Dominic Winter Auctioneers

Antiques & Fine Art 8 NOVEMBER 2018

PRINTED BOOKS, MAPS & DOCUMENTS The Botanical Library of Alan Roy Perry (1938-2014) 7 NOVEMBER 2018

A collection of approximately 370 original botanical watercolours by the Chinese artist Dr. Bun-Ko, circa 1701.

Estimate ÂŁ7000-10000

For further information please contact Paul Rasti or Dominic Somerville-Brown: paul@dominicwinter.co.uk dominics@dominicwinter.co.uk Tel: 01285 860006

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ANTIQUES & FINE ART ANTIQUITIES & TEXTILES FROM PRIVATE COLLECTIONS 19TH & 20TH CENTURY ART 8 NOVEMBER 2018

AUCTIONEERS

Nathan Winter Henry Meadows

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

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AUCTION DETAILS COMMENCING

10.00 am

VIEWING

Tuesday 6 November - 9.00am-6.00pm Wednesday 7 November - 9.00am-6.00pm Thursday 8 November - from 9.00am Viewing at other times by appointment only Tel: 01285 860006 info@dominicwinter.co.uk

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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CONTENTS Ceramics & Glassware

1–15

Collectables

16–33

Chess, Bridge & Other Gaming Antiques

34–54

Silver, Jewellery, Watches & Coins

55–84

Tribal Art

85–99

Oriental Works of Art

100–113

Antique Furniture

114–125

A Private Collection of Egyptian Antiquities

126–158

Antiquities – Other Properties

159–166

A Private Collection of Ancient Near-Eastern Cylinder Seals

167–264

Antique & Vintage Textiles & Fans

265–349

Old Master Prints & Drawings

350–371

Portraits & Miniatures

372–386

19th Century English & Traditional Watercolours

387–432

19th Century Paintings, Drawings & Prints

433–457

Evelyn De Morgan (1855-1919)

458–473

Oriental Watercolours & Prints

474–481

Sculpture

482–486

20th Century Etchings, Lithographs & Engravings

487–507

Modern Prints

508–546

Modern & Contemporary Paintings & Watercolours

547–605

SPECIALIST STAFF

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

Henry Meadows

Colin Meays

Susanna Winters

Tel: 01285 860006 info@dominicwinter.co.uk

Cover illustrations: Front cover: lot 458 Back cover: A selection of Egyptian Shabti (see lots 126-158)

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Golden Cockerel Press. The Canterbury Tales by Geoffrey Chaucer, 4 volumes, 1st edition, Waltham Saint Lawrence, 1929-31, wood-engraved illustrations by Eric Gill, initials printed in blue, red and black, original niger-backed patterned boards by Sangorski and Sutcliffe, 4to, VG Number 132 of 485 copies on paper. Chanticleer 63; Gill 281. ÂŁ2,000-3,000 : Thursday 13 December

FORTHCOMING SALES Wednesday 7 November

Printed Books, Maps & Documents Early Natural History & Botany, Palmistry, Field Sports

Friday 9 November

Aviation, Military & Maritime History Medals & Militaria

Wednesday 12 December

Printed Books, Maps & Documents Opera, Film & Performing Arts

Thursday 13 December

Modern Literature & First Editions Children’s & Illustrated Books, Literary Letters The Powys-Marks Private Press Collection

Wednesday 30 January

Printed Books, Maps & Documents Mathematics & Computing: A Private Collection

Wednesday 6 March

Printed Books, Maps & Documents Fine Bird Books: A Private Library, Part I

Thursday 7 March

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 3* Cartographic China. England and Wales, Cheshire, Essex, Huntingdonshire, Westmoreland & Leicestershire, circa 1850, together six Coalport china plates with coloured rims and hand painted floral border decorations heightened with gilt, each with a colour transfer map, some fading and wear to map images, each with a diameter of 220mm, together with Suid Afrika - South Africa, circa 1900, Wedgwood china tankard decorated with a map of South Africa and the head of a Springbok to the sides and silhouettes of monkeys on the handle, crack to rim, height 130mm, together with Switzerland, circa 1920, ovoid plate by Johann Lettman, with gilt rim, decorated with a pictorial map of Switzerland, diameter 195mm, a Creil & Montereau plate decorated with a blue transfer map of the department map of L’Aisne, large chip and crack to rim, diameter 200mm, plus Victoria. Queen & Empress, Jubilee Year, 1887, octagonal plate by Nestlé and Huntsman, with grey transfer illustrations of the Queen and the Prince of Wales, heraldic crests of Australia, Canada, Cape Colony and India and a hemispheral map of the world highlighting the British Empire, with figures illustrating the balance of trade within the empire, pattern number 63164, 240mm diameter, plus Diamond Jubilee, 1897, circular plate with colour transfer illustrations of flags and the royal monogram ‘VR’, with a hemispheral map of the world with the legend ‘The empire on which the sun never sets’ below the map on a ribbon cartouche, gilt rim, made in Stoke on Trent by Grimwade Bros., 270mm diameter, with another plate similar with the monograms and flags replaced by botanical representations of England, Scotland and Ireland, 270mm diameter

1* The British Empire Exhibition 1924. A rare Denby Pottery souvenir modelled as a reproduction of the Gold Casket to H.M. The King at the opening of the Exhibition on 23 April 1924, glazed colours and impressed and printed marks to base, 10cm high x 10.5cm square (1)

£400-600

2* Cannelli (Luigi Stefano, active 2003). Sappho “Invito all Erano”, pottery charger painted in the style of Sandro Botticelli, showing a mother and child by the sea, painted marks to base including a poem by Sappho translated by S. Quasimodo, painted in the workshop in Gubbio, Italy, 40.5cm diameter, with related paperwork (1)

(12)

£200-300

Lot 2 5

£80-100

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Lot 4

Lot 7

4 Ceramic designs. A sketchbook of original designs for pottery, circa 1822, approximately 170 pages, with drawings on rectos and versos, mostly pen & ink or pencil, but including approximately 50 watercolours (and a few with monochrome watercolour), depicting figure groups, birds and animals, flowers, with 26 pages contemporary manuscript at rear, mostly pertaining to paint colours, chemicals, and painting and printing techniques, and some notes relating to astronomy (mentioning Gemma Frisius, Uleg Beg, Dr. Bradley, Dr. Halley, and others), paper watermarked W. Weatherley 1822, some dust-soiling and marks, one leaf detached, original sheep with worn pencil slot, spine deficient and covers detached, lacking clasp, 8 x 13cm (3.25 x 5ins), together with another sketchbook of drawings, 1774-75, 60 pages, with pen & ink (and traces of pencil) still life designs on rectos and versos, mostly rectangular but including some circular or oval, each annotated to lower margin, with details of composition (e.g. ‘Black Grapes, Peach & Linnets nest’), many mentioning Mr. Ackermann, but also Mr. Bassett, Mr. Stamford, Mr. Roberts, Mr. Nibbs, etc., toned and some marks, some chipping to lower edge (just clipping annotations in one or two places), engraved label to front pastedown ‘Ackermann 191 Regent Street’, original half roan, with pencil slot, rubbed, 9.5 x 13cm (3.75 x 5.25ins) (2)

6* Pottery Charger. Iznik style pottery charger, probably by Boch Freres Keramis, with enamelled decoration of an exotic bird within foliate border in blue, turquoise, red and green on a cream ground, impressed 'Schultz' to base, 38cm diameter, chip to rim

£200-300

(1)

£150-200

7* The Empire Exhibition Glasgow 1938. A Paragon China souvenir loving cup for the Emprire Exhibition, opened by Their Majesties King George & Queen Elizabeth, printed marks to base and issue ‘no.3’, 11cm high, some rubbing to the gilding otherwise in good condition (1)

5* Charger. Early 20th century Iznik pottery charger, decorated with flowers on a light blue ground, 41.5cm diameter, some damage (1)

8* Leaf Dish. 18th century Worcester porcelain leaf dish, decorated with flowers on a white ground, 35cm long, small hairline crack

£100-150

(1)

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

£150-200

6

£100-150

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9* Match Holder. Collection of 10 early 20th century ovoid pottery match holders, each with crest of Oxford and Cambridge University Colleges, mostly by Carlton Ware, each approximately 8cm diameter plus 4 similar pottery tobacco jars each with brass screw top, tallest 12cm (14)

£100-150

Lot 9

10* Mintons. Set of 12 porcelain dinner plates retailed by Davis Collamore & Co Ltd, New York, richly gilded decoration on a cream and white ground, 26cm diameter (1 plate damaged)

14* Royal Doulton. Set of 12 porcelain soup bowls retailed by Tiffany & Co, New York, with shaped edge and richly gilded decoration on a white ground, printed and painted marks to base, 22cm diameter

(12)

(12)

£200-300

15* Tea Service. Shelley ‘Tall Trees’ pattern porcelain tea service, comprising teapot and cover, eight cups and saucers, serving plate, eight tea plates, milk jug, cream jug and sugar bowl and stand plus smaller sugar bowl, green printed mark to base, painted number G1167, the teapot 23cm long, damage to teapot, smaller sugar bowl and one teacup

11* Paperweight. Glass paperweight signed Correia and dated 1997, decorated with a snake on a yellow iridescent base, 9cm high plus Liberty style oak panel inlaid with stylised flowers in silvered and copper and brass metal, 62 x 21cm (2)

£70-100

12* Wine Glasses. Set of 6 early 20thcentury larger glasses, with 4 smaller, each with black and gilt enamel decoration on bobbin stem and circular foot, 24cm high (1)

Lot 14

(31)

£100-150

13* Powder Bowl. An unusual 1920s cut glass powder bowl, finely cut with mitre and star decoration, the glass cover with gilt metal finial modelled as a baby holding a sponge, 15.5cm high x 17cm diameter (1)

£70-100

Lot 15 7

£200-300

£200-300

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COLLECTABLES 16* Barometer. Victorian oak cased barometer clock thermometer

by Sewill, circa 1890, with extensive foliate and nautical motif carving, 66cm high, slight loss to “Glasgow” on clock face (1)

£80-120

Lot 18 17* Bottle. 17th century onion shape bottle, circa 1680-1700, green glass with traces of iridescence, approximately 13cm high (1)

£100-150

18* Chandelier. Glass five-branch chandelier, early/mid 20th century, with cut glass decoration, lustre swags and glass drops, approximately 61cm high x 57cm diameter, converted for electrical use Provenance: From the home and collection of the actor and historian Robert Hardy (1925-1917). Well known for his Shakespearean role in Henry V, also as Siegfried Farnon in All Creatures Great and Small and Cornelius Fudge the Minister for Magic in the Harry Potter films.

(1) £150-200

19* Enamel Case. 18th century enamel case, probably Bilston decorated with a family by a tree, the other panel with classical ruins, the inner panels decorated with a courting couple and figure in a tree and lady with a parasol, with gilt metal band and hinge, 9cm x 7cm, heavy cracks (1)

£70-100

20* Lladro. “Floral Offerings”, figure group reference no. 1490, limited edition no. 548, with Lladro certificate dated 22nd April 1994 (1)

£700-1000

Lot 20

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

8

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21* Mantel Clock. Victorian brass Ship’s Wheel mantel clock by Joseph Pyke, 138 New Bond Street, London, with circular silvered dial, black roman numerals raised on a splayed base inset with brass maker’s label on a rectangular base, the mechanical movement with integral winding handle and “trapdoor” style panel to reveal the movement, 35cm high x 29cm wide, non-running (1)

Lot 22

£150-200

22* Money Bank. A collection of novelty cast iron money banks, 19/20th century, including a green painted safe, with hinged door and key, 13cm high, two smaller safes, City Bank, The Villa Bank, another cast with a bear and a beehive, two horseshoe ‘Tally Ho’, cat and ball, and other items (20)

£200-300

Lot 23 23* Nutcrackers. Early 20th century cast iron nutcrackers in the form of a squirrel, with glass eyes (one missing) and spring action acorn movement, 19cm high together with four further squirrel cast iron nutcrackers and Crocodile nutcrackers (9)

£100-150

24* Nutcrackers. Collection of early 20th century cast iron nutcrackers, each in the form of a dog, largest 31cm long, smallest 23cm long and other nutcrackers (15)

£100-150

Lot 24 9

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25* Riding Crop. Victorian riding crop, with stag antler grip, silver collar with hallmarks for London 1863 with horseshoe design, Malacca shaft and leather loop, 77cm long, together with another riding crop by Swaine & Adeney, with leather grip and silver collar hallmarked for London 1869, bamboo shaft and leather end, 56cm long, plus a small selection of silver cutlery mostly spoons and baby pusher, various dates and styles, 4.5oz (10)

£70-100

26* Riding Crops. Edwardian riding crop

by Swaine & Adney Ltd, with stag antler grip, bamboo shaft and leather whip, 51.5cm long together with two further riding crops plus four walking sticks including a Folk Art hawthorn stick with animal head grip and iron ferrule, 81cm long (7)

Lot 33

£100-150

27* Walking Cane. 19th century walking stick, with rosewood spiral twist shaft, ivory and rosewood roundels and cattle shaped grip, 97.5cm long (1)

£100-150

28* Walking Cane. Late 20th century walking stick, with carved antler handle in the form of a House Martin, signed G.L. Morgan, on a rosewood shaft with horn ferrule, 91cm long G.L. Morgan was an Oxfordshire artist who specialised in birds.

(1) £80-120

29* Walking Cane. Modern walking stick, with silver skull knop by KC, Birmingham 1996, on a heavy ebony shaft with horn ferrule, 91cm long (1)

30* Walking Cane. Irish blackthorn walking stick, with silver shield engraved ‘March 24th 1913’ with additional engraved number ‘5’, the wood of very fine quality with handle naturally depicting a bird head and beak with brass ferrule, 92cm long

32* Walking Cane. Carved wood walking stick, with knop carved as an Arab with turban and beard, 86cm long together with another stick with Jewish head knop, 86cm long

(1)

33* Writing Box. 19th century AngloIndian writing box, inlaid with mosaic decoration in natural and green stained ivory, with oval ivory name plate engraved with monogram and brass handles, the hinged lid enclosing green felt baize and two ink bottles, 16.5cm high x 47cm wide x 24.5cm deep, together with a Victorian rosewood writing box, both in need of restoration

£100-150

31* Walking Cane. Parrot head walking stick, the parrot well detailed with glass eyes, with gilt metal collar dated 1921 on a rosewood shaft with brass ferrule, 92cm long (1)

£80-120

(2)

£80-120

(2)

£150-200

£100-150

Lot 27

Lot 28

Lot 30

Lot 29

10

Lot 31

Lot 32

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CHESS, BRIDGE & OTHER GAMING ANTIQUES

35* Chess Set. Late 19th century Cantonese part ivory chess set, one stained natural the other red, comprising white King, Queen, 2 Rooks, Bishops and 6 Pawns, plus red King, Queen, 2 Rooks, 1 Knight, 1 Bishop and 4 Pawns, carved in the tradition style with concentric ‘mystery’ ball bases, the King 15cm high, the Pawn 7cm high, some damage plus 2 associated pieces (1)

£200-300

34* Chess Set. Large Jaques Staunton wooden chess set, one side natural the other ebonised, each piece weighted, marked Jaques London, the King 11cm high, some minor splits, in original mahogany box with brass escutcheon and key, the hinged lid enclosing paper label and green baize, 11cm high x 23.5cm wide x 18cm deep, plus a tooled leather folding chess board

36* Chess Sets. 19th century carved Calvert pattern ivory chess set, one side natural the other stained red, King 9.5cm high in a mahogany tea caddy with conch shell inlay, 10.5cm high x 19.5cm wide x 10.5cm deep together with a 19th century carved bone chess set with stained pieces, King 9.5cm high plus an ivory and a bone miniature chess set, each in wooden box with sliding lid

(1)

(4)

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

£200-300

11

£200-300

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

37* Chess Sets. 19th century carved wooden chess set, one side natural the other ebonised, the King 9.5cm high, in mahogany box with sliding lid together with a collection of eight travelling chess sets each in mahogany box plus a modern Oriental chess set in chess board box and other items (13)

(1)

£150-200

40* Glass Decanter. Art Deco glass decanter set, comprising cut glass decanter and stopper plus six glasses each with enamelled playing card decoration, the decanter 24.5cm high, the glasses 8.5cm high together with a large collection of related items including glass perfume bottles, table lighters, tobacco jar printed with playing cards the reverse with declaration, 17cm high (chip to rim), three Pratt Ware pot lids including two for ‘A Pair’, 10.5cm diameter and other items

38* Cribbage Board. Edwardian hardwood cribbage board in the form of Ace of Spades, with applied silver playing card decoration and silver handle engraved with monogram, on three bun feet with hinged compartment, 17.5cm long, together with an Edwardian silver vesta case cum whist marker by Boots Pure Drug Company, Chester 1904, with embossed foliate decoration, with various bone markers, approximately 8.5cm long (2)

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

£100-150

(3 cartons)

£100-150

41* Playing Cards. Early 20th century Continental bisque porcelain figural group, modelled as 18th century card players seated at a table, overpainted and illegible incised marks to base, 20cm long together with a collection of similar figural groups including ‘Cheats’ figural group, probably Capo di Monte

£100-150

(11)

12

£70-100

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44* Playing Cards. Carlton Ware cruet set, in the form of playing cards, the salt, pepper and mustard pot in the form of diamond, spade and heart of club base, black printed mark to base, 13cm long together with a collection of Carlton Ware including two ships, SS. Pacific and SS. R.N.L.I., 34cm long, a sandwich plate, plus a Royal Doulton playing cards ashtray set with four dishes, 13cm long (13)

£70-100

42* Playing Cards. Five Aynsley porcelain tea cups each printed with ‘The Cup of Knowledge’ with playing cards, differing patterns, each with saucer, green printed mark to base, together with a large collection of similar, cups and saucers and related items including a set of four Carlton China tea cups printed with playing cards and with saucers, plus Booth Cup of Knowledge, produced for the 1924 Wembley Exhibition with saucer (20)

£100-150

43* Playing Cards. Set of four Nao porcelain figures, modelled as playing card figures, 16.5cm high, each with original card box (4)

45* Silver Dishes. Set of four Victorian playing card silver dishes

by Samuel Jacob, London 1901, each in the form of Clubs, Diamonds, Hearts and Spades, finely engraved decoration and retailers mark for Thornhill & Co Ltd, New Bond St, London, approximately 11cm long, 6.2oz

£100-150

(4)

Lot 44 13

£150-200

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48* Trump Indicators. A good collection of trump indicators, including many Art Deco examples, chromed, Bakelite and phenolic resin, plus a novelty silver sundial indicator, Birmingham 1901, 6.5cm high, various globe examples, etc (38)

£100-150

46* Trump Indicators. A good collection of trump indicators, including an Irish bog oak example carved with shamrocks and harps 7cm high, three with Cornish Serpentine bases, 1924 British Empire Exhibition Wembley with enamel badge 6cm high, Art Deco phenolic resin example, etc (27)

£100-150

49* Trump Indicators. A good collection of trump indicators, including a large Art Deco Bakelite example in black and green, 17cm long, Bakelite ashtray with indicator the centre, 12.5cm diameter, together with related items including Edwardian triangular cribbage board, treen card holders, etc (2 cartons)

£100-150

47* Trump Indicators. A good collection of trump indicators, including an ebony “sign post” indicator 8cm high, two with Cornish Serpentine stone base, a silver example by Samson Morden & Co, Art Deco examples, etc (30)

£100-150

50* Trump Indicator. Art Deco trump indicator in the form of a Joker, made of patinated metal, inscribed ‘R. Paris’, on a circular marble base, 21cm high together with a set of four Art Deco WMF silver plated Score Card Holders, 21.5cm long, plus various related items including The “Klik” Bridge Marker, in original card box, a pottery dish by Brown-Westhead Moore & Co, c.1870s in the form of playing cards, 16cm long and other items (9)

Lot 48 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

14

£100-150

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51* Whist Marker. Japanese ivory whist marker, Meiji Period (18681912), inlaid with shibayama decoration depicting insects and foliage, approximately 9cm long, together with two similar whist markers (3)

£150-200

53* Whist Markers. Pair of Victorian silver and ivory whist markers, retailed by A. Barrett & Sons, Picadilly London, Birmingham 1891, one side with stained ivory markers the other left natural, both engraved with monogram, 6cm long, presented in leather case embossed with initials and with silk lining (2)

£100-150

52* Whist Markers. Pair of cased Victorian silver whist markers by Lawrence Emanuel, Birmingham 1899, each circular with hand pointer, 4cm diameter presented in leather case with silk lining (2)

£100-150

54* Whist Markers. Pair of Japanese ivory and mother of pearl whist markers, Meiji Period (1868-1912), each with a solid block of ivory and 20 hinged mother of pearl markers, 14cm long (2)

15

£150-200

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SILVER, JEWELLERY, WATCHES & COINS

55* Coffee Pot. Edwardian style silver coffee pot with matching tea pot by John Lodge Ltd, Sheffield 1972, each with acanthus moulded decoration and ebonised handle and finial, 30cm and 23.5cm, combined weight approximately 52oz (2)

£400-600

57* The Crown Collections Limited. Millennium Collection, comprising 43 silver proof coins, in presentation case and additional card box with original packaging plus information booklet (No.2056)

56* The Crown Collections Limited. Euro Coin Collection, comprising 78 silver proof coins, in three presentation cases with original packaging plus information booklet (1)

£700-1000

(1)

Lot 56 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

16

£500-700

DW101-196 Part One.qxp_Layout 1 17/10/2018 17:54 Page 17

58* The Crown Collections Limited.

Ships & Explorers, comprising 36 silver proof coins in presentation case with original packaging plus information booklet (No.5933) (1)

£300-400

59* The Crown Collections Limited. 3 Victorian gold sovereigns, dated 1881, 1884 and 1894, each with a certificate (3)

£600-700

Lot 58 60* Cufflinks. Pair of 15ct gold gents cufflinks, engraved with a family crest of deer with wheatsheaf, stamped ‘625’, approximately 11.3g, together with 3 pairs of 9ct gold gents cufflinks, combined weight of the 3 9ct cufflinks approximately 21.9g (4)

£200-300

Lot 60

61* Gold Coins, including Barbados $10 (dollar) gold proof coin, together with $50 (dollar) Cook Islands 1995 gold proof coin, £2 Falkland Islands 1997 gold proof coin, Jamaica “Wedding Elizabeth II and Philip” gold proof coin (lacking box), plus 2 Andorra Euro “Treaty of Rome” gold proof coins, 5 with presentation box and various paperwork (5)

£500-600

62* Gold Prospecting. 3 gold nuggets found in Kalgoorie, Western Australia, combined weight 1.3gm, a small quantity of gold dust plus 2 natural stones possibly emeralds and 4 various facet cut amethyst stones (10)

Lot 62

17

£70-100

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65* Mixed Jewellery. Indian yellow metal circular brooch set with green and red stones, 5.5cm diameter, an Arts & Crafts white metal pendant, opening to reveal a stylised flower head set with moonstone cabochons and coloured beads on a cotton cord, 19th century Continental white metal brooch, with enamel decoration set with garnets and bass relief busts of nobles, together with a mixed collection of costume jewellery including 2 silver fobs, micro mosaic brooches, dress rings, etc (qty)

£200-300

63* Inkwell. Victorian silver and glass Partners inkwell by George Betjemann & Sons, London 1893, with unique patent hinged top on square glass hobnail cut base, 10cm high (1)

£200-300

64* Mixed Gold. Collection of 9ct gold, including a watch chain fob, pair of earrings etc, total weight approximately 19g, plus small selection of 18ct gold, approximately 5g, pair of 14K gold and platinum cufflinks 8.5g and other yellow metal items (qty)

66* Mixed Jewellery. Collection of mixed jewellery and silver, including a 19th century yellow metal micro mosaic bar brooch, the metal work inscribed ‘Roma’ with two roundels inset with doves, 5cm long, another micro mosaic work yellow metal brooch inset with a picture of Classical ruins, large cherry red amber bead, approximately 34g, Art Deco silver compact plus an Art Deco rectangular silver box, black enamel decoration inset with a jade panel, gilded interior with import marks, 8cm wide, a pair of Chinese silver cufflinks by Wang Hing, silver charm bracelet and other items, weighable silver approximately 9oz

£300-500

(qty)

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

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£200-300

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Lot 69

67* Mixed Silver. A collection of silver, including an Edwardian calling card case by Samson Morden & Co, London 1903, with sliding thumb-piece and hinged cover to eject a card, profusely engraved with foliate scrolls and monogram, 9.5 x 6.5cm, 2.6oz, together with six vesta cases plus a sovereign case, various makers and dates, total weight approx. 8.2oz (8)

£200-300

Lot 70

68* Mixed Silver. A collection of silver including a twin handle sugar bowl by Mappin & Webb, Sheffield 1895, with rococo decoration, on four scroll supports, 15.5cm long, approximately 6.8oz, an silver purse by E.J. Trevitt & Sons, Chester 1917, engraved with baskets and swags on a chain, 11.5cm wide plus two cigarette cases and a snuff box, total weight approximately 20oz (5)

£200-300

69* Mixed Silver. A collection of silver including five bon-bon dishes, various shapes, sizes, makers and dates, ten napkin rings, presentation mug with glass bottom, ring tree and other items, weighable silver approximately 26oz (20)

£200-300

70* Mixed Silver. George I silver mug by Thomas Mason, London 1720, of baluster form with scroll handle and engraved monogram, 9cm high, 6.5oz, together with a Continental white metal beaker by Berthold Muller with Chester 1901 import marks, gilded with engraved scroll decoration on a stylised shell stem base, 10.5cm high, 3.5oz, a George V silver porringer by Carrington & Co, Birmingham 1923, 15cm wide, 4.5oz, silver cigarette case, plus three silver napkin rings, weighable silver approximately 17oz (7)

71* Mixed Silver. Edwardian silver rose bowl by Edward & Sons, Sheffield 1904, in the Art Nouveau style with presentation inscription dated 1932, 11cm high x 21cm diameter, approximately 17oz, together with a silver mug, Birmingham 1919, of plain cylindrical form, 12cm high, approximately 11oz, two silver cigarette boxes, napkin ring plus Victorian silver trinket box, weighable silver approx. 30oz (6)

£200-300

19

£300-500

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72* Gold Pocket Watches. Art Deco 9ct white gold open face pocket watch, with silvered dial, stamped 375, together with a 9ct gold open face Waltham pocket watch, Birmingham 1926, an Edwardian 18ct gold ladies fob watch with gilt decorated white enamel dial and engraved back plate, stamped K18, plus a smaller 18ct gold ladies fob watch and 9ct gold example (5)

73* Pocket Watches. A collection of 8 Victorian and Edwardian silver open face pocket watches, including one signed G.E. Brendon, Launceston, London 1885, with engraved back plate plus a gold plated hunter pocket watch by Thomas Russell & Son (9)

£400-600

£150-200

74* Royal Mint. Queen Elizabeth II Royal Portrait Collection gold sovereigns, comprising 4 full sovereigns dated 1958, 1980, 1987, 2008 and 3 half sovereigns dated 1982, 1994 and 2003, in oak display case with certificates (No. 227) (1)

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

£1000-1200

20

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75* Royal Mint. The Pistrucci Waterloo Silver Medal, with original packaging and certificates (No. 343) (1)

£200-300

76* Royal Mint. Queen Elizabeth II Golden Jubilee Collection, comprising 24 silver proof crowns dated 2003, in wooden presentation case with certificates (No.2706) (1)

77* Royal Mint. Queen Elizabeth II Diamond Jubilee (1952-2012) Commemorative Crown Collection, comprising 18 silver proof crowns, with display case and original packaging (1)

£200-300

£400-500

Lot 75

78* Royal Mint. A Portrait of Britain 2016 UK, comprising 4 x £5 silver proof coins, with display case and original packaging plus certificate (No.0068) (1)

£100-150

79* Royal Mint. History of Powered Flight, comprising 13 x 25$ (dollar) silver proof coins, in presentation case with documents and information booklet (1)

£150-200

Lot 76

Lot 77

Lot 79 21

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80* Royal Mint. The Queen’s Portrait Collection 2013, comprising 4 x £5 silver proof coins, in presentation case with original packaging and certificate (1)

Lot 82

£100-150

Lot 83

81* Royal Mint. A Celebration of Britain £5 silver proof set, comprising 18 coins in celebration of 30th Olympiad and featuring the London 2012 logo, in presentation case with packaging and certificate (1)

£300-500

82* Royal Mint. History of the Monarchy, comprising 23 silver gilt proof crowns in presentation case with packaging plus certificate (No.560) (1)

£200-300

83* Silver Proof Coins. A mixed collection of modern silver proof coins, including The Royal Ladies silver coin and medallion set commemorating the 40th anniversary of Her Majesty Queen Elizabeth II, cased with certificate and packaging, The 60th Anniversary of the Battle of Agincourt 2015 Alderney £5 silver proof coin, Queen Mother £5 silver Piedfort Centenary crown (1900-2000), The Britannia 2014 One Ounce silver £2 proof coin and other coins A full list is available on request.

