Page 1

Fine Art & Antiques 3 MARCH 2016

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS


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Dominic Winter SPECIALIST AUCTIONEERS AND VALUERS All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom. A buyer’s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium

CERAMICS, ORIENTAL WORKS OF ART SILVER, JEWELLERY & WATCHES FURNITURE & EFFECTS PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS THE STUDIO OF MARCUS ADAMS Thursday 3 March 2016 Lots 1- 504 commencing at 11am Viewing: Tuesday & Wednesday 1 & 2 March, 9am-7pm and morning of sale from 9am

Payment may be made while the sale is in progress: please see the cashier in the auction office. Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale. Please ensure that all telephone and commission bids reach us by 10am on the morning of sale. Results will be posted on our website immediately after the sale.

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

Fax: 01285 862461 info@dominicwinter.co.uk

For directions on how to find us, please refer to map at rear of this catalogue Cover illustrations: Front cover: lot 261 • Back cover: Silver, various lots Inside front cover: lot 484 • Inside back cover: lot 143


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Gwen Raverat (1885-1957). From an album of 340 artist’s proofs of her own woodcuts and wood engravings. The Art of the Print, 7 April. Estimate £10,000-15,000

FORTHCOMING SALES Wednesday 6 April

Printed Books & Maps, Documents & Royal Memorabilia Natural History, Fishing, Sporting & Wildlife Art and Books Music Opera & Theatre, The Ridgewell Collection of Classical LPs

Thursday 7 April

The Art of the Print: 19th & 20th Century Fine Prints Photography 1850-2000 Islamic, Indian & Oriental Art

Wednesday 11 May

Printed Books, Maps & Documents British Topography, Archaeology & County Histories Sports Books, Olympics, Wisden’s Cricketer’s Almanacks

Thursday 12 May

Motoring, Cycling, Maritime & Railway History Motoring Collectables & Literature, Bicycles and Models

Friday 13 May

Military History including Battle of the Somme Aviation & Naval History Books, Medals, Arms & Armour, Stamps, Coins & Banknotes

Further entries are invited for all the above sales: please contact the relevant specialist for further advice.

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


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CONTENTS Commencing at 10am Ceramics

1-10

Collectables

11-56

Oriental Works of Art

57-68

Jewellery & Watches

69-101

Silver

102-141

Clocks

142-145

Furniture

146-160

Approximately 12noon or thereafter Tradition Watercolours

161-224

Oil Paintings

225-248

Portraits & Miniatures

249-266

Old Master Prints & Drawings

267-293

The Studio of Marcus Adams

294-377

Modern Paintings, Drawings & Watercolours

378-450

Jewish & Émigré Art

451-465

Modern Prints & Artist’s Books

466-504


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IMPORTANT NOTICES All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%. Artist's Resale Right Law ("Droit de Suite") Lots marked with

AR

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

Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk for further details.

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

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

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


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CERAMICS To commence at 10am

Lot 2

Lot 3

1* Cream Ware. An 18th-century twinhandled chestnut basket, of tapered form with lattice-work decoration, painted with black sprigs, 25cm long on a matching stand (minor damage) (1)

£100-150

2* Duke of Wellington. A Victorian parian bust by E.W. Wyon for Wedgwood, well modelled in drapery on circular socle, impressed ‘E.W. Wyon F’, 39cm high Edward William Wyon (1811-85) joined the Royal Academy of Art School in 1829, exhibited at the Great Exhibition of 1851 and a year later made a bust of Wellington for Wedgwood. £200-300 (1)

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

£150-200

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

Lot 4

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

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

£100-150

£200-300

6* Parian Bust. A Victorian parian bust of The Duke of Wellington by Joseph Pitts, London, finely modelled and incised on a socle, 24cm high (1)

£100-150

7* Plaques. A pair of Copenhagen plaques by Ipsen, decorated after Thorvaldsen representing day and night, with giltpainted borders, impressed marks to base, 13cm diameter (one with chip to rim) (2)

£70-100

£150-200

Lot 6

5


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Lot 7

Lot 9

9* Wedgwood. A large Wedgwood basaltware bowl, decorated in the Neoclassical style, stamped to base, 30cm (12ins) diameter (1)

COLLECTABLES

£150-200

11* Arts & Crafts. An early 20th-century stationery box, covered in embossed pewter with stylised grape and vine geometric decoration with semi-precious stone cabochons, the hinged lid enclosing stained beech compartments, 15cm high x 26cm wide (1)

£150-200

12* Boot Jack. An Edwardian turned mahogany boot jack, 84cm long, together with another plus an iron gun rack (3)

£70-100

13* Sarcophagus Box. A Regency sarcophagus box, veneered in satinwood with a lyre and scroll nailed decoration, mother-of-pearl escutcheon and cartouche, boxwood string inlay, the hinged lid enclosing velvet lining, on four bone feet, 8.5cm high x 14cm wide x 8cm deep (1)

£70-100

14* Box. A Victorian tortoiseshell and piqué sewing box, the hinged sloping lid with white metal cartouche, inset throughout with roundels, lined in red silk, 10.5cm high x 6.5cm wide x 5cm deep (1)

15* Bronze. A Victorian Bacchanalian bronze in the manner of Claude Michael Clodian (1738-1814), circa 1860, modelled as a putto with female in drapery holding a tambourine on a shaped marble base, unsigned, 22cm high (1)

10* 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) Originally issued to Fifa officials and later reissued for the 1982 World Cup in Spain. (1) £400-600

6

£100-150

£500-800


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18* Chess Set. A 19th-century AngloIndian carved ivory and bone chess set, one stained red the other natural, with turned bases, King 12cm high (some damage), in a mahogany box (1)

£70-100

19* Collectables. A mixed collection of items including an Acme Dove & Pigeon Call, 17.5cm long, Victorian horn beaker with copper rim, 9.5cm high, Victorian folding fork and spoon each with ivory grips, various pocket knives, Edwardian silver prayer book, the cover decorated with cherubs, brass watchmaker’s depthing tool etc. (a carton)

£70-100

20* Bronze. A 19th-century Continental bronze vessel, probably Italian, formed as three infant satyrs, 8cm high (1)

£70-100

Lot 15

16* Bronze. A late Victorian bronze statue modelled as a recumbent female nude, hollow with solid base, 18cm long (1)

£100-150

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

£100-150

21* Cup. A 19th-century ivory cup, probably Indian, intricately carved with swirls and beaded decoration, lined with rosewood, on a long-stemmed foot, 14cm high (1)

7

£100-150


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Lot 23

22* Curtains. A pair of large heavy curtains, French, early 20th century, two lined and interlined curtains, thick brocade with a pattern of large floral sprays, in shades of red, yellow, green, and blue, on a light brown ground, lined with cream silk, the head of each curtain wider than the foot and gathered with a rosette (lacking on right hand curtain), trimmed with bobble braid, top gathered with single pinch pleat, with original brass rings and thick cord with brass pulls, generally faded and discoloured, and some wear, with loss to braid, drop 285cm (112.25ins), width at head 182cm (71.5ins), width at foot 117cm (46ins), together with a pair of matching long thick cord ties, and a pair of matching large tasselled tie-backs (worn), plus another dark red pair of tie-backs similar, plus a set of six embroidered wall panels, French, early 20th century, hand-embroidered in wool, with flowers and trees, including palm trees, arum lilies, crown imperial lilies, irises, ferns, bull rushes, 175 x 62cm (69 x 24.5ins), and two matching smaller panels depicting irises, 88 x 28cm (34.5 x 11ins), using long and short stitch, satin stitch, French knots, and stem stitch, on an olive green baize ground, with remains of old tacks in edges (with consequent holes to margins and some fraying) (10)

24* Gyroscope. A modern all steel gyroscope on a substantial circular base, approximately 35cm high, together with a protractor, a Victorian brass 360 degree 12 inch protractor, signed Halden & Co, Manchester, a 6.25 inch protractor signed Cary, London, plus a pair of iron callipers, 30.5cm long (4)

(2)

£200-300

£150-200

26* Knives & Forks. A late 18th-century dinner knife and fork, with gilt metal grips engraved with foliate scrolls, the knife blade engraved with a monogram, the fork with two steel prongs, 18cm long, together with another two prong fork with horn grip, three 19th-century carving knives including one with ivory grip, plus two knife steels both with ivory grip

£100-200

23* Eyes. A cased set of Victorian glass Optician’s eyes, comprising 50 of various size and colour, contained in a velvet-lined case, 33.5 x 16.5cm (1)

25* Icon. A Russian icon depicting Madonna and child, oil on panel in a silver frame with champlevé enamel decoration, with second Kokoshnik mark for St Petersburg (1908-26), 8.5cm x 6cm, together with another similar with marks for 1890-1916

(8)

£500-700

Lot 25

27* Lathe. An early 19th-century tabletop engineer’s model-making lathe, finely constructed in brass with steel on a rosewood plinth inlaid with barber’s pole stringing, approximately 49cm long (1)

8

£100-150

£1000-1500


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Lot 27 28* Luggage. A vintage Louis Vuitton briefcase, with brass catches, corners and lock stamped Louis Vuitton Made in France with serial no. 17623 and registration mark, leather handle and address tag, enclosing light leather interior and brown leather strap with brass buckle, general wear, 43cm wide (1)

£500-800

29* Luggage. A vintage crocodile skin attaché case, with nickel-plated catches and locks, crocodile swing handle and initials J.M.G, enclosing fitted interior, 38.5cm wide Lot 28

(1)

£100-150

9

30* Merrett (Edward, fl. 1930s). A bronze sculpture modelled as a hand, signed and additionally incised ‘Ellen Mary 1932’, 17.5cm long From the Marcus Adams Collection. Edward Merrett was famous for his sculptures of hands with his most famous commission being the Indian Messiah Meher Baba which he undertook in 1932 and was the first time that Baba had permitted any sculptor to depict him. (1) £100-150


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Lot 34

Lot 35

Lot 36

10


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31* Metalwares. A collection of Eastern metalwares, including a brass bowl with Arabic script decorated in silver and copper, 23cm diameter plus a similar plate, 32cm diameter and other items (4)

£70-100

32* Minerals. A collection of minerals, including a polished Labradorite specimen, Finland, 11cm wide, Smoky Quartz, Brazil, 10cm wide, four quartz obelisks, Brazil, approximately 16cm high etc. (9)

£70-100

35* Painted Fan. A hand-painted fan, French, 1861, folding paper fan, the watercolour leaf with a pastoral landscape scene depicting figures, including one playing a cittern, flanked by lake scenes with boats, swans, and frolicking putti, within a decorative frame, dated and indistinctly inscribed in manuscript to lower edge, mounted on wide pierced bone sticks, 27cm (10.5ins) (1)

39* Pewter. A collection of 18th-century and later pewter, including six side plates, three with touch marks including Brown, approx. 25cm diameter, two Victorian rowing trophy cups each engraved for Christs College Boat Club Trial Eights, various measures etc. (approx. 24)

£70-100

£100-150

36* Panels. A pair of 19th-century Continental hardwood panels, each finely carved with dead game in heavy relief on a shaped back panel with scrolls and rosettes, 95cm high x 60cm wide (2)

£1200-1500

40* Pharmaceutical. A group of three ironstone pottery apothecary jars by DNW, Staffordshire, for Leeches, Tamarinds and Honey, with blue and gold decoration, 42cm high and smaller (3)

33* Nailsea Court. A collection of artefacts reputedly recovered from Nailsea Court, Somerset, including an oak panel with carved geometric decoration, 35cm x 19.5cm, a pair of Victorian oak barleytwist candlesticks, 31cm high, rusted tools, hinges etc. Nailsea Court was once home to Richard Percival, whose deciphering of secret Spanish documents gave Queen Elizabeth I timely warning of the Armada invasion plan. The Queen was so grateful that she gave Percival a pension of 800 marks a year for the rest of his life. (a carton) £150-200

34* Painted Fan. A hand-painted fan, French, circa 1850, folding paper fan, the watercolour leaf with a pastoral scene depicting figures in a landscape, before turreted buildings, a lake, mountains, and trees, flanked by floral and foliate decoration and gilt volutes, faintly rubbed and creased in places, parchment verso with watercolour vignette of a church with spire, and gilt volute decoration, occasional light spots and marks, mounted on wide pierced mother-of-pearl sticks with gilt decoration, 27cm (10.5ins) A finely painted fan in very good condition. (1) £200-300

37* Panels. A pair of late 19th-century Continental panels, probably Dutch, each applied with a carved figure in medieval costume, displayed in carved gilt pine frames, 39.5 x 23cm (2)

£200-300

41* Pharmaceutical. A collection of Victorian chemist’s bottles, comprising five blue, seven green, ten clear and three pottery mostly with stoppers and covers, including a poison bottle with Wright, Layman & Umney original trade label, 25cm and smaller (some damage) (25)

38* Patch Box. A Bilston enamel patch box, circa 1760s, painted with sprays of flowers on a pink ground, the hinged lid enclosing remains of a mirror, 4.5cm wide, together with a circular enamel plaque, painted with profile of Marie Antoinette, 3.5cm diameter (2)

£70-100

£200-300

42* Pharmaceutical. A set of brass chemist’s scales by Dakin Brothers, with pans and weights for 5-500g, mounted on a mahogany base, 40cm high, together with related items including a pill cutter by J.W. Pindar & Co., 29cm long, a cachet/caspule filler, small glass chemist’s bottles, reference books and other items (2 cartons)

11

£200-300

£100-150


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Lot 43

Lot 46

43* Planters. A pair of Regency lead planters in the classical style, with lion’s head Greek key handles, festoons and square pedestal base, 39cm high (2)

£300-500

46* Sewing Machine. A Victorian sewing machine by James G. Weirs & Sons, black and gilt finish with manufacturer’s markings, lacking handle, 20.5cm long, together with a Victorian electric shock machine in a mahogany case with brass winding handle and works, original paper label to inner lid, 22cm long (2)

44* Purse. An enamel ladies purse, French, mid 19th century, enamel faced arched rectangular purse, the front painted with a young girl wearing a circlet of flowers on her head, within a beaded oval frame, the black ground detailed in silver and gilt with volute pattern, the reverse conforming, fabric interior worn and enamel facings detached, 6.5 x 7.5cm (2.5 x 3ins) (1)

£80-120

45* Samovar. A Georgian copper and brass samovar in the form of a barrel with ring handles, brass tap with green stained ivory handle on a square base with ball feet, 30cm high (1)

£50-80

Lot 47

£100-150

47* Shoes. A pair of silk shoes, Shenck, circa 1830s, a pair of ladies’ shoes covered in ivory satin, with square toe and throat, the latter trimmed with a small bow of ivory silk and long ties of the same, one shoe with silk perished at heel and ties sometime renewed (one detached), white kid shank in each shoe with original oval engraved label ‘Schenck Shoe Maker Furnisher to her Majesty the Princess Imperial, Marie Louise Archidutchess of Austria, Dutchess of Parma, Plaisenca and Guastalla, Varranted by S A R Mlle. D’Orleans, No.7 Duke Street Grosvenor Square London and in Paris 374 St Denis Street Passage St. Chaumont’, one shoe inscribed inside in contemporary manuscript ‘S’h Me. De Wernon’, 23.5 x 6.5cm (9.25 x 2.5ins), together with a mid 19th century French blouse, white broderie anglais cotton, with pintucks and lace inserts, with a high neck, concealed buttoned back, and long sleeves with frilled buttoned cuffs, plus a small collection of other white and cream embroidered and lace items and fragments, including tray cloths and several bonnets, plus three parasols: one floral, mid 20th century; one cream, early 20th century; and the other pale blue silk edged with braided tassels, 19th century, silk perished and edging worn, with a jointed wooden handle, and ivory finial and keeper ring on a cord (a small carton)

£100-200

12

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

£200-300

49* Statue. A late 19th-century Continental ivory ecclesiastical carving of a priest, fully robed with headdress adorned by glitter holding a staff and hammer, traces of paint, incised 1224 to the rear of base, 32cm high (1)

£300-500

50* Stringbox. A 19th-century lignum vitae stringbox in the form of a beehive, finely carved with raised knop on three bun feet, 12cm high (1)

£100-150


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Lot 55 52* Tribal. A Benin bronze wall plaque depicting the three household gods, 18th century?, sand-cast bronze, 25cm (10ins) high (1)

£200-300

53* Tribal. An African Gabon tribe mask, with white pigment face and grass beard (1)

£60-80

54* Tribal. An Oceanic feather box probably Sepik River, carved with characterful face and geometric decoration, 47cm long (1)

51* Tea Caddy. A Regency rosewood sarcophagus tea caddy, with flower basket ring turn handles, enclosing twin division interior and covers with bone handles on four brass ball feet, 17cm high x 19cm wide x 11cm deep (1)

£80-120

55* Tribal. An African Mali tribe Chiwara, probably early 20th century, carved in the standing position with elongated head and horns to the rear, adorned in hammered tin with cowry shells and coral beads on a rectangular base, 68cm long (1)

Lot 49

£60-80

£800-1200

56* Witch’s Ball. A late 19th-century large green glass witch’s ball, 22cm high plus a smaller silver glass witch’s ball (2)

Lot 50

Lot 52

13

£100-150


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ORIENTAL WORKS OF ART

Lot 57

14


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57* Censer. A Chinese bronze censer, Jiaqing period, circa 1800, cast bronze in hexagonal form with two bifad qilong handles (one lacking head), taotie mask decoration, cover with large shi-shi finial it’s paw resting on a ball and a smaller one clambering for the ball on three feet with cast seal mark to base, 48cm (19ins) high (1)

59* Chinese Ricepaper Drawings. A group of six studies of Chinese boats and street vendors, early 20th centuries, watercolour and gouache on rice paper, occasional small closed tear, each 9.5 x 13cm (3.75 x 5ins) and similar, framed and glazed together in two frames

60* Chinese Silver. An interesting mid to late 20th-century Chinese mask, with ceremonial headdress cast with dragons, various stamps including 925, filled with hanging loop, 15cm long, weighted

(2)

61* Chinese Silver. A fine early 20thcentury Kowloon silver belt, formed as 13 panels linked by chains with pierced bamboo leaf buckle cast with two Chinese characters, approx., 87.5cm long, 8oz

£100-150

£1500-2000

(1)

(1)

£200-300

£300-500

62* Chinese Vases. A pair of red flambe bottle vases, 20th century, red flambe glaze, erroneous four character seal script mark to base, 13cm (5ins) high (2)

Lot 60

58* Chinese Bronze. A Chinese bronze vase decorated with dragons, with dragon handles, cast and incised decoration, seal script mark to base, 21cm (8.25ins) high (1)

£100-150

Lot 59 Lot 61

15

£70-100


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63* Chinese Terracotta. A Tang-style oil vessel, terracotta, traces of red decoration, 10cm (4ins) high (1)

Lot 67

£50-80

67* Mirror. A Chinese bronze mirror, probably Han Dynasty, circular cast with figures within Chinese characters and geometric decoration, 12.5cm diameter, together with a shaped mirror probably of the same period, shaped and cast with exotic birds within trees , 13.5cm long (2)

64* Chinese. A Chinese porcelain lidded dish, decorated with erotic scenes, Yongzheng mark, but later, porcelain lidded dish decorated with polychrome enamels, Yongzheng mark in red to base, 8cm (3ins) diameter (1)

66* Ivory. A late 19th-century Indian ivory figure, carved as a warrior holding a spear and sabre mounted on a square base, 9.5cm high, together with a composite shrine encasing Guanyin standing on a lotus leaf base, 9.5cm high (2)

68* Paktong. A pair of 18th century Chinese paktong candlesticks, circa 1775, reeded on square foot, 25.5cm high, approx. 38 oz (2)

£50-80

£80-120

65* Erotica. A pair of composite Japanese figural groups, formed as a male and female embracing one another, approx. 7cm high, together with a modern bone inro with three compartments carved with embracing couples, 8cm high (3)

£100-150

Lot 67

16

£300-500

£300-500


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JEWELLERY & WATCHES

Lot 74 74* Fobs. Six Victorian gold-plated fobs each inset with semi-precious stone (6)

69* Chain. A Victorian 9ct gold guard chain, approx. 70cm long, 20.7g (1)

£100-150

£150-200

72* Fob. A Georgian yellow metal fob inset with an amber hardstone intaglio of Horatio Nelson, 3cm (1)

£100-150

75* Gold Watches. A Continental 18K gold fob watch, circa 1900, with Arabic numerals, 2cm diameter green radial enamel dial, the rear inset with old cut diamond surrounded by five smaller stones, stamped K.18, together with a larger Continental 18K gold fob watch, with black roman numerals, 3.3cm diameter white enamel dial, rear with coronet inset with nine diamond chippings on a green enamel ground, stamped K.18 (some damage to the enamel) (2)

£150-200

70* Fob. A Victorian yellow metal fob inset with a yellow stone, 3.8cm high (1)

£100-150

73* Fob Watch. An Art Deco 14K gold ladies fob watch, the gilt metal dial with black Arabic numerals signed J.W. Charlton, in a finely enamelled blue case with blue stone winding crown and suspension leading to 9ct gold ribbon brooch, presented in a blue fitted velvet case (1)

£150-200

76* Pocket Lighter. A Dupont pocket lighter, silver plate and black enamel serial no. 4FK04JT28, in original fitted case with card packaging (1)

71* Fob. A Victorian yellow metal swivel fob with yellow stone intaglio depicting an African slave, 3cm high (1)

£70-100

17

£70-100


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82* Omega. A gent’s Omega Seamaster wristwatch, with gold dial, luminous Mercedes hand and baton, black bezel and bi-metal strap, with soft case and box Fully serviced by Omega (21.9.2015), with receipt and certificate plus spare strap link and pin. £700-1000 (1)

77* Pocket Lighter. A Dupont pocket lighter, gold plated with reeded design, serial no.18EDB84, in fitted case with packaging (1)

£70-100

80* Necklace. A 9ct gold necklace with graduated drop, 27.7g

83* Pendant. A 9ct gold pendant inset with amber hardstone bust of Apollo after Nathaniel Marchant, signed ‘Marchant’, 3cm long

(1)

(1)

£150-200

78* Pocket Lighter. A Cartier pocket lighter, gold plated with reeded design, serial no. 54825V, in fitted case with certificate and accompanying booklet plus card packaging

81* Necklace. A Victorian coral necklace, with long drop and tassels, 48cm long

(1)

(1)

£70-100

£50-80

79* Mourning. A Victorian gold plated pendant with circular compartment with a lock of hair, reverse with engine-turned decoration, 5.2cm long, together with a Victorian watch key pendant, gold plated with cornelian, 5.5cm long, plus an Edwardian yellow metal horseshoe pendant set with small pearls, 3cm (3)

