met or knew Ann Radcliffe; nor does the inscription on the watercolour appear to be in either of their hands. How it came to be in Sir Theodore Martin’s possession and why he chose to keep this without any additional notes or remarks isn’t obvious.

The portrait is clearly the work of a highly skilled artist in the manner of Andrew Plimer and other similar miniaturists and portraitists of the period and it is surprising to find no signature. Whether the identification was unintentional or a deliberate deceit may never be discovered. At the time of the inscription its author could never have known how significant the watercolour’s iconography might become to an audience nearly two hundred years later. Based on suggested age and composition date the sitter is likely to have been born somewhere between 1785 and 1805 and so the wait for the discovery of a true likeness of Ann Radcliffe taken from life must continue.

(1) £300-500

Lot 402

403* Weaver (Thomas (1774-1843)) Portrait of a Gentleman, 1824, oil on canvas, signed and dated centre right, three-quater length, depicting a gentleman in black silk robe and white crevat, with leather folio volumes in the background, relined, 76 x 63.5cm (30 x 25ins), contemporary gilt moulded frame (a little damage) (1)

Lot 403

£300-500

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PORTRAIT MINIATURES

Lot 404

Lot 405

404* Austrian School Portrait of a lady, 1839, oval watercolour, three-quarter length portrait of a young lady seated in a red upholstered chair, wearing a blue dress, ermine-trimmed stole, leaf pendant earrings, and lace cap decorated with flowers, initialled 'RJ' and dated lower right, 22.5 x 18.5cm (8.75 x 7.25ins), glazed green velvet mount (1)

407* Miniatures Portrait of a young lady, mid 18th century, watercolour on vellum half-length oval portrait of a young lady in blue dress with crimson wrap, 36 x 30mm (1 3/8 x 1 1/8ins), in double glazed locket with mounted hair at back, piece of card inserted inside locket stamped with the name Mrs W. Barclay, together with Portrait of a lady with black bonnet and blue dress, late 18th/early 19th century, watercolour on ivory(?) oval head & shoulders portrait, indistinctly inscribed lower right, 28 x 24mm (1 1/8 x 1ins), brass pendant locket frame, glazed, plus Portrait of a gentleman in brown coat, late 18th century, watercolour on ivory oval head & shoulders portrait, 35 x 30mm (1 1/2 x 1 1/8ins), brass frame, glazed

£200-300

405* After Sir Thomas Lawrence (1769-1830) Portrait of Elizabeth Farren, circa 1800, circular watercolour on ivory, head and shoulders portrait of the actress, in a grey wig and wearing a cream cape edged with fur, inscribed on backing card in early manuscript ‘Miss Farren Countess of Derby’, diameter 6.5cm (2.5ins), period brass frame

(3)

After the life-size portrait of Irish actress Elizabeth (or Eliza) Farren, first shown at the Royal Academy in 1790 and now in The Metropolitan Museum of Art, New York. Elizabeth Farren made her London debut in 1777 as Kate Hardcastle in Oliver Goldsmith’s ‘She Stoops to Conquer’, and was at the height of her career when Lawrence’s portrait was unveiled, a work which helped to secure for the artist the role of successor to the elderly Sir Joshua Reynolds.

(1) £300-500

£300-400

408* Lacon (John, d. circa 1757) Portrait Miniature of a young lady, 1753, watercolour on ivory halflength oval portrait of a young lady in pink dress with blue sash or wrap, signed and dated J[ohn]. Lacon 1753 lower right, 45 x 36mm (1.75 x 1.5ins), brass frame, glazed, together with Portrait miniature of a gentleman in blue coat, mid 18th century, watercolour on ivory half-length oval portrait, within double glazed brass brooch frame with hinged pin, containing mounted lock of hair to back board and inscribed to verso 'Souvenir de mon Pére', miniature dimensions 45 x 37mm (1.75 x 1.5ins), plus Portrait miniature of a gentleman in profile facing left, circa late 18th century, watercolour & bodycolour on thin card round portrait, red sealing wax to verso, diameter 49mm (2ins), brass frame, glazed

406* Marshall (Thomas) Portrait of a Lady, 1836, watercolour on ivory, half-length portrait of a lady seated, wearing a salmon pink gown, lace collar, and a frilled bonnet, signed and dated to left margin, 9.5 x 7.5cm (3.75 x 3ins), housed in original velvet-lined maroon morocco hinged case (rubbed), glazed (adhesive tape securing glass), together with an oval head and shoulders portrait miniature of John Bates Penfold of Canterbury, wearing a green coat and white necktie, 4.5 x 3.5cm (1.75 x 1.25ins), mounted, gilt moulded frame, glazed, verso with original framer's label and contemporary manuscript inscription 'John Bates Penfold of Canterbury, born Novr. 20th 1766, Ann Penfold, born Novr.

23rd 1769', accompanied by a folded vellum deed granting the Freedom of the City of Canterbury to John Bates Penfold (2)

Lot 406

The miniature portrait artist John Lacon worked from circa 1740 in Bath, and also established with his family a fashionable puppet-show, featuring life-size Wax Figures. He is recorded as having possibly worked in the medium of wax in the Proceedings of the Bath Natural History Antiquarian Club Field, vol.8, p.215, 1897.

(3) £400-060

£200-300

Lot 407

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411* Portrait Miniatures A pair of portrait miniatures of a lady and gentleman from Goggingen, painted in Mainburg, Germany, 2nd September 1831, watercolour on ivory, backed with green paper, both half-length portraits in profile, the lady facing to the right and the gentleman to the left, the lady attired in a red-patterned yellow dress and head-piece, and a many-stranded bejewelled gold choker and large gold earrings, the gentleman wearing a navy blue coat, patterned waistcoat, and black cravat, latter with contemporary pencil inscription detailing places and date on verso, each 6.5 x 5cm (2.75 x 2ins)

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

(2)

£200-300

412* Wax Portrait Lord North, 2nd Earl of Guilford, 19th century, wax relief bust with additional incised detail, mounted on black velvet oval, manuscript label to verso, portrait size 53 x 36mm (2.1 x 1.5ins), overall 226 x 198mm (8.9 x 7.75ins), contemporary maroon velvet frame, glazed

410 Portrait Miniature Portrait of a gentleman, early 18th century, oil on panel, head and shoulders portrait of a bewigged gentleman in a blue coat and white necktie, 6 x 4.5cm (2.25 x 1.75ins), brass frame, glazed (1)

£100-150

Given by William H. J. North, 11th Lord North, see label to verso.

(1) £150-200

£200-300

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CHINESE WATERCOLOURS

413* Attributed to Tingqua Peruvian types, circa 1840s, fourteen opaque watercolours on pith paper, depicting male and female costumes of nobles and peasants including the “New Spanish dress”, each 21 x 16cm (8.25 x 6.25ins), mounted, framed and glazed, together with three similar watercolours on wove paper, depicting female costumes of Peru, each 20 x 14.5cm (8 x 5.75ins) Provenance: Sir Frederick William Mallandaine Ashton OM CH CBE, (1904-1988) British ballet dancer and choreographer, (invoice enclosed).

The present works comprise hand-made multiples, produced in Canton, of the popular studies of costumes or costumbrista. Some the earliest surviving example of Peruvian costume studies were produced by Francisco Javier Cortes in the 1820s in association with an American diplomat Jeremy Robinson.

These studies fed into the growing demand for visual images of world cultures and soon print makers were producing copies after Cortes to sell to the European and North American market.

By 1830 original watercolours and lithographs of Peruvian costumes had reached China and luxury, hand-made multiples were produced for wealthy clients. The present works represent an example of these hand-made multiples together with three original watercolours from which the Chinese artists produced their copies.

Though rare, a few similar examples have survived and most bear labels of either Sunqua or Tingqua workshops. Tingqua (Guan Lianchang) was one of the most prolific painting workshops in Canton during the early and mid 19th century, and produced copies of numerous subjects. The Library of Congress, Washington DC holds an album of Peruvian costumes with a Tingqua label, commissioned by the wife of William Wheelwright, founder of the Pacific Steam Navigation Company.

Literature: see Majluf (Natalia), Reproducing Nations: Types and Costumes in Asia and Latin America, Americas Society, 2006.

(17) £2000-3000

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414* Anglo-Chinese School Flowers and butterflies, mid 19th century, four opaque watercolours on pith paper, depicting flowers and butterflies, some cracking and splitting with slight loss, 20 x 28cm (8 x 11ins) and similar, framed and glazed (4)

£100-150

415* Anglo-Chinese School Lady musicians, early 19th century, twelve watercolours with gouache on rice paper, one or two minor marginal tears, each mounted onto album leaf, contemporary silk brocade covered boards, spine slightly faded (but generally in very bright condition), 23 x 17.5cm (9 x 7.5ins) From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(1) £700-1000

416* Anglo-Chinese School Women at work, early 19th century, twelve watercolours with gouache on rice paper, occasional marginal tear, each mounted into concertina-style album, original silk-covered boards, a little rubbed at extremities, 24 x 16.5cm (9.5 x 6.5ins)

Lot 414

From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(1) £700-1000

Lot 415

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Lot 415

Lot 416

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417* Anglo-Chinese School Deities, early 19th century, twelve fine watercolours with gouache on rice paper, mounted onto album leaves, original plain boards, contemporary label stamped “yeckchong” loosely inserted, 33 x 25cm (13 x 10ins) An unusually large and impressive album of fine watercolours depicting Guan Yu, Erlang Shen, Guanyin and other figures from the Chinese pantheon.

From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(1) £1500-2000

418* Anglo-Chinese School Peonies, early 19th century, a pair of watercolours with gouache on rice paper depicting naturalistic studies of flowers, occasional small marginal hole, 22 x 14cm (8.75 x 5.5ins) and similar, framed and glazed, together with a similar watercolour on rice paper of a woman seated at a desk playing a pipe, 24 x 15cm (9.5 x 6ins), framed and glazed

419* Anglo-Chinese School Figures from court, 19th century, eight watercolours on lined paper, sheet size 38 x 27cm (15 x 10.5ins) From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(8) £300-500

From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(3) £150-200

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Lot 417 83

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420* Anglo-Chinese School Chinese deities, 19th century, three watercolours on paper, sheet size 29.5 x 22cm (11.75 x 8.5ins) and similar From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(3) £150-200

421* Anglo-Chinese School Porcelain Shop, 19th century, watercolour and gouache on card depicting a miniature cut-out scene of a shop front, 47 x 32cm (18.5 x 12.5ins), together with a similar cut-out showing half a tea-seller’s shop Similar examples are in the V&A. From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).(2) £500-800

422* Anglo-Chinese School Mandarin official in purple robes, circa 1800, watercolour and gouache on Whatman watermarked paper (dated 1794), three character signature to lower right, sheet size 45 x 34.5cm (17.75 x 13.5ins), together with a similar watercolour on board showing a lady, 33.5 x 19cm (13.25 x 7.5ins) From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(2) £300-500

Lot 420

Lot 421

Lot 422

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423* Anglo-Chinese School Furniture, early 19th century, eight watercolours with gouache on rice paper, depicting Chinese furniture and interiors, one or two minor cracks to edges, 22 x 13cm (8.5 x 5ins) and similar, all mounted, four framed and glazed From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(8) £500-800

424* Chinese Export Pheasants in landscape, mid 19th century, watercolour on pith paper, cracking and slight loss (replaced in facsimile), 20 x 32cm (8 x 12.5ins), mounted, together with three other watercolours on pith paper showing people at work, including women picking tea and porcelain manufacture (4)

£150-250

425 Anglo-Chinese School Crimes and punishments, 19th century, twelve watercolours on pith paper tipped on to album leaf rectos within blue paper frames, each 20 x 30cm overall, some chipping and paper loss not affecting watercolour illustrations, loose as issued in contemporary decorated moire cloth over boards with broken ties, some edge wear and wear to spine, folio (1)

Lot 423 85

£200-300

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Lot 426

Lot 427

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426* Chinese Export Birds, insects and plants, 19th century, ten watercolours with gouache on dried leaves, 18 x 12cm (7 x 4.75ins), together with four similar watercolours showing Chinese deities and scenes from myths From the collections of John Reeves FRS (1774-1856) and his son John Russell Reeves (1804-1877).

(14) £150-200

427* Anglo-Chinese School Fish and sea-life, circa 1830, eight fine opaque watercolours on pith paintings, occasional slight cracking, 175 x 260mm, framed and glazed (8)

£700-1000

428* Gekko (Ogata, 1859-1920) Quails Amongst the Grasses, uchiwa nishiki-e, colour woodblock print, printed signature and seal, sheet size 24 x 25cm (9.5 x 10ins), together with two other nature prints by Gekko, and six colour woodblock prints by various artists, all of natural history subjects, all uchiwa, plus a collection of approximately twenty Japanese colour woodblock prints, various dates, including crepe-paper prints, prints on silk, diptychs and others, some worn or incomplete, various artists, 32 x 20cm (12.5 x 8ins) and similar (29)

£150-200

Lot 428 429* Manner of Kobayashi Kiyochika (1847-1915) Russo-Japanese War, triptych, colour woodblock print on three sheets, indistinct printed signature, overall size 38 x 72cm (15 x 28.5ins) (1)

£100-150

Lot 429

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430* Anglo-Chinese School Shells, circa 1830, six fine watercolour studies of shells, each approximately 245 x 155mm, mounted, framed and glazed (6)

ÂŁ1000-1500

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PRINTS & DRAWINGS 431* Basire (James, the Younger, 1769-1822) The Honourable Lady Stanhope (after Benjamin Wilson), 1772, fine copper engraving on laid paper, some marks and light spotting to outer margins, inlaid to modern larger sheet, window-mounted, together with Faed (James), The entombment, after Annibale Carracci, circa 1848, mezzotint on heavy modern paper, a reprinting from the original steel plate by the Printmakers Workshop, Edinburgh, 1981, plate size 400 x 505mm (15.75 x 19.9ins), sheet size 570 x 733mm (22.5 x 28.8ins), window-mounted (2)

£70-100

Lot 433

434* Circle of Annabale Carracci (1560-1609) Kneeling angel, pen and brown ink on laid paper, laid down on wove, with stamped owner’s marks GJC to lower left corner verso, and 19th or early 20th-century pencil inscription ‘Corregio or Lucio Masari’ to verso, 73 x 95mm (2.9 x 3.75ins) Provenance: From the collection of Lady Ottoline Morrell by descent.