(20)

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

84* Gold rings. 22ct gold wedding band, 5.4g, together with a gold half sovereign ring, the coin dated 1913 and worn set in a yellow metal, overall weight approximately 5.9g, plus a 9ct gold copy of an Elizabethan Rose Theatre ring, stamped ‘375’ and 5 yellow metal dress rings including 2 with diamond and sapphire clusters (8)

£300-400

22

£400-600

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TRIBAL ART

85* Bowl. Early 20th century African hardwood circular bowl, on four supports with pierced sides, 43cm diameter, together with another African hardwood bowl, of oval form on an oval base, 34cm long, plus two European carved wood panels and a treen stand with engraved plaque inset to the top (5)

£100-200

88* Naga Apatani. Naga tribe items, comprising a Yatee hat, a Bopa hat, Apatani tribe quiver and arrows plus machete in its wooden scabbard, Apatani haversack basket, plus a woven jacket The Apatani tribe lives in the Indian state of Arunachal Pradesh, on the frontier with Assam and the Nagaland area of Burma, known for their bamboo and cane weaving. These items were collected by a tea planter in the 1930s. (a carton) £150-200

86* Ivory Bust. Finely carved ivory bust of a Nigerian woman, circa 1920/30s, semi naked wearing headscarf, 8cm high mounted on an indigenous wooden base, together with a Japanese carved ivory frame, Meiji period (1868-1912) Collected by the vendor’s father in the early 20th century.

(2)

£150-200

89* Ona (Thomas, 1900-1952). Three African Yoruba carvings, circa 1920s/30s, carved as a soldier, the District Officer and local tribesman, each with white pigment, largest 26cm high, some damage Thomas Ona (1900-1952), was born in Ijebu Ode and moved to Lagos, he was fascinated with costume and made a name for himself carving figures of the British Colonialists and visiting travellers. His carvings included traditional roles such as mothers and children as well as new colonial occupations such as policemen and postmen.

(3) £300-500

87* Maori Club (Wahaika), ebonised wood intricately carved with stylised swirls and tiki, probably early-mid 20th century, 35cm long together with a pair of African carved wood wall masks, 23.5cm long plus another

90* Sword. 19th century African short sword, the 45cm straight steel blade with goats horn grip, 56cm long overall, in its brown leather scabbard

(4)

(1)

£100-150

23

£50-80

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Lot 91 91* Tiger Skin. Bengal Tiger (Panthera tigris tigris), circa 1920s, with mounted head and jaw agape, claws and tail, mounted on black velvet , 40cm head, 247cm long (1)

£700-1000

92* Tribal Helmet. Ivory Coast Senufo funeral head tribal helmet, carved as a ferocious double headed fire spitter with traces of red pigment, 68cm long, minor damage (1)

£100-150

93* Tribal Mask. Mali Ntomo wooden tribal mask, with naïve face embellished with tin and 5 raised extensions, 71cm long (1)

£80-120

Lot 92 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

24

Lot 93

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94* Tribal Mask. Cameroon wooden tribal mask, carved with pronounced forehead, small eye slits, elongated cheeks and white pigment teeth, 29.5cm long (1)

97* Tribal Mask. West African wooden tribal mask, carved as a tiger or lion, with pronounced ears, wide mouth and well defined teeth, 34cm high

£80-120

(1)

£80-120

98* Tribal Masks. Pair of Yoruba wooden tribal masks, carved with characterful faces, scarification marks and raised headdresses, 44cm long (2)

£80-120

96* Tribal Mask. Liberia Dan Kran wooden tribal mask, carved with pronounced forehead, four eyes long curved chin beak with red and white pigment, 60cm long (1)

£80-120

95* Tribal Mask. Cameroon wooden tribal mask, carved with small eye slits, roundels to the cheeks, ferocious mouth and stylised hair, with traces of red and white pigment, 29.5cm long (1)

£80-120

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

Lot 98

25

£100-150

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ORIENTAL WORKS OF ART

Lot 100

Lot 101

100* Amulet Box. Tibetan white metal amulet box, the cover inset with turquoise stones with coral and stone bead strap incorporating to Xi beads, together with a Tibetan brass prayer wheel, bangle and related items (6)

103* Gandhara Carving. Large schist carved stone head of Bodhisattva, from the Ancient Buddhist Kingdom of Gandhara, Pakistan 2/3rd Century, well carved with characterful face and elongated earlobes, 18cm high on a Portland stone block plinth, overall height 28cm

£100-150

Provenance: James Koo Galleries, Singapore. Found in the Swabi District, Northern Pakistan.

(1) £500-800

101* Chinese Ceramics. Chinese blue and white porcelain dish, decorated with exotic birds, four character mark to base, 24cm diameter, chip to rim and hairline together with small Chinese porcelain blue and white dish with pierced lattice rim, 22cm long, Chinese porcelain bowl, polychrome decorated with figures, approximatel 12cm diameter and other items (7)

104* Gandhara Carving. Small carved schist stone head of Bodhisattva, from the Ancient Buddhist Kingdom of Gandhara, Pakistan 2/3rd Century, well carved with characterful face, halo and elongated earlobes, 14cm high

£100-150

Provenance: James Koo Galleries, Singapore. Found in the Peshwar District, Northern Pakistan.

(1) £200-300

102* Gandhara Carving. Large carved schist stone head of Bodhisattva, from the Ancient Buddhist Kingdom of Gandhara, Pakistan 2/3rd Century, well carved with characterful face and elongated earlobes on integral block base, 21cm high Provenance: James Koo Galleries, Singapore. Found in the Swabi District, Northern Pakistan.

(1) £500-800

Lot 104

Lot 102

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

Lot 103

26

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105* Gandhara Carving. A finely carved schist stone figure of Boddhisvatta from the Ancient Buddhist Kingdom of Gandhara, Pakistan, carved standing and wearing sanxhati robe with drapery falling in multiple folds, beaded headdress with circular halo behind, on an integral floral decorated base, 47cm high, professionally restored by Granville & Burridge, London Provenance: James Koo Galleries, Singapore. Found in the Takhti-Bahi Region, Northern Pakistan.

(1) ÂŁ2000-3000

27

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106* Jardinières and Stand. Pair of 19th century Chinese Canton enamel jardinières and stand, each with continuous Famille Rose figural decoration, the stands decorated with butterflies, insects and flowers, 20 x 20cm, stands 25 x 25cm, some damage notably loss of enamel glaze (2)

Lot 108

£200-300

107* Ottoman Empire. Turkish silvered metal bowl, engraved with date 1132 AH (1719/1720 AD), 9.5cm high x 16cm diameter together with a colander dated 1179 AH (1765/1766 AD), 33.5cm diameter, a large dish dated 1165 AH (1751/1752 AD), 35.5cm diameter plus other items (a carton)

£200-300

108* Ottoman Empire. A collection of bronze Dirhem trade weights, probably 19th century, all circular but various sizes and some with inscriptions and markings including Sultanic Tughras, largest 14.5cm diameter, smallest, 6cm diameter, plus two related weights (probably European) (21)

109* Pottery Charger. Japanese Satsuma pottery charger, Meiji period (1868-1912), decorated in the Iznik style in red, blue and green on a cream ground, general craquelure throughout, with red eight character mark to base, 39.5cm diameter

£200-300

(1)

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

28

£150-200

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Lot 110

Lot 111

110* Silver Dish. Oriental silver dish in the shape of a Chinese dragon, decoratively finished with dragon markings, with head at one end, tail at the other, four feet, ‘Wang Hing’ mark stamped to underside, approximately 30cm (11.5ins) long (1)

112* Vase. Chinese grey pottery twin handle vase, with incised decoration probably from the Li-fan district circa 500-100 BC, 27cm high (1)

£500-800

£150-200

111* Stone Stele. An early Tibetan stone stele carved with Buddha resting on lotus base, the reverse inscribed with several characters, 13.5cm high, repaired (1)

£100-150

113* Wooden Model. Balsa wood model of an Indian Temple by Rajan Pith, Madurai, finely detailed with glass case and original trade label, 18cm high x 24cm wide x 13.5cm deep (1)

Lot 112

29

£80-120

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ANTIQUE FURNITURE

114* Portable Pulpit. Edwardian Gothic Revival portable pulpit

by James Rogers & Sons, Oxford, with traditional gothic moulding, hinged side panels and base, with brass manufacturer's plaque, 116cm high x 100cm wide x approx. 90cm deep James Rogers, 51 High Street, Oxford, worked between 1907-1952 as a sculptor craftsman in wood, and later described as a heraldic artist. £200-300 (1)

115* Buffet. An oak buffet, late 16th century, the rectangular moulded top above a fluted frieze, on turned ribbed front supports, the lower tier above a similar vertically gadrooned panel, on later turned bun feet, 109cm high, 116cm wide, 54cm deep, alterations, possibly originally with a third tier (1)

£700-1000

Lot 114

Lot 115

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

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118* Crib. A basketwork crib, Heal & Son, Ltd., early 20th century, wicker crib, with openwork criss-cross pattern, wicker handles, and wooden base, overall length 93cm (36.5ins), overall width 56cm (22ins), height (not including handles) 30.5cm (12ins), together with original tufted hair mattress covered in striped ticking, with Heal & Son labels (1)

£70-100

116* Chair. Edwardian X-frame chair, with reeded decoration, gilt rosette and upholstered seat, 88cm high (1)

£80-120

119* Davenport. Edward’s & Roberts burr walnut veneered davenport, circa 1860, galleried top over pen box, with leather inset fall enclosing a maple veneered interior with 2 short drawers over fielded panel base, with 4 graduated drawers opposing 4 faux drawers and carved, fluted column supports to platform base on bun feet, with Edward’s & Roberts paper label, 94cm high x 58cm wide x 57cm deep (1)

117* Chairs. Set of 8 early 20th-century elm kitchen chairs, 88cm high (8)

£100-150

31

£600-800

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120* Dining Table. An oak dining table, probably 17th century, the oblong cleated top on square-section tapered legs joined by stretchers, 74cm high, the top 232 x 74cm (1)

£700-1000

121* Dressing Mirror Table. 18th century walnut dressing table mirror, supported on a single drawer stand with brass key escutcheon, 47cm high x 32cm wide, some damage (1)

£100-150

122* Games Table. Edwardian inlaid rosewood games table, the envelope top inlaid with classical vases and cornucopias, hinged to reveal green baize, above single drawer on four tapered supports united by stretchers on ceramic casters, 75cm high x 56cm square (1)

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

32

£150-200

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Lot 123

Lot 124

123* Hall Chairs. Pair of late 19th century carved wood hall chairs, probably Swiss or German, each elaborately carved with stylised flowers and scrolls and with differing poker work pictorial panels, one of a shepherd with two mountain goat the other of two goats, with serpentine shape solid seat on four carved cabriole supports, 97cm high (2)

£150-200

124* Low Dresser. A small late 17th/early 18th century oak low dresser, the oblong top above two drawers, on baluster turned legs joined by stretchers, back legs spliced, later bun feet, 76cm high, 128cm wide (1)

£500-800

125* Mirror. Gilt wood and gesso wall mirror, 19th century, with applied mask and foliate decoration, visible plate 74cm wide x 88cm high, in distressed state (1)

£100-200

126* Wall Mirror. Early 20th century convex wall mirror, the carved giltwood frame in the rococo style with circular convex glass, 85cm high x 87cm wide (1)

£70-100

Lot 125

33

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A PRIVATE COLLECTION OF EGYPTIAN ANTIQUITIES

Lot 127

Lot 128

Lot 129

£150-200

Provenance: Joseph Klein collection (formed in New York, 1941-1980); Bonhams, Antiquities, 23 October 2012.

(1) £500-800

128* Ancient Egypt. Pale green faience Shabti, unidentified, mummiform figure, wearing striated tripartite wig, long curving plaited beard, holding pick and hoe with small seed bag across shoulder, incised T-shaped inscription on front within borders, back pillar and pedestal base, 16.5cm high, with receipt Provenance: Christie’s, Antiquities, April 2007, lot 42 (part).

(1)

Lot 131

129* Ancient Egypt. 30th Dynasty, large pale green and dark green bichrome mould Shabti of Ast-weret [‘isis is Great’], mummiform figure modelled wearing tripartite wig, tapering plaited beard, holding pick with hooked handle and hoe in other hand, with bag over shoulder, T shaped inscription on front, back pillar and trapezoid pedestal base, 18.5cm high, with receipt

127* Ancient Egypt. 30th Dynasty, pale blue-green faience Shabti, unidentified, modelled mummiform figure wearing tripartite wig and long beard, facial details, holding mattock and bag, 7 rows of horizontally incised text around the legs, back pillar and pedestal base, 13cm high Provenance: Acquired at Camden Passage Market, 1976.

(1)

Lot 130

130* Ancient Egypt. 29th Dynasty, small bi-chrome mummiform unidentified ‘stock’ Shabti, white faience with red face and details added in black, wig, facial details, collar, hands and bracelets, holding a hoe and with suspended water pots either side of seed bag on black with cross hatched filling, with vertical text, 13cm high, repair breaks to chest, with infill and some restoration to from tips of wig lappets, with receipt

£150-200

Provenance: F. A. Downes collection (formed in the early 1920s); Bonhams, Antiquities, 20 October 2005, lot 476; acquired from Tetragon, London, 2008. Shneider (Hans), type VB4, refers.

(1) £300-500

131* Ancient Egypt. 22nd Dynasty, large flat backed pale green faience Shabti probably Akhet-en (a priest of Amun), mummiform figure wearing tripartite wig with filled eye detail added in black paint, holding a pair of painted hoes and bag with cross hatching suspended from shoulder cords on back, front with vertical inscription, 13cm high, chips to hand, face and toes Provenance: Acquired at Olympia Fine Art & Antiques Fair, London, 2004.

(1) £150-200

132* Ancient Egypt. 19th Dynasty, carved wood mummiform Shabti, probably of Seti I, coated in black resin, wearing tripartite wig, no beard, folded arms, no tools, wig and contours carved at rear, 15cm high Provenance: Sotheby’s, Antiquities, December 1981; Christies, April 2006, lot 254.

(1) £150-200

Lot 132

Lot 133

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

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Lot 134

Lot 135

Lot 137

133* Ancient Egypt. 30th Dynasty, turquoise faience mummiform Shabti, unidentified but possible for a hm-ntr priest, slightly flattish body, slim profile wearing tripartite wig, long plaited beard, holding mattock and hoe with sack across shoulder, incised vertical column of inscription on front, back pillar and pedestal base, 16.5cm high, repaired break at shins, with receipt

Lot 139

135* Ancient Egypt. 19th Dynasty, blue faience lower leg of a Shabti, with black inscriptions, 5cm high, together with a smaller example, 3cm Provenance: Tomb of Seti I, Valley of the Kings, Western Thebes; acquired at the Olympia Fine Arts & Antiques Fair, London.

(2) £150-200

Provenance: Private Collection, London, formed in the 1970s and 1980s; Christie’s, Antiquities, April 2007, lot 42.

(1) £150-200

136* Ancient Egypt. 19/20th Dynasty, small carved alabaster head of a male figure, wearing duplex wig with short front lappets, carved facial features and no beard, 5cm high, with receipt Provenance: Private Collection, Norway; acquired from Collector Antiquities, 2009.

(1) £150-200

134* Ancient Egypt. 30th Dynasty, turquoise faience mummiform Shabti probably the priest Semataui-tefnakht, modelled wearing striated tripartite wig, long plaited beard, arms folded on chest, holding mattock and hoe, with seed bag over left shoulder, T-shaped inscription, back pillar and pedestal base, 12.5cm high Provenance: Acquired from Amin Rezai, London, 2012.

(1)

Lot 138

137* Ancient Egypt. 21st Dynasty, blue faience mummiform Shabti of Amen-hat-pa-mesha, with detail added in black, wearing tripartite wig painted black, facial details, arms folded, holding hoes and bag on back with cross hatching added in black, vertical inscription on front, modelled back, approx. 12.5cm high, repaired at shins, obscuring the text

£300-500

Provenance: Deir el-Bahri, Cache 2; private collection, UK, formed in the 1970s and 1980s; Bonhams, October 2008 ,lot 108 .

(1) £500-800

138* Ancient Egypt. Ptolemaic Kingdom, pale green faience mummiform Shabti, modelled wearing striated tripartite wig, long straight beard, facial detail, holding mattock and hoe, with small bag over shoulder, vertical incised inscription to the front, back pillar and pedestal base, approximately 16cm high, with receipt Provenance: Private Collection, London, formed in the 1970s and 1980s; Christie’s, Antiquities, April 2007, lot 42.

(1) £200-300

139* Ancient Egypt. 16/17th Dynasty, green faience mummiform Shabti of Pa-di-wia, mould form made wearing tripartite wig, broad tapering plaited beard, crossed arms, holding mattock and hoe, seed bag over shoulder with incised inscription to the front, back pillar and pedestal base, approximately 8.5cm high Provenance: Acquired from Tetragon, London, 2006.

(1)

Lot 136

35

£300-500

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Lot 140

Lot 141

Lot 142

140* Ancient Egypt. 19/20th Dynasty, blue faience mummiform Shabti for a person possibly named Amen, modelled wearing tripartite wig with fillet added in black, arms crossed on chest holding pair of hoes, rear bag added in black, 10cm high, with receipt

Provenance: Grebaut’s excavation of Deir el-Bahri Cache 2, 1891; private collection, London, formed in the 1970s and 1980s; Christie’s, April 2006, lot 254 (part).

(1) £150-200

141* Ancient Egypt. 19/20th Dynasty, pottery mummiform worker figure, modelled wearing blue tripartite wig, broad collar, arms folded across chest, holding pair of hoes indicated in red paint, body covered in yellow paint, 14.5cm high, with receipt Collection,

Netherlands;

Twents

Lot 144

144* Ancient Egypt. 19th Dynasty, light turquoise faience mummiform worker Shabti of Ta-hen-Djehouty (mother of Nesikhonsu and wife of Pinjem II), modelled wearing tripartite wig coloured in black with inscised band at lower of front lappets, moulded facial details, holding a pair of hoes highlighted in black, bag on back with cross hatching, vertical inscription to the front translating as ‘the Osiris, Ta-hen-Djehuty, the justified’, 11cm high

Provenance: Collection of David Joseph, chef at the Winter Palace Hotel, Luxor, 1920-5; acquired from Helios Gallery,2014. This figures appears originally to have represented a worker, but has since been transformed into an overseer by the addition of a frontal mass of faience to represent a kilt.

(1) £150-200

Provenance: Private Netherlands, 2013.

(1)

Lot 143

Veilinghuis, £150-200

142* Ancient Egypt. 22nd Dynasty, pale blue faience Shabti with detail added in black, tripartite wig with fillet, eyes, brows, crossed arms holding pair of hoes, large bag on back, with inscription to the from translates as ‘The Osiris, User-hat, true of Voice’, 10.5cm high Provenance: Quibell’s 1896 excavation of the Ramesseum at Thebes; private collection, Michigan, USA; Bonhams, Antiquities, October 2001, lot 345.

(1) £150-200

143* Ancient Egypt. 19th Dynasty, pottery mould form mummiform worker Shabti, modelled wearing tripartite wig painted in blue and black, no beard, face painted yellow, broad collar, indicated in black, red stripes on a yellow ground, arms folded across chest, hooked feet, back roughly formed and smoothed to give a rounded profile, approximately 15cm high, with receipt Provenance: Acquired from Medusa Gallery, Canada, 2008.

(1)

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

145* Ancient Egypt. Five blue turquoise faience mummiform Shabti including a 19/20th Dynasty one of Mry-Nefer-Renpet, the reverse with inscription giving owners name translating ‘Illuminating the Osiris Mr(y) Renpet-nefer’, 6cm high, repair to foot Provenance: Acquired from a London dealer in 1984.

(5)

£150-200

36

£300-500

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146* Ancient Egypt. Collection of 7 Patakoi faience amulets, including named male dwarf figure with arms by side on pedestal base, 4.5cm high Provenance: Various London dealers including Coincraft and Amin Rezai, 1998-2008.

(1) £150-200

149* Ancient Egypt. Blue bichrome Bes amulet, with moulded detail of a standing figure wearing plumed headdress, with detail added in black to tip and base of crown on integral trapezoid base, 8.5cm high on a double strand of blue faience beads Provenance: Bonhams, Antiquities, October 2007, lot 400 (property of Mrs A. Davies, mostly acquired from Astarte Gallery in the 1970s and 1980s); acquired from Helios Antiquities, 2007.

(1) £100-150

147* Ancient Egypt. Collection of Bes amulets, including blue faience moulded flat Bes head (Notoras antiquities, London 2005), 3cm high plus another a dark green figure with modelled back and pierced loop for suspension (Collection of Llewellyn Phillips, formed in Egypt during the early part of the 20th century), 1.5cm high and other examples (13)

£150-200

148* Ancient Egypt. Collection of 7 Bes amulets, including a large Roman Period blue / green faience amulet of a standing figure with plumed headdress, 7.5cm high

150* Ancient Egypt. Bes head amulet, modelled as the god Bes, with characterful face, 4cm high (1)

Provenance: Private Collection, Oxfordshire, early 20th century; acquired from Helios Antiquities.

(7) £200-300

37

£100-150

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153* Ancient Egypt. Middle Kingdom single strand of beads, probably garnets strung with yellow metal rings, 30cm long Provenance: Collection of Llewellyn Phillips, a physician who formed a collection in Egypt during the early 20th century. He held a number of positions while stationed in Egypt including professor of Medicine at the Egyptian Government School of Medicine, Cairo. Phillips was appointed the Hon. Commander of the British Red Cross Hospital in Giza during the Gallipoli Campaign in 1915. Part of his collection was sold at Christies in 1992/93.

(1) £150-200

151* Ancient Egypt. Roman Period blue faience Bes plaque, modelled as the god Bes, the dwarf grotesque god with feathered crown, standing with hands on thighs, 15cm high Provenance: Acquired from Sayed Molattam, London, 1981.

(1)

154* Ancient Egypt. A group of 33 late period fine pale green faience funerary amulets, all pierced for suspension / attachment to mummy, comprising 3 scarabs, 10 standing figures of gods (2 naked Isis, 2 naked Nephys, 2 ram-headed Khnum, 2 falcon headed Re with solar disk, 2 falcon headed Horus wearing double crown, 1 ibis-headed Thoth), 2 triads of Isis/Horus/Nephys, 1 kneeling Shu with arms raised, 1 eye of Horus, 2, papyrus sceptres, 12 Djed pillars and 1 small seal amulet

£150-200

Provenance: Private Collection, Canada; acquired from Parthenon Gallery, London, 2005.

(33) £700-1000

152* Ancient Egypt. Collection of amulets, including a turquoise faience ape amulet, modelled standing with back pillar, pierced for suspension, 3cm high (Parthenon Gallery, London 2005) plus similar examples (5)

£150-200

155* Ancient Egypt. Group of 5 small blue / turquoise mummiform Shabti, largest 8.5cm, smallest 7cm (5)

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

38

£200-300

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Lot 154

39

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156* Ancient Egypt. Group of 5 small blue / turquoise mummiform Shabti, largest 7cm, smallest 4.5cm (5)

£150-200

157* Ancient Egypt. Group of 3 small blue / turquoise mummiform Shabti, largest 9.5cm, smallest 7.5cm (3)

158* Ancient Egypt. 26th Dynasty, blue faience Shabti of Hathorem-hetep, large finely modelled mummiform figure, wearing striated tripartite wig, with well-defined facial features and plaited beard, holding a mattock and hand hoe and square bag over shoulder, 9 rows of horizontally incised text around the body separated by lines, back pillar and trapezoidal base, 20.5cm high

£100-150

Provenance: Private Collection, London, formed before 1985.

(1) £1000-1500

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

40

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ANTIQUITIES – OTHER PROPERTIES

Lot 160

Lot 159

Lot 162

Lot 161

159* Buddha. An ancient Sino-Tibetan terracotta head of Buddha, well modelled with elongated earlobes, 11cm high on modern wooden base (1)

£150-200

160* Grecian Pottery. A twin handle pedestal bowl, 28.5cm wide, plus a tazza with black Etruscan decoration and Vitruvian scroll border, 22cm diameter and a Gnathion ware ewer decorated with an urn on a black ground (3)

£100-150

161* North African Redware Dish, 4th century AD, with incised leaf decoration, 25.5cm diameter together with a tripod vase believed to be Cypro-Archaic, Iron Age 600-500 BC, repair to foot and handle (2)

£200-300

Lot 163 162* Pottery Bowl. Campanian pottery bowl, with black glaze and incised decoration, with label attached inscribed ‘Greek colonies S. Italy, 4th century B’, 17.5cm diameter (1)

£100-150

163* Roman & Grecian. Box of mixed Roman and Grecian antiquities, including a single handle terracotta bowl, 20.5cm long, small twin handle urn, 13cm high and a Roman terracotta oil burner, 7cm long (9)

£70-100

164* Roman Artefacts. Roman terracotta cup with single handle and lead C.M. seal, collection inscription to the base S.R. 346/36, 12.5cm long together with another cup with shaped handle plus two small vases and a miniature pot (5)

Lot 164

£100-150

165* Roman Fragments, including Gaul samian ware, the remains of a bowl with potters stamp and graffiti to the base, remains of old collection label ‘ilts’ (Wiltshire?), 9.5cm long plus a North African fragment with a Lanx (lion), 10.5cm long (9)

£50-80

166* Twin Handle Pot. Jordanian Bronze Age terracotta twin handle pot, with moulded rim 13cm high, together with a pair of Punic dishes, circa 200 BC, 19.5cm diameter, with old label inscribed in ink ‘Ex Carthage area (1)

£100-150

41

Lot 165

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A PRIVATE COLLECTION OF ANCIENT NEAR-EASTERN CYLINDER SEALS The collection of antiquities offered here shows the development of cylinder seals from simple geometric patterns found prior to 3200 BC to later pictorial scenes representing daily life, often featuring animals both domestic and wild.

Cylinder seals first appeared in Sumer (modern day Iraq) during the second half of the 4th millennium BC, probably to facilitate long-distance trade. Each is unique and acted as the owner’s ‘signature’ in an era before writing had been developed. When rolled into clay the impression made would convey the concept of private ownership, an important stage in early commerce. By the late 3rd millennium BC these seals were being rolled onto clay cuneiform tablets, which themselves were the first written documents.

This important collection put together by a local Cotswolds collector over the past 50 years through purchases from private collectors, specialist dealers in London, and regional auctions (including the 1989 Summerfield Collection sale in Cheltenham) includes Sumerian, Akkadian and Babylonian cylinder and stamp seals, as well as amulets and other objects dating from Early Dynastic times to the later Sasanian period.

Every effort has been made to identify each piece, even though some types, particularly Pre-Dynastic stamp seals, are notoriously difficult to date. Those with cuneiform inscriptions have been translated by the late Wilfred G. Lambert, Professor of Assyriology at University of Birmingham. Each seal includes its rolled or impressed mark. For further reading see Dominique Collon, First Impressions: Cylinder Seals in the Ancient Near East, British Museum Press, 1987.

