Dominic Winter Auctioneers

Fine Art & Antiques including the Estate of Robert Hardy CBE 8 MARCH 2018

Fine Art & Antiques 21 JUNE 2018

A pair of large-scale Italian Renaissance maiolica vases, probably Urbino, circa 1580-1600, each approximately 66cm (26ins) high.

For further information please contact Nathan Winter, Susanna Winters or Henry Meadows nathan@dominicwinter.co.uk susanna@dominicwinter.co.uk henry@dominicwinter.co.uk 01285 860006

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FINE ART & ANTIQUES including the Estate of Robert Hardy CBE 8 March 2018

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

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AUCTION DETAILS

Nathan Winter

COMMENCING

10.00 am

VIEWING

Tuesday 6 March - 9.00am-6.00pm Wednesday 7 March - 9.00am-6.00pm Morning of sale from 9.00am

SPECIALIST STAFF

Furniture, Silver, Ceramics & Collectables Henry Meadows BA Hons, MRICS Colin Meays BA Hons (Conservation)

Colin Meays

Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Tel: 01285 860006 info@dominicwinter.co.uk Henry Meadows

Susanna Winters

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

A buyer’s premium of 24% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 20%.

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

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

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

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

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

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

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

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

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

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

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CONTENTS Day One Ceramics & Glassware

1-12

Collectables

13-38

Oriental Works of Art

39-48

Tribal Art

49-58

Textiles

59-86

Silver & Jewellery

87-100

The Collection of the late Robert Hardy

101-276

Day Two 19th Century & Traditional Watercolours

277-370

Marine Paintings & Watercolours

371-383

Historical Portraits

384-394

18th-19th Century Paintings

395-404

Old Master Prints & Drawings

405-449

Oriental Works of Art

450-458

Evelyn De Morgan

459-471

Etchings, Lithographs & Woodcuts

472-500

Original Illustrations, Cartoons & Artwork

501-524

Modern Sculpture

525-529

Modern Paintings & Watercolours

530-598

Modern Prints

599-631

Cover illustrations: Front cover: lot 465 Back cover: lot 198

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Christie’s Auction Room, from Ackermann’s The Microcosm of London of London, 3 volumes, 1808-1810, bound in later full morocco gilt.

Estimate £2000-3000 (to be included in the sale on March 7th 2018)

FORTHCOMING SALES IN 2018 Wednesday 7 March

Printed Books, Maps & Documents Natural History, Sporting Books & Pictures English Caricatures 1770-1950

Friday 9 March

Photography: The First 150 Years

Wednesday 11 April

Printed Books, Maps & Documents British Topographical & Plate Books Fine Bindings, Bookbinding Tools & Equipment

Wednesday 16 May

Printed Books, Maps & Documents Atlases, Travel & Exploration

Thursday 17 May

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

Friday 18 May

Militaria, Aviation & Naval History Medals, Arms & Armour, Stamps & Coins

Wednesday 20 June

Printed Books, Maps & Documents

Thursday 21 June

Fine Art & Antiques

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

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CERAMICS & GLASSWARE To commence at 10am

Lot 4 Lot 2 4* Dalton (William, Bower 1868-1965).

Rectangular stoneware planter, with a flambé glaze and floral design, base incised ‘WD’, 11cm high x 21.5cm wide x 14cm deep William Dalton was head of the Camberwell School of Arts from 1899-1920 and also exhibited with Michael Cardew and Bernard Leach (1) £150-200

5* Dresden. A late 19th century porcelain service, comprising two square dishes, two circular dishes, six plates, all decorated with flowers and with pierced lattice work borders, impressed ‘Colln Meissen’ to base and with blue painted ‘GS’ mark, the plates 25cm diameter, together with a collection of green wine glasses each with facet cut stem, 14cm high, six amethyst glass vases, 19th century Spode ‘Felspar’ pottery urn and cover plus two large French porcelain plates c.1900

Lot 1 Lot 3

(26)

1* Art Nouveau. Hegenbarth (Ernst, 18671944). A bronzed pottery sculpture titled Decamerone, modelled as a Classical nude female seated on pedestal holding a book, signed to base, and stamped ‘R.St.K., 15553 15’, 70.5cm, some damage and restoration, together with a gesso frame mirror (2)

£70-100

2* Studio Pottery. Large saltglaze jardinière, c.1930s, decorated with a fountain motif with black banding on a grey ground, incised mark to base, 18.5cm high, chips and cracks £100-150 (1) 3* Charger. Hispano-Moresque pottery charger, with heraldic crest within shield and geometric border and script, 47cm diameter (hairline crack) (1)

£150-200

Lot 5

5

£100-150

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6* Dresden. Set of six porcelain bowls, each richly gilded on a blue ground supported in twin handle silver pedestal base stamped ‘Birks, Sterling’, approximately 4oz each, together with six similar porcelain coffee cups, each decorated with flowers and with silver base engraved with family crest and stamped ‘Birks, Sterling’, approximately 1oz, overall weight, plus eleven small ladles stamped ‘Birks, Sterling’, approximately 0.7oz each, total weight approximately 38.3oz (23)

£200-300

7* Glassware. Collection of mixed table glass, including an 18th century Irish cut crystal glass pedestal bowl of navette form with square base 14.5cm high, plus Belleek porcelain miniature jugs and bowl made to commemorate the death of Queen Victoria, etc (a carton)

£100-150

Lot 6 8* Lalique (Rene, 1860-1945). ‘Domremy’ glass vase, No.979, circa 1926, decorated with a thistle design, the base engraved ‘R. Lalique France’, 21cm high, very minor chips to rim of neck (1)

£300-500

9* Leach (Michael, 1913-1985). Yelland Pottery ovoid marmite jar and cover, with a dark brown glaze, the cover with a graffito design, ML and Y seal marks to base, 30cm high Michael Leach was the youngest son of Bernard Leach, he spent a short time at the Leach Pottery in St Ives before serving in the army during WWII. After the war he returned to the Leach Pottery until 1948 before setting up the Yelland Pottery at Fremington, Devon. He worked there until his retirement in 1984.

(1) £150-200

Lot 9

Lot 10

10* Studio Pottery. Stoneware ovoid jar and cover, with horizontal ribbed decoration on a grey / blue ground, STM OP seal mark to base, 20.5cm high (1)

Lot 8

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

£150-200

Lot 9

6

Lot 10

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11* Studio Pottery. Large geometric stoneware vase, decorated with blue chevrons on a grey ground, 29cm high (1)

£150-200

12* Toby Jug. 19th century pearlware pottery toby jug, modelled as a seated gentleman wearing a tricorn hat and holding a jug and glass, 24cm high together with a later toby jug modelled as an elderly woman, 24.5cm high (2)

£200-300

Lot 11

Lot 12

COLLECTABLES

Lot 16

15* Boulton (Matthew, 1728-1809).

Circular plaque by P. Wyon, modelled by Rouw, published by Thomason, in ebonised frame, 10cm diameter, frame size 18.5 x 17cm (1)

£100-150

16* Candlesticks. Pair of Arts & Crafts oak candlesticks, each with spiral open twist stems on square base, 27.5 cm high (2)

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

£200-300

14* Barometer. Victorian rosewood and mother of pearl wheel barometer by Fontana, High Wycombe, with silvered dial, the case with simulated brass decoration, 97cm high (1)

£100-150

7

£100-150

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17* Coal Box – Irish Home Rule. An Irish coal or peat box, circa 1912, with carved satirical panels referring to Winston Churchill and the Home Rule controversy, 36 x 46 x 48cm The carved panels are probably after Punch cartoons. The top panel depicts a man (Prime Minster Herbert Asquith?) with a bird’s body looking at a dead bird labelled ‘Liberal Party’ that has been struck by an arrow labelled ‘Insurance Act’; the hinged sloping lid panel titled ‘Into Smithereens, Sep 1st / [19]12’, showing a smashed cheval mirror labelled ‘Home Rule’, above ‘Master Winston “I cannot tell a lie, my little cannon did it”, the cannon labelled ‘Dundee speech’ [15 October 1908]; the left side panel depicting a mask-backed chair labelled ‘Home Rule’, the mask watching a lady at a spinning wheel inscribed ‘Irish Lords Reform’; the right side panel with a figure in a press labelled ‘British Navy’ with a map of the North Sea behind, above ‘The Eternal Pressure’.

(1) £500-800

Lot 17

18* Grand Tour. A 19th century Grand Tour bronze bust of Socrates, modelled after the antique, 14.4cm high Socrates was a classical Greek philosopher, born in Alopece. He was sentenced to death by drinking hemlock in 399BC (1) £100-150

19* Icon. An Art Nouveau devotional wallhanging, circa 1900, painted plaster highlighted in gold, showing a female medieval saint (possibly St. Euphrosyne) within decorative frame, full-length with head in profile to right, holding an oval plaque depicting a double cross, left-hand edge of frame with small area of repaired damage (and slight loss), maker’s circular mark on reverse of a wheel entwined with initials ‘A P C’, brass hanging ring, 33 x 7cm (13 x 2.75ins) (1)

£70-100

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

Lot 20

20* Ivory. Deposition from the Cross, 19th century, a carved ivory plaque, initialled R.I. lower right, 128 x 75 mm Probably removed from the cover of a Victorian bible or prayer book.

(1) £100-150

Lot 19

8

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22* Carved Oak Panels. Set of four antique carved oak panels, probably 17th century, carved as saints including St Andrew, St Peter and St Paul, all finely carved standing on classical pedestals, 34 x 8cm (4)

£300-500

23* Mr Punch. A Victorian cast iron Mr Punch doorstop, polychrome painted, 30cm high (1)

21* Jesuit Cross. A scarce 17th century Jesuit cross, the iron cross inset with brass plaque depicting kneeling angels standing before a cup surmounted by a sun dated ‘1620’, the reverse side with a depiction of the Madonna, the cross engraved in Latin with one side which appears to translate as ‘Blessed is the sacrament of the blessed most saintly Mary with a life without original sin’, the other side similarly engraved, 13.5 x 8cm The corrosion on the base of the cross suggests being placed in soil, which was common for Jesuits to do as the soil became their pulpit. A rare item which at the time, should you be caught with it would lead to instant death!

(1) £300-500

£100-150

24* Snuff Box. George III tortoiseshell pique work snuff box, of circular form inlaid with gold coloured strap work and thumb-piece, 5.5cm diameter, some damage and restoration (1)

£100-150

Lot 22

Lot 23

25* Swagger Stick. A Victorian coromandel swagger stick by Brigg, London, the shaft with curved handle and silver mounts by Charles Cooke, London 1896 the collar engraved ‘Sir W.C., Omdurman 1899’, 74cm long overall, shaft repaired It has not been possible to determine the identity of Sir W.C. A young Winston Churchill fought at the Battle of Omdurman (2 September 1898). However, it was not until the 1899 Battle of Umm Diwaykarat that the final Mahdist forces were defeated and the 1899 dating on the collar here suggests that the owner may have had some involvement with this later, final battle.

(1) £500-800

9

Lot 25

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Lot 26

26* Table Cabinet. A Viennese enamel musical table cabinet, circa 1900, the gilt and ebonised cabinet in the form of a musical cabinet with arched pediment having a central cupid and four smaller musical putto to the corners above two doors each with organ pipes, hinged to reveal two small drawers with another drawer beneath on four scroll supports, the whole piece inset with finely painted panels depicting classical scenes, 21cm high x 12cm wide x 9.5cm deep, the musical box with key but overwound and not operable (1)

£500-800

27* Tea Caddy. An unusually large Regency rosewood tea caddy, sarcophagus form with burr walnut shaped inlay, mother of pearl key escutcheon, the hinged lid enclosing cut glass mixing bowl flanked by two lift out canisters, on four squat bun feet, 22.5cm high x 36cm wide (1)

Lot 27

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

10

£200-300

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Lot 28

Lot 29

Lot 30

Lot 31

Lot 32

Lot 34

28* Walking Stick. 19th Century folk art flick stick, the natural wood shaft with copper wire collar, the knop enclosing a 12.5cm steel flick blade, the overall length, 90.5cm long

31* Walking Stick. 19th century folk art wooden walking stick carved from a single piece, the knop carved with the head of Bacchus on spiral carved shaft with leaf decoration, 85cm long

(1)

(1)

£150-200

29* Walking Stick. George III period vertebrae walking stick, the ivory knop inlaid with pique work and white metal collar on shark vertebrae shaft with brass ferrule, 95cm long (1)

£150-200

32* Walking Stick. 19th century walking stick, with natural shaft and knop concealing a square steel flick stick, the blade 14cm long, 87cm long overall (1)

£50-80

£300-500

33* Walking Stick. 19th century Japanese swordstick, the handle and shaft wrapped in Birch bark and lacquered concealing steel blade 42cm long with iron ferrule, 90.5cm long overall

30* Walking Stick. 19th century walking stick, the knop carved as a Negro wearing a tasselled hat with copper collar fashioned as his shirt collar, the natural wood shaft with brass collar engraved with initials ‘F.H. 1893’ amongst scrolls, the lower section with long brass steel capped ferrule

(1)

£200-300

34* Walking Stick. A modern walking stick, with deer antler handle carved as a Thrush nesting within the antler on a beech shaft with horn ferrule, 92.5cm long

Believed to be American where during the 19th century Negro workers had significant support for better working conditions and these canes signified the support by the owner.

(1) £150-200

Carved by G.L. Morgan, Oxfordshire.

(1) £100-150

Lot 33 11

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36* Walking Stick. 19th century folk art walking stick, the knop carved as a figure head of ‘Jakub Janecek’ and so titled, the shaft carved in detail with a man working a machine another with gun and dog, a woman and man harvesting, a man sawing trees, a rabbit plus oak leaf pattern, with steel ferrule, 88cm long Jakub Janecek is believed to have been a politician within the Austro-Hungarian Empire.

(1) £150-200

37* Walking Stick. A 19th century sword stick, with embossed white metal ball knop and bamboo shaft enclosing 77.5cm triangular steel blade, with brass ferrule, 95cm long overall (1)

£100-150

38* Writing Box. Victorian mahogany and brass bound writing box, the hinged lid enclosing blue tooled leather inset and multiple divisions, with Bramah lock secret compartment and side drawer beneath, 20cm high x 56cm wide x 27.5cm deep (a good example but some restoration required) (1)

35* Walking Stick. 19th century Colonial Indian sword stick, the ebony shaft with carved bone handle with brass lions head mask top, brass collar which twists to enclose a 65cm straight steel blade, the shaft with geometric carving and brass ferrule, 92.5cm long overall, together with a 19th century sword stick with horn handle and Malacca shaft enclosing 72cm triangular steel blade, 90cm long overall (2)

Lot 38

£150-200

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

£80-120

12

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ORIENTAL WORKS OF ART 39* Bowl. A Chinese celadon porcelain bowl, with pate-sur-pate decoration depicting butterflies, birds and foliage, unglazed foot with blue Qianlong mark and label inscribed ‘Chien-Lung Late 18th century’, probably period, 26.5cm diameter From the estate of John Walton Gooddy (1913-1994) (1) £200-300

40* Bowls. A matched pair of Chinese porcelain blue and white bowls, Kangxi (1662-1722), with foliate decoration, the interiors similarly decorated, one with stylised floral mark, the other with spurious reign mark, 14.5cm diameter, both with hairline cracks together with two later Chinese blue and white porcelain bowls From the estate of John Walton Gooddy (1913-1994) (4) £100-150

Lot 39 41* Charger. Early 20th century Chinese Famille Verte porcelain charger, decorated with two ships, each with multiple crew within floral banded border, spurious mark to base, 42cm diameter, together with an early 20th century Japanese Imari porcelain charger, with lobed edge, 35.5cm diameter (2)

£100-150

Lot 40

Lot 41

13

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Lot 42 Lot 42

42* Dish. A Chinese celadon porcelain dish, with raised decoration of a bird within foliage, blue 5 character mark to base, probably Qianlong, 15.5cm diameter (small hairline crack on rim) From the estate of John Walton Gooddy (1913-1994) (1) £80-120

43* Ginger Jar. A Chinese blue and white porcelain ginger jar, Kangxi (1662-1722) decorated with foliate tendrils, 11.5cm high with an associated wooden cover, together with another blue and white ginger jar, plus a Kangxi blue and white beaker decorated with tendrils and stylised floral mark to base, 7cm high, several chips to rim

Lot 43

From the estate of John Walton Gooddy (1913-1994) (3) £100-150

44* Mixed Oriental. A collection of Chinese Famille Verte porcelain, including a pair of 18th century vases, each polychrome decorated with foliate panels within an iron red foliate ground, 18cm high, chips to rims and lacking covers, a circular dish with foliate decoration within a red lattice border, similarly decorated, stylised blue floral mark to base, 26.5cm diameter (with old staple repair), plus two small ginger jars and a beaker From the estate of John Walton Gooddy (1913-1994) (6) £100-150

Lot 44

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

14

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45* Mixed Oriental. A Chinese pottery figure of Guanyin, typically modelled resting on a lotus leaf base, 19cm high, together with two Blanc de Chine Dogs of Fo (damaged), a lobed pottery cup, 10.5cm diameter (damaged), a small earthenware dish, 15cm diameter, plus a 19th century Persian Iznik pottery bottle vase, decorated with birds and foliage, 25cm high (damaged) Lot 45

From the estate of John Walton Gooddy (1913-1994) (6) £100-150

46* Mixed Oriental. A collection of items including hardwood stands and covers, 19th century and later, a silk embroidered hanging with tasselled drop, 84cm long and other items From the estate of John Walton Gooddy (1913-1994) (a carton) £70-100

Lot 46

47* Vase. Chinese blue and white porcelain vase, decorated with exotic birds amongst flowers, the shoulder of the vase with panels similarly decorated, the base with label inscribed ‘Ming Vase 17th Century’, 18cm high (large crack running around the neck and other damage and restoration) From the estate of John Walton Gooddy (1913-1994) (1) £100-150

48* Vase. Chinese Famille Rose porcelain vase, probably 19th century, of baluster form with two pierced handles, decorated with warriors and a fortress within a mountainous landscape, old collection label to base, 57cm high (with heavy craquelure and ground down neck) (1)

£500-800

Lot 48 front and back 15

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TRIBAL ART 49* Aboriginal. Australian hardwood boomerang, carved with roundels and wavy design, 79.5cm long, together with another traditionally carved with kangaroos, 63cm long (2)

£100-150

50* Ethiopia. Ethiopian carved wood Coptic hand cross, intricately carved in a geometric style, 64cm long (1)

£80-120

Lot 50

Lot 49

51* Gold Coast. Mende Tribe, Sierra Leone helmet mask, with stylised hair and raised hair pieces, 41cm high Lot 51

(1)

£80-120

52* Gold Coast. Pair of Fante carved wood fertility dolls, each carved with ceremonial headdress, characterful face and elongated neck, 36cm high (2)

£80-120

53* Headrest. Ethiopian hardwood headrest, with curved top and conical base 14.5cm high, together with another 15.5cm high (1)

Lot 52

£80-120

54* Knobkerrie. Zulu hardwood knobkerrie, with large spherical head on long shaft, 68cm long (1)

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

£80-120

16

Lot 54

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55* South Africa. South African terracotta ewer, with elongated neck and flared rim, curved handle and spout the body with incised geometric decoration, together with a similar terracotta bowl with stylised handles, 12cm diameter (2)

Lot 56

£60-100

57* Stool. Ashanti chief’s hardwood stool, with curved seat on carved supports and substantial base 62.5cm high x 68cm wide

56* Stool. Papuan Gulf carved wood stool, carved as a crocodile with zoomorphic figures infilled with white pigment, 88cm long, together with a mixed collection of tribal items, including an African rosewood hair comb with pierced decoration carved ‘Karibu’, 58cm long, Indonesian bamboo stool, 70cm long, and other items Provenance: Understood to be from the collection of Ray Inskeep, former curator of the Pitt Rivers Museum, Oxford. (a carton) £100-150

(1)

£200-300

58* Tanzania. A collection of 14 Tanzanian zoomorphic headrests, various types and sizes, including two headed crocodile with geometric carving, 51cm long (1)

Lot 57

Lot 58 17

£200-300

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TEXTILES 59* Carpet. Persian woollen prayer rug, with geometric design on a red and blue ground, within multi-banded border, with label to the reverse inscribed ‘H.A. Casson’, approximately 145 x 100cm, together with two further Persian rugs including one with two large medallions on a blue and brown ground within multibanded geometric border, approximately 180 x 110cm, all worn

60* Carpet. Large Persian woollen carpet, with 3 rows of aligned guls on and black ground within multi-banded geometric border, approximately 278 x 206cm, worn (1)

£100-150

Herbert Alexander Casson (1867-1952) appointed Deputy Commissioner of the Punjab in 1888, retired from service c.1925 and appointed Companion, Order of the Star of India (C.S.I.). He resided at Tyn-y-Coed, Arthog, Merionethshire, Wales.

(3) £100-150

61* Carpets. A pair of Persian Baluchi woollen runners, each with 2 rows of 10 aligned panels with octagonal guls, on a brown / red ground within multi-banded border, each with a lead seal stitched to the reverse, approximately 420 x 93cm (one much more worn than the other) (2)

£100-150

Lot 60

Lot 62

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

18

62* Colonies. A rare primitive tapestry, early 18th century, tent stitch on hessian, finely worked in silk in shades of brown, green, blue, and yellow, with touches of red (faded), depicting a coastal settlement, with sailing boats, buildings with pointed roofs, stylised trees, two figures (one possibly carrying a bindle), and another figure fishing, shaped as for a stool top with cut-out corners, worn and threadbare, 43 x 72cm (17 x 28.25ins), together with three early 19th century samplers, dated 1811 (by ? Bullen), 1827 (by Emma Pyrchas Brisley), and 1843 (by Elizabeth Jones), first two worn, the other a little spotted, 36 x 30cm (14.25 x 11.75ins), and slightly smaller, plus three other later samplers (late 19th/20th century), and an early 20th century embroidery picture of a Chinese pheasant standing on a branch of lilac by a fence and wall, coloured silks on cotton, some light soiling, tack holes at edges, size of fabric 63.5 x 58.5cm (25 x 23ins) The iconography of the first item is suggestive of European colonies in the West Indies.

(8) £150-250

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Lot 64

Lot 63 Lot 65

63* Dress. A variable silk Regency dress, circa 1820s, hand-sewn variable brown silk dress, drop-fronted (with most of bib torn away), with a gathered high waist, long tapering sleeves with four pleats to shoulders, and skirt with train, sleeves and bodice (incorporating side flaps) lined with glazed linen, interior and exterior ties to bodice present, some staining and tears, especially to train, slight perishing of silk to one underarm (no staining), length including train 190cm (75ins), bust 82cm (32ins), waist 74cm (29ins), sleeve length 72.5cm (28.5ins) (1)

ÂŁ150-200

64* Dress. A damask gown, circa 1840s, hand-sewn dress of damask with woven silver rose sprays on a dusky blue ground, fitted bodice, slim-fitting three-quarter sleeves flaring to wide cuff with fringed edging, bodice and sleeves lined with blue fabric, front with 14 early brass hook and eye closures (one hook missing), and a few later hooks and eyes at top and bottom, one pocket, close-gathered skirt slightly longer at back, a few faint marks and areas of light rubbing (underarms free from staining), one or two tiny holes and some seams splitting in places, short tear to bottom of front opening, length 141cm (55.5ins), bust 84cm (33ins), waist 117cm (23ins), sleeve length 44.5cm (17.5ins) A very pretty gown in good condition.

(1) ÂŁ200-300

65* Dress. A Spitalfields silk overdress, circa 1790, hand-sewn dress of cream silk, with all-over self pattern of pairs of narrow vertical stripes and delicate foliage stems, with scattered oval and round flower sprigs woven in pink, green, and yellow, fitted bodice, curved at the front and v-shaped at the back, low cut neckline, elbow-length sleeves, with tucked detail at cuffs, bodice and sleeves lined with glazed linen, close-gathered skirt, front of skirt and neck with gathered scalloped edging in the same fabric (becoming detached in places), occasional marks and small tears, underarms stained (one with consequent tear), length 149cm (58.5ins), bust 86cm (34ins), waist 71cm (28ins), sleeve length 40cm (15.75ins) (1)

19

ÂŁ400-600

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66* Dress. An unfinished turquoise satin gown, circa 1840s, hand-sewn dress of pale turquoise satin, in two pieces, comprising: a fitted boned bodice with piped edges, v-shaped waist at rear, front opening with small eyelet holes for lacing and early brass hooks at top and bottom (one with eye and the other with cotton loop), short pleated sleeves, bodice and sleeves lined, shoulders padded, some discolouration to back, length 50cm (19.75ins), bust 60cm (23.5ins), waist 54cm (21ins), sleeve length 12cm (4.75ins); and matching skirt, with pocket, lined, and with hem stitched all round, ungathered waist with raw edges, several marks, length from waist to floor 107cm (92ins), waist (in its ungathered state) 348cm (131ins)

Lot 68

An unfinished, and therefore unworn, gown from the 1840s; an unusual survival from an age when fabric was rarely wasted and often went through several transformations before it was worn out.

(2) £100-150

Lot 67

67* Dress. A brocade two-piece gown of mid 18th century Spitalfields silk, circa 1840s, hand-sewn skirt and matching bodice of cream silk brocade, with woven flower sprays in shades of green, yellow, pink, and purple, on a ground of cream flower sprays and stems, gathered skirt with one pocket and lined with gauze, early brass hook and eye fastening at waist (and later press stud fastener), modern hanging loops, occasional small marks, some discolouration and edge-fraying to hem, fitted bodice with boning, fastened at back with original brass hooks and eyelets, and tie to gather neck, front with pleated neckline and and vertical gathered ruffle trim on both sides terminating in v-shaped waist with bow, short sleeves with gathered ruffle edging, and trimmed with wide cream lace (becoming detached in places), some light foxing, skirt length 104cm (41ins), skirt waist 58.5cm (23ins), bust 84cm (33ins), sleeve length 21cm (8.25ins) (2)

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

68* Dress. A brocade gown, circa 1840s, hand-sewn dress of black brocade with woven rose sprays in yellow, white, and green, and other floral motifs in orange and yellow, fitted bodice, with boning to one side (lacking on other side), and lined with black silk (some sections perished), fastened on back with black metal hooks and sewn loops (with additional enlarging panel with metal eyes), vshaped piped waist at front, some underarm staining, slim-fitting full-length sleeves, partly gathered, lace insert and black hook and eye closures at wrists, close-gathered skirt, latter with some minor discolouration (mostly to back), length 129.5cm (51ins), bust 29cm (73.5ins), waist 54cm (21.25ins), sleeve length 51.5cm (20.25ins) (1)

£800-1200

20

£150-200

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Lot 69

Lot 70

69* Dress. A long green floral chiffon dress, 1930s, hand-made dress, with ruched v-neck, puffed sleeves lined with green silk (lining slightly torn), self belt, press stud fasteners at side and on back, latter with decorative green glass-effect flower buttons (one lacking), several tiny holes in front of skirt below waist, length 132cm (52ins), bust 84cm (33ins), waist 73.5cm (29ins), sleeve length 21.5cm (8.5ins), together with a chiffon day dress, 1930s, unstructured sleeveless summer dress with round neck, pale pink chiffon with a large floral pattern in shades of pink, blue, and green, wide waistband and peplum, with centre tie at the front, layered skirt, shirred details on shoulders, stitching coming undone in places, cream underslip with wide matching border around the bottom edge (some stains, including at underarms, and a few small holes in seams), length 117cm (46ins), bust 99cm (39ins), waist 96cm (38ins), plus a 1930s long evening dress, cream chiffon, lined, embellished all over with diamante (some missing), halterneck and with two back straps (worn and frayed in places), some staining and discolouration, length 142cm (56ins), bust 79cm (31ins), waist 66cm (26ins), plus a long cream sleeveless chiffon over-dress with panelled detail, cowl neckline at front and v-shaped neckline at back (latter slightly torn), some small holes and marks, length 132cm (52ins), bust 86cm (34ins), waist 66cm (26ins), plus a 1930s gold metallic pleated scarf, length 229cm (90.25ins), width when stretched 100cm (39.5ins) (5)

Lot 71

70 Dress. A Regency fine gauze dress, circa 1810, hand-sewn highwaisted cream dress with train, bodice with rear opening and two ribbon tie draw-strings, long tapering sleeves gathered at shoulders, pocket opening to right-hand side, some tiny holes and faint spots to front of bodice, and fabric slightly strained to right of bodice, but overall in very good condition, length including train 175cm (69ins), bust 96cm (38ins), sleeve length 72.5cm (28.5ins), together with other garments, early-mid 20th century, including a heavily beaded orange satin dress, 1920s, a 1930s navy silk day dress, with white-striped bodice and pleated skirt, and several girls’ dresses, various sizes and condition (12)

£100-200

71* Dressing gown. A hand-quilted gentleman’s dressing gown, Edwardian, a pale green satin dressing gown, with long sleeves, lined with cream cotton, hand-quilted over-all in matching pale green thread, with a chevron and quatrefoil design, scalloped edge to cuffs and hem, scalloped pocket openings (no pockets) with hand-stitched buttonhole slot for pale green twisted cord tie, small unobtrusive mark to one sleeve, length 143cm (56.25ins), sleeve length 67cm (26.5ins) A stylish dressing gown in very good condition.

(1)

£100-200

21

£70-100

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72* Ecclesiastical embroidery. Embroidered altar cloth, English, late 17th/early 18th century, goldwork on silk taffeta, finely worked with all-over decoration, central sheaf of wheat and grape vine motif, repeated in part to left and right-hand sides, with vase, stylised sunflower, and bow motif in between, and connecting leafy stems and tendrils incorporating tulips and other flowers, some light staining, fabric perished and loss of stitching in places, sometime trimmed and backed with waxed linen, and with later gold braid edging to upper edge and sides, 251 x 48cm (99 x 19ins)

Lot 73

A very well-preserved early piece of high quality goldwork, probably intended for use as a frontlet. The Christian symbolism is plainly apparent, with ears of wheat and grape vines representing the body and the blood of Christ respectively, as celebrated in Holy Communion.

(1) £300-500

73* Embroidered map. A Map of the World, according to the Latest Discoveries, 1800, double-hemisphere world map, finely worked on cream silk, toned, perished in places (mostly towards edges), each hemisphere in blackwork, with land masses outlined in coloured silks, general title embroidered in black within decorative circular frame, and hemispheres with titles ‘Western Hemisphere or The New World’ and ‘Eastern Hemisphere or The Old World’, compass rose embroidered in coloured threads, painted and blackwork vignette at each corner representing the four continents of Europe, Asia, Africa, and America, 38 x 71cm (15 x 28ins), verre eglomise mount, gilt frame (1)

£200-300

74* Embroidered pictures. A pair of oval embroidered pictures of children, English, circa 1800, finely worked in wool on cream silk, in shades of green, blue, brown, cream, and pink, using mainly long and short stitch, with the faces and arms carefully delineated in paint, each 10.5 x 13cm (4 x 5ins), matching verre eglomise mounts and frames, overall size 24 x 27cm (9.5 x 10.75ins) (2)

£200-300

75* Embroidered panels. Two Oriental panels, early 20th century, embroidered in fine wool on paper-backed black silk, each depicting a duck in a pool with racemes of wisteria, some light fading in places and one or two loose threads, trimmed from a larger piece or pieces (edges uneven in places), each with vertical crease where folded along one edge, both with pin holes and some fraying at edges, each approximately 121 x 53cm (47.5 x 21ins) (2)

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

22

£70-100

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76* Embroidery. Embroidered apron panel, English, late 17th/early 18th century, a large portion of early embroidery on cream silk, laid down on card, elaborately worked with various floral and foliate motifs, and entwining stems and tendrils, in coloured silks and metal threads, using satin stitch, long and short stitch, and couching, scalloped edge on sides and lower edge with couched border, some overall staining and discolouration, 44 x 103cm (17.25 x 40.5ins) (1)

£150-200

Lot 76

77* Fire screen. A hand-held face screen, Chinese, early 20th century, fabric screen of circular form with frame and handle of faux wood, one side with silk embroidery of birds amongst vegetation, including a cockerel, ducks, and a hummingbird, the other side brightly painted on silk with roses and other flowers, incorporating a fly and a butterfly, on a gold ground, rubbed in places, fabric becoming detached from frame at one side, handle loose but still holding, diameter 26.5cm (10.5ins), length 44cm (17.25ins) (1)

£70-100

78* Georgian velvet. A set of painted velvet bag, sash, and cuffs, English, late 18th century, matching cream velvet bag, sash, and pair of cuffs, each with painted floral decoration, in red, blue, green and yellow (bag painted on both sides), bag and cuffs with yellow piped edging, sash sometime rebacked with olive green glazed cotton and re-edged with green silk, bag with yellow silk lining and drawstring (casing for latter frayed), cuffs backed with cream silk and with early hammered brass hook and eye closures, some light foxing and toning, bag 20 x 17.5cm (8 x 7ins), sash 171.5 x 12cm (67.5 x 4.75ins), cuffs 16 x 5cm (6.25 x 2ins)

Lot 77

Early painted velvet items such as these are rare survivals. The sash was presumably intended to be worn diagonally across the body and fastened with a brooch.

(4) £300-500

Lot 78 23

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79* [Henrietta, Maria, Queen Consort of Charles I, 1609-69]. Embroidered apron panel, English, early-mid 17th century, a large portion of early embroidery on cream silk, silk ground toned, sometime neatly stitched at edge to a linen backing and with a number of carefully stitched repairs, elaborately worked design with various floral, foliate, and lattice motifs, incorporating entwining stems and tendrils, in coloured silks (a little faded), metal threads, and sequins, using satin stitch, long and short stitch, couching, and bullion stitch, creases along top edge where previously gathered at waist, 53.5 x 101cm (21 x 39.75ins), framed, with manuscript label on verso in an early 20th century hand The label on the verso reads “Apron from Rushbrooke Park thought to have belonged to Queen Henrietta Maria who went there after Charles’ death. Two Laburnham wood cabinets & several other things bearing Charles’ [...?] initials were also left at Rushbrooke, the old House of Mabel Davies Cooke’s mother (Fanny Louisa Eyres) who was born there, her mother being Louisa Elizabeth Rushbrooke. The Cabinets are now in State Apartments at Windsor.’ Highly decorated aprons like this one were not intended to be protective garments; rather they were an opportunity to add an element of sumptuous embellishment which could both demonstrate the fine sewing skills of the wearer and indicate her wealth and position in society. The Jermyns of Rushbrooke Hall, near Bury St. Edmunds, were a prominent Royalist family. Sir Thomas Jermyn (1573-1645) was Comptroller of the Household between 1639 and 1641, and his son Henry Lord Jermyn, Earl of St. Albans (1605-1684) was a life-long friend of Queen Henrietta Maria, fulfilling variously the roles of Vice-Chamberlain, Master of the Horse and Lord Chamberlain. He was at her side throughout the various campaigns of the Civil War, and it was even rumoured that the pair were married in secret, with a contemporary report asserting that all the Queen’s children were Jermyn’s bastards. It is believed that the aforementioned cabinets were presented by Henrietta Maria to Lord Jermyn in 1665. On his death his will directed that the cabinets be taken to Rushbrooke Hall, the then residence of his nephew Sir Thomas Jermyn, where they were noted in an inventory of 1759. They were sold at Christie’s in 1910 to Lord Rothschild and his brothers, who presented them to King George V and Queen Mary shortly after their Coronation, and today they reside in The Queen’s Gallery at Buckingham Palace.