(1) £300-500

432* Both (Jan, 1615-1652) The Large Tree (from the set of Upright Italian Landscapes), etching on laid paper, trimmed to plate margins, sheet size 260 x 204mm (10.25 x 8.05ins), together with a collection of 350 various Old Master prints and engravings, mostly 17th and 18th century, mainly Dutch and Flemish Schools, including Hollar, Jan Collaert, Ostade, Crispijn de Passe, Sadeler, Saenredam, Christoffel van Sichem, Lucas Vorsterman, Esaias van de Velde, Ruisdale, Coryn Boel, Callot, Waterloo, etc., many with signs of removal from previous albums, condition variable, all loosely contained in 2 modern ring binders (approx. 350)

£300-500

433* Attributed to Alonso Cano (1601-1667) Study of female figures including one praying, pen, brown ink and brown wash on grey paper, heightened with white bodycolour, 108 x 168mm (4.25 x 6.6ins), framed and glazed, with 20th century previous owner’s handwritten attribution to verso, together with a badly damaged engraving of The Virgin with Child on the Crescent (1523) by Lucas van Leyden, and a late re-issue of The Madonna of Einsiedeln by Master E.S., on laid paper with Fortune watermark (later 18th or early 19th century) (3)

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

£100-200

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£100-150

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436* Attributed to Eugene Delacroix (1798-1863) Seated man chastised by a woman, surrounded by Roman soldiers, pen & black ink with grey wash on laid paper, signed with initials, and dated ‘54 to lower left corner, 220 x 270mm (8.7 x 10.6ins), with later card mount, with printed and inscribed note underneath ‘Bought at Sotheby & Co. Sale date 28.1.1965 Lot No. 135 ex collection Prof John Isaacs’, mounted Provenance: Professor John Isaacs, London. Sold Sotheby & Co., Old Master drawings including the Property of Professor John Isaacs, Thursday 28th January 1965, Lot 135.

(1) £700-1000

90

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437 Durer (Albrecht, 1471-1528) The Sea Monster (Das Meerwunder), circa 1498, copper engraving on laid paper, without watermark, a very good, strong and clear impression, trimmed to or just inside the platemark, the inner border line intact, small (1mm) hole to extreme lower right of the image, a few other minor marks and unobtrusive stains, otherwise in good condition, sheet size 252 x 191mm (9.9 x 7.5ins), together with 6 other 16th century German engravings and woodcuts by Aldegrever (3), Durer (2), and Altdorfer (1), 12 17th & 18th century engravings by G.F. Schmidt, Claude Le Lorrain, Bartolozzi, Condé, Dickenson, Saenredam (after Goltzius), 2 portraits from Boissard’s Bibliotheca Chalcographica 1650, and J. Van Campen (after Giorgione), 3 19th century etchings by Herkomer, Richard Lane and Paul Rajon, 3 original drawings by E. Griset, Henry Corbauld and Richard Lane after A.E. Chalon, one 19th century unsigned circular oil study, 6 19th century watercolour landscapes, including one by George P. Popkin of Llyn Idwal, North Wales, dated 1850, and one inscribed to verso H. Stanier, plus other various mostly 19th century engravings and reproductions after Old Masters, including several wood engraved illustrations and colour reproductions, all contained in original folio album, all edges gilt, bound in green full morocco gilt, a little rubbed and some minor marks, folio (385 x 290mm, 15.2 x 11.4ins) Provenance: From the collection of Sir Theodore Martin KCB, KCVO (1816-1909), Scottish poet, translator and royal biographer, and author of The Life of His Royal Highness the Prince Consort, 5 volumes (1875-1880). This work earned him the Queen’s lifelong gratitude and friendship. Thence by descent. Bartsch 71. Meder 66.

(1) £4000-6000

91

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Lot 439

438* Frere (Pierre Edouard, 1819-1886) At Prayer, pen and brown ink on laid paper, inscribed on the sheet below the image ‘Priere - c’est une Grand-mere et ses petits enfants.’, mounted on old paper, with signature of the artist in brown ink, sheet size 133 x 103mm (4.8 x 4.1ins), window-mounted Provenance: Collection of Sir Bruce Ingram. Sold Sotheby & Co., 17th March 1965, lot 904.

(1) £100-150

439* Ghisi (Giorgio Mantovano, circa 1520-1582) The Last Judgement (after Michelangelo), mid 1540’s [but later, circa 1677], engraved portrait frontispiece of Michelangelo by Ghisi, engraved plate of the complete Last Judgement by Sebastian Furck (1589-1665), and ten irregularly shaped double-page copper engraved plates of Michelangelo’s Last Judgement in the Sistine Chapel, numbered A-I and L, the latter signed Georgius Mantuanus, and the preceding plate I with printed dedication to Matthys van de Merwede, the general plate and final plate L with publisher’s name Giovanni Giacomo Rossi, Rome (active 16381684), all on laid paper, some marks and marginal soiling and light waterstain to upper inner margins, portrait with semi-circular portion to lower blank margin excised, generally with very wide margins, sheet size 495 x 620mm (19.5 x 24.4ins), contemporary calf-backed marbled boards, worn, folio

440* Goya (Francisco de, 1746-1828) El famoso Martincho poniendo banderillas al quiebro (The famous Martincho playing the bull with the movement of his body), 1816, etching, drypoint burin and burnished aquatint on laid paper, with partial watermark ‘AN’, numbered 15 to top right, plate size 257 x 352mm (9.7 x 13.8ins), one or two surface marks and light diagonal crease towards left hand side, sheet size 313 x 475mm (12.3 x 18.7ins), tab-mounted

Boorsch & Lewis, Engravings of Giorgio Ghisi, Metropolitan Museum of Art, New York (1985), 9, state v. The late reissue by Giovanni Giacomo Rossi (1600-1699) of Ghisi’s famous engravings after Michelangelo’s fresco of the Last Judgement, originally published by Antonio Lafreri.

(1) £300-500

Delteil 238. Harris 218.

(1)

92

£200-300

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441* Goya (Francisco de, 1746-1828) ¡Que Guerrero!, etching, burnished aquatint and drypoint on laid paper from the edition of 300, printed by Francois Liénard, Paris, in 1877, plate size 245 x 355mm, with margins, small waterstain to upper left corner, generally in very good condition, framed and glazed, with Waddington Graphics label to verso Delteil 220, ii. Harris 266, iii.

(1)

443 * Guercino (Giovanni Francesco Barbieri, 1591-1666) Livre de Portraiture de Jo. Franciscus Barberius, Paris, Herman Weyen, 1641, 18 (of 22) engraved plates (including title), lacking plates 1, 13, 14 & 21, some marks and soiling, contemporary ownership inscription in red chalk to front endpaper ‘Ex Libris Jacobi Mansuin 1651’, and with later ownership inscription to rear endpaper ‘Apartiene a Giacomo Anto. Rossetti Case Simonis 1790’ and ‘Cette Livre appartiens a G. Rossetti peintre italien a Milan’, contemporary vellum, some soiling and a little wear, ties renewed, oblong 4to (sheet size 205 x 270mm)

£200-300

(1)

£200-300

444* Haden (Sir Francis Seymour, 1818-1910) The Moat House, Sonning, 1866, etching and drypoint on Van Gelder laid paper, as issued in About Etching, published by the Fine Art Society, 1879, plate size 137 x 212mm (5.4 x 8.3ins), sheet size 245 x 320mm (9.6 x 12.6ins), with text and fifteen other various reproductions of etchings, bound in contemporary quarter morocco, top edge gilt, rubbed and scuffed to spine, bookplate of James William Ellsworth to front pastedown, 4to (1)

442* After Guercino (Giovanni Francesco Barbieri, 1591-1666) Madonna with Christ Child and Saint John, 19th century, pen and ink on paper, signed lower margin, sheet size 32 x 23cm (12.5 x 9ins), tipped onto later mount (1)

£70-100

445* Tomkins (Peltro William, 1760 - 1840).

Prince Arthur's Vision (after Henry Fuseli), 1788, stipple engraving printed in dark brown on laid paper, image size 45.4 x 35.4 cm; sheet size 53.2 x 40.3 cm

£150-200

(1)

93

£100-150

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447* Ladenspelder (Johann, 1511-1569) The sea monster (Das Meerwunder, or The Rape of Amymone by Triton), after Albrecht Durer, copper engraving on laid paper, laid down on old backing paper, a reversed copy of Durer’s engraving of circa 1498, with monogram AD to centre of lower margin, and with additional monogram IHVE erased lower right, trimmed to plate margin, small tear without loss to top margin, plate size 245 x 185mm (9.7 x 7.4ins) (1)

£150-200

446* Kniep (Christoph Heinrich, 1755-1825) Rocky wooded landscape with waterfall and Elijah fed by ravens, 1800, pencil on laid paper, laid down on pale blue backing paper with single rule outer border in brown ink, signed lower left, and dated Napoli 1800 lower right, 270 x 327mm (10.6 x 12.75ins), mounted Christoph Heinrich Kniep spent most of his life in Italy, and famously accompanied Goethe on his Italian Journey in 1787 and 1788. The present work is a good example of the artist’s interest in the power of nature combined with a proto-scientific attention to detail.

(1) £300-500

448* Nijmegen, (Gerard van, 1735-1808) Neoclassical scenes, five grisaille watercolours on vellum, sheet size 18 x 23cm (7 x 9ins), matching period frames, glazed Early manuscript note to verso of first watercoour “These pictures were framed (or reframed) in 1834. In 19?? the frames were cleaned & on the wood frame was a pencil scribble to the effect that they were painted by Gerard van Nijmegen, pupil (sic) of Wijnants”.

(5) £300-500

449* Couvay (Jean, 1622-1675/80) Le Palais des Facultés de l’Ame (after Grégoire Huret, 1606-1670), circa 1640, copper engraving on laid paper, published by Francois Langlois, narrow margins, plate size 270 x 342mm (10.6 x 13.5ins), sheet size 275 x 348mm (10.8 x 13.7ins), hinge-mounted on later card A similar engraving by Couvay after Huret exists entitled Le Beau Sejourdes Cinq Sens, both in the manner of Abraham Bosse.

(1) £200-300

Lot 447

94

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Lot 450

Lot 451

Lot 452

450* Van Dyck (Anthony, 1599-1641) Christ crowned with thorns (also known as The Reed offered to Christ), circa 1631, etching and engraving on heavy wove paper, by Lucas Vorsterman, with printed inscription at foot Anton Van Dyck invenit et fecit aqua forti, but without the privilege or publisher’s name Bon Enfant, a very good well-inked dark impression, faint manuscript initials N.St. to lower right corner (possibly an early ownership), trimmed to plate mark, sheet size 264 x 215mm (10.4 x 8.5ins), some light scattered spotting and pale glue stains to extreme corners, mounted Hollstein 20. Of Van Dyck’s 19 etchings 17 are portraits, the exceptions being Titian and his mistress (Hollstein 628 and the present work, Hollstein 519).

(1) £200-400

451 Couche (Jacques).

Mort D'Acteon, circa 1750, engraving on laid paper after Titian, with printed text below image, slight toning to margins, plate size 42 x 30 cm (16.5 x 11.75 in), with wide margins, mounted, together with Hubner (Barthelemaus), La Pharmacie Rustique, 1775, engraving on laid paper, after G.Locher, descriptive text below image, trimmed to image along upper margin, several marginal closed tears affecting text, slight dust soiling, sheet size 34.5 x 35.5 cm (13.5 x 14 in), plus Faithorne (William), Tityre tu patulae recubans sub tegmine fagi silvestrem tenui musam meditaris aevena, circa 1680, engraving on laid paper after Francis Cleyn, thread margins, slight dust soiling and creasing, tipped on to later paper, plate size 31 x 19.5 cm (12 x 7.75 in), and Cunego (Domenico), Juno, 1767, engraving on laid paper after Gavin Hamilton, slight spotting and dust soiling largely confined to margins, some marginal fraying, plate size 39.5 x 28 cm (15.5 x 11 in), with wide margins, together with 57 other Old Master engravings, mostly 17th & 18th century, including examples

by Haid, Dorigny, Bolswert, Sadeler, Moreau, Major, Perelle, Vivares, Lucien and Heckenauer, various sizes and condition

454 Abel de Pujol (Alexandre Denis, 1785-1861).

Biblical Scene, 1820, watercolour over pencil on wove paper (with arched top), signed and dated 1820 in brown ink lower right, 283 x 195 mm (11.2 x 7.7 ins), mounted, with printed note underneath the drawing stating that this work was purchased at Sotheby's on 20th July 1967, lot 66, with catalogue entry attached

(61)

(1)

453* Piranesi (Giovanni Battista) Veduta de Palazzo Odescalchi, from Vedute di Roma, 1753, etching on laid paper with double ring fleur-de-lis watermark, a few minor worm holes to margins and occasionally to image, repaired to verso, closed tear to left margin repaired, just touching image, plate size 410 x 620mm (16 x 24.5ins) Hind 26. Wilton-Ely 178. Ficacci 916.