£80-120

84* Pocket Watch. A George III silver pair case pocket watch by Thomas Carpenter London 1789, with black roman numerals, white enamel dial, brass fusee movement signed Radford Liverpool 4284

£80-120

Lot 82

18

(1)

£150-200


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85* Pocket Watch. A 9ct gold open face pocket watch, the circular white enamel dial signed Judges Sixdot, Leicester, Swiss movement, with 9ct gold albert and T-bar, chain 32g (1)

£500-700

86* Ring. An 18ct gold wedding band, 11.7g (1)

£120-180

87* Ring. An 18ct gold wedding band, 6.2g (1)

£100-150

88* Ring. A late Victorian yellow metal ring set with a carved fly intaglio, inner circumference 18mm (1)

Lot 85

£100-150

Lot 90

89* Ring. A Victorian yellow metal ring set with an amethyst surrounded by small pearls, inner circumference 19mm (1)

90* Ring. A George III period yellow metal spiral twist ring, inset with carved agate intaglio Classical male bust, inner circumference 20mm (1)

£150-200

£80-120

91* Ring. A Victorian 18ct gold ring inset with blue sapphire surrounded by four pearls, stamped 18ct, inner circumference 19mm (1)

19

£80-120


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95* Sovereign. A Royal Mint gold proof sovereign, E.II.R., 1983, mint with box and information card (1)

£150-200

96* Sovereign. Gold sovereign, E.II.R, 1982, mint (1)

92* Rings. Three dress rings, comprising yellow metal with smoky quartz stone, 9ct gold with yellow stone and 9ct gold with purple cabochon (3)

£150-200

97* Sovereign. Gold sovereign, E.II.R., 1980, mint (1)

£150-200

£80-120

98* Tie Pin. An Edwardian gold tie pin with fox head inset with diamonds and ruby eyes, 6.5cm long (1)

£80-120

93* Rings. Three dress rings, comprising yellow metal with purple stone, 9ct gold with yellow stone and 9ct gold with purple cabochon (3)

£80-120

100* Timepiece. A fine Continental enamel timepiece, probably Vienna, late 19th century, the oval watch with black roman numerals, single winding hole on a silver gilt and enamel ground, the French movement signed ‘Bon a Paris’, the rear with finely enamelled pictorial panel depicting Mercury with cherubs, with cockerel finial on an exotic bird pedestal base with a domed foot enamelled with classical panels, 20cm high

94* Seal. A Victorian yellow metal seal pendant, set with a cornelian panel carved with family crest with the motto ‘Through’, 5cm long (1)

£80-120

99* Timepiece. A Victorian silver and enamel timepiece by Frederick Wich & Co, London 1896, the architectural case with front panel depicting a courting couple and a panel of sprays of flowers to the rear within columns encompassing a watch with black roman numerals, white enamel dial flanked by silver cherubs, 12cm high (minor chipping to the enamel) (1)

(1)

£300-500

£300-500

101* Whistle. A Victorian yellow metal dog whistle, with scrolls and suspension ring, 3cm long, approx. 2.8g (1)

20

£50-80


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SILVER

Lot 102 102* Arts & Crafts. A George V silver bowl by Munsey & Co, London 1910, with three stylised arms leading to pedestal base decorated with scallop shells, the base engraved with initials and dated 1861-1911, 15cm high x 20cm diameter, approx. 33oz (1)

£300-500

Lot 104 104* Bottle Stand. A William IV three bottle stand, the three amethyst glass decanters for Rum, Brandy and Hollands, 18cm high each with associated stopper, in a silver stand by Edward, Edward Jnr and W. Barnard, London 1832, with central handle leading to trefoil base with scroll feet, 30.5cm high, approx. 25oz (1)

£500-700

107* Centrepiece. A William IV Old Sheffield plate four branch epergne, supporting heavy cut glass bowl with four smaller bowls, on lion’s paw feet, 32cm high

103* Bon Bon Dishes. An Continental pierced silver basket with three strand bow handle, wavy rim on a flared foot, stamped 800 (probably German), 18cm high, together with a small pair of silver bon bon dishes by E.J. Houlston, Birmingham 1905, 9cm diameter (3)

£80-120

105* Butter Dishes. A pair of George V silver butter dishes by Goldsmiths & Silversmiths Company Ltd., London 1916, of scallop form with plain thumb-piece, 12cm long, approx. 4 oz (2)

£50-80

106* Candlesticks. A pair of silver candlesticks, London 1965, each with detachable sconce, 22cm high, filled and weighted (2)

£100-150

21

(1)

£300-500

108* Coffee Spoons. Eight mid 19thcentury Continental silver gilt coffee spoons, fiddle patten with shell thumb-pieces, stamped ‘12’ and further mark on the bowl, 9.5cm long, approx. 3.5 oz (8)

£50-80


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111* Fish Servers. A pair of Victorian King’s Pattern Regimental fish servers, by George Adams, London 1851, each engraved 40 (2nd Somersetshire), 32.5cm, fork, 25.5cm long, approximately 10 oz (2)

£100-150

112* Flatware. A collection of George III and later flatware, comprising 16 table forks, 13 dessert forks, 7 serving spoons, 12 dessert spoons, 3 sauce ladles, sugar tongs, all in the fiddle and thread pattern, various makers including George Adams, together with 6 teaspoons, butter knife and other items, approximately 140oz (approx. 60)

£800-1200

109* Cream Jug. A George III silver helmet-shape cream jug, by Charles Chesterman II, date letter rubbed, engraved with an armorial, long slender handle, 16cm high, approx. 3.5 oz

113* Fruit Bowl. A George V pierced silver fruit bowl by Edward Viner, London 1935, pierced with scrolls and shields, 28.5cm long, 11oz

(1)

(1)

£100-150

£80-120

115* Jug. A Victorian silver-mounted claret jug by Walter & George Sissons, Sheffield 1879, of baluster form with silver cover engraved with family crest and scroll thumb-piece, scroll handle (1)

114* Inkwell. A George V silver capstan inkwell, by E. & F. Bauer, Birmingham 1929, of typical form with weighted circular base, 12cm diameter, lacking liner (1)

£50-80

116* Match Holder. A Victorian silver match holder by Horace Woodward & Co., London 1888, with striker and swirl base, weighted, 7cm high, together with an Elizabeth II silver cigarette box by Adie Brothers, Birmingham 1959, with engineturned lid and geometric border with faux snakeskin base, 16.5cm wide (2)

Lot 110

Lot 111

£70-100

117* Mixed Silver. A twin-handle sugar bowl by A.E Poston Ltd., Birmingham 1931, together with a cased set of six coffee bean spoons retailed by Selfridge & Co, Birmingham 1922 (one spoon silver plate), plus another cased set of coffee bean spoons, pepperette, mustard pot, cased set of six coffee spoons etc, weighable silver approx. 10oz

110* Fish Server. A William IV silver fish server by Mary Chawner, London 1834, fiddle and thread pattern engraved with family crest, shaped and pierced blade, 30cm long, 5 oz (1)

£500-700

£70-100

(10)

22

£100-150


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Lot 112

23


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Lot 118

Lot 120

118* Mixed Silver. An impressive George V silver condiment set by Mappin & Webb, Birmingham 1911, comprising four salts, a pair of mustard pots and pepperettes on cabriole feet, approx. 12oz, together with a pair of cased silver navette salts, London 1910, plus six plated napkin rings (8)

121* Pepperette. A Victorian ivory pepper grinder with three silver bands, London 1897, 9cm high (1)

£150-200

£150-200

119* Mixed Silver. A cased set of Edwardian silver coffee spoons by A.J. Bailey, Birmingham 1904, in the rococco style, 10cm long, together with a silver threebranch candleabrum, Birmingham 1963, plus a pair of modern Thai silver salad servers (4)

124* Salver. A George III circular silver salver, by John Hudson London 1792, with traces of engraved family crest, on three reeded feet, 20.5cm diameter, 11oz (1)

£100-150

£60-80

120* Mustard Pot. A George III silver navette mustard pot by William Abdy II, London 1815, with hinged covers and urn finial, pierced decoration, scroll handle and blue glass liner, 10cm long, with silver salt spoon, together with another silver mustard pot, by George Frederick Pinnell, London 1839, with blue glass liner, 7cm diameter (2)

125* Salver. A George III silver salver with marks for IC (probably John Chapman II), London 1773, with pie crust edge on four claw and ball feet, 34.5cm diameter, 37 oz

£120-180

(1)

£300-400

122* Pounce Pot. A George III Scottish silver pounce pot by Howden, lacking date mark but assayed in Edinburgh, engraved with ferns on pedestal foot, 9cm high, approx. 2 oz (1)

£80-120

123* Salt Spoons. A pair of George IV silver salt spoons by Charles Eley, London 1827, fiddle and thread pattern with shell thumb-piece, gilded bowls, 11cm, London, plus three silver salt spoons by Solomon Hougham, Solomon Royes & John East Dix, plus a pair of mid 18th-century silver salt shovels, approx. 3.25 oz Lot 121

(7)

£60-80

24

126* Sauce Boat. An Edwardian silver sauce boat probably by Barker Brothers, Chester hallmark, in the 18th-century style with flying scroll handle, gadrooned rim and shell cabriole feet, 15cm long, approx. 6.5 oz (1)

£80-120


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Lot 128 129* Sifter Spoon. A George III silver bright-cut sifter spoon by Thomas Chawner, London 1781, engraved with vacant shield cartouche, and pierced bowl, 21cm long, 2 oz (1)

127* Sauce Boat. A George V silver sauce boat by William Aitken, Birmingham 1911, with shaped rim, flying scroll handle and three cabriole feet, 13cm long, together with a similar sauce boat, 15.5cm long, total weight approx. 6.5oz (2)

£70-100

128* Sauce Boat. A pair of George II silver sauceboats by Benjamin West, London 1737, each with shaped rim, scroll handle and traces of Armorial, on three cabriole feet, 18.5cm long, total weight approx. 18.5oz (2)

£150-200

130* Silver Plate. A collection of silver plate including a fine circular salver, engraved with family crest within scroll and key borders and mask head pierced rim, 34cm diameter, a Matthew Boulton teapot, of squat ogee form with ivory finial and ebonised handle, star-shaped stamps to base, 28cm long, plus a pair of candlesticks each with detachable sconce and other items (6)

£100-150

131* Spoon. An early 18th-century silver ‘Dog Nose’ spoon, with rat tail bowl, marks worn, 18cm long, together with a similar period spoon, approximately 2.5oz (2)

£700-1000

Lot 130

Lot 129

25

£80-120


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Lot 134

Lot 135 132* Sugar Basket. A George III silver pedestal basket by Hester Bateman, London 1790, with bright-cut decoration, swing shape on navette pedestal base, 14cm long, approximately 4.5 oz (1)

£150-200

136* Tea Caddy. A Victorian silver tea caddy by Henry Wilkinson & Co. Ltd., retailed by James Aitchison, Edinburgh, London 1893, of bombé form with half gadrooned cover and base, ivory finial on four ball feet, 8cm long, 4oz (1)

133* Sugar Caster. A Victorian silver pedestal sugar caster by Sibray, Hall & Co., London 1889, with pierced cover and vase finial, and acanthus and scroll decoration, 20.5cm high, approximately 6oz (1)

£100-150

137* Teaspoons. Six George IV silver teaspoons, 5 by Charles Eley, London 182 and 1 by Edward Farrell, fiddle and thread pattern engraved with initials, 13.5cm long, approx. 5.5 oz (6)

Lot 132

£100-150

£70-100

134* Table Spoons. Six George II silver table spoons, 5 by P. Roker London 1749, each engraved with family crest, 20.5cm long, approximately 14.5 oz (6)

£150-200

135* Table Spoons. Six George II silver table spoons by Thomas Jackson, London 1741, each engraved with crest of Bishop of Worcester, 20.5cm long, approx. 13.5 oz (6)

£200-300

138* Tobacco Box. A Victorian silver squeeze tobacco box, probably by Hilliard & Thomason, of oval form engraved with shield cartouche and scrolls, 10cm long, approx. 4 oz (1)

Lot 133

Lot 136

26

£50-80


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139* Vanity Box. A Victorian coromandel vanity box, inlaid with brass cartouche and key plate, the hinged lid enclosing 10 silvertop jars and containers by Hilliard & Thomason, Birmingham 1862, mother-ofpearl accessories, all well-presented in a fitted velvet interior, 18cm high x 31cm wide x 23cm deep (1)

£300-500

140* Vesta Case. An Art Nouveau-style Sterling silver vesta case, with embossed female decoration within scrolls, stamped ‘Sterling’, 6.5cm long, together with an Edwardian silver vesta case with later composite panel depicting a female nude, 5cm long (2)

£80-120

Lot 139 141* Wine Coolers. A pair of William IV silver wine coolers by Robert Hennell, London 1826, each with flared foliate rim, half acanthus decoration with religious engraving on socle and circular foot, gilded interior, 17cm high x 17cm diameter, approx. 36 oz (1)

£400-600

Lot 141

27


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CLOCKS

Lot 142

Lot 144

142* Carriage Timepiece. An Edwardian shaped brass carriage timepiece, with white enamel dial, black Arabic numerals, signed Elkington & Co. Ltd Paris, with platform escapement, in a leather travelling case with key, 12cm high (1)

£150-200

143* 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)

£1000-1500

144* Clocks. A Victorian mahogany mantel clock, white enamel dial with black roman numerals, inlaid case with shaped panels and mother of pearl inlay, lion’s head handles, brass movement on four claw and ball feet, 35cm high, together with an Art Nouveau mantel clock with white enamel dial, black Arabic numerals in a shaped mahogany case inlaid with a conch shell, with brass movement on four bun feet, 25.5cm high, plus another clock by Mappin & Webb (3)

145* Mantel Clock. A 19th-century mantel clock, with silvered dial, black roman numerals signed Gardener a Paris, with 8day bell striking movement, in an ebonised case with brass line inlay and carrying handle, with key and pendulum, 22.5cm high (1)

£100-150

Lot 143

28

£150-200


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FURNITURE 146* Arts & Crafts. An oak hostess trolley, circa 1930s, inset with two black slate tiers within oak frame and carrying handles, on carved supports with casters, 76cm high x 61cm wide x 46cm deep (1)

£70-100

147* Bible Box. An elm bible box, carved with initials WW, tulip and dated 1709, of nailed construction, the sloping lid with later brass hinges enclosing compartment, 17cm high x 41cm wide x 28cm deep (1)

£100-150

Lot 150

Lot 152

148* Bookcase. An Edwardian inlaid mahogany bookcase with swan neck pediment, two glass doors enclosing shelves, with two drawers and panel doors beneath, profusely inlaid with classical decoration, 206cm high x 76cm wide x 44cm deep (1)

£400-600

151* Chair. A late Victorian button-back armchair, with curved back and scroll arms on turned mahogany supports with brass cup castors, 99cm high (1)

£150-200

152* Chandelier. A 20th-century glass twelve branch chandelier, with tapered stem supporting twist branches each with drip tray, 48cm high x 52cm diameter, for electrical use, plus a brass chandelier (2)

£100-150

153* Hanging Cabinet. A Victorian Aesthetic Movement ebonised hanging cabinet, with single panel door painted with a bird perched on a cherry tree on a gold ground, 96cm high (1)

£70-100

149* Bookcase. A Kashmir wood revolving book stand, profusely carved with dragons, with original paper label for Ganmede Wood Carver and ... Machie Maker, Sprinagar Kashmir, 31cm high x 28cm square (1)

£70-100

150* Cabinet. An early 20th-century penwork cabinet, finely detailed with geometric decoration, the single door enclosing shelf, 60.5cm high x 35.5cm wide x 20.5cm deep (1)

£150-200

154* Mirror. A large late 19th-century gesso frame mirror, the frame moulded with baskets of fruit and strap work decoration, 106 x 93cm, some damage

Lot 148

(1)

29

£100-150


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Lot 155

30


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Lot 157

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

£1000-1500

156* Settee. A Victorian mahogany two seater settee, the carved mahogany frame with scroll ends and arched back on carved cabriole supports, 80cm high x 104cm wide x 70cm deep (1)

£200-300

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

£100-150

158* Table. A William IV specimen table, the octagonal top inlaid with various woods on a rosewood pedestal base carved with lotus and trefoil base with scroll feet, 69cm high (1)

Lot 158

£300-500

Lot 160

159* 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)

£150-200

160* Whatnot Stand. A Victorian rosewood whatnot stand, with five tiers each with barley twist columns, on ceramic casters, 156cm high (1)

£150-200

Lot 159

31


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32


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OIL PAINTINGS, WATERCOLOURS & PRINTS


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TRADITIONAL WATERCOLOURS

161* Alphonse (L. V., 19th century). A pair of still lifes of fruit, against a mossy bank, 1873, watercolour, each signed and dated, 16 x 23cm (6.25 x 9ins), framed and glazed (2)

163* Architectural Watercolour. Architectural capriccio, pen and ink over watercolour, depicting a theatrical interior in an Italianate manner, with vaulted, coffered ceiling, colonnaded mezzanine and stairs, signed R. J. H., 19 x 20.5cm (7.5 x 8ins) mount aperture, framed and glazed

£200-300

(1)

164* Bates (David, 1840-1921). "On Pencraig Moor Bettws-yCoed", 1914, watercolour, showing a young peasant girl carrying a large bundle of sticks on her back, crossing a stone bridge over a stream against moorland and mountains, signed and dated lower left, 35.5 x 52.5cm (14 x 20.5ins), mounted, framed and glazed, with manuscript label on verso giving artist, title, and date

162* Anderson (A., active 1882-1885). At Biddenham, Bedfordshire, 1881, watercolour, showing trees on the banks of the River Ouse, with Bromham Bridge in the distance, and a young man with a small girl and sheep in the foreground, signed, titled, and dated in red lower left, 54 x 74.5cm (21.25 x 29.25ins), mounted, framed and glazed (1)

£100-150

Provenance: Private Collection, Lancashire. (1)

£250-300

34

£150-200


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Lot 165

Lot 167

165* Benger (Berenger, 1868-1935). A pair of garden scenes, two watercolours, one showing a girl in bonnet and gown in a cottage garden, with old tiled cottage roofs visible though trees, the other depicting a path running alongside a wide herbaceous border, with a poplar tree and a house in the background, each signed lower right, 44.5 x 29.5cm (17.5 x 11.5ins), matching gilt mounts and frames (some damage), glazed Provenance: Private Collection, Lancashire. (2)

£100-150

168* Brabazon (Hercules Brabazon, 1821-1906). Cairo, watercolour with pencil on paper, initialled in pencil lower right, captioned in watercolour lower right, 20 x 12cm (8 x 4.75ins) mount aperture, framed and glazed

166* Booty (Frederick William, 1840-1924). Whitby from Larpool, 1902, watercolour on card, signed and dated lower right, remains of adhesive to edges where previously mounted, 9 x 13.5cm (3.5 x 5.25ins), together with four similar watercolour views of Whitby by the same artist (5)

(1)

£150-200

£200-300

167* Brabazon (Hercules Brabazon, 1821-1906). Bazaar, Cairo, watercolour with pencil on paper, initialled and captioned to lower edge, 17 x 25cm (6.75 x 10ins), framed and glazed

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

(1)

(1)

£200-300

35

£150-200


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170* Burgess (Thomas, 1783/4-1807). Rock scenery near Matlock, 1805, watercolour with traces of pencil on paper, signed and dated lower left, laid down on card, with additional inscription in pencil to lower margin (possibly in the artist’s hand ‘Rock scenery near Matlock by T. Burgess 1805’, 290 x 237mm (11.4 x 9.3ins) Thomas Burgess junior was one of several artist sons of the painter Thomas Burgess (circa 1730-1791). The younger Burgess first exhibited at the Royal Academy in 1802 with Market Gardener’s House at Walham Green. In 1805 and 1806, he exhibited Derbyshire and Devonshire views, of which the present work may have been an example. £200-300 (1)

Lot 171

171* Burne-Jones (Edward Coley, 1833-98). An original pen & ink drawing within an inscribed copy of Le Morte Darthur, circa 1897, pen & ink heightened with gold, showing an altar with wild flowers on either side, with the Cup of Life atop into which falls several droplets, with sun rays above, lettered above image ‘This is that golden book called Le Morte Darthur in which are written the deeds of the holy King Arthur and the glorious company of the Round Table and the quest of the most holy sangreal’, drawn on the preliminary blank of a late 19th century edition of Le Morte Darthur, with Caxton’s colophon at rear (lacking title-page?), blank following sketch inscribed by the artist ‘To my dear Grand-daughter Angela, Edward Burne-Jones, Oct 27th 1897’, rough-trimmed, marbled endpapers, upper hinge split, contemporary straightgrained green morocco, extremities rubbed, gilt lettered spine faded, 8vo, leaf size 15 x 9.5cm (6 x 3.75ins) Edward Burne-Jones’s fascination with Thomas Malory’s ‘Morte d’Arthur’, which began when he and William Morris were undergraduates at Oxford, is welldocumented. It was not just the pictorial splendours in Arthurian legend that the Pre-Raphaelites found so appealing, but it was also the romantic and moral ethos of the tales which they embraced as a foil to the increasingly ugly industrialised and materialistic world. “Nothing, ” Burne-Jones wrote, “was ever like Morte d’Arthur - I don’t mean any book or any one poem - something that can never be written, I mean, and can never go out of the heart.” Novelist Angela Margaret Thirkell (1890-1961) was the elder daughter of Margaret Burne-Jones and John William Mackail. Her father was a Scottish classical scholar and civil servant from the Isle of Bute, who was Oxford Professor of Poetry from 1906 to 1911. (1) £500-800

36


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175* Clutterbuck (Violet, late 19th/early 20th century). East Anglian landscape, watercolour, showing a landscape with a cluster of dwellings and a windmill, signed lower left, 23 x 34.5cm (9 x 13.5ins), mounted, framed and glazed, with old Norwich framer’s label on backboard (1)

£70-100

172* Carse (Andreas Duncan, 1876-1938). An unmounted fan leaf with fairy design, watercolour on silk, depicting a fairy flanked by hummingbirds, with datura flowers and a bumble bee, signed lower left, some surface wear and faint staining, 32.5 x 10cm (12.75 x 4ins), mounted, framed, and glazed (1)

£150-200

173* Carter (Richard Harry, 1839-1911). Beachcombers on the Shore, watercolour, heightened with bodycolour, showing four figures on a beach, with a stormy sea crashing on rocks, signed lower left, 38 x 64.5cm (15 x 25.25ins), framed and glazed (1)

176* Manner of Edward Henry Corbauld (1815-1905). A Medieval tournament, watercolour on paper, 24 x 38cm (9.5 x 15ins) mount aperture, framed and glazed