(1) £1500-2000

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

24

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80* After Angelica Kauffman (1741-1807).

Fame Decorating Shakespeare’s Tomb, late 17th/early 18th century, fine embroidered and painted picture on cream silk, showing a female deity strewing flowers on a tomb in a landscape, worked in coloured silks in shades of brown, green, yellow, blue, and pink, mainly using stumpwork and long and short stitch, the face, arms and feet carefully drawn in, 44.5 x 34cm (17.5 x 13.5ins), verre eglomise oval mount, gilt frame, with contemporary engraved label on verso ‘W. & J. Staveley. Carvers, Gilders & Frame Makers, Stonegate, York’ A copy of the 1782 stipple engraving by Francesco Bartolozzi after the allegorical painting by Angelica Kauffman. The print was published in black and white and so the embroiderer was able to choose between various colours and stitches, and thereby demonstrate both her taste and skill. Pictures such as these were sometimes part of a decorative scheme incorporating walls, furniture or porcelain, and often including other designs by Kauffman. The artist’s designs had more widespread and diverse uses than those of any other decorative painter of the period.

(1) £150-200

81* McLeish (Minnie). A rare piece of fabric, W. Foxton Ltd, circa 1920, rollerprinted cotton, with painterly effect of birds amongst large stylised flower blooms and full buds, in shades of blue, purple, pink, green, and cream, on a yellow ground, selvedge to left-hand side, top edge with some tack holes, 59 x 47cm (23.25 x 18.5ins), together with Chalmers (Sylvia) Jaborandi, designed for Heal’s, 1953, screen-printed cotton, with leaves and seedheads in blue, white, orange, and green, on a dark turquoise ground, selvedge to each side printed in orange ‘Heal’s “Jaborandi” by Sylvia Chalmers’ and ‘Made in the United Kingdom’ respectively, 58 x 117cm (23 x 46ins), plus nine other pieces of fabric, including: a printed cotton piece depicting the Thames Tunnel, circa 1950s, 50 x 123cm (19.75 x 48.5ins); five pieces by Fortuny, 42 x 42cm (16.5 x 16.5ins) and smaller; a small triangular fragment of William Morris fabric, blue and green, 41 x 27cm (16 x 10.5ins); a piece of Art Nouveau fabric with pattern of pink Caterbury bells on a green ground, 96 x 110cm (38 x 43.25ins); and a narrow piece of fabric with a crocus pattern, A. Sanderson & Sons, 1932, all edges with tacked hem, 91 x 15.5cm (35.75 x 6ins), plus a pair of barkcloth curtains, 1950s, with pattern of vegetation, each with horizontal join, some fading and wear at edges, drop 158cm (62.25ins), width 104cm (41ins) Freelance designer Minnie McLeish (1876-1957) was one of the pioneers of an innovative painterly approach to pattern, with an emphasis on vivid colours and simple flattened shapes, in the early part of the twentieth century. The firm of Foxton’s, established in 1903, produced highquality printed silks, cottons and linens. The firm printed with blocks to begin with before transferring to roller-printing in the 1920s, but continued to use traditional methods to produce an exceptional product. Founder William Foxton was an early member of the Design and Industries Association (DIA), which brought together designers, architects, craftsmen, educators, manufacturers and retailers, with the aim of raising standards of design. It was shortly after the founding of the DIA in 1915 that Foxton began to commission patterns from free-thinking freelance designers such as Minnie McLeish.

(13) £200-300

Lot 81

25

82* Mickey Mouse. A pair of Mickey Mouse nursery curtains, 1930s, two cotton curtains, printed with duotone Disney characters on an off-white ground, including Mickey and Minnie (with pie eyes), Clarabelle, a pig, donkey, ducks, and chickens, occasional light marks, but in good condition, width 77cm (30.25ins), drop 158.5cm (62.5ins), together with Babar the Elephant, A single large nursery curtain, 1930s, lined cotton curtain, patterned with characters and scenes from Jean de Brunhoff’s Babar books, printed in grey, white, green, pink, red, and black, on a pale green ground, lined with green cotton, some water-stains to lower portion, faded, especially along right-hand edge (with consequent perishing), drop 216cm (85ins), width 104cm (41ins) These rare pieces of nursery fabric are examples of early merchandising, before the days when spin-offs became an automatic consequence of any story book or children’s film.

(3) £100-150

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Lot 83

Lot 84

Lot 86

83* Morris (William). Four rolls of hand printed Golden Lily wallpaper, Sanderson, mid 20th century, four complete rolls of hand printed wallpaper stamped ‘Morris & Co’, with Golden Lily design in shades of orange and brown, each roll ink stamped on verso with colour batch number ‘142002HT’, three rolls contained in the original cellophane wrapping, each roll 10 metres long and 55.5cm (21.75ins) wide, When Morris & Co went out of business in 1940 its former competitor, Sanderson, bought the firm for just £400, including the showroom contents, printing blocks, fabrics and logbooks. Except for a brief period during the Second World War Sanderson continued offering Morris & Co. designs throughout the 20th century, although for obvious reasons, complete and unused rolls rarely come onto the market.

(4) £150-200

84* Piper (John). Two pieces of Arundel fabric, A. Sanderson & Sons, 1960, screen-printed ‘Sanderlin’ satinised cotton, with stained glass window design, one piece with a horizontal row of 7.5 coloured stripes on a cream ground, selvedge to right-hand side, 40 x 61cm (15.75 x 24ins), the other with the same portion of pattern on a dark blue ground, with machine-stitched hem to left-hand side and selvedge to right-hand side, 38.5 x 59cm (15.25 x 23.5ins), together with Two pieces of Stones of Bath fabric, A. Sanderson & Sons, 1960, screen-printed cotton, with abstract design in green colourway, each approximately 33 x 32cm (13 x 12.5ins) ‘Arundel’ and ‘Stones of Bath’ are two of the five fabrics designed by John Piper (1902-1993) for Arthur Sanderson’s prestigious Centenary Collection in 1960. Piper designed stained glass windows for both Sanderson’s new showroom in Berners Street in London and for Oundle School Chapel in Peterborough. ‘Arundel’ followed, in which he re-interpreted his designs for fabric. This design was exhibited at the John Piper retrospective exhibition at The Tate Gallery, London, in 1983.

(4) £200-300

85* Shirt. A brightly patterned shirt, by Hung On You, London, 1960s, cotton and linen shirt, with bold asymmetrical pattern of semi-circles in red and green on a white ground, four-button closure, rounded shirt tails, satin label at nape lettered in purple ‘Hung On You a Londres’, with size printed in black above ‘15 1/2’, some very light soiling at cuffs and neck, chest 102cm (40ins), length 75cm (29.5ins), sleeve length 60.5cm (23.75ins)

Lot 85

Upmarket London fashion boutique Hung On You (1965-1969) was owned by the designer Michael Rainey, and was famous for its avant-garde approach to clothes. Its standard lines consisted of psychedelic shirts, kipper ties, military uniforms, shimmering sharkskin suits, frilly shirts, jackets with velvet cuffs, and other such flamboyant garments. Its avantgarde approach to clothes, and the clients it attracted, such as The Beatles, The Rolling Stones, The Kinks and Terence Stamp, meant that it became part of the culture of the swinging sixties, and the shop is considered now as occupying an important place in fashion history: ‘Its customers were the real departure from the routine, for they were almost exclusively the new male dandies invented by the 1960s, a taboo-breaking mixture of social and rock aristocracy as never encountered before.’ (Richard Lester, Boutique London: Kings Road to Carnaby Street, 2010) (1) £70-100

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

86* Spitalfields. A small collection of Spitalfields silk fragments, mid to late 18th century, fourteen pieces of brocade, various floral patterns in a variety of colours and shapes, some taken from garments, occasional fading and light marks, some perished in places, largest 111 x 26cm (39.75 x 10.25ins), smallest 22 x 8cm (8.5 x 3ins), plus ten other fragments of fabric, including eight pieces of mid 19th century brocade, with a pattern of flowers including roses and sweetpeas, in shades of gold, green, white, and purple on a gold ground, some lined and/or with fringed edging, some wear (largest piece with several joins, and perished and frayed at edges), largest 149 x 139cm (58.75 x 54.75ins), smallest 25 x 15cm (10 x 6ins) ()

26

£200-300

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Lot 88

Lot 89

SILVER & JEWELLERY

89* Cigarette Box. A fine silver cigarette box, with engine turned enamel lid decorated with yellow fleur-de-lys, Birmingham 1954, 3.5 high x 14cm wide x 9.5cm deep, together with a small silver dish by Thomas Bradbury, London 1899, 11.5cm diameter, approximately 2oz, plus a Victorian silver and ivory page turner

91* Coral. Chinese jade Buddha pendant, with yellow metal suspension loop and ring, 2.5cm high, together with another similar, carved in red coral with yellow metal base, loop and ring, 3.5cm high, plus a coral necklace with 77 graduated facet cut bead and yellow metal clasp, 35cm drop

(3)

(3)

£100-150

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

93* Diamond Ring. Diamond solitaire ring, approximately 1.75cts, claw set in 18ct gold and platinum with two small illusion set diamonds to each side, size O, stone has inclusions (P2)

£200-300

88* Candlesticks. A pair silver Corinthian column candlesticks, by James Dixon & Sons, Sheffield 1964, each with detachable sconce, fluted column the square stepped bases engraved with initials and dated 1966, 29cm high, weighted (2)

92 Spare lot

£70-100

87* Bangle. 14K gold bangle, engraved with floral design, stamped 14K, approximately 22g (1)

£100-150

(1)

£200-300

Lot 91

27

£1000-1500

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Lot 94

Lot 95

94* Mixed Jewellery. Collection of 9ct gold, including rose gold bracelet formed as hoops and straight links, stamped 9ct ACC, 20cm long, 7 dress rings, bar brooch inset with garnet cabochon and other items, weighable items approximately 44g (11)

98* Salver. A George VI silver salver, by S. Blanckensee & Son Ltd, Birmingham, 1938, pie crust edge and presentation engraving on three knurl feet, 20.5cm diameter, approximately 11.5oz (1)

£80-120

£300-500

95* Mixed Jewellery. Victorian Scottish circular silver pebble brooch, with amber glass cairngorm to the centre surrounded by semi-precious stones, 5cm diameter, together with silver nurses buckle by J Gloster Ltd, Birmingham, 1911, amber and silver brooch and two timepieces, one with case engraved ‘GWR 0.1397’ (6)

£100-150

96* Mixed Silver. A Victorian silver pedestal basket, by James and William Deacon, Birmingham 1894, with shaped edge, swing handle, engraved with a family crest on pedestal base, 11.5cm long, approximately 2.8oz, together with 3 teaspoons, coffee spoon, 3 napkin rings and other items, weighable silver approximately 9oz (14)

97* Pendant. Art Nouveau yellow metal pendant, embossed with a female and stylised flowers enhanced with diamond chippings, incised with maker mark ‘G.B.’, hinged to reveal aperture for photograph, reverse with a mark (possibly test), stamped on the ring, 6m high, overall weight 24.5g (1)

£300-500

£70-100

99* Spoons. A set of six Art Deco silver coffee spoons by Alexander Clark & Co Ltd, London 1930, each with foliate enamel decoration in original case, some damage to the enamel (1)

£100-150

100* Vesta Case. Art Deco silver vesta case, with engine turned decoration and blue enamelled lines, German hallmark and stamped 900, with blue stone cabochon catch, 5cm long, together with a mixed collection of silver including an Indian white metal cigarette case, silver cigarette case, Birmingham 1928, and other items, weighable silver, approximately 5oz (10)

Lot 98 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

28

£70-100

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THE COLLECTION OF THE LATE ROBERT HARDY CBE FSA FHA Timothy Sidney Robert Hardy CBE FSA (1925-2017) was one of Britain’s most enduringly successful actors, with a career in theatre, film and television spanning seven decades.

His acting career was firmly rooted in Shakespearian and other classical theatre roles, working early in his career with the likes of Laurence Olivier, John Gielgud, Dorothy Tutin and Judi Dench. However, he will probably be best remembered as the explosive and overbearing Siegfried Farnon in the long-running television series ‘All Creatures Great and Small’, and his most critically acclaimed performance as the title role in ‘Winston Churchill: The Wilderness Years’ in 1981, for which he won a BAFTA. His portrayal of Britain's wartime leader was so accurately observed that he went on to play the great man on eight subsequent occasions. More recently he demonstrated his versatility by earning praise as the blinkered Ministry of Magic, Cornelius Fudge, in the Harry Potter films.

Robert Hardy was also a highly-regarded medieval military historian and expert on the longbow, an interest first developed when playing the part of Henry V. He published two important works on the subject: ‘Longbow: A Social and Military’ and ‘The Great Warbow’.

He was one of the experts consulted during the raising of the Mary Rose, and was Master of the Worshipful Company of Bowyers of the City of London from 1988 to 1990.

In 2015 Robert Hardy moved house and downsized his belongings quite considerably. He chose to entrust their sale to Dominic Winter Auctioneers, and a very successful sale was held which included books, furniture, paintings and theatre memorabilia. The actor was a true gentleman of the old school, and it was a pleasure to deal with him during the process of putting together the sale. And so it is with sadness that we now offer a second sale of items which belonged to Robert Hardy, a sale that has come about as a result of his death in August last year. We are honoured to be entrusted a second time and hope that our catalogue would have met with Robert Hardy’s approval.

103* Glassware. A collection of Georgian and later glass decanters, including a mallet shape decanter engraved ‘Madeira’, 24.5cm high with later associated stopper, together with an 18th century style glass with trumpet flute and air twist stem on plain foot, 16cm high, plus 7 modern blue glass wine glasses

101* Glassware. A collection of glassware, all engraved with the Hardy crest, comprising pair of decanters each with stopper, 4 larger stemmed wine glasses, 16cm high and 15 smaller 13cm high (21)

£100-150

102* Glassware. Mixed glassware, including 11 large stemmed wine glasses, 16cm high, 12 plain stemmed wine glasses, 15cm high, and other drinking glasses (28)

(19)

£30-50

29

£100-150

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104* Glassware. Mixed glassware, including large stemmed wine glass engraved with a pheasant and at the foot ‘The Shooting Party’, 17cm high, another engraved Lewes and East Grinstead Railway Company, ‘Presented to Robert Hardy 31.7.82’, 16.5cm high, a pair of tumblers engraved ‘Siegried Farnon, Skeldale House’ and ‘James Herriot, Skeldale House’, 9.5cm high, plus other glassware The British film ‘The Shooting Party’ directed by Alan Bridges and based on the book by Isabel Colegate was released in 1985. Set in 1913 it demonstrated the life contrast between English aristocrats, gathered for pheasant shooting and the local rural poor, who served as ‘beaters’. A terrible accident occured at the commencement of filming, where all the male lead actors, including Paul Scofield, Robert Hardy, Edward Fox & Rupert Frazer were thrown from a horsedrawn shooting-brake which had lost control and overturned. Rupert Frazer jumped off without great harm. The other actors were catapulted into a pile of scaffolding. Robert Hardy stood up and realised to his amazement that he was unhurt. He looked across to see Edward Fox stand up, “turn completely green and collapse in a heap”. He had broken five ribs and his shoulder-blade. He then noticed that Paul Scofield was lying very still on the ground, “and I saw that his shin-bone was sticking out through his trousers”. As the film took place in October due to the partridge-shooting season, the filmmakers had to make a choice to either delay filming for a year, or re-cast. James Mason was therefore subsituted to play Paul Scofield’s part to enable filming to continue.

(9) £70-100

105* Tumblers. A set of 8 cut glass tumblers, each engraved with the Hardy crest, 9cm high (8)

£30-50

106* Tumblers. A set of 8 cut glass tumblers, each engraved with the Hardy crest, 8.5cm high

Lot 108 108* Dinner Service. A part porcelain dinner service by Aynesley, comprising soup tureen and 2 smaller tureens each with cover and 9 dinner plates, 9 soup bowls and 9 side plates, all richly gilded with the Hardy crest, together with 2 similar Losal Ware tureens by Keeling & Co, Burslem, the dinner plates 26.5cm (32)

£100-150

Lot 110

109* Figurine. A porcelain shire horse by Hereford Fine Art, Limited Edition, the base stamped ‘7.5, 5/10/78’, on a wooden base, 31cm long (1)

£50-80

107* Tumblers. A set of 8 cut glass stemmed wine glasses, each engraved with the Hardy crest, 16cm high

110* Figurines. A pair of Herend porcelain cockerels, each finely painted with blue back stamp, 14cm high, together with a similar figure modelled as pair of ducks, 10cm long

(8)

(3)

(8)

£30-50

£30-50

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

£50-80

30

111* Figures. A pair of late 19th century Continental porcelain figures, modelled in the Meissen style as a young man with parrot in a cage and a maiden feeding chickens on rococo base, blue mark to base, 15cm high (both damaged) (2)

£50-80

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114* Figure. A resin figure of an archer, the wooden base with brass plaque engraved ‘English Longbow man, Circa 1460 (Wars of the Roses), No.0205 of 2950, 29cm high, together with two models of knights on horseback, one engraved ‘John Talbot, 1st Earl of Shrewsbury 1383-1453’ the other ‘Edward Plantagenet (The Black Prince 1300-1376), 16cm high, plus a model of a lancer on horseback (4)

112* Ancient Egypt. A bronze statuette representing the God Min (Amun-Kamutef, the bull of his mother), modelled standing with ceremonial headdress and flail, 21.5cm high, together with an ancient Assyrian style bronze horse bit

Lot 113

The God Min (Amun-Kamutef) 26th Dynasty (664-525 BC), symbolizes strength, virility and the ability to stay alive.

(2) £200-300

Provenance: R.A. Hattatt Collection (No.1823) Identified by the British Museum as an Alexandrian cast of about 200 B.C. and similar to the other terracotta heads of Socrates and also the famous marble head of Socrates in the Naples Museum. Socrates was charged in 399 B.C. for refusing to recognise the gods of the state and introducing other new gods and also for corrupting the youth. He was found guilty, but refused to have his sentence commuted to a heavy fine and was forced to drink hemlock.

The death of their master and guide inspired his followers, including Plato, with hatred for the democratic system.

(2) £200-300

115* Statues. A pair of composite statues of a Woodman of Arden and an archer from the Royal Company of Archers, by Peter Hicks of Seend, Wiltshire, made of cold cast bronze ‘Bresin’, each mounted on a circular wooden stand, 29cm high, together with another composite figure by Ballantynes of Walkerburn modelled as a sailor from HMS Submariner on a circular wooden stand, 39cm high, plus a composite figure of a nude female, 29cm high (4)

113* Bust. An Ancient Greek terracotta head of Socrates (from a statuette), circa 200.B.C., 4cm high on a modern wooden stand, 10cm high overall with supporting information

Lot 114

Lot 115 31

£50-80

£80-120

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Lot 117

Lot 116

116* Model Ship. A fine wooden model ship of HMS Victory, built to a high standard, mounted on a base with plaque stamped ‘HMS Victory: Vice Admiral Edition, This hand crafted model is mounted on oak and copper salvaged from HMS Victory during refit’, 39cm high x 45cm long (1)

£100-150

117* Model Ships. Three wooden model ships, including Royal Sovereign, finely built with three masts and figure on horseback ship head, 38cm high x 40cm long, presented on a stand with brass name plaque (3)

£100-150

118* Model Aircraft. A collection of model aircraft, including a fine carved wood Tiger Moth, with yellow and camouflage livery and 44cm wingspan, mounted on a base with brass plaque engraved ‘DeHavilland / RAF Tigermoth’, together with a Corgi Aviation Archive die cast model Spitfire, with 35cm wingspan on a curved metal base another Aviation Archive Fairy Swordfish with 19cm wingspan and hinged wings mounted on a stand, plus further Spitfires, etc

Lot 118

(7)

£200-300

119* Riding Crops. A collection of Edwardian riding crops, including Swaine & Adeney plus a taxidermic fox head and brush (8)

Lot 119

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

32

£100-200

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120* Knives. A collection of knives, including various hunting knives, a large bowie type knife, the 33.5cm straight clipped back steel blade stamped 'S.J. Stanley, hand forged, England' with carved walnut grip inset with steel, 45.5cm overall plus a French hunting horn and one other (12)

£50-80

Lot 120

121* Lamp. A modern brass desk lamp, with green glass shade, 36cm high, together with a brass table lamp on a circular base, 74cm high plus carved wood table lamp, 81cm high (3)

£100-150

122* Lamp. Victorian brass table lamp, of lobed form with square base, 63cm high (1)

£30-50

123* Cameras. A collection of cameras and binoculars, including Yashica-A camera in brown leather case, a modern Olympus camera, pair of Ross Solaross 12 x 40 binoculars in brown leather case, and other items (10)

£100-150

124* Mixed Collectables. Various items, including a leather duck with glass eyes, 37cm long, dimple glass ship in a bottle with a model ship “Loch Etive”, 21cm long, large ostrich egg, Victorian bronze effect dog, modelled with one paw raised, 8cm high, pair of Turkish leather work slippers, and other items

127* Dressing Table Set. Three piece silver dressing table set by Garrard & Co, London, comprising two brushes and hand mirror, all with engine turned decoration and engraved with family crest, the mirror 25cm long

(2 cartons)

128* Dressing Table Set. Victorian ivory dressing table set, comprising four brushes and shoehorn, each finely carved with nude children and inset with yellow metal family crest of a horse’s head erased and motto ‘In deo spes’ (my hope is within God) together with related items including an Victorian ivory glove stretchers

£50-100

125* South Sea Islands. Tapa cloth, traditionally painted with geometric patterns on brown ground, approximately 140 x 177cm (poor condition) (1)

£40-60

126* Coal Bucket. A Victorian copper helmet shape coal bucket, with hinged handle decorated with a shell motif, and a handle at the rear, 42cm long, together with a large Edwardian coal bin of cylindrical form with lions head swing handles on three brass paw feet, 41.5cm high x 37cm diameter, and other items (4)

(3)

£30-50

(12)

£50-100

Lot 127

Lot 128 33

£200-300

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129* Waistcoat. An embroidered silk waistcoat belonging to Sir William Pepperrell, early 18th century, hand-sewn cream silk gentleman’s waistcoat, the front with embroidered border around collar, down either side of opening, along lower front edge, and on pocket flaps, with embroidery on the eight buttons to match, comprising leaves, fronds, and rosebuds, along a connecting wavy line, finely handstitched in silk, in shades of yellow, red, brown, blue, green, and cream, using mainly tambour work and satin stitch, some faint discolouration or marks in places, backed with linen (toned), linen side panels on back expertly replaced and portion of lining to underarms renewed, silk lining of neck with some fraying, and that to inside lower edge of front a little threadbare in places, front length 68cm (27ins), back length 65cm (25.5ins), chest 110cm (43ins) Provenance: Sir William Pepperrell, 1st Baronet (1696-1759); thence by descent to his greatgreat-great grandson, Robert Hardy. Pepperrell was a statesman, merchant, and soldier, who was born to English settlers in colonial Massachusetts. In 1757 Pepperrell served briefly as Acting Governor of Massachusetts. However, he is chiefly remembered for organizing, financing, and leading the 1745 expedition that captured the French garrison at Fortress Louisbourg during King George’s War, for which he became known as “the hero of Louisburg”.

The waistcoat survives in unusually bright condition; Robert Hardy had the restoration work carried out, and on occasion he did wear his ancestor’s garment.

(1) £700-1000

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

34

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Lot 132 130* Walking Sticks. Collection of walking sticks and umbrellas, including a stick made from a yew wood longbow with rounded knop, 84cm long, plus an Indian white metal top stick with Malacca shaft and nickel ferrule, 90.5cm long (12)

131* Jardiniere. A Japanese bronze jardinière, Meiji Period (1868-1912), relief decorated with birds on vines on a deep foot, the base with a multi character mark, 25cm high (1)

£200-300

£30-50

132* Coat of Arms. A pair of 18th century style wooden coat of arms, painted with the arms of Johannes Ludford Anno 1772 and Sam. Bracebridge Arm Anno 1731, 25cm high, together with a wooden letter opener carved with the Hardy family coat of arms and initials RH, 33cm long, plus a wax printing block or butter patter carved with an 18th century figure on horseback and initials ‘KV’ (4)

£100-150

133* Finials. A pair of carved wood armorial crest finials by L.M. Rendall for the Hardy & Dugdale families, carved as a griffin head and lion head, polychrome painted, 38cm high

134* Finials. A pair of small carved wood finial crests for the Hardy and Dugdale families, by L.M. Rendall, carved as a griffin head and lion head, 17.5cm high These were commissioned by Robert Hardy from L.M. Rendall (unsigned) when he lived in Upper Bolney, Henley-On-Thames, Oxfordshire.

L.M. Rendall also produced a large pair of carved hand painted crest finials (see lot 133) and a large Battle of Agincourt carved wood and painted diorama for Robert Hardy (Lot 164, Dominic Winter, 18 April 2015).

(2) £150-200

135* Woodware. Mixed collection of woodware, including a pair of Florentine gesso style wall brackets, 23cm long, a Victorian walnut work box, the hinged lid with recessed brass handle, hinged fall to the front enclosing a secret drawer, 16cm high x 30cm wide x 23cm deep, Edwardian aneroid barometer, and other items (a carton)

£50-100

These were commissioned by Robert Hardy from L.M. Rendall (unsigned). They were originally placed on the gate piers to his house at Upper Bolney, Henley-On-Thames, Oxfordshire in the 1990s. L.M. Rendall also produced a small pair of carved crest finials (see lot 134) and a large Battle of Agincourt carved wood and painted diorama for Robert Hardy (Lot 164, Dominic Winter, 18 April 2015).

(2) £300-500

Lot 131

Lot 133

Lot 134 35

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Robert Hardy as Siegfried Farnon

136* All Creatures Great and Small. The original brass name plaque ‘S. Farnon M.R.C.V.S’ which was attached to the railings of the fictional veterinary practice Skeldale House in the BBC television series All Creatures Great and Small, televised 1978-1990, engraved brass name plaque with letters infilled in black (some chipping of paint), screwed to brown painted wooden back board with brass screw to each corner, plaque dimensions 10 x 30cm (4 x 12ins), overall dimensions 128 x 330mm (5 x 13ins) The eccentric character of veterinary surgeon Siegfried Farnon was played by Robert Hardy in the long running television classic, All Creatures Great and Small, based on the books by James Herriot (Alf White). The frolicking tales of veterinary life in the Yorkshire Dales became a series for the BBC, transporting Hardy from respected actor to household name, alongside Christopher Timothy as James Herriot, Peter Davison as Tristan, Siegfried’s ‘little brother’, Carol Drinkwater and Linda Bellingham, both of whom played Helen Herriot. The plaque was attached to the railings in front of Skeldale House surgery, and exterior scenes of the surgery became a centre piece of the series. Many of the scenes were filmed on location in the Yorkshire Dales, with the village of Askrigg being the fictional town of Darrowby.

(1) £700-1000

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

36

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137* Basket. A George III silver basket by Henry Chawner, London 1790, of pedestal form with swing handle and shield crest to one side and plumes surmounted by bird to the other under a border of stylised dots, approximately 8.4oz

140* Candelabras. A pair of Edwardian silver plated three branch candelabras, each with central urn shaped snuffer, detachable sconces stepped circular base, engraved with the Hardy crest and motto ‘Fear one’, 52cm high (one with loose base)

(1)

(2)

£150-200

138* Beaker. Silver conical shape beaker

by Spink & Sons, London 1977, finely engraved with the coat of arms of the Worshipful Company of Bowyers with motto beneath ‘Crecy Poitiers Agincourt’, the base engraved ‘T.S. Hardy 22.7.1971’, 9cm high, 7oz

£300-500

141* Candlesticks. Pair of silver and gilt candlesticks by Garrard & Co, London 1978, one modelled as a lion the other a unicorn, engraved ‘1952, The Queen’s Silver Jubilee, 1977’, limited edition 101/250, 18cm high, 31.5oz (2)

£300-500

Robert Hardy was Master of the Worshipful Company of Bowyers 1990-1992. He was also a member of the Royal Toxophilite Society, the British Longbow Club, and the Woodmen of Arden.

(1) £100-150

Lot 137

139* Bottle Coasters. A modern pair of silver bottle coasters by Garrard & Co, London 1978, each engraved with the Dugdale family crest (Robert Hardy’s maternal side) and with turned mahogany base, 14cm diameter (1)

142* Card Tray. A George III silver card tray by Henry Chawner, London 1790, of navette form centrally engraved with shield crest in a border of stylised dots on four outsplayed supports, 17cm wide, approximately 4oz (1)

£150-200

£150-200

Lot 138

Lot 141

Lot 140

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Lot 143

Lot 144

143* Coin. Ancient Greek silver coin, circa 400-350 B.C., obv. head of Athena, rev. bull facing right with wreath, 23mm diameter, in a later white metal mount and silvered chain (1)

147* Commemorative Medal. A brass commemorative medal Presented by ATV Network to commemorate the transmission of Edward the Seventh, April 1975, of cast brass, resembling the Coronation medal of King Edward VII and Queen Alexandra by Emil Fuchs 1901, with the obverse depicting the King and Queen head & shoulder portrait in profile and surrounding caption ‘Helen Ryan as Alexandra, Timothy West as Edward VII’, the reverse with presentation text and date, diameter 55mm, contained in yellow cloth pouch with draw string

£100-150

144* Groat. Henry V hammered silver groat, worn, together with a William IV silver sixpence mounted in a gilt metal pendant, reverse in raised letter ‘Lyceum One Shilling Gallery’ The Lyceum Theatre was opened in the West End of London in 1834.

(2) £70-100

146* Sovereign. Victoria Sovereign 1887, rev. George & Dragon, 8g, traces of mount at 12 o’ clock (1)

Robert Hardy portrayed Prince Albert in the award-winning 13 hour television drama serial ‘Edward the Seventh,’ made by ATV, 1975 (episodes 1-4). The series was known as ‘Edward the King’ to the American audience. He regarded his performance as one of his best. “I thought I’d done a good job there, although I believe the Royal Family didn’t like it all. There are always people who don’t like what one does.” (All Memories Great & Small, Oliver Crocker, 2016). For a related painting of Robert Hardy as Prince Albert please refer to lot 229.

(1) £80-120

£150-200

145* Guinea. George III Guinea 1777, fourth laureate bust, rev. crowned shield of arms, 8.1g (1)

£300-400

Lot 147 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

38

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150* Hip Flask. A Victorian silver and glass hip flask by William Gibson & John Langman, London 1895, retailed by Goldsmiths & Co, with silver bayonet fitting cap, cut glass flask and silver stirrup cup engraved with family crest of a falcon and motto ‘Virtue non Verbis’ (Deeds not Words), 18cm high, weighable silver approximately 3.5oz (1)

£100-150

151* Lamp. Victorian silver plated coaching lamp, the hinged cover finely engraved with family crest of a lion’s head and motto ‘Gods Providence is Mine Inheritance’, with burner beneath and adjustable stand, 21cm long (1)

148* Cream Jug. George III silver helmet shape cream jug, by Henry Chawner, London 1789, engraved with shield crest to one side and plumes surmounted by bird to the other under a border of stylised dots, 14.5cm high, 4.5oz (1)

£200-300

Lot 150

152* Letter Opener. Victorian novelty letter opener in the form of an oar, by George John Richards and Edward Charles Brown, London 186, engraved ‘A.O. Hardy. 4’, 23.5cm long

£50-80

149* Cup. Edwardian pewter twin handle cup, engraved ‘C.C.C. Challenge Fours, 1908’ engraved with the winning crew including R.W. Dugdale, with glass bottom, 14.5cm high, together with related items including an 8-day timepiece, engraved ‘M.H.D. Oct 1st 1925-Jan 1st 1926, Timothy Oct 29th 1925’

Arthur Octavius Hardy (1838-1910) was Robert Hardy’s grandfather. After teaching at Wellington College in England 1861-1865, he joined the Bengal Ecclesiastical Establishment for a long period from 1865-1886 and in his diaries, covering 1865-1872, he describes his travels and duties as chaplain to two Bishops of Calcutta.

See lot 187.

(1) £60-80

Timothy Sydney Robert Hardy was born on 29 October 1925.

(4) £80-120

Lot 151

153* Mixed Collectables. An Edwardian pewter stirrup flask in the form of a hunting horn by James Dixon & Sons, Sheffield, with screw cover, 21.5cm long in its brown leather case, together with a plated sandwich tin by Swaine & Briggs, London, 13cm long, plus related items (5)

£70-100

Lot 149 Lot 153

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154* Mixed Silver. Various items, including six silver and rosewood coasters, stamped ‘Sterling’, 9.5cm diameter, egg cup and stand with spoon by Harry Atkin, Sheffield 1929, 12cm diameter, cigarette box engraved with a rampant lion family crest and other items, weighable silver approx. 9oz (12)

£80-120

155* Mixed Silver. Mixed silver, including a Victorian tapered spirit flask, embossed with rural scenes, the screw cap engraved and dated 1887, 26.6cm long, together with George III silver and mother of pearl folding fork, Continental silver cigarette box, probably Dutch, and other items (5)

£80-120

156* Mixed Silver. Mixed silver, including a glass dressing table jar with silver top engraved with the initial ‘G’ (Gladys Cooper?), together with silver cigarette box, nail buffer and other items, many with the initials of Gladys Cooper

Lot 154

The actress Dame Gladys Constance Cooper (1888-1971) was Robert Hardy’s mother-in-law by his second marriage.

(6) £80-120

Lot 155

157* Mug. Silver mug by Garrard & Co, London 1976, engraved with the Hardy family crest and ‘T.S.R.H. Royal Tox’ (Timothy Sydney Robert Hardy, Royal Toxophilite Society), 12cm high, 17.5oz Robert Hardy was a member of the Royal Toxophilite Society, the British Longbow Club, the Woodmen of Arden and he was also Master of the Worshipful Company of Bowyers 1990-1992.