174* Sumerian quartz cylinder seal, Jeddet Nasr Period, circa 3100-2900 BC, drilled hole technique, rows of spouted jars, 13mm x 15mm, together with Jemdet Nasr Period, circa 3000 BC, white marble four dwarf figures, 20mm x 17mm (2)

167* Neo-Babylonian banded agate cylinder seal, circa 800-500 BC, horsemen lion hunt, 28mm x 10mm (1)

£80-120

171* Anatolian blue serpentine cylinder seal, circa 3000 BC, various motifs, 30mm x 9mm (1)

£60-80

£200-300

175* Achaemenid limestone cylinder seal, circa 500-400 BC, standing figure holding two birds by throat, barrel surmounted by ram, 39mm x 16mm

168* Kassite speckled quartz cylinder seal, circa 1400-1200 BC, religious ceremony, three lines of text, 28mm x 12mm (1)

172* Akkadian green serpentine cylinder seal, circa 2400-2200 BC, Archer, two lions attacking bulls, 35mm x 22mm (1)

£150-250

£200-300

£200-300

169* Mitanni frit cylinder seal, Northern Mesopotamia, circa 1400-1100 BC, figure, antelope and sacred tree, 20mm x 9mm

173* Akkadian or Hassite white marble cylinder seal, Upper Tigris Region, circa 2400-2200 BC, two register lion hunt, 39mm x 12mm

(1)

(1)

£80-120

£200-300

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

176* Old Babylonian haematite cylinder seal, circa 2000-1600 BC, seated king with four figures in attendance, 26mm x 14mm (1)

£400-600

£150-250

170* Sumerian shell cylinder seal, Jemdet Nasr Period, circa 3000 BC, lozenge-shaped motif, 15mm x 8mm, together with white limestone seal, circa 3000 BC, Jemdet Nasr Period, three rows fish, plus Jemdet Nasr., 3100-2900 BC, pink limestone seal, with crossbanded hatching, 12mm x 15mm, and early dynastic, circa 2700-2500 BC, grey limestone cylinder seal, contest scene, male figure between two rampant antelope, 19mm x 10mm (4)

(1)

177* Anatolian or Syrian rock crystal cylinder seal, circa 3100-2800 BC, figure and two animals, 22mm x 16mm (1)

Lot 174 42

£150-200

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178* Sumerian white marble cylinder seal, early dynastic II-III, circa 2600-2400 BC, three standing figures grasping quadrupes, 22mm x 12mm (1)

£300-400

183* Sumerian rock crystal cylinder seal, early dynastic, circa 2800 BC, stylised birds, 23mm x 11mm (1)

£100-150

187* Mesopotamian grey limestone cylinder seal, hemispheroid, Uruk or Jemdet Nasr, 4th millennium BC, stylised gazelle, 26mm x 22mm, together with Ubaid/Uruk, circa 4th millennium BC, ovoid seal, grey-dark green stone, two pairs of horns, back suspension loop missing, 35mm x 31mm (6)

£80-120

179* Sumerian grey limestone cylinder seal, Jemdet Nasr Period, circa 3000 BC, interlock frieze, 18mm x 12mm (1)

£80-120

184* Sumerian white limestone cylinder seal, Neolithic, Late Uruk, 5th-4th millennium BC, hemispheroid drilled, stylised figure, 28mm x 22mm £60-80

188* Mesopotamian translucent limestone cylinder seal, circa 2400-2200 BC, engraved area divided into two registers, upper register showing two seated drinkers accompanied by standing servant, lower register with contest scene showing two crossed lions each mauling a horned animal, of which one is succoured by a hero, 31 x 12mm

185* Syrian haematite cylinder seal, circa 1900-1600 BC, two figures and two griffins, 17mm x 11mm

With typed explanatory letter signed by Wilfred G. Lambert, Professor of Assyriology, University of Birmingham.

(1) £300-400

(1)

180* Akkadian (Western Iran) black serpentine cylinder seal, circa 2400-2200 BC, two figures spearing antelope, 26mm x 15mm (1)

£300-400

(1)

£200-300

181* Sumerian pink limestone cylinder seal, circa 2900-2400 BC, processional figures, 17mm x 11mm (1)

£150-200

186* Assyrian black serpentine cylinder seal, circa 1200-800 BC, wolf attacking a feeding giraffe, 42mm x 12mm (1)

£300-400

With letter written by Wilfred. G. Lambert, Professor of Assyriology, University of Birmingham, dated 1992. Rare stone for the period.

(1) £400-600

182* Neo-Assyrian carnelian cylinder seal, 800-600 BC, two figures hunting on chariot, text above, 27mm x 11mm (1)

189* Old Babylonian cylinder seal of black stone with white streaks, circa 1900-1600 BC, with three standing figures, a god in short clothes on the right, a worshipper in long robe raising one hand in the middle, and a nude female shown frontally on the left, a spade symbol appears in front of the god on the right, a two line cuneiform inscription Ili-iddinam, servant of (the goddess) Ninsi’anna (Ishter-Venus), 31 x 17mm

£400-600

43

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197* Akkadian white alabaster cylinder seal, 2500-2000 BC, double resister, figures, birds and gates, 24mm x 9mm (1)

190* Sumerian Third Dynasty of Ur, circa 2100-2000 BC cylinder seal, goddess seated on an angular stool, she raises one hand towards a second, approaching goddess, both wearing long robes and horned tiaras, the standing goddess grips the wrist of a human worshipper behind her, who is also raising one hand, between the goddesses is a plough and in the sky a combined lunar crescent and solar disc, there is a two-line Sumerian cuneiform inscription Awilum-shalim son of Magurre, 22mm x 9mm With letter written by Wilfred. G. Lambert, Professor of Assyriology, University of Birmingham, dated 1992.

(1) £400-500

£200-300

193* Sumerian pink marble cylinder seal, Jemdet Nasr period, 3100-2900 BC, geometric hatching, 21mm x 9mm (1)

£80-120

198* Akkadian haematite cylinder seal, 2400-2100 BC, three standing figures, 20mm x 9mm (1)

£200-300

194* Akkadian rock crystal cylinder seal, 2400-2200 BC, offering scene, two figures, two captured ibex, text above, 32mm x 17mm (1)

£500-700

199* Akkadian haematite cylinder seal, circa 1600-1400 BC, three figures and animals, 20mm x 8mm (1)

£300-400

195* Sumerian blue chlorite cylinder seal, circa 3000-2600 BC, figure with stag, 27mm x 12mm (1)

£200-300

200* Cassite-period Babylonian cylinder seal, circa 1400-1100 BC, agate cylinder seal

191* Sumerian white marble cylinder seal, Jemdet Nasr Period, interlocking chevrons, 18mm x 17mm, together with pink limestone, Jemdet Nasr Period, interlocking chevrons, 21mm x 14mm, plus White limestone, Jemdet Nasr Period, circa 3000-2800 BC, interlocking chevrons, 28mm x 19mm (3)

£100-150

(1)

£300-400

196* Old Babylonian haematite cylinder seal, 2000-1600 BC, three figures and antelope, 17mm x 8mm (1)

£80-120

201* Akkadian haematite cylinder seal, circa 1600-1400 BC, four quadrupeds and scorpion, 17mm x 7mm (1)

192* Sumerian white veined marble cylinder seal, Jemdet Nasr Period, circa 3100-2900 BC, running antelope, 17mm x 13mm (1)

£60-80

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

£200-300

202* Sumerian pink limestone cylinder seal, Jemdet Nasr, 3100-2900 BC, crossbanded hatching, 12mm x 15mm Lot 197

44

(1)

£100-150

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203* Akkadian haematite cylinder seal, circa 1600-1400 BC, three figures approaching a ram on a pedestal, 13mm x 9mm (1)

£100-150

208* Large hemispheroid seal Uruk/ Jemdet Nasr period [3300-2900 BC], drill-cut white marble, two mouflons, 32mm

212* Mesopotamian square button-type seal, prehistoric, circa 5th millennium BC, black basalt, linear geometric, suspension loop, 17mm x 17mm

(1)

(1)

£200-300

£60-80

204* Assyrian banded agate cylinder seal, 1400-1200 BC, human headed lion body with wings, 24mm x 10mm (1)

£200-300

209* Uruk/ Jemdet Nasr period oval hemispheroid seal, [3300-2900 BC], speckled diorite, six stylised animals, suspension hole, 34mm x 25mm (1)

£60-80

(2)

205* Akkadian haematite cylinder seal, circa 1600-1400 BC, three armed figures approaching forth in a defensive posture, 23mm x 12mm (1)

(1)

£60-80

206* Sumerian blue serpentine cylinder seal, Jemdet Nasr, circa 3000 BC, drillhole technique, figure with bird in tree, 32mm x 10mm

214* Mesopotamian hemispheroid seal, Syrian, 2nd millennium BC, black haematite, recumbent stag and star, suspension hole, 15mm (1)

£60-80

£80-120

207* Uruk/Jemdet Nasr period large hemispheroid seal, [3300-2900 BC], drillcut pale cream stone, two horned animals [mouflons?], suspension hole, 35mm (1)

£60-80

£300-400

210* Mesopotamian hemispheroid seal, prehistoric, 5th - 4th millennium BC, red jasper, stylised quadruped, suspension hole, 21mm

(1)

213* Uruk/Jemdet Nasr period triangular wedge-shaped grey stone seal, 33002900 BC], horned animal with foliage [antelope?], suspension hole, 26mm x 21mm, together with recumbent deer, suspension hole, 21mm x 17mm

£200-300

211* Uruk/Jemdet Nasr period ovoid marble seal, [3300-2900 BC], two hare, suspension hole, 30mm x 15mm

215* Elamite (Iran) frit cylinder seal, circa 1500-1000 BC, twenty five incised crosses, 50mm x 14mm

(1)

(1)

£60-80

45

£200-300

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216* White shell cylinder seal seated deity on the right, in a long flounced robe and raising one hand, facing stands a standing figure, also in a long robe but not flounced, also raising one had, in the sky is a crescent, there is a two line cuneiform inscription Kurratum wife of Zuzu, 28 x 14mm

220* Sumerian (Old Babylonian) rock crystal cylinder seal, circa 2000-1600 BC, enthroned deity receiving figure with raised hand, four lines of vertical inscription, 34mm x 15mm (1)

£200-300

(1)

With letter written by Wilfred. G. Lambert, Professor of Assyriology, University of Birmingham, dated 1992. The inscription names a woman as the owner of the seal. The design is worn, while the inscription is much sharper and may have been added to an older seal.

(1) £200-300

221* Akkadian green serpentine cylinder seal, circa 2400-2200 BC, lion before enthroned figure with sword carrying figure behind, two contesting goats, 34mm x 22mm (1)

£200-300

217* Akkadian green serpentine cylinder seal, circa 2400-2200 BC, herdsman with branch leading two cattle into a stockade, 26mm x 17mm (1)

222* Old Babylonian haematite cylinder seal, circa 2000-1600 BC, enthroned figure before ritual enflamed tripod, double register lion hunt and running antelope, 24mm x 9mm

223* Sasanian carnelian bead seals, early 1st millennium AD, various stylised motifs [x 8], old label ‘Iraq 1956’ Not Neo-Babylonian as stated.

(1)

(20)

£150-200

£300-400

219* Mesopotomian (Uruk/Jemdet Nasr period) unusually large grey stone ovoid seal, 4th millennium BC, stylised stag above a horned bull’s head, 50mm x 42mm (1)

Lot 224

£300-500

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

46

£100-150

224* Sumerian stone amulets, early dynastic, circa 3000 BC, mainly animals, seals, etc, various

218* Sumerian cylinder seal, predynastic, circa 3000-4000 BC, dark green serpentine, three ghostly standing figures holding hands, 33mm x 10mm (1)

£400-600

£200-300

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228* Akkadian limestone cylinder seal, circa 2400-2200 BC, detail worn, 41mm x 22mm (1)

£80-120

225* Sumerian (Uruk/Jemdet Nasr period) stone amulets, circa 3300-2900 BC, fish with suspension holes, 62mm/40mm and 24mm (3)

232* Parthian copper alloy seal ring, late 1st millennium BC, sheep with lamb, 22mm, old label ‘Iraq 1956’

£250-350

(1)

226* Sumerian (Uruk/Jemdet Nasr period) stone amulets, circa 3300-2900 BC, stylised birds with suspension holes, 37mm and 32mm

229* Sumerian (Old Babylonian) stone cylinder seals, circa 2nd millennium BC, various, 22-25mm, old label ‘Iraq 1956’

(2)

(3)

£60-80

£40-60

£150-200

233* Neo Babylonian/Achaemenid copper ‘bead’ seals, 1st millennium BC, various stylised animals, 12-15mm (6)

227* Mesopotamian stone amulets, 3 stone and 2 glass amulets, circa 1st millennium BC, each with human faces, each 20mm high (5)

230* Sasanian rock crystal ‘bead seals’, circa early 1st millennium AD, 20mm, old label ‘Iraq 1956’ (4)

£100-200

£150-250

234* Old Babylonian haematite cylinder seal, circa 2000-1600 BC, erotic scene, male figure with erect phallus lying back to ground, female above with legs in horizontal position, two further small kneeling figures either side of her separated with two crescent moons, two animals in contest position with star between, 25mm x 14mm (1)

231* Sasanian rock crystal seal beads, circa early 1st millennium AD, various stylised motifs, old label ‘Iraq 1956’ (8)

£100-200

47

£60-80

£200-300

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240* Uruk/Jemdet Nasr period smooth black basalt amulet, circa 3300-2900 BC, reclining boar, drill-cut engraving, hole for suspension, 35mm x 21mm (1)

235* Phoenician black glass seal, mid 1st millennium BC, reclining cat with raised ears, zig-zag pattern underneath, 40mm x 26mm (1)

£150-250

238* Mesopotamian pink limestone, early dynastic [?] circa 2nd millennium BC, cat, height 40mm

241* Uruk/Jemdet Nasr period pink/brown hard-stone amulet, circa 3300-2900 BC, recumbent stylised lioness, 41mm

(1)

(1)

£200-300

236* Phoenician yellow and blue glass amulet, late 1st millennium BC, reclining boar, 43mm (1)

£200-300

£200-300

242* Parthian or Sasanian rock crystal, early 1st millennium AD, lion with running antelope seal, hole for suspension, 35mm

£200-300

(1)

£80-120

239* Uruk/Jemdet Nasr period green stone amulet, circa 3300-2900 BC, two reclining animals [bulls?], with eight drillcut marks, pink stone with suspension hole, 30mm and 33mm (1)

£60-80

243* Parthian or Sasanian rock crystal cat, early 1st millennium AD, reclining cat, hole for suspension, 26mm x 19mm

237* Neo-Assyrian[?] cast bronze lion, early/mid 1st millennium BC, lion, height 38mm (1)

(1)

£250-350

Lot 240 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

48

£300-400

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Lot 245

Lot 248

Lot 247

244* Imperial Roman rock crystal, head of a youth, 24mm high (1)

£200-300

245* Old Babylonian cuneiform, circa 2000-1700 BC, inscribed lentoid exercise tablet, 75mm (1)

247* Mesopotamian Tel Halaf terracotta fertility figure, circa 6th-5th millennium BC, stylised seated female with narrow bird-like head, short thick legs, decorated with brown stripes, 70mm, restored (1)

£200-300

£300-400

246* Two Near Eastern basalt [or chlorite] mortars, circa 3rd - 2nd millennium BC, deep cylindrical form, one decorated with double row notched decoration imitating twisted rope, height 130mm and 120mm (2)

248* Phoenician glass head pendant, circa 6th-4th century BC, with suspension loop, 43mm, possibly repaired (1)

£200-300

£300-400

249* Sasanian bowl, circa 5th-7th century AD, small boat-shaped silver[?] bowl, 77mm

Lot 244

(1)

Lot 246

£200-300

Lot 249

49

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252* Sasanian/Parthian copper alloy finger rings, circa 1st millennium AD, group of copper alloy finger rings (15)

£80-120

250* Sasanian glass vessels, circa 5th-7th century AD, group of miniature glass vessels, some damaged (32)

£200-300

253* Ancient Near East copper alloy votive animals, 2nd-1st millennium BC, group of copper alloy votive animals, including ibex, goat, horse etc (11)

300-400

251* Roman/Sasanian glass vessels and beads, circa 1st millennium AD, group of miniature glass vessels and beads (qty)

£150-250

254* Mesopotamian pottery vessels, 1st millennium BC [or older], Group of eleven pottery vessels collected between 1932 to just after WWII by a Mr Reed who was working on an oil pipe-line from Kirkuk and the Mediterranean Sea [museum identification request supplied] (11)

Lot 252

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

50

£200-300

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255* Mesopotamian alabaster handcarved vessel, circa 2nd millennium, BC, 7cm high x 10.5cm diameter (1)

£100-200

258* Western Asiatic rock crystal volvive vessel, 1st century BC, 8.5cm high (1)

£300-400

259* Sumerian (late Uruk/Jemdet Nasr period), pink banded calcite amulet, 3300-2900 BC, representing a reclining bull, profile body, front facing head, the reclining bull is perhaps the iconic subject which epitomises the art of the Uruk/Jemdet Nasr period in early dynastic Mesopotamia, 30mm x 45mm (1)

£800-1200

260* Mesopotamian necklace, circa 3rd2nd millennium BC, individual and cut alabaster necklace (re-strung) (1)

£60-80

256* Anatolian bronze bull, 1st millennium BC, 8.5cm long, presented on a wooden base (1)

£200-300

257* Mesopotamian alabaster mace head, circa 3rd millennium BC, approximately 5cm high x 5.5cm diameter (1)

£80-120

261* Sumerian cuneiform tablet, period of the Ur III Kings, circa 2100-2000 BC, 24 lines of horizontal text on both sides, complete and intact, 11.5cm x 5cm (1)

£800-1200

51

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262* Bactrian/Western Asiatic large alabaster deep-sided ritual vessel with traces of ancient copper staining, mid 1st millennium BC, height 130mm, length 205mm (1)

£400-500

264* Anatolian Syrio-Hittite bird-headed deity, with hands raised to breast, mid/late 2nd millennium BC, 12cm high (1)

263* Mesopotamian early Dynastic (Bronze age) pottery vessel, decorated with a fishnet type pattern, intact, 3rd millennium BC, 11.5cm high (1)

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

£200-300

52

£100-150

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ANTIQUE & VINTAGE TEXTILES & FANS 265* Afghan. An Afghan saddle bag, circa 1870s/80s, double saddle bag, knotted-pile sides with stylised cockerel in centre of each, within geometric borders, woven bridge with geometric patterns, and plaited animal hair loops, stitched leather edging pieces at ends of junction between bridge and sides, old linen label stitched to underside with pencilled initials ‘AD’, some overall wear, 41 x 129.5cm (16 x 51ins) These beautifully worked items were often cut in half to make cushions, so intact saddle bags such as these are desirable. Cockerels were a recurring image, used as symbols of the dawn and dispellers of darkness.

(1) £100-150

266* Altar cloth. A painted altar frontal, Continental, early 19th century, hand-painted and stencilled on cream silk (joined vertically at either side to a narrow additional strip), with central circular rainbow motif enclosing a monogram ‘MW’ with coronet above and serpent with crescent below, above a bowl of fruit with a fly resting on a pear, surmounted by two birds, the whole framed by volutes and a profusion of wheat ears, grapes, and flowers, including tulips, irises, violas, roses, bindweed, carnations, etc., worn (silk stained and perished in places, edge-fraying and holes where previously held in place by tacks), approximately 99 x 166cm (39 x 65.5ins), together with a large piece of embroidery on ribbed cream silk, mid 19th century, finely hand-stitched in a variety of coloured silks, with an all-over pattern of flower stems and tendrils, selvedge at either side, pattern complete at lower edge, but truncated at top edge, 60 x 76cm (23.5 x 30ins), plus an irregular fragment of finely-worked satin stitch embroidery, 19th century, depicting roses, lily-of-the-valley, a carnation, and an anemone, on cream silk, stitch-mounted on cream satin (incorprating neat repairs to fraying at edges), size of embroidery at widest points 28 x 23cm (11 x 9ins), and an embroidery for a face screen, English, late 19th century, hand-stitched on cream silk in coloured silks, with a shield design composed of roses, forget-me-nots, and blue bows, enclosing a dancing couple in 18th century dress, with handpainted faces and arms, practise flowers and leaves stitched in lower left corner, silk beginning to perish down central vertical fold, size of fabric 45 x 41cm (18 x 16ins), plus two unfinished embroideries on silk, mid 19th century, tambour work in coloured silks, depicting a posy of violas and a posy of roses respectively, each within a foliate border to either side and lower margin, foxed, size of fabric 32 x 32cm (12.5 x 12.5ins), and another three small embroideries, matching, 20th century

Lot 265

Such delicate early painted textiles rarely survive. This altar frontal appears to have been made for a private chapel, with the owner’s crest in the centre, surrounded by symbols of Christianity, such as the wheat and grapes (body and blood of Christ), the fly (sin and degradation), and irises (the passion and resurrection of Christ).

(9) £200-300

Lot 266

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268* Bobbins. A large collection of lace making bobbins, English, mid 19th century, together 57 hand-carved bobbins, mostly bone, but a few wood, two stained green, some metal wire bound and all highly decorated with coloured dots, bands, and other incised and applied ornamentation (including Bedfordshire tigers, leopards, and butterflies), all with spangles, more than half named or inscribed: ‘William Bull Hung 1871’; four with terms of endearment (‘Marry Me Quick’, ‘Dear Sister’, ‘Love For Get Me Not’, ‘Love Dont Be Falcs’[sic]); one with spiral lettering (‘Elizabeth Brown My Dear...’ [remainder indistinct]); approximately 17 with female names, e.g.

Elizabeth Fasey, Lucy, Kitty, Mary Ann, Edith, Dear Betsy, Bless Susan, Sarah, Jane, Dear Mary; and 9 with male names, e.g. James, George, John, Dear Joseph, Adam, occasional surface rubbing, length approximately 14cm (5.5ins) and slightly shorter

267* Berlin charts. A collection of designs for Berlin woolwork, 19th century, approximately 50 hand-coloured lithographed woolwork patterns, mostly floral and foliate designs, but a few with figures, animals, or birds, pattern makers include A. Todt, L.W. Wittich, F.W. Neie, Hertz & Wegener, Grinthal’s Verlag, C. Francke & Siecke, Sieffert & Co., Ad. Gourboud, Z.A. Grunthal, Heinrich Kuehn, some worn, 76 x 61cm (30 x 24ins) and smaller Provenance: from the archive of the Ladies’ Work Society, an off-shoot of the Royal School of Needlework formed in 1875 by Princess Louise, Duchess of Argyll, to provide employment for impoverished gentlewomen. Berlin woolwork, or embroidery on canvas by means of copying a coloured chart, became very popular in the 19th century. Prior to the introduction of Berlin patterns it was very rare to find needlework designs with any indication of colour choices or threads. Berlin patterns were always coloured by hand at first, until the emergence of industrial printing techniques, and early charts such as these are now hard to find. (approx.50) £200-300

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

An attractive and interesting collection of bobbins, a large number of which have names and inscriptions. Of particular interest are ‘hanging bobbins’ which were inscribed with the name of the criminal and the year of their execution, and sold as gruesome souvenirs of the event. They seem to be associated only with the East Midlands lacemaking industry, and particularly Bedfordshire. William Bull, an agricultural labourer, was only 21 when, on 29th November 1870, he murdered Sarah Marshall at Little Staughton in Bedfordshire. The victim was a weak old woman of low intelligence who was often the butt of village children’s pranks. On the night in question Bull had been drinking at the pub and, on parting company with his friend, said he was going to call on Sally and cause a ‘to-do’. The next morning she was found brutally beaten to death. Bull was arrested two days later and traces of blood were found on his clothes. He was convicted at Bedford Assizes, sentenced to death by Mr. Justice Campbell, and confessed his guilt before being hanged by William Calcraft, an outcome which met with much public satisfaction. Public hangings had been abolished in 1868 so Bull was hung in private at Bedford Prison on April 3rd 1871.

(43) £300-500

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269* Bonnet. An infant’s beadwork bonnet, late 17th/early 18th century, cream ribbed silk, with gathered crown and damask inserts, with overall pattern of beadwork embroidery, incorporating spangles (round and pointed ovals), glass beads, and metalled threads and coils, forming leaf sprays and other decorative motifs, lined with cream linen, silk ties present (frayed), approximately 8 x 9cm (3.5 x 3.5ins), together with another infant’s bonnet, slightly later, made of brocade and metalled lace, and trimmed with closely gathered net lace, lined with printed chintz, scalloped silk ribbon ties, some wear

270* Bonnet. An infant’s bonnet, mid 18th century, hand-stitched orange and cream silk brocade bonnet, composed of three joined pieces, including circular crown, edged with a decorative woven trim, lined with coarse brown linen, length 15cm (6ins), silk ties present (faded and frayed), together with a woman’s coif, mid 18th century, handstitched brown, yellow and cream silk brocade, trimmed with wide metallic lace, and narrow cream lace (possibly later), with looped chain stitch trim to lower edge, lacking ties, lined with beige linen (lightly stained), length 24cm (9.5ins) (2)

£150-250

A rare survival which appears to have been not much worn.

(2) £300-500

271* Buttons. A small collection of coconut shell buttons, early 20th century, five hand-carved coconut shell buttons in the shape of an elephant, and four in the shape of a maple leaf (one cracked and three reinforced on verso), each with twohole sew-throughs, elephants 23 x 32mm (1 x 1.25ins), maple leaves 37 x 42mm (1.5 x 1.5ins), together with a set of four large cut steel buttons, early 20th century, loop shank, diameter 30mm (1.25ins), plus a bone bodkin case containing a variety of crochet hooks and bobbins, length 16.5cm (6.5ins), plus an early 20th century handpainted and embroidered black silk fan (slightly stained and frayed at top edge), a fine tambour work cream muslin stole (a few small holes), a lace veil (a few holes and marks), a small quantity of cream lace trimmings, caps, collars, etc., and four damask linen table cloths (a small carton)

£70-100

272* Chinese Robe. A Chinese silk robe from the family of Sir Thomas Francis Wade, mid-late 19th century, a fine and heavy robe of peacock blue silk, elaborately embroidered overall with butterflies in a variety of colours, with border of butterflies and braid to neck, sleeve edges, and gusseted sides, quilted cream silk lining (with some minor discolouration in a few places), a few loose stitches and minor marks, but generally in very good condition, length 133cm (52.5ins), together with an old manuscript note ‘Mandarin’s Coat to MSH from T. Wade. Uncle Tom. Sir Thomas Wade First English Minister to China. Used as Opera Cloak by MSH also MFH’ Provenance: Given by Sir Thomas Wade (18181895) to his sister-in-law Maria Sophia Hardcastle, née Herschel (1839-1929), and thence by descent. A quite magnificent robe with an interesting ownership history. Sir Thomas Wade was an eminent British diplomat and sinologist who spent over forty years in China. He taught himself Mandarin, wrote extensively on Chinese studies, and his pioneering work led to the famous Wade-Giles system of romanization for Mandarin Chinese.

Thomas Wade was the first professor of Chinese at Cambridge University. In 1868 he married Amelia Herschel, the daughter of astronomer Sir John Herschel, and sister of Maria Sophia.

(1) £500-800

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275* Clothing. A Regency spencer, circa 1820, lilac silk bodice, hand-stitched, large collar, cap sleeves (long inner sleeves removed), sleeves and front of bodice embellished with decorative silver grey braided buttons, some fading and discolouration, and a few small holes, lined with fine linen (stained in places), ties on inside back, length 28cm (11ins), bust 68cm (27ins), sleeve length 8.5cm (3.25ins), together with a Victorian boned bodice, circa 1840s, bright green satin, hand-stitched, short sleeves trimmed with braid and net, deep v-waist, rear fastening with 11 metal hooks and eyes, embellished with a fringed satin bow at foot, lined with fine linen, overall length 46cm (18ins), bust 68cm (27ins), sleeve length 16.5cm (6.5ins), plus another Victorian boned bodice, pale brown satin, hand and machine-stitched, neckline and short sleeves trimmed with black lace, front fastening with eight hammered metal hooks and buttonhole stitch loops, and two brass hooks and eyes at foot, a few tiny holes in right sleeve, lined with glazed linen, length 34cm (13.5ins), bust 38.5cm (15.25ins), sleeve length 15cm (6ins), plus another Victorian bodice, pale green satin with shoulder straps, embellished with fabric flowers and leaves, new hook and eye fasteners

273* Chinese. A large Chinese dragon table cloth, late 19th century, fine cream linen cloth, with elaborate drawn threadwork and two large four-clawed dragons embroidered in cream silk, some marks and minor wear (a few period darns), 226 x 185.5cm (89 x 73ins)

(4)

£150-200

A magnificent piece of handworked linen. The dragon, symbol of power, strength, and good luck, appears with four claws when used by princes and nobles.