£150-200

(1)

£100-150

177* 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)

174* Manner of Giovani Battista Cipriani (1727-85). Bacchante, pastel on lined paper, 22 x 18cm (8.75 x 7ins) mount aperture, framed and glazed (1)

£200-300

37

£300-400


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178* Darvall (Henry, active 18481889). Exterior Stair in the Court of Palazzo Contarini Porta di Ferro, Venice, 1882, watercolour, showing a young lady wearing a green dress and black shawl, descending a short flight of stone steps with ornate balustrade, with a vista of a garden through a tracery doorway behind, signed and dated on lowest step, 69.5 x 39.5cm (27.25 x 15.5ins), gilt mount, framed and glazed, backboard with old framer’s label, and manuscript label in the artist’s hand, giving title, artist’s name, a price of 5, and his address ‘4138 Riva Schiavoni Venice - and care of Mr. Smithers, 95 Leadenhall St. London’ Provenance: From the collection of artist decorator Charles Eaton (1885-1963); thence by descent to the god-daughter and cousin of his daughter Lilian Eaton, the current vendor. Henry Darvall moved to Venice in 1875 and exhibited views of Venice at The Royal Academy for several years. (1) £700-1000

Lot 178

38


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Lot 179

Lot 180

179* 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’. £500-800 (1)

180* Dutch School. The Four Seasons, together four fine grisaille gouache paintings on copper, probably early 19th century, each showing a young child as one of the four seasons: Spring is shown wearing a hat and carrying a posy of flowers; Summer wears a garland of flowers and holds up a plate of fruit; Autumn carries a scythe; and Winter is skating on a frozen lake, each 10.5 x7cm (4 x 2.75ins), matching mounts and frames, glazed (4)

£100-150

181* Dutch School. The Music Lesson, circa 1840-50, watercolour on paper, heightened with body colour and gum arabic, sheet size 44 x 34cm (17.3 x 13.3ins), laid down on old card, framed and glazed (1)

£100-150

Lot 181

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182* East (Alfred, 1849-1913). Alpine Landscape, watercolour on paper, heightened with bodycolour, signed lower left, 19.5 x 25.5cm (7.7 x 10ins) mount aperture, period gilt frame, with old framer’s label of W.A. Lewitt, Nottingham to verso (1)

£250-350

184* Eton. View of Eton College Chapel, 1867, watercolour on paper, laid on card, showing a vista across rooftops of Eton College from a large stone window aperture, with plant pots and foliage in the foreground, titled in manuscript to lower edge, ‘The Roof 5.30 am September/67’, and monogrammed ‘MTD’ lower right, 30 x 25cm (11.75 x 9.75ins), arched mount, framed and glazed (1)

£200-300

183* English School. Alpine Pass with Figures, mid 19th century, pen & ink with watercolour on paper, heightened with body colour, with arched top, apparently unsigned, 54 x 39cm (21.25 x 15.3ins), period frame, glazed

185* Fairman (Frances C., 1836-1923). Daddy, 1901, watercolour portrait of a King Charles spaniel, on paper, signed and dated lower right, captioned upper left, 36 x 27cm (14 x 10.5ins), framed and glazed

(1)

(1)

£150-200

40

£300-500


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186* Ferguson (William J., active 1849-1886). Fishing scene,1850, watercolour, showing an angler fishing in a wide river spanned by a stone bridge with watching figures, with a ruined fortress and mountain in the background, signed and dated lower left (slightly rubbed but legible), 34 x 51cm (13.25 x 20ins), mounted, framed and glazed Provenance: Private Collection, Lancashire. (1)

£200-300

187* 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)

Lot 187

£150-200

188* 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 (1)

£300-500

41


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Lot 189

189* Greiffenhagen (Maurice William, 1852-1931). Spectators on the water at the Henley Regatta, pen, ink, and watercolour, showing ladies with parasols and young gentlemen in blazers in rowing boats downstream from Temple Island, waiting for the competitors to appear, signed lower left, 33 x 48cm (13 x 18.75ins), mounted, framed, and glazed (1)

ÂŁ500-700

190* Griffith (J., 19th century). Landscape with cattle, mid 19th century, watercolour, showing a track below a wooded cliff, with a horse-drawn vehicle and a glimpse of the sea in the distance, and two horned cows in the foreground, a couple of areas of discreet repair, signed lower right, 34.5 x 54.5cm (13.5 x 21.5ins), mounted, framed and glazed Provenance: Private Collection, Lancashire. (1)

ÂŁ100-150

Lot 190

42


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Lot 192

193* Hayes (Edwin, 1819-1904). Coastal scene with shipwreck, 1863, watercolour, showing a stormy seascape, with figures on rocks salvaging wreckage, with a sailing ship floundering in the distance and a ruined castle on the clifftop, some light discolouration, signed ‘E. Hayes RHA’ and dated lower left, 27 x 52.5cm (10.5 x 20.5ins), mounted, framed and glazed 191* Halswelle (Keeley, 1832-1891). Coutances Cathedral, Normandy, pen, ink and monochrome wash on paper, signed and titled lower left, 170 x 220mm (6.7 x 8.7ins), mount aperture, framed and glazed, together with London. Horses and Carriages by Marble Arch, London, mid 19th century ink and monochrome wash on pale blue paper, signed with monogram SW lower left, 138 x 222mm (5.4 x 8.75ins) mount aperture, framed and glazed, with J. Morton Lee label to verso of each (2)

Edwin Hayes was born in Bristol but spent his youth in Dublin. He was drawn to art as a career from an early age, and was a student at the Dublin Society Schools. A keen sailor, he spent his spare time sailing around Dublin Bay in his small yacht. He first exhibited at the Royal Hibernian Academy in Dublin in 1842, and contributed to all but five of the next sixty-three annual exhibitions, showing a total of two hundred and fifty-five paintings. He lived in Dublin for the next ten years, moving to London in 1852 where in 1855 he began exhibiting at the Royal Academy, showing works there regularly for the next forty-nine years. He is known for his seascapes, for which he took inspiration from his travels on the continent as well as round the British coast, in particular Cornwall. (1) £200-300

£150-200

192* Harper (Thomas, 1820-1889). Life by the Sea: Robin Hood’s Bay; Near the Farne Islands, together two watercolours, the first showing the sun slanting on cottages on the cliffs above a cove, with peasant figures, the other depicting a barque on a beach, with various boats and figures, each 35.5 x 55.5cm (14 x 22ins), matching mounts and frames, glazed, each attributed and titled in pencil on verso Provenance: Private Collection, Lancashire. (2)

£200-300

43


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194* Hewitt (W.H.M., late 19th century). The Eye, Devon, 1875, watercolour on paper, river scene with sluice gate, figures fishing in a boat, and cottages, titled, signed, and dated lower right, framed and glazed Provenance: Private Collection, Lancashire. (1)

£100-150

196* Kaufmann (Lily Skeaping, active 1894-1930). Lady at a casement window, watercolour, showing a wistful young lady in a blue gown and white mob cap tied with a pink ribbon, standing at an open latticed casement window in a panelled room, with an oval portrait miniature in her hand, and a potted red geranium on the window sill, signed lower right, 30 x 23.5cm (11.75 x 9.25ins), mounted, framed and glazed Provenance: Private Collection, Lancashire. (1)

195* Hooton (Richard). Portfolio of 12 original designs for wallpapers and tiles, 1868-70, mainly gouache on paper heightened with gold, also including several in pencil, most with Nottingham School of Art printed label to lower right corner, sheet size 73.5 x 53.5cm (29 x 21ins) and similar (1)

£150-200

£100-150

197* Kilburne (George Goodwin, 1839-1924). English Civil War soldier, 1866, watercolour, depicting an English Civil War soldier wearing Morion helmet, breastplate and backplate, signed and dated lower left, Thomas McClean retailer’s label to verso, 31 x 22cm 12 x 8.75ins), framed and glazed 44

(1)

£150-200


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Lot 199

Lot 198

201* After Jean-Francois Millet (1814-1875). Bringing Home the Newborn Calf, late 19th/early 20th century, charcoal on laid paper, showing two labourers carrying a calf on a wooden stretcher, with a peasant woman and cow beside, and a house in the background, with pencil signature ‘J.F. Millet’ lower left, sheet size 18 x 21.5cm (7 x 8.5ins), mounted, framed and glazed

198* Landseer (Sir Edwin, 1802-1873). Portrait of a gentleman, sepia pen & ink sketch on blue paper, head portrait of a bearded man, inscribed beneath in pencil ‘Sir E. Lansdseer a sketch made by him one morning at the Star & Garter Richmond (Aug 20. 1857) and given to yours very faithfully M. Blackmore. To J.M. Richardson Esq’ and in ink ‘Rosenheim Oct 14. 1860’, sheet size 19 x 12cm (7.5 x 4.75ins), laid down on thick paper

(1)

£150-200

The collector Martin Blackmore was a patron of the Artists’ Benevolent Fund and a friend of Landseer. (1) £100-150

199* Ludovici (Albert, 1852-1932). Grosvenor Gate and New Lodge, Hyde Park, London, watercolour on paper with a few figures sketched in pencil only, unsigned, 24 x 53cm (9.5 x 21ins) mount aperture, framed and glazed (1)

£200-300

200* Markes (Albert Ernest, 1865-1901). Seascapes, two watercolours, one showing a sunrise over a partially submerged wreck on a beach, with rocks and headland, signed lower left, 14.5 x 35cm (5.75 x 13.75ins), the other showing sailing boats and figures on a beach, signed lower left, faintly spotted, 14 x 22cm (5.5 x 8.75ins), in matching mounts and glazed frames, each with old gallery label on backboard ‘Leggatt Brothers’ Albert Markes was a marine watercolourist who lived in Cornwall before coming to London. He painted scenes on the east coast of England, as well as working in Belgium and Holland. (2) £100-150

202* Montalba (Clara, 1842-1929). Mary Queen of Scots, watercolour, showing Mary Queen of Scots kneeling on a flagstone floor in a sparse interior, accompanied by several female figures, initialled lower left, 32 x 23.5cm (12.5 x 9.25ins), arched mount, framed and glazed, early framer’s label on backboard with the artist’s name and price in manuscript Clara Montalba studied for four years in Paris under Eugene Isabey, and is particularly known for her scenes of Venice, where she lived for many years. She exhibited widely, including seventeen works at the Royal Academy. (1) £100-150

Lot 201 45


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203* Paris. Four views of Paris, circa 1820s, together four fine miniature watercolour drawings on paper, each depicting an elegant view or building in Paris, with figures, carriages, and horses, including the Rue de Rivoli and the Theatre Royal Italien, some spotting and toning, each approximately 8 x 14cm (3 x 5.5ins), each laid down on cream card (4)

£300-400

Lot 205

204* Poncy (Alfred Vevier de, active 1871-1890). Evening landscape with cattle watering, watercolour, showing a group of horned cattle at a watering hole, signed in red lower left, 17 x 23cm (6.75 x 9.25ins), mounted, framed and glazed Alfred Vevier de Poncy was a painter of landscape and genre scenes, who exhibited at the Royal Academy and Suffolk Street. (1) £100-150

206* Rivers (Leopold, 1852-1905). Cottage scene, watercolour, showing a small girl in a white pinafore, with a dog, in a garden with a red brick cottage with tall chimneys, signed lower right, 27.5 x 37.5cm (10.75 x 14.75ins), mounted, framed and glazed, together with Noel (John Bates, active 1870-1927), Herding Sheep, watercolour, mountain landscape with rocky stream and bridge, and a herd of sheep with shepherd and dog, signed lower right, 25 x 34cm (9.75 x 13.25ins), mounted, framed and glazed, plus three others, including a watercolour view of the Palais de Justice, Brussels, signed 'C.E. Shaw', 16 x 29cm (6.25 x 11.4ins), mounted, framed and glazed

205* After Joshua Reynolds (1723-1792). Heads of Angels, mid 19th century, pastel, showing a series of studies of five year old Lady Frances Gordon’s head from five different angles, after Reynolds’ famous picture (held by Tate Britain), some minor staining, 63 x 54.5cm (25.75 x 21.5ins), framed and glazed (1)

£200-300

Provenance: Private Collection, Lancashire. (5)

46

£100-200


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207*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. ÂŁ400-600 (1)

47


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210* Ludby (Max, 1858-1943). Evening, near Guildford, 1915, large panoramic watercolour with cattle watering on the River Wey, buildings beyond, signed and dated lower left, 33 x 76cm (13 x 30 ins), gilt frame, glazed, with portion of label for the Royal Institute of Painters in Water Colours to verso (1)

£100-150

208* Rowbotham (Thomas Leeson, 1783-1853). Italian lake scene, watercolour on paper, showing fishing boats on the lake with buildings on the shore and mountains beyond, signed lower left, paper slightly toned, 18 x 28cm (7 x 11ins) mount aperture, framed and glazed (1)

£100-150

209* Sand Paintings. St. Cross’s Hospital, Winchester, & St. Cross’s Church, Winchester, together a pair of sand pictures, some spotting to background sky on both, latter slightly rubbed in places, 22.5 x 34.5cm (9 x 13.4ins) and 21 x 30.5cm (8.25 x 12ins) respectively, matching mounts and frames, glazed (2)

211* Attributed to John Simmons (1823-1876). ‘The Moth and the Flame’, circular watercolour and gouache on paper, signed lower centre, diameter 38cm (15ins), old gilt frame, glazed

£100-200

Provenance: From a private collection, Bristol, UK. (1)

48

£500-800


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212* Attributed to John Warwick Smith (1749-1831). Heidelburg Castle, watercolour, showing an elevated castle, with a mounted peasant herding cattle, some light toning, 34.5 x 47.5cm (13.5 x 18.75ins), title and attribution in ink on mount, framed and glazed Provenance: Private Collection, Lancashire. (1)

£300-500

214* Stone (Sarah, circa 1760-1844). A rose-breasted grosbeak, 1785, watercolour, showing a bird perching on a branch, signed and dated to lower margin, toned, 38 x 29cm (15 x 11.5ins), framed and glazed, with remains of old framer’s label on backboard from earlier frame Sarah Stone’s father was a fan painter, and it was from him that she learnt her technique. When she was about 17 she visited the Leverian Museum at Leicester House in London. This vast and important collection of natural objects, including live animals, consisted of around 27, 000 items. Its owner, Sir Ashton Lever, commissioned Sarah Stone to paint many of the specimens housed in the vast sixteen room mansion. Her artwork is considered of great importance as a record of some of the species collected by explorers and housed in the long-since defunct museum, some of which are now extinct or have endangered populations. The museum was put up as a lottery prize in 1786, with tickets priced at one guinea. The collection was eventually dispersed in 1806, selling at auctions over a period of sixty-five days. The library at the Natural History Museum has a large collection of Sarah Stone’s watercolours. (1) £400-600

213* South Africa. View of Capetown and Table Mountain across Table Bay, by A. Menzies, early 20th century, watercolour on paper, signed lower left, 22.5 x 33.5cm (8.8 x 13.2ins) mount aperture, gilt frame, glazed (1)

£70-100

49


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Lot 215 215* Thompson (Edward Horace, 1879-1949). "Passing Gleams" Loweswater and Melbreck, watercolour, showing sun shining through clouds over a loch with mountains, signed lower left, 25 x 39.5cm (9.75 x 15.5ins), mounted, framed and glazed, with artist's original printed label on backboard titled in manuscript Provenance: Private Collection, Lancashire. (1)

£200-300

216* After Joseph William Mallord Turner (1775-1851). Scene on the Loire (near the Coteaux de Mauves), watercolour on thick wove paper, heightened with gouache and white bodycolour, sheet size 135 x 228mm (5.3 x 9ins) A 19th century copy after Turner’s original watercolour sketch, which dates from circa 1826-1830, and is now held at the Ashmolean Museum in Oxford (see Wilton 947). (1) £150-200

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

218* Upham (John William, 1772-1828). Portland Bill, watercolour, coastal view of Pennsylvania Castle and the ruins of Rufus Castle, with two sailing boats, 27 x 38cm (10.75 x 15ins), attributed on mount, framed and glazed, pencilled title on verso

The original watercolour drawing by Turner is in the Ashmolean Museum, Oxford. It was reproduced as an engraving in Cooke’s ‘Picturesque Views on the Southern Coast of England’, published in 1825. £150-200 (1)

(1)

50

£200-300


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222* Wood (John Barlow, 1862-1949). Evening, watercolour on paper, signed lower right, 150 x 240mm (5.9 x 9.5ins) mount aperture, framed and glazed

219* Urquhart (G. S., 20th century). Scene in a World War Two Bunker, watercolour and pencil on paper, 20 x 30cm (8 x 12ins) mount aperture, framed and glazed, together with eight other watercolours, two showing First World War scenes, the others views of Sussex, similar sizes (8)

(1)

£70-100

£150-200

220* Watercolour Albums. Two albums of nineteenth century watercolours and drawings by various hands, including still lifes of flowers signed L R G and dated 1888, related flower studies, landscapes and botanical studies (some signed M J Beddome), others initialled J C C and dated 1869, E D (undated but circa 1850s), both folio (245 x 305mm and 415 x 290mm), together with one other small album of amateur sketches in the Far East, circa 1900 (3)

£200-300

223* Worsey (Thomas, 1829-1875). Flowers in a mossy crevice, 1866, watercolour, showing bluebells, primroses and pink wax flowers growing amongst moss and rocks, with fallen oak leaves and a snail, signed and dated lower left, 38.5 x 31.5cm (15 x 12.25ins), mounted, framed and glazed

221* Weeks (Edwin John, 1849-1903). Egyptian Desert Landscape with camel and figure praying, watercolour, signed with initial lower right, 15 x 23.5cm (6 x 9.25ins), framed and glazed (1)

£100-150

(1)

224 No lot

51

£500-800


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OIL PAINTINGS

225* 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)

£200-300

227* Cole (George, 1810-1883). Girl in a Sunlit Meadow, oil on board, showing a summer landscape with three female figures working in a field of corn, and a girl in bonnet and white pinafore in the foreground, signed lower left, 50 x 40.5cm (19.75 x 16ins), framed George Cole was a self-taught portrait, landscape and animal painter. From 1849 he exhibited at the Royal Academy and painted mainly landscapes, including views of Hampshire, Cornwall, Wales and Sussex. His son George Vicat Cole was also a landscape painter (see Christopher Wood, Dictionary of Victorian Painters, page 106). £300-500 (1)

226* After Oliver Clare (1853-1927). Still life of apples and a pear, early 20th century, oil on canvas, 25 x 35cm (10 x 13.75ins), framed (1)

£200-300

52


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228* Follower of John Constable (1776-1837). A pair of rural landscapes, mid-19th century, oil on canvas, unsigned, each 305 x 255mm (12 x 10ins), matching period gilt frames, glazed (some damage to frames) (2)

£300-500

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

229* Continental School. Portrait of an old man in red and white cloth headdress, circa 1850-75, oil on wood panel, chamfered edges to verso, old illegible handwritten label to verso, 25.3 x 19cm (10 x 7.5ins), gilt frame (1)

(1)

£150-200

53

£150-200


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231* Egg (Augustus Leopold, 1816-1863). Interior with cavalier and family, oil on board, showing a woman seated with a young child whilst a cavalier and his dog are seated opposite, contemporary inscription and old stock number to verso, 26 x 32cm 10 x 12.5ins), framed (1)

ÂŁ1000-1500

54


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234* Manner of Egbert van Heemskerck I (1634-1704). Two Figures by a Tavern Window, oil on oak panel, showing two men beside a leaded open window, one with a pewter tankard, the other leaning on a stone window ledge and looking at a leaf of paper, 24 x 21.5cm (9.5 x 8.5ins), gilt moulded frame, glazed (1)

£400-600

232* English School. The Virgin Mary sewing, early to mid 18th century, oil on panel, 37 x 27.5cm (14.5 x 10.8ins), framed (1)

£400-600

233* Fulleylove (John, 1847-1908). Durham Cathedral, oil on card, showing two men in a boat with Durham Castle rising beyond, signed lower right, 24 x 30cm (9.5 x 12ins), framed

235* Ten Kate (Herman Frederik Carel, 1822-1891). Spinning Wheel, oil on panel, showing a woman weaving with a cavalier beside her, signed lower left, 23 x 18.5cm (9 x 7.5ins), gilt frame

(1)

(1)

£200-300

55

£200-300


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237* Medley (Samuel, 1769-1857). Visitation of Eastern Dignitaries before a seated Queen, 1793, oil on copper, signed ‘Mr Medley’, and dated 1793 to lower right verso, several areas of heat damage and blistering, 610 x 460mm (24 x 18ins), old gilt frame The son of a baptist minister of the same name, Samuel Medley exhibited at the Royal Academy between 1792 and 1805, initially historial and mythological subjects, but latterly more often portraits. From 1805 however he traded on the Stock Exchange, and later became one of the founders of University College, London. £300-500 (1)

238* Pether (Abraham, 1756-1812). Moonlit riverscape with watermill, oil on canvas, showing a watermill on the banks of a wide river with moonlit reflection, three figures fishing in a boat, and a skyline with spire, re-varnished and re-lined, 50.5 x 61cm (20 x 24ins), gilt moulded frame (1)

239* Attributed to Sebastian Pether (1790-1844). Moonlit seascape with hermit, oil on panel, showing a wooded inlet with moonlit reflection, a hermit in a cave on the shore, and a tower hidden amongst trees, 33 x 40.5cm (13 x 16ins), gilt moulded frame

236* Lawes (Harold, 1865-1940). Cottage Garden, oil on board, showing an English cottage, with two figures in the garden drawing water from the well, signed lower left, 20 x 25.5cm (8 x 10ins), framed and glazed (1)

£1500-2000

(1)

£300-500

£100-150

240* Follower of Sir Edward James Poynter (1836-1919). Preparing for the Festival, Flowers for the Gods, oil on canvas, showing a young lady in a yellow-green diaphanous dress seated on a marble bench and holding posies of roses aloft, with a sea vista through trellis beyond, monogrammed top left ‘EJP’, pencilled title on stretcher, 34 x 24cm (13.5 x 9.25ins)

Lot 237

(1)

56

£200-300


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Lot 238

Lot 239 57


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241* Richards (L.). Fishing on the Conway, late 19th or early 20th century, oil on canvas, relined, signed lower left, 50.5 x 77cm (20 x 30ins), framed (1)

ÂŁ200-300

242* Rose (H. Randolph, active 1887-1930). Portrait of an elderly lady in an interior, oil on canvas, showing an elderly laded seated with a side table beside, signed lower right, 67 x 102cm (26.5 x 40ins) (1)