(1)

£200-400

452* Rossini (Luigi, 1790-1857) Veduta dell'Arco di Settimo Severo ne Foro Boario, 1821, etching on wove paper, some spotting and staining, largely confined to margins, plate mark 41 x 49 cm (16 x 19.25 in), together with Ghisi (Georgio Mantovano), Classical deities, circa 1580, oval engraving, 18.5 x 24 cm (7.25 x 9.5 in), framed and glazed, plus Waterloo (Anthonie), Scenes in the low countries, circa 1680, two etchings on laid paper, each approximately 12.5 x 21 cm (5 x8.25 in), mounted, and Earlom (Richard), Marine scene, published John Boydell, 1775, etching on laid paper after Claude le Lorrain, plate size 20.5 x 26 cm (8 x 10.25 in), mounted, with another 58 Old Master etchings and engravings, mostly 18th century, with examples by Pretner, Zingg, Boissieux and Eichler, various sizes and condition (62)

£200-400

95

£150-200

£200-300

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456* Both (Jan, 1615-1652) Sight (t’Gesicht), Smell (De Reuck) & Taste (De Smaek), from the series The Five Senses (De Vijf Zintuigen), circa 1642-1650, together 3 etchings on laid paper by Jan Both after his brother Andries, with foolscap watermark to each, numbered 1, 3 & 5 lower left or lower right, plate size 224 x 176mm (8.8 x 6.9ins) and similar, with margins, (the first plate with upper left corner repaired and extreme lower left corner with slight loss, just touching plate mark), early 19th century ink ownership initials WC to lower right corner of each plate, and inscription in brown ink to verso of the first plate with the Bartsch reference and ‘1829 WE Josi’s sale 5 Pcs N 160’ Barsch 11-15. Provenance: Christian Josi (died 1828), printmaker and art dealer, who inherited the collections of Cornelis Ploos van Amstel in 1800.

Sold Christie’s, March 1829. William Esdaile (1758-1837), banker and collector, who lived on Clapham Common, and whose picture collection included works by Durer, Ostade, Rubens, Ruisdael, Richard Wilson and Gainsborough. £200-300 (3)

455* Rembrandt (Harmensz van Rijn, 1606-1669).

The Death of the Virgin, 1639, a later restrike etching on laid paper, probably 18th or 19th century, a strong well-inked impression, trimmed to image, laid down on card, sheet size 390 x 315mm (15.3 x 12. ins), together with The Bathers, 1651, etching on laid paper, printed by Donald Shaw MacLaughlan in 1907 from the original plate (then in the possession of the art dealer and collector AlvinBeaumont in Paris), trimmed to plate mark, sheet size 109 x 138mm (4.25 x 5.4ins), plus Holy Family with the Cat and Snake, 1654, etching on laid paper, printed by Donald Shaw MacLaughlan in 1907 from the original plate (then in the possession of the art dealer and collector Alvin-Beaumont, Paris), trimmed to plate mark, sheet size 96 x 146mm (3.75 x 5.75ins), together with 8 other etchings by Rembrandt, all later reprints, including Jan Uytenbogaert, The Baptism of the Eunuch, Jesus amongst the Doctors, etc.

(11)

457* Spilsbury (Edgar Ashe, 1780-circa 1840s). ) Two Lions, pen and brown ink on wove paper, signed with initials and dated 1840 lower left, sheet size 203 x 270mm (8 x 10.6ins), mounted

£200-300

(1)

£100-200

Lot 458

Lot 456 96

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458* Vredeman de Vries (Hans, 1526-1609).

Three architectural perspective views (from the Small Perspective Book), 1562 [or slightly later], 3 etched plates on laid paper, published by Hieronymus Cock, Antwerp, plate size 153 x 208 mm (6 x 8.15 ins), each with wide margins (one or two marginal tears with a little loss), each numbered in ink in an early hand 8, 21 and 23 to top margin, together with 2 copper engravings of allegorical figures of Pride and Glutony (Superbia & Gula, published by Adriaen Huybrechts in Antwerp in 1555), both trimmed to image, and inset to old paper (5)

£150-200

460* Wierix (Hieronymus, 1553-1619) Nemesis (The great fortune), after Albrecht Durer, circa 1580-1610, engraving on laid paper, a reversed copy of the engraving by Albrecht Durer of circa 1502, trimmed to plate margins, with some marks and slight damage to upper left corner, with a little loss (not affecting image), with early monogram LB to top margin, and numbered 59 in brown ink to upper left corner of backing sheet, sheet size 334 x 232mm (13.2 x 9.2ins), mounted on old laid paper, with pencil inscription to verso ‘From the Barnard Collection, Mark Anthony Copy Very Fine & Rare, Maggs Bros, Strand, London, Jan 1897’

459* Watts (Simon, active 1760-1780).

The Assumption of the Virgin Mary (after Luca Cambiaso), 1763, woodcut printed in ochre, on laid paper, with margins, in very good condition, 475 x 300mm (18.75 x 11.75ins) mount aperture, framed and glazed, together with Skippe (John, 1741/42-1811), Joseph Sold into Slavery by his Brothers (after Raphael), 1783, colour chiaroscuro woodcut on laid paper, printed in black, grey-green and light green, image size 215 x 285mm (8.5 x 11.25ins), with separate printed dedication label mounted below, bearing the inscription 'Joanni Lane de Hospitio Lincoln: Arm: hoc observantiae pignus, prout Amico debitum praestantissimo, libenter offert J. Skippe', mounted on original laid backing paper, 292 x 367mm (11.5 x 14.5ins) plus Mulinari (Stephano, 1741-1790), La guida Imene, e Palpita alla Fanciulla il Core: Vide la Sua Vittoria, e la dipinse Amore (after Giovanni da San Giovanni), copper engraving with aquatint in sepia on laid paper, plate size 310 x 400mm (12.25 x 18.75ins), sheet size 345 x 470mm (13.5 x 18.5ins), and 2 other smaller colour woodcut prints after Parmigianino from the collection of Jonathan Richardson, one dated 1734, each mounted on large laid paper, folio sheet, and numbered in a contemporary hand in brown ink to lower right 44 and 54 (5)

(1)

461 No lot

£200-300

97

£200-300

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SCULPTURE

Lot 462

Lot 463

Lot 464

462* Duboy (Paul, 1830-1887) Classical maiden resting on a column, holding a mandolin, bronze figure signed to base, 38cm high (1)

£400-600

463* Kuchler (Rudolf, Austrian, 1867-1954 Classical maiden with basket of flowers, bronze figure, signed to base, with foundry mark, on a black marble plinth, 33cm high (1)

£200-300

464* Schmidt-Hofer (Otto, German, 1873-1925) Nude dancer with arms outstretched, early 20th century bronze figure, signed on base, with marble plinth (some damage to the plinth), 41cm high overall (1)

£300-500

465* Manner of Claude Michel Clodion (1738-1814) Mother and infant Bacchus, bronze sculpture, modelled as a putto with female in drapery holding a tambourine, circa 1860, unsigned, shaped marble base, 22cm high (1)

£300-500

466* Caton (Paul, 1950-) Bowl, circa 1980, cast iron with rich black patina, 24cm (9.5ins) diameter, together with associated letter from the artist (1)

£70-100

Lot 465

98

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467*AR Rank-Broadley (Ian, 1952-) The Silence of Thasus, 1993, bronze portrait, artist’s monogram at base of verso, 40cm (16ins), mounted on a concrete base Included with the lot is a leaflet for ‘Sculpture in Paradise’ exhibition at Chichester, Sussex, 3-19 July 1994, where this work was exhibited and purchased from. Also included is an artist’s autograph letter signed to the purchaser at the time and a typed explanation note with regard to the genesis of the sculpture, both one page on letterhead stationery, 4to, all loosely inserted with a biography in the artist’s folder.

(1) £1200-1500

99

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Lot 469

468* South German School The Kingdom of Heaven, high relief carved sculpture in fruitwood, circa 1820-50, depicting the Holy Trinity, with Joseph and Mary below, flanked with various saints and bishops, including St. John holding a lamb, St. Mark holding a book, St. Teresa of Avila holding a flaming heart, and other similar figures, several holding the palm of martyrdom, some minor marks and one or two small losses (a female figure in armour to the upper left lacks sword, and a saint with mitre and crozier to lower left lacking his right hand), 2 oak vertical batons affixed to each side verso, 266 x 190mm (10.5 x 7.5ins) and 19mm (1 in) deep A late example of the intricately carved religious artworks produced in Southern Germany and Northern Switzerland during the Renaissance, one of whose best known exemplars was the Counter-Reformation sculptor in wood Christoph Daniel Schenk (circa 1633-1691).

(1) £500-800

469* Szamosi (Soos Vilmos, 1885-1972 ) Bust of a woman, 1911(?), bronze, signed ‘Szamosi’ and dated indistinctly lower left, 53cm (21ins) high (1)

£300-500

470* Thomas (James Harvard, 1854-1921) Boy, head and shoulders portrait bust, marble, signed and dated 1879 to verso, broken with loss to nose, 32cm (12.5ins) (1)

£200-300

Lot 470

100

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MODERN PAINTINGS

471* Aldunate (Carmen, Chilean, 1940-) La Lujuria, 'Lust', 1963, oil on canvas, signed, titled and dated to verso, Chilean export stamp to verso, 120 x 120cm (47x 47ins), framed Provenance: A private collection, London. Purchased by the vendor in a Santiago gallery in 1969 (export stamp to verso is dated 31 January 1970). Carmen Aldunate is a leading light in the Latin American Neo-Figurative movement, bringing a distinct feminist flavour clearly evident in the present work. Her work has been exhibited by galleries worldwide including the Museum of Modern Art in 1977, the Minories Art Gallery, Essex (2003), and an Eastern European travelling exhibition in 2004, as well as South America.

(1) ÂŁ2000-3000

101

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472* Bates (George William, 1930-) First Snow, North Vancouver, oil on board, signed lower right, 46 x 61.5cm (18 x 24ins), Alexander Harrison gallery label to verso, framed (1)

Lot 474

£200-300

473* Bouillé (Etienne, 1858-1933) Fishing Boats at Ploumanach, oil on board, signed lower left, 26 x 40cm (10.25 x 15.75ins), mount aperture, old label to verso of R. Jackson & Sons, Liverpool, framed and glazed (1)

£300-500

474*AR Camp (Jeffery Bruce, 1923-) Nude, oil on paper, 47 x 55cm (18.5 x 21.75ins), framed and glazed (1)

£200-300

475* English School.

Girl in a pink chiffon dress, seated by a table with flowers, early 20th century, oil on canvas, indistinctly signed lower left M.H...., inscribed in capitals to verso of canvas M.F., 76 x 51cm (30 x 20ins), gilt frame (1)

£300-500

Lot 475

102

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Lot 477

476*AR Dyf (Marcel Dreyfus, 1899-1985) Mort du Torero dans les Arènes, oil on board, showing a bullfighter lying on a make-shift bed, surrounded by figures, in a stone arched interior, signed lower right, 46.5 x 38cm (18.25 x 15ins), framed, together with a catalogue of the artist’s work by Michel Gay, with a loosely inserted hand-written card from the artist’s widow ‘here is the Brochure showing your painting Cordially Claudine Dyf 10.02.2014’ Marcel Dyf lived in Paris, but spent his childhood holidays in Normandy at Ault, Deauville and Trouville. He moved to Arles in 1922 where he kept a studio until the early years of the Second World War. He also took up residence from 1955 onwards in the old studio of the painter Maximilien Luce on the Avenue du Maine, Paris. After the war, he divided his time between Paris and Saint Paul-de-Vence. In 1955, the eminent London gallery Frost & Reed purchased a selection of his works, marking the beginning of a long and fruitful relationship between the gallery and artist.

Following his marriage to Claudine Godat, 36 years his junior, in 1956 the artist and his young wife made many visits to Brittany, and particularly the Golfe du Morbihan, where Dyf found inspiration for his landscape paintings.

(1) £500-800

477* Fried (Pal (1893-1976)) ‘Leslie’, oil on canvas, titled to verso, signed lower left, 76.5 x 61.5cm (30 x 24.25ins), framed (1)

£400-600

478* Fried (Pal (1893-1976)) Ballerina in a pink dress, oil on canvas, signed lower right, small areas of paint flaking, 81 x 60.5cm (32 x 23.75ins), framed (1)

£200-300

Lot 478 103

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479* Garstin (Norman, 1847-1926) Corner of a large garden with herbaceous border and greenhouse, oil on wood panel, showing part of a large Victorian greenhouse with a border of lilies, delphiniums, and poppies, and an evergreen in a terracotta pot, signed lower right, 27 x 20.5cm (10.5 x 8ins), period gilt moulded frame Norman Garstin was born in Ireland and studied in Paris and Antwerp. He arrived in Newlyn in 1886, moving to Penzance in 1889 where he settled permanently.

Garstin’s work is characterised by soft, muted colours and Impressionistic brushwork. His most famous work is ‘The Rain it Raineth Every Day’ (1889, Penlee House Gallery & Museum, Penzance).

(1) £1000-1500

Lot 479 480* Green (Leonard James, 1905-1993) Spanish townscape, oil on board, signed and dated “MCMLVX” to upper right, partial Royal Institute of Oil Painters exhibition label to verso, 46 x 61cm (18 x 24ins), framed Provenance: from a private collection, North Gloucestershire.