(1) £100-200

274* Christening gown. A Victorian christening gown, high-waisted white cotton gown, whitework bodice incorporating net inserts and broderie anglais, skirt with horizontal tucks and broderie anglais inserts, broderie anglais trim to bodice, puffed sleeves, front panel of skirt, and hem of skirt, draw-string ties at rear, length 113cm (44.5ins), chest 42cm (16.5ins), together with Nightgown, A large Victorian nightgown, white cotton, with machined tucks to frontopening bodice panel and cuffs, both panel and cuffs with buttonholes but no evidence of buttons having been present, handsewn broderie anglais insertions and trim to bodice panel, collar, and cuffs, some fox spots and discolouration, length 138cm (54.25ins), chest 150cm (59ins), sleeve length 55cm (21.5ins), plus a Victorian child’s high-waisted white cotton chemise, with closely gathered long skirt, tape straps, and draw-string ties at rear, length 94cm (37ins), chest 46cm (18ins), plus an Edwardian broderie anglais girl’s white pinafore, a 20th century pink cotton poke bonnet, a double-layered bright blue theatrical cloak lavishly embellished with cream soutache braid, and four vintage umbrellas (6)

276* Clothing. A late 18th century pierrot bodice, cream silk brocade, with floral pattern in shades of blue, pink, green, brown, and cream, hand-stitched, with metal hook and eye front fastening, lined with cream herringbone fabric, modified, with sleeves and boning removed, right side unpicked, and some loss to ruffle at back, together with another 18th century pierrot jacket, probably Spitalfields silk brocade, lacking the right sleeve (and left sleeve with cuff removed), plus six other items, comprising a 19th century silk brocade bodice (of earlier fabric), a pair of late 19th century pale blue satin boys’ breeches with sash, worn, a late 18th century pierrot jacket in pink and white striped silk (also lacking right sleeve) and matching deconstructed skirt, a 19th century brocade waistcoat (crudely modified on back), and a handstitched unstructured open-fronted Indian robe formerly belonging to actor and director Henry Kiell Ayliff (1871-1949) and his sister Alice Mary Ayliff, cream cotton, embroidered by hand in cream thread, with all-over flower pattern and wide floral and foliate borders (unfinished, with edges untrimmed and with pattern guide drawn in red still visible), with early 20th century pencilled paper label at nape ‘White Fonthill’, some discolouration and staining

£100-150

(8)

Lot 275

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£200-300

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277* Clothing. A collection of 1930s underwear, together thirteen garments, mostly silk or satin, in pastel shades of cream and pink, some with lace trim or inserts, some embroidered, including nightdresses, camisoles, slips, camiknickers, a negligee, etc., some with wear, one item with ‘Jaunty silk crepe’ label, various sizes (13)

£100-150

278* Clothing. A beaded sleeveless tabard dress, 1920s, fine black net, printed with all-over pattern of roses in pink and green, incorporating glass seed beads, edged in black silk, a few minor pulled threads, but generally in good condition, length 114cm (45ins), chest 112cm (44ins), together with seven other items of clothing, 1920s/30s, comprising: another tabard, of gold embroidered chiffon with beaded applique embellishments at sides; a red chiffon jacket with figured velvet pattern in beige; a long black chiffon dress with beading; a black crepe dress with gold embroidered and beaded pattern of oriental figures, buildings and trees; a floor-length dress of sheer black lace; a long chiffon dress with blue and black art deco pattern; and a beaded black net collar, various sizes and condition (8)

£200-300

57

279* Clothing. A reddish-brown mink coat, Arctic Furs (Crouch End) Ltd., London, 1930s, full-length ladies fur coat, fitted style, with ornate brown braided buttons, five down the front and two on belt at back of waist, patterned brown satin lining, with inner tie and loop, back of funnel-neck collar slightly split at seam, but otherwise in excellent condition, length 113cm (44.5ins), chest 96cm (38ins), sleeve length 61cm (24ins), together with three other mink fur coats, 1920s/30s, two brown (unbranded) and one white (‘Arctic Furs’ label), all unstructured and approximately knee-length, plus two mink fur hats of a similar age, one with label ‘Madyvon, Paris’ (6)

£150-200

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281* Collars. A collection of nine collars, 19th century, mostly handmade, including Brussels lace, whitework, Bedfordshire lace, a collar with lappets, and a tape lace bertha collar, plus a Victorian cream lace lappet cap, some minor marks and wear, various sizes (10)

£100-150

280* Collage pictures. A pair of collages, late 18th century, together two pictures composed of fabric cut-outs in different colours and textures, superimposed on each other and built up to form a raised effect, on board, with details added in pen & ink, depicting flowers in an urn surrounded by birds and insects, within a decorative border, discolouration and surface loss (latter mainly to board background), each 21 x 28.5cm (8.25 x 11.25ins), matching frames, glazed, together with Sampler, A linen sampler, 1812, text worked in cross-stitch in black: ‘Hear the words of Prudence, give heed unto her counsels, and store them in thine heart... envy not the appearance of happiness in any man, for thou knowest not his secret griefs of mind’, with initials ‘E E’ and the date 1812, within a sinuous floral border, worked in satin and stem stitch, in a variety of coloured threads, some small holes, 35.5.x 25cm (14 x 10ins), framed and glazed, plus a large 19th century needlework picture of a pheasant sitting on a branch, toned and spotted, 57 x 43cm (22.5 x 17ins), framed and glazed An unusual pair of decorative collages, each with minutely cut out pieces of fabric carefully placed to pleasing effect; an additional accomplishment for a lady, and alternative creative past-time to needlework and drawing.

(4) £100-200

282* Coptic. A rare Egyptian Coptic shoe, circa 4th-7th century AD, red leather flat shoe, hand-made using the turned technique, with saddle-stitch seams, decorative gilt piping to upper face comprising two coils joined with meander ornament, flattened and with wear commensurate with age, but no repairs or restoration, length 24.5cm (9.75ins) Provenance: Property of a Lady, acquired in the late 1970s on the London art market (according to accompanying manuscript note). Exceptionally rare Egyptian artefact. The Copts were known for their beautiful workmanship, and this type of leather slip-on shoe is typical of the period.

The V&A holds a number of similar shoes or fragments of shoes, but such articles are generally confined to museums and almost never appear on the open market.

(1) £700-1000

Lot 281

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

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284* Embroidered map. The Map of England and Wales by Ann Jennings Warne, A.D. 1786, needlework map of England, Wales, and part of Scotland and Ireland, showing also Arran, Isle of Man, Alderney, and part of Guernsey, Sark, and France, finely worked in cross stitch on linen, with the title, counties, principal towns, rocks and promontories, details of a shipwreck, and a scale all stitched in black, floral title border and boundary outlines in various colours, faded and toned, some small holes, 64 x 58.5cm (25.25 x 23ins), framed and glazed

283* Curtains. A large heavy chintz curtain in Warner fabric, midlate 20th century, handmade glazed cotton curtain, with ‘Water Flowers’ design from the Eastern Gold Collection by Warner, depicting lotus flowers in pink with green foliage, on alternating narrow green and wide brown stripes, the latter with the addition of herons and ducks in white and brown, lined with dark cream cotton, triple pleated at top, with old brass hooks, weighted at corners, lightly faded along right-hand edge, and a few marks to lining, but overall in good condition, approximate drop 220cm (86.5ins), width 488cm (192ins), together with a pair of long curtains, late 20th century, pale green cotton, lined in cream cotton, pencil pleat rufflette heading, weighted at corners, some faint fading at edges, very small dark mark on one curtain, but generally in good condition, approximate drop 239cm (94ins), width 264.5cm (104ins), plus a pair of matching pale green and cream plaited hold-backs, plus a small quantity of household linen, including napkins, a lace pin cushion, table cloths, lace mats and doilies, etc., most with embroidery or drawn threadwork, some monogrammed, various sizes and condition

A particularly detailed example of a map sampler, with an interesting number of coastal locations named, for example: ‘The Man and his Man’; ‘Cow and Calf’; ‘Bishop and his clerks’; ‘Ireland’s Eye’; ‘Maidens’; ‘The Spaw’; ‘St Bees Hd’; ‘Well Bank’; ‘Kentish Knock’; ‘Bobbs Nose’; ‘Deadman Pt’. Of especial interest is the unusual mention of a shipwreck, stitched in black within a green border, off the north coast of Cornwall: ‘Sir cloudsley shovel was wreck’d near this place A.D 1707’. The notoriously treacherous seas around the Isles of Scilly are the site of a great many shipwrecks which have occurred over the centuries; in fact there are 530 registered wrecks around the archipelago. The best known is probably the shipwrecking of the Association on 22nd October 1707. She was part of Sir Cloudesley Shovell’s English Fleet that took part in the seige of Toulon and ran aground on the Gilstone Ledges near Bishop Rock, sinking along with three other ships, HMS Eagle, HMS Romney and HMS Firebrand. Nearly 2,000 sailors were lost that night, and the incident was recorded as one of the greatest maritime disasters in British history. Shovell’s body and those of both his stepsons were all found in Porthellick Cove on St Mary’s, almost seven miles from where the ship was wrecked. He was temporarily buried there, but later interred in Westminster Abbey. The tragedy excited much public interest and a number of stories sprang up surrounding it. Local legend has it that Shovell was alive when he reached the shore but was murdered by a woman for the sake of his priceless emerald ring, the woman apparently confessing on her deathbed 30 years later. Another legend alleges that a sailor (a Scilly native) tried to warn Shovell that the fleet was off course but Shovell had him hanged at the yardarm for inciting mutiny. The maker of this sampler was no doubt fascinated by the story of the wreck and its associated grisly tales, and although the Scillies are not shown, she determinedly stitched details of the wreck in the sea above Cornwall.

(1) £200-300

Established in 1870, Warner Fabrics has been purveyor to the British royal family since 1932.

(4) £100-200

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287* Embroidered bedcover. A Welsh Arts & Crafts bedcover, circa 1870s/80s, cream wool with herringbone pattern, handembroidered overall in wool in two shades of orange, with a large pattern of stylised plant forms, in a wide variety of stitches, including stem stitch, chain stitch, buttonhole stitch, cretan stitch, occasional marks and a few lost or broken stitches, 4.5” wide orange woollen border (partially faded and with some small moth holes), lined with terracotta silk (perished along part of one edge), 240 x 223cm (94.5 x 88ins) Provenance: purchased by the current owner from a lady living in Portmeirion, whose mother made the bedcover.

(4) £100-200

285* Embroidered Picture. A young lady in a landscape, circa 1820, stitched oval picture of a young female holding a garland of flowers and seated in a landscape with trees, within a floral wreath, topped by a bow terminating in tassels, expertly worked in silk threads in a variety of shades on cream silk, using long and short stitch, stem stitch, and bullion stitch, with the face and limbs neatly drawn in, silk ground a little dusty in places, 44.5 x 35.5cm (17.5 x 14ins), framed and glazed, together with another embroidered picture similar, of a young lady seated by a tombstone in a landscape, verre eglomise mount (black paint flaking onto stitching), framed (2)

£200-300

288* Embroidery. A Chinese silk hanging, circa 1890, square crimson silk wall hanging, finely embroidered in silks depicting a stork in flight within a border of chrysanthemums, worked in satin stitch, stem stitch, and long and short stitch, in white, green, and pale pink, a few loose stitches, silk starting to perish in places (mostly to lower edge), backed with cream linen, and with red piping cord trim, 133.5 x 133.5cm (52.5 x 52.5ins), plus a late 19th/early 20th century linen cloth, elaborately embroidered in an expert hand with a Jacobean-style design, in gold and metalled threads, incorporating sequins, a few minor marks, but overall in very good condition, 89 x 89cm (35 x 35ins), and a fragment of Chinese embroidery, 19th century, with figures, a dragon, a leopard, and a monkey, worn, 70 x 91.5cm (27.5 x 36ins)

286* Embroidered panel. A Victorian embroidered panel, a large portion of cream silk hand embroidered in silks, with pairs of large hellebore flowers, in satin stitch, long and short stitch, stem stitch, and French knots, in shades of pink, blue, green, and lilac, some minor water-staining to silk ground, 100.5 x 52cm (39.5 x 20.5ins), framed and glazed Probably once part of a decorative scheme in a large house, in the form of curtains or wall hangings.

(1) £100-150

(3)

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

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£150-200

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289* Military embroideries. A pair of embroidered pictures, Far East, early 20th century, together two embroidered silk pictures, one depicting the British royal armorial bearings, with threemasted sailing ship, and crossed flags, with motto ‘Dieu et Mon Droit’ to banner beneath, and the other showing an American eagle atop a shield and crossed flags, with the motto ‘E. Pluribus Unum’ to banner beneath, both expertly hand-stitched in coloured silks (predominantly red, cream, grey, brown) and silver bullion, using padded satin stitch, long and short stitch, stem stitch, and couching, second item with some slight toning to upper edge of silk ground, each approximately 46 x 46cm (18 x 18ins), matching mounts and frames, glazed

290* Embroidered panel. A large maritime folding embroidered frieze, early 20th century, embroidered by hand on brown linen in coloured wools, with a variety of sailing vessels, including galleons, clippers, junks, and men-of-war, with waves, clouds and sea gulls, toned and stained, some minor loss or breakage of stitching, two 6” horizontal tears to lower blank margin, lined on verso with tricolour striped flag, twisted wool border, mounted on a wooden frame, hinged in three places, 61 x 334cm (24 x 131.5ins)

These striking and beautifully made stitched artworks were made in various ports in the Orient as souvenirs for the sailors and officers who embarked there. The embroideries featured national symbols in various sizes and designs, often with details in relief and outlines in gold or silver metalled thread, and occasionally incorporating painted details.

(2) £200-300

(1)

£100-150

291* Embroidery. A Persian style embroidered panel, late 19th/early 20th century, pale gold velvet panel, with richly embroidered wide border, depicting peacocks, urns, and floral and foliate tendrils, expertly worked in gold metalled threads and brightly coloured silks, in shades of blue, turquoise, pink, and purple, velvet ground with loss of pile in places, backed with cream cotton, braid edging, with corner loops, 59 x 90cm (23.25 x 35.5ins) A beautifully embroidered piece in very good condition.

(1)

£200-300

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293 Fabric samples. A large trade volume of textile samples, French, circa 1870s, approximately 100 leaves, with varying numbers of mounted woven fabric samples to rectos and versos (some gaps, and some loosely inserted), mainly brocade and tapestry fabrics, various sizes, mostly tipped-in with adhesive, but some attached with pins, most samples with manuscript paper label, a few with ink stamp ‘Cysoing’, numerous annotations in pencil and ink (stock numbers, colours, etc.), four-digit stencilled number at head of each page, some fraying and tears (with loss) to leaves, dust-soiled in places, original cloth with rivets and exposed stitching on spine, worn, ink stencilled spine labels ‘Reference’ and ‘7400’, large thick folio (1)

£300-500

292* Embroidery. A large beaded Indian-style panel, circa 1960s, decorative fabric panel, composed of numerous different irregular sections, each elaborately hand-beaded, using seed beads, tear drop beads, sequins, bugle beads, etc., incorporating lace and embroidery, in a variety of colours, the sections divided by couched brown wool, some minor wear, backed with cotton, self loops and wooden dowl for hanging, 149 x 101cm (58.75 x 39.75ins), together with a smaller matching panel, 74 x 49.5cm (29 x 19.5ins) (2)

£100-150

294 Fabric samples. A large trade volume of fabric samples, English, 1858-1861, approximately 300 leaves, with varying numbers of woven (and a few printed) fabric samples tipped-in with adhesive to rectos and versos (a few blank leaves and some samples missing), mainly silks and satins, various colours and sizes, most samples with manuscript stock number above (a few with paper labels), some leaves with manuscript dates at head, toned leaves brittle (with some tears and loss), generally soiled and stained, original red half morocco, worn, with fraying to edges and upper joint split (just holding with crude fabric tape repair), gilt lettered date ‘1850’ on spine and upper cover, large thick folio, together with an album of peg plans for fabric weaving, mid 20th century, 14 leaves (and a quantity of blank leaves), with a number of mounted manuscript grids to rectos and versos, mostly blocked in red, blue, or black, various sizes, each with annotations and numbers, leaves toned (with some soiling) and edge-frayed, original half cloth, rubbed and frayed, folio (2)

£400-600

295* Fabric panel. A large Italianate fabric panel, early 20th century, printed linen panel, in shades of pink and green on a cream ground, with overall design within an architectural-style framework of strapwork, plinths, and panels, incorporating faces, birds (including a peacock), a basket of flowers, griffins, shells, volutes, etc., selvedges to left and right, top edge with holes where previously tacked (and faint stain), lower edge with hand-sewn hem (partially coming unstitched), lightly toned, a few small holes and 1.5” closed tear (frayed), 312 x 239cm (123 x 94ins) A large and striking panel, in bright and usable condition.

(1)

Lot 293

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£100-150

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Lot 295

Lot 297

296* Fabric. A quantity of early fragments of fabric and embroidery, 18th-19th century, twelve pieces of fabric, including a piece of late 18th century embroidery, a piece of early 18th century applique with outlines of fine braid and metalled thread, an 18th century fine cotton cloth with scrolling foliate border and floral spray cornerpieces (to three corners) embroidered in metalled thread and spangles, a later cream satin cloth with border finely worked in metalled threads, and various fragments of brocade (most with woven metallic detail), together with two other items related, various sizes and condition (14)

£200-300

297* Fabric. A large piece of chintz, circa 1860s, comprised of several pieces joined, with floral pattern of lilies, irises, roses, lilyof-the-valley, and hydrangeas, in shades of pink, blue, green, and brown, on a dotted cream ground, all sides hemmed by machine, a number of small holes, one or two period darns, and some light staining, 284 x 155cm (112 x 61ins), together with two pieces of glazed chintz, circa 1860s, printed with baskets of roses, harebells, morning glory, and pansies between vertical stripes of nastursiums and morning glory, in shades of pink, blue, and green, on a cream ground, with scattered grey crosses, lined with cotton printed with a red pattern of foliate fronds, both pieces toned and stained, larger piece especially so (and perished in places), 128 x 126.5cm (50.5 x 49.75ins) and 254 x 188cm (100 x 74ins), plus three other pieces of chintz, including one piece by F. Schumacher & Co. (6)

298* Fabric. A roll of fabric by Liberty of London, circa 1960s, cream cotton, with brightly coloured pattern of large stylised flowers and leaves, and other decorative motifs, printed Liberty label pinned to one end giving measurement in manuscript ‘8 yds’, width including selvedges 126cm (49.5ins), length approximately 730cm (287ins)

£100-200

An unused roll of Liberty fabric in perfect condition.

(1)

63

£100-150

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299* Fans. A Spanish hand-painted fan, by Carmen Monreal, Valencia, mid-late 20th century, folding fan, the fabric leaf and pierced ebonised sticks with gouache painting, heightened with bodycolour, of a young girl in a long white dress decorated with blue ribbons, with flowers in her hair, carrying two baskets of fruit and flowers, flanked by trees, a country church with spire, fruit, and trailing floral and foliate decoration, edged with lace embellished with sequins, signed, 27cm (10.5ins), framed and glazed, together with two other decorative folding fans, one with hand-coloured and gilt lithograph of a pastoral group listening to a lute player (some short splits in fold edges), mounted on pierced and gilded bone sticks, outer guard stick of mother-of-pearl (some neat repairs), the other of black fabric and lace, hand-painted with flowers, both framed and glazed

301* Fan. A hand-coloured lithographed fan, French, circa 1830s, double-sided folding paper fan, the recto depicting Biblical scenes between goddesses with putti, the verso showing a fête champêtre within a gilded border of entwining volutes, some rubbing and minor splitting to folds, mounted on pierced tortoiseshell sticks decorated in gilt with figures and musical instruments (a few areas tarnished), faceted black stone pivot pin, 29cm (11.5ins), contained in a cream silk fan box (silk fraying at ends of lid), with J. Duvelleroy blue printed label mounted inside lid

(3)

(1)

£100-150

300* Fan. A Brussels lace fan, Dickins & Jones, early 20th century, folding cream lace fan, toned, mounted on gilt decorated horn sticks, slightly bowed, 21.5cm (8.5ins), housed in original reptileskin grained paper covered box, rubbed, lettered inside lid (1)

£200-300

302* Fan. A hand-painted fan, Chinese, mid 19th century, folding double-sided paper fan, painted with a variety of vignettes, including landscapes, interior scenes, courtly figures, the latter with applied painted ivory faces, rubbed, with some splitting and fraying to folds, mounted on laquered and gilt pierced wooden sticks, with tissue paper inserts painted with floral decoration, 21.5cm (8.5ins), contained in a lacquered wooden fan box, hinged lid decorated with gilt flower spray, opening to reveal blue silk lining painted with a bird and flowers (slightly frayed at one end)

£70-100

A highly decorative and finely detailed fan in accompanying box.

(1) £300-500

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

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303* Fan. The New Caricature Dance Fan for 1794, Publish’d as the Act directs Novr. 10th 1793, by Stokes, Scott & Croskey, No. 18 Friday Street, dismounted paper fan leaf, the leaf etched in black with a frieze of fourteen caricatures of couples dancing along the top, and musical notation and lyrics for fourteen dances including The Musicians Flight to America, Little Farthing Rush Light, Prince Apolphus Fancy, The Primrose Girl, toned and somewhat worn, with slight loss to lower edge, and narrow strip clumsily rejoined in centre, width 46cm (18ins), mounted, framed and glazed Schreiber Collection 51, p.11 (mounted on wooden sticks).

(1)

304* Fan. A fan leaf depicting Venus, Mars and Cupid in a landscape, probably Northern European, circa 1700, gouache on vellum, showing Venus at her toilette, Mars at a forge, and Cupid sharpening arrows, with peacock in lunette below, some spotting and craquelure, 27.5 x 65.5cm (10.75 x 21.75ins), framed and glazed (1)

£200-300

£70-100

305* Fans. A pair of advertising fans by Georges Redon, early 20th century, two chromolithographed folding paper fans, one depicting a young lady and her beau on a bridge, with an older gentleman beside, printed signature dated 1910, advertising Princes’ Hotel & Restaurant, London, folds lightly rubbed and some short edge splits, the other depicting a prim young lady seated on a sofa with a small dog, and a young gentleman attempting to engage her in conversation, printed signature dated 1911, advertising Carlton Hotel & Restaurant in London, a little creased and some short edge splits, small closed tear on verso, both lettered on verso and mounted on wooden sticks, both 24.5cm (9.5ins), together with 21 other folding advertising fans similar, various condition (but mostly overall good), mainly composed of paper, but a few made of fabric embellished with spangles, some made by Duvelleroy, Paris, including fans advertising the Ritz and Claridges, and including designs by A. Rossi, Dronsfield, Jean-Gabriel Domergue, and Tolmer Provenance: The Willcocks Tilley Collection of Advertising Fans. ()

65

£150-200

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306* Felix (Auguste, active 1850-1870). A large collection of original designs for hats, 87 pen, ink, and watercolour designs on wove paper (many of the 87 sheets with the design shown from two different angles), some highlighted in gold, several uncoloured (or with only a touch of watercolour), mostly for hats and headdresses, but some for jewellery, stoles, veils, and other accoutrements of dress, many dated variously 1860-1869 in neat contemporary manuscript to lower margin or beneath on album leaf, and some with caption names in the same hand e.g. Omphale, Marie Therèse, Diva, Niska, Circassienne, Florentine, Bienvenue, Comète, Donna Garcia, Toque Grecque, Baudelette Greques, Senorita, approximately 10 x 14cm (4.25 x 5.5ins) and slightly smaller, some light toning and marks in places, 21 mounted (some in double aperture mounts), five mounted, framed, and glazed, most of remainder laid down on album leaves, housed together in a large green cloth solander box (rubbed and marked) Little seems to be known about Felix Auguste, although he was associated with the House of Worth, one of the most important fashion houses in Paris in the 19th century. The founder of the company was Charles Frederick Worth (1825-1895), the English dressmaker accredited with being the father of haute couture. His designs dominated the Paris fashion scene in the second half of the 19th century and well into the 20th. Later, Auguste Felix worked as a fashion designer for Parisian couturier Paul Poiret (1879-1944). His designs are drawn with great delicacy and his creations were inventive and often witty. The Victoria & Albert Museum and the Costume Institute at The Metropolitan Museum of Art hold examples of his watercolours, which rarely come onto the market.

Indeed, such a large collection of his work at auction is unprecedented.

(87) £1000-1500

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

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309* Handkerchief. A Binche lace-edged handkerchief, 19th century, ivory fine cotton lawn handkerchief (wearing thin, with some tiny holes), with 4” border of Binche lace (a couple of small areas where thread broken), 42 x 42cm (16.5 x 16.5ins), together with eleven other late 18th to early 20th century lace-trimmed handkerchiefs, including Bedfordshire lace (with whitework initials ‘MA’ topped with a Viscount’s coronet), Carrickmacross lace, Honiton lace, and two stitch-mounted handkerchiefs from the collection of Enid Purvis (Point d’Alencon and French bobbin lace), generally in good condition

307* Haberdashery. A quantity of sewing braids and edgings, early-late 20th century, approximately thirty pieces, including gimp braid, bobble braid, bullion fringe, twisted cord, tassel fringe, etc., mostly natural fibres, various colours and lengths, together with a large fabric drawstring bag made of Hollyhock and Swag cotton chintz by Warners Fabrics, with hand-sewn eyelet holes along top edge

(12)

£200-300

A quantity of high-quality trims in good condition, including some quite substantial lengths.

(2 cartons) £200-300

308* Haberdashery. A quantity of wooden tassels and other trimmings, early-late 20th century, approximately 80 tassels, including some matching sets, e.g. three sets of dark blue (comprising 15, 5, and 2 pieces), a set of 11 dark turquoise, a set of 8 cream, and a set of 25 in a mixture of colours (varying slightly), together with several tasselled curtain tie-backs, and a number of other soft furnishing trims, including a small pelmet, gros and petit point trims, and a wide embossed velvet edging, various sizes, generally good condition, plus a large fabric drawstring bag made of Stapleton Park cotton chintz by Sanderson & Sons, with handsewn eyelet holes along top edge (a carton)

310* Handkerchief. A Youghal lace-edged handkerchief, late 19th century, ivory fine cotton lawn handkerchief (some faint marks and a couple of tiny holes), with 3” border of Youghal lace (a few broken threads), 34.5 x 34.5cm (13.5 x 13.5ins), together with another handkerchief trimmed with Youghal lace, a tray cloth composed of an initialled handkerchief and other fragments of lace and whitework, and ten other 19th and early 20th century lacetrimmed handkerchiefs, including Honiton lace, Brussels lace, Tambour lace, and a handkerchief finely embroidered with a crest featuring a helmet and bird with motto ‘Ex Candore Decus’ (possibly the Goelet family), generally in good condition

£200-300

(13)

67

£150-250

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311* Handkerchief. A whitework laceedged handkerchief, French, 19th century, ivory fine cotton lawn handkerchief, with embroidered and openwork floral border, and initials ‘MP’ in one corner, edged with lace, some small holes and period darns, 43 x 43cm (17 x 17ins), together with three other whitework handkerchiefs, one with monogram ‘FMV’ topped with a baron’s coronet, one with a border of grapes and vine leaves, and the other with name ‘Andrée’ within a floral and foliate circular frame incorporating a lion with snake, plus an initialled white handkerchief with drawn threadwork, generally in good condition, plus 16 other lace and embroidered handkerchiefs, mostly worn (21)

£150-200

312* Hat pins. A silver hat pin by Charles Horner, Chester, 1912, Welsh hat design, silver, with hallmark, on a steel pin, 23cm (9ins), together with 14 other early 20th century hat pins, comprising: a pair of purple glass golf clubs; two silver golf clubs (both damaged), one hallmarked Birmingham with date 1908; another silver golf club with ball, hallmarked Birmingham (date indistinguishable); an engraved silver ball with inset shamrock of Connemara marble, hallmarked C&S, Birmingham, 1904; another similar with inset thistle of Scottish bloodstone; a pair made of niello buttons; one of mother-of-pearl set in gilt metal; and four ball hat pins (including black faceted glass, Connemara marble, and lapis lazuli) (15)

313* [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 spangles, using satin stitch, long and short stitch, couching, and bullion stitch, creases along top edge where previously gathered at waist, some damage and loss, 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) £150-200

£70-100

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

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314* Hood. A linen hood, probably English, 1634, unlined hood of white linen, finely hand-stitched, composed of a large piece of linen shaped to form the crown, with six triangular gussets, and a wide brim of doubled linen, latter stitched in white ‘ME 1634’, one very small hole, and a 1” section of wear with a few small holes, a few other pinprick holes, length 49.5cm (19.5ins) An extremely scarce finely worked 17th century hood in a remarkable state of preservation.

Only a few of these linen hoods survive in museum collections (see the V&A and Manchester Galleries), and they are very rarely seen in portraiture of the time which emphasises the formal attire of the aristocracy.

We have not been able to trace another example which is initialled and dated. The V&A entry states that the short gap between the crown of the hood and the top of the insertions suggest that it was worn with a ruff, although in our example the gap appears to be somewhat longer.

(1) £400-600

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315* Infant’s shirt. A late 18th century handmade shirt for a child, fine linen, with gathers at front, neck and sleeves trimmed with lace, rear with opening and folddown collar, one corner with name and date in ink in contemporary manuscript ‘Sparrow 6.82’, a few faint fox spots, front with some stitch holes in middle of lower hem, together with five other linen infant’s shirts similar, an early 19th century christening gown with elaborate whitework embroidery and broderie anglais to bodice, sleeves, and front of skirt, a few fox spots, some small holes and period darns, a Victorian white cotton child’s dress with tucks, whitework embroidery, and lace insertions, some wear (particularly to front of bodice), and nine cream or white baby bonnets, with lace, embroidery, tucks, etc.

(17)

£200-300

316* Infant’s clothes. A collection of early garments for an infant, probably English, late 17th century, an apparently matching set of fine linen baby clothes, comprising: a long bib collar; a pair of slashed sleeves; two caps, one with smocked crown; a triangular forehead cloth with ties; a long head-piece; and a square piece (function unknown), all trimmed with Flemish lace, together with eight other items similarly trimmed: a long-sleeved shirt with front opening; a decorative ruffled shirt front; a pair of sleeves; three caps; a stayband; and a long head-piece, plus a stayband with differing lace trim, an untrimmed stayband, and a long and a short binder, occasional light age discolouration and broken stitching but generally all in good condition, plus two later cream damask sleeves, and two linen cloths with embroidered border of acorns and carnations respectively, one intialled ‘AH’, some fox spots, holes, and period darns, plus several slips of paper written in manuscript in an early hand with notes relating to the identification and date of the items See Children’s Costume in England From the Fourteenth to the end of the Nineteenth Century, by Philip Cunnington & Anne Buck, Adam & Charles Black, 1965, p.67. Such early children’s garments are rare, and particularly so in such a good state of preservation. A layette for a newborn in the 17th and early 18th century consisted of many pieces elaborately layered and pinned, and the practise of tightly swaddling a baby, often to a board, was believed to help keep the baby’s limbs straight.