ÂŁ300-500

58


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243* Swinnerton (Frederick, late 19th century). Bruges, oil on canvas, showing a peasant girl making lace, seated on a wooden stool beside houses alongside a canal, with a stone bridge over the water beyond, and washing hanging on a line, signed and titled in red lower right, 80 x 61cm (31.5 x 24ins), original fine quality gilt frame, with leaf and berry moulding and recessed acanthus leaves to corners, glazed, with later framer’s label on verso annotated in manuscript ‘regilded 1949’ Provenance: Private Collection, Lancashire. (1)

£700-1000

59


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244* After Titian (Tiziano Vecellio, 1485/89-1576). Girl with a Basket of Fruits (Lavinia), late 18th/early 19th century, fine oil on canvas, showing a young girl standing in front of an open window with a vista of mountains, holding a dish of fruit and flowers aloft, and turning to face the viewer, re-lined and some restoration, frame aperture 97 x 74cm (38 x 29ins), contemporary ornate gilt frame of moulded maple leaves and grapes (some repairs) After the oil painting by Titian of 1558, depicting his daughter Lavinia, now in the Staatliche Museen zu Berlin in Germany. (1) ÂŁ1000-1500

60


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246* Windsor Castle. Bathing and rowing on the Thames with Windsor Castle beyond, early 20th century, oil on board, showing nude bathers swimming with rowing boats going past, 14.5 x 29.5cm (5.75 x 11.5ins) mount aperture, framed and glazed (1)

£150-200

245* Watson (J. D.). Woman in an interior reading, oil on canvas, signed with initials lower left, old stock number stenciled to stretcher, 26 x 36cm (10 x 14ins), period gilt frame, glazed (1)

£300-500

247* Wright (George 1860-1942). Coaching Scene, grisaille oil on canvas, showing a stagecoach travelling along a wooded lane, and a waggon loaded with tree trunks following behind, signed lower right, 47.5 x 63.5cm (18.75 x 25ins) (1)

248 No lot

£300-500

61


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PORTRAITS & MINIATURES

249*AR Buhler (Robert, 1916-1989). Portrait of 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) £200-300

Lot 250

250* Davidson (E. M.). Half-length portrait of a woman, Edwardian oil on canvas, signed upper left, 50 x 41cm (19.75 x 16ins), framed (1)

£200-300

251* De Hem (Louise, 1867-1922). Portrait of a young woman, oil on canvas, head and shoulders portrait of a young woman with dark hair and enigmatic gaze, signed upper right ‘Louise de Hem, Paris’, some over-cleaning, 46 x 37.5cm (18 x 14.75ins) Belgian artist Louise de Hem was initially tutored by her sister’s husband, artist Théodore Ceriez (1831-1904), who noticed her talent. After exhibiting her first work in 1885 she went to Paris to study further where, at the private Académie Julian, she painted living and sometimes nude models (which was at that time in Belgium still forbidden for women). In 1891 she returned to Ypres where she began painting still lifes and receiving commissions for portraits. She exhibited widely, being the only Belgian painter to exhibit at the Women’s Exhibition in London in 1900, and in 1904 she won a gold medal in Paris for her painting ‘The Japanese Doll’. £150-200 (1)

Lot 251

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Lot 254

Lot 255

252* English School. Portrait of a woman, circa 1860, oil on canvas, half length portrait of a seated woman wearing a brown dress, patterned shawl, and frilled white cap, re-lined, 76.5 x 63.5cm (30 x 25ins), framed (1)

254* Gillespie (James H., 1793-c.1838). Portrait of a young lady, oval watercolour, head and shoulders profile facing right, on a black gouache ground, showing a young lady with dark curly hair in a bun, wearing a black dress, bead necklace, and small hoop earrings, 7 x 5.5cm (2.75 x 2.25ins), original ebonised frame with convex glass, engraved label on reverse ‘J.H. Gillespie, Profile Miniature Painter’ (with some loss)

£150-200

253* Gapp (J., active 1827-1840). Portrait of a Lady, scissor cut silhouette on cream card, full-length profile facing right, showing a lady wearing a gown with gigot sleeves and high collar, and a bonnet, some slight loss, 24 x 13.5cm (9.5 x 5.25ins), with printed label on reverse ‘J. Gapp, The original Profilist for cutting accurate Likenesses, attends Daily at the Third Tower in the centre of the Chain Pier’, original maplewood frame, together with Field (John M., 1772-1848), Portrait of a Gentleman, bronzed green painted oval silhouette on tan card, bust profile facing right, of a young gentleman, signed, 8.5 x 7cm (3.25 x 2.75ins), original ebonised frame (unglazed), with engraved label on reverse ‘Field, Miniature Profile Painter at Mr. Jarman, Jeweller & Watch-man’, plus Dempsey (John, active 1832-1844), Robert Miles: Aged 89 Years, April 18th, 1850, pencil, watercolour, and gouache on cream card, half-length profile facing right, showing an elderly gentleman in a coat and waistcoat, titled and dated in manuscript below image, 8.5 x 5cm (3.25 x 2ins), mounted, framed and glazed, with printed label on verso ‘To Emigrants, Travellers & the Public. The Celebrity and Cheapness of J. Dempsey’s Profile & Likeness Establishment, No. 26, Upper Arcade, Bristol, is known in all quarters of the globe’, plus three others (a pencil sketch attributed to William Wynn Ryland, a gouache and watercolour portrait miniature of a gentleman, early-mid 19th century, and a broken silhouette on glass by Rosenberg of Bath)

Provenance: From the collection of the late Christopher Lennox-Boyd. £100-150 (1)

255* Hamlet (William the Elder, b.1751). Portrait of a Lady, painted oval silhouette on tan card, highlighted with white, head and shoulders profile facing left, showing a young lady wearing a dress with chiffon neck frill, 7 x 6cm (2.75 x 2.25ins), original ebonised frame with convex glass, engraved label on reverse ‘Hamlet, Profile Painter, To Her Majesty and the Royal Family, No.12, Union Street, Bath’, together with Portrait of a Lady, painted oval silhouette portrait on tan card, highlighted with white, head and shoulders profile facing left, showing a young lady with curled hair and wearing small hoop earrings, 7 x 6cm (2.75 x 2.25ins), original ebonised frame with convex glass, engraved label on reverse ‘Hamlet, Profile Painter, To Her Majesty and the Royal Family, No.17, Union Passage, Bath’ Provenance: From the collection of the late Christopher Lennox-Boyd. £150-250 (2)

Provenance: From the collection of the late Christopher Lennox-Boyd. £150-200 (6)

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256* Manner of Giuseppe Macpherson (1720-1792). Sei Pittori Italiani, circa 1850, calligraphic title-page with gold initial letters, six oval portrait miniatures of artists, watercolour on card, mounted within gilt line border on thick card leaves (foxed), each with calligraphic name in black ink below: Giovanni Cimabue, Giotto, Tiziano, Raffaello, Annibale Caracci, Carlo Dolci, all edges gilt, marbled endpapers, original brown morocco, lightly rubbed in places, spine faded, raised bands between blind rules, covers with blind double fillet border, gold metal clasp, small 4to (1)

£200-300

257* Mason (Gilbert, 1913-1972). Mr. & Mrs. Charlesworth, 1965, oil on canvas, half-length portrait of an elderly couple seated sideby-side in an interior, signed and dated lower right, 71 x 91.5cm (28 x 36ins), framed, together with a catalogue of an exhibition of the artist’s works held in 1974 Believed to be No.52 listed in the aforementioned exhibition catalogue. £200-300 (1)

Lot 256

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Lot 258

Lot 260

258* Miers (John, 1756-1821). George Pochen, Barkby Hall, 1808, a finely bronzed painted oval silhouette portrait, head and shoulders, profile turned to the right, of a gentleman in coat and frilled necktie, some marginal dust-soiling, 8 x 6.5cm (3 x 2.5ins), original ebonised frame with convex glass, engraved label on reverse ‘Miers, Profile Painter & Jeweller’, with early ink inscriptions ‘Picture of Geo. Pochin 1808 Barkby Hall’ and ‘C.N. Pochin, 1861 Decr.’ Provenance: From the collection of the late Christopher Lennox-Boyd. Barkby Hall has been the seat of the Pochin family since 1604. £150-200 (1)

259* Miers (John, 1756-1821). Portrait of a Gentleman, a finely bronzed painted silhouette portrait, head and shoulders, profile turned to the right, of a gentleman in a coat, 7.5 x 6cm (3 x 2.5ins), original ebonised frame glazed, with engraved label on reverse ‘Miers & Field... Profile Painters, Jewellers, Seal Engravers’ Provenance: From the collection of the late Christopher Lennox-Boyd. (1) £150-200

260* Miers (John, 1756-1821). Portrait of a Gentleman, painted oval silhouette portrait, head and shoulders, profile turned to the right, of a gentleman with a pigtail tied with a ribbon, 8.5 x 6.5cm (3.25 x 2.5ins), original ebonised oval frame with convex glass, engraved label on reverse ‘Miers, Profile-Painter & Jeweller’, with some old adhesive stamp paper repairs Provenance: From the collection of the late Christopher Lennox-Boyd. £100-150 (1)

Lot 259

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261* Opie (John, 1761-1807). Portrait of Miss Reynolds as Red Riding Hood, oil on millboard, head and shoulders portrait of a young girl with short brown hair wearing a red cloak, recent light cleaning and revarnishing, 52 x 41.5cm (20.5 x 16.25ins), verso with early manuscript label ‘Portrait by Opie of Miss Reynolds Miniature Paintress. Property of W. Walker Esq. 64 Margaret St. Cavendish Sq.’ and William Walker’s printed address label, framed, Jack Fenning Collection typed label on reverse Exhibited: Royal Academy, Winter Exhibition, 1875, No. 234; Grosvenor Gallery, 1888-1889; Grafton Galleries, ‘Fair Children’, 1895. Renowned miniaturist Elizabeth Reynolds (1800-1876) was the daughter of painter and engraver Samuel William Reynolds, and became the wife of Scottish engraver William Walker. She exhibited at the Royal Academy between 1818 and 1850, was appointed miniature painter to William IV in 1830, and executed portraits of five Prime Ministers. Elizabeth evinced an early love of the arts, but it wasn’t until this portrait was painted by Opie that her talent became apparent. She and her parents encountered John Opie at the residence of their mutual friend Samuel Whitbread in Bedfordshire; the painter invited Elizabeth to sit for him and the result was this portrait. When it was finished Elizabeth “then not more than eight years of age, commenced, of her own accord, an engraving from it, and completed it with scarcely any assistance; and so extremely well was the work executed that it would not have been unworthy the experienced artist. - This was Miss Reynold’s first essay” (‘The Ladies’ Monthly Museum’, August 1825). As a result of this her father determined on teaching her the art of engraving, and she became a valuable assistant to him. However, it became obvious before too long that her talents were wasted as a mere copyist, so her father encouraged her to became a portrait painter. (1) £2000-3000

262* 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)

£200-300

Lot 262

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Lot 261

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263* 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) (2)

£150-200

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

£300-400

266* Field (John, 1772-1848). Portrait of a young girl, 1842, a finely bronzed painted silhouette portrait, head and shoulders, profile turned to the right, of a young lady wearing a dress with a chiffon collar, her hair in a plaited bun and with ringlets held in a clasp, signed ‘Field 2 Strand’, toned, with Field’s engraved label on reverse ‘Field, Profile Painter, Jeweller, Seal Engraver, &c...’, and with contemporary manuscript inscription above ‘S.P. to J.N.P.’ dated 1842, image size 6 x 3cm (2.25 x 1.25ins) A fine example of the work of one of the foremost silhouette artists. John Field exhibited extensively at the Royal Academy and was particularly known for his bronze detailing. (1) £150-200

264* Follower of Sir Henry Raeburn (1756-1823). Portrait of a Girl, circa 1800, oil on wood panel (cut down to lower edge), halfprofile portrait to left of a dark-haired girl in a cream muslin dress, 32 x 33cm (12.75 x 13ins) (1)

£200-300

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OLD MASTER PRINTS & DRAWINGS

267* Aquila (Pietro, 1650-1692). The Battle of Constantine and Maxentius at the Milvian Bridge (after Raphael), 1683, large-scale etching on 4 sheets of laid paper, published by Dominici de Rossi, Rome, some marks and light soiling, overall size 1750 x 685mm (69 x 27ins) Le Blanc 86. A monumental engraving by Pietro Aquila after the fresco in the Stanze di Raffaello, in the Vatican, executed by Giulio Romano and other members of Raphael’s workshop. £200-400 (4)

268 Audran (Gerard). Les Proportions du Corps Humain, mesurées sur les plus belles figures de l’antiquité, 1st edition, Paris, 1683, [7]pp., 30 etched plates, ownership signature of José Manuel de Carvalho e Negreiros to title, text leaves somewhat soiled and with professional archival repairs and restoration not affecting text, some old soiling and marginal dampstaining, several marginal splits without loss, bound with Pariset (R.M.), Nouveau livre de principes de dessein receulli des etudes des meilleurs maitres tant anciens que modernes, Paris & Lyon, [1748?], additional engraved title, engraved vignette title, engraved text leaf and 29 (of 37?) etched plates, manuscript folio numbers, to outer corners, bound with a group of 9 red chalk drawings, 21 pencil drawings, and 95 engravings, by José Manuel de Carvalho e Negreiros, tipped or pasted on to 39 thick paper leaves, the drawings and many of the engravings being related anatomical drawing studies, one with his name and the date 1770 to upper margin, a little soiling, a few splits and scattered marginal restoration and repairs, the drawings of various sizes, approximately 50 x 24cm (19.75 x 9.5ins) and smaller, modern calf gilt, rubbed, folio (38 x 27cm) José Manuel de Carvalho e Negreiros (1751-1815) was a Portuguese architect and military engineer. He was the son and disciple of Eugénio dos Santos Carvolho who planned the rebuilding of Lisbon. For the first work see Heirs of Hippocrates 635. Sold as an album and not subject to return. £1000-1500 (1)

Lot 268

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Lot 271

269* Bloemen (Jan Frans van, ‘Il Horizonti’, 1662-1749). 5 Italianate landscapes, early 18th century, 5 etchings on wove paper, corner mounted onto album leaves, plate size 240 x 175 mm (9.5 x 6.9 ins), with short margins, together with other later 17th and 18th century etchings and engravings by various Dutch & Flemish artists, including Ruisdael, Rembrandt, Barriere after Claude, Pieter de Laer, Theodore van Kessel, Karel Dujardin, etc., mostly mounted onto 29 album leaves, folio (80)

272* Boydell (John, 1719-1804). Six Landskips Drawn after Nature, 1747, together 6 etchings on laid paper, printed & sold by John Boydell, plate size 140 x 265 mm (5.5 x 10.5 ins), with wide margins, sheet size 200 x 325 mm, the first plate with some damp damage, bound with Six Landskips Drawn after Nature by John Boydell, 1747, together 6 etchings on laid paper, printed & sold by John Boydell, all in very good condition, similar size, plus another similar series of 6 etchings, probably by John Boydell, after landscapes by Teniers, similar, all bound in original plain wrappers, stitched as issued, some wear and fraying to edges, with contemporary handwritten title to upper wrapper, small slim oblong folio, plus Bickham (George, circa 16841758), A New Collection of Landskips, &c., Engrav’d by G. Bickham jun, 1732, together 6 etched views on laid paper, printed for John Bowles, plate size 215 x 150 mm (8.5 x 6 ins), sheet size 330 x 202 mm (13 x 8 ins), bound with 5 similar etched landscapes after Albert Flamen (1620-1692), published by Jacques Lagniet, circa 1730-40, stitched as originally issued, with upper wrapper only present, small slim oblong folio, plus one similar booklet of 18th century etchings, including Sebastian Le Clerc, A New Drawing-Book, very necessary for ye practice of all young beginners, in the Arts of Painting, Drawing, Engraving, published by J. Clark, 1721, and Figures from Callot & Others, printed for J. Bowles, circa 1720s, containing 18 and 9 engravings of figures and costume on 6 and 3 sheets respectively, sheet size 270 x 185 mm (10.5 x 7.25 ins), bound in original plain wrappers with handwritten label to upper cover, and 4 similar small booklets of landscape engravings (by H. Roberts after Swanevelt and Grimaldi, Boydell, and James Roberts after Perelle, etc)

£300-500

270 No lot 271* Bolswert (Schelte Adams, 1576-1659). Landsape with large Roman ruins, after Peter Paul Rubens, circa 1638, etching and engraving on laid paper, from the set of 20 small Landscapes, published by Gillis Hendricx, Antwerp, with the engraver’s and artist’s name lower and centre right respectively, and the publisher’s name to lower right, a good strong impression, sheet size 345 x 445mm (13.5 x 17.5ins), together with Morghen (Raphael, 17581833), Lot and his Daughters, after Guercino and Stefano Tofanelli, [1787], etching and engraving on laid paper, some light marginal soiling (generally a good strong impression), plate size 480 x 565mm (19 x 22.25ins), sheet size 495 x 590mm (19.5 x 23.25ins), plus [Marco Dente da Ravenna, circa 1493-1527], Two satyrs facing Silenus on a braying ass, circa 1515-27 [but later], copper engraving on laid paper, a later 17th century issue by Giovanni Baptista de Rossi, with narrow margins, plate size 111 x 175mm (4.3 x 6.9ins) (3)

£100-150

Provenance: From the Collection of Christopher Lennox-Boyd. (7)

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£200-300


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273* Brustolon (Giovanni Battista, 1712-1796). Feste Ducali, Venice, [1766], 10 etchings with engraving on laid paper (from the set of 12 views, also known as the Solennita Dogali), published by Ludovico Furlanetto, lacking only plates 1 and 2, printed caption and publisher’s imprint to lower margin, and numbered to lower right corner (2-12), each trimmed just inside plate mark, occasionally touching the outer border line, some minor marks and and several closed tears repaired, sheet size 440 x 550mm (17.25 x 21.6ins), or similar A fine series of views of Venice after Canaletto, depicting the festivals and ceremonies of the Doge, Brustolon’s most famous series of prints, and his second set, following three years after the series of 12 engravings titled Prospectuum Aedium... urbis Venetiarum, also published by Furlanetto. £2000-3000 (10)

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Lot 275

Lot 274 274* Campanella (Angelo, 1746-1811). A Roman fresco in the grounds of Villa Negroni: Bacchus and Ariadne (from the series of eight engravings after Anton Raphael Mengs and Anton von Maron), 1783, hand coloured etching on laid paper, heightened with gouache, thread margins, with loss of printed title to lower edge, 500 x 815mm (19.7 x 32ins), framed and glazed

276* After Correggio (Antonio Allegri, circa 1489-1534). The Reading Magdalen, black chalk on wove paper, inscribed to lower margin Correggio Dipinze, and indistincly signed Luigi Panfieri (?) and dated 1811 lower right, some marks and light soiling, short closed tear to right hand margin, slightly touching image, sheet size 322 x 465mm (12.7 x 18.4ins)

This is plate VII from the series. (1)

After the picture formerly in the Dresden Gallery. (1)

£150-200

£150-200

275* Chodowiecki (Daniel Nikolaus, 1726-1801). A collection of twenty various engravings, 1785-91, twenty engravings on various subjects, including several workshop interiors, 126 x 74mm (5 x 2.9ins) and similar, and twelve smaller engravings from the series Histoire et Aventures de Sir Will Pickle, 90 x 53mm (3.5 x 2.1ins), together with a further group of etchings by Eugen Neureuther, 1838-46, plus several etchings by Wierotter (30)

£100-150

277* French School. David playing the harp for King Saul, 1757, red chalk drawing on laid paper, dated and indistinctly initialled LFDB lower left, some marks and short marginal closed tears, sheet size 273 x 340mm (10.75 x 13.4ins) (1)

Lot 276

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£150-200


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278* Hollar (Wenceslaus, 1607-1677). Lucas et Cornelius de Wael (after Van Dyck), 1646, etching on heavy laid paper, published by J. Meysens, trimmed to plate mark, 302 x 229mm (11.9 x 9ins), together with a large collection of various 17th and 18th century prints and engravings, including Giuseppe Vasi, Basilica di S. Pietro in Vaticano, Marinus after Van den Hoecke, Ferdinandus Austriacus (coloured), Bockman after J. Molin, The Owl Face, printed for John Bowles at No. 13 in Cornhil (mezzotint), a large etching of a gentleman and girl carrying corn in a field, printed for Carington Bowles, engraved portrait of John Caspar Lavater by William Blake, published by J. Johnson, May 1 1800, engraved portrait of Ferdinandus Philippi IV by Moncornet by Van Dyck, 2 mezzotint portraits by John Faber of Johannes Hus and Hieronimus a Praga, 1714/15, a series of small etched illustrations to the Epistole Heroiche of Antonio Bruni, etc., various sizes and conditions (approx. 130)

279* Italian & Dutch Schools. A folio album of 95 various 17th century engravings and etchings, including a few late 16th century, including 7 etchings of Old Testament scenes after Antonio Tempesta, 6 large etchings by Jost Amman (1539-1591), illustrating Tasso, etchings of sheep and goats by Paulus Potter (1625-1654) and Mark De Bye, one copper engraving by Leonard Gaultier from the series History of Cupid and Psyche after Raphael (1609), one large etching by Jacques Callot (1593-1635), with the caption ‘Vous qui prenez plaisir en leurs parolles, Gardez vos blancs, vos testons, et pistolles’, several etchings of animals by Stefano della Bella (16101664), published by Mariette, one etching by Francesco Curti (1603-1670) after Guercino, one etching by Giovanni Bernedetto Castiglione (1616-1670), Circe with the companions of Odysseus transformed into animals, circa 1650, with corners and triangle to centre of top margin excised, engraved landscapes by Cock, Roland Savery (1576-1639), and Raphael Sadeler (1555-1616), a series of engraved studies of figures in costume, heads, etc., by Frederick Bloemart after Abraham Bloemaert (1564-1647), etc., various sizes, all mounted in 18th century folio album in reversed calf (except 8 plates loose), rubbed and marked to board edges, and spine with later reback (380 x 245mm)

£300-500

(1)

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£400-600


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281* Lauwers (Nicolaes, 1600-1652). Novae Legis Triumphus, after Peter Paul Rubens, copper engraving on two sheets, printed on laid paper, engraved and published by Nicolaes Lauwers, Antwerp, closetrimmed to margins, closed tear to upper right margin, overall sheet size 645 x 890mm (25.5 x 35ins), together with Vorsterman (Lucas, 1595-1675), The Adoration of the Shepherds, The Adoration of the Magi, & The Deposition, 1620, 3 copper engravings on laid paper, trimmed to plate mark, one or two short closed marginal tears, and 2 other large-scale engravings after Rubens by Paulus Pontius and Pieter de Bailliu (both with some damage) (7)