(1)

Lot 480 104

£150-200

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481*AR Hamilton (Letitia Marion, 1878-1964) Irish landscape, oil on wood panel, showing a group of cottages amidst fields huddling under a stormy sky with scudding clouds, initialled lower left, 30.5 x 31.5cm (12 x 12.25ins), framed Letitia Marion Hamilton was an Irish artist who, with her sister Eva, studied under William Orpen at the Metropolitan School of Art in Dublin and under Frank Brangwyn. She was the great-granddaughter of the artist Caroline Hamilton (1771-1861). Letitia was a prolific painter of the Irish countryside, exhibiting more than 200 paintings at the Royal Hibernian Academy, of which she became a member in 1943. She was a founder member of the Society of Dublin Painters in 1920, which marked the start of modernism in Irish art.

(1) ÂŁ1000-1500

105

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483* Kocamemi (Mahmut, 20th century) Hellespont, 1989, oil on paper, signed and dated upper left, 32 x 42cm (12.5 x 16.5ins), framed and glazed (1)

£100-150

484* Lyongrun (Arnold, 1871-1935) Heide im Winter, 1910, oil on canvas, signed and dated lower right, additionally inscribed by artist to verso, with address in Hamburg, 33 x 41cm (13 x 16ins), framed (1)

£150-200

482* Jagger (Snake (1955-)) “Cross That Bridge”, 1997, acrylic on pentagon-shaped canvas, signed and dated at foot, 84 x 64.5cm (33 x 25.25ins) (1)

£200-300

485* Macclune (Victor, 20th century) Guadiana de la Serena, oil on board, signed lower right, exhibition label to verso, 42 x 67cm (16.5 x 26.3ins), framed and glazed (1)

Lot 483

106

£150-200

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486*AR MacTaggart (Sir William, 1903-1981) “Plough and Stubble, East Lothian”, oil on board, signed lower left, 17.5 x 23cm (7 x 9ins), gilt moulded frame, inscribed in the artist’s hand to verso ‘Plough and Stubble, W. MacTaggart RSA Jr.’ and with printed exhibition label Provenance: Bonhams, Edinburgh, lot 38, 23rd April 2009, ‘Property of a Lady of Title’. Exhibited: Aitken Dott & Son (The Scottish Gallery), Festival Exhibition, 1959, no 34.

(1) £1500-2000

107

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490* Potenza (Primo, 1909-1983) Il Pincio Roma, oil on paper, signed lower right, titled to verso, 32 x 23.5cm (12.5 x 9.25ins), laid onto card, together with Cortina d’Ampezzo, oil on paper, signed lower right, titled to verso, 23 x 30.5cm (9 x 12ins), laid onto card

487* Morrell (Lady Harriette, 1845-1924) Painted folding screen, 1911-1913, oil on leather backed with canvas, composed of four arched panels, each depicting a classical landscape with buildings and figures in a painted arched architectural frame, with flowers in an urn above and entwined foliage below, in shades of green, blue, and red, with gold, some wear, flaking, and worm holes (some light restoration), height 208.5cm (82ins), overall width 200cm (78.75ins), with paper label on verso of fourth panel with manuscript inscription within an engraved oval frame: 'Designed and executed by Harriette Anne Morrell begun in 1911 finished 1913'

(2)

£200-300

Provenance: From the collection of Lady Ottoline Morrell, thence by descent. Harriette Anne was the daughter of the Reverend Philip Wynter, President of St John's College, Oxford and Vice-Chancellor of the University of Oxford. She married Frederick Parker Morrell, and they lived at Black Hall, St. Giles, Oxford. Their second son Philip Edward Morrell married Ottoline Violet Anne Cavendish-Bentinck in 1902. Harriette Morrell kept a small book in which she recorded her work and under 1913 she records: '1913 Finished in the early part of this year a tall leather screen - shades of blue flowers on bright red, with four landscapes, Hampton Court, The Silent Pool, Ruins and le Petit Trianon. Philip and Margaret and Freddy [her children] all liked it very much. This screen lives in the drawing-room at Black Hall.'

(1) £1500-2000

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

491* Stonelake (Frank P. 1879 - 1929) Black Mare in a woodland setting, oil on canvas, signed lower right, 445 x 600mm (17.5 x 23.5 inches), framed

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

(1) £100-150

(1)

£200-400

489* Peirce (Ernest (1887-1961)) ‘Mounts Bay from Newlyn’, oil on canvas, signed lower left (small repair to verso), 44 x 65cm (17.25 x 25.5ins), framed (1)

£100-150

492*AR Sanderson-Wells (John, 1872-1955 ).

Lady by a mantelpiece holding a letter, oil on canvas, signed, 380 x 230mm (15 x 9ins), contemporary gilt frame, with handwritten label to verso giving the artist's name and partial details of the subject (1)

Lot 490

108

£300-500

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Lot 487

109

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Lot 494

110

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Lot 495

493* Vyatkin (Aleksandr V., 1922-) Russian Airman, c. 1950, oil on card, signed A. V. Vyatkin with pencil inscription in Russian to verso, approx. 410 x 330mm, framed and glazed (1)

£150-200

494* White (Ken, 20th century) Foundry scene, GWR Works, Swindon, 1999, oil on canvas, 122 x 122cm (48 x 48ins), signed lower right (1)

£400-600

495*AR Whitehead (Steve) Aphrodite’s Rock, oil on canvas, 125 x 152.5cm (49 x 60ins), framed, with Thompson’s Gallery and Panter & Hall gallery labels to verso (1)

£500-800

Lot 493 111

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496*AR Williams (Evelyn, 1929-2012) elf Portrait, 1986, painted relief, 67.5 x 37cm (26.5 x 14.5ins), frame Evelyn Williams studied at St. Martin's School of Art and the Royal College of Art in the late 1940s and early 1950s. Her hauntingly powerful work has been exhibited in a retrospective at the Whitechapel Art Gallery in 1973, the Riverside Studios in 1984, and the Graves Gallery in Sheffield in 1990 (titled Out of the Forest). More recently her work was shown at Martin Tinney, Agnew's and Jane England.

(1) £300-500

497*AR Wilson (Scottie, 1889-1972) Swans and doves, hand-painted ceramic plate, signed “Scottie”, 25cm diameter (9.75ins), framed and glazed (1)

Lot 496

112

£200-300

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REGINALD JAMES LLOYD (1926-) Over the past four years, the work of Reg Lloyd has featured prominently in fine art sale, held at these auction rooms, and it has been pleasure to encounter the remarkable range of his output in this way. Throughout his career, Lloyd’s creative outlook has been both consistent and ambitious, covering painting, printmaking, sculpture and stained glass, as well as large-scale architectural decoration. He was born in Hereford, and at the age of two his family moved to Dawlish in South Devon. After army service, he attended Exeter School of Art for one term, where he was taught by the artist George Adamson. His work is concerned with the human history of the English landscape, especially Wessex, and its ancient standing stones and hill forts, such as Avebury, Silbury Hill, Stonehenge and Maiden Castle. Lloyd and his family moved to Bideford, Devon in 1956, where he has lived ever since, and a year later he was invited to exhibit his work at the Fifth Devon Festival, alongside the work of Piper, Hitchens, Epstein, Gaudier Brzeska, Rodin and Picasso. The poet Ted Hughes was a close friend from the early sixties, and a regular visitor to Lloyd’s home in Bideford, where he collaborated on several books combining poems and images, including poems from Crow (1970), What is the Truth (1984), The Cat and the Cuckoo (1987) and The Mermaid’s Purse (1993), and Earth Dances, which was printed at The Old Stile Press in 1994.

498* Lloyd (Reginald J., 1926-) Silbury, 1969, colour silkscreen print on paper, pencil signed and dated 1969 and numbered 10/15 to lower margin, sheet size 48.5 x 57cm (19 x 22.5ins), framed and glazed, typed label to backing board, framed and glazed (1)

£100-150

499* Lloyd (Reginald J., 1926-) Winter Sun, 1953, watercolour on paper, pencil signed in capitals and dated 1953 lower right, 18 x 14cm (7 x 5.5ins) (1)

£100-150

Lot 499

113

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500* Lloyd (Reginald J., 1926-) Two Figures, 1965, watercolour, pencil and gouache on pencil, signed and dated lower right, 26 x 40cm (10.25 x 15.75ins), framed and glazed (1)

£200-300

501* Lloyd (Reginald J., 1926-) Coming Through, 2010, acrylic on canvas, signed and dated lower left, 101 x 80cm (39.75 x 31.5ins), framed (1)

502* Lloyd (Reginald J., 1926-) Figures by the Standing Stones, circa 1960s, oil on board, unsigned and undated, titled by the artist in capitals to wooden backing board, 152 x 44.5cm (60 x 17.5ins)

£200-300

(1)

114

£200-300

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503* Lloyd (Reginald J., 1926-) Figures Embracing, 1970, acrylic on board, signed and dated lower left, 90 x 120cm (35.5 x 47.25ins), framed (1)

£300-500

504* Lloyd (Reginald J., 1926-) Beach Figure, 1972, acrylic on board, signed and dated lower right, 60 x 120cm (23.5 x 47.25ins), framed, artist’s name, date and caption to verso (1)

£300-500

115

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507* Lloyd (Reginald J., 1926-) Brent Tor, 1973, pencil and monotone watercolours on grey paper, signed and dated lower right, 29 x 44.5cm (11.5 x 17.5ins), framed and glazed, artist’s name and address stamp and ink title to backing board (1)

£100-150

505* Lloyd (Reginald J., 1926-) Two Heads, 1967, monotype on wove paper, pencil signed and dated lower left, 24.5 x 51cm (9.75 x 20ins), framed and glazed, artist’s name and address stamp and written details to backing board (1)

£100-150

508* Lloyd (Reginald J., 1926-) Chalk Cutting, 1949, watercolour and acrylic on paper, pencil signed and dated lower left, 27 x 34.5cm (10.5 x 13.5ins), framed and glazed, artist’s name and address stamp and ink title to backing board (1)

£150-200

506* Lloyd (Reginald J., 1926-) Toward Maiden Castle, 1974, pencil drawing on thick wove paper, some green watercolour wash, signed and dated lower right, 37.5 x 53.5cm (14.75 x 21ins), framed and glazed, artist’s name and address stamp and written caption to backing board (1)

£150-200

509* Lloyd (Reginald J., 1926-) Sun through a Window, 2012, acrylic on canvas, signed and dated lower right, 39 x 49.5cm (15.25 x 19.5ins), framed (1)

Lot 507

116

£150-200

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510* Lloyd (Reginald J., 1926-) Self Portrait with Model, 1968, monotype on grey wove paper, pencil signed and dated lower right, 38 x 31cm (15 x 12.25ins), framed and glazed, artist’s name and address stamp and ink title to backing board

512* Lloyd (Reginald J., 1926-) Figures and Claytips, 1969, colour screenprint on paper, artist’s proof, pencil signed and dated to lower margin, a few minor spots, 56 x 38cm (22 x 15ins), framed and glazed, artist’s name and address stamp and ink title details to backing board

(1)

(1)

£100-150

£150-200

513* Lloyd (Reginald J., 1926-) Old Drying House, 1982, oil on board, signed and dated lower right, 49 x 75cm (19.25 x 29.5ins), framed, Burton Art Gallery, Bideford, exhibition label to verso (1)

511* Lloyd (Reginald J., 1926-) Through the Trees, 2012, acrylic on board, signed and dated lower left, 60 x 60cm (23.5 x 23.5ins), framed (1)

£300-400

117

£300-400

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515* Lloyd (Reginald J., 1926-) Harbour Life, 2005, acrylic on board, signed and dated lower right, 29 x 21cm (11.5 x 8.25ins), framed and glazed, artist’s stamped name and address label and ink details to backing board (1)

£200-300

514* Lloyd (Reginald J., 1926-) Reflections, 2010, acrylic on canvas, signed and dated lower right, 101 x 80cm (39.75 x 31.5ins), framed, artist’s name, title and date details inscribed to frame verso (1)

£300-500

516* Lloyd (Reginald J., 1926-) Reflections, 2012, acrylic on board, signed and dated lower right, 40 x 29.5cm, framed (1)

£150-200

517* Lloyd (Reginald J., 1926-) Blue Figures, 1962, watercolour in black and blue wash on wove paper, pencil signed and dated lower left, 14 x 19cm (5.5 x 7.5ins), framed and glazed, artist’s name and address date stamp and ink title to backing board (1)

Lot 515 118

£150-200

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519* Anrep (Boris, 1883-1969) Design for an embroidery, pen, black ink and watercolour on wove paper, unsigned, sheet size 360 x 255mm (14.2 x 10ins)

MODERN WATERCOLOURS & DRAWINGS

Provenance: From the collection of Lady Ottoline Morrell by descent. Boris Anrep (1883-1969), Russian artist and mosaicist who established his mosaic studio in London in 1911. An important member of the Bloomsbury Group, Anrep assisted Roger Fry with the Russian section of the famous Second PostImpressionist exhibition in 1912. He was a friend of the Morrells and a frequent visitor to Garsington Manor. With a letter from Annabel Anrep dated October 16th 1998, confirming the attribution of this work by the artist’s son Igor Anrep.

(1) £200-300

518* Aldridge (John A. Malcolm, 1905-1984) Cheltenham, 1950, pencil on paper, captioned “Cheltenham, 8 Oct 50” to lower left, artist’s initials stamped lower right, minor scattered spotting, 22 x 27cm (8.75 x 10.5ins) mount aperture, framed and glazed (1)

£150-200

520* Askew (Felicity K. S., 1894-?)

Unsaddling, pen and ink on paper, artist’s monogram lower right, 24 x 37cm (9.5 x 14.5ins), framed and glazed (1)

£70-100

521* French School.