(23) £400-600

317* Lace veil. A Carrickmacross wedding veil, Irish, circa 1920s, cream Juliet cap veil, embroidered cut-away muslin on net, with flower sprays, volutes, and shamrocks, scalloped edge, some small holes and faint brown spotting, lower edge sometime cut and hemmed, length including cap 151cm (59.5ins), together with a quantity of other black and cream lace garments and fragments, including a black net sequinned over-dress of the same period, a 19th century lace net unstructured jacket, several stoles and shawl collars, and a cream muslin cap trimmed with lace and black velvet bows, various sizes and condition Carrickmacross lace has been made since the 1820s; the technique was used for the wedding dresses of both Princess Diana and the Duchess of Cambridge.

(-) £100-150

Lot 316

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318* Lace. A quantity of lace, late 18th19th century, approximately eighty fragments of cream lace, some handmade, including embroidered net lace, tape lace, crochet, broderie anglais, collars, sleeves, a camisole, etc., varying condition, various sizes and lengths Such examples of early handmade lace are now increasingly difficult to find. (approx.80) £200-300

319* Lace. A quantity of lace, late 18th19th century, 17 fragments of cream embroidered net lace, mostly handmade, including Brussels, Honiton, Point de Gaze, one wide piece composed of three lengths joined widthways (and joined at ends to form a loop), some holes and stains, width 16cm (6.25ins) and narrower, length 168cm (66ins) and shorter, together with a lace wedding veil, possibly Carrickmacross, with short tear and one or two minor holes, some small stains, 197 x 166.5cm (77.5 x 65.5ins) (18)

£100-150

320 Needlework. Needlework Specimens,

by Alice L. Flower, 1890, 29 samples of handiwork, mounted (with paper or stitches) one or two to a page (some blank leaves), mostly to rectos, with some accompanying ink diagrams and copperplate titles, including hemming, knitting, button and buttonhole, stocking heels, calico patch, tucks, frilling, crosscut darn, a sleeve, a miniature shirt, etc., some age discolouration, final page with manuscript instructions for making a crochet collar dated 1913, leaves toned and brittle, with some chipping and edgetears, owner’s name in large copperplate on front pastedown, title and date on front free endpaper in the same hand, hinges split, original half morocco, rebacked with cloth, 4to, together with a small sampler stitched in red by Alice Flower, 20 x 20cm (8 x 8ins), and a sample of filet lace on a metal frame, 15.5 x 15.5cm (6 x 6ins), both loosely inserted, plus several samples of stitched handiwork mounted on muslinbacked blue paper, by Edna Durban, Aylesford Girls School, 1880, including a cross-stitch alphabet sampler, herringbone stitching, frills, tucks, and a covered button, toned and stained, sheet size 25 x 30.5cm (10 x 12ins), and a child’s practise piece initialled ‘M.C.’ and dated 1906, consisting of a piece of white cotton cut and stitched in white and pink, with examples of decorative stitching, tucks, a patch, gathered frills, a gusset, drawn threadwork, a covered button, buttonhole, loop, and sleeve, etc., 30.5 x 56.5cm (12 x 22.25ins), plus a handembroidered linen bib, 29.5 x 25cm (11.75 x 9.75ins), with envelope attached with thread inscribed in ink ‘Class I Twinkle Eyes 6 yrs 11 months’, and below in pencil ‘1st’, with slip of paper inserted inside envelope inscribed in ink ‘Joyce Barton, East Halton, Grimsby, Lincs’ An unusual collection of practise handiwork by various children. These sorts of pieces, with their minute stitching and detail, were commonly produced by young girls as part of their education, although they are becoming now quite hard to find.

(4) £400-600

Lot 320

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

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321* Needlework. An early crewelwork panel, late 17th/early 18th century, embroidered in coloured wools on coarse linen quilted, in shades of green, pink, brown, red, and yellow, depicting a figure on a bridge, flanked by parrots, above a red squirrel flanked by crested birds and strawberries, with a variety of insects and floral motifs, edges uneven and some wear, 55 x 81.5cm (21.5 x 32ins), stitch-mounted to cotton backing attached to a wooden stretcher An attractive piece of early crewel embroidery, evidently once forming part of a decorative scheme in an affluent house, mostly likely a bed cover or hanging.

(1) £300-400

322* Persian embroidery. A Qajar embroidered cloth, late 19th/early 20th century, hand-stitched in tambour work using a variety of coloured silks on beige cotton, the wide border depicting various animals and figures employed in various occupations, e.g. brewing tea, scything corn, milking cows, spinning, riding camels, smoking a hookah, playing a stringed instrument, 1.5” tear within border but not touching embroidery, .5” tear in one edge, some minor staining and marks, 88.5 x 102.5cm (34.75 x 40.25ins)

Lot 321

Pencil inscription in Persian to one edge: “The work of ‘Abd al-Mahmud Hababan”.

(1) £100-150

323 Quilt. An American patchwork quilt, circa 1880s/90s, a large white cotton quilt, with sunburst and tree patterns in printed yellow, lilac, and red cotton, backed in white cotton, hand-quilted in white, some wear and light staining, 252 x 220cm (99.25 x 86.5ins), together with An Amish quilt, circa 1880s, a square quilt of black cotton sateen, with star in square pattern in puce and purple wool, matching puce edge, backed with a patterned cotton print in terracotta, black, and white, hand-quilted in black, some pest damage, with two areas of slight loss to edges, 188 x 188cm (74 x 74ins), plus An Amish cot quilt, circa 1860s, small quilt with diamond checkerboard pattern in shades of green, brown, and orange, backed with brown cotton, hand-quilted in dark thread, worn, 93 x 86cm (36.5 x 33.75ins) (3)

Lot 322

Lot 323

71

£150-200

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325* Quilt. A patchwork and appliqué quilted coverlet, English, early Victorian, large hand-stitched bedcover, backed with beige cotton, composed of a variety of printed fabrics (some early 19th century), in shades of brown, blue, yellow, red, the centre with floral appliqués consisting of central oval within a rectangle, surrounded by scattered flower sprays, within a border, the irregular edges of the onlaid pieces neatly hemmed in hemmingbone stitch, wide outer border of patchwork triangles, hand-quilted overall in white cotton, some wear with losses in places, 260 x 240cm (102.5 x 94.5ins) An attractive quilt, showcasing a large number of early printed fabrics, with unusual and carefully cut out and stitched appliqués.

(1) £400-600

324* Quilt. A large yo-yo quilt, circa 1920s, white cotton with allover design of predominantly white yo-yos and occasional blue yo-yos in a diamond pattern (some faded), some small light stains, 241 x 208cm (95 x 82ins) (1)

£70-100

326* Quilt. A Welsh quilt, circa 1900, printed cotton patchwork quilt of geometric design, in various pastel shades, backed with plain white cotton, closely hand-quilted with white thread, forming various patterns e.g. leaves, diamonds, spirals, etc., some minor wear, 188 x 227cm (74 x 89.5ins), together with A Welsh quilt, circa 1930s, bright pink printed cotton, with purple, yellow, and green dotted pattern, with a plain bright pink cotton backing, handquilted in pink cotton, forming various patterns, e.g. spirals, flowers, quartered circles, interlocking lunettes and Cathedral windows, leaves, etc., 170 x 202cm (67 x 79.5ins) (2)

Lot 325 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£100-150

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Lot 329 Lot 327 327* Quilt. An embroidered quilt, French, late 18th century, white linen quilt (with matching backing), sometime pieced together from a larger quilt, the front embroidered in wools with floral sprigs, and a partial wide border of flower and leaf tendrils and swags (remainder with narrow border), in shades of red, brown, and green, some wear to stitching, and one corner with sprigs differing slightly in style and colour, hand-quilted in white thread, a few small light stains, 141 x 165cm (55.5 x 65ins) (1)

£200-300

330* Samplers. A darning sampler by Mary Rogerson, Horncastle, 1796, stitched with five even armed crosses showing a variety of darning stitches, in green, beige, and cream, on beige muslin, with black stitching to upper margin ‘Mary Rogerson’s Work’ and to lower margin ‘Horncastle 1796’, some threadbare areas and old stitched repairs (in the main not affecting the darns), backed with cream silk which forms border, 27.5 x 29cm (10.75 x 11.5ins), together with a cross-stitch sampler by Rebekah Woolston, 1823, stitched with numerous scattered pictorial motifs in a variety of shades on linen, e.g. animals and birds (including a peacock), insects, and flowers, a little faded and toned, some threadbare areas to linen ground (just touching motifs in a few places), edges frayed with consequent slight loss to stitching (including to maker’s name worked in black to lower margin), 38 x 31cm (15 x 12ins), plus an 18th century Biblical sampler, stitched to upper margin ‘The Ten Commandments, Exodus Chapter XX’, and to lower margin ‘Sarah Price Age’d 11 Years 1767’, faded and worn, stitch-mounted to cloth over card, 43 x 32.5cm (17 x 12.75ins)

328* Reynolds (Alan, 1926-). August Image-Chrystalline, circa 1962-63, rayon & linen textile by Edinburgh Weavers after the original design by Alan Reynolds, 77 x 59cm (30 x 23ins) The original watercolour by Reynolds for this work was sold at auction by Christies: 20th Century British Art, London, 1 March 2006, lot 270.

(1) £200-300

329* Rug. A Regency rug made by Susanna Hine, 1814, handmade tapestry rug, worked in cross-stitch in coloured wools, the pattern incorporating scrolling ribbons, diamond chequers, dogs, birds, and flowers, with the name ‘Susanna Hine’ and date ‘1814’ in the centre, beige cotton edging, two small threadbare patches, and occasional loose threads, but overall in very good condition, 62 x 127cm (24.5 x 50ins)

Darning samplers are less common than alphabet or pictorial samplers, and are fascinating for the intricacy of the work. A Mary Rogerson of Hemingby (near Horncastle in Lincolnshire), aged 8, is listed as one of the successful candidates for the premiums given by the Society of Industry in 1785, in her case for knitting.

(3) £150-200

A most unusual survival, obviously not much used, with bright and distinct pattern motifs.

(1) £150-200

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331* Sampler. A linen sampler by Lucie Zelie Durnford, 1892, worked in cross-stitch in red thread on two joined pieces of light beige linen, with alphabets, numerals, borders, line fillers, and a crown, and a quotation from ‘Windsor-Forest’ by Alexander Pope ‘When Peace prevails she bids her olives spring/And scatters blessings from her dove-like wing’, with maker’s name and date above, and large monogram below, drawn threadwork border, 73.5 x 37.5cm (29 x 14.75ins), together with two other red-stitched linen samplers similar by Grace Margaret Durnford, one with Elizabeth Barrett Browning’s poem ‘The Soul’s Expression’, accompanied by pictorial motifs, cornerpieces, and wide border, maker’s name partly completed lower right ‘GMDurn’ (with length of thread left where unfinished), 55 x 46cm (21.75 x 18.25ins), the other with the Lord’s Prayer above a number of 18th century style motifs, including peacocks, a hare, a fox, a tree, and a windmill, maker’s name stitched to lower margin with date 1900-1902, 54 x 40cm (21.25 x 15.75ins), plus another small sampler by G.M. Durnford dated 1900, stitched in colours with the alphabet in upper and lower case, small piece cut from lower left corner (not affecting stitching), 17 x 17cm (6.75 x 6.75ins) A collection of attractive and striking samplers in excellent condition. Lucie Zelie Durnford née de Marmery Villin (1863-1955) married William Arthur Durnford in 1885. They had two children, Grace Margaret (1887-1981) and Henry William (1889-1944). The Durnfords moved in artistic circles, and Lucie Zelie was a painter herself as well as an accomplished needlewoman.

At least two pastel portraits of Lucie by Agatha Walker (1888-1980) exist, both of which show her sewing.

(4) £150-200

332* Samplers. Map of Asia; Map of Palestine, by Ellen Wilson, early-mid 19th century, a pair of linen map samplers, with countries and decorative borders worked in cross-stitch in blue, brown, and cream thread, with stitched legend to lower margin respectively: ‘Ellen Wilson Age 13 years December’ with most of the month gone over in darker thread, and no evidence of the year; and ‘Ellen Wilson Aged 12’, both toned and faded (especially the pale stitched lettering on Palestine), Asia with some small holes and loss (especially to lower edge), both 32.5 x 31cm (12.75 x 12.25ins), matching frames, glazed

Lot 331

The Palestine embroidery, depicting the lands of the tribes of Israel, is one of the more unusual map samplers which appear on the market.

(2) £100-150

333* Samplers. A doily sampler by Hyacinth Cox, Pensionnat des SND, Dinant, 1897, six-sectioned petal-edged sampler, each section divided by a piece of narrow hand-made lace, and with a different form of handiwork, comprising: cross-stitch on coarse linen, with maker’s name, school, and date, accompanied by various patterns; drawn threadwork on fine linen; embroidered net; fine linen with gathered pocket, hook, button, eyelet holes, buttonholes, cutwork wheels, and drawn threadwork; needle lace; cutwork flowers and embroidered bird, flower basket, and initial ‘H’, on fine linen, the doilie with circular centre of Irish crochet, overall diameter 38.5cm (15.25ins), stitch-mounted, circular mahogany frame with marquetry banding on edge, glazed

Lot 332

An unusual and attractive practise piece; we have not seen another in this form. ‘SND’ refers to the Sisters of Notre Dame who established a number of communities in Belgium between 1807 and 1965, all of which were devoted to the education of girls, either through day or boarding schools.

The Order continues to exist today, with communities in Belgium still, as well as in a number of other countries.

(1) £100-150

Lot 333

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

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334* Samplers. A pair of linen samplers, late 18th century, a pair of samplers, with alphabets, instructive verse, and decorative borders (one incorporating dogs and peacocks), worked in crossstitch in a variety of shades (some faded), one stitched with the wording ‘Faith the Daughter of Lancelot and Elliner Sumpter made this work in the 9 year of her age 1779’, the other stitched ‘Faith the Daughter of John and Faith Wood made this Work in the 7 Year of her age’, both trimmed (encroaching on stitching), 51 x 19.5cm (20 x 7.75ins) and slightly smaller, matching frames, glazed, together with two other early 19th century samplers (4)

£200-300

335* Sewing. A collection of carved ivory needle cases, Chinese, 19th century, together four elaborately carved cylindrical cases (one filigree), with screw thread tops, each containing various sewing tools (bodkins, crochet hooks, stilettos, additional small needle case, etc.), one slightly chipped at ends and with a 1” crack, length 16cm (6.25ins) and smaller, contained together in a modern sewing roll (4)

£150-200

336* Shawls. A hand-embroidered shawl, early-mid 20th century, fine silk shawl, printed with brightly-coloured Paisley pattern, in shades of red, green, blue, and yellow, on a cream ground, a number of holes, short sides with hand-knotted cream silk tassel border, 327 x 178cm (129 x 70ins) (2)

Lot 334

£100-150

337* Shawls. A large Norwich shawl, circa 1830s/40s, square cream shawl with all-over woven pattern of floral motifs, in shades of pink, green, blue, and yellow, some small marks and holes, hand-knotted cream silk tassel edging (some minor breakage and loss), dimensions excluding edging 147 x 147cm (58 x 58ins), together with two other large square Norwich shawls, circa 1860s-80s, both printed, one with all-over pattern of tendrils and foliage, the other with all-over large boteh pattern, both with minor wear and light marks, each with tasselled edging (3)

£150-200

338* Shawls. A large Chinese shawl, late 19th century, cream silk shawl, wide cream border hand-embroidered with elaborate floral and foliate pattern, some small holes and marks, wide cream silk hand-knotted macrame edging, dimensions excluding edging, 158 x 150cm (62 x 59ins), together with another cream Chinese shawl similar, early 20th century, with all-over cream embroidered floral pattern, and wide macrame edging, occasional loose threads and one or two faint marks, but overall in good condition, dimensions excluding edging 109 x 102cm (43 x 40ins), plus a Victorian brown damask variable silk shawl, worn

Lot 335

(3)

Lot 336

Lot 337

75

£150-200

Lot 338

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340* Shawls. A very large shawl, possibly Norwich, circa 1860s, printed shawl of fine wool and silk, with all-over pattern of botehs and other motifs, predominantly in shades of maroon, purple, green, and blue (some discolouration to yellow at regular intervals where an agent has penetrated the fabric), hand-knotted silk tasselled edging at short ends, one or two small holes, dimensions not including edging 336 x 187cm (132 x 73.5ins), together with four other shawls, including a black, grey, and white-striped woollen shawl with tasselled edging, with manuscript label on paper headed ‘Gargrave House, Skipton, Yorkshire’, attributing the shawl to William Henderson of Alva and signed ‘Jessie Blossom Coultard 1971’, a printed shawl also with ‘Gargrave House’ manuscript note attached giving provenance, and a shawl with printed Paisley pattern, occasional minor wear and period darns (5)

£200-300

339* Shawls. A large Delhi shawl, circa 1850s, hand-embroidered green wool shawl, with central circular pattern with cornerpieces, and boteh border, composed of floral motifs and scrolling tendrils, in shades of pinky-red, cream, yellow, and blue, fringed edging, some wear with loss in places (especially to edges), one small stain, overall size 170 x 167cm (76 x 65.5ins), together with two other Delhi shawls, one of green wool (some mottling and small holes) and one of red wool (a number of small holes), both with hand-embroidered borders (mostly intact), and fringed at short ends, 208 x 35.5cm (82 x 14ins) and 180 x 25cm (71 x 10ins) respectively These beautifully embroidered textiles were at first made as sashes for men, but became enormously popular in Europe in the 1850s as accessories for women.

(3) £200-300

341* Shawls. A square Spitalfields shawl, circa 1815, sapphire blue woven silk shawl, with border of pink roses on green leaves with tendrils between, incorporating scrolling foliate stem in yellow, enclosed by narrow red and yellow outer border, fringed edge, some small holes and marks, overall size 145 x 145cm (57 x 57ins), together with two others, a later Spitalfields black silk shawl with brightly woven pattern, in shades of pink, green, and blue, cut down from a larger piece, with central join and border along one long edge only, with the addition of tassel trim to short edges and hook and eye fastening, one or two pulled threads, dimensions excluding trim 199.5 x 80cm (78.5 x 31.5ins), and a pale blue silk damask shawl, possibly Spitalfields, with a large floral spray at either end within a floral and foliate border, short ends with knotted fringed border, overall spotting, dimensions including fringing 242 x 52cm (95.25 x 20.5ins), plus a Victorian floral printed cream silk scarf with knotted tasselled ends Lot 340

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

(4)

76

£300-500

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344* Shoes. A pair of ladies’ shoes, Hale, early 19th century, soft black leather, round toes with pink ruffle and inset pink ribbon bars and circles, each with tiny chain stitch border in matching cotton, pink silk edging and ties (each shoe with substantial loss to one ribbon), linen insoles with engraved oval label ‘Hale, Ladies Boot & Shoe Maker, Charlotte Street, Bedford Square, London, Wholesale, Retail & for Exportation’, small heels, some overall wear, length 23cm (9ins), together with A pair of ladies’ shoes, F. Marsh, early 19th century, black satin, square toe and throat, the latter trimmed with a small satin bow, white kid leather insoles annotated in contemporary manuscript ‘Gauche’ and ‘Droit’, latter with oval engraved label ‘F. Marsh, Maker & Importer of French Boots & Shoes, 148, Oxford Street, opposite Bond St.’, right shoe with looped black silk tie (lacking to left shoe), length 25cm (10ins)

342* Shawls. A large embroidered shawl, Kashmir, India, mid 19th century, fine cream wool, hand-embroidered with multi-coloured border and large cornerpieces of botehs and other motifs, Persian text and numerals embroidered in red to one corner, fringed at short ends, worn, with holes and fraying, 322 x 117cm (127 x 46ins), together with three other shawls, one woven and two printed

The ribbon detail and small heels of the first item make this a pretty and more unusual pair of Regency shoes.

(2 pairs) £300-400

Provenance: the first item was given to the current owner by Sylvia Jones, who received it from Bertrand, 3rd Earl Russell (1872-1970), who apparently had used it on his armchair. Bertrand Russell was a close friend of Sir Clough Williams-Ellis, architect and creator of the Italiante village of Portmeirion in North Wales, and he lived at Plas Penrhyn near to Portmeirion from 1955 until his death. Sylvia Jones was a neighbour and friend of Bertrand Russell.

(4) £100-200

345* Shoes. A pair of ladies’ shoes, early 19th century, ivory satin, square toe and throat, the latter trimmed with a small satin bow, slight fraying to top of heels, lacking ties, sole of left shoe annotated in pencil in contemporary manuscript ‘worn on my wedding day’, length 24cm (9.5ins), together with Two ladies’ shoes, Grieve & Co., early 19th century, two black satin shoes, both right shoes (indicated in contemporary manuscript inside), square toe and throat, the latter trimmed with a small satin bow, white kid leather insoles, latter with engraved label ‘Shoes Sent to Pattern by Post, Grieve & Co., Ladies Boot & Shoe Manufacturers, No.21 New Bond Strt., To the Royal Family’, contemporary manuscript ownership name of Miss Pakenham inside both, looped black ties (slightly later?), length 25cm (10ins), plus another cream satin pair similar, with paper labels ‘gauche’ and ‘droit’, and engraved label of F. Maker, some soiling and fraying, remains of ties

343* Shoes. A collection of infants’ shoes, late 19th/early 20th century, seven pairs of shoes, including: a pair in gold ribbed satin lined with cream silk, with rosettes, button-down side flaps and silk ties (those to one shoe detached); a pair in blue leather, with decorative cut steel buckles, and ankle straps with pointed white button closures; and a pair of hand-stitched cream silk baby slippers, embroidered with forget-me-not stems, with buttoned ankle straps, various condition (some wear and a pair of embroidered red boottees with one sole and two rosettes missing), length 14.5cm (5.75ins), and smaller (7)

The first pair of shoes are in such clean condition that, in view of the inscription, it is likely they were tucked away by the bride after her wedding day and not worn again. The second item is intriguing for its ownership inscription, the most famous Miss Pakenham being Kitty, who became the Duchess of Wellington ten years after Arthur Wellesley had first proposed to her and been deemed an unsuitable match by her family. After a decade of successful campaigns the suitor was seen in a different light by the Pakenhams and Wellesley honoured his proposal despite Kitty having (in Arthur’s words to his brother) “grown ugly, by Jove!”. The marriage was an unhappy one, as the couple were entirely unsuited.

(3 pairs) £300-400

£70-100

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346* Spitalfields. Two large fragments of Spitalfields silk brocade, circa 1750, cream, with woven pattern of large and slightly smaller flower sprays, in shades of pink, yellow, and green, both pieces with old hand-sewn join (with matched pattern), selvedges to long sides, some small light marks, one piece with small hole at edge, the other with short split and small hole in centre, each approximately 103 x 49cm (40.5 x 19.25ins), together with fifteen other early fabric pieces, some taken from garments, including a long runner of Spitalfields silk backed with coarse linen, worn (with loss) and sometime patched in one corner with different (early) fabric, with metallic braid edging, another runner similar, and a piece of ivory silk gauze sprigged with blue and yellow flowers (spotted), with frill to one edge, various sizes and condition (18)

348* Textile designs. An archive of designs from the Ladies’ Work Society, late 19th and early 20th century, a large quantity of original designs in pencil, watercolour, or gouache, e.g. charts, finished drawings, tracings, pouncings, etc., for soft furnishings, including rugs, chairs, church kneelers, altar fronts, depicting dragons, knights, exotic birds, animals, classical figures, Regencystyle designs, Chinese motifs, fish, etc., some by Lady Alison Delabere Carleton, some large-scale, including seven framed and glazed, together with some printed patterns and designs, and magazine articles and cuttings Provenance: from the archive of the Ladies’ Work Society, an off-shoot of the School of Needlework formed in 1875 by Princess Louise, Duchess of Argyll, to provide employment for impoverished gentlewomen. Lady Alison Delabere Carleton was one of the proprietors of the Society, and an accomplished artist.

(-) £200-300

£200-300

347* Tapestry. A hand-made woollen tapestry hanging, English, circa 1910, with Aubusson-style decoration of central cluster of roses within lobed frame, with scallop shells at either end, and outer floral and foliate borders with volute decoration, in shades of pink, blue, green, and yellow, on a pale brown ground, occasional loss of stitching, but overall in very good condition, unlined, 274 x 180cm (108 x 71ins), together with another handmade woollen tapestry hanging, early 20th century, with floral and foliate decoration in shades of crimson, green, pale blue, and gold, unlined, 178 x 116cm (70 x 45.5ins)

349* Whitework. A large embroidered bedcover, circa 1820s/30s, white muslin bedcover, embroidered in satin stitch and tambourwork, incorporating eyelets, with allover pattern of ivy leaves, and a wide border of flower and leaf sprays within a narrow scalloped border, some light staining, small holes, and period darns, 287 x 229cm (113 x 90ins), together with a large white cotton lace tablecloth, late 19th/early 20th century, worked by hand in buttonhole stitch, with blocked pictures and decorative motifs joined by bars, including a child riding a goat, pairs of griffins, flowers, drawer handles, and volutes, occasional small holes or breaks in stitching, but overall in good condition, 265.5 x 170cm (104.5 x 67ins)

Provenance: from the collection of Welsh soprano Elizabeth Vaughan.

(2) £200-300

(2)

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

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£100-150

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PAINTINGS, WATERCOLOURS & PRINTS

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OLD MASTER PRINTS & DRAWINGS

Lot 350

350* Barry (James, 1741-1806). Crowning the Victors at Olympia, May 1st 1791, etching on laid paper, published by the artist, a strong impression, trimmed to platemark, several short closed tears to margins, and repaired tears to corners, without loss, laid down on card, 42 x 92cm (16.5 x 36.2ins), good quality 19th century dark wood and gilt frame, glazed, with old framer’s label of Fred Loversidge, Carver and Gilder, Oldham to verso The London-based Irish artist James Barry’s most famous work are the six large-scale painted scenes commissioned by the Royal Society of Arts to decorate its Great Room, a project which occupied him between 1777 and 1783. Crowning the Victors at Olympia, the third in the series entitled The Progress of Human Culture, is almost 42 feet in length, and depicts the finale of an Olympic competition, thereby offering an example to contemporary English society of the value of cultural excellence. The artist depicted himself in this work, seated on the base of the statue of Hercules.

The large prints of the series that Barry published himself are uncommon.

(1) £300-500

351* Continental School. Picturesque Landscapes, circa 1750-75, two pen, ink & grey wash compositions on paper, one showing a landscape with a man and dog beside a river, the other a landscape with trees and river with man, dog and cows resting, image size 14 x 17.5cm (5.5 x 7ins), three single framing lines to outer margins, period matching gilt frames, glazed (2)

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

80

£200-300

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352* Attributed to George Dance (1741-1825). Count Ugolino and his Two Sons, pen & black and brown ink and grey wash on laid paper, with traces of pencil, with inscription in ink at foot (possibly

by George Dance) ‘Count Ugolino and his two sons Starv’d to death in prison. vide Dante’, additionally inscribed in faint pencil lower left ‘Fuseli Pinx’, some surface marks and light soiling, additionally inscribed in a 20th century hand to verso ‘H. Fuseli’ and numbered 2481, and with collector’s stamps of Sir Robert Witt and Sir John Clermont Witt to lower left corner verso, sheet size 32.5 x 37cm (12.75 x 14.5ins), window-mounted Provenance: Formerly in the Collection of Sir Robert Witt, and Sir John Clermont Witt. The Witt Library has a photograph of the present work, with old typed inscription ‘[H. Fuseli] or G. Dance’, also marked ‘Ex Witt Coll.’, and with more recent QR sticker: British School 147390. See note to lot 361 (Prince Hoare drawing).

(1) £200-400

353* Dutch School. Studies of Figures, circa 1650-75, pen, brown ink, pencil and red chalk on laid paper, with partial watermark of a crown and shield, some marks and light soiling, 4 short thin strips of adhesive tape to edges, 87 x 145mm (3.4 x 5.7ins) (1)

Lot 352

81

£200-300

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354* English School. Virgin and Child, circa 1790-1810, oval black chalk on pale brown wove paper, 25 x 19cm (9.9 x 7.5ins) (1)

£200-300

355* English School. Head-and-Shoulders study of a young boy wiping away a tear, circa 1800, oval black and white chalk on pale blue-grey wove paper, 25 x 19cm (9.9 x 7.5ins) (1)

£200-300

356* English School. Study of a seated male nude, or river god, holding a staff, 1800, red chalk on pale brown laid paper, without watermark, dated by the artist to lower margin ‘Sepr 22, 1800’, sheet size 24.7 x 19.2cm (9.75 x 7.5ins), modern frame, glazed (1)

Lot 354

£200-300

357* English School. Study of a standing male figure taken by surprise, circa 1780-1800, pen and brown ink with traces of brown wash on laid paper, some light overall browning, sheet size 28 x 22cm (11 x 8.8ins), later antique-style frame, glazed

Lot 355

(1)

£150-200

358* Fortescue (Henrietta Anne, circa 1765-1841).