282 Lucas (Richard Cockle, 1800-83). A collection of 26 etchings by R.C. Lucas, 1843, including studies of old trees in Hyde Park, Regent’s Park, The Bursting of St. Anthony’s Dyke, rustic landscapes and nocturnes, View from Shooter’s Hill, Salisbury, from the South East, Pont y Prid, The Bridge of Beauty, etc., various sizes, all laid down on later large album leaves, 20th century quarter black cloth, rubbed and some marks, oblong folio (350 x 430mm), together with Ottley (Sir William Young), A Collection of Thirty-Nine Fac-Similes, of Rare Etchings, by Celebrated Painters of the Italian, Dutch, and Flemish Schools, with a descriptive catalogue, 1828, 39 etched plates, tipped-in, original green cloth-backed boards, rubbed and some soiling, a little wear to extremities, folio

280* Italian School. Il Circo Massimo come era Anticamenta, circa 1725-50, pen, ink and watercolour on watermarked, laid paper, sheet size 20.5 x 28cm (8 x 11ins), framed and glazed (1)

£200-400

£200-300

(2)

Lot 281

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£150-200


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Lot 284

283* Mortimer (John Hamilton, 1740-1779). Reposo, 1778, etching on thick wove paper, published December 8th 1778, a few minor pinholes, plate size 305 x 205mm (12 x 8ins), with margins, together with Basire (James, Ryland, W.W., Watts, Simon), 22 engravings in the crayon manner [from Charles Rogers, A Collection of Prints in Imitation of Drawings, 1773], all on laid paper, with full margins, rubbed and some marginal marks and soiling, sheet size 565 x 380mm (22.25 x 15ins), plus Houbraken (Jacobus, 16981780), 3 engraved portraits [from Heads of Illustrious Persons of Great Britain, 1743-52[, including Lieutenant General Fleetwood, Charles Howard, Earl of Nottingham, John Pym, trimmed, to plate mark, sheet size 370 x 235mm (14.5 x 9.25ins), or similar, and 4 others similar, including Anthony Warker after Ostade, Law, published by John Boydell, March 1st 1763, George Vertue after Holbein, Henry Howard, Earle of Surrey, 1747, J.P. Pichler after H. Fuger, Gideon Ernest Loudon, 1788, and Johann Friedrich Bause after Le Roy, Peter The Great, 1786 (30)

285* Piranesi (Giovanni Battista, 1720-1778). Tempio antico volgarmente detto della Salute su la via d’Albano... (from Vedute di Roma), 1763, etching on heavy laid paper (watermarked with a fleurde-lys within a double-rule circle), trimmed to plate mark, some marks and light waterstain to lower right corner, sheet size 416 x 560mm (16.4 x 22ins), together with Veduta di un Sepolcro creduto de Scipioni fuori di Porta S. Sebastiano sopra l’antica Via Appia (from Antichita Romane), etching on thick laid paper, numbered ‘Tom. II, XXVIII (plate 28 from the second volume of the Roman Antiquities), signed in the plate lower right Piranesi Archit, some marks and soiling, one or two short closed tears, and light waterstains, narrow margins, plate size 400 x 520mm (15.75 x 20.5ins), sheet size 410 x 535mm (16.2 x 21.1ins), plus Veduta degli avanzi del tablino della Casa Aurea di Nerone, detti volgarmente Il Tempio della Pace (from Vedute di Roma), 1757, etching on heavy laid paper, state iii (of vi), with the longer title, address and price, some marks and light soiling, central vertical crease, and some minor tears to outer margins, plate size 420 x 553mm (16.5 x 21.75ins), sheet size 440 x 575mm (17.25 x 22.7ins), and Rossini (Luigi), Arco di Settimio Severo detto degli Argentieri in Roma nel foro Boario (from Gli Archi Antichi Trionfali), circa 1820, etching on thin wove paper, laid down on backing paper, some marks and tear with minor loss towards lower right corner, plate size 405 x 360mm (16 x 14.2ins)

£150-200

284* Piranesi (Giovanni Battista, 1720-1778). Tempio della Fortuna Virile ora S. M. Egizziana, 1745, etching on laid paper, together with thirteen other small views of Rome by Piranesi, all on laid paper, most mounted Plates numbered 28, 36, 41-2, 51-2, 56, 62, 64, 70, 72, 75, 91, & 95. (14)

Hind 71, state II (of iv) (first work). Wilton-Ely 385 (second work). Hind 45, iii/iv (third work). (4) £200-300

£200-300

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286* Piranesi (Giovanni Battista, 1720-1778). The Well, plate XIII from the series Carceri d'Invenzione (Imaginary Prisons), 1749-60 [but later], etching and engraving on 20th century heavy wove paper, plate size 405 x 553mm (16 x 21.75ins), sheet size 625 x 800mm (24.7 x 31.5ins) (1)

£150-200

Lot 286

287* Piranesi (Giovanni Battista, 1720-1778). The Pier with Chains, plate XVI from Carceri d'Invenzione (Imaginary Prisons), 1749-60 [but later], etching and engraving on 20th century heavy wove paper plate size 410 x 555mm (16 x 21.75ins), sheet size 625 x 800mm (24.7 x 31.5ins), framed and glazed (1)

£150-200

Lot 287

288* Piranesi (Giovanni Battista). Tempio Antico Volgarmente detto della Salute..., [1763], uncoloured etching on thick laid paper, Roman edition with fleur-de-lys in a double circle watermark, slight spotting and staining, largely confined to margins, tipped on to later card, 415 x 565mm Hind 71. (1)

Lot 288 76

£200-300


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Lot 290 289* Sadeler (Raphael I, 1560-1628 & Raphael II, 1584-1632). Album of 46 copper engravings by Raphael Sadeler the Elder and Younger, circa 1584-1615, including The Annunciation after Petrus Candidus, The Virgin and Child with St. Anne after Hans von Aachen, 1589, St. Felix, 1615, St. Paul, 1599, St. Jerome, 1603, Christ Triumphant, 1614, St. Veronica holding Christ’s Shroud, etc., all mounted on laid paper in 18th century calf-backed marbled boards, heavily rubbed and marked, some wear to edges and corners, folio (400 x 290mm, 15.75 x 11.25ins) (1)

£700-1000

290* Sadeler (Joahnnes, 1550-1600). Fiducia, from the series Virtues Conquering Vices after Maerten de Vos, 1579, copper engraving on laid paper, together with five other copper-engravings from the same series (Justitia, Maiestas, Religio Christiana, Politeia and Precatio), with margins, plate size 140 x 95mm (5.5 x 3.75ins) and similar, sheet size 167 x 120mm (6.5 x 4.7ins) and similar, each tab-mounted to later card Hollstein 541 for the first engraving. (6)

£200-300

291* Schon (Erhard, circa 1491-1542). Emperor Charles V, circa 1519-30, woodcut on laid paper, margins close-trimmed, sheet size 122 x 99mm (4.8 x 3.9ins) Bartsch 42. (1)

£100-150

Lot 291

77


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292* Van der Straet (Jan, 1523-1605). Venationes Ferarum, Avium, Piscium. Pugnae Bestiariorum: & mutuae Bestiarum [Antwerp], Philip Galle, [1578], copper engraved title page, and 56 (of 104) copper engraved plates only, by Collaert, De Mallery, Cornelis and Theodorus Galle after Stradanus, each plate with a legend of 4 lines in Latin verse (occasionally 2 lines only), printed on laid paper, some soiling and marks throughout, some plates frayed to margins and some trimmed to plate mark, some plates browned, later marbled paper boards, oblong folio, 260 x 330mm (10.25 x 13ins) Schwerdt II, 226. Born in Bruges, Johannes Stradanus, or Jan van der Straet, worked principally in Italy as a designer of cartoons for tapestry. From 1553 to 1571 he was employed by Cosimo de Medici, who commissioned from him a series of lavish representations of hunting, fowling and fishing for the adornment of 20 rooms in the palace of Peggio-a-Cajano, from which these engravings were made. One of the finest hunting books ever published. The plates not present are numbers 6, 17-18, 20-22, 25-28, 30-35, 43, 49-52, 55-60, 62, 64-65, 67, 72-79, 82, 92, 94, 96-100 and 104. ÂŁ700-1000 (1)

293 No lot

78


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THE STUDIO OF MARCUS ADAMS Marcus Adams (1875-1959). Born in Reading, the seventh son of artist and photographer Walton Adams (1842-1934), Marcus went on to work in a solicitor’s office. Attending night school at Reading Art College, he began to develop his skills as a draughtsman and designer. In 1892 he was apprenticed at his father’s photography studio, first preparing negatives and then proofing and retouching. Whilst he was starting to gain a reputation for the photographic portraits for which he would become famous, he continued his artistic education by studying in Paris and travelling to Switzerland, North Africa and beauty spots around England. In 1919 he left the studio of his father and established the Three Photographers’ Studio with husband and wife Bertram Park and Yvonne Gregory. He continued to paint and draw throughout his life, travelling widely and pursuing his other great passion of gardening, culminating in prize winning sweet peas and the beautifully designed gardens which inspired many of the works offered in this sale. Chris Adams (1867-1960). The elder brother of Marcus, Christopher studied at Reading University. Best known for his miniature paintings, he exhibited at the Royal Academy, Royal Miniature Society and Walker Art Gallery. He was commissioned to paint two miniatures for the library of Queen Mary’s Dolls’ house, both preserved in the Royal Collection. He married Minnie Walters Anson, also a miniature painter, whose work is represented in the present sale. Gilbert Adams (1906-1996). Making a third generation of photographers and artists, Marcus’s son Gilbert also studied art at Reading University under the tuition of Allen Seaby and Herbert Maryon. He too earned a reputation as a photographer, being commissioned by the British Council to make a series promoting Britain to tourists. He spent a great deal of time in St Ives where he became close friends with most of the major artists working in the area, especially Peter Lanyon and Hyman Segal. His work is held by many institutions and he exhibited widely, both as a photographer and painter.

Marcus Adams (1875-1959)

Art and picture making with a camera are fundamentally the same, requiring such essential qualities as good taste, beauty of line, and perfect juxtaposition of tone, together with atmosphere that stirs the emotion. Gilbert Adams, Photograms of the Year, (1948), p. 11 Rosalind Thuillier (1939-2015). By marrying Gilbert in 1978, Rosalind became another contributor to the family’s artistic output. Rosalind is probably best known for her books, including a biography of Graham Sutherland and an account of Marcus Adams’ royal portraits, Rosalind’s work is characterised by a bold use of colour and a blending of representative draughtsmanship with abstract freedom.

Chris Adams (1867-1960)

Rosalind Thuillier (1939-2015)

Gilbert Adams (1906-1996) 79


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Lot 294 294 Adams (Marcus, 1875-1959). New Ideas for Containers to assist simple decorative display of cut flowers/New Designs for Vases [cover-titles], 1956, together a pair of albums, with forty and twenty-nine watercolours on card respectively, mounted on card album leaves, mostly one (but sometimes two) to a page, on rectos only, each with a design for a receptacle for holding flowers, many with tissue overlay with pencil and watercolour illustration of flowers, showing how each vessel might be used, some unfinished, most titled in pencil to lower margin, two designs attributed to Merrill Rose, printed address label and calligraphic title at front of each volume, both signed by the artist, and latter dated, original blue cloth-backed pink card wrappers tied with blue cord, front covers stamped ‘Marcus Adams’ in gilt, and with mounted calligraphic title label, housed together in a patterned paper-covered cardboard box, title label with original illustration mounted on pull-off lid A pair of most unusual and decorative albums, showing influences of both Christopher Dresser and the Art Deco period. (2) £500-800

295* Adams (Marcus, 1875-1959). A collection of pen & ink drawings, approximately eighty pen & ink drawings and sketches, mostly landscapes, buildings, and a few interiors, gardens, etc., some titled and dated, a few signed, various sizes, 36 x 26cm (14.25 x 10.25ins) and smaller, some mounted (approx.80)

Lot 295

£100-150

80


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296* Adams (Marcus, 1875-1959). A collection of pastel drawings, approximately 80 landscape drawings, most depicting sunsets and atmospheric conditions, pastel on paper, some signed in pencil lower right, approximately 9 x 13cm (3.5 x 5ins), mounted and with tissue guards, most mounts dated in pencil 1950s, some with place names, including Jersey, Mallorca, Henley, Salfords in Surrey (approx.80)

Lot 298

£200-300

297* Adams (Marcus, 1875-1959). A collection of pastel drawings, approximately 80 landscape drawings, most depicting sunsets and atmospheric conditions, pastel on paper, some signed in pencil lower right, approximately 9 x 13cm (3.5 x 5ins), mounted and with tissue guards, most mounts dated in pencil 1950s, a few with place names, including Salfords in Surrey, Sussex Downs, Jersey (approx.80)

£200-300

298 Adams (Marcus, 1875-1959). Mediterranean sketchbook, circa 1904, appproximately 120 watercolours and drawings, mounted into a contemporary album, most signed or initialled, some dated 1904, 8 x 14cm (3 x 5.5ins) and similar, oblong folio (album lacking upper cover)

299* Adams (Marcus, 1875-1959). A collection of forty-five original pencil studies of Majorca, circa 1931, forty-five pencil sketches on various papers, mostly landscape and coastal views, townscapes and architectural motifs, etc., many captioned and dated to lower edge, sheet size 30 x 23cm (12 x 9ins) and similar, each tipped into original mount with artist’s printed studio label to verso, loosely contained in contemporary box with manuscript title label

Views include Cairo, Lyon, Marseille, Italian coast, Mt. Etna, Athens, Acropolis, Piraeus, Jericho, Jerusalem, Dead Sea, Jordan, Nazareth, Bethlehem, Jenin, Alexandria, Great Pyramid, and the Sphynx. (1) £300-500

Views include Palma Market Day, Pollensa Bay, Formentor Hotel, Casa Catala Bay, The Rocks, Alfonso Hotel, The Clouds over Soller, Genova, Palma, and others. £700-1000 (45)

81


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300* Adams (Marcus, 1875-1959). Tuareg tents, oil on board, 12 x 16.5cm (4.75 x 6.5ins), together with eleven similar oils on board, mostly landscape scenes, most probably of continental scenes (12)

Lot 302

£200-300

301* Adams (Marcus, 1875-1959). Scuplture garden, oil on board, 11.5 x 16cm (4.5 x 6.25ins), together with twelve similar landscapes, including parklands and gardens, one signed to lower edge (13)

£200-300

302* Adams (Marcus, 1875-1959). An album of twenty-one scraperboards, circa 1957, black and white scraperboard, one or two heightened with colour, most signed, many titled to mount, some with original tissue guards, seven loosely inserted to rear of album, original artist’s label to upper cover, 16 x 13cm (6.5 x 5ins) and slightly smaller Subjects include, views from Lavender Cottage (the artist’s home), the Matterhorn, still lifes, a 2000 year old olive tree in Mallorca, Three Cliff Bay, Bodmin Moor, flowers and plants. £300-400 (1)

303* Adams (Marcus, 1875-1959). A collection of thirty-five original pencil studies of Switzerland, circa 1930, thirty-five pencil sketches on various papers, including landscapes, mountain studies, architectural motifs, etc., many captioned and dated to lower edge, sheet size 30 x 22.5cm (12 x 8.75ins) and similar, each tipped into original mount with artist’s printed studio label to verso, loosely contained in contemporary box with manuscript title label Views include snapshots from the train, Val di Fassa from Ciampedie, SaasFee, Saas-Grund from the Tea Hut, and others. (35) £500-800

82


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304* Adams (Marcus, 1875-1959). A collection of fifty-two original pencil studies of trees, circa 1931, fifty-two pencil sketches on various papers, including trees in landscapes, studies of trees and branches, etc., some captioned and dated to lower edge, some timed, sheet size 30 x 23cm (12 x 9ins), each tipped into original mount with artist’s printed studio label to verso, loosely contained in contemporary box with manuscript title label

305* Adams (Marcus, 1875-1959). A collection of fifteen original pencil studies of Cornwall, circa 1931, fifteen pencil sketches on various papers, including landscapes and coastal views, townscapes and architectural motifs, etc., many captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into original mount with artist’s printed studio label to verso, loosely contained within contemporary box with manuscript title label

Subjects include Cornish Inn, Resting Spot in Exeter, Beech Trees, On the Thames, A Wonderful Old Oak, Gorran Haven, Cornwall, Olive Trees, and others. (52) £300-500

Views include Fawey, Near St. Ives, Gorran Haven, The Brook Vale Farm, Portbury, Mevagissey, Hayle, and others. (15) £200-400

306* Adams (Marcus, 1875-1959). A collection of forty original pencil studies, mostly Italy and North Africa, circa 1929-31, forty pencil sketches on various papers, mostly landscapes and townscapes, architectural motifs and gardens, etc., many captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into original mount with artist’s printed studio label to verso, loosely contained within contemporary box with manuscript label Views include Impression of St Marks, Venice, Bridge of Sighs, Venice, Porto Fino, Lake Geneva, Santa Margherita, Italy, Misty Day in Porto Fino, and others. (40) £700-1000

Lot 306

83


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Lot 308

307* Adams (Marcus, 1875-1959). A collection of forty original pencil studies including North Africa, circa 1929-31, forty pencil sketches on various papers, mostly lanscape and coastal views, townscapes and architectural motifs, some studies of figures, etc., many captioned and dated to lower edge, sheet size, 30 x 23cm (12 x 9ins) and similar, each topped into original mount with artist’s label to verso, loosely contained within contemporary box Views include The Mosque, Algeria, Castillo Bellver, Palma, and others. £700-1000 (40)

308* Adams (Marcus, 1875-1959). A collection of fifteen original pencil studies, mostly of Italy and France, circa 1928-1930, fifteen pencil sketches on various papers, mostly landscape and townscape views, architectural motifs and figure studies, etc., many captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into original mount with artist’s studio label to verso Subjects include Lace Workers, Portofino, Venice, Arc de Triomphe, Near Arles, and others. £150-200 (15)

309* Adams (Marcus, 1875-1959). A collection of fifty original pencil studies of Las Palmas, circa 1927-31, fifty pencil sketches on various papers, mostly landscape and coastal views, townscapes, etc., many captioned and dated to lower edge, sheet size 30 x 23cm (12 x 9ins) and similar, each tipped into original mount with artist’s printed sutdio label to verso, loosely contained within arist’s original portfolio, together with a similar portfolio of twenty-five original pencil sketches including views of Palma, North Africa and Italy (2)

84

£500-800


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312* Adams (Marcus, 1875-1959). A collection of forty-two original pencil studies, mostly of the artist’s home, gardens and surroundings, circa 1929-32, forty-two pencil sketches on various papers, mostly landscapes or architectural motifs, etc., many captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into original mount with artist’s printed studio label to verso

310* Adams (Marcus, 1875-1959). A collection of fifty original pencil studies, mostly of British topographical subjects, circa 1930, fifty pencil sketches on various papers, mostly landscape views and architectural motifs, many captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into original mount with artist’s studio label to verso Subjects include Paddington Station, An Old Cottage, Monmouth, Lansdown House, Taverstock, Swallowfield Mill, and others. (50) £300-500

Subjects include Old House, St. Ives, Zennor, Cornwall, Swallowfield Mill and others. (42) £300-500

311* Adams (Marcus, 1875-1959). A collection of forty original pencil studies, mostly of Cornish scenes and other English towns, circa 1929-31, forty pencil sketches on various papers, many captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into original mount with artist’s studio label to verso Scenes include St Ives, Fall Bay, Gower, and others. (40)

313* Adams (Marcus, 1875-1959). A collection of forty original pencil studies of Switzerland, circa 1930, forty pencil sketches on various papers, mostly landscape views, studies of rock formations, townscapes and architectural motifs, etc., many captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each topped into original mount with artist’s studio label to verso, loosely contained within contemporary box

£300-500

Views include Saas-Fee, and others. (40)

85

£500-800


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314* Adams (Marcus, 1875-1959). The Uplifted Church, 21 Stories High, Chicago, 1926, pencil on paper, captioned and dated to lower edge, 30 x 23cm (12 x 9ins), tipped into original mount with artist’s studio label to verso Built in 1923 by the First Methodist Episcopal Church on the corner of Washington and Clark streets, Chicago, the 21 story building in the Grench Gothic style remains the tallest church building in the world, and was the tallest building in Chicago until 1930. (1) £150-200

Lot 316

315* Adams (Marcus, 1875-1959). An archive of approximately 500 original pencil drawings and sketches, circa 1930s, approximately five-hundred pencil sketches on various papers, few captioned to lower edge, various sizes, loosely contained within five folders, each with artist’s studio label to covers Subjects include North Africa, the artist’s home, studies of trees, gardens and others. (5) £500-800

316* Adams (Marcus, 1875-1959). A collection of forty-two original watercolours, mostly of landscapes, forty-two watercolours on various papers, some with pen and ink or pencil, few signed and captioned, 27 x 40cm (10.5 x 16ins) and similar, one or two tipped into original mount with artist’s printed studio label to verso, loosely contained in two original folders each with artist’s stamp to upper board Subjects include Portofino, Autumn, Winter Jasmin, Over the Hills, and others. (42) £500-800

317* Adams (Marcus, 1875-1959). Market Scene, oil on board, 30 x 42cm (12 x 16.5ins), framed (1)

86

£100-150


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319* Adams (Marcus, 1875-1959). A collection of thirty-two original pencil and charcoal studies, circa 1933, pencil and charcoal on various papers, mostly landscapes, architectural motifs, figure studies, etc., some captioned and dated to lower edge, one or two signed, sheet size 28 x 21cm (11 x 8.25ins), mostly unmounted, loosely contained in card folder with artist’s gilt stamp to upper cover, together with approximately sixty pencil sketches on various papers, some captioned to lower edge, mostly tipped into original mounts, loosely contained in contemporary box (2)

£150-200

320* Adams (Marcus, 1875-1959). A collection of thirty original pencil studies of Devonshire, Dorset and Cornwall, circa 1930, thirty pencil sketches on various papers, mostly landscape and coastal views, townscapes and architectural motifs, etc., many captioned to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into original mount with artist’s printed studio label to verso, loosely contained within contemporary portfolio with artist’s gilt stamp to upper board, together with a similar portfolio containing ten pencil sketches, mostly still lifes and flower studies Teignmouth, Watergate Bay, Bridport, Old Steps, Lyme Regis, Newquay, Porthscatho, Cornwall, and others. (40) £500-800