(1) £200-300

158* Plated Ware. Various items, including an Edwardian large oval gallery tray, 58cm long, a Georgian wine funnel with shell thumb-piece, various King’s and Fiddle pattern flatware many engraved with family crest, and other items (a carton)

Lot 156 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

40

£50-100

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Lot 159

Lot 159

159* Presentation Cup. An extremely fine silver gilt presentation cup and cover by Richard Comyns, London 1929, the cover with a figural finial surmounting monopodium serpents, profusely decorated with grapes and vine, the conforming base, 51cm high, approximately 81oz, mounted on an ebonised base with original wooden box with brass carrying handle and key, 62cm high (1)

£1500-2000

160* Quaich. A George VI silver Quaich of typical form, London 1946, Maker’s mark worn, engraved ‘W.G.A. from two WGMs 29 October 2005’ 18cm wide, approximately 5.8oz (1)

£50-80

Lot 160 41

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168* Pendant. A Georgian pendant, with oval mother of pearl plaque finely painted with a courting couple set within a border of paste stones and bow suspension, 5cm long (some damage and loss of stones) (1)

161* Ring. 18ct gold signet ring, with intaglio Hardy crest, size N, approx.23g, in Garrard box (1)

£400-600

£50-80

165* Ring. 18ct gold signet ring, set with lapis lazuli intaglio seal carved with Hardy and Dugdale crests, size K, 14.3g gross weight (1)

£200-300

169* Brooch. A yellow metal bar brooch, 1920s, with foxes head set with ruby eyes on a riding crop, makers mark A&W, 6.5g gross weight, 6.5cm long in an Asprey box (1)

162* Ring. Yellow metal gents ring, the seal setting inset with a yellow citrine carved with classical male profile, size U, 12g gross weight (1)

£100-150

£70-100

166* Ring. 14ct gold ring, formed with intaglio crests of the Hardy & Dugdale families, size L/M, 10.5g (1)

£120-180

167* Mixed Jewellery. Yellow metal gents signet ring, set with a carnelian seal carved with family crest, size R, together with a pair of Sterling silver cufflinks with intaglio family crest, plus 4 tie pins including yellow metal and pearl one and Victorian vulcanite cameo pendant (7)

170* Snaffle Stock Pin. Edwardian 9ct gold snaffle stock pin, formed as a horseshoe set with 13 pearls on horse bit, stamped 9ct, 4cm long, overall weight 9g (1)

£100-150

£70-100

163* Ring. 9ct gold ring, formed as 4 bands with intaglio crests of the Hardy & Dugdale families, size U/V, 10.6g in Garrard box (1)

£70-100

164* Wedding Band. Yellow metal gents wedding band, engraved with stars, size L, 8.7g (1)

Lot 168

£70-100

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

42

Lot 167

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171* Mixed Collectables. Various items, including a micro mosaic panel decorated as a classical ruin set in white metal mount, 3cm long, Saint Christopher sterling silver keyring, reverse engraved To Jan Sterling from Paramount “My Favorite Spy Premiere’ Nov 27-28 1951, and other items (6)

£100-150

Lot 171

172* Vinaigrette. George III silver vinaigrette by Phipps & Robinson, London 1800, of rectangular form engraved with chequered engraving throughout, gilt metal grille, 4cm long, 1oz (1)

£100-150

173* Salt. George III silver salt, London 1800, maker’s mark worn, gilded interior, engraved with a family coat of arms (including quartering of the Ludford family), with two rams head handles on four ball feet, 8.5cm wide 3oz (1)

£80-120

174* Salver. A George V silver salver by Richard Burbidge, London 1916, retailed by Harrods, London, with shaped edge, engraved with the Hardy & Dugdale family crests, on three cabriole supports, 26cm diameter, approximately 19oz (1)

175* Soup Ladle. George III silver soup ladle, London 1800, maker’s mark worn, plain form engraved with Hardy crest and motto ‘Fear one’, 34cm long, 5.5oz (1)

£70-100

£150-200

176* Spoons. Mixed collection of silver spoons, including an 18th century sifter spoon engraved with family crest, six George III fiddle pattern dessert spoons, six Victorian fiddle pattern teaspoons and other spoons, overall weight 26oz

Lot 173

(25)

Lot 174

£150-200

Lot 176

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Lot 178

Lot 180 179* Teapot. George IV silver ogee teapot

by Emes & Barnard I, London 1822, with gadrooned edge, acanthus spout and engraved with the Hardy crest and motto ‘Fear one’, 28cm long, 21.5oz (1)

£200-300

180* Coffee Pot. An Edwardian silver plated coffee pot, of cylindrical form, engraved with the Hardy crest and motto ‘Fear one’ within swags and festoons, with fruitwood handle and long straight spout, 21cm high, together with a silver plated oval tray engraved with in the same style, on four splayed supports, 35cm long (2)

£70-100

177* Spirit Kettle. A Victorian silver plated spirit kettle on stand, the kettle with ivory handle and engraved with the Hardy crest and motto ‘Fear one’, the stand with burner on three splayed supports with ball feet, 30cm high (2)

£100-150

178* Tea Set. Edwardian silver three-piece batchelor’s tea set, by Harry Atkin, Sheffield 1907, each with half gadrooned decoration, the teapot, 23cm long 22.5oz (1)

£150-200

181* Wristwatch. 18ct gold gent’s chronometer wristwatch by GirardPerregaux, with silvered dial and gold battons, 35mm diameter on a black leather strap (non-running) (1)

£200-300

Edith Jocelyn Hardy (née Dugdale, 1893-1977) was Robert Hardy’s mother.

(1) £1000-1500

Lot 179

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

182* Pocket Watch. A gold open face pocket watch by Baume & Mercier, Geneve, with silvered dial, the gold case engraved with the Hardy and Dugdale crests on a 18ct gold watch chain with T-bar and 9ct gold locket containing a photo portrait of a lady and clipped signature ‘Edith’ in blue paper, overall weight including movement approx.

93g, with original case

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Lot 184

184* Barometer. A Victorian pocket barometer by J. Hicks, London, the 45mm circular silvered dial with blued steel hand, No.9429, brass base and red leather outer case (1)

£150-200

185* Carriage Clock. A 20th century brass carriage clock, the white enamel dial with black roman numerals, platform escapement and hinged carrying handle, 17cm high (1)

183* Pocket Watch. Victorian 18ct gold open face pocket watch by Dent, London, the white enamel dial with black roman numeral and subsidiary seconds dial, the case with single side button and engraved with the initials HHH, the inner case engraved ‘Presented to The Revd Henry Haistwell Hardy M.A. by Parishioners and friends on his resignation of the Rectory of Michel Dean after 11 years Ministry 1890’, overall weight including movement 102g (1)

£50-80

186* Mantel Clock. An Edwardian mantel clock, the silvered dial with chapter ring and black roman numerals, two winding holes and two dials for speed regulation and chime / silent, the mahogany case with three glass panels and cloth covered door to the rear, the brass movement stamped ‘W&H SCH 5’, 26cm high x 20cm wide x 18cm deep, with key and pendulum (1)

187* Mantel Clock. A 19th century Belgian slate clock, of architectural form, the copper dial with black chapter ring and gilt engraved roman numerals, flanked by bronze classical figures within fluted columns, on block plinth with brass plaque inscribed “Presented to the Revd. A.O. Hardy MA, by the Parishioners of Ansley, Warwickshire, as a mark of Affectionate regard on the occasion of his leaving the Parish, J.T. Jenkinson [&] J. Alkins, Churchwardens, Jany. 19th, 1887”, 32.5cm high x 42cm wide The Rev. Arthur Octavius Hardy (1838-1910) was Robert Hardy’s grandfather. After teaching at Wellington College in England 1861-1865, he joined the Bengal Ecclesiastical Establishment for a long period from 1865-1886 and in his diaries, covering 1865-1872, he describes his travels and duties as chaplain to two Bishops of Calcutta. The clock is not working and lacks pendulum. It would benefit from restoration.

See lot 152 (1) £50-80

£200-300

£300-500

Lot 185 Lot 186 45

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188* Churchill (Winston S.). Silver photo frame by Kitney & Co., London, 2003, with engraved initials W.S.C., containing reproduction half-tone photograph of Winston Churchill seated in his study at Chartwell (National Trust reproduction photograph from an original by Harold David John Cole FRPS, copyright 2008), frame dimensions 30 x 25cm (12 x 10ins), together with a commemorative centenary plate, small reconstituted marble bust of Churchill, 18.5cm high (7.25ins), plus other related items including a printed canvas portrait of Churchill and watercolour portrait of Robert Hardy as Churchill in the television drama series the Wilderness Years (9)

£150-200

189* Churchill (Winston S.). A head & shoulders bust of Winston Churchill, by K. Lee, 1979, composite casting of Churchill wearing trademark bow tie, rich umber patina, 21.5cm (8.5ins) high Sometimes used by Robert Hardy as a very effective doorstop.

(1) £70-100

190* Churchill (Winston S., 1874-1965). A Stetson hat formerly owned by Sir Winston Churchill, of cream tan felt with grosgrain ribbon outer band, the initials 'WSC' to inside leather band written in ink by Robert Hardy, few very minor specks but generally in excellent condition According to Celia Sandys (Churchill's Granddaughter) this hat was given to Robert Hardy by a close family member of Winston Churchill.

Winston Churchill was renowned for his hats and once wrote a humorous essay on the subject. In this he remarked that as he did not have a distinctive hairstyle, spectacles, or facial hair like other famous statesmen, cartoonists and photographers of the day, he focused instead on his love of headgear.

Churchill wore a number of styles of hat, from top hats to bowler hats, but he is probably most famous for his stetson homburg. Robert Hardy often wore this particular hat at special events and lectures etc.

(1) £3000-5000

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

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Lot 191 Robert Hardy wearing Churchill bow tie, Hillsdale College, Michigan, October 2015

191* Churchill (Winston S., 1874-1965).

A navy and white spotted bow tie formerly owned and worn by Sir Winston Churchill, some discolouration and edge fraying The navy and white spotted bow tie inadvertently became Sir Winston Churchill’s sartorial trademark. Robert Hardy also wore this particular bow tie on various occasions. One of the most recent being at Hillsdale College, Michigan, USA, in October 2015 whilst speaking at a Churchill Project Seminar. During the lecture he recalled his efforts “climbing Everest,” as he described his role as Churchill: “In attempting to approximate the man who saved us all... I never reached the summit, but I think there were occasions when I was able somehow to gaze upwards toward the towering peaks.”

(1) £400-600

Lot 192

192* Churchill (Winston S.). Winston S. Churchill. His Memoirs and his Speeches 1918 to 1945, Decca Record Company, 1964, collection of 12 LP records together with original booklet by Arthur Bryant, housed together in original box, together with Jack Le Vien’s Production of The Finest Hours, original sound track, Distributed by Columbria Pictures, Philips, 1964, two LP records, with original booklet, and later gift letter from a Miss Miles to Robert Hardy, housed in original box, plus Richard Burton, A Personal Anthology, Decca Record Company, 1978, LP record in original sleeve The set of 12 LPs of Churchill’s memoirs and speeches was used by Robert Hardy during his preparation for playing the part of Winston Churchill in the 8 part television drama series ‘The Wilderness Years’ made by Southern Television (on a budget of £3¼ million) and originally broadcast on ITV. He was nominated for a BAFTA award for Best Actor.

(3) £100-150

Lot 193

47

193* Churchill (Winston S.). A late 19th/ early 20th century style green velvet rugby or football cap, with gold braid trim and tassel, believed to have been a prop used in the television drama series “Winston Churchill: The Wilderness Years”, 1981, in which Robert Hardy played the lead role, stitched-in label with ink signature ‘Winston S. Churchill’ in Robert Hardy’s own hand, few minor speck marks, generally in very good condition, plus a colour photograph of a desert landscape captioned in pencil to lower margin in pencil, On Location “Winston Churchill The Wilderness Years” Monument Valley Utah - May 1981, image dimensions 17.5 x 30cm (7 x 12ins), framed and glazed The 8 part television drama series ‘The Wilderness Years’ made by Southern Television (on a budget of £3¼ million) was originally broadcast on ITV. Robert Hardy was nominated for a BAFTA award for Best Actor. Initially inorder to perfect the voice of Churchill, Robert Hardy had a dental plate made. Whilst on location in Monument Valley, Utah Robert placed his special plate on a table during a break in filming.

Unfortunately it was snatched by a wild dog and never seen again. From there on he managed to master the speech technique unaided.

(2) £200-300

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194* Hardy (Robert, 1925-2017). A collection of various award certificates presented to Robert Hardy, 1981-2012, including Broadcasting Press Guild Television Awards 1981 (presented 1982)- Best Actor: for his portrayal of Winston Churchill in “Winston Churchill The Wilderness Years” for Southern Television; The State of Georgia Governor appointing Robert Hardy Lieutenant Colonel, Aide De Camp, Governor’s Staff, 1987; Certificate of Commendation... in Recognition of ... Dedication, Commitment, and Hard Work in Advancing the Goals and Work of the International Churchill Society, San Francisco, August 18, 1990; Best Abridged Modern Fiction Awarded to Robert Hardy for Master and Commander (by Patrick O’Brian) Presented by Talking Business, 1995; BBC Television Auntie’s All Time Greats Certificate for outstanding achievement in the category of Favourite Actor, 1996, all framed and glazed, plus The Blenheim Award 1987, Presented by the International Churchill Society to Robert Hardy, C.B.E. for outstanding effort in preserving the heroic memory of the Rt. Hon. Sir Winston S. Churchill, K.G., black plastic award with inset gold coloured cast metal medallion depicting portrait of Churchill (5cm diameter), award approximately 14.5cm high, together with printed certificate, framed & glazed, plus a carved pine plaque (by Frances Perry) presented by members of the Towton Battlefield Society for loyal & valued support, Palm Sunday, 2012, with hand-painted image of an archer, 22 x 19.5cm (8.75 x 7.75ins) (8)

£200-300

195* Sword. William IV officer’s sword, the 78.5cm slightly curved piped back blade etched ‘Aucade, 51 Oxford St, Maker to H.R.H. Duke of Sussex’, with Wm IV crowned cypher to each side, gilt metal hilt with folding guard, wire-bound fish-skin grip and stepped pommel, 93cm long overall with sword knot but lacking scabbard (1)

Lot 195

196* Sword. Sudanese Kaskara, the 86cm double edge blade with four armours marks, cruciform cross guard and leather cord bound grip, 99cm long overall (1)

£100-150

£100-120

Lot 196

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

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197* Sword. The Henry V sword, replica of this famous Medieval sword, the 72cm double edge blade with curved down swept cross guard, copper wire bound grip and large pommel painted with a red cross, 90cm long overall, in its red leather covered scabbard with brass mounts This replica of the Henry V sword was used by Robert Hardy when he played Henry V in the 1960 television drama series An Age Of Kings, a highly acclaimed threading together of Shakespeare’s history plays. Hardy played both Prince Hal and then the young king. Amongst a rich cast, Hal’s fiery foil, Hotspur was played by Sean Connery, and the French princess, ‘Kate’,

by Judi Dench-the courting scenes between the young king and his future consort flirtatiously delightful. After the success of the series Hardy was given the sword. He used it again when performing on stage a few years later. The original sword is held within the Westminster Abbey collection, it was lost for years and discovered in a chest at Westminster Abbey. It was supposedly hung above the chantry of Henry V. (1) £400-600

Radio Times

Lot 197

Lot 197

198* Hardy (Robert, 1925-2017). A display of 42 small monotone screen shot stills taken from “An Age of Kings”, the television adaptation of the eight sequential history plays of William Shakespeare (Richard II, 1 Henry IV, 2 Henry IV, Henry V, 1 Henry VI, 2 Henry VI, 3 Henry VI and Richard III), produced by the BBC in 1960, showing mostly close-up shots of Robert Hardy as Henry, Prince of Wales (& later Henry V), including many illustrating his vast range of facial expressions, also seven with Judi Dench as Katherine of Valois and one with Sean Connery as Sir Henry Percy (Hotspur), each still approximately 5 x 6.5cm, all neatly displayed together to form one 7 x 6 group of images, overall size 30.3 x 46cm (12 x 18ins), framed and glazed An Age of Kings was a fifteen-part serial adaptation of the eight sequential history plays of William Shakespeare (Richard II, 1 Henry IV, 2 Henry IV, Henry V, 1 Henry VI, 2 Henry VI, 3 Henry VI and Richard III), produced by the BBC in 1960 (Peter Dews was the producer and director). At the time it was the most conceptually ambitious Shakespearean television adaptation ever made, being a critical and commercial success in both the UK and the US. The majority of the cast were sourced from The Old Vic. It contained over 600 speaking roles, and required thirty weeks of rehearsal prior to performance.

(1) £200-300

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199* Longbow. Early 19th century Yew wood longbow, stamped ‘52’, with bone and ivory nocks, the latter a replacement, 189cm long (1)

£300-400

200* Longbow. Yew wood longbow, inscribed ‘Bickerstaffe’, additionally inscribed ‘43#@28”, 28”Max’ with horn nocks, 178cm long (1)

£300-400

201* Longbow. Yew wood longbow, stamped ‘Aldred, London’, additionally stamped ‘55, 48’, with horn nocks, inlaid with mother of pearl panel, 190cm long (1)

£300-400

202* Longbow. Yew wood longbow, stamped ‘Purl, London’, additionally stamped ‘27, 25’, inlaid with horn nocks, inlaid with mother of pearl panel, 170cm long, sold with canvas bag to accommodate 4 longbows (1)

£300-400

Lot 199

Lot 200

Lot 201

Lot 202

203* Arrow Heads. Collection of ancient arrow heads, bronze and flint, including a handwritten note relating to Chinese Ming dynasty arrow heads, together with a silver arrow head with slip of paper stamped ‘Sandon Hall, October A.D. 2007, Presented to Robert Hardy for Merit, Sculptured by S. Stanley, Hallmarked Silver Bodkin Finsbury Archers, 5.5cm long (22)

£70-100

204* Arrows. Collection of longbow target arrows, including a set of six by John Cave, Ludlow, 73cm long, all with feather fletchings (43)

£30-50

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

Lot 203

50

Lot 206

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210* Longbow. Yew wood longbow by Stuart Homer, Cheltenham, dated 1976, additionally inscribed ‘48’ ‘28’, with horn nocks, approximately 180cm long (1)

£300-400

211 Thompson (Maurice). The Witchery of Archery: A Complete Manual of Archery.

With many Chapters of Adventures by Field and Flood, and an Appendix containing Practical Directions for the Manufacture and use of Archery Implements, 1st edition, New York: Charles Scribner’s Sons, 1878, wood engraved frontispiece and few illustrations, toning throughout, final leaf and endpapers with blind embossed ownership stamp of Wm. C. Fitch, Counsellor, 64 Pearl St. cor Seneca, Buffalo, N.Y., book seller’s labels to lower pastedown, upper hinge split, original cloth, slightly rubbed to extremities, 8vo, together with Hardy (Robert), Longbow, A Social and Military History, 5th edition, 2011, colour and monotone illustrations, original boards in dust-jacket, 4to, plus the 1st edition paperback of the same title, published 1986, and other archery related including four issues of the Journal of the Society of Archer-Antiquaries The first title is an uncommon volume.

(9) £100-200

Lot 207

Lot 208

Lot 210

Lot 209

205* Arrows. Collection of longbow target arrows, including some spare shafts, plus a brass presentation arrow engraved ‘Tim, a well shot three score 1985, love John Rosemary & Jonathan’, 88cm long

208* Longbow. Yew wood longbow, inscribed ‘Stuart Homer 1977 Odstock’, additionally inscribed ‘50, 28,1028’, with horn nocks and inlaid with mother of pearl panel, 168cm long

(49)

(1)

£30-50

206* Longbow. Snape wood ‘Ladies’ longbow, with tightly bound repair and horn nocks, 160.5cm, with velvet bag (1)

£300-400

207* Longbow. Yew wood longbow, stamped ‘Muir, Edinburgh’, additionally stamped ‘47’, with painted collection number ‘44’, with horn nocks and inlaid with mother of pearl panel, 186cm long (1)

£300-400

£300-400

209* Longbow. Yew wood longbow, inscribed ‘Keasey - Ullrick 6,65’, additionally inscribed ‘28”, 55lb’, with horn nocks, inlaid with mother of pearl panel, 187cm long, sold with canvas bag (1)

£300-400

212 Mary Rose. The Mary Rose. The Excavation and Rising of Henry VIII’s Flagship, by Margaret Rule, 2nd edition, 1983, colour and monotone illustrations and diagrams, title inscribed “For Tim [i.e.

Robert Hardy], with every good wish - I’m so sorry that our archer is still struggling against all those kilo newtons - perhaps that’s why he has a deformed spine!

Margaret Rule”, original boards in dust jacket, 4to, together with Mary Rose: Your Noblest Shippe, Anatomy of a Tudor Warship, edited by Peter Marsden, 2009; Weapons of Warre: The Armaments of the Mary Rose, edited by Alexzandra Hildred, parts 1 & 2, 2011; Before the Mast: Life and Death Aboard the Mary Rose, edited by Julie Gardiner with Michael J. Allen, 2005; and For Future Generations, Conservation of a Tudor Maritime Collection, edited by Mark Jones, 2011, together forming volumes 2-5 of the Archaeology of the Mary Rose series, published by Oxbow Books, numerous diagrams and illustrations (some folding), original boards and limp wrappers, folio, together with a duplicate of Weapons of Warfare part 1 and Raising the Dead, The Skeleton Crew of Henry VIII’s Great Ship, the Mary Rose,

by A.J. Stirland, 2000, monotone diagrams and illustrations, numerous annotations and markings by Robert Hardy, original pictorial boards, 8vo (8)

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£80-120

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214 Shakespeare (William). The First Folio of Shakespeare, Based on Folios in the Folger Shakespeare Library Collection (The Norton Facsimile), prepared by Charlton Hinman, 2nd edition, with a new introduction by Peter W.M. Blayney, W.W. Norton & Company, 1996, facsimile text, original quarter maroon faux morocco gilt, with pictorial cloth sidings, folio, together with William Shakespeare, The Complete Plays, 6 volumes, 2nd impression, Folio Society, 1990, original maroon buckram backed printed boards, 8vo, with The Complete Concordance to Shakspeare: being a Verbal Index to all the Passages in the Dramatic Works of the Poet, by Mrs Cowden Clarke, new & revised edition, circa 1850, endpapers replaced, original cloth, rebacked preserving original spine, large 8vo, plus other Shakespeare related (11)

215 Sandys (Celia). Chasing Churchill, The Travels of Winston Churchill by his Granddaughter, 1st edition, 2003, colour and monotone plates, title inscribed to Robert Hardy “My darling Tim with much love Celia, 8th April 2003,” original boards in dust jacket, 8vo, together with Lough (David), No More Champagne, Churchill and His Money, 1st edition, 2015, monotone plates, title inscribed to Robery Hardy by the author, original boards in dust jacket, 8vo, with Arnn (Larry P.), Churchill’s Trial, Winston Churchill and the Salvation of Free Government, 1st edition, Nashville, Tennessee: Nelson Books, 2015, title inscribed to Robert Hardy, original boards in dust jacket, 8vo, plus others including Churchill and World War II related, including a few volumes with annotations and markings in Robert Hardy’s hand

213 Nicolas (Sir Harris). History of the Battle of Agincourt, and of the Expedition of Henry the Fifth into France, in 1415; to which is added, the Roll of the Men at Arms, in the English Army, 2nd edition, 1832, half-title, colour lithograph frontispiece, five lithograph plans & maps including 3 folding (3 hand-coloured, 1 printed in colours), wood engraved portrait on thin paper, occasional scattered spotting, all edges gilt, modern green full morocco gilt by Hatchards, spine & upper edge of boards slightly sunned, large 8vo, together with Monstrelet (Enguerran de), The Chronicles of Enguerrand de Monstrelet; containing an account of the cruel Civil Wars between the Houses of Orleans and Burgundy; of the possession of Paris and Normandy by the English..., translated by Thomas Johnes, volume 4 only (of 13), 1810, half-title, scattered spotting throughout, top edge gilt, modern green full morocco gilt by Hatchards, 8vo, with Hardy (Robert), Le Grand Arc, Histoire militaire et sociale des archers, Adaptation francaise de Robert Foehrle, Edité par Edita Denoël, Lausanne, 1977, monotone and colour plates and illustrations, all edges gilt, modern green full morocco gilt by Sangorski & Sutcliffe, gilt embossed Hardy crest to centre of upper board, 4to, with Bacquet (Gérard), Azincourt, G. Bacquet, 1977, colour and monotone plates and illustrations, original pictorial covers bound-in, all edges gilt, modern light brown/tan full morocco gilt by Sangorski & Sutcliffe, gilt embossed Hardy crest to centre of upper board, 4to, plus United States Congress, Sir Winston S. Churchill, Honorary Citizen of the United States of America by Act of Congress April 9, 1963, facsimile edition, Worcester, Massachusetts: Achille J. St. Onge, 1964, monotone portrait frontispiece, all edges gilt, original full red morocco (upper board faded to brown), gilt title & decorative device to upper board, 32mo in 4s (62 x 43mm) (5)

(approx. 60)

£100-150

216 Ayton (Andrew & Preston, Sir Philip). The Battle of Crécy, 1346, 1st edition, 2005, original boards in dust jacket, 8vo, together with Curry (Anne), The Battle of Agincourt, Sources and Interpretations, 1st edition, 2000, numerous annotations and marginal notes in Robert Hardy’s hand, original boards in dust jacket, 8vo, with Agincourt. A New History, 1st edition, 2005, colour and monotone plates, inscribed by the author to front free endpaper, original boards in dust jacket, 8vo, and Prestwich (Michael), Armies and Warfare in the Middle Ages, The English Experience, 1st edition, 1996, colour and monotone plates and illustrations, original boards in dust jacket, 8vo, plus other history reference, mostly relating to Agincourt, Crécy and warfare of the Middle Ages etc., including a few volumes with annotations and markings in Robert Hardy’s hand (approx. 60)

£100-150

217 Fox-Davies (Arthur Charles). Armorial Families. A Directory of Gentlemen of Coat-Armour, 2 volumes, 7th edition, 1929, numerous armorial illustrations to text, top edge gilt, remainder untrimmed, original cloth, small folio, together with Burke’s Peerage, Baronetage & Knightage, Clan Chiefs, Scottish Feudal Barons, 2 volumes, 107th edition, 2003, original maroon boards gilt, folio, with Domesday Book Studies, Oxfordshire, 3 volumes (including folding maps), Alecto Historical Editions, 1987-1990, original cloth-backed boards, folio, (limited edition 121/1000), and Crocker (Oliver), All Memoires Great & Small, 1st edition, 2017, colour and monotone plates, title signed by the author, original printed wrappers, 8vo, plus other miscellaneous books including dictionaries, reference, literature, biographies, history, Folio Society publications, plus a carton of 20th century Ordnance Survey and Bartholomew folding maps etc.

£200-300

(6 shelves + carton)

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

£100-150

52

£100-150

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219* Victoria (Queen of England, 1819-1901). Half-tone photographic portrait of Queen Victoria seated with letter in hand, 1899, signed lower left ‘Victoria R. Jun 20, 1899’, and signed in Urdu lower right ‘Victoria Empress of India, 20 June, 1899’, image 144 x 105mm, contained in later wooden frame with painted crowns & monogram within fleur de lis borders, glazed, overall dimensions 310 x 260mm (12 x 10.25ins) (1)

£150-250

218* Temple (William, 1881-1944). An interesting collection of 68 autographed letters signed from William Temple to Henry Harrison Hardy, circa 1899-1901, majority on letter headed paper from Butharlyp How, Grasmere; Balliol College, Oxford; Old Palace, Canterbury and Lambeth Palace etc., including many of 10 or 12 pages in length, discussing philosophical and theological matters, in addition to more general & personal correspondence, including “August 28, [1899?], My dear Harry, As regards your last letter I am ‘in danger of hell fire.’ However, as to wine, it is precisely analogous to ‘There is nothing better for a man than that he should eat and drink.’ The only thing we know for certain is that we are here, in some sense or other: everything else is hypothesis: then let us have wine, i.e. sensual, or at least worldly, enjoyment. ‘Eat, drink and be merry, for to-morrow we die.’ But this is unsatisfactory: our own nature desires more. We are conscious of a ‘judgment to come.’ It may be that ‘we are the clay; He is the potter.’ But in some way or other we are responsible” William Temple (1881-1944) was a bishop in the Church of England. He was educated at Rugby School and Balliol College, Oxford, where he obtained a double first in classics and served as president of the Oxford Union. He served as Bishop of Manchester (1921-29), Archbishop of York (1929-42) and Archbishop of Canterbury (1942-44) and currently is the last Archbishop of Canterbury to have died while in office. Major Henry Harrison Hardy (1882-1958) was also educated at Rugby School. He became the headmaster of Cheltenham College and later of Shrewsbury School from 1932-1944. Robert Hardy was the youngest child of Henry Harrison Hardy and Edith Jocelyn Dugdale.

(1) £150-250

220* Terry (Ellen, 1847-1928, actress). Sepia toned gelatine silver print photograph of Ellen Terry, half-length portrait of Ellen Terry, image 16.5 x 14cm (6.5 x 5.5ins), mount inscribed “To Gladys [Cooper]‘For remembrance’- Oct. 1921, Ellen Terry,” framed and glazed The leading actresses Dame Ellen Terry (1847-1928) and Dame Gladys Cooper (1888-1971) both appeared in the silent film ‘The Bohemian Girl’ (1922) along side Ivor Novello (1893-1951). Dame Gladys Cooper was the mother-in-law of both Robert Morley and Robert Hardy.

(1) £70-100

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Lot 222

221* McBean (Angus, 1904-1990).

Photographic portrait of John Gielgud as King Lear, and Alan Badel as the fool, Stratford, 1950, gelatine silver print photograph, signed by McBean lower left and inscribed by Gielgud 'To Bob Hardy with all good wishes for your success and happiness. In memory of our good times together - John Gielgud, - Lear, Stratford, 1950', image size 37.8 x 30cm (15 x 12ins), framed and glazed (1)

£200-300

Lot 221

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

54

222* English school. A Falconry Party, mid 18th century, oil on panel, depicting a partially wooded landscape, with figures on horseback, men with hounds and two with falcons, 21.2 x 31.7cm (8.5 x 12.5ins), gilt and velvet modern frame (1)

£700-1000

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224* English school. Portrait of Robert Hardy, circa 1780, halflength oil on canvas portrait of a seated gentleman in powdered wig, wearing brown coat, resting his hand on an open volume, recently professionally cleaned and also lined to verso (conservation reports included), retained manuscript caption label to verso, 75.5 x 64cm (29.75 x 25.25ins), gilt moulded frame Robert Hardy of Westmorland (1758-1788), married Jane Nicoll (1749-1826).

They had a number of children including Edmund Hardy (see lot 225). Jane was 8 years older than her husband Robert, who died at the age of 30.

There are two known tales which suggest a cause of death, one is a cold and the other is as a consequence of a fall from slipping on an orange skin while helping a lady into her carriage. The portrait was tracked down in Argentina by Robert Hardy (the great great grandson of the sitter) and shipped back and restored.

(1) £1000-1500

223* English school. Ploughman resting, early/mid 19th century, oil on canvas, 30 x 40.5cm (12 x 16ins), gilt moulded frame (1)

£500-800

225* English school. Portrait of Edmund Hardy, circa 1810, halflength oil on canvas portrait, recently professionally cleaned and also lined to verso (conservation reports included), retained manuscript caption label to verso 76 x 63.5cm (30 x 25ins), gilt moulded frame Edmund Hardy (1785-1848) was the son of Robert Hardy (1758-1788, see lot 224) and Jane Nicoll (1749-1826). He married Grace Armitage (1801-1853), daughter of Eleanora Haistwell and Whaley Armitage. The caption label states “Edmund Hardy, Colonel Bombay Artillery, Born 4th February 1786, Died 28th March 1848, Married Grace Armitage 6th May 1823.” The portrait was tracked down in Argentina by Robert Hardy (the great grandson of the sitter) and shipped back and restored.

(1) £700-1000

Lot 224

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226* Hardy (Timothy Sydney Robert, 1925-2017). “Falco Peregrinus”, June 1942, pencil drawing of an airborne peregrine falcon ready to attack, 25 x 14cm (10 x 5.5ins), paper label to verso with caption in pencil “Falco Perergrinus” Pencil Drawing by T.S.R. Hardy. R.H.H. June, 1942”, oak frame, glazed

Robert Hardy and Justine with Troilus

Robert Hardy was a competent artist, and kept a small number of his own pencil and watercolour artworks produced in his later teenage years during the early 1940s.

(1) £100-150

227* Oldfield (R.A., 20th century). Christie in a Yorkshire Dales landscape, 1984, oil on canvas portrait of Robert Hardy’s whippet ‘Christie’ standing within a Yorkshire Dales landscape, signed & dated lower left, 40.5 x 50.8cm (16 x 20ins), unframed

228* Oldfield (R.A., 20th century). Troilus lying down in a garden, circa 1978, oil on board portrait of Robert Hardy’s family dalmatian dog Troilus, signed Oldfield to verso, 35.3 x 45.5cm (14 x 18ins), unframed, together with Troilus, 1978, oil on canvas head & shoulders portrait of Robert Hardy’s dalmatian, captioned, signed & dated lower edge, 30 x 25cm (12 x 10ins), gilt frame

Robert Hardy’s whippet, called Christie appeared in a number of episodes of the television series All Creatures Great and Small. The actor Peter Davison who played Tristan Farnon refers to Christie in his recent autobiography published in 2016 “A lovely dog whose only failing was the inability to remain in the same room as Robert once he’d started acting.”

(1) £70-100

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

The name is taken from the Shakespeare tragedy Troilus and Cressida.

(2) £70-100

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229* Ricketts (Joy Stanley, 1929-). Robert Hardy on horseback in the role of Prince Albert, 1978, oil on canvas, depicting Robert Hardy on horseback with Windsor Castle in the background, signed and dated lower right, 92 x 86cm (36 x 34ins), gilt moulded frame with caption plaque at foot of frame Robert Hardy portrayed Prince Albert in the award-winning 13 hour television drama serial ‘Edward the Seventh,’ made by ATV, 1975 (episodes 1-4). The series was known as ‘Edward the King’ to the American audience. He regarded his performance as one of his best. “I thought I’d done a good job there, although I believe the Royal Family didn’t like it all. There are always people who don’t like what one does.” (All Memories Great & Small, Oliver Crocker, 2016). For a commemorative medal relating to the series refer to lot 147.

(1) £300-400

Lot 229

230* Dale (Henry Sheppard, 1852-1921).

Corte Delfina, 1882, watercolour, captioned, signed and dated lower right, 33.6 x 23.5cm (13.25 x 9.25ins), mounted, framed and glazed (1)

£200-300

231* Langlois (Mark William, 1848-1924).

Still life with plums, 1864, watercolour, signed and dated lower right, 28.5 x 34.8cm (11.25 x 13.75ins), mounted, framed and glazed (1)

£400-600

Lot 231 57

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232* Varley (John, 1778-1842). Wooded landscape with figure, pen, ink and wash on paper, showing figure within a woodland landscape, 14.5 x 21.5cm (5.75 x 8.5ins), mounted, framed and glazed (1)

Lot 235

£100-150

233* Read (Robert, 20th century). Gateway, nr. Padbury, 1986, watercolour and bodycolour of country landscape with hedgerow and gateway opening onto a field with farm buildings in the distance, signed & dated lower right, 23.5 x 34.5cm (9.25 x 13.5ins), framed and glazed, gallery label to verso, together with Stranley (S.J., 20th century), Stafford Castle, 2009, oil on canvas, 40.5 x 40.5cm (16 x 16ins) (2)

£50-80

234* Portrait Prints. A miscellaneous collection of portrait photographs and prints etc., mostly 20th century, including four overpainted portrait photographs of members of the Hardy family (including Col. Edmund Hardy Bombay Artillery, John Hardy brother to Edmund, and Grace Armitage Hardy wife to Edmund), each approximately 9.5 x 7cm, contained in modern plastic frames, glazed, plus a monotone photograph reprint of Edmund Hardy (24.5 x 19cm), framed & glazed, a Vanity Fair lithograph entitled Men of the Day, No. 64 “The Tichborne Case” June 21, 1873, framed and glazed, a modern photograph of a portrait of Robert Dudley 1st Earl of Leicester attributed to Steven van der Meulen, plus others, mostly framed and glazed Robert Hardy appeared as Lord Rivers in the 1998 film ‘The Tichborne Claimant’ directed by David Yates. The cast also included Sir John Gielgud and Stephen Fry. Robert Hardy appeared as Robert Dudley in the 1971 six part television drama serial ‘Elizabeth R’ along side Glenda Jackson as Elizabeth I, for which she won two Emmy Awards.