Napoli from the top of la Grotta di Posilippo, March 11th 1817, pen & brown ink on laid paper, titled, signed and dated to lower margin, sheet size 32.5 x 49.5cm (12.75 x 19.5ins), framed, with old typewritten label of Wessex House Gallery, Odiham, Hampshire, to verso Two smaller pen and ink Italian views by Lady Fortescue, dated March 18th and April 22nd 1817, were sold at auction

by Bonham’s London, 14 March 2001, lot 3a.

(1) £80-120

359* French School. Studies of Putti, pencil and black chalk on pale blue paper, sheet size 23.5 x 17cm (9.3 x 6.7ins), laid down on card, framed and glazed, with old printed label of Russeau-Girard Estampes du XVIIIe Siecle, Paris to verso, together with a neoclassical pen, brown ink and brown wash study of an equestrian statue beneath an arch, with classical facade beyond, unsigned, sheet size 16.5 x 24.3cm (6.5 x 9.6ins), framed and glazed Lot 356

Lot 357

Provenance: Private Collection, North London.

(2) £200-400

Lot 358 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 359

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362* Italian School. Design for a Ceiling Decoration, early 18th century, pen, brown ink and grey wash on laid paper, of a group of putti on a ledge, surrounding a large vase, appearing to examine drawings, with one holding an artist’s palette and brushes, with contemporary ink annotation ‘3’ to upper right corner, pinhole to centre of upper margin, sheet size 10.9 x 17.7cm (4.25 x 7ins), together with 3 other English 18th century ink studies, including 2 pen, brown ink and brown wash sketch portraits of a man and woman, the latter in the guise of a shepherdess, one with contemporary annotation to verso in ink ‘Figures’, and a decorative design in brown ink and pencil of pugilists surrounded by a florid ornamental border, on laid paper, the two portraits 14 x 10.5cm (5.5 x 4.2ins), the Pugilists drawing 21.5 x 18cm (8.5 x 7ins), (corners cut)

360* French School. Venus and Cupid resting in a landscape, early to mid 18th century,brown and black chalk on paper, pinholes to each corner, laid down on card, sheet size 24.5 x 34.5cm (9.6 x 13.5ins), mounted (1)

£200-300

(4)

£200-300

361* Attributed to Prince Hoare (1755-1834). Lady Macbeth, black and grey pen, ink & wash on laid paper, heightened with colour, some surface marks, short closed tear to left margin, some loss due to damp to the lower right corner, sheet size 26.8 x 12.5cm (10.6 x 4.9ins), mounted on grey-blue paper sheet with triple ruled border in gold, wash, and black ink, with circular ownership inkstamp of Sir John Clermont Witt to lower left corner, and numbered in pencil 1277, window mounted Provenance: Formerly in the Collection of Sir John and Lady Witt (inventory no. 1277).

An important drawing by a member of Fuseli’s intimate circle. The Witt Library has a photograph of the present work where this work is ascribed to Henry Fuseli. It is also referred to by Nicolas Powell, in The Drawings of Henry Fuseli (Faber & Faber 1951), page 29, in a discussion of works previously attributed to Fuseli, but more correctly assigned to those in his circle, ‘In this connection, two drawings after Fuseli in the collection of Sir Robert Witt are of great interest, the first, of Count Ugolino, is by George Dance, and even has Fuseli’s name under it, the second is by Prince Hoare, and is taken directly from the Lady Macbeth of the 1805 Shakespeare, but it is plainly intended as a pastiche or caricature’.

(1) £500-800

363* Attributed to Angelica Kauffmann (1741-1807). Allegorical figure of an artist seated by a tree, oval pen and brown ink on laid paper, some minor marks and discolouration from glue at edges, 25.5 x 20.4cm (10 x 8ins), framed and glazed Provenance: Private Collection, North London.

(1)

83

£150-200

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Lot 364

364* Attributed to James Paine the Younger (1745-1829).

The Nile, pen, grey and pale brown ink and wash, and pencil, on laid paper, with shield and post-horn watermark, some marks to surface, a few old paper repairs to verso, and 20th century inscription to verso in pencil: ‘The Nile’.

Preliminary Study for the pedestal of proposed Nelson’s statue in St. Paul’s Cathedral, sheet size 26 x 33.5cm (10.25 x 13.25ins), tipped onto card mount Provenance: Private Collection, Gloucestershire. A closely matched composition attributed to James Paine the Younger and entitled Thames is in the collection of the New York Public Library (formerly collection of T.P.P. Clifford). In an early sketch book by James Paine, held at the V & A Museum, London, dated 1774, there is a similarly posed ink and wash study of a river god. See John Frederick Physick, Designs for English Sculpture, 1680-1860, page 164, figure 127 for a pen, ink and wash design for a memorial to Lord Nelson proposed for St. Paul’s Cathedral, signed by Paine, in which sculptures of river gods are placed around the foot of the pedestal.

The present drawing, however, is late 18th century in origin, and maybe another study by Paine like the Thames drawing, which would later be reused or adapted for the design of monuments.

(1) £300-500

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

(1) £1000-1500

Lot 365 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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366* Patel (Pierre Antoine, 1648-1707). Laban Goes Out to Abraham’s Manservant (Genesis, Chapter 24, Verses 28-67), fine gouache on paper, signed to the foot of the column at left, titled in French in gold to lower edge, laid down on early wood panel, with contemporary annotation to verso ‘45’, 25.5 x 32.5cm (10 x 12.75ins), old gilt moulded frame, glazed (1)

£400-600

367* Piranesi (Giovanni Battista, 1720-1778). Veduta degli Avanzi delle Fabbriche del Secondo Piano delle Terme di Tito, 1776, etching and engraving on laid paper, the first state, published in Rome in 1776, a very good, dark impression, light central vertical crease, plate size 49 x 71cm (19.25 x 28ins), with margins, framed and glazed Hind 127 i/iv. Focillon 838. Wilton-Ely 260.

(1)

£300-500

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

Leggatt Brothers, 30 St James’s Street, London, circa 1954. With a handwritten letter by A. Stewart Wright accompanying this drawing, addressed to Leggatt Brothers, dated January 11th 1954, on paper with address 11, Lynton Road, New Malden, Surrey at head, stating: ‘The chalk drawing of a bearded man by Rembrandt, on blue-grey ‘wire’ paper, has a fleur de lys watermark in the centre of drawing. I repaired the damages to this drawing in December 1953.’ The firm of Leggatt brothers, Fine Art Dealers, was established in 1820 and continued to trade until 1992. Pale blue or blue-grey papers (as here) were used by pupils of Rembrandt such as Jacob Adriaensz Backer (1608-1651), Govaert Flinck (1615-1660) and others.

(1) £200-300

370* Attributed to Thomas Thynne, 3rd Viscount Weymouth, 1st Marquis of Bath (1734-1796). Classical landscape with figures and buildings, circa 1750s, gouache on paper, signed ‘L. Weymouth Pinxit’, 41 x 34cm (16 x 13.3ins), framed and glazed, with old framer’s label of Roberts, Vine Street, Grantham, to verso Lord Weymouth studied at St. John’s College, Cambridge, finishing his education with a continental grand tour. He became 3rd Viscount Weymouth in 1751. He made significant improvements to the family estate at Longleat, where Capability Brown redesigned the grounds.

(1) £200-300

369* Attributed to Paul Sandby (1730-1809). Market Place, Aylesbury from the White Hart Inn, 1801, pen, brown ink and watercolour on laid paper (three horizontal sections joined together), with contemporary inscription in ink to verso ‘Aylesbury Bucks from the White Hart Inn’, and additional framer’s inscription in ink above (crossed out), some marks and soiling, laid down on a backing sheet of laid paper with contemporary double rule wash border, sheet size of the watercolour 24.5 x 43.7cm (9.7 x 17.25ins), later frame, glazed (mount with printed label to lower edge ‘Sandby - Aylesbury Market Square - c.1800’) (1)

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

371* Vivares (Thomas, circa 1735-1810). View of a Town on the Rhine, circa 1770s, pen, brown ink and watercolour on laid paper, with indistinct watermark of a Strasbourg shield with letters below, artist’s signature in brown ink to margin verso, some marginal short closed tears and slight damage (with old associated paper repairs), sheet size 26.5 x 42cm (10.5 x 16.5ins) (1)

£200-300

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£200-400

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PORTRAITS & MINIATURES

372* Austrian School. Portrait of a Habsburg Princess, circa 17701780, oil on canvas, 81.5 x 63cm (32 x 24.75ins), relined, old auction stencil to verso of stretcher 798 GR, gilded wood frame Provenance: Private Collection, Bath, England. A naïve portrait of a daughter of the Habsburg Dynasty, the Habsburg Crown seen large-scale on a table behind the young girl, and a miniature profile portrait of an Austrian royal figure or archduke at the front of her dress. Possibly one of the many daughters or grand-daughters of Empress Maria Theresa of Austria - the subject bears some resemblance to known portraits of Maria Teresa of Naples and Sicily (1772-1807), eldest daughter of Ferdinand IV & III of Naples and Sicily, later Ferdinand I of the Two Sicilies (1751-1825) and Marie Caroline of Austria (1752-1814), who married Francis II of Austria (1768-1835), the last Holy Roman Emperor.

(1) £1000-1500

373* Continental School. Oval miniature portrait of Queen Louise of Prussia (1776-1810), later 19th century, watercolour and gouache on thin ivory, signed Denise lower right, depicting the famous young wife of Frederick William III of Prussia, who met Napoleon following his defeat of the Prussians in 1807 to ask for leniancy, the figure wearing a white empire-style dress with pink ribbon sash and ermine royal cape, and a diadem with star and veil, 10 x 8cm (4 x 3.2ins), period ornate brass frame, together with another Berlin porcelain oval miniature portrait of Queen Louise, pencil inscribed to verso with her name, and with blind impressed stamp ‘15’ to verso mounted on oval brass frame, 9 x 7cm (3.5 x 2.75ins), a small oval miniature portrait of a young woman holding red roses in the style of Heinrich Friedrich Füger (1751-1818), probably late 19th century, an English watercolour portrait of a seated widow, unsigned, and one other.

(5)

Lot 373

£200-300

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374* Cook (Alice May (1876-1958). Portrait miniature of Elisabeth June Restall, circa 1942, oval watercolour on ivory, head & shoulders portrait of a pretty young lady with long dark hair worn in two plaits, wearing a rounded-necked blue and pink floralpatterned blouse, with a circular blue stone brooch at neck, signed lower left, 7 x 5.5cm (2.5 x 2.25ins), oval white metal pendant frame, glazed, together with an unsigned oval portrait miniature of Elisabeth June Restall as a baby, watercolour and gouache on ivory, head and shoulders portrait of a chubby baby with blonde hair, 7.5 x 6cm (3 x 2.25ins), oval gold coloured pendant frame, mounted in a velvet-lined case, with double flaps to front and stand to back, rubbed and one hinge broken, plus a small oval daguerrotype of a female relative, mounted in an embossed case Alice May Cook was a painter, miniaturist and book illustrator, who studied at St John’s Wood School of Art and the Royal Academy Schools. She exhibited widely, including the RA, the Royal Society of Miniature Painters, the Society of Women Artists, and the Royal Hibernian Academy in Dublin.

(3) £150-200

Lot 375

375* Cosway (Richard, 1742-1821). Elizabeth Stephenson, Countess of Mexborough, 1806, fine pencil on laid paper, with touches of blue and red colour to the face, inscribed by the artist below the image ‘Richardus Cosway, R.A. Primarius Pictor Serenissimi Walliae Principis Picit London 1806’, and to verso in the same hand ‘Elizabeth Stephenson Countess of Mexborough’, image size 27 x 17.6cm (10.65 x 7ins), sheet size 36 x 26cm (14.2 x 10.25ins), framed and double-glazed The fashionable and highly successful miniature painter Richard Cosway was appointed Principal Painter to the Prince of Wales in 1785 - a title that he regularly recorded on his portraits in latin ‘Primarius Pictor Serenissimi Walliae Principis’, as in the present work. A similar drawing of Lavinia, Countess Spencer by Cosway, dated 1806 and with a near identical inscription, was recently sold by London dealer Lowell Libson & Jonny Yarker to an American private collector (see http://bit.ly/2yIGwre). Elizabeth Stephenson (1762-1821) married John Savile, 2nd Earl of Mexborough in 1782.

Countess Spencer was her exact contemporary.

(1) £1000-1500

376* English School. Admiral Duncan, 1st Viscount Duncan of Camperdown (1731 - 1804), circa 1800, oval portrait miniature on ivory, watercolour with white bodycolour, unsigned, 10 x 8.5cm (4 x 3.3ins), backed with German printed newspaper, inscribed in an early hand to verso of wood backing panel ‘Admiral Lord Viscount Duncan, Victor of the Battle of Camperdown, October 11, 1797’, period wood frame with brass inner slip, glazed Provenance: Private Collection, Hampshire.

(1)

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

Lot 376

£200-300

88

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Lot 378

377* English School. Portrait of George IV as Prince Regent, & Portrait of young lady with a casket of jewellery (possibly Caroline of Brunswick), circa 1820, a pair of pencil and watercolour oval portraits, unsigned, 17.5 x 14cm (6.9 x 5.5ins) mount aperture, matching gilt frames, glazed, with inkstamp of the Newton Gallery, 2-4 East Street, Newton Abbot, Devon to verso of each (2)

379* Hepburn-Edmunds (Nellie M., circa 1878-1953). David Steele, aged 3 3/4 years, 1933, oval portrait miniature on ivory, signed and dated lower left, 12 x 10cm (4.75 x 4ins), period gilt frame, glazed, with handwritten label by the artist to verso, contained in original brown leather presentation case (some marks and wear)

£100-150

378* English School. Portrait of Charles Williams of Newcastle, mid 18th century, half length oil on canvas portrait, relined & restored Nov. 1927 (pencil note to stretcher), small area of damage and paint loss to right cheek of face, 75.5 x 61.5cm (29.75 x 24.25ins), manuscript note in black ink to upper limb of stretcher ‘Charles Williams of Newcastle Aeta: Su: 36’, later gilt moulded frame (1)

Provenance: Private Collection, Hampshire. Exhibited: Royal Academy, 1933, number 3. Note: Nellie Hepburn Edmunds studied at the Slade School of Art under Fred Brown and at Westminster School of Art under Mouat Loudan. She was elected vice-president of the Royal Society of Miniature Painters in 1912, and was invited to contribute to the Queen’s Dolls’ House and the 1925 British Empire Exhibition.

(1) £300-400

£400-600

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Lot 381

380* Jackson (George, early 19th century). Portrait of a Young Man, 1822, fine watercolour and gouache half-length portrait of a handsome young man with tousled dark brown hair, wearing a black waistcoat and cravat, and heavy brown overcoat, signed G. Jackson and dated 1822 lower right, antique-style black and gilt frame, glazed For a similar example of this little-known artist’s work, depicting the sporting artist John Frederick Herring (NPG 4902) and also dated 1822, see David Saywell & Jacob Simon, National Portrait Gallery, Complete Illustrated Catalogue, 2004, page 299, and Richard Walker, Regency Portraits, 1985, page 246.

(1) £200-300

381* English School. Portrait of a Regency Lady, 1818, oval watercolour on ivory, half-length portrait of a lady wearing a highwaisted green dress with puffed sleeves, and a white lace cap over her dark curls, verso with indistinct pencil inscription dated 1818, 7.5 x 6cm (3 x 2.25ins), ebonised frame, glazed, together with another 19th century miniature painting, oval watercolour on ivory, of the Virgin Mary, mounted, framed and glazed (2)

£150-200

382* Indo-Persian School. Portrait of a Mughal nobleman, early 19th century, oval gouache on ivory, heightened with gold, head and shoulders portrait of a bearded gentleman wearing a turban and patterned gold robe, 5 x 3.5cm (2 x 1.5ins), ebonised frame with brass cornerpieces, glazed (1)

£200-300

Lot 382

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

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

383 English School. Oval miniature portrait of Robert Southey, circa 1830s, watercolour and gouache on ivory, head and shoulders portrait showing the poet with grey curly hair and sideburns, wearing a white cravat and black frock coat, 6 x 4.5cm (2.25 x 1.75ins), oval frame, glazed, annotated on verso in an early hand ‘N.S.’ and ‘Robert Southey’ (1)

(1)

384* Continental School. Empress Maria Theresa of Austria with her Family, after Heinrich Fuger, circa 1800, watercolour and gouache on ivory, showing the dowager empress attired in a black gown, seated against a background of classical architecture and drapery, being shown a variety of works of art by three young ladies and three young gentlemen, 12.5 x 12.5cm (4 x 4.75ins), ivory frame, glazed (1)

£70-100

£100-200

386* Ross (R., early 19th century). Lord Byron, after Thomas Phillips, circa 1830s-50s, oval miniature portrait watercolour and gouache on ivory, head and shoulders portrait, half profile to left, showing the poet as a young man with light brown curly hair, wearing a white collar, pale blue waistcoat, and terracotta coat, signed to right-hand side, 7.5 x 6cm (3 x 2.25ins), ebony frame, glazed, paper label on verso annotated ‘Lord Byron’ in an early hand

£300-500

(1)

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£200-400

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19TH CENTURY ENGLISH & TRADITIONAL WATERCOLOURS

Lot 387 387 Album of Watercolours. An album of fine watercolour studies of flowers, birds, and other subjects, by an anonymous artist, circa 1833-39, containing 31 carefully executed watercolours in total, all unsigned, a few dated to reverse, mostly floral subjects but also four monochrome pencil landscapes including Ludlow Castle and a lighthouse, a small watercolour of a moonlit ruined abbey, a pencil study of a racing whippet tinted with brown watercolour, three studies of birds, one of a butterfly, and two of fruit, the 19 botanical studies include groups and single examples, flowers include pink dog rose, petunia, peony, hellebore, passion flower, lily, pansy, chrysanthemum, periwinkle, sweet pea, etc., the largest sheet 22.5 x 18.5cm (8.8 x 7.25ins), all mounted to album leaves with watercolour decorative border or blindstamped border, without indication of the artist’s name or ownership, all edges gilt, contemporary gilt and blind decorated full maroon morocco, a little rubbed to upper joint and extremities (generally in good condition), 4to (30 x 24cm) (1)

388* Albums & Sketchbooks. A collection of 15 late 19th and early 20th century artist albums and sketchbooks, containing numerous watercolours, pencil and pen & ink drawings and studies of British & Continental landscapes, architecture, plants, animals and figures etc., some loose, including a small sketchbook of pencil figure studies by Gertrude Driver, and sketchbook of landscapes in watercolour by Thomas Jones, and sketchbook containing pencil studies of farm animals by Joan Gibbs-Smith dated April 1944, some volumes disbound, 36 x 25cm (14 x 10ins) and smaller (a carton)

£300-500

Lot 388 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

92

£200-300

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Lot 391

389* Birch (Samuel John Lamorna, 1869-1955). St. Jean Pied de Port, Pyrenees, France, 1923, watercolour with brown ink and traces of black chalk, heightened with white bodycolour, signed, titled St. Jean pied de port, and dated lower left, 37 x 26.5cm (14.5 x 10.5ins), framed and glazed, with original Fine Art Society label to verso, giving title of the work and artist’s name (1)

£200-300

Lot 392

390* Birch (Samuel John Lamorna, 1869-1955). The Way of the Brook, 1896, watercolour on board, titled lower left, signed and dated lower right, 19 x 26.5cm (7.5 x 10.5ins), framed and glazed (1)

£150-200

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

393* 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

£100-150

392* Chase (Marian Emma, 1844-1905). Still life of antique books and drawings on a ledge, watercolour, signed lower right, 20 x 27.5cm (8 x 10.75ins) mount aperture, framed and glazed (1)

Provenance: Collection of D.A. Hall, Camberley, Surrey.

(1)

£100-150

93

£100-150

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394* Collier (Thomas, 1840-1891). Castle Bolton, panoramic landscape watercolour, heightened with touches of white bodycolour, signed lower right, 61 x 91cm (24 x 36ins), heavy gilt frame, glazed Provenance: Bonham’s, Fine British & Continental Watercolours & Drawings, 25 June 2002, lot 102 (sold for £1400). A copy of the printed catalogue for this sale is attached to the back of the frame.

(1) £300-500

395* Cooke (Edward William, 1811-1880). View of an English Bay, with figures and cattle, and windmill, watercolour on paper, heightened with white bodycolour, signed and dated 1840 towards lower left, some light discolouration, 52 x 74cm (20.5 x 29ins) mount aperture, modern gilt frame, glazed (1)

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

£300-400

94

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Lot 396 396* Curnock (James Jackson, 1839-1892). Peat Grasses, 1874, watercolour on paper, signed and dated lower left, 19.5 x 39.5cm (7.75 x 15.5ins), mount aperture, gilt gesso moulded frame and glazed, manuscript label verso with artists name and address James Jackson Curnock, 11 Hampton Park, Redland, Bristol, together with Eastwood (Walter, 1867-1943). Harvesting landscape, oil on canvas, signed lower left, 25 x 36cm (10.75 x 14.25ins), relined, gilt frame and glazed, plus Ford (Francis J., 19th century). English beach with figures and bathing machines (possibly Hastings, Kent), 1887, watercolour on paper, showing figures by fishing boats, beach huts, and houses on a promontory, signed and dated lower right, 21.5 x 50cm (8.5 x 19.75ins), mount aperture, framed and glazed (3)

£300-500

397* Dibdin (Thomas R. Colman, 1810-1893). Bewsher Mill Littlebury, Essex, 185[6?], pencil, watercolour & wash on blue wove, heightened with bodycolour, captioned in pencil, signed and dated lower right (cropped to right margin with slight loss to caption and date), 24.5 x 30.5cm (9.5 x 12ins), mounted, framed and glazed, Abbott & Holder gallery label to backboard (with incorrect location to caption), together with three others: watercolour of timber framed buildings in Coventry by John Paget, dated 1868, gouache of the Old Inn, Dorchester by George C. Haite, and pen & ink scene with soldier on horseback by William Heath, all framed and glazed (4)

Lot 397

£150-200

398* Elgood (George Samuel, 1851-1943). View on the Italian Coast, 1910, watercolour, signed and dated lower right, 14.5 x 26.5cm (5.75 x 10.5ins) mount aperture, contemporary gilt frame (1)

£100-150

Lot 398

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Lot 400

399* English School. Landscape with rustic family group by a rocky outcrop, circa 1800, watercolour on paper, unsigned, 16.5 x 12cm (6.5 x 4.75ins) mount aperture, framed and glazed, together with a group of three small English picturesque landscapes in brown and black ink with brown wash on thin card, circa 1830, two measuring 7.2 x 11cm (2.8 x 4.3ins), the third a circular landscape with lone figure standing by an old tree, 10cm diameter (4ins), all framed and glazed, the three small landscapes with Abbott & Holder label to verso (4)

£150-200

Lot 401

400* English School. Fountain of the sea-horses in the garden of the Villa Borghese, Rome, 31 January 1840, pencil, watercolour and black chalk on wove paper with pencil date lower right, mount stain to outer edge, sheet size 18.5 x 27cm (7.25 x 10.6ins), tipped on to original backing card, with additional inscription to lower right, in the same hand ‘Villa Borghese ye 31 of Janry 1840’, mounted, together with a late 18th or early 19th century pencil and watercolour study of a tree, on laid paper with Britannia watermark, with pencil inscription to lower edge Oswestry Church Yard, sheet size 20.5 x 24.5cm (8 x 9.7ins), a pencil and watercolour study of a wooded landscape with bridge over a river, in the manner of J.S. Cotman, circa 1830-50, with a further landscape study to verso, 17 x 25.5cm (6.7 x 10ins) mount aperture, framed and glazed, and two early to mid-19th century pen, ink and watercolour views, unsigned, one of a church interior, the other a continental harbour with tower, boats, figures and buildings, 15 x 10.5cm (6 x 4ins) and similar, mounted on thin card A similar view of the same fountain in the Borghese Gardens was drawn by Edward Lear in early February 1839.

(5) £200-300

402* English School. Landscape with figures and cows resting below a ruin, & Landscape with figures and cows on a path, a pair of fine mid-19th century watercolours on paper, heightened with gouache, unsigned, 10.5 x 16cm (4.25 x 6.25ins), period arched mounts and gilt gesso frames, glazed, together with Manner of Edward Dayes (1763-1804). Abbey Ruins, circa 1810, watercolour on paper, showing two figures on path, 25.5 x 35cm (9.75 x 13.75ins), gilt gesso frame glazed

401* English School. Landscape with figure on horseback by a river, with ruined tower, circa 1790-1800, watercolour with pen & ink on laid paper, unsigned, some toning, sheet size 22.2 x 27.5cm (8.75 x 10.8ins), laid down on early backing paper with wash outer border, together with three other landscape studies in pen, ink and wash, by various hands, including a copy after Weirotter, a little smaller, two mounted (4)

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

(3)

£150-200

96

£150-200

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403* English School. Portrait of a mother and child, circa 1900, watercolour on paper, unsigned, 24 x 21.5cm (9.5 x 8.5ins), mount aperture, framed and glazed, together with Saunders (Charles, circa 1855-1915). Harvesting, watercolour on paper, signed lower left, 16 x 34.5cm (6.25 x 13.5ins) mount aperture, framed and glazed, plus Knight (Adam, 1855-1931). Barton, watercolour on board, showing houses and a path, signed lower right, 17 x 25cm (6.75 x 9.75ins) mount aperture, gilt gesso moulded frame, glazed, and Italian School. Naples, Palais de la Reine Jeanne, mid 19th century, watercolour on paper, unsigned, 14 x 20.5cm (5.5 x 8.25ins) mount aperture, titled below, framed and glazed (4)

£200-300

404* Fortescue (William Banks, 1850-1924). A Rehearsal, oil on canvas, signed W.B. Fortescue lower left, additionally inscribed by the artist to verso ‘A Rehearsal’ W.B. Fortescue. Exhibited R.A. 1901, and with original oval stamped frame maker’s label to stretcher of James Lanham, Artist’s Colorman, St. Ives, Cornwall, 35.5 x 46cm (14 x 18ins), period gilt frame (1)

Lot 403

Lot 404

97

£800-1200

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407* Goodwin (Edward, 18th/19th century). Looking into North Wales from Beeston Hill, near Liverpool 1838, watercolour on paper, titled, signed and dated verso, 15.5 x 22cm (6.25 x 8.75ins), framed and glazed, together with Attributed to Robert Brandard (1805-1862). Houses in wooded landscape, 1857, artist’s monogram and date lower left, 19 x 17cm (7.5 x 6.75ins), framed and glazed, plus another watercolour on paper, signed O’ Neill lower right, showing cattle and a windmill, 17 x 24cm (6.75 x 9.5ins), framed and glazed Little is known of Edward Goodwin, who worked in the tradition of Thomas Girtin long after that painter’s death. He is represented by single works in the British Museum (a watercolour, Kew Palace, 1837) and the V&A (Bridge at Kippenross, near Dunblane). He lived at Manchester and Liverpool, and was among the founders of the Liverpool Academy in 1810. He also exhibited with the Old Water-Colour Society and the Royal Academy in London.

(3) £150-200

405* Foster (Myles Birket, 1825-1899). Family in front of an Italian Chalet, watercolour on paper, signed with monogram lower left, some pale toning, 29 x 24cm (11.5 x 9.5ins) mount aperture, framed and glazed Provenance: Purchased by the current owner from Priory Gallery, Bishops Cleeve, Cheltenham, in 1982.

(1) £300-500

408* Henshaw (Frederick Henry, 1807-1891). Moorland landscape with figures and cattle, 1843, oil on canvas, signed and dated lower left, 25 x 35.5cm (10 x 14ins), moulded gilt frame

406* French School. Figures on the Embankment, River Seine, Paris, circa 1900-1910, pencil on wove paper, with partial colouring in pastel, with inkstamp lower right in the shape of a palette ‘Vente Atelier’ (remainder not legible), some marks and light creases, 28 x 45cm (11 x 17.75ins), framed and glazed (1)

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

(1)

£100-150

98

£150-200

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409* Hewitt (W.H.M., late 19th century). The Eye, Devon, 1875, watercolour on paper, river scene with sluice gate, figures fishing in a boat, and cottages, titled, signed, and dated lower right, framed and glazed, together with Rivers (Leopold, 1852-1905).