318* Adams (Marcus, 1875-1959). Summer Garden, 1957, watercolour on paper, signed and dated lower right, 12 x 15cm (4.75 x 6ins), mounted, together with approximately sixty similar watercolours on various papers, mostly landscapes, townscapes, architectural motifs including the artist’s home and others, loosely contained within contemporary folder with artist’s printed studio label to upper cover (approx 60)

£150-200

Lot 320

Lot 319

87


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323* Adams (Marcus, 1875-1959). A collection approximately 100 watercolours, mostly of landscapes, watercolour on various papers, some captioned, few signed or initialled, many tipped onto contemporary album pages or card mounts, 8.5 x 14.5cm (3.25 x 5.75ins) and similar, loosely contained within contemporary artist’s folder (approx. 100)

£150-200

321* Adams (Marcus, 1875-1959). Spring, 1943, oil on board, signed and dated lower left, Reading Guild of Artists exhibition label to verso, 46.5 x 36cm (18 x 14ins), together with seven similar oils on board by Marcus Adams, one or two signed, generally dusty and worn (8)

£80-120

322* Adams (Marcus, 1875-1959). Highmore, 1957, pastel on paper, signed, dated and captioned in pencil to lower edge, 8 x 12cm (3 x 4.75ins), framed and glazed, together with twelve similar pastels and miniature watercolours, all framed and glazed Views include Storm over Henley, Jersey and others. (13)

324* Adams (Marcus, 1875-1959). Views in Devon, etc., circa 1928-30, a portfolio containing 27 pencil landscape studies, mostly of landscape and coastal scenery in Devon, including Boscombe from East Cliff, Poole, Rough Day at Meveggissey, Sunset, Swallowfield, Brixham, Porlock Hill, Porlock Weir, Salcombe, The New Inn, Porlock, Teignmouth, Bournemouth, and several unrelated, including watercolour study of Iris, a pressed flower still life, and several unidentified, most with caption and date, all unsigned, each mounted, and loosely contained in original cloth-backed portfolio boards with Marcus Adams’ printed label to inside cover, folio (430 x 310mm, 17 x 12.2ins)

£70-100

(1)

Lot 323

88

£200-300


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326* Adams (Gilbert, 1906-1996). Seated Nude, oil on board, initialled lower left, 22 x 28cm (8.5 x 11ins), framed, together with two similar nude studies by Adams, one signed in full, the other with artist’s typed label to verso, all framed (3)

£200-300

327* Adams (Gilbert, 1906-1996). Nude, circa 1958, oil on board, signed lower right, 44 x 55cm (17.25 x 21.5ins), framed, plus another similar nude study, signed in full, framed, both with artist’s label to verso First work priced by the artist £5,500. (2)

325* Adams (Marcus, 1875-1959). North Africa, circa 1928-29, a collection of 54 pencil studies of landscapes and scenery in North Africa, figure studies and portraits, all pencil on paper, including a Woman of Biskia, Garden of Allah, Gibraltar, Algiers, The Outside Cafe, Ban Saada by Night, Sedi Aissa, The Walled City, Slipper Makers of Ban Saada, Gorges du Chabet El Akra, The African Boy of the Desert, The Weary Arab of Algeria, etc., mostly captioned, many dated and several signed, all mounted, and loosely contained in original drop-over bookbox, folio (450 x 320mm, 17.7 x 12.5ins) (1)

£200-300

£300-500

328* Adams (Gilbert, 1906-1996). Cows at Draycott, oil on board, initialled lower right, 29 x 39cm (11.5 x 15.5ins), framed, plus two similar landscapes also by Adams, both initialled and one with artist’s label to verso, all framed (3)

Lot 326

89

£150-200


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330* Adams (Gilbert, 1906-1996). Near Stratford on Avon, 1956, oil on board, signed lower right, artist's labels to verso, 25 x 36cm (10 x 12ins), framed, together with three similar landscapes by Adams, many signed or initialled, most with artist's label to verso, all framed (4)

£200-300

331* Adams (Gilbert, 1906-1996). Frigiliana, Spain, oil on board, signed lower left, 24 x 30cm (9.5 x 12ins), framed, together with three similar landscapes featuring buildings, one initialled, two with artist’s label to verso, all framed (4)

£150-200

332* Adams (Gilbert, 1906-1996). Near Little Bedwyn, 1980, oil on canvas, 46 x 56cm (18 x 22ins), artist's label to verso, together with eight similar oils on board, including The Kennet and Avon Canal, Morgan's Hill, Near Oare, and others, all framed (9)

£200-300

329* Adams (Gilbert, 1906-1996). Trees in Wind, oil on board, artist’s label to verso, 28 x 35cm (11 x 13.75ins), framed, together with four similar landscapes, most with artist’s label to verso, all signed First work priced by artist £1, 400. (5)

£200-300

333* Adams (Gilbert, 1906-1996). Constantine Bay, Cornwall, 1995, oil on board, initialled and dated lower left, signed and titled to verso, Royal Academy Summer Exhibition label to verso, 51 x 61cm (20 x 24ins), framed, together with eight similar oils on board, including Bridge over canal, 1979, Farm at Avebury, Romney Marsh, A Field in May, Avebury, and others, all framed, most with artist's printed label to verso

Lot 330

(9)

£200-300

334* Adams (Gilbert, 1906-1996). Great Bedwyn, 1974, oil on board, 39 x 59cm (15.5 x 23.5ins), framed, together with eight similar landscapes, including Pewsey Vale 1982, Farm Machinery, 1983, Church in Avon Valley, one or two signed, all framed (9)

£200-300

335* Adams (Gilbert, 1906-1996). Trees by Water, 1969, oil on board, signed lower left, artist's label to verso, 41 x 51cm (16 x 20ins), framed, together with eight similar landscapes including Pipe Laying, Beckhampton, Oak Tree at Clench, Little Bedwyn, 1979, Track to Downs, Pewsey Vale, Above Pewsey Vale, 1952, all framed, most with artist's printed label to verso, one or two with Reading Guild of Artists exhibition label to verso The first work priced by the artist at £4,500. (9)

Lot 331 90

£200-300


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336* Adams (Gilbert, 1906-1996). Still life of rudbeckia, oil on board, initialled lower right, 35.5 x 30cm (14 x 12ins), together with 5 other similar still lifes, most initialled (6)

338* Adams (Gilbert, 1906-1996). Full length portrait of a girl in a garden, oil on board, artist’s label to verso, 47 x 39cm (18.5 x 15.25ins), together with 44 similar portraits and figure studies, most with artist’s labels to verso

£150-200

(45)

£200-300

337* Adams (Gilbert, 1906-1996). Sunbathers on the beach, oil on board, artist’s label to verso, 40.5 x 51cm (16 x 20ins), together with 24 landscapes, mostly British, including some studies of buildings, some with initials (25)

£200-300

339* Adams (Gilbert, 1906-1996). Garden under a tree, oil on board, initialled lower right, artist’s label to verso, 30.5 x 30.5cm (12 x 12ins), together with a number of similar landscapes, some initialled, most with artist’s labels to verso (a small carton)

91

£200-300


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340* Adams (Gilbert, 1906-1996). Bridge over a quiet stream, oil on board, initialled lower right, 25 x 35.5cm (10 x 13.75ins), together with a number of other similar landscapes, some initialled, most with artist’s label to verso (a small carton)

342* Adams (Gilbert, 1906-1996). The Boat Shed, oil on canvas covered board, 51 x 61cm (20 x 24ins), together with 34 similar landscapes, some initialled, most with artist’s label to verso

£200-300

(35)

£300-400

343* Adams (Gilbert, 1906-1996). Reclining Nude, oil on board, artist’s label to verso, 46 x 76cm (18 x 30ins), together with 29 similar figure studies including nudes, some with initialled, most with artist’s label to verso (30)

344 No lot

341* Adams (Gilbert, 1906-1996). Figure in a black dress, oil on board, artist’s label to verso, 30.5 x 25.5cm (12 x 10ins), together with a number of other similar studies of figures, including some nudes and portraits, some initialled, most with artist’s label to verso (a small carton)

£150-200

92

£300-400


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347* Adams (Gilbert, 1906-1996). Three Nudes, oil on board, artist’s label to verso, 76 x 76cm (30 x 30ins), together with 14 similar oils on board, including nudes, portraits, figure studies and others, all with artist’s label to verso

345* Adams (Gilbert, 1906-1996). Rosalind, the artist’s wife, oil on board, initialled lower left, Reading Guild of Arts label to verso, 75 x 71cm (29.5 x 28ins), framed (1)

(15)

£200-400

£100-150

348* Adams (Gilbert, 1906-1996). Mother Earth, oil on board, signed lower left, artist’s label to verso, 61 x 113cm (24 x 44.5ins), framed, together with 7 similar oils on board, including nudes, portraits, figure studies and others, some framed, all large format (8)

346* Adams (Gilbert, 1906-1996). Slough Safety Town, oil on board, signed lower left, inscribed by the artist to verso, 48 x 66cm (19 x 26ins), framed, together with 19 similar oils on board, including abstracts, some framed, various sizes (20)

£150-200

93

£150-200


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349* Adams (Gilbert, 1906-1996). Eleusinian Mysteries, oil on board, 41 x 60cm (16 x 23.5ins), framed together with 9 other similar oils on board, including nudes, figure studies, portraits and others, one or two framed

351* Adams (Gilbert, 1906-1996). A large collection of approximately 300 original sketches, mostly pencil or charcoal on various papers, some in coloured pencil or pastel, most life studies including nudes, various sizes

(10)

(approx. 300)

£150-200

£200-300

350* Adams (Gilbert, 1906-1996). Blue Torso, oil on board, Reading Guild of Artist’s exhibition label to verso, 40 x 40cm (15.75 x 15.75ins), framed, together with 11 similar oils, including nudes, portraits and figure studies, one or two on canvas, mostly framed (12)

£200-300

352* Adams (Gilbert, 1906-1996). A large collection of approximately 350 sketches and preparatory studies, mostly coloured pastel on various papers, mainly life studies including nudes, figure studies and portraits, various sizes (approx. 350)

94

£200-300


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353* Adams (Christopher, 1867-1960). Portrait miniature of a young girl, watercolour on ivorine, three-quarter length profile facing left, showing a girl with long wavy brown hair, wearing a white muslin dress with frilled sleeves and a pink sash, seated with her hands in her lap, signed upper right, 20 x 15.5cm (8 x 6ins) (1)

ÂŁ200-300

354* Adams (Christopher, 1867-1960). Portrait miniature of a girl, watercolour on card, three-quarter length portrait of a girl with short wavy brown hair, wearing a theatrical green tunic with long sleeves and large collar, signed upper right, 14.5 x 10cm (5.75 x 4ins), together with another three-quarter length portrait of the same sitter, watercolour on ivory, showing her seated and wearing a pink dress with edge-frills, vertical split to left-hand edge, and small piece missing from lower right corner, signed uppr right, 13.5 x 10cm (5.25 x 3.75ins), plus two circular head and shoulder portraits of ladies, watercolour on ivory/ivorine, diameter 7cm (2.75cm)/4cm (1.5ins) respectively (4)

ÂŁ150-200

Lot 353

355* Adams (Christopher, 1867-1960). Portrait miniature of a young girl, 1922, oval watercolour on ivory mounted on card, half length portrait turned to the left, showing a young girl wearing a bonnet, signed and dated to right edge, faintly inscribed and dated on verso, 10 x 7.5cm (4 x 3ins), together with a circular portrait, watercolour on ivory, head and shoulders portrait turned to the left, of a small child with curly fair hair, signed lower right, diameter 6.5cm (2.5ins), plus an oval photographic portrait on ivory mounted on card, with watercolour, of a small girl, signed and dated 1950 (3)

Lot 354

95

ÂŁ100-150


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357* Adams (Christopher, 1867-1960). Portrait of a young lady with lilies, watercolour on ivorine, three-quarter length portrait of a dark-haired young lady seated, wearing a loosely draped white gown and holding a bunch of arum lilies, 21 x 15.5cm (8.25 x 6ins), together with a circular head and shoulders portrait, watercolour on ivorine, of a young lady wearing a fur stole, diameter 10.5cm (4.25ins), plus a half-length portrait, watercolour on ivorine, of a lady in evening gown, tiara, and jewels, signed upper right, 11.5 x 10cm (4.5 x 4ins), plus three other portrait miniatures of ladies (6)

356* Adams (Christopher, 1867-1960). Portrait miniature of two sisters, circular watercolour on ivorine mounted on card, half-length portrait of two dark-haired girls seated, wearing matching white muslin dresses with pink sashes and frilled sleeves, diameter 10.5cm (4ins), together with two portrait miniatures of boys, watercolour on ivory, one a three-quarter length of a young boy seated, wearing a blue smocked white blouse and blue shorts, 7 x 5.5cm (2.75 x 2ins), the other a half-length portrait of a blonde boy wearing a white shirt and green tartan tie, mounted on paper and glazed, 7.5 x 6cm (3 x 2.5ins), plus a three-quarter length portrait, watercolour on ivorine, of a fair-haired baby in a white dress, signed upper right, 5.5 x 4.5cm (2.25 x 1.75ins), plus three other portrait miniatures (one of a small boy holding a shell, one of a small girl kissing her brother, and the other of a dog) (7)

ÂŁ150-250

358* Adams (Christopher, 1867-1960). Portrait of a girl in beaded costume painting a vase, watercolour on ivorine, three-quarter length profile facing left, showing a seated young lady painting a vase, wearing a tall hat, large hoop earrings, arm bangles, a loose yellow gown with red sash, and a short brown waistcoat edged with hanging beads, signed lower right, 16.5 x 21cm (6.5 x 8.25ins), mounted on board and glazed

ÂŁ200-300

(1)

Lot 357

ÂŁ200-300

Lot 359

96


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359* Adams (Christopher, 1867-1960). Self-portrait, watercolour on card, half length portrait miniature of the artist leaning on a window sill, signed lower right, 9 x 9.5cm (3.5 x 3.75ins), mounted on card, together with a three-quarter length portrait miniature of an eccelsiatical gentleman in a purple cassock, seated on a carved oak chair, signed upper right, 17 x 11.5cm (6.75 x 4.5ins), plus five other small portraits/landscapes, including another self-portrait on ivory, dated 1925, bowed and cracked (7)

£150-200

Lot 361

360* Adams (Christopher, 1867-1960). Self-portrait, 1936, oil on plywood, half-length portrait of the artist with white hair and moustache, wearing a white smock, and with palette and brush in hand, signed upper right ‘Self Portrait Chris Adams RMS 1936’, slight loss to lower right-hand edge, 56 x 42cm (22 x 16.5ins), together with another self-portrait similar (worn and wormed) (2)

£200-300

361* Adams (Christopher, 1867-1960). An album of watercolours and prints, eight watercolour drawings, most of them by Chris Adams, some signed, including a peasant woman making bobbin lace, the Vendome Column, a landscape of North Wales, a portrait of a clergyman, and a loosely inserted watercolour of a peasant girl with a water vessel on her head, and two drawings by Marcus Adams, together with two albums of small pencil drawings by Marcus Adams, of the gardens at Lavender Cottage, Wargrave-onThames, one album dated 1957, drawings approximately 14.5 x 9.5cm (5.75 x 3.75ins) and smaller, mostly mounted two to a page, on rectos only, plus a box of pastel sketches by Marcus Adams, mostly landscapes, including Majorca, Swallowfield, and several of Cornwall (e.g. St. Ives), a few signed, and one dated 1957, each 9.5 x 13.5cm (3.75 x 5.25ins), most mounted and with tissue guards, housed together in a cloth-covered cardboard box with lid

362* Adams (Jane, 20th century). Pebbles, grisaille watercolour on paper, signed in pencil to lower right, sheet size 16 x 14cm (6.25 x 5.5ins), framed and glazed, together with six similar watercolours, all framed and glazed

(4)

(7)

£150-200

97

£70-100


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Lot 363

Lot 366 364* Gregory (Yvonne, 1889-1970). Whirlwind, pen & ink on paper, showing a fantastical scene with a fairy pirouetting on the surface of a fern-lined brook, titled lower left and signed lower right, 17.5 x 12cm (7 x 4.75ins), mounted on card

363* Anson (Minnie Walters, b.1875). Portrait of a young man in theatrical costume, 1925, watercolour on ivorine, full length portrait of a dark-haired young man, wearing a gold and white tunic, black breeches and boots, and a red silk cloak, signed in ink and dated in pencil lower left, 19.5 x 14.5cm (7.5 x 5.75ins), framed and glazed, with manuscript label on backboard ‘Costume Designed by Gilbert’ in pencil and below in ink ‘Walters Anson R.M.S. 22 Kempshott Road, Streatham. S.W.16’, together with another portrait of the same young gentleman, by Chris Adams, watercolour on ivory, showing him seated and holding a silver-tipped cane, signed upper right, slight loss to left-hand edge, 19.5 x 14cm (7.5 x 5.5ins), framed and glazed, inscribed on the backboard ‘“The Dandy” Chris Adams R.M.S. 22 Kempshott Rd, Streatham. London. S.W.16. Paris Salon 1930’, and on reverse ‘With love, & best wishes for all of the best from Uncle Chris, To Gilbert on his 21st birthday’

Yvonne Gregory is best-known as a British society photographer. She married fellow-photographer Bertram Park in 1916, and together they set up business, with the financial backing of the Egytologist Lord Carnarvon. Marcus Adams trained with them, and he, Gregory and Park established themselves as the ‘Three Photographers’, basing their collective studio at 43 Dover Street in Mayfair. The National Gallery holds photographic portraits of Yvonne Gregory and her daughter, June, by Marcus Adams. (1) £70-100

365* Thuillier (Rosalind, 1939-2015). Garden Flowers, 2005, watercolour and pastel on paper, initialled lower rightm 56 x 75cm (22 x 29.5ins) mount aperture, framed and glazed, together with another similar watercolour and pastel, “Lillies”, also framed and glazed

Minnie Walters Anson was a painter of miniatures, portraits and flowers. She studied at Lambeth School of Art and won seven medals for flower painting. She exhibted widely, including at the Royal Academy and the Royal Society of Miniature Painters. She married Christopher Adams, and Gilbert Adams was their nephew, the son of Christopher’s brother, Marcus Adams. £200-300 (2)

(2)

£100-150

366* Thuillier (Rosalind, 1939-2015). Study after Henry Moore, charcoal on paper, initialled lower left, 30 x 38cm (12 x 15ins), mounted, together with twelve similar charcoal studies (13)

£100-150

Lot 367

Lot 364 98


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367* Thuillier (Rosalind, 1939-2015). Manhatten Skyline, pastel on board, initialled lower right, 35 x 27cm (13.75 x 10.5ins) mount aperture, mounted, together with eight similar pastels, one or two large format, all mounted

369* Thuillier (Rosalind, 1939-2015). Yellow Floers [Rudbeckia], watercolour on hand-made paper, initialled in pencil lower right, artist’s label to verso, sheet size 39 x 29cm (15.5 x 11.5ins), framed and glazed, together with ten similar watercolours, all framed

Subjects include patterns, still lifes, skylines and semi-abstracted townscapes. £100-150 (9)

(10)

370* Thuillier (Rosalind, 1939-2015). The Lake, Warnford, watercolour on paper, initialled in pencil lower right, artist’s label and Reading Guild of Artists’ exhibition label to verso, 27 x 37cm (10.5 x 14.5ins) mount aperture, framed and glazed, together with eight similar watercolours, mostly of landscapes, all framed

368* Thuillier (Rosalind, 1939-2015). Flower Head, watercolour on arches paper, initialled in pencil to lower right, artist’s label to verso, sheet size 29 x 38cm (11 x 15ins), framed and glazed, together with eight similar watercolours, all framed and glazed (9)

£150-200

(9)

£150-200

£150-200

371* Thuillier (Rosalind, 1939-2015). Jug Mix, pastel on board, initialled lower right, 36.5 x 53cm (14.5 x 21ins), framed and glazed, together with two similar pastels, all framed (3)

Lot 369

99

£150-200


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372* Thuillier (Rosalind, 1939-2015). Imaginary Landscape, pastel on paper, initialled lower right, 57 x 81cm (22.5 x 32ins), mounted, together with fourteen similar pastels of landscapes, all large format, all mounted (15)

£300-500

374* Thuillier (Rosalind, 1939-2015). A collection of eleven large format black and white landscapes, eleven charcoal sketches on various papers, mostly depicting landscapes, townscapes and others (11)

£200-300

375* Adams (Marcus & Gilbert). An archive of material from the studio of Marcus and Gilbert Adams and Rosalind Thuillier, including two scrap albums relating to the Adams family history with letters and other ephemera, printed mounts, sketchbooks and photographs of works and children’s art (4 cartons)

373* Thuillier (Rosalind, 1939-2015). Sainte Croix, pastel on paper, initialled lower right, 28 x 23cm (11 x 9ins), mounted, together with fourteen similar pastels, mostly of landscapes, all mounted (15)

£200-300

376* Adams (Gilbert and Marcus). A collection of oils on board, mostly landscapes, oil on board, some slightly worn to edges, some partly resolved, various sizes

£200-300

(40)

377 No lot

100

£100-150


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MODERN PAINTINGS, DRAWINGS & WATERCOLOURS

378* Banner (Delmar Harmood, 1896-1983). The Solitary, The Wanderer, and The Poet, 1944, oil on canvas, signed and dated lower right, 915 x 1140 mm (36 x 45 ins), gilt frame Provenance: Private collection, UK. By descent from the original owner. Delmar Harmood Banner was born in Germany, but studied at Cheltenham, Oxford and the Regent Street Polytechnic School of Art between 1919 and 1927. He lived at Little Langdale, Ambleside in the Lake District, and was married to the sculptor Josephina de Vasconcellos where they became close friends of Beatrix Potter. The present work, a variation on a painting by the artist, which was on view at the Old Dungeon Ghyll Hotel in the Langdale Valley, was commissioned by the present owner’s father directly from the artist, for which he paid 150 guineas. Based on Wordsworth’s poem The Excursion, the scene depicts Blea Tarn and the Langdale Pikes and includes a portrait of the poet sitting on the rock to the right. Four handwritten letters and a handwritten postcard from the artist to the original owner are included with this lot, dated September 10th 1943 to April 28 1944. £700-1000 (1)

101


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Lot 379

Lot 380

379* Bensusan-Butt (John, 1911-1997). An Eastanglian Sunset, 1965, oil on board, signed and dated lower right, artist’s label to verso, 22 x 45cm (8.5 x 17.75ins), framed Exhibited, Minories Art Gallery, Colchester. John was son of Dr Ruth Bensusan-Butt, the earliest female doctor in Colchester who owned and lived at the Minories and the newphew by marriage of Lucien Pissarro, the son of the French Impressionist Camille Pissarro. (1) £150-200