(16) £100-150

235* Buckler (Edward H.). South West View of Rugby School, Published by A.T. Read, Bookseller, Rugby, circa 1850, uncoloured lithograph of a cricket match on the lawns at Rugby School, few light spots, 26 x 33cm (10.25 x 13ins), framed and glazed, together with Pretty (E.), To the Noblemen & Gentlemen Educated at Rugby, this View of the School is respectfully dedicated by their humble servant E. Pretty, Published by E. Pretty, Drawing Master, Rugby, April 1st, 1816, hand-colour aquatint view engraved by J. Hill, toning to lower left corner of border, image 26 x 38.8cm (10.25 x 15.25ins), overall dimensions 33 x 44cm (13 x 17.5ins), framed and glazed, with three other lithographs of Rugby, all framed & glazed, plus six other miscellaneous prints including a county map of Shropshire by Robert Morden, mostly framed and glazed Robert Hardy attended Rugby School.

(11)

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

236* Embroidery picture. Peacock walking amongst grasses & plants, circa 1870s, embroidery on silk, slight fraying to right side at head & foot, 30 x 25cm (11.75 x 9.75ins), framed and glazed, together with Persian school, Study of horses heads, circa 1930s, pen, ink & watercolour study, heightened in gold, 13 x 19.4cm (5.25 x 7.75ins), framed & glazed, plus other pictures including four of peacocks (1 print and 3 photographs, one in Asprey green morocco frame), and miscellaneous prints, including hunting related etc.

Robert Hardy had a great fondness for the peacock and kept them at his former home ‘Newhall’ Carlops, Midlothian, Scotland. One of the photographs of a strutting peacock in full display is entitled ‘Cock Campbell greets his ancestors at Newhall with due reverence, July 1982.’

(11) £100-150

£150-200

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Lot 239 237* Crampton (Sir John Fiennes Twistleton, 1805-1886). Sailing ships near a lighthouse, pencil with colourwash drawing, 10.8 x 14.8cm (4.25 x 5.75ins), framed and glazed, with Barry M. Keene Gallery, Henley-on-Thames, Oxfordshire label to verso dated 6.12.1990, together with five other 20th century pictures of sailing ships including a pencil & watercolour study of a four mast sailing ship and colour printed facsimile painting of the Mary Rose by Geoff Hunt (limited edition 14/250), all framed & glazed (6)

238* [Sir John Gielgud, 1902-2000]. Portrait of Henry Irving (18381905), circa 1965-70, watercolour and pastel on board, half-length portrait, profile facing left, some discolouration, inscribed on verso ‘Given to Gabrielle Enthoven by Ellen Terry’, 30.5 x 23.5cm (12 x 9.25ins), framed & glazed, inscribed to Robert Hardy on the backboard ‘To Bob best wishes affectionately from John Gielgud, July 1952’ John Gielgud gave the young Robert Hardy one of his earliest breaks, casting him as Claudio opposite Dorothy Tutin’s Hero in ‘Much Ado About Nothing’ at the Phoenix Theatre in 1952. Robert Hardy and John Gielgud worked together in a number of productions, including ‘Inspector Morse’, ‘Edward the King’, ‘The Tichborne Claimant’ and ‘The Shooting Party’. Hardy spoke of Gielgud’s ‘beguiling humility, mixed with his marvellous arrogance’, saying ‘John was in a way the great good fortune of my working life’, adding ‘I loved him very much, and my life as an actor was always made better when he was there.’ (John G, The Authorised Biography of John Gielgud, by Sheridan Morley, 2001).

£80-120

Provenance: Robert Hardy Collection, 18 April 2015 (lot 169).

(1)

£150-250

239* Dutch School. Large still life of fruit and a parrot, probably 1675-1700, oil on canvas, depicting a halved melon, peaches, raspberries in a delft bowl, bunches of grapes, oranges, and a halfpeeled lemon on a silver platter, with a parrot, moths, a silver tazza, a double-handled lidded vessel, and a silver loving cup, relined and restored, with consequent flattening of paint surface, 55.5 x 103cm (21.74 x 40.5ins), later 19th century decorative carved frame, with accentuated corners, and the Hardy crest handpainted on pediment Provenance: Robert Hardy Collection, 18 April 2015 (lot 168).

(1) £1500-2000

Lot 238 59

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240* Carpet. Modern woollen Kashmir carpet, with 4 medallions on a blue ground within multibanded border, 290 x 200cm, together with a modern woollen carpet, with arabesque pattern on a red ground within multibanded border, 298 x 271cm (2)

£100-150

243* Carpet. Oriental silk carpet, with deers, birds and other animals on a green ground within multi-banded border, 208 x 138cm (1)

£100-150

241* Carpet. A modern woollen Bokhara carpet, with three rows of medallions on a red ground within multibanded border, 194 x 127cm, together with a similar prayer mat, 128 x 77cm (2)

£100-200

242* Rug. A modern Persian woollen rug, with a figure on horseback and wild animals, including an elephant, leopards and deers on a landscape design ground within a border of animals, 170 x 93cm

244* Carpet. Oriental silk carpet, with hunters on horseback, lions, leopards and other animals on a green ground within multibanded border, 157 x 105.5cm together with a similar prayer mat 106 x 68cm

(1)

(2)

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

£100-150

60

£100-150

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245* Bookcase. George III mahogany breakfront bookcase, with dentil moulded frieze, 3 astragal glazed doors enclosing shelves, above a bank of 8 drawers, each with turned knobs and brass key escutcheons flanked by cupboards on block base, 245cm high x 277cm wide x 53.5cm deep (1)

ÂŁ2000-3000

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Lot 247 Lot 252 246* Bookcase. Modern mahogany effect bookcase with 15 shelves on block plinth, 193cm high x 209cm wide x 29cm deep (1)

£100-150

249* Chair. 19th century elm Windsor chair, with arched back pierced back splat, on four turned supports united by stretchers, 100cm high (1)

247* Card Table. George III mahogany serpentine fold over card table, the hinged top enclosing green baize on four chamfered supports, 73cm high x 86cm wide x 44.5cm deep (1)

£400-600

248* Chair. 19th century elm stick back Windsor chair, with arched back and curved arms, on tapered supports, 100cm high (1)

£50-80

£50-80

250* Chair. George III mahogany elbow chair, with curved top rail, foliate carved back splat, reeded arms on turned tapered supports together with an Edwardian bedroom chair with carved foliate shield back on turned out-splayed supports (2)

£50-80

251* Chair. A Georgian style tub chair, with mahogany shepherds crook arms and block tapered supports, 90cm high (1)

£50-80

252* Chairs. Pair of Hepplewhite style elbow chairs, each with Prince of Wales plume back and foliate decoration, cane seat with upholstered cushion on turned supports, 94cm high (2)

Lot 253

£150-200

253* Chairs. Matched set of four Hepplewhite mahogany chairs, comprising two 18th century and two Edwardian, plus an Edwardian elbow chair (5)

£100-200

254* Chandelier. Glass five-branch chandelier, with cut glass decoration, lustre swags and glass drops, approximately 61cm high x 57cm diameter, converted for electrical use (1)

£300-500

Lot 249 Lot 254 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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257* Chest. Georgian style mahogany bachelor’s chest, with brushing slide above three drawers, each with brass handles on bracket supports, 76.5cm high x 66cm wide x 38.5cm deep

260* Dressing Table Mirror. Victorian mahogany dressing table mirror, on four drawer base, 64cm high

(1)

261* Dressing Table Mirror. A large Victorian mahogany dressing table mirror, with arched mirror supported by octagonal uprights on a serpentine base with squat feet, 74cm high

£80-120

(1)

(1)

£70-100

258* Chest. A large Victorian mahogany “Campaign” style chest, of 2 short and 3 long drawers, formed as two sections, the rectangular top with raised top, with two large brass carrying handles the drawers with turned knobs and brass rococo style key escutcheons, on lobed feet, 125cm high x 134cm wide x 63cm deep (1)

£200-300

259* Coffer. 18th century style oak coffer, the front with three carved panels of stile supports, 58cm high x 105cm wide x 52.5cm deep (1)

Formerly used by Robert Hardy. One of Apollo’s most important daily tasks was to harness the four horses (Aethon, Pyrois, Phlegon & Eous) to pull his golden chariot, in order to pull the Sun across the sky every day. In Greek mythology Apollo is also the god of archery (1) £100-150

263* Mirror. Modern gilt frame mirror, with rectangular bevel edge glass, the frame with family crest lower right, 80 x 93.5cm together with two smaller mirrors (3)

(1)

£30-50

£80-120

Lot 257

Lot 262

63

£30-50

264* Mirror. Edwardian gesso frame mirror, with rectangular glass, acanthus and beaded frame, 82.5cm high x 71.5cm wide

256* Chest. Georgian style burr yew veneered bachelors chest, with brushing slide above three drawers with pierced brass handles on bracket supports, 77cm high x 66cm wide x 38cm deep (1)

£50-80

262* Headboard. An early 20th century Continental carved pine headboard, carved with egg and dart decoration and Classical figure of Apollo in horse drawn chariot, 137cm high x 135cm wide

255* Chest. Victorian mahogany bow front chest of two short and three long drawers, with brass handles and oval back plates on out-splayed supports, 104cm high x 105cm wide x 51cm deep (1)

£50-80

£50-80

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Lot 265 265* Secretaire. 19th century mahogany secretaire attributed to Gillows, the rectangular top with herringbone inlay, the front with dummy drawer and Bramah lock stamped JT Needs, enclosing sliding tray with tooled leather inset leather and two secret compartments beneath, each finely inlaid with the alphabet, the kneehole flanked by two pedestals each with 3 drawers and typical Gillows brass handles, 92cm high x 114.5cm wide x 62cm deep

266* Settee. An early 20th century three seater settee, with a striped cover, turned mahogany supports on later chromed feet, 85cm high x 180cm wide x 90cm deep (1)

267* Table. 19th century mahogany breakfast table, with rounded top on urn pedestal and three splayed supports with brass casters, 69cm high x 112cm high x 82cm deep

A similar example is shown in Gillows Furniture Designs 1760-1800, edited

by Lindsay Boynton.

(1) £700-1000

(1)

Robert Hardy, Emma, Justine & Sally

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

£100-150

£50-80

Lot 266

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Lot 267

268* Table. William IV mahogany tilt top occasional table, the square top with ebonised inlay on a turned pedestal and three spayed supports with roundels and bun feet, 73cm high x 55cm wide x 46cm deep (1)

£100-150

269* Table. George III mahogany work table, the octagonal hinged top over single drawer with brass handles on four tapered supports united by stretchers, 78cm high x 65cm wide x 40cm deep (1)

£80-120

270* Table. Pine refectory table, the rectangular top on shaped uprights united by stretcher 74cm high x 183cm wide x 71cm deep (1)

£30-50

271* Tallboy. George III mahogany tallboy, the top with dentil moulding 2 short and 3 long drawers above 3 long drawers on bracket supports, 176cm high x 111cm wide x 56cm deep (1)

£200-300

Lot 271 65

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The former home of Robert Hardy

272* Towel Rail. An Edwardian mahogany towel rail, on turned supports, 113cm high, together with a Victorian style mahogany bed tray with shaped top on turned supports, 22cm high x 70cm wide x 43cm deep (4)

£50-80

273* Trunk. A late 19th century travelling trunk, the dome top with slatted struts and leather covered, enclosing cloth lining and tooled leather pocket, leather carrying handles and brass and steel mount , 64cm high x 96.5cm wide x 56cm deep (1)

£70-100

274* Towel Rail. A 1920s stained oak towel rail, on straight supports, 114 cm high x 84 cm wide Provenance: Robert Hardy Collection, 18 April 2015 (lot 161) (1) £30-50

Lot 273

275* Mirror. A Regency gesso on pine pier glass mirror, the inverted breakfront above classical moulded frieze with 3 classical maidens, within two ebonised and gilt columns, 80cm high x 48.5cm wide (some loss of gesso)

276* A George III mahogany tilt-top table, the circular top above turned column on three cabriole supports, 80cm diameter x 71cm high

Not part of the Robert Hardy Collection (1) £100-150

Not part of the Robert Hardy Collection.

(1) £80-120

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

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Fine Art

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18TH-19TH CENTURY & TRADITIONAL WATERCOLOURS 277* Album. ‘Scraps of Friendship’ by Elizabeth Ambrose of Hagloe House, Gloucestershire, circa 1825-42, containing approximately 36 original watercolours, 18 original pencil drawings, and 90 various engravings, all mounted on 70 album leaves of differing colours, many with contemporary pencil inscriptions or captions, some signed, contemporary gilt-decorated plum full morocco, rubbed and some wear, with covers detached and backstrip deficient, 4to (30 x 24cm, 11.75 x 9.5ins) Attractive album compiled by Elizabeth Ambrose, presumed daughter of William Ambrose (died 1843), who married Elizabeth Thomas (died 1838) in 1810. Hagloe House is located near Blakeney in Gloucestershire in the Forest of Dean, overlooking the River Severn. Watercolours in the album include: a portrait of Miss Ambrose, another of Amy Roberts, a tulip by James Jones, an urn of flowers by A.H., dated February 1832, with 8 lines of handwritten verse, a pink rose with verse

by A. Harrison, another of snowdrops, a fruit still life, several other watercolours of flowers and botanical subjects, a watercolour with pencil of a young couple gathering fruit by W. Hardwick, dated 1827, an unsigned view of the Lake District, an unsigned watercolour of a peacock, a watercolour of a girl on a stile, by E.L., dated 1828, two coastal scenes by Captain McArthur [possibly John McArthur, 1791-1862, a sketcher and naval officer who commanded the naval garrison at Port Essington (Northern Territory), Australia, from 1838, and returned to England in 1850], attractive watercolour of the Hagloe Crab (a cider apple regarded in the 18th century as second only to the stire), and a watercolour of smugglers in a cave.

Drawings include: Silhouette profiles of the Ladies of Llangollen by A.H., a view of Abe Bridge, by Jno. Coleman, a pencil view of Valle Crucis, a fine miniature calligraphic design of the Lord’s Prayer and Apostle’s Creed, a moonlight scene of boats and windmill, a study of eggs, another of a yacht, a view of Hagloe, by A.E.E., dated August 10th, 1842, and two further pencil views of an island castle and moor on horseback, a view of Kirkstall Abbey, a landscape sketch by William Varley (17851858), dated 1825, presented to Miss Roberts with the artist’s respects, June 8, 1825, three small views, probably of Hagloe, and a pencil study entitled The Cousins (on Turnbull’s Super Fine London Board). Prints include: a colour lithograph title (published by G. Tregear), a lithographic view of Goodrich Court, published by G. Rowe, Cheltenham, lithographic view of Henbury Church, another of Cardiff Castle, four lithographic views of the River Avon, nine small lithographic views of Blaise Hamlet, a coloured engraving of Spanish peasant boys by J. Rogers after Murillo, published by J. McCormick, and another similar portrait of Napoleon

by W. Nicholas after David, two colour lithographs of Indian birds, several Baxter prints, two colour lithographs of game birds, four colour lithographs of deer, etc.

(1) £200-300

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

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278* Album. An album of watercolour designs for porcelain by Ellen Theophila Simpson, circa 1888, 32 pages of finely executed watercolour designs for china (plus a number of blank leaves), some to rectos only, others to recto and verso, each page covered with numerous motifs, mostly floral, but also including moths, insects, birds, and border designs, some specifying in neat manuscript ‘centre of saucer’, ‘cup’, etc., one page with manuscript maker’s mark ‘KPM’ with orb above, several leaves with a fish emblem in blue ink, Whatman paper watermarked 1888, some light finger-soiling and marks, one leaf detached, leaf size 15 x 22.5cm (6 x 9ins), inscribed in pencil on front pastedown ‘Designs for China Painting, Ellen Theophila Simpson, my Father’s mother, N. Douglas Simpson’, original quarter black morocco, spine rubbed, corners showing, elastic closure broken, oblong 8vo, together with another album with a number of leaves of similar watercolour designs, probably by the same hand, as well as other original drawings, including thirty pages with carefully executed silhouettes painted in black, of courting couples, children at play, animals, fairy folk, etc., and twenty-one pencil drawings, for example portraits, studies after Old Master works, animal studies, a design of fairies for a tapestry, etc., toned, stitching partially broken and a number of leaves detached, front free endpaper inscribed in pencil ‘M. Simpson, Wiesbaden 1884, Maud Penny [...?] Simpson, my Father’s youngest sister, N.D. Simpson’, original cloth, lettered on upper cover ‘Skizzenbuch’, a little rubbed and marked in places, remains of cloth ties, oblong 8vo (2)

279* Album. A folio album of watercolours and drawings, circa 1840s and later, containing 17 views and portraits, including Ruins of Byland Abbey, near Thirsk, North Yorkshire, by Reverend George M. Musgrave, 1845, signed and dated, and inscribed with his address to verso, a small mid-19th century oil on stiffened canvas of a girl with basket of flowers, a wash drawing of a Native Butcher in India, a pencil study of trees by A.R. Ogle, a stormy landscape by A. Achenbach, a pencil portrait of Emma Neusche, by L.V. Martens, 1858, a pencil and coloured chalk portrait of a young woman, by Sophie H. Ogle, dated January 28 1856, and a pencil study titled ‘The Squire, Bombay, 1845 (died Ooctacanam, January 1848, aged 33)’, etc., all mounted on album leaves, one or two pages loose, contemporary black full morocco gilt, rubbed and scuffed and some marks, folio

£300-400

(1)

69

£200-300

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281* Attributed to John Augustus Atkinson (1775-1833). Ruins of Wilmington Priory, Sussex, pen, brown ink and watercolour on Whatman paper (watermarked), with additional watercolour study to verso of a man playing bagpipes, 16 x 22.5cm, mounted (1)

280* Albums. An album belonging to Frances Elizabeth Hennaker, circa 1840s-50s, containing approximately 15 watercolours of flowers, landscapes, a falcon by J. Reeve, and a view of Rosthwaite in Borrowdale, by H.S. Bree, numerous pencil views and studies, including picturesque landscapes, architecture, dogs, etc., three small Baxter prints, several Chinese palm leaf watercolours, etc., one or two leaves loose, original blind-decorated black morocco, worn with backstrip deficient and upper cover detached, 4to, together with another similar album dated 1840, containing ten Indian Mica gouache paintings of costume, watercolours of flowers and historical costume, including an Officer of the 42nd the Old Black Watch, some pencil and wash drawings, colour and monochrome prints, etc., contemporary decorated maroon and black morocco gilt, some wear with upper cover detached, 4to, plus a similar smaller album belonging to Letitia Frances Withall, dated 1863, containing a small number of pencil drawings, and one miniature Italian watercolour by R.A. Withall after Baxter, original dark green half morocco, rubbed, small 4to (3)

£150-200

282* Ball (Wilfrid Williams, 1853-1917). The Old Mill, Romsey, Hampshire, 1908, watercolour with touches of white bodycolour, signed ‘Wilfrid Ball’ and dated 1908 lower right, 17.5 x 25.8cm (6.9 x 10.2ins) mount aperture, period gilt frame, glazed, with early printed label of Hare & Whitley Printsellers, Scarborough, to verso, old auction stencil GT 322, and inscribed in white chalk ‘Lot 53 284-87’ Provenance: From the collection of D.A. Hall, Camberley, Surrey. A similar sized view entitled Figures in a Street in Romsey was sold at Christies, 13 September 2001, lot 129. Wilfrid Ball’s Hampshire was published in A. & C. Black’s colour guide series in 1909.

(1) £150-200

£200-300

283* Ball (Wilfrid Williams, 1853-1917). The Water Meadows, Ringwood, Hampshire, 1914, watercolour with touches of white bodycolour, signed ‘Wilfrid Ball’ and dated 1914 lower left, 17.7 x 26cm (7 x 10.25ins) mount aperture, period gilt frame, glazed, with handwritten title inscription, and early printed label of the Fine Art Society to verso

Lot 281

Provenance: From the collection of D.A. Hall, Camberley, Surrey.

(1) £150-200

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

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284* Ball (Wilfrid Williams, 1853-1917). Katwyk aan Zee, 1889, watercolour with white bodycolour, titled, signed ‘Wilfrid Ball’ and dated ‘89 to lower margin, 18.5 x 31cm (7.25 x 12.25ins) mount aperture, framed and glazed, with auction stencil 999MA to verso, together with another watercolour by the same artist of Salisbury Cathedral, signed to centre of lower margin, 15.5 x 22.5cm (6 x 8.8ins) mount aperture Provenance: From the collection of D.A. Hall, Camberley, Surrey.

(2) £150-200

286* Bamford (Alfred Bennett, 1857-1939). Cloister of St. Bartholomew the Great, West Smithfield, 1901, watercolour on paper, signed and dated lower right, 25 x 17cm (9.75 x 6.75ins), framed and glazed, together with another similar view by the same hand, of the North End of the East Walk of St. Bartholomew’s Cloister, 24.5 x 16.5cm (9.5 x 6.5ins), framed and glazed, both with contemporary inscriptions verso Provenance: Given to E A Webb by Sir Aston Webb R.A. in 1912. Inscribed ‘View of the North Cloister and East Cloister, when occupied as stables.

The figure in the centre is T. Arthurs the Blacksmith still hiring and in possession of the adjoining forge in the cloister gardens’.

(2) £200-300

285* Ball (Wilfrid Williams, 1853-1917). Cheney Court, Winchester, Hampshire, 1907, watercolour with touches of white bodycolour, signed, titled and dated 1908 to lower centre, 22.5 x 28.5cm (8.9 x 11.25ins) mount aperture, period gilt frame, glazed Provenance: From the collection of D.A. Hall, Camberley, Surrey. The present work was illustrated in Art in England during the Elizabethan and Stuart periods, by Aymer Vallance, a special spring number of The Studio, with illustrations after Wilfrid Ball, Harry P. Clifford, E. Arthur Rowe and William Twopeny, published in 1908.

(1) £100-150

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Lot 287

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

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

(1) £1000-1500

288* Beckford (John Leigh, 1791-1858). A group of eight views in Italy and England, including Monte Pelegrino, Palermo, Roma Vecchia, Nisida from Pozzuoli, Strait of Messina, Glevering Hall, Suffolk, etc., each with title inscription (except 3 unidentified), 18 x 26cm (7 x 10.25ins), and smaller, mounted on partial album leaves (8)

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

Lot 288

£150-200

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289* Crome (John Berney, 1794-1892). Fishing boats by the coast, pencil on paper, signed with initials J.C. on the lobster pot to foreground, 16 x 23cm (6.25 x 9 ins) mount aperture, framed and glazed, with printed label of the Fraser Gallery, Woodbridge, Suffolk to verso, and old pencil note (probably by the Fraser Gallery) 'T4766 John Berney Crome. From a sketchbook (compiled

by Joseph) of Crome Family drawings. Registered at Castle Museum, Norwich & V & A' (1)

£70-100

290* Birch (Samuel John Lamorna, 1869-1955). Mountain River, watercolour heightened with white bodycolour, signed lower left, 24.5 x 16.5cm (9.6 x 6.5ins) mount aperture, framed and glazed (1)

Lot 290

£100-150

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

£300-500

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Lot 292

Lot 293 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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292* Boys (Thomas Shotter, 1803-1874). Het Steen, Rubens’ House, near Antwerp, watercolour over pencil, with scratching out and touches of bodycolour, signed ‘T. Boys’ lower right, 172 x 249mm (6.75 x 9.8ins), framed and glazed, with inscription in white chalk to verso ‘Lot 119 20-11-86 to verso

295* Burgess (John Cart, 1798-1863). Continental peasant in a landscape, watercolour on card, depicting a peasant seated on the ground beside a low stone archway and playing a pipe, with buildings and hills in the distance, signed lower right ‘J C Burgess Leamington’, 23 x 35.5cm (9 x 14ins)

Provenance: Sotheby’s, Eighteenth & Nineteenth Century British Drawings & Watercolours, 20th November 1986, lot 119; Collection of D.A. Hall, Camberley, Surrey. A signed letter from Henry Wemyss of Sotheby’s to D.A. Hall, dated December 1, 1986, enclosing a photograph of the present work, accompanies this lot.

(1) £2000-3000

(1)

£100-150

296* Burrows (E.M., late 19th century). Continental Street Scene, 1878, watercolour on paper, probably Bruges, signed and dated lower left, 43.5 x 30.5cm (17.25 x 12ins), framed and glazed (1)

£100-150

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

(1)

£1500-2000

297* Attributed to Augustus Wall Callcott (1779-1844). Coastal Landscape, pen & brown ink with brown wash, on cream paper, unsigned, sheet size 137 x 215mm (5.4 x 8.5ins) (1)

£100-150

294* Bruhl (Louis Burleigh, 1861-1942). Boats on a beach, watercolour on paper, signed lower right, 15 x 22cm (6 x 8.5ins), framed and glazed (1)

£100-150

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

(1) £200-300

Lot 295

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301* Cole (George, 1810-1883). Still Evening near Kingston, oil on canvas, signed lower right, a little flaking, gilt frame

299* Callow (William, 1812-1908). Dunderave Castle, Loch Fyne, 1849, watercolour and pencil on paper, signed and titled Dundera Castle lower right, 262 x 362mm (10.3 x 14.25ins), framed and glazed, with old Thomas Agnew & Sons label to verso, and Spink printed label and typewritten label to verso

(1)

£300-500

Provenance: Agnew's, No. 8553. Spink, London, No. K3 8141. Collection of D.A. Hall, Camberley, Surrey.

Exhibited: Spink, 5 King Street, St. James's, English Drawings, Watercolours and Oil Studies, 1991, item 51. (Where purchased by D.A. Hall). A copy of the Exhibition Catalogue is included with this lot.

(2) £300-500

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

(1)

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

£300-500

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302* Attributed to George Balmer (1806-1846).

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

£150-200

303* Cunningham (Richenda, 1782-1855). Schwytz, August 17, 1820, pencil landscape on thick Bristol Paper (with manufacturer’s oval blindstamp to lower right corner), 28 x 45.5cm (11 x 18ins), minor soiling to extremities, inscribed with title and date lower left, and annotated in pencil in a different hand to verso ‘Drawn

by Richenda Cunningham sister of Saml. Gurney & Elizth. Fry’, together with another similar pencil landscape by Priscilla Gurney (another sister of Samuel Gurney and Elizabeth Fry), of a Priory House at Beaulieu, initialled PG and dated 1809, similarly inscribed in a different hand to verso ‘Drawn by Priscilla Gurney, sister of Saml. Gurney & Elizth. Fry’, similar size, plus five others: a watercolour river landscape by John Squire (active 1867-1896), signed and dated 1893, framed and glazed, three miniature landscape studies in pencil and white bodycolour by Samuel Phillips Jackson (1830-1904), each framed and glazed (two with David Ker Fine Art, 85 Bourne Street, SW1 labels to verso), and an early 19th century amateur pencil study of a picturesque timber framed house

Lot 302

Richenda Cunningham (1782-1855), born Richenda Gurney, was a member of the wealthy Quaker family, the Gurneys of Norfolk, owners of Gurney’s Bank in Norwich. Richenda was raised at Earlham Hall, one of twelve children including Elizabeth (Gurney) Fry (1780-1845), the renowned prison reformer. At the age of ten, she became a pupil of the celebrated Norwich landscape painter John Crome (17681821). At twenty-nine, she was the only woman to have her work published in John Britton’s Architectural Antiquities of Great Britain. A portfolio of her views (lithographed by Hullmandel) was published under the title Nine Views Taken on the Continent, around 1830 (for which the present work may have been intended). At thirty-four, she married the Reverend Francis Cunningham of Lowestoft Vicarage, from where she taught, organized women’s groups, assisted the homeless, and continued to pursue her art.

(7) £200-300

Lot 303

304* Dayes (Edward, 1763-1804). Framlington Castle, Suffolk, pen and grey ink and watercolour over pencil on paper, bears inscription JMW Turner towards lower left, 138 x 215mm (5.5 x 8.5ins), wash mount, framed and glazed with Spink gallery label and typed description to verso Provenance: From the collection of D.A. Hall, Camberley, Surrey. A similar sized view of Wingfield Castle, Wingfield, Suffolk, Was Sold At Christies London, Old Master & Early British Drawings & Watercolours, 6 December 2012, lot 247.

(1) £400-600

Lot 304 77

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306* Deakin (Andrew, active 1856-1869). Pon-G-Gryglan near Corwen, North Wales, 1868, watercolour on paper, showing a figure by a cottage, unsigned, 22.5 x 31cm (8.75 x 12.25ins), framed and glazed, biographical information verso Birmingham artist Andrew Deakin exhibited at the Royal Society of PainterEtchers and Engravers (note to verso of frame).

(1) £100-150

305* De l’Aubiniere (Georgina Martha, 1848-1930). Kew Gardens, 1895, watercolour on paper, showing a pond amongst trees, signed and dated lower left, 100 x 75cm (39.25 x 29.5ins), framed and glazed (1)

£200-300

307* Edridge (Henry, 1769-1821). Portrait of Lady Mary Lennox (1740-1796), Duchess of Richmond, daughter of Charles Bruce, Earl of Ailesbury, fine pencil on laid paper, with touches of watercolour, some toning and scattered spotting, short closed tear to upper left corner, with extreme tip missing, sheet size 28 x 20.3cm (11 x 8ins), with later pencil inscription to verso giving details of the artist, subject, and provenance, modern gilt frame, glazed, with handwritten details repeated to verso, together with Morgan (Matthew Somerville, 1839-1890), Girl seated by a spinning wheel, 1861, watercolour heightened with white bodycolour, signed and dated lower right, slight discolouration, 27 x 20cm (10.6 x 7.8ins), framed and glazed, plus a pen and brown ink study of a gillie with two garrons carrying dead stag, and two dogs, with monogram lower right F.M.F., 22 x 31cm (8.7 x 12.2ins), framed and glazed Provenance: Formerly in the collection of Lord Sysonby. Sold Christie, Manson and Woods/Charles Osenton, Guildford, Catalogue of the Contents... of Great Tangley Manor, the property of the Lord Sysonby, 15 June, 1948.

(3) £200-300

Lot 306

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

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308* Egypt. Interior of a ruined temple, with ribbed columns and two figures in military dress, circa 1840-50, watercolour with pen and ink heightened with bodycolour, unsigned, residue of backing paper to verso, sheet size 178 x 247mm (7 x 9.75ins) (1)

£150-200

309* English School. Design for a silver two-handled cup and cover, late 19th century, grisaille watercolour and pencil highlighted with colours on artist’s board, depicting three views of an Arts & Crafts style silver cup and cover with bands of foliate decoration, enamelled celtic knot, and a seated berobed lady as lid knob, view to left titled ‘Plan of Top’ and view to right titled ‘Side View of Handle’, oval embossed stamp lower left ‘E.S.K’, slightly dusty and toned, sheet size 32.5 x 39cm (12.75 x 15.25ins)

310* English School. Views in Switzerland, 1859, two fine sepia watercolours, one depicting two figures in a mountainous landscape with lake and trees, initialled ‘EE’ and dated lower left, 17 x 24cm (6.75 x 9.5ins), the other depicting two figures in a rocky landscape with trees and a ruined tower, 20 x 15cm (8 x 6ins), matching mounts and frames, glazed

The embossed stamp ‘E.S.K.’ indicates that the work was entered for examination at the South Kensington School of Art. (1) £70-100

(2)

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£100-150

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311* English School. Buryas Bridge & part of Mount’s Bay, 1821, pencil, depicting a landscape with cottages and trees, and a vista of St. Michael’s Mount between hills, slightly toned and spotted, inscribed in pencil lower left ‘Bureyas Bridge & part of Mount’s Bay, Apr. 12. 1821’, 14 x 23cm (5.5 x 9ins), mounted, framed and glazed (1)

£100-150

312* English School. Mountain landscape with sheep, early 20th century, watercolour on paper, signed with initials F.C.M. lower right, 19.5 x 30cm (7.7 x 11.75ins) mount aperture, framed and glazed (1)

£100-150

313* English School. Stanmore Church, Middlesex, late 18th century, pen, ink and watercolour on laid paper, unsigned, 15 x 24.5cm (6 x 9.6ins) mount aperture, framed and glazed, together with two other 19th century watercolours: a sepia wash drawing on Pen-y-Pass from Nant Peris, circa 1870, 77 x 172mm (3 x 6.75ins) mount aperture, framed and glazed and a view of Dover Castle from the Deal Road, June 1854, watercolour on paper, inscribed lower left, 135 x 310mm (5.25 x 12.2ins), framed and glazed

Lot 311

(3)

£150-200

Lot 312

314* English School. Still Lifes of fruit and flowers on a marble plinth, mid 19th century, a pair of watercolours on paper, unsigned, 32 x 27.5cm (12.5 x 10.75ins), in fine matching period hand-carved oak frames, very good condition, glazed (2)

Lot 313

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

80

£150-200

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315* English School. View of a Fort on the River Medway, circa 1780-1800, watercolour on laid paper, watermarked A.V. in a monogram, 17.3 x 36.7cm (6.8 x 14.5ins), mounted (1)

£200-300

316* English School. A collection of 34 English 19th century watercolours and drawings, including three small watercolour landscapes attributed to F.C. Lewis, a watercolour view On the Ravensbourn near Catford Bridge, Lewisham, by R.H. Lucas, a study of the Monastery of Osias Lukas, Greece, dated 1905, a view of Windsor from Eton Playing Fields, a pastel portrait of the Marquess of Anglesey (1768-1854), by E.C. Sydney, dated 1853, on dark brown paper, with ink signature of the Marquess of Anglesey mounted above, three views in Italy, a watercolour and brown ink study of Persian warriors, a mid-19th century Eastern scene, with sailing ships in a harbour (possibly India or China), etc.