Cottage scene, watercolour, showing a small girl in a white pinafore, with a dog, in a garden with a red brick cottage with tall chimneys, signed lower right, 27.5 x 37.5cm (10.75 x 14.75ins), mounted, framed and glazed, plus Noel (John Bates, flourished 1870-1927), Herding Sheep, watercolour, mountain landscape with rocky stream and bridge, and a herd of sheep with shepherd and dog, signed lower right, 25 x 34cm (9.75 x 13.25ins), mounted, framed and glazed, and two others, including a watercolour view of the Palais de Justice, Brussels, signed ‘C.E. Shaw’, 16 x 29cm (6.25 x 11.4ins), mounted, framed and glazed Provenance: Private Collection, Lancashire.

(5)

£200-300

411 Holroyd (Lady Susan Harriet (1829-1894). An album of 125 drawings and watercolours, 125 watercolours (some in sepia) and drawings (brown or black pen & ink, charcoal, or pencil), mounted on 70 album leaves (three drawings loosely inserted), including illustrations of characters and scenes from the works of Sir Walter Scott, Charles Dickens, and Alfred Tennyson, seascapes and landscapes (Smyrna, Venice, Rhine, Constantinople, Algiers, Gibraltar, etc.), interior scenes, buildings (Cottages in the New Forest, Gateway at Hever Castle, Kent), portraits and genre studies, copies after Old Masters, some signed and dated variously 1845-47, neat manuscript text mounted beneath drawings or on facing versos, artist’s signature dated December 1845 on second leaf, modern red half morocco, some soiling, folio (sheet size 34.5 x 26cm (13.5 x 10.25ins), together with a binder’s receipt dated 1987 loosely inserted made out to Sir Christopher Chancellor of Ditcheat Accomplished artist Lady Susan Harriet Harcourt, née Holroyd, was the daughter of Augustus Frederick Charles Holroyd, 2nd Earl of Sheffield and Harriet Lascelles. She married the naturalist and politician Edward William Vernon Harcourt, and the pair travelled extensively, during which excursions Lady Susan drew copiously. She provided the illustrations for her husband’s book ‘A Sketch of Madeira’ published in 1851. An example of her work is held by the Royal Collection: a brown pen & ink drawing entitled ‘Lady of the Lake’, mounted in an album compiled by either Queen Victoria, or her mother, Victoria Duchess of Kent.

(1) £300-500

410* Hibbert (Phyllis J., 1903-1995). Still life of roses, clematis, stocks, chrysanthemum, and other flowers in a bowl, watercolour with traces of pencil, signed lower left, 56 x 77cm (22 x 30.25ins) mount aperture, framed and glazed, together with Still life of flowers in a pot, watercolour on paper, signed lower right, 56 x 77cm (22 x 30.3ins) mount aperture, framed (2)

£150-200

99

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412* Holworthy (James, 1781-). Landscape with lime kilns, early 19th century monochrome wash drawing, 226 x 303mm (8.9 x 12ins) mount aperture, framed and glazed (1)

£70-100

413* Kinnaird (Henry John, 1880-1920). Cookham, watercolour heightened with white bodycolour, signed Henry J. Kinnaird (lower right) and inscribed ‘near Cookham on Thames’ (lower left), 19.5 x 39.7cm (7.7 x 15.75ins), framed and glazed (1)

£150-200

414* Mackay (James Millar, 1863-1936). Rural Village, 1897, watercolour on paper, showing a woman standing by a tavern, signed and dated lower right and additionally initialled J.M., 17 x 26cm (6.75 x 10.25ins), together with Mackay (James Millar, 18631936). High Street, Warwick, 1900, watercolour on paper, showing a horse and cart and figures standing by Lord Laycester Hospital, titled lower left, signed and dated lower right, 30 x 22cm (11.75 x 8.75ins), plus Mackay (James Millar, 1863-1936). Warwick Castle, 1896, watercolour on paper, signed and dated lower right, 15.5 x 26.5cm (6.25 x 10.5ins), all framed and glazed (3)

£300-500

Lot 414

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

100

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415* Mackley (George, 1900-1983). Sussex Farm, circa 1930s, watercolour and black chalk on laid paper, signed G.E. Mackley lower right, additionally titled in pencil to lower blank margin, mount-stained, with pin-holes to outer border, image size 27 x 44cm (10.7 x 17.3ins), sheet size 31 x 48.5cm (12.25 x 19.1ins) (1)

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

£200-300

(1)

£100-150

416* Meadows (Arthur Joseph, 1843-1907). View of Cannes, South of France, 1901, oil on wood panel, signed and dated lower right, 20.3 x 30cm (8 x 11.75ins), framed Provenance: Private Collection, Hampshire.

(1)

£500-800

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418* 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) £500-800

419* Oyston (George, 1861-1937). Corn Stooks, watercolour on paper, heightened with white bodycolour, signed lower left, 25 x 54.5cm (10 x 21.5ins), framed and glazed, with typewritten information sheet to verso from Richard Hagen Ltd., Yew Tree House, Broadway, Worcestershire (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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420* Perrin (Alfred Feyen, 1838-1918). At Dwygyfylchi, 1883, oil on board, signed lower right, additionally inscribed to verso ‘At Dwygyfylchi A.F. Perrin, 1883’, 20.2 x 26.7cm (8 x 10.5ins), framed (1)

£200-300

422* Porcher (Captain Edwin Augustus, 1824-1878). Shakespeare’s Cliff at Dover, Kent, April 16, 1874, watercolour on paper, heightened with white bodycolour, showing the coast line with beach and cliff with steam train exiting a tunnel, unsigned, but with old typed attribution label to verso, with contemporary handwritten title label below the image, 21 x 35cm (8.4 x 13.9ins), framed and glazed, together with Anstey Manor, near Alton, Hampshire, May 21, 1869, watercolour and pencil on paper, signed, titled and dated, and with contemporary title label below the image (presumably in the artist’s hand), 21.5 x 35.5cm (8.5 x 13.9ins), matching gilt frames, glazed

421* Pilsbury (Wilmot Clifford, 1840-1908). An Old Farmhouse, 1899, watercolour on paper, signed and dated lower left, 18 x 28cm (7 x 11ins) mount aperture, attractive period gilt frame, glazed, with printed framer’s label of Smith & Uppard, Carvers and Gilders, 77, Mortimer Street, Regent Street, London, and artist’s handwritten label ‘No. 2. An Old Farmhouse by Wilmot Pilsbury. The Hawthorns, St. Paul’s Road, Dorking’ to verso (1)

Captain Edwin Porcher was a naval officer and draughtsman known for his travel watercolours produced during voyages on board HMS Cleopatra, Hibernia and other ships, and while commander of HMS Sparrowhawk in British Columbia (1865-68). He provided illustrations for Robert Murdoch Smith’s History of the Recent Discoveries at Cyrene, published in 1864.

(2) £200-300

£200-300

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423* Robins (Thomas Sewell, 1814-1880). Sea Storm, Whitsand Beach, watercolour on thick wove paper, heightened with white bodycolour, titled and initialled lower left, 24 x 54cm (9.5 x 21.2ins) mount aperture, gilt frame, glazed Marine artist Thomas Sewell Robins frequently depicted naval scenes or ships in his typical coastal views, often portrayed in storms or heavy seas. Coastal defences including rifle muzzle-loading guns were installed at Polhawn Battery, at the eastern end of Whitsand Bay near Plymouth, and appear to the left in the present work.

(1) £200-400

425* Thompson (Edward Horace, 1879-1949). “Passing Gleams” Loweswater and Melbreck, watercolour, showing sun shining through clouds over a loch with mountains, signed lower left, 25 x 39.5cm (9.75 x 15.5ins), mounted, framed and glazed, with artist’s original printed label on backboard titled in manuscript

424* South Africa. Dawn over the Mountains on the Line to 'George', South Africa, & The Lagoon Kuysua across the River, looking out to sea, by John Beresford Pearce, 1925, 2 watercolours on heavy wove paper, each signed and dated 1925 lower left and lower right respectively, sheet size 36 x 55cm (14.2 x 21.6ins), together with three other late 19th/early 20th century watercolour views of South Africa, including one of Mount Earnslaw

by E. Gould Smith, signed and dated 1886, In the Valley of the Breede River looking west, by W. Westhofen, signed and dated 1901, and one other coastal view signed M.J. Webber, the last three works 24 x 34.5cm (9.5 x 13.5ins), or similar, all unframed (5)

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

Provenance: Private Collection, Lancashire.

(1)

£100-200

104

£200-300

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426* Turner (William, of Oxford, 1789-1862). Berry Pomeroy Castle, near Totnes, Devon, circa 1820-30, watercolour with traces of pencil, and scratching out, unsigned, 26 x 37.3cm (10.25 x 14.7ins), framed and glazed with label to verso of Michael Bryan Fine English Watercolours (giving title of the work as Goodrich Castle) The ruins of Berry Pomeroy castle in Devon became a favourite location for artists seeking a picturesque subject in the late 18th and early 19th century, including Francis Towne (1739-1816), Thomas Girtin (1775-1802) and J.M.W. Turner, who included an etching of it as an example of ‘Elevated Pastoral’ in his Liber Studiorum.

(1) £1500-2000

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427* Waite (Robert Thorne, 1842-1935). Summer Landscape on the South Downs, watercolour on paper, heightened with bodycolour, signed lower left, 36.5 x 67cm (14.5 x 26.5ins) mount aperture, gilt frame, glazed (1)

£200-300

428* Warmington (Ebenezer Alfred, 1830-1903). Stepping Stones on the Conway, North Wales, 1899, watercolour with touches of white bodycolour and scratching out, signed and dated lower right, 26 x 52cm (10.25 x 20ins) mount aperture, period moulded gilt frame, glazed, with original label of Horner Galleries, 17 King Street, Sheffield to verso (1)

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

£100-150

106

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431* Woodlock (David, 1842-1929). Mount Ararat, watercolour with gouache on paper, signed in red to centre of lower margin, 35 x 25cm (13.75 x 9.75ins) mount aperture, period moulded gilt frame, glazed, with title handwritten in pencil to verso, and printed label of R. Jackson & Sons Print Sellers & Picture Frame Makers, 3 Slater Street, Bold Street, Liverpool

429* Watercolours & artwork. A large collection of approximately 130 watercolours, drawings and artwork, mostly 19th century and early 20th century, including 6 watercolours of maritime scenes with sailing ships (one signed Callow), 18.5 x 27cm (7.25 x 10.75ins) & smaller, 14 pencil and watercolour studies of German ballet dancers, circa 1930s, 25 x 15.5cm (10 x 6ins) & smaller, two small sketch books containing numerous pencil portrait and character studies etc., contents loose, both in original cloth covers with initials AMB and date 1910 to upper cover, together with other landscapes, portraits, still life studies etc. (approx. 130)

(1)

£200-300

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

430* Wood (Frank Watson, 1862-1953). Royal Naval College, Dartmouth, 1928, watercolour, signed and dated lower right, titled lower left, 30 x 52cm (11.75 x 20.5ins), framed and glazed (1)

£300-400

£200-300

Provenance: Private Collection, Lancashire.

(1)

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£300-500

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19TH CENTURY PAINTINGS, DRAWINGS & PRINTS 433* Abbott (John White, 1763-1851). Wood Gatherers, 1810, pen, black ink and grey wash on laid paper, dated Augt. 12.1810 lower left, sheet size 18.7 x 15.3cm (7.4 x 6.1ins), tipped onto backing paper, together with another pen & brown ink drawing on laid paper of a rustic family outside a cottage, dated March 9. 1822 lower left, sheet size 18.5 x 29cm (7.3 x 11.4ins), tipped onto backing paper, plus a further similar drawing of wood gatherers and a small pen and grey wash study of men in a boat, plus a coloured soft-ground etching after John White Abbott, dated 1821 lower right, all loosely contained in white paper folder with printed label for Sotheby’s British Drawings & Watercolours sale of 25th November 1999, lot 97 (1)

£200-300

434* Bailey (Albert E., active 1890-1904). Sheep Shearing, oil on canvas, signed lower left, relined and restored, 93 x 120.5cm (36.5 x 47.5ins), framed (1)

£300-500

435* Bouvier (Joseph Anthony, active 1839-1888). Woodland Flowers, oil on canvas, heightened with gum arabic or varnish, signed ‘Joseph Bouvier’ to right margin, 28cm (11ins) diameter (on a square stretcher 29.5 x 30cm, 11.8 x 12ins), early gallery label of Thomas Agnew, 14 Exchange Street Manchester, separate printed title with number 585, and additional label of Horner Galleries, Sheffield to verso, plus old Christie’s stencil 264 OK, period moulded gilt frame (some damage) (1)

£400-600

Lot 433

Lot 434

Lot 435

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

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436* English School. Hunting Scenes, circa 1880s, a pair of oils on canvas, apparently unsigned, relined, 34.5 x 65cm (13.5 x 25.5ins), modern matching gilt moulded frames, with printed label of Colmore Galleries, 52 High Street, Henley-in-Arden, Warwickshire to verso of each (2)

ÂŁ300-500

437* Phillip (John, 1817-1867). Spanish Beauties, two half-length portraits, oil on canvas, one depicting a young lady seated in a chair, wearing a sprigged white gown, and with a red rose in her dark hair, the other depicting a young lady in a landscape, wearing a red poppy in her hat, both with monogram in red lower right, both relined, each 36 x 30.5 (14.25 x 12ins), matching gilt frames (2)

ÂŁ400-600

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438* Withoos (Matthias, 1627-1703). A forest floor still life with frog, butterflies, dragonfly, and other insects, oil on canvas, signed with initials M W lower left, relined and restored, framed, numbered to verso in black chalk X19 and with old typed label, 64 x 55cm (25.25 x 21.75ins) Provenance: Lempertz, Cologne, 22-26 November 1973, where purchased by the current owner.

(1)

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

110

ÂŁ3000-5000

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440* Chase (John, 1810-1879). In the Brewers Hall, Antwerp, watercolour on paper, signed and indistinctly dated lower left, 43 x 55cm (17 x 22ins), gilt moulded frame, glazed (1)

439* Autograph Letters by British Artists. An album of 42 autograph letters by 19th century British artists (including a few cut signatures), mainly circa 1830-1900, including William Boxall (1800-1879), Wyke Bayliss (1835-1906), Charles William Shirley Brooks (1816-1874) to David Roberts, Thomas Sidney Cooper (18031902), George Cruikshank (cut signature), Frank Dicksee (1853-1928) x 2, Thomas Faed (1826-1900), Luke Fildes (1843-1927), W.P. Frith (1819-1909) cut signature, Joseph Farquharson (1846-1935) 2 letters, Solomon Alexander Hart (1806-1881), John Callcott Horsley (18171903), Frank Holl (1845-1888), one letter and 2 cut signatures, Carl Haag (1820-1915), George Jones (1786-1869), Henry Jutsum (18161869), John William Waterhouse (1849-1917), to Frank Bramley, William Quiller Orchardson (1832-1910) cut signature, George Clausen (1852-1944) to Frank Bramley, George Henry Boughton (1833-1905), to Frank Bramley, Frederick Leighton (1830-1896) 2 letters, a secretarial letter from the Marchioness of Salisbury to Sir Thomas Lawrence, dated January 23 [1826], requesting an appointment, Edwin Landseer (1802-1873), J.E. Millais (1829-1896), short note to Frith, and cut signature, John Martin (1789-1854) to the Secretary of the Society of British Artists, dated March 8th 1836, providing a list of four drawings, Walter William Ouless (1848-1933) 2 letters, Melton Prior (1845-1910), Edward John Poynter (1836-1919) to the collector Mrs. Meynell-Ingram, John Piper (1903-1992) signed postcard, Marcus Stone (1840-1921), Graham Sutherland (19031980) letter to Miss Freda E. Lynch, dated 21st March 1961, John Tenniel (1820-1914) cut signature, and J.W. Waterhouse cut signature, all mounted in 20th century folio black cloth album (43.5 x 30cm, 17 x 11.75ins) (1)

£150-200

441* Continental School. Portrait of an Astronomer, 19th century, oil on canvas, relined and restored, 85 x 70cm (33.25 x 27.5ins), moulded gilt frame

£500-800

Provenance: Dreweatts, Newbury, 17 April 2018, lot 8.

(1)

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£300-500

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Lot 442 442* Follower of Thomas Sidney Cooper (1803-1902). Cattle and Sheep resting in a landscape, later 19th century, oil on canvas, unsigned, relined and restored by George Jack, Picture Restorer, Great Malvern, Worcestershire, with his labels to verso, 93.5 x 132.5cm (36.75 x 52.2ins), unframed (1)

£500-700

443* Kerkhoven (Johannes, 1855-1926). Summer in Holland, oil on canvas, size 51 x 41cm (20 x 16ins), inscribed by the artist with title, name and address, '88 Dunlace Road, Clapton Park, S., London' to verso, period gilt frame (1)

£300-500

Lot 443

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

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Lot 444 444* Gothic Revival. The Annunciation, circa 1890, a pair of large arched oil paintings on canvas depicting the Angel Gabriel and the Virgin Mary (facing each other), canvas stamped G. Rowley & Co., London, to verso, some marks and surface scratches, each 182 x 122cm (71.75 x 48ins), unframed Provenance: Prinknash Abbey, Gloucestershire.

(2)

445* Fachinetti (Carlo, 1870-1951). Famous Figures of the Italian Renaissance, watercolour on card mounted on card with ruled border, depicting various figures of the Italian Renaissance including Raphael, Michelangelo, Savonarola, Dante, Petrarch, and Laura, etc., signed lower left, pencil inscription to verso ‘Carlo Fachinetti peintre. Etude vis-à vis a la galleria de beaux arts Rue Ricasoli’, 15.5 x 45cm (6.25 x 17.5ins), gilt decorated vellum and leather covered frame, glazed

£700-1000

(1)

Lot 445

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£300-400

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

446* Autograph Letters by French & Italian Artists. Nine autograph letters or notes signed by Antonio Canova (1757-1822), Jean Auguste Dominique Ingres (1780-1867), Eugene Delacroix (1798-1863), Paul Delaroche (1797-1856), Gustave Dore (18321883), Jean-Leon Gerome (1824-1904), Jean Baptiste Isabey (1767-1855), Eugene Meissonier (1815-1891) and Horace Vernet (1789-1863), circa 1815-70, consisting of a pencil presentation inscription by Antonio Canova attached to an engraved profile portrait of the sculptor (dated 1812), ‘A Sua Eccellenza Milord Penrose Ammiraglio del Mediterraneo, Canova’ [Sir Charles Vinicombe Penrose, Commander in Chief of the Mediterranean Fleet, Autumn 1814-May 1815 and May 1816-1819], a signed letter from Ingres to Victor Chaugi, Rue de Seine, Paris, dated 31 Juillet 1850, postponing an invitation to lunch as he will have to go to the countryside, a signed note by Eugene Delacroix to Eugene Cheradame, dated Paris 7 aout 1846, acknowledging receipt of 4000 francs ‘pour prix de mon tableau representant un naufrage’, a signed undated letter on blue paper from Gustave Dore to ‘Mon cher Capitaine’ outlining arrangements for them both to attend an invitation from a lady, a letter from Jean-Leon Gerome to Madame Millais, dated London 1er janvier 1870, regretting that he cannot accompany his wife as he must take advantage of the weather, while ‘le Fog, l’affreux Fog, l’ennemi des peintres ne vient pas changer en nuit obscure la lumiere crepusculaire qui fait le charme de ce pays’, a letter from Paul Delaroche to an unnamed recipient, dated 7 novembre 1831 ‘Monsieur, J’ai ete bien vraiment contrarie lorsque j’ai appris par la lettre que vous m’avez fait l’honneur de m’ecrire que vous vous etiez inutilement donne la peine de passer plusieurs fois chez moi. Le dessin dont Monsieur Feuillet vous a parle n’est plus a moi, et je regret de ne pouvoir dans un moment m’occuper de vous pour faire un autre’ , a letter with remains of seal from J. B. Isabey to Monsieur John Gamble, 7 Surry Square, Kent Road, London, dated Jeudi 31 octobre 1822, referring to a lithograph requested by him which cannot be made ready as he will be in the studio for the next four months, a short note from Ernest Meissonier to Monsieur Giroux circa 1859, a letter on pale blue paper from Horace Vernet to Monsieur le Ministre, requesting an audience with him tomorrow morning regarding ‘une affaire qui m’interesse vivement’, each mounted on modern white backing paper (9)

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

£100-150

448* Langlois (Mark William, 1848-1924). The Glasses Seller, oil on canvas, depicting a bustling market scene, with a trader showing his optical wares to an elderly lady accompanied by a young girl with basket and a small boy in breeches, initialled lower right, relined, 30 x 35.5cm (12 x 14ins), gilt moulded frame (1)

£400-600

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£300-500

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449* Marohn (Ferdinand (active 1839-1865). Two Girls in the Snow Beneath an Umbrella, oil on wood panel, depicting two young peasant girls with a basket, huddling together under an umbrella, in a snowy village landscape with church steeple, signed lower left, stencilled letters and numerals on verso, 30.5 x 25cm (12 x 10ins), gilt mount with attribution plaque, gilt moulded frame (1)

ÂŁ300-500

450* Martin (John, 1789-1854). The Great Day of His Wrath, 1857, fine hand-coloured engraving on paper by Charles Mottram (18071876), after the John Martin painting of 1851, published by Thomas McLean, January 1st 1857, light waterstains to margins and some minor soiling (generally a good impression), plate size 71 x 103cm (28 x 40.5ins), sheet size 76 x 108.5cm (30 x 42.75ins), period gilt frame, glazed, together with The Plains of Heaven, 1857, handcoloured mezzotint engraving on paper by Charles Mottram (1807-1876), published by Thomas McLean, January 1st 1857, heavily stained and with some tears and fraying to edges, with loss of upper right blank corner (2)

Lot 449

Lot 450 115

ÂŁ300-500

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451* Attributed to John Martin (1789-1854). Biblical landscape with figures harvesting, circa 1830-40, pencil on thick wove paper, 9.7 x 14.7cm (3.8 x 5.75ins), 20th century pencil inscription J7253 to verso of mount, framed and glazed with Thomas Agnew label to verso and typed number 47055 (1)

£100-150

453* Attributed to David Roberts (1796-1864). Interior of ‘sHertogenbosch Cathedral, 1852, oil on wood panel, signed David Roberts R.A. and dated 1852 lower left, 62 x 51cm (24.3 x 20ins), with Christie’s stencils to reverse XX330 and WH585, old gilt frame, glazed (1)

452* Prague. Staromestske Nam, (Old Town Square, Prague), circa 1870s-80s, large panoramic pen, ink and watercolour view of the Old Town Square in Prague, Czechoslovakia, on paper, with title in handwritten gothic script in brown ink to lower margin ‘Staromestske Nam’ and with artist’s names to lower left and right corner K.Rak V. and N.Rak.V., a few marks and minor discolouration, 61 x 73cm (24 x 28.75ins) mount aperture, old gilt and wood frame, glazed (1)

454* Royle (Herbert, 1870-1958). Morning in the Meadows, oil on thin wood panel, signed lower left, 15 x 25.5cm (6 x 10ins), antiquestyle moulded gilt frame, with original handwritten title label to verso giving the artist’s address as The Manor House, Nessfield, Ilkley, Yorkshire

£200-300

(1)

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

£500-800

116

£200-300

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455* Sheffield (George, 1839-1892). Country lane in winter with figure and dog approaching village, 1881, charcoal and coloured chalk on wove, signed and dated lower right, 71.5 x 102cm (28 x 40ins), back board with Christies London in white chalk and black stencilled number, also with City of Manchester Queen’s Park Gallery Winter Exhibition 1903 label to verso, framed and glazed (1)

£200-300

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

(1)

456* Follower of Edward Robert Smythe (1810-1899). Saddled donkey and dog in a landscape, 19th century oval oil on canvas on a rectangular stretcher, old gilt frame, glazed (1)

£200-300

117

£400-600

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EVELYN DE MORGAN (1855-1919) Drawings from the Clayton-Stamm Collection

458* De Morgan (Evelyn, 1855-1919). The Angel of Death, 1885, gold coloured pastel and black chalk on dark grey-brown wove paper, depicting a young woman seated on a rocky stepped plinth, her eyes half-closed, and her arms placed on the left arm of an angel who stoops over her and carries a scythe, monogrammed ‘EP’ and dated 1885 in gold lower right, 44.5 x 36.5cm (17.5 x 14.5ins), mounted, framed and glazed, with remains of old manuscript label on backboard ‘The Angel of Death, Not for sale, De Morgan, 1 The Vale, Kings Rd, Chelsea’ Evelyn and William De Morgan lived at 1 The Vale in Chelsea for 22 years. At that time a number of artists resided in close proximity in and around the area of The Vale: the De Morgans rented their house to Walter Sickert and his Chelsea Life School when they were on their travels abroad; James Whistler lived at 2 The Vale, which was subsequently occupied by Charles Ricketts who began the Vale Press there; on the same side of the Vale, close to the King’s Road, was a chapel which was for a time the studio of sculptor Thomas Stirling Lee; and others who were not far away include Augustus John, Cecil Hunt, John Da Costa and Charles Maresco Pearce. Evelyn De Morgan painted two oils titled ‘The Angel of Death’. One was executed in 1880, and exhibited in 1881 at the Grosvenor Gallery, London, and it is now in the De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, plate 8). The other, dated 1890, was destroyed in 1991 when a fire raged through Bourlet’s art storage unit in London where some of the De Morgan Foundation’s art collection was held (plate 37). This remarkable study was executed, therefore, in the interim period between these two works, whilst the artist was as yet unmarried. It is one of a small number of works by the artist executed in gold on dark wove paper. Apart from one such study in Leighton House Museum (‘Victoria Dolorosa’), almost all other known studies in gold pastel are held by the De Morgan Foundation, and none, to our knowledge, has ever before appeared at auction. Only a small number of artists used this technique, Edward Burne-Jones being one of them. It is generally believed that such works were final detailed compositional studies. Given that the artist was so prolific and meticulous in producing studies for her full-scale oils, it is perhaps not surprising that this view has come into existence. However, the De Morgan Foundation acknowledges that ‘These pieces can be considered works of art in their own right and it is apparent that Evelyn often sold them as such’. Given this, and the fact that our study post-dates the initial oil of the same subject it now seems quite certain that such a work was done either for the artist’s own pleasure (as seems to be the case here), or as a gift for, or commission from, an admirer of the oil painting. It is interesting to note that in the original oil the female figure gazes upwards with unseeing eyes which are clearly open, whereas here the young woman’s gaze is downwards with her eyes half-closed, as it is in the later oil painting of 1890. As is typical of Evelyn’s studies in gold, the background detail is pared away, and the figures, in all their beauty, come into stark relief. The De Morgans were very interested in spiritualism, and especially angels, as evidenced in much of the symbolism of Evelyn’s work.

The gentleness of the angel’s touch, and grateful embrace of the frail girl is underlined by the weeds symbolising a hard life, and the spring flowers indicating joy to come.

(1) £8000-12000

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

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Lot 458

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Lot 459 459* De Morgan (Evelyn, 1855-1919). Head of a young woman, pencil on card, profile head portrait to left, of a young woman with neck gracefully extended and wavy hair caught up at the back of the head, generally toned and dust-soiled, some paper adhered to verso where previously mounted, sheet size 26 x 32cm (10.25 x 12.5ins) (1)

£300-500

460* De Morgan (Evelyn, 1855-1919). Head of a young woman, pencil on card, head study half profile to left, of a young woman with piercing eyes, full lips, and flowing wavy hair, slightly dusty, a few pin holes to upper blank margin, edges cut slightly unevenly, sheet size approximately 16 x 15cm (6.25 x 6ins), together with Portrait of a young girl, pencil on card, head and shoulders portrait of a girl smiling wistfully, with fringe and long flowing hair, sheet size 23.5 x 14.5cm (9.5 x 5.75ins) The first item, in its disposition, bears a resemblance to the face of the female figure on the right hand side of ‘Aurora Triumphans’ (1877/8, Russell-Cotes Art Gallery & Museum) - although the quality of the expression differs somewhat - and its stylised nature does suggest that it is a study for a larger work rather than simply a piece of portraiture.

(2) £400-600

Lot 460 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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461* De Morgan (Evelyn, 1855-1919). Male nude, pencil on thick paper, full length study of a male figure seated, with hands clasped around flexed left leg, a little dusty, a few pencil doodles and red pastel marks, sheet size 30.5 x 45.5cm (12 x 18ins), together with another male nude study similar, inscribed by the artist in ink to upper right corner 'Harvey[?] Saturday morning' sheet size 25 x 35.5cm (10 x 14ins), plus Male nude, brown chalk on grey paper, full length study of a foreshortened male figure transported through the air, some edge-creasing and marginal pin holes, 50 x 32cm (20 x 12.75ins), plus A study of arms and a hand, pencil on paper, showing a forearm and foreshortened hand, and an arm bent at the elbow, slightly dusty (especially to margins), sheet size 35 x 25cm (14 x 10ins) (4)

ÂŁ200-300

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462* De Morgan (Evelyn, 1855-1919). Female nude study for The Dryad, pencil on card, full-length study of a female nude, seated with arms folded across chest, annotated in pencil in the artist's hand to upper right corner 'Thick fog', sheet size 35.5 x 25.5cm (14 x 10ins), together with Male nude with shield, black & white chalk on dark brown paper, three-quarter length study of a male figure holding a shield before him, pin holes to corners, sheet size 31.5 x 24cm (12.5 x 9.5ins) 'The Dryad' was painted in 1884 and was exhibited in 1885 at the Grosvenor Gallery, London; it is now in the Evelyn De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, plate 16). The oil painting depicts a hamadryad, a type of nymph in Greek mythology born bonded to a particular tree. The nymph is seen emerging from the tree, with her foot still hidden inside the tree's trunk, and unusually, the artist painted on wood panel, rather than canvas, presumably to echo the theme of the work. This preparatory figure study shows Evelyn working out the precise placement of the limbs and perspective of the flexed left leg; the pose of the figure in the final work differs little from this study.