French soldier charging enemy line, black chalk on paper, depicting a French infantryman attacking from the trenches in World War I, signed E.B. lower right, 285 x 220mm (11.2 x 8.75ins) mount aperture, framed and glazed (1)

£100-150

522* Bangara (Hassan, 20th century) A Street in Sierra Leone, 1970, watercolour with pen and ink on paper, signed and dated lower left, 35 x 56cm (13.75 x 22ins), framed and glazed, together with Townscape in Sierra Leone, 1970, watercolour with pen and ink on canvas, signed and dated lower left, 49 x 59cm (19.25 x 23ins), framed and glazed

Lot 519

(2)

119

£100-150

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523* Barbier (Georges, 1882-1932, after) Au Revoir & L'Après Midi d'un Faune, a pair of gouache, 13.5 x 20cm (5.5 x 8ins) and 15.5 x 20cm (6.25 x 8ins) mount aperture, framed and glazed

526* Buchanan-Dunlop (Ian, 1900-1979) A Shower on Knoydart, watercolour on paper, signed lower right, 22 x 30cm (8.75 x 12ins) mount aperture, framed and glazed

After the original pochoir prints by George Barbier, published in the album 'Le Bonheur du Jour ou les Graces a la Mode', 1924.

(2) £200-300

(1)

£70-100

527 No lot

524* Bawden (Richard, 1936-) Suffolk Coast, watercolour, pen & ink and body colour, signed lower right, 230 x 390mm (9 x 15.25ins), framed and glazed (1)

£150-200

528* Camprubi (Leontine, 1916-1994) Townscape with bridge, pencil on paper, 33 x 28cm (13 x 11ins) mount aperture, framed and glazed, together with a similar architectural study in watercolour wash, 27 x 20cm (10.5 x 8ins) mount aperture, framed and glazed, each with brief biography of the artist to verso

525* Boxer (Mark, 1931-1988) Caricature of Arthur Koestler, pen & black ink on paper, signed Marc, and inscribed below ‘Ve haf vays of making you tink.... (Arthur Koestler)’, 305 x 230mm (12 x 9ins) mount aperture, framed and glazed (1)

(2)

£100-150

120

£200-300

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Lot 530 529* Cleren (Jean-Paul, 1940-) Néréide, pencil on artist’s board, signed in pencil lower left, 69.5 x 50cm (27.3 x 19.75ins) (1)

£100-150

530* Colquhoun (Robert, 1914-1962 & MacBryde, Robert, 19131966).

Original sketch book of Colquhoun and MacBryde, circa 1949, containing 30 leaves of notepaper with printed all-over small check, containing sketches and figure studies, initially in dark brown and occasionally blue ink, including still life compositions, figures and horse, bull's head, donkey, etc., later with 21 studies of a standing female figure, in brown ink, the final 11 leaves with small stain to lower outer corners, and singed with slight loss to edge, original black morocco-backed upper wrapper printed with the words 'Blocco per Appunti', inscribed in pencil to upper margin 'Colquhoun MacBryde', and additionally inscribed 'Siena Pensione Senese Main St.', blue ink stain and some other marks, 120 x 180mm (4.75 x 7ins) Provenance: Private collection, Dorset. An important artistic document of the Scottish painters Robert Colquhoun and Robert MacBryde, which would appear to have been used by them during their trip to Italy between May and October 1949, accompanied by the poet and friend George Barker, who had been commissioned by John Lehmann to write an illustrated book about Italy (never realised). 'In Modena, Colquhoun made drawings of the puppet shows and, as planned, they visited Siena to see the famous Palio horse race which Colquhoun also sketched, intending to use these and other Italian drawings as the basis of paintings to be completed later on their return to Britain' (Roger Bristow, The Last Bohemians, 2010, page 224).

(1) £1500-2000

Lot 529

121

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533* Dunlop (Ronald Ossory, 1894-1973 ) Head of a woman, 1966, watercolour over pencil on lined paper, signed and dated lower right, 167 x 128mm (6.5 x 5ins), together with a charcoal study of a female nude, signed in blue ink, plus a study of a woman reading in black pencil and a study of a figure reclining in black ink, all signed, plus a pencil drawing of a girl signed Duncan Grant (5)

£150-200

534* Freedman (Barnett, 1901-1958) Drilling & Clearing Old Surface, Shepherd’s Bush, circa 1940s, togther coloured pastels on light brown paper, each signed ‘Barnett’, and one inscribed with title, 220 x 275mm (8.7 x 10.8ins), and very slightly smaller, matching black frames, glazed (2)

£300-500

531 Cooper (Alfred Egerton, 1883-1974) Coastline, 1936, watercolour on artist’s board, signed and dated in pencil lower right, 31 x 49cm (12 x 19.25ins) £150-200

(1)

532* Dunlop (Ronald Ossory, 1894-1973 ) St Pauls & Tower Bridge, 1965, a pair of watercolours on paper, 36 x 53cm (14 x 21ins) and similar, framed and glazed

535* Fried (Pal (1893-1976)) Female nude, red chalk on paper, signed lower left, 102 x 76.5cm (40 x 30ins), framed and glazed

£150-200

(2)

(1)

£300-500

536 Robb (Lena, 1891-1980).

White Japanese Anemones, oil on board, signed lower right, one or two tiny chips to paint surface, 41 x 51cm (16 x 20ins), framed

Lot 534

(1)

122

£150-200

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Lot 537 537*AR Gormley (Antony, 1950-) Still life on a kitchen window, circa 1974-75, pen and black ink on 3 conjoined black postcards (each with printed address to top margin), with handwritten message by Antony Gormley and Alison Bromhead to verso, overall size 85 x 420mm (3.4 x 16.5ins), framed and double glazed Provenance: Executed by Antony Gormley for the architectural draughtsman John Nankivell while the artist was staying with Alison Bromhead at the Glebe House, Abbots Leigh, near Bristol, who was a mutual friend. (Letter of provenance provided).

(1) £1000-1500

538 Green (Leonard James, 1905-1993) “Visit Australia”, six gouaches on paper, depicting Australia flora and fauna, together with another gouache on paper of a map of Australia, squared up in pencil, each 31 x 23cm (12 x 9ins) and similar, mounted

Lot 539

Possibly comissioned by John I. Thornycroft & Co., for commercial use. See their copyright stamp to verso of artist’s photograph copies of the present works in the next lot. Provenance: from a private collection, North Gloucestershire. The current owner knew the artist when she was growing up in Australia.

(7) £100-150

539 Green (Leonard James, 1905-1993) Album of portraits, comprising fifteen pencil sketches of portraits and figure studies, one or two signed and dated, and fifteen black and white photographic copies of portraits, plus photograph copies of Australia artwork, plus a letter informing Leonard Green of his appointment to the Royal Institute of Oil Painters, siged Maurice Bradshaw, dated 21 October 1966, various sizes Provenance: Private collection, North Gloucestershire.

(37)

£200-300

540* Griffen (F., 20th century) Old Brompton Road Tube Station in War Time, 1940, watercolour on paper, signed and dated lower right, titled and additionally signed lower margin, 30 x 36.5cm (12 x 14.25ins) mount aperture, framed and glazed (1)

Lot 540

£70-100

123

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Lot 542

541* Hall (Clifford, 1904-1973) After the bombs, Seaton St, 1940, watercolour and pencil on paper, signed lower right, titled and dated 14.10.40 lower left, Press & Censorship Bureau approval stamp to verso, sheet size 31 x 22cm (12 x 8.75ins), together with Going to Shelter, 1940, pen, ink and watercolour over pencil on paper, signed and dated 17.10.40 lower left, sheet size 22 x 31cm (8.75 x 12ins) (2)

£300-500

542* Hall (Clifford, 1904-1973) Rue Caisserie, Marseille, circa 1936, watercolour on thick wove paper, signed and title lower left, sheet size 390 x 285 (15.3 x 11.25ins), mounted, together with French street scene, 1936, watercolour and black ink on thick wove paper, signed and dated Oct. 1936 lower left, sheet size 282 x 380mm (11 x 15ins) (2)

£200-300

543* Hall (Clifford, 1904-1973) View from the window of 8 Trafalgar Studios, Chelsea, 1949, oil on board, signed lower left, and with title inscribed to verso, 330 x 240mm (13 x 9.5ins), framed (1)

£300-400

Lot 543

124

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544* Hawes (Meredith William, 1905 -) Design for the decoration of the Pavilion Ballroom, Bournemouth, 1938, ink and gouache on paper, signed in pencil lower right, 20 x 42 cm (8 x 16.5 ins), framed and glazed, glass cracked, Abbott & Holder label to verso (1)

547* Kempster (William and Bridget, 20th century Abstract, monochrome screenprint, signed in penmncil to lower edge, 49 x 72cm (19 x 28.5ins) sheet size, together with fifteen similar monochrome prints by William and Bridget Kempster (16)

£150-200

£150-200

548* Lancaster (Percy, 1878-1951) Hubberholme, Wharfedale, 1924, watercolour, 23 x 33cm (9 x 13ins) mount aperture, signed lower right, Guilford Galleries label and artist information to verso, framed and glazed (1)

£100-150

549 No lot 550* London A riverside view with the dome of St Paul’s in the background, late 19th century, pen and ink and wash on buff paper, initialled ‘BB from WJ’ lower left, 30 x 43.5 cm (11.75 x 17 ins), framed and glazed (1)

551* Mackay (John) VE Night, Belgium, pen, ink and crayon on paper, signed and titled lower right, 21 x 27cm (8.25 x 10.5ins)

545* Holland (Dudley, 1915-1956) The Feather Boa, ink and wash/tracing paper, 23.5 x 19cm (9.25 x 7.5ins) mount aperture, framed and glazed (1)

£150-1200

(1)

£150-200

£100-150

546* Howell (David, 1939-) San Giorgio Maggiore Island with Venice beyond, watercolour on paper, signed lower right, artist’s biography on Polak Gallery headed paper to verso, 23 x 36cm (9 x 14ins), framed and glazed

552* Maile (Will H., 20th century) Portscatho, Cornwall, watercolour, signed lower right, 27 x 37cm (10.5 x 14.5ins) mount aperture, framed and glazed

(1)

(1)

£100-150

125

£70-100

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555* Morton-Sale (John (1901-1990)) ‘Dog Star - Sirius’, scraperboard, 31 x 21cm (12 x 8.5ins) mount aperture, mounted, framed and glazed

553* May (Phil, 1864-1903) Portrait of the artist sketching, 1894, pencil on wove paper, heightened with touches of black ink, showing the artist standing with sketchbook in hand, signed, dated April 26th 1894, and inscribed 'To my friend Walter Corbould', some pale discolouration, 255 x 178mm (10 x 7ins) mount aperture, period gilded wood frame, glazed (1)

Provenance: Chris Beetles Ltd, gallery label to verso.

(1)

£150-200

£100-150

556* Parker (Mordaunt Mauleverer, 1891-1970).

Industrial scene with smoke stacks, 1948, watercolour and black chalk on white card, signed and dated lower left, 33 x 46cm (13 x 18ins), with a second watercolour by the same artist to verso, showing a quiet, sunny street scene with figures and street traders, signed lower left, 40 x 54cm (15.75 x 21.25ins) (2)

£100-150

554* Meschini (Giovanni, 1888-1977) Female figures in fur-lined coats, a pair of gouaches on paper, each signed lower edge, 13 x 9cm (5 x 3.5ins), mounted (2)

£100-150

557* Pearce (Cyrill, 1882-1967) River of Forgetfulness, coloured chalks on paper, signed lower right, 47 x 64.5cm (18.5 x 25.25ins) mount aperture, framed and glazed (1)

Lot 555

126

£100-150

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561* Richmond (Leonard, 1889-1965) A collection of ten pastel studies of landscapes, most signed to lower edge, all laid down, 36 x 61cm (14 x 24ins) and similar

558*AR Piper (Edward, 1938-1990) ‘Tenby’, 1987, pen, ink and watercolour on board, signed lower right, 44 x 58.5cm (17.25 x 23ins), framed and glazed (1)

(10)

£300-500

£200-300

559 No lot

560* Procter (Ernest, 1886-1935) View of Paris with Sacré Coeur in the distance, 1911, watercolour, signed and dated lower left, 240 x 355mm (9.5 x 14ins) mount aperture, period gilt frame, glazed (1)

562* Sauter (Rudolph Helmut, 1895-1977) Doodle-Bug Alley - The Crooked Cross, 1944, watercolour on paper, signed and dated lower left, titled and additional inscribed to verso, Press & Censorship Bureau approval stamp to verso, sheet size 26 x 37cm (10 x 14.5ins)

£200-300

(1)

127

£150-200

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563* Sauter (Rudolph Helmut, 1895-1977) Sledging, watercolour on paper, signed lower right, sheet size 39 x 57cm (15.5 x 22.5ins), together with Toll House in the Snow, watercolour on paper, signed lower right, sheet size 39 x 53cm (15.5 x 21ins), plus four other watercolours all showing snow scenes, including skiing, all but one signed to lower edge, various sizes (6)

565* Sauter (Rudolph Helmut, 1895-1977) Paths in the moonlight - Bombers going out over the Channel, watercolour on paper, signed lower right, original manuscript label to verso giving title and artist’s address, Press & Censorship Bureau inkstamp dated 16 October 1944 to verso, pin-holes to corners, sheet size 29 x 40cm (11.5 x 15.75ins)

£150-200

(1)

564* Sauter (Rudolph Helmut, 1895-1977) View across the a wing, pen, ink and watercolour on heavy paper, initialled lower right, prepatory sketch of the same view to verso with colour samples and artist’s notes, sheet size 39 x 53cm (15.5 x 21ins) (1)