(34)

317* English School. Medeival tower by a lake, circa 1850s, oil on card, showing figures by a house with boats on a lake, unsigned, 11.5 x 16.5cm (4.5 x 6.5ins), unframed (1)

£200-300

81

£70-100

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320* Ernest (Edwin, late 19th century). Stansted, Essex, 1894, watercolour on paper, showing a busy village scene, signed and dated lower left, title lower centre, 16 x 23.5cm (6.25 x 9.25ins), mount aperture, framed and glazed (1)

£100-150

318* English School. Hermit reading outside a cave, circa 1800, watercolour on paper, 34.5 x 43.5cm (13.5 x 17ins), framed and glazed (1)

£100-150

321* Gianni (Girolamo, 1837-1895). View along the Amalfi coast, gouache on card, signed lower right, 31 x 47cm (12.25 x 18.5ins), framed and glazed (1)

£100-150

319* English School. View in the Roman Campagna, circa 17801800, watercolour on paper, showing four young men by a ruin, unsigned, 33 x 42cm (13 x 16.5ins), period gilt gesso frame, glazed, creases and spotting (1)

£150-200

322* Green (Nathaniel Everett, 1833-1899). Gourdan, near Grasse, France, watercolour on paper, titled lower left and signed lower right, 48 x 32cm (19 x 12.5ins), in a period gilt gesso frame, glazed, Dudley Gallery verso inscribed with artist’s name, title and address ‘The Rectory, Colney Heath, St Albans’, together with a continental street scene, in the style of David Roberts, probably Bruges, watercolour on paper, signed lower left, 32 x 23cm (12.5 x 9ins), framed and glazed (2)

Lot 320 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

82

£150-200

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Lot 323 323* Halfpenny (Joseph, 1748-1811). View of Thorp Arch and the River Wharfe, Yorkshire, 1788, pen and black ink with brown wash on laid paper, watermarked J Whatman, inscribed in ink to verso by the artist ‘View of Thorp Arch from a Hill over the Spawe taken Augst. 26th 1788 by Jos Halfpenny’, light mountstain to top margin, sheet size 31.5 x 44.5cm (12.5 x 17.5ins)

324* Hayes (Claude, 1852-1922). Landscape with figures and sheep outside a farmhouse, probably Hampshire, watercolour heightened with white bodycolour, signed Claude Hayes R I lower right, 23.7 x 34cm (9.3 x 13.4ins) mount aperture, together with another watercolour landscape by the same artist, showing cattle grazing, a few surface marks and pale toning, 24.5 x 35cm (9.6 x 13.75ins), both framed and glazed

Provenance: Sotheby’s Paintings & Watercolours, 28 May 1998, lot 536; Private Collection, Worcestershire.

(1) £200-300

Provenance: From the collection of D.A. Hall, Camberley, Surrey. The son of a marine painter, Claude Hayes was raised in Dublin and studied at the Royal Academy in London for three years. His first exhibition was held at the Royal Hibernian Academy.

(2) £200-300

Lot 324 83

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Lot 325 325* Hayes (Claude, 1852-1922). Rural Landscape, watercolour on paper, showing horse drawn cart in open field, signed lower left, 21.5 x 28cm (8.5 x 11ins), modern walnut frame, glazed, together with another similar watercolour landscape by Claude Hayes, with a shepherd and sheep in an open landscape, signed lower left, 24 x 34.5cm (9.5 x 13.5ins), framed and glazed, with old auction stencil to verso JM719, and marked in chalk lot 88 9-5-189 (2)

326* Hoepfner (Franz, 1853-1893). Dutch rural landscape, 1890, oil on canvas showing figures and cart on a road, signed and dated lower right, 46 x 67.5cm (18 x 26.5ins), period gesso moulded frame (1)

£200-300

Lot 326 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

84

£200-300

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327* Hope (Laura Elizabeth Rachel, 1858-1929). Margaret, 1928, pastel oval head and shoulders portrait of a young girl with fair hair cut in a bob and wearing a blue blouse with collar, signed, titled, and dated, 38 x 33.5cm (15 x 13.25ins), gilt moulded oval frame (partially damaged), glazed, with old newspaper notice of the artist’s death on verso Laura Hope was a portrait painter and book illustrator, who exhibited at the principal London galleries, particularly known for her paintings of children and fairy subjects. The newspaper cutting on the verso states that she ‘studied painting in London, being advised by John Millais, and working in Mr. Cope’s studio, and exhibited at the New Gallery, the Dudley Gallery, and other exhibitions.’ It also states that she was a member of the Pastel Society and painted between 700 and 800 portraits, including two of the Queen of Spain as a child, the daughters of the Duke and Duchess of Connaught at Osborne in 1891 for presentation to Queen Victoria, and two portraits of Queen Mary in 1903.

(1) £100-150

329* Italian School. Resting from the Sun, 1876, watercolour on paper, showing an Italian lady in traditional costume resting by a fountain, indistinctly signed ‘Rosi’ and dated lower right, 32.5 x 22cm (12.75 x 8.7ins), mount aperture, framed and glazed (1)

330* Jayden Vickers (M., 19th century). A Scene at Eynsford, Kent, circa 1850s, oil on board, showing a rural landscape with cows and a figure by a bridge, artist and title on manuscript label verso, 22.5 x 30.5cm (8.75 x 12ins), with Barnard & Son London label verso, gilt moulded frame

328* Hyde (William, 1859-1925). Sheep by moonlight, circa 1900, charcoal on paper, signed lower right, 20 x 30cms (8 x 12 inches), framed and glazed (1)

£100-150

£150-200

(1)

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£100-150

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333* Attributed to William Leighton Leitch (1804-1883).

Continental lake view probably Swiss, watercolour on paper, showing boats by a quay with mountains, unsigned, 11 x 17.5cm (4.25 x 7ins), framed and glazed (1)

£100-150

334* Leyman (Alfred, 1856-1933). Country Village, watercolour on board, showing a coach by a village tavern, signed lower right, 26 x 43cm (10.25 x 17ins), framed and glazed (1)

£100-150

331* Jordan (Keith A., 20th-century). The Market Hall, Richelieu & Place L’Apport, Dinan, together two watercolour views of ancient market buildings in France, each signed, approx. 475 x 650mm (18.5 x 25.5 in), framed and glazed (2)

£150-200

332* La Pira (Gioacchino, active 1839-1870). Napoli, gouache on paper, depicting fishermen at their nets in a boat, with a panoramic view of Naples and other boating vessels behind, titled and signed lower right, 18 x 31.5cm (7 x 12.5ins), gilt frame, glazed, large title ‘Bay of Naples’ in contemporary manuscript on backboard (1)

£200-300

335* London. Six 18th century oval watercolour views of the Thames at Twickenham and elsewhere, by Richard Smith, JanuaryMarch 1783, six oval pen, brown ink and watercolour views on laid paper, watermarked C Taylor (Churchill page 53), each titled, signed and dated February or March 1783, image size 10.6 x 14.6cm (4.2 x 5.75ins), sheet size 19 x 24cm (7.5 x 9.5ins) The views are captioned in ink A View of Twickenham, The Late Dr. Batty’s House at Twickenham, Sr. George Pocock’s House at Twickenham, The Late Mr. Pope’s House at Twickenham, A View of Roehampton, and A View of Esher in Surrey.

(1) £300-500

Lot 333

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

86

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338* Mitchell (Philip, 1814-1896). View of the Coast near Plymouth, watercolour, signed lower right, 34 x 50cm (13.5 x 19.5ins), mounted, framed and glazed A landscape and coastal painter, Philip Mitchell was born in Devonport, served in the Navy, and later lived in Plymouth. Most of his work depicts scenery in and around the coasts of Devon and Cornwall, and he is noted for his skilful portrayal of atmospheric affects, particularly sky and sea.

(1) £150-200

336* MacDonald (Daniel, 1821-1853). The Sunset, 1849, pen and ink with gouache, showing a girl with dog looking out towards a sunset, signed and dated lower right, 23 x 33.5cm (9 x 13.25ins), mount aperture, framed and glazed (1)

£100-150

339* Follower of George Morland (1763-1804). “The Staging Post”, oil on canvas, showing figures, horses, and a London waggon, signed lower right, 71 x 91.5cm (28 x 36ins), framed (1)

£150-250

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

(2) £200-300

340* Morris (Charles Greville, 1861-1922). Boats in Moonlight, oil on board, signed lower right, 15.5 x 20.5cm (6.25 x 8ins), framed (1)

Lot 338 87

£100-150

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Lot 341

Lot 342

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

88

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Lot 343 341* Muller (William James, 1812-1845). Study of the Propylaea on the Athenian Acropolis from the South, brown and blue watercolour on paper, inscribed ‘Propylae’ lower left, 26 x 44cm (10.25 x 17.25ins), framed and glazed Provenance: Sotheby’s, London 25 November 1999, lot 72. This watercolour dates from Muller’s tour of Greece in 1838. He spent six weeks, mainly in Athens, sketching most of the important ancient monuments. The watercolour shows a Turkish arms dump at the back of the Acropolis.

(1) £1000-1500

342* Naive School. View of the Red Lion with fair beyond, circa 1850, oil on canvas, 52 x 30cm (20.5 x 11.75ins), gilt gesso moulded frame Believed to depict the Red Lion in St John Street, Clerkenwell, one of the oldest pubs in London. In the background is a canopy for a travelling fair bearing the name RICHARDSONS. John Richardsons theatrical troupe operated in the London area from 1798 to 1853 and are known to have performed at St Bartholomews Fair, last held in 1855, just down the road from the Red Lion.

(1) £500-800

343* Nelson (George, 1864-1921). Snowing in Davos, Switzerland, 1918, watercolour on paper, showing St Theodul Church and the Seehof Hotel, signed and dated lower right, period gilt gesso frame, glazed (1)

£300-500

344* Nixon (John, 1760-1818). The Oboeist, pen, grey and pale brown ink with grey wash on paper, numbered in brown ink to top margin 114, and inscribed ‘Revd. Mr. Cotes of Ealing’ by the artist, 17.5 x 10.5cm (6.8 x 4.2ins) mount aperture, together with another similar pen, black ink and pale brown wash drawing of a clarinettist, 11.5 x 9cm (4.5 x 3.5ins) mount aperture, each approximately 16 x 10cms (6.25 x 4 inches), both framed and glazed, with Ruskin Gallery label to verso of each (2)

Lot 344

£200-300

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345* Norie (Orlando, 1832-1901). Allemagne 1812, Officier d’etat major faisant une reconnaissance, Une sentinelle perdue, Italie, 1799, & Une retraite, together 4 watercolours on paper, each signed, and with handwritten title in French separately exposed to lower right corner of the mount, 16 x 22cm (6.25 x 8.6ins) and similar, matching gilt frames, glazed (4)

346* Parks (Kate Augusta, 1865-). Grazing Sheep, watercolour on paper, signed lower left, 24.5 x 35cm (9.5 x 13.75ins), framed and glazed, with typewritten biographical details, and printed label of Michele & Michael Hawker Fine Pictures, Ruislip, MIddlesex to verso Kate Augusta Parks was an Associate of the Royal West of England Academy.

(1) £100-150

£300-500

347* Payne (William, 1755/60-c.1830). Figures by a stream with boat laden with timber, 1791, watercolour on paper, signed and dated lower left, laid down on early backing paper with ink and wash ruled mount, 16 x 22cm (6.25 x 8.7ins) mount aperture, gilt frame, glazed, with Fry Gallery, 58 Jermyn Street, London to verso Provenance: Dr. John Percy (Lugt 1504). Percy sale, Christie’s London, 22 April 1890, lot 934. Collection of D.A. Hall, Camberley, Surrey.

(1) £300-500

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

90

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348* Phipps (Lady Martha Sophia, 1771-1849). Mulgrave Castle, near Whitby, North Yorkshire, circa 1850, pencil on pale greengrey paper, captioned by the artist in pencil to lower margin, and additionally inscribed in ink to verso 'view of Mulgrave. S.P. For Charlotte Douglas', image size 10 x 15 cm (4 x 6 ins), sheet size 19 x 24cm (7.5 x 9.5ins), together with other various 19th century watercolours and drawings, including a small watercolour view of women resting at Andernach, a small watercolour of a boy harpist indistinctly signed with initials, a pencil view of Hawkesbridge, signed with initials HL, and dated 1823, etc.

(7)

351* Prinsep (Valentine Cameron, 1838-1904). Mother and Child, pencil drawing on paper, signed lower right, 31 x 23cm, framed and glazed, inscribed verso ‘Bought at his House Sale Regents Park, Companion Drawing in the British Museum

£100-200

349* Pinotti (G., 19th-20th century). Tuscan Landscape, watercolour on paper, signed lower left, 22 x 32cm (8.5 x 12.5ins), framed and glazed, together with a view of Bonchurch, Isle of Wight, 1845, pencil on paper, titled and dated lower left, some heavy spotting, 36.5 x 27cm (14.25 x 10.5ins), framed and glazed, plus View of Hillsborough Hill & Lantern Hill from the Capstone Hill, Ilfracombe, 1885, watercolour on paper, signed H.L.B. and dated 1885 lower right, 23.5 x 38.5cm (9.25 x 15.25ins), framed and glazed with manuscript label verso, inscribed with title and artist’s name Helen L Banning (3)

(1)

£150-200

£150-200

350* Potter (Charles, active 1867-1892). Classical ruins with figures on a path, Southern Italy, watercolour and gouache, signed, 59 x 89.5cm (23.25 x 35.25ins), framed and glazed

352* Prout (Samuel, 1783-1852). View of Ghent, sepia watercolour on paper, 20 x 16cm (8 x 6.25ins) mount aperture, framed and glazed, with title and artist’s name inscribed to lower edge of mount

A large-scale panoramic landscape, probably showing monuments on the Appian Way, outside Rome, with the silhouette of St. Peter’s in the distance.

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

(1) £150-200

(1)

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£150-200

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354* Pyne (James Baker, 1800-1870). Turnchapel, Plymouth, 1864, watercolour on Whatman paper with watermark, showing a view from Turnchapel and Hooe Lake across Cattedown, signed lower right, with pencil annotations giving location, and dated 1864, 33.5 x 49cm (13.25 x 19.25ins), unframed James Baker Pyne was born in Bristol 1800, and exhibited for the first time in Bristol in 1824. Inspired by Danby and the Bristol School, his more famous works include Imaginary Scene (1828) and View of the Avon from Durdham Down (1829). Pyne was also commissioned to produce oil paintings to commemorate the Bristol Riots of 1832. He produced a number of Devon views mostly between 1864-1866.

(1) £200-300

353* Pugin (Augustus Charles, 1769-1832). Scene in Wales, 1804, pen and brown ink on laid paper, captioned with title in pencil, and with artist's name and date of 1804 lower right, 110 x 182 mm (4.3 x 7.2 ins), together with Cattermole (Leonard F.G., active 1869-1886), Horse Frightened by a Dog, pen and brown ink on card (a Grosvenor Gallery private view invitation, for December 31st 1879), signed lower left, plus Selwyn (Rev. J.), Staffle Rocks, fine pen and black ink on paper, circa 1860s, together with other 19th century English drawings and watercolours, including two miniature views of The Grange, Hampshire, seat of Alex Bearing Esqr., and another similar view of Combe House, seat of Beeston Long Esqr., both by Havell, pen and brown ink and wash, etc.

(21)

£200-300

355* Follower of David Roberts (1796-1864). Cathedral interior, watercolour on paper with J Whatman watermark, unsigned, 42.5 x 35cm (16.75 x 13.75ins), mount aperture, framed and glazed, closed tear upper right (1)

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

92

£100-150

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358* Attributed to James Burrell Smith (1822-1897). Welsh landscape, watercolour on paper, showing a lady in traditional costume with cattle before a mountainous landscape (probably Snowdon), 30 x 53.5cm (11.75 x 21ins), framed and glazed 356* Scott (John, active 1844-1866). Two young women reading a letter outsiude cottage, watercolour, showing two young girls beside a stone wall in a cottage garden, one reading aloud from a letter, with a lattice open behind and a rustic porch, signed lower right, 25.5 x 35.5cm (10 x 14ins), mounted, framed and glazed (1)

(1)

£100-150

£100-200

359* Stacey (Walter Sydney, 1846-1929). Highland Landscape, 1880, watercolour on paper, signed lower left, 46.5 x 69.5cm (18.25 x 27.25ins), framed and glazed (1)

£100-150

357* Simonau (L., late 19th century). Woman cooking at the fireside, 1893, oil on canvas, depicting a peasant woman seated on a three-legged stool beside a large fireplace, holding a skillet over an open fire, with bellows hung up beside, a large pitcher and plate on the stone floor, and various jugs, candlesticks, and jars on the high oak mantel, signed and dated lower right, canvas maker’s large ink stamp in the shape of an artist’s palette on verso ‘L. Aubé’, 65 x 54cm (25.5 x 21.25ins), framed

360* Syer (John, 1815-1885). Whitby Bay from Upgang, watercolour on paper, showing a horse and cart on the beach, titled lower right with artist’s initials, 32 x 49.5cm (12.5 x 19.5ins), modern gilt frame, glazed

(1)

(1)

£200-300

93

£100-150

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363* Tyndale (F.H., 1909-1989). Rural Landscape, watercolour on paper, showing a girl on a path by a thatched cottage, signed lower left, 17.5 x 25.5cm (7 x 10ins), framed and glazed, some spotting (1)

£70-100

361 Tilche (Otto, circa 1821-1894). Desert scene with camels and faluccas, watercolour on paper, signed lower right, 10.5 x 17.5cm (4.1 x 7ins), framed and glazed, together with three other similar watercolour scenes of camels in the desert and in a sandstorm by D.H. Pinde, G.C. and R. Cooper, all framed and glazed (4)

£100-150

364* Varley (Cornelius, 1781-1873). Swiss Landscape, watercolour on paper, showing figures by a river with mountains, signed lower right, titles verso, 21.5 x 30cm (8.75 x 11.75ins), framed and glazed (1)

£150-200

362* Style of Joseph Mallard William Turner (1775-1851). An early English manor house, small-scale watercolour on paper, 62 x 92mm (2.5 x 3.6ins), antique-style gilt frame, glazed, with printed label of David E. Green Gallery, 188 Dartmouth Road, London, to verso, and handwritten attribution to Turner signed by Andrew Wyld (1)

£400-600

365* Vitali (Eduard, 19th century). Monk seated in a kitchen, & Monk decanting wine, a pair of watercolours on wove paper, each signed lower right, 30.5 x 16.5cm (12 x 10.5ins), period matching gilded wood frames, glazed, with old printed label of Mawson, Swan & Morgan, Ltd., Hull, Picture Frame Makers to verso of each Lot 363

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

(2)

94

£150-200

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366* Walton (Frank, 1840-1928). Wotton Woods 'Before the Ashes Hide the Fire', circa 1906, oil on canvas, signed lower right, 122 x 92cm (48 x 36ins), with fine period decorative gilt-moulded frame, in very good condition Additionally inscribed by the artist with name and address of Holmbury St. Mary, Dorking, and inscribed No. 1, Wotton Woods 'Before the Ashes Hide the Fire', and printed exhibition label of the Royal Institute of Oil Painters, and Southport 1906 agents label with reference No. 226, to verso of stretcher. An exceptional evocation of autumn colours, for which Frank Walton was renowned. The present work must have been exhibited at the Royal Institute of Oil Painters Annual Exhibition (according to the labels on the back of the picture).

Similar large scenes by Walton including Nuneaton Museum and Art Gallery's The Earth Has Donned Her Kirtle of Brilliant Emerald Hue, and the Royal Collection's The Golden-Tissued Weather, which was exhibited at the Royal Academy in 1914, and purchased by King George V for ÂŁ84.

(1) ÂŁ500-800

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Lot 367

Lot 368

367* Westall (Richard, 1765-1836). The Gleaner's Child, watercolour, pencil and black chalk on paper, 23 x 27cm (9 x 10.75ins), period gilt frame, glazed, with old auction stencil to verso FT611, and early framer's label of H.M. Page, Looking-glass Manufacturer, 23 Coventry Street, Haymarket, to verso, together with another similar watercolour with pencil and black chalk of a shepherd boy and sheep resting by a tree, 25 x 19cm (10 x 7.5ins), period gilt frame (with label of H.M. Page, Looking-glass Manufacturer, 23 Coventry Street, Haymarket, to verso) (2)

£400-600

368* Westall (Richard, 1765-1836). Nobleman on horseback, offered refreshment by a young lady, pen, ink & watercolour on paper, signed with initials to paving stone lower right, 21.5 x 16.5cm (8.5 x 6.5ins), mounted (1)

£200-300

369* Attributed to Francis Wheatley (1747-1801). Figures outside a house, watercolour on paper, inscribed in pencil verso ‘Rough sketch by Wheatley R.A.’, 18 x 25.5cm (7 x 10ins), modern frame (1)

Lot 369

£100-150

370* Wimperis (Edmund Morison, 1835-1900). Moorland View, 1886, watercolour on paper, signed and dated ‘aug 24/86’ lower right, 17 x 34cm (6.75 x 13.25ins), mount aperture, period gesso moulded frame, glazed (1)

£100-150

Lot 370

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

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MARINE ART

371* Anderson (William, 1757-1837). Shipping off the coast, watercolour on paper, laid down on card, 18.8 x 26.7cm (7.4 x 10.5ins)

373* Manner of Sir Oswald Walter Brierly (1817-1894). Coastal scene with moored sailing ship at twilight, watercolour on card (laid down on mount), depicting a large sailing ship at anchor in a calm sea, lit with the last rays of sun, with figures on a quay and a small boat approaching, 27 x 50cm (10.75 x 19.5ins), mounted, framed and glazed

(1)

(1)

£150-200

£200-300

372* Brett (Donald, 20th century). “The Lightning”, oil on canvas of a square-rigged, three masted tea clipper, signed lower right, 49 x 75.3cm (19.5 x 29.5ins), gilt frame (1)

£200-300

374* Brooks (Robin, 1943-). “The Homeward Run”, oil on board, of a square-rigged clipper, signed, 41 x 50.5cm (16 x 20ins), framed, titled and numbered ‘A1322’ on label on reverse Robin Brooks is a widely-exhibited, self-taught maritime artist whose output is noted for its historical accuracy.

(1) £150-200

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375* Crichton (Edward Owen, 1824-1894). British Naval Ships off a mountainous coast (possibly North Africa), 22 November, 1861, watercolour, heightened with bodycolour, signed and dated lower left, 36 x 52cm (14.2 x 22ins), framed and glazed The present work is attributed to Edward Owen Crichton, a naval engineer, born in Edinburgh, who attended the Royal Naval School in Camberwell. In 1861 he was on board HMS Victor Emmanuel in the Mediterranean. His father George Crichton owned one of the first steamship companies in Scotland, and his brother William owned a ship building company in Finland which built ships for the Imperial Russian Navy.

(1) £300-400

376* Duncan (Edward, 1803-1882 ). Scraps from Nature [so titled to upper cover], an album of 20 mostly small-scale studies in pencil or ink on paper, one or two with light wash, many captioned, and a few dated, two signed with initials, each with small printed circular studio stamp in red to corner, 13 x 23cm (5.1 x 9ins) and smaller, several loose (some leaves with excisions) bound in contemporary black half morocco gilt, rubbed, large oblong 8vo (19 x 29.5cm, 7.5 x 11.5ins) Subjects include the Isle of Wight, Retriever, Rushes & Punt on The Thames, Ducks, Pheasant, ‘Me with Cloths’, Deck View of a Schooner (dated October 11 1865), Oyster Boat, Mumbles, Greek Brig of War, Hambleden Ferryboat, etc.

(1) £200-300

Lot 376

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

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377* Dyer (William, 20th century). Tower Bridge from The Thames, watercolour on paper, showing a busy shipping scene, signed twice lower left, 28 x 38.5cm (11 x 15.25ins) mount aperture, modern gilt frame and glazed (1)

378* English School. “Columbia vs Shamrock” Americas Cup 1899, oil on panel, indistinctly signed lower right J. Herber, 20 x 25.5cm (8 x 10ins), gilt frame

£150-200

(1)

£100-150

379* Markes (Albert Ernest, 1865-1901). Naval man-o-war, 1884, watercolour on paper, showing a three masted ship in stormy seas, signed and dated lower left, 48 x 66cm (19 x 26ins), modern frame, glazed with manuscript labels to verso including biographical information about the artist Albert Ernest Markes was the eldest son of Richard Markes, Marine Painter of Newquay, and became a successful marine painter on the South Coast and in Belgium and Holland.

(1) £300-500

99

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Lot 380 380* Martin (Henry, 1835-1908). Shipping in Plymouth Sound, Mount Edgecombe, & Under Mount Edgecombe, together three oil paintings on wood panel, each signed lower right, 14 x 23cm (5.5 x 9ins) and very similar, matching modern antique-style gilt frames, with title and artist’s name to lower edge Henry Martin studied in Antwerp under Frank Vinck, and exhibited at the Royal Academy between 1874 and 1894, mainly scenes in Devon and Cornwall. He is regarded as a precursor of the Newlyn School, being the first artist to discover the village, and lived there until he left circa 1880, before the arrival of Walter Langley, Edwin Harris, Henry Scott Tuke and Stanhope Forbes. By 1887 he was living in Saltash near Plymouth.

(1) £1000-1500

Lot 380

381* Scottish School. Rowing boats and sailing boats circumnavigating Dumbarton Rock, circa 1860s, oil on canvas, 20.3 x 30.2cm (8 x 12ins), heavy gilt moulded frame (with some loss to gesso moulding), glazed, framer’s label of Alex Fraser of Dundee to verso of frame (1)

Lot 382

£200-300

382* Syer (John, 1846-1913). Carrickfergus Castle, County Antrim, Ireland 1884, watercolour on paper, showing figures and boats by the castle, signed J.Syer Junr., and dated lower left, 33.5 x 54cm (13.25 x 21.25ins), in a period gilt gesso frame, glazed, some spotting Carrickfergus Castle is a Norman castle built by John de Courcy in 1177 on the northern shore of Belfast Lough Carrickfergus, County Antrim, Northern Ireland. An almost identical oil painting by the same artist resides in the offices of Carrickfergus Council.

(1) £200-300

383* Taylor (Walter, 1860-1943). Seascape, 1885, oil on board, showing ships in stormy waters, signed and dated lower right, 22.5 x 29.5cm (8.75 x 11.5ins), gesso moulded frame (1)

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

£200-300

Lot 383

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HISTORICAL PORTRAITS 384* Blackley (Alexander, 19th century). Dowager Lady Townsend Farquhar, 1842, pencil on paper with touches of pastel and bodycolour, half-length portrait of a lady seated, signed and dated lower right, lightly toned, some faint damp-staining to edges, 42.5 x 32.5cm (16.75 x 12.75ins), framed and glazed, with contemporary manuscript label on backboard with name of sitter, and later note above ‘Bought at Christie’s sale of contents of Cullen House, Banff circa 1975 in a job lot’ Erica Catherine (nee Mackay), Lady Townsend-Farquhar (1818-1899) married Sir Walter Minto Townsend-Farquhar in 1835.

(1) £70-100

385* Chalon (Alfred Edward, 1780-1860). Portrait of Lady Churchill, circa 1850s, watercolour on paper, showing the sitter with a fan with trees in the background, 28.5 x 23cm (11.25 x 9ins), title and artist to mount, framed and glazed Probably Frances Anne Emily Spencer-Churchill (Vane) Duchess of Marlborough (1822-1899).

(1) £200-300

Lot 384

386* English School. Portrait of the actress Miss Maria Foote (1797-1867) as Maria Darlington in the play A Roland for An Oliver, circa 1825, small circular oil on thin wood panel, with contemporary inscription to verso in red ink ‘Miss foote, Darlington’, and numbered 14488, 92mm diameter (3.6ins) An engraved portrait of Maria Foote in the role of Maria Darlington, wearing a similar costume and garlanded veil, by Thomas Morton (1764-1838) was published in 1826.

(1) £150-200

Lot 385

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387* English School. Head and shoulders portrait of a gentleman, circa 1830-50, oil on canvas, some marks and discolouration, 37 x 40.5cm (14.5 x 16ins), period gilt frame (1)

£150-200

389* Leigh-Hunt (Gerard, 1873-1945). Molly Leigh Hunt, watercolour on paper, showing the artist’s 9 year old daughter with her kitten ‘Bogey’, artists initials lower right, 34 x 24cm (13.25 x 9.5ins) mount aperture, gilt frame, glazed with manuscript labels verso inscribed ‘Molly Leigh-Hunt age 9 of Thyra + Gerard LeighHunt, R.C.A., and niece of Princesse Irene de Polignac’, ‘This picture belonds to Mrs. M. Loftus-Paton (Molly Leigh Hunt. C.A.S.’, together with Scannell (Edith, active 1870-1920). Portrait of infant Diana, pastels on paper, signed lower left titled upper right, 28 x 23cm (11 x 9ins) oval mount aperture, period gesso moulded frame, glazed plus Waterhouse (Philip, 20th century). Maldon, Essex, watercolour on paper, showing the harbour, signed lower right, 23.5 x 34.5cm (9.25 x 13.5ins), framed and glazed (3)

388* Hayden (William, active 1849-1866). Portrait of Isabella Sarah Cooper - aged 9 years, daughter of Colonel John Cooper, 7th B.R.I., 1861, circular coloured chalks on paper, inscribed in red chalk to verso with title and date, some overall toning and a few marks to margins, 30.5cm (12ins) diameter, period gilt frame, glazed (1)

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

£150-200

102

£200-300

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Lot 390

Lot 392

390* Ludovici (Albert Johann, 1820-1894). Portrait of two children, thought to be Prince Leopold (1853-1884) and Princess Beatrice (1857-1944), Queen Victoria’s youngest children, 1862, oil on canvas, signed with monogram and dated lower right, relined, 76 x 63cm (30 x 25ins), modern gilt frame (1)

£1000-1500

391* Miniature. Oval portrait miniature of a young gentleman, circa 1820, oval gouache portrait, showing a young man with brown curly hair and sideburns, wearing a white cravat and black frock coat, 50 x 38mm (2 x 1.5ins), mounted in perod ebonised wood frame (1)

£100-150

392* Warburg (Blanche, late 19th/early 20th century). Portrait of a Dutch Woman, oil on canvas, signed to upper left corner, modern relining and revarnishing, 73.5 x 58cm (29 x 23ins), modern gilt frame The American artist Blanche Warburg is described as a portrait painter in the San Francisco newspaper The Call for Sunday July 8, 1906, where she is also listed amongst a group of American artists working in Florence in the early years of the 20th century, exhibiting at the Accademia di Belle Arti in 1904.

(1) £300-500

Lot 391

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

£200-300

Lot 393

394* Wellesley (Gerald Edward, 1846-1915). A head and shoulders portrait of Nora Palairet, nee Hamilton Martin, wife of Charles Harvey Palairet, wearing a black evening dress with flocked floral wallpaper in background, 1901-1905, oil on canvas, signed and dated 1901-5 upper right, 61 x 51cm (24 x 20ins), period gilt moulded frame, glazed Provenance: The Earl of Oxford & Asquith. Nora Palairet married Charles Harvey Palairet in 1888. Her sister, Ada (1847-1933) married the artist Gerald Wellesley in 1880.

(1) £400-600

Lot 394

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

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18TH-19TH CENTURY PAINTINGS

395* Bird (Edward, 1772-1819). John Henderson as Macbeth, oil on canvas, 61 x 71cm (24 x 28ins), relined and close tear restored, inscribed on lower stretcher verso ‘E. Bird R.A. Relined 1887’ and inscribed in pencil to upper stretcher ‘John Henderson the Actor as Macbeth born 1747 died 1787 painted by E. Bird, R.A.’ Edward Bird was born in Wolverhampton and taught himself to paint during his apprenticeship to a tea tray maker. In 1794 he went to Bristol, meeting with some success as a painter. After his picture ‘Good News’ was accepted by the Royal Academy in 1809, he moved to London, firstly continuing to paint genre scenes, comparable to those of David Wilkie. His paintings ‘The Field of Chevy Chase’ won him an award of 300 guineas from the British Institute and the appointment of Court Painter to Queen Charlotte. He was appointed an Associate of the Royal Academy in 1815.

(1) £700-1000

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396* Continental School. Venus, Mars and Cupid in a landscape, probably Northern European, circa 1700, gouache on vellum in the form of a fan leaf, showing Venus at her toilette, Mars at a forge, and Cupid sharpening arrows, 27.5 x 65.5cm (10.75 x 21.75ins), framed and glazed (1)

£400-600

397* Continental School. Madonna and child, 19th century, tempera on vellum, typically painted in a Raphael style with Germanic landscape, 60.5 x 43cm (23.75 x 17ins), modern pine frame for support, closed tears approximately 27cm long, patched verso and scratches and 3 holes above curtain pole (1)

£200-300

398* English School. Still life of fruit, 18th century, oil on canvas, unsigned, 35 x 46cm (13.75 x 18ins), unframed (1)

Lot 397

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

106

£100-150

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399* Hulk (Abraham, 1851-1922). Rural Landscape, oil on board, showing a figure before a cottage with hills in the background, signed lower right, 56 x 42cm (22 x 16.5ins), modern gilt moulded frame with oval velvet aperture (1)

ÂŁ300-500

Lot 399

400* Italian School. Holy Family with St. John, early 18th century oil on canvas, old relining, inscribed in a mid-19th century hand to verso J.C. Mansel, and with two illegible wax seals, 77.5 x 63.5cm (30.5 x 25ins), framed Provenance: Most likely John Christopher Mansel (1814-1895) of Cosgrove Hall, Northamptonshire. He inherited the Cosgrove Estate from his uncle of the same name (1771-1839).

(1) ÂŁ700-1000

Lot 400 107

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401* After Angelica Kauffman (1740-1807). Una and the Lion, early-mid 19th century oil on wood panel, after the original by Angelica Kauffmann, 15.5 x 33.5cm (6 x 13.2ins), old gilt moulded frame, with early 20th century handwritten label to verso Provenance: From the collection of the late Mrs Mary Goodingham (neé Hudson, 1839-1926), according to the handwritten note to verso, which is also signed by Thomas Hudson. An oval engraving after Kauffmann’s Una and the Lion by Thomas Burke was published in 1783.

(1) £150-200

Lot 403

402* Morley (S. C., 19th century). Highland Loch with horned cattle watering, oil on canvas, signed lower right, relined, 51 x 76cm (20 x 30in), gilt frame (1)

£200-300

403* Roeters van Lennep (Catherine Julia, 1813-1883). Still Life of Fruit and Flowers on a Marble Ledge, 1826, oil on wood panel, signed ‘R V Lennep fecit 1826’ to centre right margin, with Parker Gallery printed label to verso, 20.7 x 28cm (8.2 x 11ins), old gilt moulded frame An early work by the Dutch still life painter Catharina Julia Roeters van Lennep, known as Catharina de Vries after her marriage to the lawyer Jeronimo de Vries in 1836.

(1) £200-300

404* Follower of Philips Wouwerman (1619-1668). Travellers on horseback, in a landscape, 18th century oil on canvas, some surface marks and flaking to outer edges, unframed Requires restoration.