380* Bilbo (Jack, 1907-1967). Fruit de Passion, 1950, watercolour on paper, signed with initials top left, 25 x 18cm (9.8 x 7.1ins) mount aperture, framed and glazed, inscribed by the artist to verso with name, title and date Paris 1950, and additionally inscribed ‘To Celia in memory of Sanary and in admiration, Jack Bilbo, 1952’ (1)

£150-200

382* Boreel (Wendela, 1895-1985). Paris Street Scene, oil on panel, 33 x 24cm (13 x 9.5ins), framed (1)

381* Bonada (Cinzia, 20th century). Richmond Bridge, oil on board, signed lower left, inscribed to verso, Barnes Gallery label to verso, 20 x 25cm (8 x 10ins), framed (1)

£150-200

102

£300-500


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Lot 383 383* Bosschart (Johfra, 1919-1998). Past, Present, Future, 1970, oil on canvas, interior scene with a bearded man wearing a ragged toga, and cradling a wizened personification of his infancy, which dangles a figurine formed of tree roots, with the same figure life-size in the open doorway, with the moon beyond, and an overturned chalice on a table, signed and dated in red upper left, 50 x 60cm (19.75 x 23.5ins), framed Franciscus Johannes Gijsbertus van den Berg was a Dutch artist who settled in France in 1962 with his wife Ellen. He signed his works ‘Johfra’, sometimes adding his mother’s maiden name, ‘Bosschart’ to his paintings as well (as is the case in the four works offered here). The founder of the now defunct ‘Meta-Realist’ group, he described his own works as “Surrealism based on studies of psychology, religion, the Bible, astrology, antiquity, magic, witchcraft, mythology and occultism.” £300-500 (1)

384* Bosschart (Johfra, 1919-1998). The Green Man, 1968, oil on wood panel, showing a visionary visage with vegetative matter incorporating several male faces and an eye, with a range of pyramids in the distance, signed and dated lower left, 29 x 26cm (11.25 x 10.25ins), framed (1)

£200-300

Lot 384 103


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386* Bosschart (Johfra, 1919-1998). Animal Magnetism, oil on board, showing the head and shoulders of a young girl with short curly auburn hair, larger-than-life feline eyes, and leopard fur shoulders, against a fantastical landscape of lakes and rock formations, signed lower right, 26 x 22cm (10.25 x 8.5ins), framed

385* Bosschart (Johfra, 1919-1998). Allegory of Human Life, 1969, oil on board, showing a small child with index finger to mouth sitting cross-legged in a bubble, in a landscape with vegetative and intestinal matter, and a large skull in the background, signed and dated lower right, several small surface marks, 26.5 x 22cm (10.5 x 8.5ins), framed (1)

(1)

£200-300

£200-300

387*AR Cliffe (Henry, 1919-1983). Untitled (Reclining Nude), 1958, black ink and grey watercolour wash on Hayle Mill handmade paper, signed and dated lower left, sheet size 400 x 582mm (15.75 x 23ins) Henry Cliffe, painter, print maker and teacher, was born in Scarborough, Yorkshire. During the Second World War he met the artist William Scott, and in 1946 studied painting and lithography at the Bath Academy of Art, Corsham, where he later taught, and was in charge of the lithography studio from 1950 to his retirement in 1981. He was one of five artists shown in the British Pavilion at the 1960 Venice Biennale. He held his first solo exhibition at the Redfern Gallery in 1956, and an exhibition of his prints was held at the St. George’s Gallery in 1959. £200-300 (1)

Lot 387

104


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390* Continental School. Chickens feeding, 20th century, oil on canvas, laid onto board, indistinctly signed ‘E. Esposito’ to lower left, 38 x 47.5cm (15 x 18.5ins) (1)

£100-150

388* Connard (Philip, 1875-1958). Study for Jane, Eveyln, James and Helen, 1913, oil on canvas, laid down on card, signed with initials lower right, 200 x 135mm (8 x 5.3ins), framed A preparatory oil study for the right-hand figure in Connard’s oil painting of the same title, now in the Tate Gallery, London. £150-200 (1)

391* Cotton (Alan, 1936-). The Northern Wey - Lake at Waverley Abbey near Farnham, oil on canvas, signed lower left, additionally titled and with artist’s address to stretcher verso, 405 x 510mm (16 x 20ins), framed (1)

389 Connard (Philip, R.W.S., 1875-1958). Album of sketches of animals, birds, figures and landscapes, approximately 70 leaves, mostly in pencil, but including a few with ink or monochrome wash, some with annotations, signed and inscribed in blue ink to endpaper Philip Connard Sketch Book, original cloth, rubbed and some soiling, upper cover with sketch of a cow in pencil, 4to (280 x 215mm, 11 x 8.5ins) (1)

£150-200

105

£200-400


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Lot 394 393* Dinsdale (John Bentham, 1927-2008). A square-rigged clipper, oil on plywood, showing a square-rigged clipper, with another ship on the horizon, signed lower left, 20 x 26cm (8 x 10.25ins), framed, inscribed on backboard ‘For Sally Hankey 28.VII.95 from John’ (1)

£200-300

394* Dorrell (Simon James, 20th-c.). ‘On the terraces, Powis Castle’, 1989, finely executed original pen and ink drawing, signed, titled and dated on the mount, 1989, image 10 x 10cm, together with another small pen and ink drawing by the same artist ‘The pool at Coton’, signed and dated 2001, approx. 7 x 9cm, both framed and glazed (2)

£150-200

392* Manner of Edgar Degas (1834-1917). At the Ballet, black charcoal on paper, bears signature Degas upper right, 22 x 13.3cm (8.7 x 5.25ins), mounted

395* Dutch school. Study of a young woman in rustic garb and cloth headdress, circa 1890-1910, pen and brown ink on paper, unsigned, 22.7 x 17.5cm (8.9 x 6.9ins) mount aperture, framed and glazed

(1)

(1)

£200-300

106

£70-100


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396*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. £700-1000 (1)

107


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397* East (Alfred, 1849-1913). Sketch book of views in Sicily, February 1906, large folio sketchbook of 28 leaves, containing numerous quickly sketched views, buildings, landscapes, and other motifs in Sicily, many signed, and dated, and including Taormina, Syracuse, Agrigenti, some signed with initials, original linen over boards, rubbed and soiled, with artist’s monogram to upper cover and titled by hand ‘Sicily’, 380 x 305mm (15 x 12ins) The sketchbook contains at least one design of figures outside a church which was later transferred by the artist to an etching entitled ‘The Old Church, Taormina, Sicily’ (sold in these rooms in July 2012). (1) £200-400

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

399* Ferguson (John Kenneth, 1885-1967). “Xosa Girl” from Mazeppa Bay, Transki, South Africa, 1950; “Inyanga” Native Doctor “Zulu”, Natal, South Africa, together a pair of portraits, oil on canvas, one a head and shoulders portrait of a young woman wearing a yellow wrap dress, green cloth turban, beaded collar necklace, and arm bangles, and carrying an earthenware pot, signed lower right, verso with signature, title, and date in the artist’s hand, the other a head and shoulders portrait of a man wearing a necklace of teeth, with small area of surface loss, signed lower right, verso with signature and title in the artist’s hand, each 56 x 46cm (22 x 18ins), matching gilt moulded frames

(1)

(2)

£300-500

108

£200-300


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400* Manner of Jean-Louis Forain (1852-1931). Elegante, black and white chalk on laid paper, bears signature Forain lower right, sheet size 286 x 190mm (11.25 x 7.5ins), mounted, together with four other similar chalk drawings, two signed, each mounted (one laid-down), similar sizes (5)

401* Fraser (John, 1858-1927). Market Boat - Penang, 1911, watercolour on thick paper, mounted on board, showing a sailing boat with figures on the open sea, a few superficial scratches, signed and dated lower left, titled in manuscript on reverse, 34 x 53cm (13.25 x 20.75ins), framed and glazed (1)

£200-300

£300-500

402* Attributed to Emile Othon Friesz (1879-1949). Still life of tulips and gloves, 1937, oil on card, showing a posy of pink tulips wrapped in white tissue paper on a ledge, with a pair of cream leather gloves beside, signed and dated lower right, a few superficial scratches, 23.5 x 29cm (9.25 x 11.5ins), mounted on a thick board painted cream, paper label on reverse inscribed in pencil ‘No 583 “Still Life Study” Tulips, Gloves, Etc. Oil Painting on panel, 8 Gns, J.C. Hutchinson, 79 Hollow Road, Anstey’, overall size 30.5 x 38cm (12 x 15ins) (1)

Lot 402

109

£700-1000


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403*AR Frost (Terry, 1915-2003). Composition (Red Circle and Black), 1988, etching and collage on handmade paper, signed and dated ‘84, and redated ‘88 in pencil, some mount discolouration to sheet edges, sheet size 380 x 290mm (15 x 11.5ins), framed and glazed An original collage by the artist, being a reworking of a monochrome etching of 1984, originally issued in an edition of 20, with blindstamp YPDL to lower left corner of the sheet, with two red and one black circles and one circular black surround and three curved lines in card. £1200-1800 (1)

110


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404* Gibb (Robert, 1845-1932). Cyrano de Bergerac, black chalk and coloured crayon on brown paper, signed (lightly) lower right, 420 x 270mm (16.5 x 10.5ins) mount aperture, framed and glazed The Scottish artist and illustrator Robert Gibb specialised in historical and military subjects, and is best known for his painting The Thin Red Line, the success of which earned him membership of the Royal Scottish Academy. ÂŁ150-200 (1)

405* Gibbs (Patrick, 20th century). Brancaster Staithe, 2009, oil on board, showing an estuary landscape, with cottages and boat, and the sun setting on the water, signed and dated lower right, 36 x 66cm (14 x 26ins), framed London-based artist Patrick Gibbs paints mostly in oils, taking his inspiration from his extensive travels, and particularly scenes of everyday life. He also painted a smaller version of this scene. ÂŁ300-500 (1)

Lot 404

Lot 405

111


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Lot 406

Lot 408

406*AR Hilton (Roger, 1911-1975). Dancing Man Playing Flute, pen and black ink on ‘The Corner House, Northwood’ headed paper, light scattered spotting, upper left-hand corner torn, Dan Klein exhibition label to verso, 22.5 x 18cm (9 x 7ins), framed and glazed (1)

£150-200

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

£150-200

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

Lot 407

112

£200-300


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409* Hobbs (Anne Giles, 20th/21st century). Minstrel, collage and mixed media on paper, signed, 605 x 370mm (23.75 x 14.5ins) mount aperture, framed and glazed, together with Maddon (Rosemary, 20th/21st century), Elgin Warrior Small V, 2004, charcoal on paper, signed and dated lower right, 40.5 x 29cm (16 x 11.5ins) mount aperture, framed and glazed Cardiff-based artist and printmaker Annie Giles Hobbs has exhibited widely, including more recently at Tenby Museum and Wet Paint Gallery, Cirencester in 2013. £100-150 (2)

Lot 410

410* Italian School. St Mark’s Square, Venice, 20th century, oil on canvas, indistinctly signed lower right, 71 x 50cm (28 x 20ins), framed (1)

£200-300

411* Jennings (Anne, 20th century). Dublin Bay, watercolour on paper, signed lower left, 16 x 27cm (6.25 x 10.5ins), framed and glazed (1)

£100-150

Lot 411

113


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Lot 412

Lot 413

412*AR John (Augustus, 1878-1961). Gypsy Family, pen and brown ink on paper, depicting a family group, 20 x 12cm (8 x 4.75ins), framed and glazed

414*AR John (Augustus Edwin, 1878-1961). Studies of a Child, pencil on two sheets of paper, each sheet 20 x 12cm (8 x 4.75ins), framed together and glazed

Provenance: Edgar Albert Slade collection. (1)

Provenance: Edgar Albert Slade collection. (1)

£200-300

£200-300

415* Kerr (Anthony, 1924-). Weymouth Bay, 1966, pen & brown ink, watercolour and gouache on paper, signed lower left, 14.5 x 47.5cm (5.75 x 18.75ins), framed and glazed Born in Gloucester, Anthony Kerr studied at the Slade School of Fine Art under Randolph Schwabe, and later taught alongside Kyffin Williams at Highgate School and at St. George’s College, Weybridge. £80-120 (1)

413*AR John (Augustus, 1878-1961). Study of Dorelia, pencil on paper, 8.5 x 11cm (3.25 x 4.5ins) mount aperture, framed and glazed Provenance: Edgar Albert Slade collection. (1)

£200-300

114


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418* Lord (Elyse Ashe, 1900-1971). Bindon Abbey, entrance to monk’s parlour and stairway to dormitory - from Cloister South, pen, brown ink and watercolour, signed lower right, additionally inscribed with title to lower margin, some marginal marks, sheet size 33.4 x 23.8cm (13.2 x 9.4ins) (1)

£150-200

416* Manner of Matthew Lanyon (1951-). St Ives Abstract, colour screenprint, 38 x 88cm (15 x 34.5ins), framed and glazed (1)

£100-150

417* Leake (Stafford, 1881-). Parc Monceau, Paris, watercolour with black ink on paper, signed lower right, 275 x 284 mm (10.8 x 11.2 ins), laid down on card (1)

419* Lord (Elyse Ashe, 1900-1971). Oriental figure group, gouache and pencil on pale brown paper, unsigned, 34 x 32cm (13.25 x 12.5ins) mount aperture, framed and glazed

£100-150

(1)

115

£200-300


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424* 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 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. £150-200 (1)

420* Marino (Beppo, 20th century). Venice Canal Scene, oil on canvas, signed B. Marino lower right, inscribed to verso, 49 x 70cm (19.25 x 27.5ins), framed (1)

£200-300

425* Nuttall (Peter, 1943-). Jester, 1991, mixed media on paper, signed and dated lower right, 39 x 44cm (15.5 x 17.25ins), framed and glazed (1)

421* Meo (Gaetano, 1850-1925). Original design for a frieze decoration, circa 1880-1890, black and white chalk on paper laid down on canvas, some marks and soiling to edges, with artist’s name inscribed (in a later hand) to verso, 400 x 900 mm (15.75 x 35.5 ins), together with another circular cartoon design for an angel musician, possibly by Gaetano Meo, black chalk with black and brown crayon on paper, diameter 365 mm (14.25 ins), laid down on card, plus a group of 13 watercolour, pencil and pen & ink sketches and studies believed to be by Innes Meo, mostly Italian landscapes and scenes, various sizes (15)

£70-100

£150-200

422* Morgan (Baxter, active 1905-1932). Early morning landscape with sheep, pastel on board, showing a sunlit landscape with trees and a stream, and a flock of sheep with a traveller seated nearby, signed lower left, 32 x 41.5cm (12.75 x 16.25ins), gilt mount and frame, glazed (1)

£100-150

423*AR Nazarenko (Tatyana, 1944-). Vremya (Time), 1992, oil on canvas, initialled lower right, signed, titled and additionally inscribed to verso,120 x 100cm (47 x 39.5ins), framed Tatyana Grigorievna Nazarenko was born in Moscow in 1944 and studied at the Surikov State Institute of Fine Arts. She has exhibited widely in Russia and throughout Europe and has been honoured with multiple awards from the Russian government. Her more recent work has explored new mediums and installation art to express the changing world. See Olga Thomson, Tatyana Nazarenko, St. Petersburg (2004). (1) £3000-5000

426* O’Casey (Breon, 1928-2011). ‘Waterfall’ III (after Hokusai), 1992, mixed media on board, 32 x 25cm (12.75 x 9.75ins), framed and glazed, signed, titled, and dated on backboard (1)

116

£300-500


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Lot 423

117


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427* Orpen (Sir William, 1878-1931). Le Jour de le Née de William, 27 Novembre 1970, pencil sketch on card, self-portrait of the artist and a lady seated at a table for dinner drinking wine, William Orpen saying ‘Rhum cinq francs Benedictine tres pars Auguste Paris tres cher! - thank you’, browned, sheet size 24 x 31.5cm (9.5 x 12.5ins) (1)

£200-300

429* After Liubov Sergeevna Popova (1889-1924). The Violin, 1914, later 20th century gouache on paper copy after the Russian Cubist original painting by Popova, image size 305 x 235 mm (12 x 9.25 ins), sheet size 420 x 298 mm (16.5 x 11.7 ins), together with 5 other similar 20th century copies after Russian avant-garde artworks, in coloured crayons or gouache, each signed with initials lower right, similar size (6)

428* Poole (Vera Ellen, 1890-1965). A Portfolio of original sketches and prints, circa 1910, comprising 2 watercolour studies and 7 drawings in pencil, mostly of figures, animals, landscapes, etc., including studies from the model, plus 7 colour lithographs or woodcuts (one view of the Thames, and another study of a nude model on a bed), all unsigned, one with handwritten label attached to verso ‘Art School Drawings under Sickert’, various sizes (largest sheet size 560 x 385mm (22 x 15ins), one or two folded), loosely contained in original cloth portfolio with embroidered design to upper cover including the artist’s maiden name Vera Dendy, rubbed and some soiling, folio (1)

£100-200

430* Ratcliffe (William Whitehead, 1870-1955). Cottage in the snow, gouache on paper, showing a cottage in a wintery landscape, possibly Swedish, signed lower right, slightly worn to edges and small hole with slight loss, 23 x 32cm (9 x 12.5ins) mount aperture, framed and glazed

£100-200

(1)

118

£200-300


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433* 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

431* Richmond (Leonard, 1889-1965). Winsford, Exmoor, a pair of pastels on paper, each signed lower left, both pasted onto contemporary board, captioned in pencil to mounts, 37 x 41cm (14.5 x 16ins) and similar

(1)

£200-300

Provenance: From the collection of the artist Gilbert Adams (1906-1996). £200-300 (2)

432 Richmond (Leonard, 1889-1965). Willows of Southall, Middlesex, colour pastel on brown paper, signed in ink lower left, sheet size 37 x 46cm (14.5 x 18ins), pasted onto contemporary card mount, together with five similar, some signed Provenance: From the collection of the artist Gilbert Adams (1906-1996). £200-300 (6)

434 Rothenstein (William, 1872-1945). Street scene, oil on artist’s board, 56 x 38cm (22 x 15ins) Provenance: Purchased by the current vendor from the Frank Constantine collection. (1) £200-400

119


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435* Rushbury (Henry George, 1889-1968). Stirling Castle, 1946, watercolour with pen and brown ink, laid down on card, signed, titled and dated, 310 x 490 mm (12.2 x 19.25 ins) (1)

£200-300

437* French School. View of a rocky coastline in summer, France, 1906, oil on canvas, inscribed lower left Auberge de Cassias (indistinct) and dated, with small faded hand-written label to stretcher verso Le Cap Bearn, 55 x 60cm (21.5 x 24ins), framed (1)

£300-500

436* Attributed to Ethel Sands (1873-1962). The Entrance to Newington House, Oxfordshire, circa 1900-1910, coloured pastel, heightened with pencil, on pale buff paper, unsigned, 39 x 39cm (15.5 x 15.5ins) mount aperture, framed and glazed, with old framer’s label of J. Murcott, Longacre, London to verso Provenance: From the collection of Lady Ottoline Morrell. American by birth, Ethel Sands began painting on the advice of John Singer Sargent, and studied under Eugene Carriere in Paris from 1894. She took up residence at Newington House between 1898 and 1920, where she became one of the most important society hostesses for artists, writers and other cultural dealers of the day. Philip and Ottoline Morrell lived at nearby Garsington Manor. £300-500 (1)

438* Scudder (Janet, 1896-1940). Still life of anemones, daffodils and cornflowers in a jug, oil on canvas, signed lower right, 46 x 39cm (18 x 15.5ins), framed (1)

120

£200-300


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439* Seaby (Allen William, 1867-1953). Manx sheerwaters, oil on canvas, signed, lower right, 41 x 67cm (16 x 26.5ins), framed and glazed (1)

£400-600

Lot 441

440* Short (Ian James Bruce, 1928-1998). Harbour, oil on board, signed and titled to Edinburgh College of Art Label to verso, IBM estate label to verso, 73 x 94cm (29 x 37ins), framed (1)

£150-200

441* Silas (Ellis, 1885-1972). A pair of Venice canal scenes, 1930, colour pastel on paper, both signed, captioned and dated to lower edge, 50 x 33cm (19.5 x 13ins) and similar, both framed and glazed (2)

£300-500

442* Singh (Sushila, 1909-1994). Illuminations, San Giorgio, oil on canvas, signed lower edge, gallery label to verso, 56 x 76cm (22 x 30ins), framed Provenance: Exhibited John Wibley Gallery, London, June 1962, see label to verso. Sushila Singh was married to the artist Arthur Henry Andrews (19061966), having been fellow students at Hornsey School of Art and the Royal College of Art under William Rothenstein, graduating in 1929. £200-300 (1)

Lot 442

121


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443* Sorrell (Alan, 1904-1974). The Lost Centuries - Barbarians Enter Rome, pen, ink, & watercolour, showing warriors on foot and horseback sacking the city, with buildings on fire, pencil inscription lower right ‘Barbarians enter Rome Prog 1 or 2’, 37 x 51cm (14.5 x 20ins), mounted, framed and glazed Painted for use in an eight-part television series made in 1968 by Anglia Television. It focused on British history between the departure of the Romans and the arrival of the Renaissance and was broadcast in 1971. Alan Sorrell, a Royal College of Art student who made a name for himself as a reconstruction artist and painter of imaginative narratives, was the contemporary of Edward Bawden, John Piper and Eric Ravilious. He married the artist Elizabeth Tanner, and their children, Richard and Julia, both became artists. Examples of his work are held at the Imperial War Museum, Tate Gallery, Ashmolean Museum in Oxford, London Museum and National Museum of Wales in Cardiff. £150-200 (1)

444 No lot

Lot 445

445* Ubud School. Balinese village scenes, 20th century, together three gouaches on bark-paper, inscribed lower left, 63 x 46cm (24.75 x 18ins) and similar, framed (3)

£300-500

446* Wainwright (Alfred, 1907-1991). The Coniston Fells, from Gummershow, pen and ink, landscape with mountains and a large cairn, lightly toned, mounted, framed and glazed, signed and titled in green ink to mount (1)

£200-300

Lot 446

122


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448* Woodlock (David, 1842-1929). “The Colleoni Monument”, Venice, oil on board, showing an equestrian monument and part of the Ospedale Santi Giovanni e Paolo, with a young woman in the foreground, faintly signed in red lower right, 24 x 16.5cm (9.5 x 6.5ins), titled gilt mount, framed and glazed, with artist’s printed label on backboard titled in manuscript David Woodlock was born in Ireland, but is better known as a Liverpool artist. He studied at the Liverpool School of Art and exhibited many works at the Walker Gallery. He was a member of the Liverpool Academy of Arts and a founder member of the Liverpool Sketching Club. £200-300 (1)