£200-400

566* Sauter (Rudolph Helmut, 1895-1977) After the raid, watercolour on paper, showing a gas mask hanging in a ruined building, 49.5 x 60cm (19.5 x 23.5ins) mount aperture, framed and glazed

£300-500

(1)

128

£400-600

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567* Sauter (Rudolph Helmut, 1895-1977) Farm machinery, watercolour on paper, signed lower left, sheet size 38.5 x 55.5cm (15 x 22ins), together with nine other similar watercolours, including architectural studies, landscapes and view of a factory

569* Sauter (Rudolph Helmut, 1895-1977) The Calm before the Storm - St Valerie en Caux, August 1939, watercolour on paper, signed lower right, titled and additionally inscribed to verso, sheet size 39 x 56cm (15.5 x 22ins), together with fourteen similar watercolours including architectural studies and landscapes

(10)

(15)

£300-400

570* Sauter (Rudolph Helmut, 1895-1977) Doodlebug Alley - Death on the Way, 1944, watercolour over pencil on paper, signed and dated lower left, Press & Censorship Bureau approval inkstamp to verso, 25 x 35cm (10 x 13.75ins) mount aperture, framed and glazed

568* Sauter (Rudolph Helmut, 1895-1977) Ben Almadena, crayon, signed and inscribed lower left, sheet size 38 x 53cm (15 x 21ins), together with fourteen similar works (watercolours, pastels and crayons), including a colour pastel view of fireworks over a harbour (15)

£300-500

(1)

£300-500

129

£200-300

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571* Sauter (Rudolph Helmut, 1895-1977) Clay pits, 1958, watercolour on paper, signed and dated lower left, 37 x 51.5cm (14.5 x 20ins), framed and glazed, together with ten similar works of industrial subjects, including watercolours and crayon, most signed and some dated, various sizes (11)

£300-400

Lot 573

572* Sauter (Rudolph Helmut, 1895-1977) Coastal Scene, 1945, watercolour on paper, singed and dated lower left, sheet size 26 x 38cm (10 x 15ins), together with seven similar landscape watercolours, most signed, some dated, plus three associated black and white photographs including reproductions of Sauter’s works (10)

£100-150

573* Schonbach (F., 20th century) Taronga Park Zoo, Sydney, watercolour, pen and ink on artist’s board, 38 x 33cm (15 x 13ins) (1)

£150-200

574*AR Spare (Austin Osman, 1888-1956) Automatic Drawing, pencil and coloured pencils on thin wove paper, pale marginal browning, very small discolouration mark towards lower right, signed with initials lower left, sheet size 255 x 190mm (10 x 7.5ins), framed and glazed Provenance: Private collection, London.

(1)

£400-600

Lot 574

130

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Lot 575

575*AR Spare (Austin Osman, 1888-1956) Gaminerie, 1953, pencil and coloured pencils on wood, signed with initials and dated lower left, 240 x 335mm (9.4 x 13ins), framed and glazed, with additional inscription in ink to verso by the artist ‘No. 88 “Gaminerie” by Austin Osman Spare 53’ Provenance: Private collection, London.

(1)

£400-600

576* Tabb (Barrington, 1932-) Bristol docks, oil on board, unsigned, 375 x 355mm (14.75 x 14ins), framed and glazed (1)

£200-300

Lot 576

131

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578*AR Uglow (Euan, 1932-2000) Seated nude, pencil on wove paper, 40 x 37.5cm, framed and glazed Provenance: Private Collection, Wiltshire. Purchased in the late 1970s or early 1980s. An exhibition of Uglow's drawings was recently held at Marlborough Fine Art, London, 15 January - 1 February 2014.

(1) £1500-2000

579* Vogel (Bernhard, 1961-) Great St. George Street, with Big Ben, London, watercolour on handmade paper, signed in pencil, 397 x 500mm (15.6 x 19.7ins), framed and glazed, with Waterman Fine Art label to verso (1)

£200-300

577*AR Tindle (David, 1932-) Industrial Landscape, 1959, black charcoal and watercolour on paper, signed and dated lower right, laid down on card, 515 x 315mm (20.25 x 12.4ins) (1)

£300-500

580* Ward (John Stanton, 1917-2007).

A collection of original drawings and sketches by John Ward, circa 1950s-60s, including pub scenes, figure studies, portraits, etc. and studies for whiskey promotional material, mostly pen, black ink and wash, some with watercolour, on various papers, few signed or inscribed, occasional marginal crease, various sizes 48 x 31cm (19 x 12.25ins) and similar Ward was born in Hereford, where his father, Russell Stanton Ward, ran an antiques shop and restored paintings. With financial support from the Principal, Sir William Rothenstein, he won a place at the Royal College of Art in London in 1936, where he studied under Gilbert Spencer, Barnett Freedman, Percy Horton, Charles Mahoney and Alan Sorrell, winning the prize for drawing. He taught at Wimbledon School of Art, and drew illustrations for Laurie Lee's Cider with Rosie (1959), H.E. Bates's The Darling Buds of May (1958) and An Autobiography (1969-72). He became an associate of the Royal Academy in 1956, and a full member in 1966. Ward and three other members of the Royal Academy resigned in 1997 in protest at the Sensation exhibition.(-) £300-500

Lot 579

581 No lot 132

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Lot 578

133

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582* Weir (Helen Stuart, 1915-1969) The Sloop Inn, St. Ives, pencil and coloured crayon on pale grey paper, signed lower right, 226 x 307mm (8.9 x 12ins), framed and glazed, with part of original backing board and exhibition label attached to verso (1)

£100-150

583*AR Wilde (Gerald, 1905-1986) Brighton Pier, 1938, black ink and coloured chalks on paper, signed lower right, 215 x 152 mm (8.5 x 6 ins), period frame, glazed, with handwritten note about the artist pasted to back of frame One of a series of drawings of Brighton Pier, completed by Wilde in 1938.

He studied at Chelsea School of Art and was taught there by Graham Sutherland and Henry Moore, and his work was admired by fellow artists Lucian Freud and Frank Auerbach. An article on the drawings of Gerald Wilde by Brian Robb appeared in Signature, New Series, No. 7, 1948.

(1) £400-600

Lot 583

584* Wood (Christopher, 1901-1930) Portrait of Katya Krassui, pencil on pale brown wove paper, small worm hole towards lower left, 295 x 225mm (11.6 x 8.9ins) mount aperture, framed and glazed (unexamined out of frame) Provenance: Sold Sotheby’s July 1989, lot 213.

(1)

£700-1000

134

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Lot 584

135

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MODERN PRINTS

585*AR Agam (Yaacov, 1928-) Untitled 23, 1975, colour screenprint, on thick wove paper, an artist’s proof, aside from the edition of 150 impressions, signed, dated and marked E.A. in pencil, sheet size 530 x 700mm (21 x 27.5ins), framed and glazed (1)

587* Anderson (Stanley, 1884-1966) Horseguards, 1911, etching on Whatman laid paper, from the edition of 50, published by Dowdeswell Gallery, signed in pencil, a very good strong impression, with pale mount stain, plate size 235 x 299mm (9.25 x 11.75ins), sheet size 333 x 406mm (13.1 x 16ins)

£200-300

Meyrick & Heuser 37.

(1)

£200-300

586* Alma-Tadema (Lawrence, 1836-1912) Self Portrait, photogravure, signed in pencil to lower margin, laid down onto board, image size 31 x 39.5cm (12 x 15.5ins) (1)

£150-200

588*AR Appel (Karel, 1921-2006) Composition, 1960, colour lithograph, signed and dated in pencil lower right, sheet size 300 x 296mm (11.75 x 11.7ins), as contained in Karel Appel Painter by Hugo Claus, New York, Harry N. Abrams, 1962, numerous colour and monochrome illustrations, original cloth-backed pictorial boards, a little rubbed and marked at extremities, with partial glassine dust jacket, square 4to (1)

136

£200-300

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Lot 589

589* Ardizzone (Edward, 1900-1979) Shelter Scene, 1941, colour lithograph, printed by the Baynard Press, published by the National Gallery, sheet size 76 x 102cm (30 x 40ins) (1)

ÂŁ150-200

590* Arman (Fernandez, 1928-2005) Arman, Galerie Bonnier, Septembre 1970, monochrome lithograph, inscribed and signed in pencil lower left, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

ÂŁ100-150

Lot 590 137

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591*AR Beaton (Cecil, 1904-1980) Lady Ottoline Morrell in evening dress, 1927 vintage bromoil gelatin silver print, 300 x 254mm (11.75 x 10ins), on original thick paper mount, signed by the photographer in ink below, backing sheet size 407 x 280mm (16 x 10.5ins) Provenance: From the collection of Lady Ottoline Morrell by descent. The spectacular evening gown worn by the sitter, made of vivid yellow silk with purple embroidery, is now in the Museum of Fashion, Bath. A similar but much smaller portrait of Lady Ottoline standing, wearing the same dress is in the National Portrait Gallery (Dame Helen Gardner Bequest).

(1) £200-400

592* Bessant (Don, 1941-1993) Cotswold Spring, & August Morning, 1977, together two colour lithographs on handmade paper, published by Christie’s Contemporary Art, both signed, dated, titled and numbered 123 and 51 from editions of 150 respectively, sheet size 470 x 400mm (18.5 x 15.75ins), matching gilt frames, glazed, with CCA certificate of authenticity to verso, together with Daniel (Valerie, 20th/21st century), Cottage Window, etching with aquatint, signed, titled, and numbered 65/100, plate size 540 x 400mm (21.25 x 15.75ins), with margins, framed and glazed (unexamined out of frame) (3)

£100-150

Lot 591

593* Boyd (Arthur, 1920-1999) Nude with shark-headed beast (Diana & Actaeon), 1962/63, etching with drypoint on thick wove paper, signed and marked in pencil Artist Proof, plate size 250 x 300mm (9.85 x 11.8ins), with margins, framed and glazed, unexamined out of frame (1)

Lot 592

138

£200-300

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594* Caiserman-Roth (Ghitta, 1923-2005) Lovers, lithograph on wove paper, signed and titled in ink, and numbered in pencil 9/11, sheet size 230 x 405mm (9 x 16ins), framed and glazed (1)

£50-80

596* Cleren (Jean-Paul, 1940-).

Visage, colour lithograph, signed in pencil and numbered XL/CXLV, circular blindstamp of Robert Paraud to lower margin, image size 560 x 450 mm (22 x 17.75 ins), sheet size 762 x 560 mm (30 x 22 ins), together with 3 other colour lithographs by the same artist, each signed and numbered in pencil from an edition of 145, circular blindstamp to lower margin, similar size, generally in excellent condition, plus one other similar colour lithograph by the same artist of a crouching female nude reflected in water, signed in pencil, sheet size 555 x 750mm (21.75 x 29.5ins) (5)

595* Chagall (Marc, 1887-1985) Cain and Abel, Sarah and Abimelech, Tamar, Daughter-in-Law of Judah, & Ruth at the feet of Boaz (from Illustrations for the Bible), 1960, together 4 colour lithographs on wove paper, together with duplicate lithographs of Cain and Abel, Ruth at the feet of Boaz and Tamar, Daughter-in-Law of Judah (the latter with very small surface abrasion to upper left margin), sheet size 355 x 265mm (14 x 10.5ins), each mounted Mourlot 238, 239, 243 & 248.

(7)

£300-500

139

£150-200

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597* Coburn (Alvin Langdon, 1882-1966) New York, with a foreword by H.G. Wells, London/New York, Duckworth & Co/Brentano’s, [1910], 20 photogravures

by Alvin Langdon Coburn, from plates prepared by the artist, and printed under his personal supervision, each tipped-on to dark grey leaves, calfbacked mottled dark grey boards, lettered in gilt to upper cover, rubbed and scuffed to edges, backstrip deficient, folio (410 x 305mm, 16.2 x 12ins) Goldschmidt, The Truthful Lens (1980), 36.

Foster, Imagining Paradise (2007), 226. The views are: The Metropolitan Tower, Brooklyn Bridge from a Roof-top, The Battery, Williamsburgh Bridge, The Holland House, Broadway at Night, Brooklyn Bridge from the River, The Flat-Iron, The Water Front, The Singer Building, Noon, The Ferry, The TunnelBuilders, The Knickerbocker Trust Company, The Chinese Quarter, The Unfinished Bridge, The Singer Building, Twilight, The Stock Exchange, 5th Avenue from The St. Regis, The Sky-line & The Park Row Building.

Coburn moved to Hammersmith in London in 1909, where he set up presses to print his own photogravures, the first publication of which was his series of Views of London (1909) to which the New York volume forms a companion.

(1) ÂŁ2000-3000

140

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Lot 599

598* Conder (Charles, 1868-1909) Seated Lady, etching on laid paper, an artist’s proof, signed in blue pencil, and marked ‘Artist’s proof’ to lower margin, additionally signed within the plate with initials C.C. lower left, and with an area to the lower left of the plate marked off in blue pencil, plate size 202 x 150mm (7.95 x 5.9ins), light surface marks and overall spotting, laid down on backing card, sheet size 315 x 265mm (12.4 x 10.5ins) Provenance: From the collection of Lady Ottoline Morrell by descent.