(1)

Lot 404

£200-300

Lot 402 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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OLD MASTER PRINTS & DRAWINGS 406* Audran (Gerard, 1640-1703). Sic Virtus Evehit Ardens, 1672, copper engraving on laid paper, the right-hand portion only of Audran’s large engraving after Charles Le Brun depicting the triumph of Alexander, together with another similar engraving by Audran, showing the extreme left and extreme right-hand portions only of Virtus Omni Obice Major (La Vertu Surmonte Tout Obstacle), plate size 72 x 51 cm (28 x 20 ins) and 71.12 x 41.91 cm (28 x 16.5 ins) respectively, both with margins, some marks to edges, old frames, glazed, together with other various prints and watercolours, including two panoramic watercolours of camels in the Egyptian desert by F. Leighton, dated 1909 (damaged), a set of twelve engraved views of Bristol Cathedral by Samuel Lysons, 1801-02, three watercolour and gouache views of bomb-damaged buildings in Bristol, by Charles Frederick W. Dening (circa 1876-1953) etc. (approx. 25)

£150-200

407* Barry (James, 1741-1806). The Grecian Harvest Home, 1791 [1792], etching and engraving on laid paper, a slightly later reissue, some marks and short tears to margins, trimmed to plate mark, and with some marks and soiling, a few short closed tears, laid down on later card, image size 39.5 x 49cm (15.5 x 19.25ins), framed and glazed

405* Audenaerde (Robert van, 1663-1743). The Triumph of Caesar, 1692 [but later], copper engraving on 9 conjoined sheets of heavy wove paper, printed in dark brown, probably late 19th or early 20th century, after the original series published by Domenico de Rossi in Rome in 1692, plate size 39.5 x 378cm overall (15.5 x 148ins), with good blank margins

See Pressly (1981) 18. The second in the series of six large prints issued in 1792, depicting the artist’s murals in the Great Room of the Society of Arts, Manufactures and Commerce, in London, known as The Progess of Human Culture and Knowledge. The present work may be from the volume of prints

by James Barry, issued after his death, entitled A Series of Etchings by James Barry, from his original and justly celebrated paintings in the ...Society of Arts, 1808.

(1) £200-400

A late reissue of the series of engravings by Van Audenaerde after Mantegna’s Triumphs of Caesar, at Hampton Court, first published in 1692, here without the unnumbered frontispiece or title page bearing the title C. Iulii Caesaris Dictatoris Triumphi, the other 9 sheets numbered 1-9.

(1) £200-300

Lot 407

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Lot 408 408* Attributed to Abraham Bloemaert (1564-1651). Landscape with thatched barn, shepherd reclining and man leaning on a staff, circa 1610-20, pen and brown ink on laid paper, inscribed in ink in a 17th century hand to verso: ‘n.9’ upper left, ‘no. 30 - p.g.15 I 29 dec 88.’ centre of top margin, and ‘P. Autore Fiamingo’ centre, several minor chips and one short closed tear to sheet edges at upper left and upper right (with discreet archival repairs to verso), image size 188 x 291mm (7.4 x 11.5ins), sheet size 213 x 318mm (8.4 x 12.5ins) Provenance: Private Collection, Dorset. A relatively large-scale Flemish landscape drawing. The subject matter is similar to the series of farmhouse landscapes by Bloemaert which were engraved by Boetius Adams Bolswert and published under the title Verscheyden aerdige Lanthuysen nae t’leven Gekonterfeyt by Claes Jansz. Visscher in 1620.

(1) £700-1000

Lot 409

409* Borcht (Pieter van der, 1545-1608). Biblicae Historiae, a collection of 75 engraved illustrations to the Bible, on laid paper, some soiling and fraying to margins, minor waterstains, some occasional old hand colouring, plate size 10 x 22.5cm (4 x 8.8ins), with margins, some fraying to extremities of first and last few leaves, contemporary plain vellum, soiled and some wear, 4to (24 x 16.5cm, 9.5 x 6.5cm) (1)

£200-300

410* British School. Study of a cleric’s left hand, circa 1850-75, black chalk on wove paper, signed lower right with initials G.S., 190 x 243mm (7.5 x 9.6ins), period frame, glazed (1)

£100-150

Lot 410 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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411* Bry (Johann Theodore de, 1528-1598). Polyptoton de Flores (The Variance of Flowers), after Jacob Kempener, published by Jean Bussemecher of Cologne, 1604, complete set of 6 copper engravings on laid paper, an early reissue of 1604 with artist and engraver’s name removed (except for the first two prints in the series, the first of which gives the publisher as ‘Joan. Buss. Exc’, both retaining the artist’s name), pale overall toning, minor marginal waterstains, remains of glue to outer corners verso, plate size 290 x 220mm (11.4 x 8.7ins), sheet size 355 x 265mm (14 x 10.5ins) Hollstein 451-456. New Hollstein, IV 43. De Jong and De Groot, Ornamentprenten in het Rijksprentenkabinet I (1988), 355. Rare and elegant suite of six flower prints produced by the Flemish engraver, Johann Theodor de Bry, and first published in the late 1590’s, probably in Frankfurt. The series was based on paintings by his little known countryman Jacob Kempener, with mottoes devised by De Bry in Latin hexameter on the theme of transience. The captions are: FLOS SPECULUM VITAE MODO VERNAT ET INTERIT AURA; FLORIS IMAGO FUGAX RAPIDI NOS ADMONET AEVI; FLORI PAR IUVENIS TENER EST CRESCENTIBUS ANNIS; UT VER DAT FLOREM, VIRTUS LARGITUR HONOREM; OFLOS SIC VERNANS IUVENILI AETATE PUDOREM, and FLOREM SI OSTENDET FERET IPSO TEMPORE FRVCTVM. (6) £1500-2000

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412* Callot (Jacques, 1592-1635). Les Misères et les malheurs de la guerre... mis en lumière par Israel son amy, Paris, 1633, collection of twenty etchings on laid paper, consisting of title, another title in Dutch from the Schenk edition, and plate numbers 2, 3, 8 (2), 10 (2), 11, 12, 13 (2), 14(2), 15 (2), 16 (2) and 18 (2), some of which are later reprints or copies in reverse, each with plate number and French captions by Marolles, trimmed just inside platemark, 82 x 184mm (3.25 x 7.25ins) or similar, together with La Vie de l’Enfant Prodigue, 1635, set of eleven etchings by Israel Silvestre after Callot, on laid paper, with inscriptions but before numbers, trimmed to platemark, some marks and soiling, 62 x 82mm (2.5 x 3.25ins), all mounted in 19th century half calf album, 4to (29 x 22.5cm), plus a group of six etching by Callot from the series Capitano de Baroni (37)

£300-500

413 Callot (Jacques, 1592-1635). De Droeve Ellendigheden van den Oorloogh, seer aerdigh en konstigh afgebeeldt door Jacques Callot...en in druck uytgegeven door Gerret van Schagen, [Amsterdam]: Leonard Schenk, circa 1730, eighteen etched plates after Callot (including decorative title), light spotting and few minor dust marks, 19th century morocco backed marbled boards, rubbed, oblong octavo (1)

414* Carpi (Ugo da, circa 1480-1520/23). The Descent from the Cross, after Raphael, circa 1520, chiaroscuro woodcut printed from three blocks in black, brown and ochre on laid paper, trimmed to black outline margin (present on all sides), a few marks and minor flaws, sheet size 353 x 284mm (13.9 x 11.2ins), mounted on later laid backing paper, 19th century gilt and wood frame, glazed

£300-400

Bartsch XII, 43, 22. Illustrated Bartsch volume 48 (Chiaroscuro Woodcuts V, 22).

(1) £700-1000

Lot 413 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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415* After Giovanni Francesco Castiglione (1641/42-1716). Adoration of the Kings, pen, brown ink and watercolour on laid paper, initialled J.Th., and inscribed lower right Francesco Castiglione Genovese, sheet size 23 x 41cm (9 x 16.2ins), 19th century frame, glazed The present work appears to be an early copy by one of Castiglione’s studio, or early followers, of his Adoration of the Kings, a version of which is in the Royal Collection at Windsor Castle.

(1) £400-600

417* English Neoclassical School. A group of four pen and ink drawings of classical Greek mythological figures, circa 1775-1800, 4 pen and brown ink studies on laid paper, with pencil and occasional brown wash, each with further figure studies to verso, 165 x 190mm (6.5 x 7.5ins) and smaller, mounted together on a large sheet of contemporary pale blue wove backing paper, with single-line ink border to each image, together with a similar pen and brown ink composition study of three classical maidens on a garden balcony with putto and warrior, on laid paper with partial unidentified watermark, 160 x 195mm (6.25 x 7.75ins), light diagonal crease towards top margin, tipped onto a part sheet of printed text from the Boydell Shakespeare edition of King Henry V, plus three unrelated pen and ink studies of figures, late 18th or 19th century

416* De Jode (Gerhard, 1509-1591). The Parable of the Sower, 1568 [reissued circa 1620], a set of 4 copper engravings on laid paper, published by Claes Jansz Visscher (1587-1652), plate size 207 x 245mm (8.2 x 9.6ins), sheet size 310 x 390mm (12.25 x 15.3ins) (4)

£200-300

(8)

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£300-500

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Lot 419 418* English School. Two angels racing across the sky, early 19th century, pen & brown ink with pale brown wash on paper watermarked J Whatman Turkey Mills 18 , possibly a copy after an Old Master original, inscribed in brown ink lower left J.B.C. 1747, sheet size 165 x 112mm (6.5 x 4.4ins), together with Italian School. Holy Family, 18th century, black ink and red chalk on laid paper with partial large crown watermark, inscribed to verso ‘Napoli’, and two other Italian words not legible, upper outer corners cut away, 150 x 105mm (5.9 x 4.1ins), mounted (2)

£150-200

419* English School. Head of a Page Boy, probably 18th or early 19th century, fine pencil on paper, with touches of red chalk, unsigned, image size 35.5 x 29.5cm (14 x 11.5ins), laid down on card (1)

£200-300

420* Stanley (Harold John, 1817-1867). The Tyrol painter Haller’s first studies, 1852, pencil on laid paper (watermarked Honig), signed with initials and dated lower right, additionally inscribed by the artist to upper right ‘Drawn for Payne’, together with five other similar pages from the artist’s sketchbook, depicting various genre scenes and illustrations, each signed with initials and dated, most with captions in pencil by the artist, sheet size 23.5 x 16 cm (9.25 x 6.25 ins), plus other various drawings and prints, mainly 19th century pencil studies, including a landscape sketch by Sir George Beaumont (1753-1827), an etching by Waterlo inscribed to verso Schweickhardts Sale 1799, two rough pencil sketches attributed to George Romney, circa 1780 (taken from his sketchbooks sold at Sotheby’s circa 1910), a pen, ink and monochrome wash view of Hornby Castle, Lancaster, 1822, by a follower of William Gilpin, and a pencil landscape study by William Dyce, inscribed At Castle Fraser, an etched view of Plymouth by Hollar, 1676, two early 19th century pencil and watercolour studies of birds, etc., all contained in 20th century plastic album (approx. 30)

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

Lot 420

£200-300

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Lot 422

421* English School. Views of Coastal Forts, circa 1770, comprising ships before a walled fort, another of an Ottoman fort, and one other inscribed in pencil ‘Hurst Castle, Hampshire, Pen & Ink’, 21 x 33.5cm (8.25 x 13.25ins), vertically framed together, glazed (1)

423* Flamen (Albert, 1620-1692). Diverses espèces de poissons tant de mer que d’eau douce, circa 1660-1670, series of 6 copper engravings (from the set of 7) on laid paper, published by Jacques Lagniet, Paris, some minor spotting and marks, first plate with portion to left blank margin torn away, plate size 113 x 178mm (4.5 x 7ins), sheet size 180 x 230mm (7.1 x 9ins)

£200-300

422* Firens (Pierre, 1580-1638). Piscium vivae icones in aes incisae et editae ab Petro Firens, Paris, Pierre Mariette, circa 1650, a set of 20 copper engravings on laid paper, watermarked Auvergne, plate size 97 x 188mm (3.8 x 7.4ins), sheet size 176 x 233mm (6.9 x 9.2ins) (20)

Robert-Dumesnil 475. Bartsch 61.

(6)

£700-1000

115

£300-500

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424* Franco (Giovanni Battista, 1498-1561). Di Questa Sorte, Sono l Buon Salami, copper engraving on laid paper, trimmed to image, 115 x 152mm (4.5 x 6ins), together with three other engravings on laid paper by Franco of pairs of grotesque heads of old men, all trimmed to image, similar sizes, each in modern card mount (4)

£400-600

425* French School. Album of 85 engraved and etched landscapes by Louis Germain (1733-circa 1791), Jean-Pierre Louis Laurent Houel (1735-1813), Jean Pillement (1728-1808), Gabriel Perelle (1604-1677), Pierre Viel (1755-1810), Ferdinand Kobell (17401799), Stefano della Bella (1610-1664), and others, circa 1680-1780, a collection of landscape engravings and etchings, mostly rustic scenes, coastal and river views in Italy, including Rome, France, etc., some marks and soiling, several plates with ink splashes and some pencil marks, plate size 110 x 170mm (4.3 x 6.7ins), and smaller, sheet size 123 x 187mm (4.8 x 7.4ins), bound in late 19th or early 20th century vellum with marbled endpapers, oblong 8vo (128 x 195mm) Contains a group of 12 engraved landscapes by Houel, including 2 titles, both bearing the title ‘Livre de Paysages’ (one dated 1758), a group of 5 etched landscapes by Floding after Pillement, including title page Livre de 8 Paisages de Fantesie, dated 1761, a series of 5 engraved landscapes by Gabriel Perelle, numbered 1-5 and published by Mariette, Paris, 4 rustic landscapes by John Smith (circa 1652-1742) after George Smith, published

by Francis Vivares, a set of 6 engraved views by Quintin-Pierre Schedel (1705-1762) entitled Observationib. Astronom. Regiae Paris. Scient. Acad.

Promontorium Palmam Aequatori subjacere compertum est, 1736, 4 plates from Kobell’s Six Paysages, Paris, Hess, 1769, 6 etched plates of shipping by Stefano della Bella, published by Israel Silvestre (1621-1691), etc.

(1) £400-600

Lot 425

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

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426* German School. The Cook and his Wife, after Albrecht Durer (1471-1528), & Striding male figure with laurel wreath and lyre, circa 1500-1550, a pair of drawings in pencil and red chalk on laid paper, sheet size of each 122 x 82cm (4.8 x 3.25ins) Two 16th century German drawings, one being an early copy after Durer’s The Cook and his Wife of 1496 (Bartsch 84, Meder 85, Schoch, Mende & Scherbaum 13).

(2) £400-600

428* Hayter (Sir George, 1792-1871). Asking the way to the Hospital, Unterseen, August 17, 1846, pen & brown ink and wash with traces of pencil on wove paper, signed with initials, titled and dated, inkstamp ‘Nachlass Sir George Hayter’ lower right corner, pinhole to centre of top margin, 207 x 305mm (8.2 x 12ins), together with another drawing by Hayter of a young girl with a baby, pencil heightened with red on wove paper, titled in pwncil to lower margin ‘Nature’, 175 x 205mm

427 Guichard (Kenneth M.). British Etchers 1850-1940, 1st edition, Robin Garton, 1977, 3 etchings by Robin Tanner (Wren and Primroses, Full Moon & The Old Road), each signed in pencil, numerous illustrations, top edge gilt, original quarter blue morocco gilt, slightly rubbed, large 4to (1)

(2)

£150-200

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£100-150

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429* Blake (William, 1757-1827). Beggar’s Opera, Act III, 1790, copper engraving after William Hogarth, published by J. & J. Boydell, trimmed to plate mark, some marks and slight abrasion to lower edge, plate size 420 x 535 mm (16.5 x 21 ins), framed and glazed Essick (1983) LXI. Essick (1991) XX.I. (1)

£70-100

430* Hogarth (William, 1697-1764). A Midnight Modern Conversation, 1732, copper engraving and etching on paper, the third state of three, plate size 345 x 470 mm (13.7 x 8.6 ins), framed and glazed Paulson 128, iii/iii. BM Satires 2122.

(1)

£100-150

431* Hogarth (William, 1697-1764). The March to Finchley, 1761, copper engraving by Luke Sullivan, retouched and improved by Hogarth, plate size 440 x 555 mm (17.25 x 21.9 ins), framed and glazed Paulson 237, viii/ix.

(1)

Lot 429

£150-200

432* Hogarth (William, 1697-1764). Hogarth Painting the Comic Muse, 1758, copper engraving, trimmed to plate mark, and laid down on later paper, plate size 400 x 350 mm (15.75 x 13.8 ins), with artist’s autograph signature in ink, dated 1734, mounted below, framed and glazed Paulson 204, vi/vii.

(1)

£300-400

Lot 430

Lot 432

Lot 431 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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433 Hogarth (William, 1697-1764). Album of 215 etchings and engravings by William Hogarth, the majority 18th century impressions and early states, engravings and etchings, mostly on laid paper, including A Rake's Progress, A Harlot's Progress, Hudibras, The Four Times of the Day, Marriage-a-la-Mode, Industry & Idleness, Four Stages of Cruelty, Beer Street and Gin Lane, The Election, Self Portrait 1764, Roast Beef of Old England, Simon Lord Lovat, John Wilkes, The Company of Undertakers, The Five Orders of Perriwigs, The Bruiser, Credulity, Superstition and Fanaticism, and The Bathos, with numerous duplicate sets in variant states, including issues by Phillips, Mills, Sayer, Barron and Carington Bowles, many plates with good margins, but some plates trimmed and window mounted, occasional minor stains and discolouration to margins, bookplate of Francis Frederick Fox to front pastedown, early-mid 19th century gilt-decorated red full morocco, rubbed and scuffed, large folio (61 x 51cm, 24 x 20ins) Provenance: Francis Frederick Fox (1833-1915), Antiquary, and Justice of the Peace for Bristol and Gloucestershire. Collection of Michael Jenner (1928-2017) of Bristol, architect. This remarkable album includes many first, second and later state impressions of most of Hogarth's major works.

(1) ÂŁ7000-10000

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436* Morland (George, 1763-1804). Sheep at rest by a tree, black chalk on paper, laid down on card, signed lower left, 38.5 x 33.5cm (15.2 x 13.2ins), period gilt frame, glazed Provenance: Private Collection, Devon.

(1)

£700-1000

Lot 435

434* Hollar (Wenceslaus, 1607-1677). Briseis and Achilles (Pennington 286), etching on laid paper, one or two minor marks, short thread tear without loss near centre of left margin of the plate, plate size 296 x 190 mm (11.7 x 7.5 ins), sheet size 360 x 255 mm (14.2 x 10 ins), mounted, together with a collection of various Old Master prints and engravings, including eight by George and John Smith of Chichester of landscapes and sheep, circa 1770, two

by Franz van Bloemen ‘Il Horizonti’, Claude Lorrain (2), an 18th century French counterproof rural scene with washer women, printed in red on Montgolfier Dannonay watermarked paper, two further small etchings by Hollar: Antique Bust of a Woman (Pennington 590) and Margaret Giggs (Pennington 1552), Adriaen Collaert, John Sell Cotman’s The Manor House, York, 1811, Frank Short, Temple of Jupiter in the Island of Aegina, sepia mezzotint after Turner, 1920, etc., many mounted (36)

£300-500

435* Le Clerc (Sebastien, 1637-1714). The Four Elements, circa 1670-80, a set of four large fine copper engravings by Le Clerc after Charles Le Brun (1619-1690), plate size 38 x 54.5cm (15 x 21.5ins), with margins, in good clean condition, neo-classical style black and gilt frames by O’Shea Gallery, London, glazed, with printed label for the O’Shea Gallery to verso of each

437* Mortimer (John Hamilton, 1740-1779). Banditti on the look out, Tragedy, & Reposo, 1778, 3 etchings on wove paper, all published by John Mortimer, plate size 302 x 205mm (11.9 x 8ins), sheet size 360 x 235mm (14.2 x 9.25ins) and very slightly smaller, together with Conversing with a Captive, by R.H. Blyth after Mortimer, 1779, & Banditti at rest, by Joseph Haynes after Mortimer, 1780, sheet size 300 x 220mm (11.75 x 8.7ins) and similar

The set of four fine engravings by Le Clerc based on the allegorical tapestries designed by Charles Le Brun for a commission by Louis XIV. (4) £200-400

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

(5)

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£100-150

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Lot 436

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438* Muller (Herman Jansz., 1571-1628). St. Peter healing Tabitha at Joppa, (from the Acts of the Apostles), after Maarten van Heemskerck, copper engraving on laid paper, with shield watermark, published by Visscher in the early 17th century, following the first publication by Philips Galle in 1575, plate size 212 x 272 mm (8.3 x 10.7 ins), sheet size 247 x 305 mm (9.75 x 12 ins), together with Beati misericordes, quoniam ipsi misericordiam consequentur (number 5 of the Eight Beatitudes), after Maarten van Heemskerck, plus plates 1 & 2 from the History of Athalia by Muller after Heemskerck, also published by Visscher, and other similar copper engravings of scenes from the Bible after Marten de Vos, Jan van der Straet, Frans Menton, etc., with imprint of Claes Jansz. Visscher, all on laid paper, similar size (13)

£200-300

Lot 438

439* Piranesi (Giovanni Battista, 1720-1778). Veduta del Tempio detto della Concordia, etching on heavy paper, numbered in the plate 764 and 12 to upper right, plate size 46.5 x 71cm (18.25 x 28ins), with good margins, circular blindstamp of the Regia Calcografia lower right, and with printed inscription to lower margin 'In remembrance of the XXI meeting of Supreme Economic Council, Roma, XXVI November MCMXIX', signed below by Dante Ferrari, a few light marks and spots, framed and glazed (1)

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

£150-200

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440* Follower of Rembrandt (van Rijn, 1606-1669). Head of a man with plumed hat and cloak, etching on laid paper, hand finished with brown wash, probably 18th century, plate size 116 x 88mm (3.5 x 4.5ins), thread margins, glue stains to upper edge, together with Rembrandt (van Rijn, 1606-1669), Cottage beside a Canal: View of Dresden, 1645 [but later], (Bartsch 228), etching on laid paper, an 18th century copy in reverse, with watermark of a crown and G R within a laurel enclosed by a circle, plate size 140 x 206mm (5.5 x 8.1ins), blank margins to three sides (top margin trimmed to platemark), plus four other reprints of Rembrandt etchings, various (6)

£70-100

441* Rossini (Luigi, 1790-1857). Veduta dell’Arco di Costantino, escavato e ristaurato da Papa pio VII regnante, Rome, 1821, etching on wove paper, some marks, plate size 41 x 49cm (16 x 19.25ins), together with Veduta di fianco del Panteon preso nel vicolo del Grottino, Rome, 1821, etching on wove paper, plate size 61 x 44cm (24 x 17.25ins), both in modern antique-style black and gilt frames, glazed (unexamined out of frames), plus Brun (Jo Jovanni), Veduta della Basilica di S: Pietro in Vaticano, [Rome], Carlo Losi, 1785, copper engraving on laid paper, some minor marks and pale discolouration to margins, plate size 43 x 60.5cm (17 x 23.75ins), narrow margins, old wood frame, glazed (3)

Lot 440

Lot 441

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£200-300

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442* Sadeler (Jan, 1550-1600 & Raphael, 1561-1628). Theobaldus (from Oraculum Anachoreticum), 1600, together with Theodorus, Geroldus & Elphegus (from Trophaeum Vitae Solitariae) 1598, & Gudwaldus & Auxentius (from Solitudo sive Vitae Patrum Eremicolarum), 1585-86, together 6 copper engravings on laid paper after Maarten de Vos, trimmed to plate margins, most plates with a little damage to outer corners (presumably caused by removal from old albums), sheet size 170 x 210mm (6.75 x 8.25ins) or very similar Hollstein 449, 431-433, 386 & 390 respectively.

(6)

£200-300

443* Saenredam (Jan Pietersz., 1565-1607). Susanna and the Elders, copper engraving on laid paper by Saenredam after Hendrick Goltzius (1558-1617), published by Jan Jansson [Amsterdam], circa 1650, plate size 25 x 17cm (10 x 6.7ins), sheet size 28 x 19.5cm (11 x 7.7ins), together with Sadeler (Johannes, 15501600), Christ in the House of Martha and Mary, 1598, copper engraving on laid paper, by Sadeler after Jacopo Bassano, plate size 22.5 x 28.5cm (8.8 x 11.2ins), sheet size 29 x 38.5cm (11.5 x 15.2ins), plus other Old Master prints, various, 17th & 18th century, including Valentin Lefebre (circa 1642-1682), David and Goliath, after Titian, published by Van Campen, Venice, a copy in reverse after Cornelis Cort, Rest on the Flight to Egypt, after Barocci, circa 1600, Erik Jonsson Dahlberg (1625-1703), Siege of Brest Litovsk in 1657, published 1696, Vorsterman, Thomas Howard & Alethea Talbot, after Van Dyck, an engraved copy by Marc Antonio Raimondi of Durer’s woodcut of The Visitation (from the Life of the Virgin), etc.

Lot 442

(19)

£150-200

444* Sandby (Paul, 1725-1809). Mountainous landscape with bridge, pen & brown ink, grey and brown wash on card, with traces of pencil and bodycolour, 126 x 162mm (5 x 6.4ins), mounted with typewritten label below giving artist’s and collection name Provenance: Christies London, The William Sandby Collection of Drawings

by Paul Sandby, R.A., March 24 & May 26, 1959.

(1) £150-200

Lot 443

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

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445* Tempest (Pierce, 1650-1717). A collection of 41 copper engravings from The Cryes of the City of London, drawne after the life, circa 1688, [and slightly later], containing 32 engravings from the first edition, issued without plate numbers, and 6 from the second edition issued circa 1709-11, one issued by Robert Sayer, circa 1760, engraved by Pierce Tempest after Marcellus Laroon, mostly trimmed to plate mark, a few plates with loss of upper ruled border, some marks and corners with damage, mostly mounted on to 19th century album leaves, stitched, sheet size 25 x 16cm (9.75 x 6.25ins), or similar Colas 1793. Lipperheide 1019.

(41)

446* After Anthony Van Dyck (1599-1641). Portrait of Sir Kenelm Digby, red chalk on laid paper, with arched top, no watermark visible, 211 x 186mm (8.35 x 7.3ins), mounted on 19th century album leaf Provenance: Removed from an album of 19th century wash and pencil drawings, including some by William Turner of Oxford, formerly in the collection of Frederick Joseph Morrell, Solicitor to the University, Oxford (1811-1882); Philip and Lady Ottoline Morrell, thence by descent. A similar drawing in red chalk of the same subject and with more detail is held by the National Portrait Gallery, London (N.P.G. D20383). This drawing would appear to be based on the engraving of the same portrait by Robert van Voerst, which was published circa 1636. A studio copy of Van Dyck’s portrait hangs at Worcester College, Oxford (formerly Gloucester Hall), of which Digby was an alumnus.

(1) £300-500

£300-500

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Lot 447

Lot 448

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

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447* Vasi (Guiseppe Agostino, 1710-1782). Il Prospetto principale del Tempio e Piazza di S. Pietro in Vaticano, 1774, etching on laid paper, plate size 705 x 975 mm (27.75 x 38.4 ins), some toning and surface marks, framed and glazed (1)

£300-500

448* Vasi (Guiseppe Agostino, 1710-1782). L'Interno della Basilica Vaticana, 1774, etching on laid paper, plate size 705 x 972 mm (27.75 x 38.25 ins), some marks and light soiling, framed and glazed (1)

£300-500

449* Wilkie (Sir David 1785-1841). Study of a group of figures, pen and brown ink on laid paper, with partial watermark of a shield and crown, showing an interior, with a gentleman visited by an old couple and young boy, with additional rough sketch of a group of figures to verso, sheet size 15 x 12cm (6 x 4.75ins), tipped onto old album leaf, with ‘Wilkie’ in ink to lower margin (1)

£150-200

Lot 449

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ORIENTAL WORKS OF ART

450* Delhi School. Portraits of the Mughal Emperor Shah Jahan and his wife Mumtaz, circa 1850-75, a pair of fine oval miniature portraits in gold and colours on thin ivory, a few marks, 100 x 75mm (4 x 3ins), matching gilt frames, glazed (2)

£200-300

451* Indian Miniatures. Krishna playing the flute to a maiden with cows and peacock, 20th century gouache miniature on pale brown paper, heightened with gold, image size 13.5 x 18cm (5.3 x 7.1ins), with margins, with paper mount, together with three other good quality 20th century Indian miniature paintings on old manuscript paper, gouache heightened with gold, showing a prince with harem, a group of huntsmen in a landscape, and a female on an elephant, image size 16.8 x 27.5cm (6.6 x 10.75ins) and slightly smaller (4)

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

452* Indian School. Pair of miniatures, 19th century watercolour on paper, showing man and woman in traditional dress, within geometric border, 19.5 x 15cm (7.75 x 6cm), framed and glazed

£150-200

(1)

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£200-300

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453* Japanese fan prints. A group of ten fan-shaped colour woodblock prints, circa 1840-60, including designs by Ichiyusai Kuniyoshi (1797-1861), Shibata Zeshin (1807-1891), Settei, Kunisada, Toyokuni, and others, some light soiling, 15.5 x 48cm (6 x 19ins), contained in contemporary green paper over-wrapper, with Japanese inscription in gold ink to one side, housed in later purpose-made cloth portfolio, titled to upper cover Japanese Fans, 26.5 x 53cm (10.5 x 20.75ins) (1)

£200-300

454* Kennedy (M., 20th century). “Tei Dai Mon” (East Gate), Seoul, Korea, circa 1920s, colour woodcut, artist’s printed monogram lower right, signed in blue ink lower right, and titled in small neat script to lower blank margin, sheet size 182 x 254mm (7.2 x 10ins), framed and glazed Note: The present work, similar to the work of Elizabeth Keith, is listed as her work by the online blog easternimp.blogspot.co.uk, although this impression is clearly signed M. Kennedy, and bears a monogram with the letters MK. (1) £150-200

455* Kunisada (Utagawa, 1786-1865). Two Kabuki actors, one depicting a seated woman, the other two male figures, some light spotting, the second with central horizontal crease, image size 35.5 x 24.5cm (14 x 9.6ins) and similar, both framed and glazed (2)

£100-150

Lot 455

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Lot 457

Lot 456

456* Mughal School. Hunting scene of a Mughal emperor with halo on horseback, with two soldiers, slaying a bull, early 19th century, pen and ink on paper, heightened in gold within a ruled border, lightly toned with small stains, image 25 x 20cm (9.75 x 8ins), framed and glazed, together with another Indian hunting scene, late 19th century (2)

£150-200

457* Shunsen (Natori, 1886-1960). Koi Carp, gouache and watercolour on paper, signed and with red seal to left margin, 26 x 23cm (10.25 x 9ins) mount aperture, framed and glazed, with Japanese Gallery/C.D. Wertheim, Hiroshima City, Japan, label to verso, and typewritten title label (1)

£300-500

458* Thanh Duy (Dao, 1959-). Lotus Pond, watercolour with bodycolour, signed lower right, and with artist’s seal, 59 x 80cm (23.25 x 31.5ins) mount aperture, framed and glazed Lot 458

Provenance: Private Collection, London. Purchased from the Oc-To Gallery.

(1) £200-300

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

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EVELYN DE MORGAN: DRAWINGS FROM A PRIVATE COLLECTION

459* De Morgan (Evelyn, 1855-1919). Sketchbook of figure studies, numerous drawings on 24 card leaves, mostly on rectos and versos, all pencil (except for one watercolour), a number heightened with brown wash (mainly drapery), some pages with several small sketches, others with one large carefully worked drawing, including 13 female and two male head studies, 18 small drapery studies, nine small and larger nude studies, 32 drawing of hands and feet in various sizes and degrees of finish, occasional light dust-soiling and marks, leaf size 35.5 x 24.5cm (14 x 9.75ins), stitching almost entirely broken (leaves just holding on a thread), original half Japanese vellum, rubbed and marked, upper cover with 3� split in upper edge, folio Such a large number of drawings by Evelyn De Morgan contained in one album give a wonderful demonstration of the breadth of her preliminary work, and her preoccupation with accurate delineation of the human form.

She drew prolifically throughout her life, always endeavouring to achieve the perfect stance of a body, a beautiful fall of drapery, a poetically expressive hand gesture, or a realistic arrangement of feet. Her exploratory drawings are beautiful in their own right, and this album contains some particularly exquisite female head studies.

(1) ÂŁ3000-5000

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460* De Morgan (Evelyn, 1855-1919). Male nude playing a pipe, charcoal on paper, full-length seated male nude wearing a loin cloth, with face in profile turned to left, playing a pipe, dusty, damp-stain to upper right blank corner, very small hole above left shoulder, verso with another sketch of a full-length seated male nude, edge-frayed and with pin-holes at corners, sheet size 62 x 46cm (24.5 x 18ins), together with two other similar-sized charcoal drawings on paper of the same model, both full-length, one showing him playing a pipe in a different attitude, the other showing him reclining, both with some dust and water-soiling, and frayed at edges, lower right corner of latter with name of ‘Emilie I. Barrington’ and ‘E. Barrington’ in charcoal and pencil in the artist’s hand, plus two others similar of different male models These highly accomplished drawings were executed whilst Evelyn De Morgan was a student at the Slade School of Art. Evelyn enrolled at the Slade in 1873 - one of the first three women to enrol - after spending a short time at the South Kensington National Art Training School. Study of the living model was considered of paramount importance to the education of each student at the Slade, and Evelyn’s life drawings from this period demonstrate a level of skill and understanding of the human anatomy surprising for one so young. Her skilful draughtsmanship was acknowledged by numerous awards which she received during her time at the Slade, including equal first prize for drawing from life in 1875. The De Morgan Foundation holds a number of similar life drawings by Evelyn. Interestingly they are in similar condition to those offered here, so it seems safe to assume that the drawings were neglected relatively early on in their existence and perhaps whilst still in the possession of the artist (who may have placed little importance on the work of her student days). A forceful and highly-strung woman, Emilie Barrington was an art critic and novelist chiefly remembered for her biographies of G.F. Watts and Frederic Leighton. She was an amateur artist herself, taking drawing lessons from Arthur Hughes, and she quite determinedly assimilated herself into the artistic and literary circles of the day. It is curious that Mrs. Barrington’s name appears on one of the studies offered here; there appears to be little known about her relationship with the De Morgans, although we do know that Evelyn, accompanied by the writer Violet Paget, went to lunch at Emilie Barrington’s in 1883, after which they visited the studios of Watts and Leighton.

(5) £300-500

Lot 460

461* De Morgan (Evelyn, 1855-1919). A collection of sketches and studies, including seven studies of rock formations, six watercolour and the other black and white chalk, three on thick wove paper, one laid down on an album leaf, and six watercolour landscapes (some continental views), on paper or card, occasional dust-soiling and marks, some edge-fraying, one or two laid down on album leaves, sheet size 39 x 56cm (15.25 x 22ins) and smaller Although prolific in her preliminary studies of figures, drapery and composition, Evelyn De Morgan’s exploration of interior or landscape is less well-documented. The sketches in this collection give the impression of being a response to something seen rather than being studies for a specific end. However, the drawings of geological formations are particularly interesting given the artist’s preoccupation with the depiction of rock forms in many of her paintings (see for example ‘The Undiscovered Country’, ‘Sleep and Death, The Children of Night’, ‘Love the Misleader’, and ‘Lux in Tenebris’).