447* Mexican Amate School. Birds in branches, 20th century, gouache on fig tree bark, 600 x 390 mm (23.6 x 15.3ins) (1)

£100-150

449* Manner of Anders Zorn (1860-1920). Portrait of a young woman in traditional costume, early 20th century oil on canvas, unsigned, some flaking and paint loss, old handwritten label to verso inscribed ‘Property of C.A. Wright’, 595 x 440 mm (23.5 x 17.25 ins) (1)

450 No lot

Lot 448

123

£300-500


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JEWISH & ÉMIGRÉ ART

Lot 451

124


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451* Madrassi (Ludovic Lucien, 1881-1956). A collection of sixteen original studies in the Pale of Settlement, circa 1924, sixteen pencil sketches on various papers, some with coloured pencil, each signed, most tipped into contemporary card mount, sheet size 21 x 16cm (8.25 x 6.25ins) and similar Lucien Madrassi was born in Paris and became a member of the Salon des Artistes Français in 1906. A skilled draughtsman and printmaker, he went to Krakow to begin work on a suite of etchings depicting the lives of Polish, Ukrainian and Russian Jews in the Pale of Settlement in 1924. The etchings Madrassi made from these studies were made into a small edition of 435, illustrating “Un Royaume de Dieu”. They illustrate of the lives of the Jews of Eastern Europe prior to their impending persecution and oppression. In 1928 Madrassi was awarded the Prix Puvis de Chavannes. (16) £500-800

453*AR Winsten (Clare, 1894-1989). Self-portrait after Rosenberg, oil on canvas, inscribed ‘Mrs Winsten’ to verso, 61 x 56cm (24 x 22ins) Isaac Rosenberg (1890-1918), most famous for his First World War poetry, studied at the Slade and managed to exhibit at the Whitechapel gallery before the war broke out. During September 1916 he spent ten days leave in London, it is presumably at this time he painted his portrait of Clare Winsten now held by Universty College London Art Museum. Rosenberg returned to the front and was killed in action on the night of April 1 1918. £500-800 (1)

452* Segal (Arthur, 1875-1944). The Finding of Moses, 1914, pen and ink over pencil on paper, signed and dated in pencil to lower right, 50 x 40cm (19.75 x 15.75ins), framed and glazed Born in Romania to Jewish parents, Arthur Segal moved to Germany, studying in Berlin and Munich. At the outbreak of the First World War he fled to Switzerland. The expressionism which had dominated his work in Germany is replaced at this time with more moral, religious and anti-war sentiments, evident in the present work. His Jewish background prevented him from exhibiting in Germany so he moved to London and established a school of painting. £300-500 (1)

454*AR Winsten (Clare, 1894-1989). A collection of six original studies of figures, six charcoal or pencil sketches on various papers, most initialled or signed to lower edge, all but one tipped into later card mounts, sheet size 20 x 16cm (8 x 6.25ins) and similar (6)

125

£200-300


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Lot 455

Lot 457

455*AR Winsten (Clare, 1894-1989). Family Group, 1970, oil on canvas, signed and dated upper right, 112 x 87cm (44 x 34ins) (1)

£300-500

456*AR Winsten (Clare, 1894-1989). Self Portrait, charcoal on paper, initialled and captioned lower left, 28 x 20cm (11 x 8ins), mounted Born Clara Birnberg, Winsten studied at the Slade alongside Isaac Rosenberg and David Bomberg and eventually became the only female member of the Whitechapel Boys. (1) £150-200

457*AR Winsten (Clare, 1894-1989). Abstract, oil on canvas, signed to verso and inscribed ‘5’, 92 x 61cm (36 x 24ins) (1)

Lot 456

126

£200-300


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Lot 458

458*AR Winsten (Clare, 1894-1989). Portrait of a man, oil on canvas, head and shoulders portrait of a young man with a book and a side lamp, inscribed to verso ‘Lawton’, small hole to lower left corner, 51 x 36cm (20 x 14ins), together with another portrait of the same sitter in profile, possibly slightly later, inscribed “C.B. Winsten to verso”,framed (2)

£300-400

459*AR Winsten (Clare, 1894-1989). Still life, oil on canvas, 61 x 51cm (24 x 20ins), together with two other oils on canvas by Winsten, including a portrait of a young boy (3)

£200-300

Lot 459 127


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460*AR Winsten (Clare, 1894-1989). John Masefield at Buscot, pencil on paper, artist’s monogram and captioned to lower edge, 33 x 23cm (13 x 9ins) mount aperture, framed, together with a small study of George Bernard Shaw, framed and glazed (2)

£300-500

461*AR Winsten (Clare, 1894-1989). A collection of forty original drawings, mostly portraits, forty sketches, mostly pencil, few in charcoal or ink, on various papers, some with artist’s monogram, some captioned, sheet size 25 x 20cm (10 x 8ins) and similar, together with four etchings by Winsten Subjects include David Bomberg?, Gregory Peck as Atticus Finch, William Empson, Stephen Harris, and others. £300-500 (approx. 40)

Lot 460

462*AR Winsten (Clare, 1894-1989). John Cowper Powys, charcoal on paper, artist’s monogram lower right, captioned lower left, sheet size 38 x 28cm (15 x 11ins) (1)

Lot 461

128

£300-500


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Lot 463

Lot 464

463*AR Winsten (Clare, 1894-1989). The Ballard of Reading Gaol, sixteen pencil sketches illustrating Oscar Wilde’s Ballard of Reading Gaol, most with artist’s monogram to lower corner, sheet size 35.5 x 28cm (14 x 11ins) and similar The Ballard of Reading Gaol must have had a painful resonance for the Winsten family. Clare’s husband Stephen Winsten (born Samuel Weinstein, 1893-1991) was a conscientious objector in the First World War and was imprisoned in Reading Gaol. £150-200 (16)

464*AR Wolmark (Alfred Aaron, 1877-1961). Still life with apples and pears, oil on canvas, 51 x 42cm (20 x 16.5ins), framed Provenance: Purchased from the sale of the artist’s studio, 1983. £200-300 (1)

465*AR Wolmark (Alfred Aaron, 1877-1961). Gustav Holst, 1928, pen and ink on paper, signed and dated lower right, captioned upper left, paper creased and slightly frayed to extremities (not affecting image), sheet size 38 x 25cm (15 x 10ins) Provenance: From the collection of the artist Clare Winsten. (1)

£150-200

Lot 465

129


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MODERN PRINTS & ARTIST’S BOOKS

468* Cragg (Tony, born 1949). Five Untitled Prints, 1995, fourcolour offset with silkscreen, wove paper, with full margins, each signed and dated in pencil, numbered 5/80, each sheet 66.5 x 87.5cm (5)

£500-800

466* Beaver (Tessa, 1932-). Begonia, colour etching, signed, titled and numbered 67/75 in pencil, plate size 395 x 395mm (15.5 x 15.5ins), sheet size 580 x 570mm (22.75 x 22.5ins), framed and glazed (1)

£70-100

467 Clarke (Graham, 1941-). Balyn & Balan, Ebenezer Press, [1971], sixteen folded sheets, including title, with 23 colour woodcuts and linocuts by Graham Clarke, each signed in pencil with initials, loosely contained in original English yew boards, with leather backstrip lettered in gold, and original purple felt slipcover, large folio (532 x 368mm, 21 x 14.5 ins), limited edition of 100 copies, this copy numbered 78 and signed in full in pencil to title page, together with Annigoni (Pietro, 1910-1988), Europe, The Quest for Unity, compiled by Leith McGrandle with an etching by Pietro Annigoni, Ranelagh Editions, 1975, original etching as frontispiece, signed and numbered 214/475, original quarter brown morocco, with cloth slipcase, folio (465 x 320mm), plus Andrew Vicari, Vie et Oeuvres par Daniel Curzi, 1986, with numerous colour and monochrome illustrations, with an original lithograph by the artist, signed and numbered 87/185, original cloth gilt, with presentation inscription from the artist to Bill Drummond to front blank, dated Monaco 1989, with slipcase, folio (350 x 265mm) (3)

£200-400 130

469* Cragg (Tony, born 1949). Landscape I, 1985, four-colour offset print, wove paper, full margins, titled, signed and dated in pencil to lower margin, numbered 174/250, sheet size 66.5 x 87.5cm (26 x 34.5ins) (1)

£150-200


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470 AR Dali (Salvador, 1904-1989). Biblia sacra vulgatae editionis ... Imaginibus Salvatoris Dalí exornata, 5 volumes, Milan: Rizzoli, 1967, 105 offset colour lithograph plates, after watercolour drawings by Salvador Dali, each with a Japanese paper tissue guard bearing a printed biblical quotation, uncut in publisher’s dark green crushed morocco, top edges gilt, gilt-panelled spines with raised bands enclosing floral designs of inlaid morocco in various colours, gilt inner dentelles, moiré silk endpapers, green morocco and moiré silk slipcases, folio (485 x 358mm) Number 163 of 169 copies of the ‘Magni Luxus’ edition from a total edition of 1, 797 copies. An immaculate set, this set still retains the publisher’s signed vellum limitation leaflet, the stamped and numbered gold cast book centrepiece clasp of the artist’s hand (65 x 46mm) with cloth support and soft leather pouch. Michler and Löpsinger 1600. (5) £8000-12000

131


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471* Dufy (Raoul, 1877-1953). La Moisson, colour lithograph on wove paper, numbered 119 from the edition of 200, some pale toning, sheet size 630 x 520mm (24.75 x 20.5ins), with printed Redfern Gallery label to verso of backing board (1)

£100-150

472* Emin (Tracey, 1963-). BBC Four, Every Body Needs a Place to Think, 2002, white cotton handkerchief screenprinted in blue, 54 x 54cm, minor creasing, contained with original printed BBC Four opening invitation card in plain card book box, 14 x 14cm (1)

£150-200

473* Erni (Hans, 1909-2015). Hans Erni, Berne, Editions Le Moulin, 1971, 4 pages of text and 6 fine photolithographic colour reproductions, loosely contained in original black cloth-backed boards, with design to upper cover by the artist in black white and gold, large folio (755 x 555mm) (1)

£150-200

Lot 471

474* Galerie L’Effort Moderne. Seven private view printed invitation cards, 1918-1921, consisting of colour pochoir invitation cards to the exhibitions of Auguste Herbin, 1-22 March 1918, Gino Severini, 5-31 May 1919 (2 copies), Leopold Survage, 2nd-25th November 1920, Georges Valmier, 3rd-25th January 1921, and Auguste Herbin, 5th-31st March 1921, together with a monochrome printed invitation card for Georges Braque, 5th-31st March 1919, plus 7 other printed private view exhibition invitations, including Boutet de Monvel Colour Etchings, at the Leicester Galleries, 22nd November 1913, Steinlen drawings at the Leicester Galleries, 26 May 1914, Tableaux modernes, Paul Vallotton, Lausanne, Robert Bonfils, Au Nouvel Essor, Paris, 4th-18th December 1925, Vertes, Les Aventures du Roi Pausole de Pierre Louys, Galerie CharlesAuguste Girard, 19-20 December [1930], and two others (15)

Lot 472

132

£100-150


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475* Greenwood (Philip, 1960-). Snownight, 1974, colour etching and aquatint on thick handmade paper, signed, dated, titled and numbered 21/150 in pencil, with label of the Bull’s Eye Gallery, Lichfield, and signed certificate from Christie’s Contemporary Art, plate size 445 x 555mm (17.5 x 21.75ins), sheet size 590 x 685mm (23.25 x 27ins) (1)

477* Hirst (Damien, 1965-). And then there were four, the famous musketeer, 2002, comprising a dart and a real onion (recently supplied) in a cardboard display box signed by the artist to inside of upper lid, a few minor creases and marks, box 26 x 10 x 10cm One of 2000. The work was commissioned by the BBC for the launch of the new channel BBC Four in March 2002. Onion not included. £150-200 (1)

£50-80

476*AR Hayter (Stanley William, 1901-1988). Paysage Anthropophage, 1937, engraving and soft-ground etching on watermarked laid paper, one of 5 artist’s proofs, aside from the published edition of 30, signed, dated, and numbered 5/5 in pencil, some pale scattered spotting, plate size 185 x 355mm (7.25 x 14ins), sheet size 270 x 442mm (10.6 x 17.4ins) (1)

£700-1000

133


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478 AR Hockney (David, 1937-). Peace on Earth, 1986, colour print, as issued in Andy Warhol’s Interview magazine, volume XVI, number 12, December 1986, bound in as a centrespread, the full sheet 410 x 560mm (16.25 x 22ins) (1)

£250-350

479* Jackson (John, 1938-). Fish Wharf Detail /2, 1973, colour linocut, signed, dated and titled in pencil to lower margin, 53.5 x 40.5cm (21 x 16ins), framed and glazed Numbered 10 from an edition of 75. (1)

£80-120

Lot 478

480* Kandinsky (Wassily, 1866-1944). Periode Parisienne, 19341944, Galerie Maeght, [1969], colour lithograph poster, excellent condition, sheet size 720 x 455mm (28.3 x 17.9ins) (1)

Lot 479

134

£70-100


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481* Lichtenstein (Roy, 1923-1997). As I Opened Fire, 1964 [but later], triptych colour reproduction print on three sheets, with printed captions to lower edge verso, each sheet 637 x 522 mm (25.1 x 20.5 ins), published by the Stedelijk Museum, Amsterdam, circa 1990s (3)

£1500-2000

483* Lowry (Laurence Stephen, 1887-1976). Punch and Judy, [1947], offset colour lithograph on wove paper, from the edition of 6000 printed by the Baynard Press for School Prints Ltd., number 21 from the second series, sheet size 490 x 760mm (19.25 x 29.9ins)

482* Livingstone (Patrick, 1956-). Still life of roses and lilies in a glass vase, colour screen print, signed, titled and marked A/P in pencil, 540 x 745mm (21.25 x 29.3ins) mount aperture, framed and glazed, with printed labels to verso (1)

(1)

£70-100

135

£500-700


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484*AR Lowry (Laurence Stephen, 1887-1976). Street Scene Near a Factory, offset lithograph in colours on wove paper, blindstamp of Fine Art Trade Guild to lower margin, additionally signed in pencil to lower margin, 253 x 202mm (10 x 8ins), framed and glazed (1)

ÂŁ1000-1500

136


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Lot 485 485*AR Lowry (Laurence Stephen, 1887-1976). Market Scene in a Northern Town, offset lithograph in colours, additionally signed in pencil to lower margin, 458 x 606mm (18 x 24ins), framed and glazed Numbered 469 from an edition of 750.. (1)

ÂŁ1000-1500

486* Lowry (Laurence Stephen, 1887-1976). A Village Square, photolithograph in colour, 446 x 601mm (17.5 x 23.5ins), framed and glazed (1)

ÂŁ150-200

Lot 486

137


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487*AR Lowry (Laurence Stephen, 1887-1976). The Notice Board, photolithograph in colour, blindstamp to lower margin, signed in pencil to lower margin, 400 x 500mm (15.75 x 19.75ins), framed and glazed (1)

ÂŁ700-1000

138


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488*AR Lowry (Laurence Stephen, 1887-1976). The Level Crossing, offset lithograph in colour, signed in pencil to lower margin, 435 x 552mm (17 x 21.75ins), framed and glazed (1)

ÂŁ700-1000

139


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489*AR Lowry (Laurence Stephen, 1887-1976). Our Town, offset lithograph in colour, additionally signed in pencil to lower margin, 432 x 613mm (17 x 24ins), framed and glazed Numbered 180 from an edition of 850. (1)

ÂŁ2000-3000

140


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490*AR Lowry (Laurence Stephen, 1887-1976). The Fever Van, offset lithograph in colour, Fine Art Trade Guild blindstamp to lower margin, signed in blue pen to lower right, 416 x 515mm (16.5 x 20.25ins), framed and glazed (1)

ÂŁ2000-3000

141


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491*AR Matisse (Henri, 1869-1954). Scene d’interieur, 1933, monochrome collotype on handmade wove paper watermarked JB, after the original charcoal drawing by Matisse, published by Edition de la Galerie Jeanne Bucher as part of the portfolio Dix Reproductions, 1933, in a limited edition of 1000 copies, publisher’s printed label to lower right corner verso, sheet size 400 x 520mm (15.75 x 20.5ins) (1)

£200-300

492 Minotaure. Revue Artistique et Litteraire, issues 1-13 bound in 11, a complete set, Albert Skira, Paris, 1933-39, numerous colour and black and white illustrations, number 3-4 front two leaves detached, number 7 front leaf detached with abrasions and loss at lower corner, a few issues with front wrappers detached from text blocks, original pictorial wrappers, a few spines with small chips and splits, some minor soiling, 4to Important Surrealist publication with original cover designs by Picasso, Matisse, Dali, Miro, Masson, Eluard, Man Ray, Derain, Brassai and Duchamp. £1500-2000 (11)

Lot 491

Lot 492 142


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Lot 496

Lot 493

493* Miro (Joan, 1893-1983). XXe Siecle, number 31 (Panorama 68), Paris, 1968, colour lithograph, folded as issued, 311 x 695mm (12.25 x 27.4ins), together with 45 original lithographs by various artists, all taken from XXe Siecle, 1958-80, including Poliakoff, Masson, Esteve, Zao Wou-ki, Guiramand (13), Spitzer (10), Ernst (3), Tanning (2), Agam (2), Ubac, Music, Consagra, Capogrossi, Gentilini, Magnelli (2), Laurens (2) and Bergman (2), all loose (without text), all in excellent condition, 320 x 250mm (12.5 x 9.75ins) or very similar Cramer 122 for the lithograph by Miro. (46)

496* Picasso (Pablo, 1881-1973). Jacqueline en espagnole de la flute double, 1967, heliogravure facsimile print on thick wove paper, green stamped signature lower right, numbered in green ink 108/500, sheet size 530 x 420mm (20.75 x 16.5ins), framed and glazed (1)

£100-150

£300-500

494* Ovenden (Annie, 1945-). Lanhydrock Church, giclee colour print, signed in pencil lower right, image size 370 x 490mm (14.5 x 19.3ins), framed and glazed (1)

£70-100

495* Phillips (Tom, 1937-). Matching colours struck by heatwave (from A Walk to the Studio), 1976-77, colour screenprint, published by Waddington Galleries, 1977, signed and numbered 40/50 in pencil, sheet size 101 x 71.5cm (39.75 x 28ins), framed and glazed (1)

£100-150

Lot 495

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Lot 497 497*AR Picasso (Pablo, 1881-1973). Colombe de l'Avenir ou Les Armes Ă la Ferraille, 1962, colour lithograph on Rives wove paper, printed by Mourlot in blue, black, yellow and green, signed in pencil by Picasso, and numbered 21/200, verso with sellotape discolouration to extreme margins, 585 x 755 mm (23 x 29.75 ins), framed and glazed (1)

ÂŁ2000-3000

498* Richardson (Ilana, 1946-). Villa Marguerita, 1985, colour screenprint, signed, titled, dated and numbered 22/70 in pencil, 340 x 505mm (13.5 x 20ins) mount aperture, framed and glazed, together with Wright (Joanna, 20th/21st century), Botanic Gardens, 1978, colour screenprint, signed, titled, dated and numbered 5/15 in pencil, 475 x 370mm (18.7 x 14.5ins) mount aperture, framed and glazed (2)

ÂŁ70-100

Lot 498

144


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499* Thorpe (Mackenzie, 1936-). In the Summertime, 1998, colour photolithograph, printed by Washington Green Fine Art in an edition of 850, signed and numbered 468/850 in pencil, image size 355 x 423mm (14 x 16.7ins), framed and glazed, with certificate of authenticity to verso (1)

501 Verve, revue artistique et litteraire directeur, teriade, Vol. VIII, Nos 29 et 30, original boards with design by Picasso (1)

£300-500

£100-150

502 Verve, an artistic and literary quarterly, numbers 1, & 5-6, Paris, December 1937 & July-October 1939, colour lithographs by Leger, Miro, Rattner and Bores to the first issue, 9 colour lithographs by Braque, Rouault, Derain (2), Leger, Bonnard (2), Matisse (2) and Klee to the second issue, both with numerous colour and monochrome illustrations, both in original printed wrappers, the first issue with colour lithograph by Matisse, the second with colour lithograph by Maillol, a few marks and scuffs, 2 or 3 small indentations to front cover of the first issue, (generally in good condition), folio (2)

503 XXe siecle. La Matiere et le Temps dans les Arts Plastiques No. 5, 1955; Nouvelles Situations de l’Art Contemporain No. 14, 1960, colour and black and white illustrations, six original colour lithographs by Marc Chagall, Alechinsky, Fiedler, Tobey, Marini & Singier, original wrappers, slight edgewear, 4to, together with Arts et Metiers Graphiques, Nos. 27-32, Paris, 1932, numerous illustrations, light marginal toning, original wrappers bound-in contemporary half vellum, a little discoloured, 4to, plus Cahiers D’Art 1940-1944 and 1945-1946

500* 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)

£300-500

£400-600

(5)

145

£400-600


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PRINTED BOOKS & MAPS NATURAL HISTORY, FISHING, SPORTING & WILDLIFE ART AND BOOKS Wednesday 6 April

From a collection of original watercolour studies of butterflies and insects by Edward Donovan (1768-1837).

For further information and consignment advice please contact: John Trevers | john@dominicwinter.co.uk Nathan Winter | nathan@dominicwinter.co.uk


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PHOTOGRAPHY, 1850-2000 Thursday 7 April

Julia Margaret Cameron (1815-1879). Queen Esther fainting before King Ahasuerus, 1865. Estimate ÂŁ3,000-5,000

For further information and consignment advice please contact: Chris Albury | chris@dominicwinter.co.uk


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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.

148


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Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Oriental & Islamic Art Matthew Farren Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury For free valuations without obligation, please contact any of the above specialists for further advice.

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

www.dominicwinter.co.uk 149


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Conditions of Sale and Business 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account. 3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission. 4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared. 5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due. 6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded. 8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer. 9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to the Auctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions. 11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the best bid, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions. 12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses. 13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.


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#

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

COMMISSION SLIP Please Bid on my behalf at the sale on 3 March 2016 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

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


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

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

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

01285 655299 / 07980 579947 01285 650850 01285 642767

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

01793 701701

Cirencester Visitor Information Centre

+44 (0)1285 654180 cirencestervic@cotswold.gov.uk

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

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


Dominic Winter  

Fine Art & Antiques | 3 March 2016 | High Res

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