(1) £200-300

599* Daniel (Valerie, 20th/21st centry) Anemones, & Tulips, two large mixed method engravings, signed in pencil, limited edition 64/100 and 33/100 respectively, each approximately 55 x 40.5cm (21.5 x 16ins), together with Partridge (Eleanor), View from marbled wall, 1981, aquatint etching, signed in pencil, limited edition 13/50, 56.5 x 43cm (22 x 17ins), with Stokoe (Michael), Summer Vines, late 20th century, mixed method engraving, signed in pencil by artist below image, limited edition 10/50, 46 x 32.5cm (18 x 12.75 in), plus Jones (Olwen), House Plants, colour screenprint, signed in pencil, limited edition 61/100, 44 x 32cm (17.25 x 12.5 in), together with other 20th century prints and etchings, various sizes and condition (43)

£200-300

600* Drury (Paul, 1903-1987) Head of a Young Woman, 1930, etching and engraving on wove paper, published in an edition of 100 impressions by the Print Collector’s Club, 1930, signed in pencil, plate size 145 x 120mm (5.7 x 4.7ins) with margins Garton 26, viii/viii.

(1)

£150-200

Lot 600

141

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601* Ernst (Max, 1891-1976) Eight colour lithographs from Dent Prompte by René Char and Max Ernst, Paris, Galerie Lucie Weill, 1969, 8 colour photolithographs on japan paper, printed by Fernand Mourlot (from the total of 11 plates, including the cover design), each signed in pencil by Max Ernst lower right, and numbered 5/70, image size 475 x 394mm (18.7 x 15.5ins), sheet size 540 x 450mm (21.25 x 17.75ins), each mounted Spies/Leppien A19. From the edition of only 70 signed and numbered impressions on japon nacré. The work was also published in a portfolio with the plates unsigned, in an edition of 290 copies. The plates are titled L’Absence, Precurseur creve la soie sans percu s’emporte, Au Liege rendu par la mer, Veilleuse au seuil de nos terrassements, La Danse, La lumiere descend de l’ombrelle aux moissons, Comme midi fume un verre & Fureur tu me traites comme la tristesse.

(8) £1000-1500

142

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602* Erté (1892-1990) Three Faces, 1974, colour screenprint, an artist's proof, signed and marked 'A.P.' in pencil, 61 x 43.5cm (24 x 17.25ins) mount aperture, signed lower right, additionally inscribed "Good luck!" and signed below, Newgate Gallery, label to verso, framed and glazed (1)

£150-200

603* Fedden (Mary, 1915-2012) Whitby harbour, offset colour lithograph, from the edition of 250, signed and numbered in pencil, 430 x 320mm (17 x 12.6ins), framed and glazed (1)

£200-300

604 No lot

Lot 602

605* Fini (Leonor, 1908-1996) Visage dans les fleurs, offset colour lithograph on hand-made paper, numbered 48/145 and signed in pencil to lower edge, creased to margins, sheet size 76 x 53cm (30 x 21ins), together with two other colour lithographs by Fini (3)

Lot 603

143

£150-200

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606 Frost (Terry, 1915-2003) Eleven Poems by Federico Garcia Lorca illustrated with Eleven Etchings by Terry Frost, 1989, the complete portfolio of 11 etchings, including five with hand-colouring, printed on Somerset Satin, printed in collaboration with the artist at The Print Centre, London (production and typography co-ordination by Gordon House and Hugh Stoneman), published by Austin/Desmond Contemporary Books, October 1989, in an edition of 75, this being number 7 of 10 artist’s proofs, numbered in roman numerals, each print signed in pencil lower right, and numbered lower left, loose as issued in original black cloth solander box, with separate colophon leaf at end, signed by the artist, sheet size 565 x 385mm (22.25 x 15.25ins), in fine condition Kemp 98-108. The culmination of a long engagement by the artist with the poetry of Lorca, Eleven Poems is a magnificent visual dialogue with the poet’s imagery. ‘Lorca is so simple, and so direct, and so full of colour and ideas’ (The artist quoted in Terry Frost: Six Decades (2000), page 69), a comment which equally encapsulates the artist’s own work. The Tate Gallery also holds one of the ten artist’s proofs of this portfolio.

(1) £3000-5000

144

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609* Griggs (Frederick Landseer, 1876-1938) Meppershall Chapel, 1915, etching on laid paper, one of 30 impressions of the third state, signed in pencil, some light toning, sheet edges with some tears and loss to edges (caused by previous mounting and glue), encroaching particularly to the lower right corner of the image (but with some margin on all sides), plate size 131 x 116mm (5.2 x 4.5ins), sheet size 210 x 185mm (8.3 x 7.2ins), with margins shorter in several places

607* Gentleman (David, 1930-) Camden Crescent and Canal in Sydney Gardens, 1975, two colour lithographs on wove paper, limited edition of 100, each signed and numbered at foot, 53 x 40cm (20.75 x 15.75ins) mount aperture, framed and glazed (2)

£150-200

Comstock 13, iii/iii.

(1)

608* Griggs (Frederick Landseer, 1876-1938) Lone-End, 1930, etching on pale cream laid paper, signed in pencil, and inscribed in black ink to verso D.H.P. for Dove’s House Press, and numbered 18, from the published edition of 90 impressions, some pale discoloration and light spotting and surface marks, 182 x 260mm (7.15 x 10.25ins), sheet size 246 x 320mm (9.7 x 12.5ins) Comstock 43, iii/iii.

(1)

£200-400

610* Gross (Anthony, 1905-1984) Mississippi, or Rocky Pool, [1966], etching, numbered 2/50, titled, and signed in pencil to lower margin, plate size 36.5 x 51cm (14.25 x 20ins), sheet size 46.5 x 62cm (18.25 x 24.5ins) (1)

£200-400

145

£150-200

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614* Japanese School Women in Red, 20th century, monoprint, signed and numbered 1/1 in pencil to lower margin, plate size 35 x 28cm (13.5 x 11ins), framed and glazed (1)

£80-120

611*AR Hermes (Gertrude, 1901-1983) Mistletoe, 1930, wood engraving on japan paper, an artist’s proof aside from the edition of 30 printed and published by the artist, signed, dated, titled and marked Artist’s Proof 2 to lower margin, 230 x 134mm (9 x 5.25ins), with margins, in very good condition, period stained black wood frame, with original framer’s label of Ernest Gladwell, 22 High Road, Chiswick W4 to verso One of a series of 20 wood engraved illustrations to Irene Gosse’s Florilege chosen from the Old Herbals, published by the Swan Press in 1931, of which the artist printed a separate edition of 30 of Mistletoe and Waterlily.

(1) £300-500

612 Hirst (Damien, 1965- ) I Want To Spend The Rest Of My Life Everywhere, With Everyone, One to One, Always, Forever, Now, 1st edition, Booth-Clibborn Editions, 1997, signed by the artist in black ink to half-title, numerous colour illustrations, including folding plates, pop-ups, glassine overlays, moveable parts, etc., original red mock leather gilt in dust jacket, large 4to, VG (1)

£300-400

613 Hockney (David, 1937-) Hockney’s Alphabet, Drawings by David Hockney & written contributions edited by Stephen Spender, 1st edition, Faber and Faber, 1991, 26 colour plates, original yellow cloth gilt, with slipcase, folio

615* Jungmann (Nico Wilhelm, 1872-1935) ‘The Visit’, hand-coloured print, heightened with bodycolour, signed with monogram to lower right, 27 x 16cm (10.5 x 6.25ins), contemp. black and gilt frame, glazed, with old handwritten title label, and printed label of Doig, Wilson, & Wheatley, 90 George Street, Edinburgh, to verso

Deluxe (unnumbered) edition signed by David Hockney and Stephen Spender.

(1) £200-300

(1)

146

£100-150

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617* Keely (Pat) Horseplay, published The Royal Society for the Prevention of Accidents, 1945, colour lithograph, creased, some marginal tears and fraying, laid on thin plastic, 71 x 44cm (28 x 17.25 in), together with Allpress (B.), Fire threatens your job, Protect your Factory, published Fire Offices’ Committee Fire Protection Association, circa 1950, colour lithograph, old folds, 75 x 49cm (29.5 x 19.25 in), with Ministry of Health and the Central Council for Health Education. Coughs and Sneezes Spread Diseases. Trap the Germs in your Handkerchief, circa 1950, colour lithograph, old folds, 75 x 50cm (29.5 x 19.75 in), plus Travel Poster, Winter Sports. Cook’s World Travel Service, Travel by British Railways Train & Steamer Service, circa 1950, colour lithographic travel poster, old folds, frayed and chipped with slight loss to margins, slight staining, occasional closed tears, 100 x 61cm (39.5 x 24 in), with another five posters similar, various sizes and condition (9)

£150-250

616* Kasimir (Luigi, 1881-1962) Hamburg, Binnenalster, colour etching, signed in pencil lower right, plate size 405 x 595mm (16 x 23.5ins), with margins, framed and glazed with original printed label of Kommetersche Kunsthandlung, Hamburg to verso (1)

£100-150

618* Kempster (William, 1914-1976) The Bicycle Flower, colour screenprint on paper, signed and titled in pencil to lower edge, from an edition of ten, sheet size 53.5 x 77cm (21 x 30.5ins), together with sixteen similar large scale prints, all signed in pencil, one or two marginal creases (17)

Lot 617

147

£200-300

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620* Kempster (William and Bridget, 20th century) Kingston Bridge, sugarlift aquatint on paper, titled and signed in pencil to lower edge, plate size 17.5 x 23cm (7 x 9ins), sheet size 25 x 31.5cm (10 x 12.5ins), together with a collection of other works by William and Bridget Kempster, including screenprints, aquatint and other originals in various media (0)

£200-300

619* Kempster (Bridget, 20th century) The owl and the rose, colour screenprint on paper, signed in pencil to lower edge, sheet size 61 x 45cm (24 x 17.75ins), together with fourteen other similar large scale prints, mostly signed in pencil to lower edge, occasional marginal crease (15)

£150-200

621* [Laura Knight, 1877-1970] Printed presentation certificate awarded to Laura Knight at the Amsterdam Olympic Games, 1928, lithographic poster printed in black and gold, on heavy wove paper, designed by Christian van der Hoef, printed by Senefelder, Amsterdam, awarded to Laura Knight in the Fine Art competition, in which she received the silver medal, signed by the president of the Netherlands Olympic Committee and the president of the International Olympic Committee, some light toning and minor marks to margins, with a few light creases, sheet size 745 x 545mm (29.3 x 21.5ins) (1)

£150-200

622* Laboureur (Jean Emile, 1877-1943).

Reclining female figure in the woods, circa 1930s, engraving on laid, 80 x 98mm (3.25 x 3.75ins), plus four other similar engravings (5)

Lot 620

148

£150-200

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623*AR Lowry (Laurence Stephen, 1887-1976) The Family, offset lithograph in colour, Fine Art Trade Guild blindstamp to lower margin, from the edition of 850, signed in blue biro lower right, mount aperture 29 x 22cm (11.5 x 8.75ins), framed and glazed (1)

ÂŁ2000-3000

149

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626* Martin (Frank, 1921-2005) 'Ecstasy' and 'The Perils of Pauline', two prints, 45.5 x 63cm (17.75 x 24.75ins) and 82 x 60cm (32.25 x 23.5ins), each titled, numbered (limited edition of 30) and signed, The Perils of Pauline with some water stains to lower portion, framed and glazed (2)

£150-200

624* Lumsden (Ernest, 1883-1945).

A Toledo Inn, 1923, original etching on laid, signed in ink & pencil to lower margin, 300 x 164mm (11.75 x 6.5ins), limited edition of 50 copies, together with six other original signed etchings, seven black chalk & nine pencil drawings by Lumsden, including portraits, views & scenes, plus an oil on canvas portrait of a gentleman (24)

£200-300

627* Mathews (Richard George, 1870-1955) Cathedral interior, etching on paper, 40 x 25.5cm (15.75 x 10ins) mount aperture, signed and numbered 49/100, framed and glazed (1)

£70-100

625* Manzana-Pissarro (Georges, 1871-1961) Coq et deux poules, colour pochoir in gold, silver and colours, signed and numbered 30/100 in black ink from the edition of 100, 310 x 480mm (12.25 x 18.9ins), framed and glazed (1)

£150-200

628* Matisse (Henri, 1869-1954) Blue Nude on Yellow Background, colour lithograph on wove paper, together with 10 other colour lithographs by Matisse, including Decoration Fruits, La Piscine, La Negresse, Lierre, Bateau, Rosace, etc., all printed by Fernand Mourlot, Paris, published in Verve, volume IX, nos. 35-36, Derniers Oeuvres de Matisse, 1958, various sizes, each mounted (11)

Lot 626 150

£500-800

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630* Matisse (Henri, 1869-1954) Vigne, colour lithograph, together with 10 other colour lithographs

by Matisse, including Decoration Fruits, La Perruche et la Sirene, Nu Bleu, Lierre en Fleur, Poissons Chinois, Bateau, Rosace, La Negresse, La Piscine, Decoration-Masques, etc., printed by Fernand Mourlot, Paris, published in Verve, volume IX, nos. 35-36, Derniers Oeuvres de Matisse, 1958, various sizes, each mounted (11)

£500-800

631* Miro (Joan, 1893-1983) Recent paintings 1945-1963, Marlborough Gallery, 26th April - 28th May 1966, colour lithograph poster, printed by Imprimerie Arte, Paris, some marks and damp stains to left margin, spotting towards upper edge, one or two short closed marginal tears to lower margin, etc., together with other various exhibition posters, including a David Hockney lithographic menu for Saltaire Mill, 1993, etc.