(16) £300-500

Lot 461

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

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462* De Morgan (Evelyn, 1855-1919). Female nude study for Boreas and Oreithyia, pencil on card, full length female nude, dustsoiled, some ink marks to left-hand edge, and toned vertically to right (affecting forearm), sheet size 36 x 25.5cm (14 x 10ins), together with Compositional sketch for Boreas and Oreithyia, charcoal and pencil on card, showing a winged male figure with a female nude and drapery, lightly dust-soiled, sheet size 40.5 x 31cm (16 x 12ins), plus a further compositional study of figures, pencil on card, showing three females nudes, one bowed over on the ground and the other two rising up amongst swirls of vapour, sheet size 24 x 14.5cm (9.5 x5.75ins)

463* De Morgan (Evelyn, 1855-1919). Female nude, pencil on paper, full-length female nude seen from behind, with outstretched right arm, ink blot on sole of right foot, single pin hole to each corner and two pin holes in centre of top margin, slightly dusty to top and bottom edge, right-hand edge unevenly trimmed, sheet size 39.5 x 23.5cm (15.5 x 9.25ins), together with another female nude similar, pencil on card, slightly dusty, pin holes to corners (one corner tip missing), sheet size 35.5 x 25cm (14 x 10ins)

‘Boreas and Oreithyia’ was completed in 1896 and exhibited at the Society of Oil Painters 1899-1900, the Walker Art Gallery in 1900, and at Wolverhampton in 1907, before being purchased by the artist’s sister Mrs. Stirling. It was left in trust, with the rest of Mrs. Stirling’s collection, to the De Morgan Foundation, which she had personally established (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plate 33). A large scale oil, the work depicts Boreas, the Greek god of the north wind, carrying off Oreithyia (daughter of Erechtheus) from the banks of the Ilissus. Oritheyia was modelled by Evelyn’s maid, Jane Hales, and for Boreas she used a professional artists’ model, who also modelled for Edward Burne-Jones’s ‘The Beguiling of Merlin’. The De Morgan Foundation has eight further drawings, both figure and compositional studies, which were executed in preparation for the full-scale work. Our female nude, interestingly, shows the body at a less acute angle than in the finished oil, or indeed than in the accompanying compositional sketch. Together with the De Morgan Foundation studies, the drawings offered here help to build up a picture of the artist’s detailed and thorough working processes.

(3) £700-1000

Reminiscent of one of the figures in ‘The Kingdom of Heaven Suffereth Violence and the Violent Take It by Force’, although differences in the angle of the body, and particularly in the position of the legs, make it difficult to positively identify the studies (‘Evelyn De Morgan, oil paintings’, DMF, plate 42).

(2) £200-300

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464* De Morgan (Evelyn, 1855-1919). Head of a woman, charcoal on paper, head and shoulders profile to right, of a young lady with short dark hair, some minor marginal dust-soiling, two very short tears in left-hand edge, top edge unevenly trimmed, sheet size 49 x 36cm (19.25 x 14ins) (1)

£400-600

Lot 464

465* De Morgan (Evelyn, 1855-1919). Head of the Madonna, after Botticelli’s Virgin and Child with Saint John and an Angel, pencil on thick paper, laid down on card, inscribed in the artist’s hand with date ‘1875’ and ‘42 Euston Sqr’ lower left and right respectively, a little dusty, mainly to margins, 35 x 25cm (13.75 x 10ins) Aged just twenty when she produced this highly skilled drawing, Evelyn De Morgan had already spent three years studying at the Slade School of Art, and been awarded a number of prizes by that establishment. The original painting, now described as Workshop of Botticelli, is in the National Gallery, London.

(1) £1500-2000

Lot 465 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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466* De Morgan (Evelyn, 1855-1919). Tonal study of Michaelangelo’s Dying Slave, charcoal on paper, depicting a male nude sculpture (with strategically placed fig leaf), sheet lengthened slightly (by artist) with additional piece joined to top edge, some minor dust-soiling and small stains, mainly to frayed top and bottom edges, large pencil annotation ‘1st’ to left margin, signed ‘E Pickering’ lower right, sheet size 66 x 34cm (26 x 13.5ins), together with Tonal study of one of Michaelangelo’s Sistine Chapel Ignudi, charcoal on paper, depicting a seated male nude in profile, some soiling, pin holes at corners, right-hand edge unevenly trimmed and frayed, two 2” tears in top edge, sheet size 61 x 41cm (24 x 16ins), plus Study of Michaelagelo’s Adam from the Sistine Ceiling, pencil on paper, heightened with charcoal, laid down on two thicknesses of paper, showing Michaelangelo’s reclining male nude with outstretched arm, sheet size 38 x 47.5cm (15 x 18.75ins) These astonishingly confident drawings were executed by Evelyn De Morgan when she was still a young student at the Slade School of Art. She would almost certainly have drawn the ‘Dying Slave’ from Monsieur Toquiere’s plaster cast in the V&A, which was made from Michaelangelo’s original in 1863. Evelyn was one of the first three women students at the Slade when she enrolled in 1873 aged just 17. Whilst life study was considered of paramount importance, study from the antique as well as from Old Masters was also considered a vital part of the students’ education. The De Morgan Foundation holds several such studies of classical sculpture by Evelyn.

These drawings display her technical virtuosity, showing her skilful use of texture and shading to create light, shadow and three-dimensional form.

Her assured draughtsmanship was acknowledged by numerous awards from the Slade including first prize for her ‘Dying Slave’. These early works foreshadow a lifetime preoccupation with studying the human form, the portrayal of which was such a key aspect of Evelyn De Morgan’s idiom.

(3) £200-300

467* De Morgan (Evelyn, 1855-1919). Study of feet, pencil on card, showing a pair of feet in perspective, dust-soiled, sheet size 15 x 25cm (6 x 10ins), together with Study of feet and hand, pencil on card, showing a pair of feet with a hand below, some light dustsoiling and marks, mostly marginal, sheet size 25 x 35.5cm (10 x 14ins)

Lot 466

(2)

135

£300-500

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Lot 468

Lot 469 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 470

Lot 471

468* De Morgan (Evelyn, 1855-1919). The Winds imprisoned in the cave of Aeolus, pencil on card, showing Boreas, Eurus, Zephyrus, and Auster, each shackled at wrist and ankles, signed by the artist ‘E. Pickering’ lower right below image, and titled to lower margin below image in the artist’s hand, dusty, some short tears and pin holes to blank margins, sheet size 39 x 55cm (15.25 x 21.75ins), together with a pencil drawing of an Egyptian scene, showing a Pharoah seated on a throne, surrounded by figures, signed to lower margin ‘E. Pickering’, sheet size 27 x 49cm (10.5 x 19.25ins), laid down on blue paper

470* De Morgan (Evelyn, 1855-1919). Double nude study for Phosphorus and Hesperus, black chalk on brown paper, showing two male torsos facing each other, with the outline of an arm below, water-stain to lower blank margin, sheet size 31 x 40cm (12 x 15.75ins) ‘Phosphorus and Hesperus’ was exhibited in 1882 at the Grosvenor Gallery, London, and it is now in the Evelyn De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, plate 7). The oil painting depicts the Morning Star, Phosphorus, and the Evening Star, Hesperus. Phosphorus is rising, and holds his torch aloft, the flame burning brightly to herald the dawn, which is seen breaking in the sky behind. Hesperus sits with head drooping and his eyes closed as the flame in his torch weakens and gutters. The sinuous grace of the two figures makes for a beautiful composition; the chalk study shows De Morgan working out the precise curvature of the two bodies, although as yet, not their particular relationship to each other.

(1) £700-1000

The first item depicts the four violent storm winds locked away by Aoelus, the divine keeper of the winds, to prevent them wreaking havoc on the world unless commanded to do so. This drawing, executed before Evelyn’s marriage, shows her interest in mythology, her preoccupation with the precise delineation of the human form, and her leaning towards frieze-like composition. She returned later to the subject of the winds in two oils, ‘Boreas and Oreithyia’ and ‘Boreas and the Fallen Leaves’, (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plates 33 and 57).

(2) £300-400

471* De Morgan (Evelyn, 1855-1919). Two studies of the head of a woman, red and black chalk on paper, 28.5 x 20cm (11.25 x 8ins), later matching frames, glazed, with label of J.S. Maas & Son, New Bond Street, London, to verso of each, and stencil number MC776 Provenance: Collection of Mrs A.M.W. Stirling; Maas Gallery; sold Christie’s, British and Continental Pictures, 18 June 1992, lot 126; Private Collection, Berkshire.

(2) £300-500

469* De Morgan (Evelyn, 1855-1919). Female nude study, black & white chalks on brown paper, showing a female torso with arms outstretched on either side, large portion of lower right blank corner torn away, remaining corners with pin holes, some dampmottling to lower blank margin, sheet size 31.5 x 48cm (12.5 x 19ins), together with A seated female nude study, black & white chalks on brown paper, seated half-length female nude, leaning on left arm, and with right arm across the body, some pin holes at corners, slightly jagged right-hand edge, upper right blank corner dampmottled, sheet size 31.5 x 29cm (12.5 x 11.5ins) (2)

£400-600

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ETCHINGS, LITHOGRAPHS & WOODCUTS 472* Bauer (Marius A.J., 18671932). An Arab Procession, drypoint etching on paper, signed lower right and numbered 37 lower left, 43.5 x 28cm (17 x 11ins), framed and glazed (1)

£100-150

473AR* Bawden (Edward, 19031989). Cabin in the Forest, 1952, copper engraving, signed, titled, dated, and numbered 20/50, in pencil, additionally inscribed to upper right ‘To Frank Kendon Esq.’, some light surface soiling and marks, plate size 19.5 x 11.8cm (7.7 x 4.7ins), sheet size 29 x 23cm (11.4 x 9ins), mounted (1)

Lot 472

£200-300

Lot 473 474* Benson (Frank Weston, 1862-1951). Three Geese, 1931, lithograph on wove paper, from the edition of 10, signed in pencil lower left, image size 24 x 33cm (9.5 x 13ins), period frame, glazed (1)

Lot 474

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

138

£700-1000

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Lot 476

475* Bookplates. A collection of approximately 100 19th and 20th century bookplates, or ex libris, including designs by Arthur Rackham, Errol Le Cain, Rex Whistler, Reynolds Stone, Mark Severin, Thomas Sturge Moore, Gordon Craig, D.Y. Cameron, William Strang, Robert Gibbings, etc., mostly unsigned, various sizes (approx. 100)

£100-200

476* Brangwyn (Frank, 1867-1956 ). Titlepage to the Frank Brangwyn Portfolio, published by E.F. D’Alignan & Paul Turpin, Editeurs, Paris, [1927], photolithograph, heightened with wash, signed in pencil, image size 43 x 34.5cm (17 x 13.5ins), with margins, framed and glazed, together with another lithograph by Brangwyn of numerous figures playing beneath a bridge and arch with trees, with added stencilled chalk, signed in pencil lower left, and additionally signed by the artist lower right, image size 67 x 51cm (26.25 x 20ins), with margins (some minor losses to blank edges, mounted The Brangwyn Portfolio, published in 1927 by D’Alignan & Turpin included 100 images, many of which were heightened with chalk or watercolour through stencils and was published in a limited edition of 120 copies, each costing 100 guineas.

(2) £150-200

477AR* Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, from the edition of 111, signed in pencil, plate size 223 x 160mm (8.75 x 6.25ins), sheet size 375 x 270mm (14.75 x 10.6ins) Wright 58, ix/ix. Fletcher 58. A very good clean impression.

(1)

£300-500

Lot 477

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480* Haden (Sir Francis Seymour, 1818-1910). On the Test, 1859, etching with drypoint on wove paper, an artist’s proof, unsigned, old pale mount stain, plate size 152 x 225mm (6 x 8.8ins), sheet size 215 x 285mm (8.5 x 11.3ins), mounted, together with a lithograph of a mother and child by James Ardern Grant (1885-1973), a wood engraving by Sydney Lee (1866-1949) titled On the Mediterranean, signed and numbered 37/50, Marjorie Holmes (1907-1992), The Trough, & The Goats, two etchings, each signed in pencil Marjorie Fenning (the artist’s maiden name), mounted, Mabel Lee Hankey, Woman Seated, colour etching, signed in pencil, plate size 15 x 10.2cm (6 x 4ins), with margins, framed and glazed, and Phyllis Clarke, Harbour Scene, 1934, woodcut, signed and dated in pencil, sheet size 125 x 80mm (5 x 3.2ins), mounted (7)

£150-200

478* Dillon (Henri Patrice, 1851-1909). Une Fete a la Barriere du Trone, Paris, lithograph on wove paper, a few marks to margins, image size 54.5 x 73 cm (21.5 x 28.75 ins), sheet size 68 x 92cm (26.75 x 36.25ins) (1)

£100-150

479* Fantin-Latour (Henri-Theodore, 1836-1904). Le Genie de l’Air, 1877, lithograph, from the published edition of 25 proofs printed by Lemercier et Cie, Paris, signed in pencil lower right additionally titled by the artist to upper margin ‘Manfred (Schumann)’, image size 28 x 35.5cm (11 x 14ins), with margins, a few light spots, old frame, glazed, with printed label of Alex. Reid, Glasgow to verso Hediard 17.

(1)

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

481* Hunt (William Holman, after). The Lady of Shalott, 1909, fine hand coloured mezzotint by J.D. Miller, published by Arthur Tooth and Sons, image size 605 x 465mm, framed and glazed (1)

£150-200

140

£100-150

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Lot 483

482* Kramer (Jacob, 1892-1962). Self-Portrait, 1931, lithograph on wove paper, signed, titled and numbered 39/40, some marks and overall toning, with discolouration to upper left, partly laid down on backing board, image size 38 x 28cm (15 x 11ins), sheet size 51.5 x 35cm (20.25 x 13.75ins), together with Jacob Epstein, lithograph on wove paper, signed in pencil, and titled in brown ink to lower left corner, some light overall toning, and a little edge wear, partly laid down on backing card, sheet size 57.5 x 45cm (22.5 x 14.75ins) (2)

484* Langmaid (Rowland, 1897-1956). The Tower of London, & St. Paul’s from the River, two drypoint etchings, each signed in pencil, plate size 275 x 207mm (10.8 x 8.2ins), matching frames, glazed, with contemporary title label and Gallery label of S.F. Hunt, Godalming, to verso (2)

£200-300

483* Langmaid (Rowland, 1897-1956). Tower Bridge, & London Bridge, two drypoint etchings, each signed in pencil, plate size 85 x 353mm (3.3 x 14ins), framed and glazed, each with period label of The Abbey Gallery, 2 Victoria Street, Westminster, and Frame & Picture Co, 116 Fulton St., New York to verso (2)

£200-300

141

£200-300

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Lot 485

Lot 487

485* Macgillivray (James Pittendrigh, 1856-1938). Winter, 1926, lithograph on pale brown Van Gelder Zonen laid paper, signed and dated in blue pencil, image size 23 x 14cm (9 x 5.5ins), sheet size 49 x 32.5cm (19.25 x 12.75ins) (1)

£100-150

486* Nash (Willard, 1898-1943). Card Players, woodcut on wove paper, signed in pencil, some soiling and marks to edges of sheet, mount stained, image size 123 x 175mm (4.8 x 6.8ins), sheet size 170 x 255mm (6.75 x 10ins) (1)

487 Nevinson (Christopher Richard Wynne, 1889-1946). Column on the March, 1917, offset colour lithograph on thin wove, signed in pencil lower right, sheet size 287 x 220mm (11.3 x 8.7ins), as issued in Modern War Paintings by C.R.W. Nevinson, with an introductory essay

by P. G. Konody, 1st edition, Grant Richards Ltd., 1917, monochrome plates, untrimmed, original green cloth-backed boards with printed paper title labels to upper cover and spine, minor stain to lower edge of upper cover, otherwise in very good condition, 4to

Lot 486

(1)

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

£100-150

142

£400-600

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488* Raverat (Gwen, 1885-1957). Wedding, woodcut on paper, signed, titled and numbered 16 in pencil, image size 32 x 85mm (1.25 x 3.3ins), sheet size 55 x 130mm (2.2 x 5.1ins), mounted, together with Daphnis Rests, The End of the Story, & The Tale of Philetas, three unsigned woodcuts on paper, framed and glazed, with labels of W. Heffer & Sons, Cambridge to verso of each (4)

£300-400

489* Ray-Jones (Raymond, 1886-1942). Self-portrait wearing a hat, 1915-21, etching on laid paper, watermarked F.J. Head & Co., signed in pencil, plate size 33 x 24.7cm (13 x 9.75ins), with margins, framed and glazed, together with Lamp-light (E.I.P.), etching on laid paper, signed in pencil, plate size 203 x 182mm (8 x 7.2ins), with margins, framed and glazed, with original printed label to verso Considered to be the artist’s greatest print, the self-portrait wearing a hat was exhibited at the Seventh Exhibition of Modern Masters of Etching at the Leicester Galleries in 1922, at which all impressions were sold out on the first day. The work was described as “one of the finest etched portraits of contemporary times”.

(2) £200-300

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492* Sauter (Rudolph Helmut, 1895-1977). Wrecks, Abandoned, & Ronda, 1930, 3 etchings on laid paper, the first two signed, titled and dated, the third unsigned, plate size 17.5 x 25cm (6.9 x 9.8ins) and inverse, together with three smaller unsigned etchings, presumed to be by the same artist (6)

£100-150

490* Royds (Mabel Allington, 1874-1941). Windmill, colour print, signed in margin, 14 x 10.5cm (5.5 x 4ins), with margins, framed and glazed (1)

£100-150

493* Schonberg (Eva, early 20th century). An album of 17 silhouette pictures, circa 1920s-30s, comprising ten silhouette pictures by Eva Schonberg, each signed with stamped signature, five by F. Kaskeune, and two by Blecke, some in colour, sheet size 32 x 25cm (12.5 x 10ins), loose in old cloth-backed Windsor & Newton sketchbook

491* Ruzicka (Rudolf, 1883-1978). Walden, woodcut on wove paper, signed in pencil, inscribed to Arthur S. Allen, and numbered 22/50, a very good impression, framed and glazed, with artist’s printed label giving his address as Dobbs Ferry, New York, and marked in ink 17.Walden (1)

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

(17)

£150-200

144

£200-300

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495 Tanner (Robin, 1904-1988). Illustration for Thomas Gray’s Elegy, 1980, etching, signed with initials in pencil, and dated 1981, as published in Thomas Gray, Elegy written in a Country Churchyard, published by Robin Garton, 1981, in an edition of 100, plate size 138 x 144mm (5.45 x 5.95ins), sheet size 255 x 185mm (10 x 7.25ins), top edge gilt, original dark brown quarter morocco gilt, with paper wrapper, and publisher’s cardboard box Garton 41, ii/ii. This copy numbered 77, and additionally signed by Robin Tanner to the limitation leaf.

(1) £200-300

494* Strang (William, 1859-1921). A Matter of Fact, 1901, etching with aquatint, the second state, signed in pencil, with annotation regarding the state by David Strang, plate size 14.5 x 20cm (5.75 x 7.9ins), with margins, light spotting to edges, framed and glazed, together with The Farmer’s Boy, 1902, etching with aquatint, a touched proof of the first state, initialled and annotated by David Strang in pencil to lower margin, plate size 22.5 x 17.5cm (8.8 x 6.9ins) with short margins, framed and glazed, plus The Greengrocer’s Shop, 1884, etching, signed by William Strang and David Strang in pencil, plate size 17.7 x 22.7cm (7 x 9ins), framed and glazed, and three other etchings by William Strang, including one signed of a peasant couple, dated 1911, and a portrait of Thomas Hardy (second and final state), 1893, and another of women fieldworkers, all framed and glazed Strang 492, 535 & 78 for the first three works respectively.

(6)

496 Tanner (Robin, 1904-1988). The Etcher’s Craft, 1980, (3 copies), together with Woodland Plants, by Robin and Heather Tanner, 1981 (two limited edition copies from the issue of 950 copies), The Wiltshire Village, by Heather Tanner, with illustrations

by Robin Tanner, 1978, A Corsham Boyhood, The Diary of Herbert Spackman 1877-1891, 1981, (3 copies), plus a quantity of related pamphlets, and poster (-)

£200-300

145

£100-150

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497* Thorpe (Hall, 1874-1947). Dawn, colour woodcut, signed and titled in pencil, image size 16.5 x 19cm (6.5 x 7.5ins), with margins, framed and glazed, together with seven other etchings, various, including Wilfred C. Applebey (The Clock Tower, Houses of Parliament), signed, Leonard Brewer, Milllennium Mills, 1926, signed, A View of Lambeth Palace, indistinctly signed, a colour woodcut of the Houses of Parliament by Ursula Wood (1868-circa 1925), faded, and three other unsigned etchings by Leonard Squirrell, William Monk and Brunet-Debaines, all framed and glazed (8)

499* Walcot (William, 1874-1943). Battery Park, New York (from the New York set), 1923, etching and drypoint on A.C. & H.W. Dickins handmade paper, from the edition of 375, with watermark, signed in pencil, publisher’s blindstamp to lower right blank margin, plate size 146 x 146mm (5.75 x 5.75ins), sheet size 267 x 302mm (10.5 x 11.75ins), mounted (1)

£150-200

£100-150

498* Walcot (William, 1874-1943). The Thames from Waterloo Bridge, 1913, etching on cream wove paper, with plate tone, from the published edition of 100, signed in pencil lower right, plate size 95 x 180mm (3.75 x 7ins), framed and glazed, with Doig, Wilson, & Wheatley, Edinburgh label to verso (1)

£100-150

500* Walcot (William, 1874-1943). Kom Ombo, 1928, etching and drypoint on wove paper, signed and numbered 25/75 in pencil, plate size 160 x 205mm (6.3 x 8ins), sheet size 270 x 395mm (10.6 x 15.5ins), mounted, together with The Caravan, 1928, drypoint etching with aquatint, on wove paper, from the edition of 75, published by the Fine Art Society, signed, and numbered 25/75 in pencil, plate size 177 x 230mm (7 x 9ins), sheet size 275 x 385mm (10.75 x 15.2ins), mounted (2)

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

146

£150-200

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ORIGINAL ILLUSTRATIONS, CARTOONS AND ARTWORK

502* Baldock (Charles Edwin M., 1876-1941). Safety First, 1928, pencil drawing and gouache on brown paper, showing a lioness with cub in mouth, signed lower left, 16.5 x 15.5cm (6.5 x 6ins) mount aperture, gilt moulded frame, glazed, inscribed verso ‘Safety First Original Sketch from Nature by Chas. E. Baldock, 1928, to Mr James Beglin with the Artists Compliments & Best of Good Wishes for Many Years’ (1)

£100-150

501* Armour (George Denholm, 1864-1949). Fishing on a Brook, pencil drawing on paper, showing a Scottish fisherman in kilt lying on a brook with fishing rod in hand, signed lower right, 18.5 x 23.5cm (7.25 x 9.25ins), mount aperture, framed and glazed (1)

£70-100

503AR* Bateman (Henry Mayo, 1887-1970). Clubable Men, pen & black ink on paper, signed with initials lower right, 15.2 x 12.8cm (6 x 5ins), framed and glazed, with Fine Art Society label to verso dated November 1962 With autograph letter signed by H.M. Bateman attached to verso to Miss Hipwell dated 19th December 1962, thanking her for her card and message.

(1) £300-500

Lot 502

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Lot 504 504* Brock (Henry Matthew, 1875-1960).

Passing the Judges, 1900, pen, black ink and grey wash with white bodycolour on paper, signed to lower margin, inscribed with title and ‘Summer No. 1900’ to verso, 28.5 x 38cm (11.25 x 15ins), framed and glazed, together with ‘Begged for a Story’ (first illustration for Won

By Valour in Quiver Magazine, 20 August 1912), pen, black ink and grey wash with white bodycolour on card, signed lower left, image size 14 x 19cm (5.5 x 7.5ins), sheet size 18.5 x 26.5cm (7.25 x 10.5ins), plus other original illustrations by H.M. Brock, some signed, mostly pen and black ink, various sizes (20)

£500-800

505* Brock (Charles Edmund, 1870-1938).

Two original illustrations for Dr. Marigold’s Prescription by Charles Dickens, two watercolours on card, one signed and dated 1907, and titled ‘Dr. Marigold’s Last Prescription. To be taken for life’, image size 17.5 x 13.5cm (6.9 x 5.3ins), sheet size 27 x 18.5cm (10.5 x 7.25ins), together with a collection of various original book illustrations

by C.E. Brock, mostly pen and black ink on card, but including eight in watercolour, a few designs for dust wrappers, magazine story titles, etc., various sizes (30)

Lot 505 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

148

£500-800

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506* Cleaver (Reginald Thomas, 1870-1954). Five humourous hunting scenes, circa 1910, including ‘In Courses of True Love Even a Handkerchief is a Help’, ‘In at the Death, I See, Major!’, ‘Having a Nice Run for His Money, Isn’t He?’, ‘Hedging & Ditching’, & ‘Boxes May Become Secondary Considerations Given Other Attractions’, all pen and black ink on card, each signed, and captioned in ink, 185 x 315mm (7.25 x 12.5ins) and similar, together with four other original illustrations by Reginald Cleaver, each signed (9)

£200-300

Lot 508

507* Crowther (F.S.C., late 19th century). “Nanaimo, Vancouver Island, the Newcastle of the West, 70 miles N.W. of Victoria, Population 3000.” A Welcome to the Governor General of Canada, circa 1890’s, pen & black ink on card, with title in ink and pencil to lower margin, sheet size 217 x 297mm (8.5 x 11.75ins), together with The North St. Pancras Election: Scene at a Conservative meeting at St. Pancras Railway Station, pen & black ink on card signed with monogram lower left, title inscribed in ink to verso, 190 x 180mm (7 x 7.5ins) T.S.C. Crowther contributed cartoons to the Daily Graphic, the Graphic, and Windsor Magazine.

(2) £100-150

508* After Richard Doyle (1824-1883). Punch Magazine number 1470, September 11, 1869, trompe l’oeil drawing in pen & brown ink on paper watermarked J WHATMAN 1868, sheet size 34 x 29.5 cm (13.25 x 11.5 ins), mounted (1)

509* Du Maurier (George, 1834-1896). Portrait of Phil May, 1895, pencil on paper, 12 x 8.5cm (4.75 x 3.3ins), typed label to mount, framed and glazed Note: The printed caption reads: ‘Caricature by du Maurier of Phil May at his first Punch dinner, 6th February 1895. At these gatherings the subject of the following week’s political cartoon was selected, and a newcomer, whose invitation indicated his acceptance by the Editor as a regular contributor, carved his initials on the famous table.’

(1) £100-150

£100-150

149

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Lot 512 510* Haviland (Frank, died 1912). Beerbohm Tree as Jasper, His Majesty’s Theatre, Jan 6th 1908, charcoal and monochrome wash on card, oval half-length profile portrait turned to right, depicting Beerbohm Tree as John Jasper in a theatre production of Charles Dickens’ The Mystery of Edwin Drood, titled to lower margin, and signed lower right, 33 x 22.5cm (13 x 9ins), mounted and framed (1)

£200-300

511* Hopkins (Everard, 1860-1928). Sir Henry Irving as Mephistopheles in Faust, circa 1885, grisaille gouache on card, signed lower right, 25 x 37cm (9.8 x 14.6ins) mount aperture, framed and glazed (1)

513AR* Matania (Fortunino, 1881-1963). Study for Cubiculum, watercolour and pencil on paper, signed lower left, some marks and central horizontal crease, sheet size 218 x 144mm (8.5 x 5.75ins), framed and glazed, with handwritten inscription to verso ‘Rough sketch for the original Water Colour drawing of ‘Cubiculum’.

Bought by the late Queen Mary’, together with a watercolour and pencil study on card for The Roman Bath, 115 x 350mm (4.5 x 13.75ins) mounted

£100-150

512* Ludlow (Henry Stephen, 1861-circa 1934). “In a cove shellstrewn, and consecrate of old to some Undine’s love...”, pen, brown ink and monochrome gouache illustration to The Forging of the Anchor, by Samuel Ferguson, signed lower left, 27 x 20.8cm (10.6 x 8.2ins) mount aperture, framed and glazed (1)

£100-150

(1)

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

150

£200-300

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514* May (Phil, 1864-1903). ‘Arry in ‘Olland, 1899, pen & black ink on paper, as published in Punch, 20 September 1899, signed and dated upper right, 24 x 18cm (9.5 x 7ins) mount aperture, printed caption with title and date to mount, framed and glazed

516* Overbury Fox (Helen Elizabeth, 1889-1967). From Cornwall to the Academy - How Pictures Don’t Get Into The R.A., circa 1920, pen and black ink on card, signed to lower edge, sheet size 35 x 25.5cm (13.75 x 10ins)

Provenance: Collection of Michael Jenner, Bristol.

(1)

(1)

515* Norfield (Edgar ). A group of nine original illustrations and cover designs, circa 1950s, including three gouache designs for covers of the magazine London Opinion, circa 1953, three illustrations in coloured ink for the publication A Little Garden Anthology with drawings by Edgar Norfield, two humorous cartoons, etc., various sizes, mostly framed and glazed (9)

£200-300

£150-200

517* Powell (Alfred H., fl. 1890-c.1922). Self Portrait, pencil on card, inscribed to verso ‘Alfred Powell drawn by himself’, together with two pen & brown ink humorous sketches of a desk clerk and a woman with a large basket on her head, circa 1880s, and a chalk study of a hand, initialled D.W. Provenance: Sidney Cockerell; purchased from him by Wilfrid Blunt in 1979.

(4) £100-150

£200-300

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518* Raven-Hill (Leonard, 1867-1942). Hebridean Sport, 1903, pen & black ink on paper, as published in Punch, 16 September 1903, signed lower right, and titled with extensive caption in ink by the artist to lower edge, 24 x 31cm (9.5 x 12.25ins) mount aperture, printed caption with artist’s name and date of publication to mount, framed and glazed Provenance: Collection of Michael Jenner, Bristol. Inscription: “Twelfth Tragedies” [corrected in blue pencil to] Hebridean Sport. Shooting Tenant (accounting for very large species of grouse which his setter has just flushed) “Capercailgie ! By George!” Underkeeper Neil “I’m after thinking, sir, you’ll have killed widow McSwan’s cochin cock. Ye see the crofters were forced to put him and the hens away out here till the oats are ripe!”

(1) £150-200

519* Reynolds (Frank, 1876-1953). Thomas R. Flint, Resurrectionist (Cassell’s Magazine), monochrome gouache, white bodycolour and pencil on paper, signed lower left, inscribed with title and magazine to lower blank margin (in another hand), image size 30.5 x 23cm (12 x 9ins), period wooden frame, glazed, together with four other original pen and black ink illustrations by Bert Thomas (‘The Major and Betty’), an original cartoon by Terence ‘Larry’ Parkes (1927-2003), the last two Edwardian illustrations with unidentified monograms, all framed and glazed

Lot 518

(5)

£200-300

520* Roberts (Walter James, 1907-1998). Birds-eye view of an English village, 1945, pen and black ink on paper, signed and dated lower right, image size 21 x 25.5cm (8.25 x 10ins), framed and glazed, with artist’s presentation inscription to verso ‘Drawn for Nora Naylor on the occasion of her wedding Walter J. Roberts, Thorne, 19 July 45’, together with other 20th century drawings and prints (10)

Lot 519

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

152

£150-200

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Lot 521 521AR* Shepard (Ernest Howard, 18791976). This Was The Guest Room, 1965, pencil drawing on paper, 8 x 9.5cm (3.25 x 3.75ins), framed and glazed with Sally Hunter Fine Art label verso Original illustration used for E.H Shepard’s Ben & Brock, published by Methuen in 1965.

(1) £700-1000

522* Sullivan (Edmund Joseph, 18691933). Prospero raising the storm (from Shakespeare’s The Tempest), 1903, black chalk on Smith’s O.W. Paper artist’s board, signed and dated lower right, 36.5 x 26.5cm (14.4 x 10.5ins), framed and glazed, together with another similar illustrated by Edmund J. Sullivan, apparently for Victor Hugo’s Hunchback of Notre Dame, or Charles Dickens’ The Chimes, pencil and black chalk on Smith’s O.W. Paper artist’s board, signed and dated 1903 lower right, 36.5 x 24.5cm (14.4 x 9.6ins), matching frames, glazed (2)

£200-300

Lot 522 153

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Lot 524

523* Tenniel (John, 1820-1914). Spoiling the Spoilers, 1883, pencil on wove paper, signed with monogram lower left, some mount staining, 20.5 x 15.5cm (8 x 6.2ins), sheet size 278 x 189mm (11 x 7.5ins), old ink handwritten label to verso with the published caption and date ‘Punch March 31st 1883 (New Bankruptcy Bill)’ Provenance: Abbott & Holder; purchased by Michael Jenner, March 1973 (owner’s note to verso of mount).

Tenniel’s drawing, engraved by Joseph Swain and published in Punch on the 31st March 1883, satirises Joseph Chamberlain, then President of the Board of Trade, and his Bankruptcy Bill, the principal aim of which was to regulate insolvency applications, and hamper attempts to escape justice by a declaration of bankruptcy. Chamberlain is depicted holding his Bill in a despatch box, while “Jeremy Diddler” and his “Professional Assistant” discuss the implications: Jeremy Diddler (a fraudulent bankrupt) “ WHAT! I HAND THE MONEY OVER TO THE CREDITORS - A PREPOSTEROUS IDEA!!!”

His “Professional Assistant” “WHY - WE SHALL BOTH BE RUINED ! “ (1) £150-200

524* After Louis Wain (1860-1939) and Violet Roberts (1880-circa 1958). Prize Cats, early 20th century, a set of 12 early 20th century pencil and watercolour illustrations on cream silk, each showing a single cat in humorous pose, with caption in calligraphic pencil to lower margin with title, a few minor spots, each watercolour 12 x 12cm (4.75 x 4.75ins), and mounted and framed as two sets of six images, overall size of mount 24 x94cm (9.5 x 37ins), matching frames, glazed A series of meticulously detailed and technically accomplished paintings entitled: Third Prize; Second Prize; Disqualified; Silver Cup; Premiership; Special, and: Championship; Silver Medal; First Prize; Honorable Mention; The Glad Eye!; Diabolo The Stick Trick.

(2) £150-200

Lot 523

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

154

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Lot 526

MODERN SCULPTURE 525* Classical Bronze. 19th century bronze figure of a nude Grecian male on stepped black slate base, 46cm (18ins) high (1)

£200-300

526* Schwickerath (Peter, 1942-). Untitled, circa 1970, a pair of brushed steel abstract relief sculptures, each signed PS to lower corner, 38 x 38cm (15 x 15ins) Provenance: Private Collection, Gloucestershire.

Gifted to the current owner’s husband by the sister of the artist.

(2) £200-300

527* Rodin (Auguste, 1840-1917). Bust of The Age of Bronze, bronze with brown patination, from the edition of 11, executed in 2000 at the Guastini Foundry, Italy for Master Limited Edition, bearing signature ‘A.Rodin’ and ‘Reproduction’ and numbered 9/11, 28cm (11ins) high Provenance: Hay Hill Gallery; Sirin Fine Art Ltd; collection of Roy Davids.

(1) £3000-5000

Lot 527 155

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528* Rodin (Auguste, 1840-1917). Bust of Balzac, bronze with green patination, from the edition of 11, executed in 2000 at the Guastini Foundry, Italy for Master Limited Edition, stamped ‘Reproduction’ and numbered 9/11, on a labrador granite plinth, 25.5cm (10ins) high (including base) Provenance: Hay Hill Gallery; collection of Roy Davids.

(1) £2000-3000

Lot 528

529* Thornycroft (William Hamo, 1850-1925). Open Championship Horticultural Prize presentation plaque, 1919, bronze plaque in low relief, signed and dated to left margin, corners drilled, 278 x 171mm (10.9 x 6.75ins) (1)

£70-100

Lot 529

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

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MODERN WATERCOLOURS

532* Bone (Sir David Muirhead, 1876-1953). Malaga, pencil on paper, signed lower left and titled lower right, 17 x 29.5cm (6.75 x 11.5ins) mount aperture, framed and glazed, with Pawsey & Payne Fine Art Dealers, London label to verso

530* A.F. (20th century). Snow-capped mountainous landscape, 1937, watercolour and gouache on paper, signed and dated lower right, 27 x 43.5cm (10.5 x 17ins), framed and glazed, P & D Colnaghi Co Ltd gallery label verso (1)

(1)

531* Armfield (Maxwell Ashby, 1881-1972). Three studies of plants and flowers, watercolour and pen & ink with coloured pastel, inscribed, 24 x 17 cm (9.5 x 6.75 ins) and similar, each mounted, with M.A. Studio inkstamp to verso, together with a group of 15 botanical watercolours and studies by Constance Philott, circa 1850s, various sizes (18)

£150-200

£70-100

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

£150-200

157

£150-200

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534* Braui (G., 20th century). Composition, 1948, pen, black ink, gouache and watercolour on canvas, signed and dated to lower centre ‘G. Braui 48’, image size 28 x 38cm (11 x 15ins), canvas size 39 x 49cm (15.3 x 19.25ins), period frame, glazed, with label for Buchs Encadrement d’Art, Geneve to verso We have not been able to trace this artist, although the work is clearly signed, and shows the influence of Kandinsky.

(1) £200-300

535* Browne (L. Morgan, 20th century). Noon, Valetta, Malta, circa 1930s, watercolour on paper, showing buildings and palm trees, signed lower left, 34 x 20cm (13.25 x 8ins) mount aperture, framed and glazed, together with Wesson (Edward, 1910-1993).

Portrait of a Royal Artillery Officer 1942, watercolour on paper, showing William. J. Osbourne, R.A. in uniform, signed lower right, 27.5 x 24cm (10.75 x 9.5ins), framed and glazed (2)

539AR* Canning (Neil, 1960-). Winter Marsh, mixed media, signed lower right, 58.5 x 46cm (23 x 18ins), framed and glazed (1)

£300-500

£100-150

536* Butterworth (Harry, 20th century). On the Banks of the River Dee, near Balmoral, oil on canvas, signed lower right, 51 x 76cm (20 x 30ins), gilt framed (1)

£400-600

537* Butterworth (Harry, 20th century). Panorama of the Dee Valley, near Glenmuick, with Cairngorm mountains beyond, oil on canvas, signed lower left, 51 x 102cm (20 x 40ins), gilt frame (1)

£700-1000

540* Coombs (Peter, 1929-2007). Off for a Walk, watercolour on paper, showing three children in a rural landscape, 9.5 x 25cm (3.75 x 9.75ins), together with another similar by the same hand, both framed and glazed

538* Butterworth (Harry, 20th century). The River Dee, near Balmoral, oil on canvas, signed lower right, 25.5 x 36cm (10 x 14.2ins), framed (1)

£200-300

(1)

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

158

£100-150

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Lot 536

Lot 537

Lot 538

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543* Dring (William Dennis, 1904-1990). Summer landscape with hayricks, watercolour, depicting several large haystacks, one with a farm labourer on top, with a track, fields, and farm buildings, sky lightly spotted, signed lower right, 24 x 34cm (9.5 x 13.25ins), mounted, framed and glazed William Dring studied at the Slade between 1922 and 1925, where he won a number of prizes. He taught drawing and painting at the Southampton School of Art before becoming a war artist in the 1940s.

(1) £80-120

541* Craddy (Eric Haysom, 1913-2007). Cadgwith, Cornwall, oil on board, signed lower left, 38 x 50cm (15 x 19.75ins), framed (1)

£200-300

544* Ediss (Caroline M., 20th century). Downing Street, London, watercolour on paper, signed and dated 1958 lower right, 45 x 57cm (17.75 x 22.5ins) mount aperture, framed and glazed, together with 5 other watercolours by the same artist, all of London town houses including Carlton Square dated 1944, 34 x 50cm (13.25 x 19.75ins), framed and glazed (6)

£300-500

542* Dawson (Paul, 1946-). Books on a shelf, trompe l’oeil watercolour on paper, signed lower left, 22.5 x 32.5cm (8.75 x 12.75ins), framed and glazed, with typed biographical information supplied by John Noott (1)

£70-100

545* Farrell (George, 1900-1979). Annalong Harbour, Northern Ireland, watercolour on paper, 22 x 30.5cm (8.5 x 12ins), signed lower left, titled to mount, framed and glazed, with Irvine’s Belfast framer’s label verso (1)

Lot 543 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

160

£70-100

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546AR* Fedden (Mary, 1915-2012). Moonlight at Cappadocia 1970, watercolour on paper, signed and dated lower left, also signed and titled by the artist to verso, 18 x 13cm (7 x 5ins), period frame Provenance: Private Collection, West Midlands.

(1)

ÂŁ700-1000

161

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547* Gamley (Andrew Archer, 1869-1949). Seascape with pier, watercolour, depicting a sandy beach with pier, and a large church with spire in the distance, faintly damp-mottled to righthand side, signed lower right, 16.5 x 30cm (6.5 x 11.75ins), gilt moulded frame, glazed (1)

£100-150

Lot 547

548AR* Gere (Margaret, 1878-1965). The Simplon Glacier, 1922, watercolour and bodycolour on paper, signed and dated ‘22 lower right, signed and inscribed with title on backboard, and with old ink manuscript label giving artist’s name and title of the work, with the date 1931, and bearing the name A.N. Sturt, 23 x 28cm (9 x 11ins) mount aperture, framed and glazed Provenance: A.N. Sturt; Katherine Sturt ?; Alan Tucker, Stroud, near Cheltenham. Margaret Gere trained at Birmingham School of Art and the Slade. She regularly accompanied her half-brother, the artist Charles Gere on painting trips abroad (to France, Switzerland and Italy). Margaret Gere’s oil painting Nuns on the Simplon (1923, private collection) was exhibited at the Beaux Arts Gallery, London in 1929. A similar oil of the Kaltwasser Glacier by Margaret Gere, dated 1923, was recently sold by Sarah Colegrave Fine Art, London.

(1) £400-600

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

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549AR* Gere (Margaret, 1878-1965). Afternoon Tea, pencil and gouache on card, signed lower right, image size 17 x 15cm (6.75 x 5.9ins), sheet size 23 x 17.5cm (9 x 7ins), together with another similar pen, black ink and watercolour illustration of a family strolling in a garden in front of a mansion, image size 17 x 15cm (6.75 x 5.9ins), sheet size 21.3 x 16.3cm (8.4 x 6.5ins) (2)

£200-300

550AR* Gillchrest (Joan, 1918-2008). Fruit Selection, oil on board, signed with initials lower right, inscribed to verso in pencil 98/59 Fruit Selection, and with handwritten label by the artist to verso ‘J G Still life Joan Gillchrest’, 26 x 42cm (10.25 x 16.5ins), framed and glazed Provenance: Private Collection, Wiltshire.

(1)

Lot 549

Lot 550

163

£700-1000

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551* Goor (Gaston, 1902-1977). Two nude infant boys and female nude, 1950, pen & ink, depicting a reclining young girl and two small boys disporting, a little toned and some minor marginal spotting, signed and dated lower right, 23 x 32.5cm (9.25 x 13ins), mounted, framed and glazed (1)

£400-600

552AR* Graham (Rigby, 1931-2015). Robinson’s Yard, Haworth, 1974, watercolour with pen & black ink on paper, signed titled and dated to lower margin, 87 x 17.7cm (11 x 7ins), framed and glazed, together with another smaller watercolour with black ink by the same artist, a view of cottages at Great Blasket Island, Ireland, signed titled and dated 1974, 8 x 14.8cm (3.2 x 5.8ins), framed and glazed (by Soden of Leicester) (2)

Lot 552 553AR* Graham (Rigby, 1931-2015). Gordale Scar, 1971, oil on board, signed and dated lower left, 27 x 35.5cm (10.5 x 14ins), framed (by Frank Gadsby) Exhibited: Gadsby Gallery, Leicester, solo exhibition, number 15.

(1) £700-1000

£300-500

Lot 553 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

164

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554* Harrison (John Cyril, 1898-1985). South African Landscape, watercolour, 13 x 21.5cm (5 x 8.5ins), framed and glazed Lot 556

With handwritten note to verso, stating this work has been acknowledged as by the artist by his son R.C. Harrison.

(1) £100-150

555* Hartrick (Archibald Standish, 1864-1950). Holidaymaking, circa 1930s, watercolour on paper, showing families on a beach, signed lower left, 21 x 25cm (8.25 x 9.75ins), framed and glazed with original artist label verso (1)

£150-200

556* Hassall (Joan, 1906-1988). Women Packing Goods in a Barn, circa 1940-50, pen and brown ink and wash on paper, unsigned, 34 x 51cm (13.4 x 20ins) mount aperture, period wooden frame, glazed Collection of the artist; purchased by Ian Edgar from the artist in November 1984.

(1) £150-200

557AR* Heath (Adrian, 1920-1992). Thighs, 1962, oil on paper, heightned with gold, signed and dated lower right, 44 x 32cm (17.25 x 12.5ins), gilt mount with artist’s name and title at foot, turquoise blue velvet frame with gilt edge (1)

165

£400-600

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560* Hodgkison (Trevor, 1928-2013). Alderwasley Farm, Derbyshire, egg tempera on board, signed lower right, 50 x 72.5cm (19.75 x 28.5ins), framed This view shows Crich Stand near Matlock in the distance. Hodgkison, a Derbyshire artist who won a scholarship to Nottingham School of Art at the age of 13, later became Chair of the Derby Sketch Club and a fellow of the Royal Society of Arts.

(1) £100-150

558AR* Hedley (Paul, 20th century). Elements, oil on canvas, showing a girl sitting be a fire, signed lower left, titled on upper stretcher verso, 61 x 51cm (24 x 20ins), frame (1)

£200-300

561* Hong Kong. Hong Kong Harbour, 20th century, watercolour on paper, unsigned, 33 x 49.5cm (13 x 19.5ins), together with Ball (F Wilfred, 20th century). Yorkshire Dales, watercolour on paper, showing a mountainous landscape with sheep crossing a stone bridge, signed lower right, 36 x 26.5cm (14 x 10.25ins), framed and glazed (2)

559* Helme (Jane, 20th/21st Century). Beach at Essaouira, early morning, 2005, oil on board, signed and dated lower left, 15 x 21cm (6 x 8.25ins), framed, with printed exhibition label to verso (1)

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

£70-100

166

£100-150

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Lot 562

562* Houston (George, 1869-1947). Scottish summer landscape with sheep grazing, oil on canvas, signed lower right, 45 x 61.5cm (17.75 x 24ins), period moulded gilt frame (1)

563* Italian School. Italian Riviera, circa 1930s, pair of oils on canvas, showing coastal views with houses and landscapes, each indistinctly signed, 20.5 x 26cm (8 x 10.25ins), modern ebonised and silvered frames

ÂŁ700-1000

(1)

167

ÂŁ100-150

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Lot 566

564* Johnson (Edward Borough, 1866-1949). Group of seven studies of the female nude, red chalk on paper, several with a further similar drawing to verso, some spotting, three signed, sheet size 37 x 24.5cm (14.5 x 9.6ins), each mounted (7)

£300-500

565* Jossett (Lawrence, 1910-95). Smith’s Wharf, 1988, pen, ink and watercolour, signed and dated by artist to lower right, 23.5 x 28.0cms (9.25 x 11 inches), mounted, framed and glazed (1)

£70-100

566* KJE (early 20th century). Resting with Bedouins, gouache on paper, showing two North European men resting by a tree surrounded by Bedouins, indistinctly signed lower right, 22 x 31cm (8.5 x 12.25ins) mount aperture, modern frame, glazed (1)

£100-150

567* Lloyd (Reginald J., 1926-). Figures and Cliffs, 2017, oil on board, signed and dated lower left, 69.5 x 49cm (27.25 x 19.25ins), framed (1)

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

168

£200-300

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568* Lloyd (Reginald J., 1926-). Late Snow, 2013, oil on board, signed and dated lower left, 50 x 40cm (19.75 x 15.75ins), framed (1)

£200-300

570* Lloyd (Reginald J., 1926-). White Yachts and Head, 1976, monotype and watercolour on paper, signed and dated lower left, 29 x 21cm (11.5 x 8.25ins), framed and glazed (1)

£150-200

569* Lloyd (Reginald J., 1926-). Twin Rocks, 2013, oil on thin board, signed and dated lower right, 40 x 50cm (15.75 x 19.75ins), framed (1)

£150-200

571* Lloyd (Reginald J., 1926-). The Old Sluice Gate, Much Hadham, 1955, watercolour on paper, signed and dated lower right, titled lower left ‘Rectory Sluice Gate, Much Hadham’, 29 x 40cm (11.5 x 15.75ins), framed and glazed (1)

169

£200-300

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572* Lloyd (Reginald J., 1926-). Sun Between Hills, 1993, watercolour on paper with pen & black ink, 14.5 x 20.5cm (5.75 x 8ins) mount aperture, framed and glazed (1)

Lot 574

£150-200

573* Lloyd (Reginald J., 1926-). Moon Between Hills, 2012, gouache on card, signed and dated lower left, 44 x 62cm (17.25 x 24.5ins), framed and glazed (1)

£200-300

574* London Blitz. Charcoal drawing on paper showing Watling Street, Dartford, East London in the aftermath of a bombing raid 1941, signed ‘Barker’ lower left, 48.5 x 56cm (19 x 22ins), unframed and laid onto card inscribed in pencil ‘from Watling St’, with censorship stamps verso dated 14 November 1941 (1)

£100-150

575* Lyon (Robert, 1894-1978). Head of a Woman, 1935, black and white chalk on grey wove paper, signed and dated May ‘35 lower right, sheet size 188 x 150mm (7.4 x 5.9ins), together with another study in red and white chalk of the profile of a man, on pale buff wove paper, some marks and soiling to sheet edges, sheet size 305 x 243mm (12 x 9.5ins), plus a photographic reproduction of a similar drawing by the same artist exhibited at the R.S.A. in 1935, signed in ink to mount (3)

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

Lot 575

£150-200

170

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576* Madrigali (Olynthe, 1887-1950). Arab Cemetary at Constantine, Algeria, 1925, oil on board, signed lower right, inscribed in French with title Cimetiere Arabe a Constantine, and dated Juillet 1925 to verso by the artist, 24 x 33cm (9.5 x 13ins) (1)

£150-200

Lot 578

577* McMillen, 20th century. Design for a stage set (19)76?, watercolour on paper, showing an artist painting a female portrait, 33.5 x 47cm (13.25 x 18.5ins), maple veneered frame, glazed, Green & Stone, Chelsea gallery label verso (1)

£100-150

578* Neale (George Hall, 1863-1940). A French Riverside, 1893, oil on wood panel, with artist’s handwritten label to verso giving title, name and address of 2 South John Street, Liverpool, and additional handwritten below ‘Exhibited at the “Liver” Autumn Exhibition 1893’, No. 202, signed and dated lower right, 30.5 x 23cm (12 x 9ins), period gilt frame, with label of Richard Jeffreys, Frame Maker, 88 Bold Street, Liverpool, to verso (1)

£150-200

579* New York. First Bank of Commerce, New York, 1921, watercolour on paper by Nicholson, showing an architectural interior, titled, dated and signed lower left, 51.5 x 32.5cm (20.25 x 12.75ins) mount aperture, framed and glazed (1)

Lot 579

£100-150

171

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580* Nicolson (William Campbell, 1880-1945). Natives on a beach beside a treehouse, Borneo, gouache on card, signed lower right, 42.5 x 28.5cm (16.75 x 11.25ins) (1)

£100-150

581* Priest (Margaret, 1944-). Room with a View, & Terrace, 1968, two pen & black ink, watercolour and coloured paper collages on paper, both signed, titled and dated to verso, 17.5 x 18cm (6.9 x 7.1ins), and 15 x 15cm (6 x 6ins) respectively, matching frames, glazed (2)

£500-700

Lot 581 582* Raffaelli (Jean-Francois, 1850-1924). Devant la Mairie, coloured chalks and white bodycolour on heavy wove paper, signed upper left, some marks and minor damage (dampstained to verso, with patches of opaque white paint), sheet size 42 x 56cm (16.5 x 22ins)

583* Raich-Munsterberg (Eugen, 1866-1942). Märkische Landschaft, oil on canvas, signed lower right, 66.5 x 96.5cm (26.2 x 38ins), framed

A very similar but smaller version of this subject was offered at auction by Amberes Veilingen, Belgium, 14 October 2013, lot 71 (passed). This may have been a copy after the present work.

(1) £300-500

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

(1)

172

£300-500

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Lot 582

Lot 583

173

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Lot 584

584* Rattner (Abraham, 1893-1978).

Composition, 1962, pen and black and brown ink on paper, signed amd dated lower left, additionally inscribed in pencil 'to Richard Buckle with a deep feeling of appreciation Abe, August 21, 1964 Edinburgh', 48 x 60 cm (19 x 23.5 ins), framed and glazed (1)

£200-300

585* Rees (Richard, 1900-1970). Christmas Roses, oil on board, signed lower right, with handwritten label by the artist to verso, 37 x 30cm (14.5 x 11.75ins) (1)

Lot 585

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

174

£200-300

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Lot 587

Lot 588 586* Robinson (F., 20th century). Young woman in a wide brimmed hat, with green scarf, seated, 1922, watercolour with gouache on paper, signed and dated lower right, 50 x 40cm (19.75 x 15.75ins), framed and glazed, with printed label of Cameo Galleries, Salisbury, Rhodesia, to verso (1)

£200-300

587* Rowe (Cosmo, 1877-1952). Earth & Sea & Sky, 1938, watercolour heightened with bodycolour, on card, depicting a transfigured angel standing at the water’s edge between rocks and trees, holding a lyre and with her face raised heavenwards, semicircular at ends and within painted border, titled to lower margin, signed and dated lower right, 44 x 22cm (17.5 x 8.75ins), mounted and framed, with inscription in white chalk on backboard ‘Mrs Brooks 26 Byron Mansions’ Cosmo Rowe, born William John Monkhouse Rowe, but always known as Cosmo, was a friend of H.G. Wells and William Morris. He provided the illustrations for Wells’s ‘War of the Worlds’ and was Literature Secretary of Morris’s Hammersmith Socialist Society, as well as painter of the sign which hung outside the room where the Society met. He painted a rather magnificent profile portrait of Morris which is now in the National Trust collection at Wightwick Manor.

(1) £300-400

588* Scottish school. Landscape with castle, 1927, oil on canvas, depicting a castle on a rocky outcrop between hills, with a boat on the sea in the foreground, indistinctly signed lower left and dated ‘27, 43 x 46cm (17 x 18ins) (1)

Lot 586

175

£200-300

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Lot 589

589AR* Seago (Edward Brian, 1910-1974). Rain clouds over Breydon, Norfolk, watercolour on paper, signed in pencil lower left, 27.7 x 38cm (10.9 x 15ins) mount aperture, framed and glazed, with label of Mandell’s Gallery, Norwich to verso Provenance: From the collection of D.A. Hall, Camberley, Surrey.

(1) £2000-3000

590* Sharma. Rajput Bride, 1951, gouache on paper, signed lower right, dated 1/6/51 and titled lower right, 44 x 33 cm (17.25 x 13 ins) mount aperture, old frame, glazed (1)

Lot 590 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

176

£700-1000

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Lot 591

591AR* Sharp (Dorothea, 1874-1955). Flowerpiece (Anemones), oil on canvas board, signed lower left, 51 x 61cm (20 x 24ins), period frame, glazed, with typewritten title label to verso Provenance: From the collection of D.A. Hall, Camberley, Surrey.

(1) £4000-6000

592* Shepherd (Sydney d’Horne, 1909-1993). Houses and Red Barn with Trees, oil on canvas, signed Shepherd lower right, 25.5 x 35.5cm (10 x 14ins), framed, together with a copy of the printed catalogue for Sheperd's exhibition of his paintings, at the Panmure Saloon, Dundee, 7th-19th November 1932 (worn) attached to verso (1)

£200-300

Lot 592 177

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593* Sime Peric (Lopiran, 1920-). St. Peter cutting off the ear of a Roman centurion, 1957, tempera on canvas, copied from the 14th century Yugoslavian fresco, inscribed to verso of stretcher in Croatian, ‘Eutihije: Mihajlo: Izdajastvo Judino (detalo). Kopija Freske u Starom Nagoricanu (g. 1317). Lopirao Peric Sime G. 1957’, 57 x 73cm (22.5 x 28.75ins), framed Provenance: Collection of Herbert Read and Margaret Ludwig, Stonegrave, Yorkshire, thence by descent to their son, the art historian Benedict Read. Sime Peric was a Croatian painter, who studied mural painting at the Ecole des Beaux-Arts in Paris, known for his copies of early frescoes from Istria down to Macedonia. The present work is a careful copy of the impressive fresco cycle in the Church of St. George, Staro Nagoricane, Macedonia.

(1) £200-400

594* Follower of Stanley Spencer (1891-1959). The Bridge, oil on canvas, unsigned, some surface wear and fraying to canvas edges, 84 x 127cm (33 x 50ins), with handwritten label 'The Bridge 75 guineas' to verso (1)

£300-500

Lot 593 595* Steer (Philip Wilson, 1860-1942). Porchester, Hampshire, 1913, watercolour on paper, signed and dated lower right, 22.5 x 34.5cm (8.75 x 13.5ins), modern frame and glazed, with 4 original labels verso including Charles A. Jackson Art Dealer, Manchester, Palser Gallery, Stratford on Avon Exhibited: Steer, Sickert, Epstein Exhibition, Bury Art Gallery, 6 February to 6 March 1954; Festival of Britain, 1951, Wilson Steer Exhibition; Birkenhead, Williamson Art Gallery.

(1) £200-300

Lot 594

Lot 595 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

178

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598* Worsdale (John, 20th century). Old Bosham, watercolour on paper, showing boats in the estuary, signed lower right, 36 x 54cm (14 x 21.25ins), framed and glazed, together with Crick (David, 20th century), Birdham Creek, 1980, watercolour on paper, signed lower left, 39.5 x 53cm, framed and glazed, both titled verso 596* Symbolist School. Young Maiden by Cliffs, late 19th century, oil on canvas of a young woman by a cliff, looking down to a river valley in the manner of Odilon Redon, unsigned, modern relining, 24 x 25cm (9.5 x 9.8ins), gilt frame (1)

Chichester, West Sussex.

(2)

£100-150

£150-200

597* Webb (Kenneth, 1927-). Irish Landscape, oil on board, showing trees and cottages by the coast, signed lower left, 37.5 x 60.5cm (14.75 x 23.75ins), contemporary frame Kenneth Webb was born in London in 1927 and educated at Gloucester and Cheltenham College of Art. He first exhibited at the Royal Academy in 1949, and moved to Ireland in 1953. In 1959 he set up the Irish School of Landscape Painting and began painting full time. He lives in Connemara and many of his works are local landscapes.

(1) £2000-3000

179

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MODERN PRINTS 599* Ay-O (1931-). Sunflower, 1982, colour screenprint, from the edition of 150, signed, dated ‘82, and numbered 118/150 in pencil, 29.5 x 29.5cm (11.5 x 11.5ins) mount aperture, framed and glazed (1)

£100-150

600* Beer (Richard, 1928-). Arsenale, Venice, colour aquatint, signed and titled in margin, image size 57 x 41cm (22.5 x 16ins), with margins, framed and glazed (1)

£70-100

Lot 599

601* Bird (Cyril Kenneth, “Fougasse”, 1887-1965). Careless Talk Costs Lives, circa 1943, a complete set of eight original colour lithograph posters, a few minor marks, sheet size 20.5 x 31.5cm (8 x 12.25ins) War Posters 212.

(8)

£400-600

602* Braque (Georges, 1882-1963). Nu aux bras levés, 1957, uncoloured offset lithograph on Richard de Bas paper, numbered in pencil lower left 267/300, printed by Imprimerie Union, Paris, for the publisher Au Vent d’Arles, Paris, for the Portfolio Espace, with text by Daniel Jacomet, in 1957, in an edition of 300, sheet size 49 x 40cm (19.25 x 15.75ins), framed and glazed (1)

£200-300

603* Buffet (Bernard, 1928-1999). Nice, colour lithograph, 58 x 49cm (22.75 x 19.25ins), framed and glazed, with Redfern Gallery label, dated November 1961 to verso (1)

£70-100

604* Cook (Beryl, 1926-2008). Jiving to Jazz, Dining in Paris, Clubbing in the Rain, In the Snug, Tea in the Garden & Strip Poker, 2001-2006, together six colour reproductions, each signed in pencil, from the edition of 650 published by Alexander Gallery, Bristol, with publisher’s blindstamp lower left, some marks and creases mainly to outer margins, sheet size 74 x 49cm (29 x 19.25ins), and similar (6)

Lot 600

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

180

£200-400

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Lot 602

605* Delvaux (Paul). ‘Buste de femme III’, 1960, etching, signed and numbered 42/60 in black ink, plate size 147 x 111mm (5.75 x 4.4ins) with margins, framed and glazed (1)

£200-400

606* Eccleston (Harry Norman, 1923-). Stockholm Variations No. 1, 1985, etching with aquatint on thick wove paper, signed, titled and numbered A/P 8 in pencil, plate size 25 x 35cm (10 x 13.75ins), sheet size 51 x 56cm (20 x 22ins), framed and glazed (1)

Lot 604

181

£70-100

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Lot 609 607* Evernden (Graham, 1947-). Cape Cornwall, coloured aquatint, showing dinghies on a slipway, from the edition of 350, titled lower left, signed lower right, and numbered 219/350, 39.5 x 49.5cm (15.5 x 19.5ins), framed and glazed (1)

£150-200

608* Evernden (Graham, 1947-). Barras Nose, Cornwall, coloured aquatint, showing fishing boats in a cove, from the edition of 350, titled lower left, signed lower right, and numbered 232/350, 39.5 x 50cm (15.5 x 19.5ins), framed and glazed (1)

£150-200

609* Flanagan (Barry, 1941-2009). Urquheart Castle, On the Ness, & Loch Ness (from the Loch Ness Suite), 1976, 3 etchings on heavy wove paper, artist’s proofs, aside from the edition of 50 published

by Bernard Jacobson Gallery, signed, dated and marked A/P in pencil, plate size 15.5 x 23cm (6 x 9ins), sheet size 33 x 50cm (13 x 19.75ins) and smaller (3)

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

610* Frechon (Michel, 1892-1974). French Chateau, lithograph, signed lower right, image size 56 x 41cm (22 x 16ins), with margins, framed and glazed, with Graves Gallery, Birmingham, label to verso (1)

£200-300

182

£70-100

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611AR* Hockney (David, 1937-). My Bonnie Lies Over the Ocean, 1962, etching with aquatint printed in red, blue and black with collage on Crisbrook handmade paper, signed and dated in pencil and numbered 36/50, printed by Ron Fuller and Peter Matthews at the Royal College of Art, London, pale toning, some handling marks to margins, plate size 45 x 45cm (17.7 x 17.7ins), sheet size 56.5 x 80cm (22.25 x 31.5ins), framed and glazed Tyler 29. Scottish Arts Council 13. Lyndsey Ingram (2017) 11.

(1)

ÂŁ5000-8000

183

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612AR* House (Gordon, 1932-2005). Chicago Print C, D, & J, and Series 8 Vertical Tri Motif A, 1976/77, four colour screenprints, all artist’s proofs, each signed, titled, dated and numbered A/P, full sheets, image size 61 x 20.5cm (24 x 8ins), sheet size 78 x 41cm (30.75 x 16ins) and similar, matching black wooden frames, glazed (frames marked) (4)

£400-600

613AR* Irvin (Albert, 1922-2015). Concordia III, colour screenprint, from the edition of 195, signed, dated ‘97, titled and numbered 84/195, 38 x 56cm (15 x 22ins), framed and glazed (1)

£200-300

Lot 612

Lot 613 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

184

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614* Kandinsky (Wassily, 1866-1944). Komposition No. 4, colour pochoir print on laid paper from the second edition of Der Blaue Reiter, edited by Wassily Kandinsky and Franz Marc, published in 1914, sheet size 146 x 218mm (5.75 x 8.5ins), framed and glazed

615* Marc (Franz, 1880-1916). Pferde, colour pochoir print on laid paper, from the second edition of Der Blaue Reiter, edited by Wassily Kandinsky and Franz Marc, and published in 1914, 155 x 220mm (6.1 x 8.7ins) mount aperture, framed and glazed

(1)

(1)

£200-300

£200-300

616AR* Nolan (Sidney Robert, 1917-1992). Burke & Wills, colour lithograph, signed and numbered 60/60 in pencil, 64 x 74cm (25.2x 29.1ins), framed and glazed (1)

£300-500

185

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617* Picasso (Pablo, 1881-1973). Sala Gaspar, Dibujos de Picasso, Barcelona, Abril 1961, & Sala Gaspar, Pintura-Dibujo-Grabado, Barcelona, Marzo 1968, two offset colour lithograph posters, both printed on wove paper, the second printed in brown and black, and with some light creases, 70 x 50cm (27.5 x 19.75ins) (2)

618* Picasso (Pablo, 1881-1973). Group of four original photographs of Picasso with friends and family at the beach, taken by the artist and cartoonist Edmund Xavier Kapp (1890-1978), Golfe-Juan near Antibes, circa 1948, comprising two smaller images, one showing Picasso holding his son Claude on the beach by the restaurant Chez Nou Nou, the other a group of nine adults, possibly including Jaime Sabartes, 90 x 60cm (3.5 x 2.5ins), and similar, a slightly larger photograph of Picasso with three woman on a pavement in Golfe-Juan, inscribed in purple ink to verso, in a French hand ‘souvenir demme et Mr. Marcel, Hotel de la Mer, 26 Juin, 1948. Golfe-Juan’, 11.5 x 7cm (4.5 x 2.75ins), plus a larger photograph showing Picasso on the beach, possibly with Francoise Gilot sitting nearby, several creases, 16 x 11.5cm (6.25 x 4.5ins), and a colour lithograph poster on newspaper by Picasso, entitled Tete de Roi, designed for the Nice Carnival, 1951, printed by Imprimerie de la Victoire, Nice, and published in the newspaper Le Patriote de Nice et du Sud-est, trimmed and creased where previously folded, a few marks to margins, sheet size 500 x 405mm (19.75 x 16ins), with printed text to verso, plus an oil self-portrait by the artist Edmund Xavier Kapp, 30 x 24.5cm (11.75 x 9.5ins), framed

£100-150

Provenance: From the estate of Edmund Xavier Kapp.

(6)

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

186

£150-200

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619AR* Piper (John). Oxburgh Hall, Norfolk, 1977, colour lithograph on T H Saunders wove paper, printed at Curwen Studio, and published by CCA and the National Trust, from the edition of 120 impressions, signed in pencil, and numbered 19/120, publisher’s blindstamp to lower margin, image size 575 x 440mm (22.7 x 17.3 ins), framed and glazed Levinson 266.

(1)

£500-700

620AR* Piper (John, 1903-1992). Chantry House, Henley, 1983, colour screenprint, signed in margin, and numbered 12/100, image size 46 x 67cm (18 x 26.25ins), with margins, framed and glazed Levinson 352.

(1)

£400-600

621 Spare lot

Lot 619

Lot 620 187

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622* Procktor (Patrick, 1936-2003). Municipal Gardens, Johannesburg (from the South African Suite), etching with aquatint on wove paper, signed and inscribed AP in pencil, an artist’s proof aside from the edition published by Editions Alecto, publisher’s blindstamps to lower edge, with full margins, 172 x 120mm (6.75 x 4.75ins), framed and glazed (1)

£100-150

623* Reddick (Peter, 1924-). Drowned Church, 1999, colour screenprint, signed, dated and numbered 9/10, image size 37.5 x 50cm (14.5 x 19.75ins), with margins, framed and glazed (1)

£70-100

Lot 622

624* Renoir (Pierre-Auguste, 1841-1919). Maternité, fine reproduction on laid paper, some surface marks and soiling, 66 x 51cm (26 x 20ins) mount aperture, framed and glazed (1)

Lot 623

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

188

£150-200

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Lot 625

Lot 627

625* Reynolds (Daphne, 1918-2002). Cherry Blossom, mezzotint, signed, titled and numbered 21/25, plate size 87 x 87mm (3.4 x 3.4ins), sheet size 290 x 290mm (11.5 x 11.5ins), framed and glazed (1)

£100-150

626* Swanwick (Betty, 1915-1989). Wild or Savage, 1954, colour lithograph poster for London Transport, printed by the Curwen Press, 96 x 62.5cm (37.75 x 24.5ins) mount aperture, framed and glazed (1)

£200-300

627* Sydney (Berenice, 1944-1983). Onlooker, 1974, silkscreen print in colour, signed and dated 8 ‘74 lower right with presentation inscription lower left dated ‘75, 79 x 58cm (31 x 22.72ins), modern frame Inscribed to verso of frame ‘Given to JC Wyatt after he arranged Oxford exhibition in 1978’.

(1) £200-300

Lot 626

189

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Lot 628

Lot 629

628* Thornton (Valerie, 1931-1991). Suffolk Barns, colour etching, signed and titled in pencil and marked ‘publisher’s proof’, image size 360 x 470mm (14.2 x 18.5ins)

630* Wade (Norman, 20th century). Lindisfarne (3), 1978, colour screenprint, signed and dated, and numbered 22/100, image size 53 x 33.5cm (20.75 x 13.25ins), with margins, framed and glazed

(1)

(1)

£100-150

£70-100

629* Thornton (Valerie, 1931-1991). The Queen’s College, Facade, coloured etching, signed and titled, a publisher’s proof, image size 400 x 525mm (15.75 x 20.7ins) (1)

£150-200

631* Wunderlich (Paul, 1927-2010). Kleiner Frauenkopf (Small Head), colour lithograph, signed and numbered 36/100 in pencil, image sizse 170 x 120mm (6.75 x 4.75ins) with margins, framed and glazed, with Redfern Gallery label to verso, dated August 29th 1968 (1)

Lot 630

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

190

£100-150

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

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

Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.

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

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

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

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

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

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

Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) or Pack and Send (tel: 01635 887237) who may be able to help.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photography: The First 150 Years Featuring the John Hannavy Collection of Victorian Photographs & Cased Images 9 MARCH 2018

Julia Margaret Cameron (1815-1879). Sir John Frederick William Herschel, April 1867, albumen print on original mount, signed, dated and captioned by Cameron, image 303 x 242mm, mount 359 x 298mm Provenance: From the family of Sir John Herschel, by direct descent through his daughter Amelia and her husband Sir Thomas Wade.

Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 674. ÂŁ30,000-50,000

For more information please contact Chris Albury chris@dominicwinter.co.uk 01285 860006