(-)

632* Monk (William, 1863-1937) Castellated house by a river, etching, signed in pencil by artist to lower right, plate size 18 x 25 cm (7 x 9.75 in), mounted, together with Davies (Linda), Ballet dancer tying her shoes, late 20th century, etching, signed by artist in pencil to lower left, limited edition 3/12, plate size 31 x 22.5 cm (12 x 9 in), with another thirty etchings, mostly 20th century, including some signed in pencil, with examples by Robertson, Bayly, McFadden, Andrews, Parker, Walker, Roux and Ball, various sizes and condition

629* Matisse (Henri, 1869-1954) Souvenir d'Océanie, colour lithograph on wove paper, together with 10 other colour lithographs by Matisse, including Baigneuse dans les Roseaux, Acanthes, Rosace, Lierre, Bateau, Decoration Fruits, Decoration-Masques, La Piscine, etc., all printed by Fernand Mourlot, Paris, published in Verve, volume IX, nos. 35-36, Derniers Oeuvres de Matisse, 1958, various sizes, each mounted (11)

£100-150

(32)

£100-150

£500-800

633* Moore (Henry, 1898-1986) Two black forms: Metal Figures, 1973, lithograph on T. H. Saunders handmade paper, printed by Curwen Prints and published by Gerald Cramer, Geneva, 1973, signed, dated and numbered 34/80 in pencil, image size 327 x 260mm (12.9 x 10.25ins), with full margins, framed and glazed Lot 630

Cramer 307.

(1)

151

£300-500

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634*AR Nevinson (Christopher Richard Wynne, 1889-1946) Assembling Parts, 1917, lithograph on wove paper, one of 100 unsigned impressions, plate 38 from the Building aircraft set of six lithographs by Nevinson, for the series The Great War: Britain’s Efforts and Ideals, commissioned by the British Department of Information and published by the Fine Art Society, London, 1918, image size 402 x 303cm (15.8 x 12ins), sheet size 510 x 379cm Black 17. Published in an edition of 200 signed and 100 unsigned impressions.

(1)

152

ÂŁ4000-6000

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Lot 636

635* Nicholson (Ben, 1894-1982) Still life with blue, 1968, colour etching on thick handmade paper, signed and dated in pencil, a few minor marks, plate size 266 x 122mm (10.5 x 4.75ins), sheet size 357 x 213mm (14 x 8.4ins) (1)

£400-600

636* Nolan (Sidney Robert, 1917-1992) Leda and the Swan, monochrome lithograph, signed and numbered 106/125 in pencil to lower edge, 45 x 60cm (17.75 x 23.5ins), framed and glazed (1)

£100-150

Lot 637

637* Oldenburg (Claes, 1929-) Five offset colour lithographs from Notes in Hand, 1972, 5 offset lithographs in colour (from the full set of 50 published by Petersburg Press in 1972), printed in an edition of 100, each signed with initials and numbered 73/100 in pencil, sheet size 250 x 200mm (9.9 x 7.9ins), framed and glazed in perspex (one with lower edge defective) (5)

£200-300

153

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638*AR Picasso (Pablo, 1881-1973) Sculpteurs, Modèles et Sculpture (from the Vollard Suite) March 20 1933 [printed 1939], etching on watermarked paper, one of 50 copies printed on Montval paper, dated in the plate Paris 20 Mars XXXIII, signed in pencil to lower margin, pale mount stain, plate size 193 x 266mm (7.5 x 10.5ins), sheet size 340 x 403mm (13.4 x 15.75ins), framed and glazed Bloch 149; Geiser 301. 313 impressions printed from each plate. 260 copies watermarked either “Picasso” or “Vollard” were printed on Montval paper. There were also 50 copies printed on a Montval paper about 2” larger in both directions and those were watermarked “Papeterie Montgolfier à Montval”. This etching is from the edition of 50 with wider margins on Montval paper.

(1) £3000-5000

154

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639 Picasso (Pablo, 1881-1973) Los Toreros I-IV, 1961, together 4 lithographs, including one in colour, as issued in Jaime Sabartes, Picasso: Toreros, published by A. Zwemmer & A. Sauret, 1961, the English edition, with numerous colour and monochrome illustrations, contemporary presentation inscription to Robert Gardner-Medwin to front blank, dated February 1963, original decorated red cloth with slipcase (faded and some marks to edges), a few light spots to margins, oblong folio, sheet size 245 x 315mm (9.7 x 12.5ins) (1)

ÂŁ700-1000

155

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642* Reilly (Michael, 1898-) ‘New Spring Styles in Lotus & Delta Shoes’, colour lithograph on textured paper, signed in the image lower left, some minor marks to margins (generally in good condition), 100 x 152cm (39.25 x 59.75ins) (1)

£300-400

643* Reilly (Michael, 1898-) ‘Autumn Styles in Lotus & Delta Shoes’, circa 1930’s, colour lithograph on textured paper, signed in the image lower left, some minor marks to margins (generally in good condition), 100 x 152cm (39.25 x 59.75ins) (1)

£300-400

640* Picasso (Pablo, 1881-1973) Head of a soldier, 1959, lithograph, 35 x 26.5cm (13.75 x 10.5ins), framed and glazed From the Picasso Sketchbook, published by Editions Cercle d'Art, 1959, in a limited edition of 1500 (Globe Gallery Contemporary Fine Art, Weybridge, Surrey, printed sheet and label to verso).

(1) £100-150

644* Sargent (John Singer, 1856-1925) Portrait of Henry James, [1913], vintage silver bromide photographic reproduction, mounted on original grey card, printed in an edition of 300, signed in ink by John Singer Sargent and Henry James to lower margin, image size 330 x 267mm (13 x 10.5ins), sheet size 508 x 381mm (20 x 15ins) Provenance: From the collection of Lady Ottoline Morrell by descent.

Sargent’s famous portrait of Henry James was commissioned by the author’s friends in celebration of his 70th birthday in 1913, and a signed reproduction of the painting was made for distribution by the author to his wide circle of friends and subscribers to the commission. The original portrait is in the National Portrait Gallery, London.

(1) £300-500

641* Gilbert & George Gilbert & George, Major Exhibition 15 February – 7 May 2007, Tate Modern, a complete set of 5 colour reproduction posters designed

by Gilbert & George, each boldly signed in silver marker pen, 760 x 510 mm (30 x 20 ins), in very good condition, together with The Urethra Postcard Art of Gilbert & George, White Cube, 14 Jan - 19 Feb 2011, colour reproduction poster, signed in black marker pen

by Gilbert & George, in very good condition, small crease to extreme top margin, 895 x 600mm (35.25 x 23.6ins) (6)

£300-400

156

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Lot 642

Lot 643

157

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645* Seaby (Allen William, 1867-1953).

Harlech Castle, woodcut printed in colours on handmade paper, signed and titled in pencil, a strong bright impression, image size 226 x 335mm (9 x 13.2ins), sheet size 247 x 362mm (9.75 x 14.25ins) (1)

£150-200

Lot 647

646* Short (Sir Frank, 1857-1945) Skies a’clearing, sun a’shining, and the Evensong a’chiming. The church at Kampen, 1892, etching on simile japan paper, a good strong impression with detail, signed in pencil, plate size 143 x 202mm (5.6 x 8ins), with margins, framed and glazed, together with Hayward (Bessie, née Field), Blasted oak tree, etching on laid paper, signed in pencil lower right, plate size 213 x 176mm (8.4 x 6.9ins), framed and glazed (2)

£100-150

647* 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 213mm (7.1 x 8.5ins), sheet size 261 x 337mm (10.3 x 13.25ins) 649* Spencer (Stanley, 1891-1959 ) A Chatto & Windus Almanack 1927, With designs by Stanley Spencer, [1926], title-vignette, 12 full-page monochrome illustrations for each month, and many half-page head-pieces, publisher’s catalogue at end, original cloth-backed boards with paper label to spine, a few pale spots to spine, otherwise in very good condition, 12mo

Bromberg 197, iii/iii. Provenance: From the collection of Lady Ottoline Morrell by descent.

(1) £300-500

648* Somm (Henry, 1844-1907) Japonisme, & Ladies in a Park, 1881, together 2 etchings with drypoint on laid paper, each signed in pencil to lower margin, plate size 240 x 320mm (9.5 x 12. ins), sheet size 320 x 420mm (12.5 x 16.5ins), some overall toning and discolouration with light spotting, the second work laid down on card, period bamboo frames decorated in the Japanese manner, glazed (2)

Limited edition of 250 copies, this copy numbered 172.

(1)

£100-150

158

£200-300

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650* Spencer (Stanley, 1891-1959 ) Autograph letter signed, 'Stanley Spencer', The Hill, Wangford, Lowestoft, Suffolk, 17 November 1926, to Lady Ottoline [Morrell], thanking her for her card expressing her appreciation of his Almanack, 'It especially pleased me as I had just heard from Chatto & Windus that it had had the appreciation of a few (the minority) and the intense dislike of many (the majority). Isn't that extraordinary? I wonder why! Who can these dislikers be I wonder', then detailing each of the illustrations in the Almanack and explaining what they represent, recounting their life with their 11month-old baby and mentioning a landscape of 'a heap of stinging nettles', 4 pages on 3 leaves, written to rectos of first 2 leaves and both sides of final leaf, somewhat browned along centrefold and along upper margin, 4to, together with 2 autograph letters signed 'Stanley', to Julian Morrell, both from Cornerways, Bourne End, Bucks, 6th October and 14th November 1920, 4 & 8 pp., 8vo, plus 3 further letters to Lady Ottoline Morrell from Gilbert Spencer, and Ursula Spencer [wife of Gilbert], both circa 1937, and from William Spencer [father of Stanley and Gilbert], Fernley, Cookham, 17 July 1914, in reply to an invitation to go to the opera at Covent Garden for a performance of 'Don Giovanni' following a visit by Ottoline and Philip Morrell to the Spencer family at Cookham, plus a collection of 11 autograph letters and a postcard from Gilbert Spencer to Julian Morrell (later Goodman), dated 1925/1928, 2 letters with comic pen and ink illustrations, one letter in the shape of a foot and one a piece of music, plus an autograph letter from Anna Caroline Spencer [mother of Stanley and Gilbert] to Julian Morrell, from Fernley, Cookham, 4 November 1920, all 4to/8vo An important and illuminating letter relating to the book in the preceding lot.

(18) £300-500

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

(1)

Lot 651

£300-500

652* 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 7.5 ins), with margins, some light overall toning, framed and glazed Kornfeld 24.

(1)

653* Uhl (Joseph, 1877-1945) Das Heilige Feuer (plate IX from Per Aspera ad Astra), 1921, etching and drypoint on handmade paper, signed in pencil lower right, printed in an edition of 50 by J. Betz & Co., Munich, an excellent, rich impression, plate size 342 x 425 mm (13.5 x 16.75 ins), sheet size 406 x 465 mm (16 x 18.25 ins), in original passepartout

£150-200

(1)

159

£150-200

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654* Various artists Pax Britannica, A Hellish Peace, Aquarium Gallery, 2004, 29 mostly colour giclĂŠe prints on paper by Banksy, Steve Bell, James Boswell, Alexander de Cadenet, Anthony Caro, James Cauty, Billy Childish, David Gentleman, Richard Hamilton, Clifford Harper, Brian Jones, John Keane, Peter Kennard, Alan Kitching, Jenny Matthews, Paul Mattsson, Antonio Pacitti, 3 prints by Jamie Reid, Martin Rowson, 3 prints by Ralph Steadman, S.T.O.T. 21st C., and 2 prints by Gee Vaucher, each signed by the artist (except S.T.O.T. 21st C. rubber stamped), and including statement by Ralph Steadman, and a page from the Hutton Report as burnt outside 10 Downing Street, sheet size 297 x 210mm (11.7 x 8.25ins) or slightly smaller, with printed title-page, all loose as issued in original black drop-over book box, with camouflage-style printed label to upper cover, folio Printed in a limited edition of 100 sets.

(1)

ÂŁ2000-3000

160

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Lot 655

655* Walcot (William, 1874-1943) Venetian Festival, etching with drypoint on Whatman watermarked paper (dated 1926), signed and captioned in pencil to lower margin, plate size 18.5 x 52cm (7.25 x 20.5ins), sheet size 37 x 57cm (14.5 x 22.5ins) (1)

ÂŁ150-200

657* Wyllie (William Lionel, 1851-1931 ) Boulogne Fishing Luggers, 1921, etching, signed in pencil lower left, plate size 194 x 279mm (7.6 x 10.9ins), framed and glazed etching, signed in pencil lower left, plate size 194 x 279mm (7.6 x 10.9ins), framed and glazed

656* Wyllie (William Lionel, 1851-1931 ) Rochester, 1903, etching of Rochester from the Medway, signed in pencil lower left, some toning, plate size 250 x 455mm (9.75 x 17.75ins), framed and glazed, with gallery label of Charles Nicholls & Son, Manchester (1)

(1)

ÂŁ200-300

161

ÂŁ100-150

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SALE INFORMATION All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%.

Artist’s Resale Rights Law (Droit de Suite). Lots marked with AR next to the lot number may be subject to Droit de Suite. For further details see Information for Buyers at rear of catalogue.

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 only accepted for lots with estimated value greater than £300 and should reach us by 9am on the morning of sale.

LOCATION

Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk 162

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

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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 these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge.

Credit Cards: Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay.

Bank Transfer: All transfers must state the relevant invoice no. 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.

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

Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice.

Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help.

We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction.

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

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CONDITIONS OF SALE AND BUSINESS 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.

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.

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

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

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission.

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

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

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

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

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

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

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

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

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

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

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

164

Children’s & Illustrated Books Modern Literature, First Editions & Private Press 21 JULY 2016 Further entries invited. Please contact Susanna Winters or Paul Rasti: susanna@dominicwinter.co.uk paul@dominicwinter.co.uk

The Golden Legend by Jacobus de Voragine translated by William Caxton, 3 volumes, Kelmscott Press, 1892. 500 copies printed.

Estimate ÂŁ3000-5000