(2) £300-500

463* De Morgan (Evelyn, 1855-1919). Study of a male nude, black chalk on laid paper (to top half of a large sheet, with horizontal fold in centre), showing a full-length male nude seated on the ground, supported by the right arm, and with the right leg drawn up, large watermark ‘J. Whatman 1869’ and device of a hunting horn within armorial shield topped by a coronet, slightly toned and spotted, some marginal pin holes and edge creasing, overall sheet size 53.5 x 43cm (21 x 17ins), together with A double nude study, pencil on thick paper, showing two male nudes in profile, one a partial figure crouching, the other a full-length kneeling figure, bending over a prostrate body in sketchy outline, dusty, and some ink marks to upper margin, sheet size 25 x 35.5cm (10 x 14ins), plus a pencil drawing on card of three female nudes in different stances, a little dusty and toned at edges, 25 x 35.5cm (10 x 14ins), and a black chalk drawing on blue paper of a full-length female nude from the rear, 42 x 28cm (16.5 x 11ins)

Lot 462

(4)

Lot 463 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£200-300

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464* De Morgan (Evelyn, 1855-1919). A collection of botanical drawings and sketches, pencil on paper or card, some with watercolour, depicting various botanical subjects, including olive branches, poppies, narcissi, lilies, an iris, trees, apple blossom, some marks and stains, sheet size 66 x 53cm (26 x 21ins) and smaller

465* De Morgan (Evelyn, 1855-1919). Portrait of a boy, 1874, oil on canvas, full-length study of a dark-haired young boy in a loin cloth, leaning against a plinth, with legs crossed at the ankles, dated and initialled upper right corner, somewhat soiled and rubbed (wearing thin in a few places), 53 x 27.5cm (21 x 10.75ins)

(9)

Executed whilst Evelyn De Morgan was a student at the Slade School of Art. The De Morgan Foundation has a remarkably similar full-length portrait, of a young man in a loin cloth, which they describe as: “a very rare life study in oil on canvas” from the artist’s early student days, adding “only once the student had satisfied their teacher that they were proficient with pencil and pastels would they be allowed to progress to working with oil paints”.

(1) £200-300

£200-300

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466* De Morgan (Evelyn, 1855-1919). Portrait of a young woman, charcoal on laid paper, half-length half profile to right, of a pensive young woman wearing a loose fitting cap and with ornamental plaits in her dark hair, watermarked ‘Michallet’ and with mongram ‘SM’, some slight toning, pin holes to corners (and very small hole to sitter’s shoulder), frayed to right hand edge with loss (not affecting image), sheet size 60 x 23.75cm (42 x 16.5ins) Probably executed whilst Evelyn De Morgan was at the Slade School of Art. Although a half-length portrait, the body of the woman is drawn in outline, whilst the face is highly finished, with the extraordinary depth of expression and assured draughtmanship for which the artist had such talent.

(1) £700-1000

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

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467* De Morgan (Evelyn, 1855-1919). Male nude, charcoal on laid paper, full-length male nude wearing a loin cloth, leaning against a high stool, and gazing down to one side, inscribed in pencil lower right ‘Mrs. Barrington’ (stain over inscription), partial watermark lower left ‘[...]arais’ some slight creasing and fraying to edges, sheet size 51.5 x 41cm (20.25 x 16ins), together with three other slightly larger charcoal drawings on paper similar, all full-length studies, the first of the same model, with some additional small sketches to sheet, including a vignette of a horse, watermarked ‘Michallet’ and with monogram ‘SM’, some edge-creasing, dusty and damp-soiled, the second of a muscular male nude in a loin cloth, leaning both hands to one side on a ledge, creased at edges, damp-soiled and frayed lower right (just encroaching on image), the third of a young male seated, edge-frayed, damp-soiled and torn to upper left blank corner, watermarked ‘I Versay’ 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. The De Morgan Foundation holds a number of similar life drawings in the same condition as those offered here. A forceful and highly-strung woman, Emilie Barrington was an art critic and novelist chiefly remembered for her biographies of G.F. Watts and Frederic Leighton. She was an amateur artist, taking drawing lessons from Arthur Hughes, and assimilated herself into the artistic and literary circles of the day. It is curious that Mrs. Barrington’s name appears on one of the studies offered here; there appears to be little known about her relationship with the De Morgans, although we do know that Evelyn, accompanied by the writer Violet Paget, went to lunch at Emilie Barrington’s in 1883, after which they visited the studios of Watts and Leighton.

(4) £400-600

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468* De Morgan (Evelyn, 1855-1919). Male nude with staff, charcoal on laid paper, full-length male nude wearing a loin cloth, half profile to left, with flowing dark hair and beard, dusty, creased and frayed at edges, faint stain to lower left blank corner, watermarked ‘Michallet’ and with monogram ‘SM’, 61 x 42cm (24 x 16.5ins), together with four other charcoal studies of full-length male nudes similar, comprising: a standing male, half-profile to right, with swarthy complexion and dark curly hair, his legs crossed at the ankles, ‘Michallet’ watermark and monogram, slightly dusty and edge-creased, damp-stained and frayed lower right (stain just encroaching on image); a pair of full-length male nude studies of the same model, with curly fair hair, profile portraits, one seated and one standing, both with ‘Michallet’ watermark and monogram, one edge-frayed, the other damp-soiled to upper edge (encroaching slightly on image); and a seated study of a muscular male with moustache, with a couple of additional rough sketches in margins, initialled by the artist ‘EPM’ lower left, watermark of ‘EB’ and caduceus within shield, marked and edge-frayed (5)

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

£500-800

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469* De Morgan (Evelyn, 1855-1919). Male nude, charcoal on laid paper, full-length male nude wearing a loin cloth, with shoulder-length dark hair, downward gaze, and ankles crossed, watermarked ‘Michallet’ and with monogram ‘SM’, edges creased, damp-soiled and frayed lower left (encroaching on image), sheet size 60 x 45.5cm (23.5 x 18ins), together with two other charcoal drawings similar of the same model, one a profile head study to right (inscribed by the artist to lower margin ‘Please do not take the pins out of this’), the other a fulllength seated study, both with Michallet watermark, both frayed and damp-stained, latter with slight loss to image, plus two full-length male nude sketches on dark brown paper, one showing a seated profile study of a figure reaching up to a fountain basin, inscribed by the artist lower right ‘12 August’, the other showing a standing figure reaching up to a grape vine, inscribed in the artist’s hand to right margin ‘Paris 19 September’ and with tutor’s comments ‘arms too short’ and ‘perspective wrong’, both with some creasing and fraying to margins, each approximately 56 x 37cm (22 x 14.5ins) (5)

£400-600

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471* De Morgan (Evelyn, 1855-1919). A collection of landscapes, together 11 landscapes, watercolour on card, depicting rocky beaches, a bank with tree roots, a cottage, a lake with landing stage, a rocky outcrop, etc., occasional minor dust-soiling and marks, some pin holes at corners, sheet size 27 x 36.5cm (10.5 x 14.5ins) and smaller, mounted to one side of three large album leaves (edges brittle and frayed), 64 x 47cm (25.25 x 18.5ins) (11)

£200-300

470* De Morgan (Evelyn, 1855-1919). A collection of drawings and sketches, together 19 drawings, pencil on paper or card, some with watercolour, depicting various subjects, including Biblical themes, e.g. a detail after Andrea Mantegna’s Adoration of The Magi, mythogical scenes, architectural details, stained glass, a pencil study of Michelangelo’s Crouching Boy, etc., some with the artist’s annotations, various condition, sheet size 55.5 x 77.5cm (22.25 x 30.5ins) and smaller (19)

£300-400

472 De Morgan (Evelyn, 1855-1919). A collection of drapery studies, together ten drawings, pencil or chalks on paper or card, some with sepia watercolour, depicting draped figures in various stances, some sheets with several sketches (including some nude figure studies), various condition (some soiling, fraying, etc.), sheet size 56.5 x 39cm (22.25 x 15.25ins) and smaller (10)

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

128

£200-300

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473 Burne-Jones (Edward Coley, 1833-1898). An important series of 17 autograph letters to Eleanor Warren, Lady Leighton (1841-1914), 26 July 1881-27 March 1884, consisting of 17 autograph letters from Burne-Jones to Lady Leighton, on writing paper headed The Grange, West Kensington, W (except one on paper headed Ashley Cottage, Walton-on-Thames, the home of Sir George Lewis, the famous solicitor and patron of the arts), including 15 with original handwritten envelope, postmarked (except two without stamp and postmark, presumed hand-delivered), together with a telegram from Burne-Jones to Lady Leighton, and two autograph letters from Lady Leighton to BurneJones, on unheaded writing paper (one with original envelope), letters typically a single folded sheet, written on both sides, all now mounted on white backing paper A significant sequence of correspondence between the Pre-Raphaelite painter Edward Burne-Jones and Eleanor Warren, who married Sir Baldwyn Leighton, M.P., 8th Baronet of Loton, Shropshire in 1864. She was the sister of John Byrne Leicester Warren, 3rd Baron de Tabley, of Tabley Hall, Cheshire, and held the Tabley estate in trust for her son Cuthbert, following her brother’s death. The Leighton’s London residence was 49 Upper Brook Street, Grosvenor Square, London. Eleanor had met Burne-Jones at Downing Street in 1877 (the year her husband was elected a Conservative M.P.), and developed a close friendship that lasted until the artist’s death in 1898, culminating in a commission from her for a stained glass window designed by Burne-Jones commemorating Eleanor’s siblings at Tabley Chapel. The letters reveal the important role she played in assisting the artist with his work, discussing his art, and exchanging opinions on people and politics. Moreover, she became an important source to Burne-Jones for suggestions of old English flower names for an important sequence of small circular flower studies illustrating the names of flowers, undertaken between 1882 and 1898, known as The Flower Book (now in the British Museum). From her estate she supplied Burne-Jones with briars for his Briar Rose series (see Memorials of Burne-Jones, volume 1, page 145), and almond blossom for his painting The Tree of Forgiveness, painted in the winter of 1881, and exhibited the following spring at the Grosvenor Gallery : ‘and O if I might have the real veritable & true bit of almond blossom by bearer & then I should want no more in all my life’ (from a Burne-Jones letter to Lady Leighton included here). The letters refer several times to Burne-Jones’ progress with ‘Demophon’ (The Tree of Forgiveness), the title of which was apparently suggested by Lady Leighton herself : ‘I thought I had told you that you have to be the godmother to that picture - & now it is in print is it? Yes - that is a lovely name for it & will be understanded of the people better than if I called it by their names - thank you for that.’ (Burne-Jones letter to Lady Leighton, postmarked May 26, 1882, included here).

(20) £1500-2000

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ORIENTAL WATERCOLOURS & PRINTS

474 Chinese School. Male deity with three eyes and six arms, probably 18th century, pen, ink and watercolour on silk, some transerve rubbing and wear, small section of restoration at lefthand edge, mended closed tear in centre of image, laid down on cream cloth, old price label verso, framed and glazed (45 x 34cm) Provenance: Christie’s, 27 November 1980 (label to glass).

(1)

£200-300

475* Chinese School. Three male figures playing Go, with female attendant below within a mountainous landsape, early-mid 20th century, pen, ink and watercolour on silk, calligraphy and red artist seal top left, decorative silk border, image 75.5 x 37.5cm (29.75 x 14.75ins), framed and glazed (1)

£200-300

Lot 475

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

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477* Chinese School. Bamboo, 20th century, pen and black ink brush painting on paper, one or two small light marks, image 23 x 28cm (9 x 11ins), framed and glazed (1)

476* Chinese School. Landscape with buildings and mountains, early-mid 20th century, pen, ink and watercolour on silk, calligraphy and red artist seal at head, decorative silk border, image 70 x 42.5cm (27.5 16.75ins), framed and glazed (1)

£100-150

478* Hiroshige (Utagawa, 1797-1858). Looking toward Ikenohata from the Hill of the Yushima Tenjin Shrine (Yushima Tenjin sakaue yori Ikenohata o miru zu), from the series Famous Places in Edo, circa 1848-49 [but later], horizontal oban colour woodblock print, (being a version of the print listed in Ukiyo-e shuka 14 (1981), Hiroshige list, page 247), on thin laid paper, some light spotting, image size 22.2 x 35cm, sheet size 24.5 x 37.3cm, framed and glazed, together with two 20th-century re-issues of Man on Horseback crossing a Bridge (from The Sixty Nine Stations of the Kisokaido), and the Takihi Shrine of Oki Province (from Famous Views of the Sixty-Odd Provinces), the first mounted and the second framed and glazed, plus two 19th-century colour woodblock prints of single male figures, possibly by Eisen or Kunisada, each with kiwame seal, some marks and light fading, sheet size 39 x 27cm and similar, both tipped-on to backing paper

£200-300

An example of the original version of the first listed work by Hiroshige is in the Denman Waldo Ross Collection at the Museum of Fine Arts, Boston, USA. (5) £100-150

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Lot 480

479* Indian miniatures. Mughal Court scene, 20th century, pen, ink and gouache on paper within border heightened in gold, image 35 x 22cm (13.75 x 8.7ins), framed and glazed, together with Krishna and Radha on a swing, 20th century, pen, ink and gouache on paper, 28.5 x 23.5cm (11.25 x 9.25ins) mount aperture, framed and glazed, plus Krishna and Radha in a golden carriage, with attendants and cattle herding above, 20th century, pen, ink and gouache on paper within decorative border, 44.5 x 35.5cm (17.5 x 14ins) mount aperture, framed and glazed (3)

£200-300

480* Follower of Gao Qifeng (1889-1933). Vulture perched on a branch, pen, ink and watercolour on paper (laid down), with ink signature in Chinese [Geng Tao] and red artist's seal, a little pale spotting, 21.5 x 23.5 cm (8.5 x 9.25 ins), framed and glazed (1)

£300-500

481* After Shotei (Takahashi, 1871-1945). Kuome no yudachi (Sudden Shower at Kuome), tanzaku colour woodblock print, unsigned, with seal, sheet size 38.7 x 17.7cm (15.25 x 7ins), together with Shower at Terashima, tanzaku colour woodblock print, 38.5 x 17.5cm (15.2 x 6.9ins), plus After Hiroshige (Utagawa, 1797-1858).

Koyo Saruhashi (The Monkey Bridge in Kai Province), tanzaku colour woodcut of travellers crossing the Monkey Bridge over a river in the light of the full moon, unsigned and without seal, sheet size 37 x 17cm (14.5 x 6.75ins), and another similar tanzaku colour woodcut of Mount Fuji above clouds with figures in silhouette on a hillside, with seal, sheet size 39 x 17.5cm (15.3 x 6.8ins) (4)

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

Lot 481

£150-200

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SCULPTURE

482AR* Benda (Bretislav, 1897-1983). Torso in Rhythm, bronze sculpture with brown patina, signed ‘B. Benda’ on reverse at foot, height 23cm (9ins), width 10cm (4ins), mounted on a 6.5cm (2.5ins) brown marble plinth (1)

£500-700

483AR* Dalwood (Hubert, 1924-1976). Throne, 1960, solid aluminium with weathered patina, cast in an edition of 8, some marks, height 58.5cm (23ins), on a 4cm (1.5ins) black painted stone base Provenance: Sir Robert and Lady Mayer.

Literature: Chris Stephens, The Sculpture of Hubert Dalwood (1999), Catalogue 131 (figure 122 on page 123).

One of the leading figures in post-war British sculpture, Hubert Dalwood studied at the Bath Academy of Art at Corsham, and as a Gregory Fellow at the University of Leeds.

(1) £3000-5000

Lot 482

Lot 483

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484* Krepcik (Jaroslav, 1880-1959). Diana Bathing, bronze female nude, signed on base, height 21cm (8.25ins), width 9cm (3.5ins), mounted on a 10cm (4ins) square brown and white marble plinth (1)

£200-300

485* After Frederic Sackrider Remington (1861-1909). Trooper of the Plains, 1909 [but later], bronze sculpture, with brown patina, a later 20th century small-scale reproduction of the original work of 1909, signed to the base and numbered at the side 18/100, 24 x 26 x 8.5cm (9.5 x 10.25 x 3.3ins), mounted on black marble plinth, together with Cowboy, 1908, bronze sculpture with brown patina, a later 20th century small-scale reproduction of the original work of 1908, signed to base, and numbered 21/100 at the side, 23 x 26 x 8cm (9 x 10.25 x 3.2ins), mounted on black marble plinth (2)

486* 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)

£300-400

Lot 485 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

134

£300-500

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20TH CENTURY ETCHINGS, LITHOGRAPHS & ENGRAVINGS 487* Austen (Winifred Marie Louise, 1876-1964). Budgerigars, colour etching with aquatint, a fine published proof with oval publisher’s blindstamp of Warwick Galleries lower right, signed and titled in pencil, plate size 18.8 x 26cm (7.5 x 10.2ins), with margins, framed and glazed, with small printed label of Warwick Galleries, 205 Hagley Road, Edgbaston, Birmingham to verso (1)

£100-150

488AR* Bone (Sir David Muirhead, 1876-1953). Ayr Prison, 1905, drypoint etching on laid paper, the only state, printed in an edition of 41 proofs only, signed in pencil, with wide margins, in very good condition, plate size 12.5 x 17.8cm (4.9 x 7ins), sheet size 22 x 29cm (8.7 x 11.4ins), mounted Provenance: Purchased by the current owner from Robin Garton circa 1990.

Campbell Dodgson 179.

(1) £2000-3000

Lot 487

Lot 488

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Lot 490

489* Cameron (David Young, 1865-1945). The Little Devil of Florence, etching with drypoint on laid paper, signed in pencil lower right, some marks and light mountstaining, plate size 37.7 x 22cm (14.8 x 8.7ins), sheet size 40.8 x 25cm (16 x 9.9ins), tipped-on backing sheet Rinder 401.

(1)

£100-150

490* Cowern (Raymond Teague, 1913-1986). Vézelay, 1937, etching on wove paper, signed, titled and dated in pencil, plate size 14.5 x 18.8cm (5.75 x 7.4ins) with margins, framed and glazed, together with a late 19th century etching on wove paper of women in a harbour loft mending fishing nets (possibly by a Newlyn or Staithes artist), unsigned, plate size 16.2 x 26cm (6.4 x 10.5ins), with good margins, plus a lithographic portrait of Hilaire Belloc by William Rothenstein (1872-1945), dated in the image 1896, framed and glazed

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

(3)

(4)

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

£80-120

136

£150-200

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492* Griggs (Frederick Landseer, 1876-1938). Old Church Doorway, 1906, pen and black ink, with touches of white bodycolour, signed and dated lower left, 22 x 15cm (8.7 x 5.8ins) mount aperture, framed and glazed Likely to be one of Griggs’ original illustrations for the Highways and Byways series.

(1) £150-200

493AR* Holloway (Edgar, 1914-2008). Self Portrait, 1932, etching on pale cream paper, one of 6 artist’s proofs, aside from the published edition of 50, signed, titled and dated in pencil, and marked V/VI AP’s to lower margin, and additionally marked in pencil to edge of sheet S.P. No. 6, 1932, a very good impression, plate size 22.7 x 16.2cm (8.9 x 6.4ins), with wide margins, framed and glazed (unexamined out of frame) (1)

£300-500

494AR* Holloway (Edgar, 1914-2008). Self Portrait No. 7, 1937, etching with plate tone on pale cream laid paper, from the published edition of 50 impressions, signed and numbered 47/50 in pencil below the image, titled and dated to lower edge, plate size 25 x 30cm (9.9 x 11.11ins), with margins, framed and glazed (1)

£500-800

Lot 492

Lot 493

Lot 494

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497AR* Holloway (Edgar, 1914-2008). Christopher (Self Portrait 14), 1942, etching on laid paper, with light plate tone, signed and titled in pencil to lower margin, additionally inscribed in pencil by the artist to foot ‘for Monica - Capel-y-Ffin May 1943. S.P. 14 1942’, plate size 22.7 x 13.7cm (8.9 x 5.4ins), with wide margins, framed and glazed (unexamined out of frame)

495AR* Holloway (Edgar, 1914-2008). The Turban (Self-Portrait No. 9), 1937, etching with plate tone on cream paper, from the published edition of 50 impressions, signed and numbered 45/50 below the image, and titled to lower edge, 12.6 x 10.2cm (5 x 4.1ins), with margins, framed and glazed Meyrick (1996) 108.

(1)

(1)

£300-500

496AR* Holloway (Edgar, 1914-2008). St. Paul’s in 1942, etching with plate tone on cream paper, from the published edition of 50 impressions, signed, titled and numbered 10.50 in pencil, plate size 17.6 x 25.2cm (7 x 9.9ins), with margins, framed and glazed, together with three other etchings by Edgar Holloway (Mohawk River & Harmony Mills, Kohoes, N.Y., 1973, another American river scene, & Ardingly), each signed and numbered 19/75, 13/75 & 11/100 respectively, framed and glazed (4)

498AR* Holloway (Edgar, 1914-2008). Self Portrait No. 16 (Prospect of America), etching with plate tone on pale cream laid paper, from the published edition of 50 impressions, signed and numbered 22/50 in pencil below the image, titled in pencil to lower edge, plate size 19.9 x 15cm (7.9 x 5.9ins), with margins, framed and glazed

£200-300

(1)

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

£200-300

138

£200-300

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

(1)

139

ÂŁ2000-3000

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500 Nevinson (Christopher Richard Wynne, 1889-1946). Column on the March, 1917, offset colour lithograph on thin wove, signed in pencil lower right, sheet size 285 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, faint ink stamp to verso of frontispiece, plates and few leaves of text, label removed from front pastedown, untrimmed, original green cloth-backed boards with printed paper title labels to upper cover and spine, gilt library number at foot of spine, in original blue dust jacket, with some fading, long closed tear repaired to verso with adhesive tape, some wear to extremities of dust jacket and manuscript library number at foot of spine, 4to (1)

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

ÂŁ400-600

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501* Orpen (Sir William, 1878-1931). Sewing the Seed, Winner, Breeze, The Bather, & After Bathing, 1913, 5 photolithographs, each with printed title and signature below the image, published by the Chenil Gallery, Chelsea, 1913, plate size 31 x 21.5cm (9.5 x 12.75ins), or inverse, matching black frames, glazed (5)

ÂŁ700-1000

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504* Richards (Frederick Charles, 1887-1932). Boodles to St. James’s Palace, etching on thin wove paper, signed and titled in pencil, plate size 21.8 x 25cm (8.5 x 9.75ins), with margins, mounted, together with A City Built Upon A Hill, The Monastery, Ewot Bridge - Durham, Near S. Pietro - Venice, each signed and titled in pencil, various sizes, plus one other etching by the same artist, The Little Shop under the Arches, unsigned, all except two mounted (the small Venice etching laid down on card)

502* Poole (Monica, 1921-2003). Teasels, wood engraving on thin japan paper, signed, titled and numbered 4/50, mount-stained, image size 35 x 21cm (13.75 x 8.25ins), sheet size 42 x 27.5cm (16.5 x 10.75ins), framed and glazed (1)

(6)

£200-300

505* Tissot (James Jacques Joseph, 1836-1902). Trafalgar Tavern, Greenwich, 1878, etching with drypoint on cream laid paper, the first state (of 2), with the sky unetched, signed and dated in the plate, and with artist’s monogram in red, additionally signed in pencil lower left, the sheet horizontally cut (now laid down on card), plate size 35 x 25cm (13.75 x 9.8ins), sheet size 48 x 35.5cm (19 x 14ins)

503* Rajon (Paul Adolophe, 1843-1888). James Abbott McNeil Whistler, circa 1880, photolithograph on grey paper after Rajon’s black chalk portrait (Museum of Fine Arts, Boston), sheet size 28.5 x 21.5cm (11 x 8.25ins), framed and glazed, light spotting (1)

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

£200-300

£100-150

Wentworth 36, i/ii.

(1)

142

£150-200

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Lot 506

506AR* Tunnicliffe (Charles Frederick, 1901-1979). Black Angus, 1929, etching and aquatint on laid paper, signed in brown ink lower right, a very good impression with margins, plate size 15 x 22.5cm (5.9 x 8.8ins), sheet size 224 x 275mm, framed (1)

ÂŁ400-600

507* Wilkinson (Norman, 1878-1971). Spey Pool, circa 1930, etching with drypoint, signed in pencil lower right, plate size 22.5 x 30.3cm (9 x 12ins), with margins, framed and glazed, with old printed label to verso of Richard Howarth, Dealer in Works of Art, 25 Preston Road, Blackburn to verso, framed and glazed (glass cracked), together with Playing a Trout in the Shadows, circa 1930, etching with drypoint, signed in pencil lower right, xxx x xxx ins, with margins, framed and glazed, with printed label of Richard Howarth, Blackburn to verso (2)

ÂŁ200-300

Lot 507

143

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MODERN PRINTS

508AR* Aitchison (Craigie, 1926-2009). Birds, 1996, colour lithograph, from the published edition of 100, signed and dated in pink pen, numbered in pencil 87/100, with margins, image size 26 x 20.8cm (10.25 x 8.25ins), framed and glazed (1)

509* Aitchison (Craigie, 1926-2009). Andrew Gibbon Williams, Craigie, The Art of Craigie Aitchison, 1st edition, Canongate Books, 1996, numerous colour plates and illustrations, all edges gilt, original yellow cloth, spine lettered in black and with design in black and gold to upper cover (by the artist), with slipcase, 4to, VG, together with a colour printed whisky label with illustration after Craigie Aitchison, signed by Paul Stewart and Craigie Aitchison, 9 x 6.5cm, framed and glazed

£300-500

Limited edition of 100 copies, signed by the artist and author, designed by the artist and bound by Green Street Bindery, Oxford, numbered 87.

(2) £150-200

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

144

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512AR* Banksy (1974-). Save or Delete, 2002, offset lithograph colour poster on recycled paper for Greenpeace, design by Third Planet International, Poster, 42 x 59cm (16.5 x 223.25ins), together with set of 8 unused colour stickersposter was banned for use by Disney (2)

£300-500

510AR* Banksy (1974-). Walled Off Hotel, Box Set, 2017-2018, lithographic print with piece of painted concrete from the Palestine Separation Wall, in original white box frame, 22 x 22cm (8.5 x 8.5ins), together with a printed Walled Off Hotel purchase receipt dated 2 May 2018, and 2 pages of Walled Off Hotel information sheets in envelope (3)

£1000-1500

513 Banksy (1974-). Dismaland Bemusement Park, Official Programme, 2015, 32 page colour-printed programme, original wrappers, stapled as issued, square folio (34 x 29cm) (1)

511AR* Banksy (1974-). Walled Off Hotel, Souvenir Wall Section, 2017, five-section painted polymer resin on concrete base, 8.8 x 9.7cm (3.5 x 3.8ins), together with a piece of the Palestine Separation Wall, and printed Walled Off Hotel purchase receipt dated 24 October 2017 (3)

£1000-1500

145

£100-150

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514* Bawden (Richard, 1936-). Clutter, colour etching and aquatint, from the published edition of 100, signed, titled and numbered 17/100, 38.5 x 51.5cm (15.25 x 20.25ins), framed and glazed (1)

£100-150

Lot 516

515* Brunsdon (John, 1933-2014). Point Lynas, Anglesey, colour etching with aquatint on Somerset handmade paper, from the edition of 150 published by Christie’s Contemporary Art in 1985, plate size 44.5 x 60cm (17.5 x 23.75ins), sheet size 56 x 75.5cm (22 x 29.75ins), framed and glazed, with publisher’s signed certificate in envelope attached to verso (1)

£100-150

516* Chagall (Marc, 1887-1985). Exhibition poster for The Song of Songs, 1975, colour lithograph printed by Charles Sorlier, at the Atelier Mourlot, Paris, sheet size 57.5 x 46cm (22.5 x 18.25ins), framed and glazed (1)

£150-200

517* Chagall (Marc, 1887-1985). So I came forth out of the sea and sat down on the edge of an island, (plate 5 from Four Tales from the Arabian Nights), 1948, colour lithograph on laid paper, a progress proof aside from the edition of 111 published by Pantheon Books, New York, with full margins, image size 37.2 x 28cm (14.7 x 11ins), sheet size 43 x 33cm (17 x 13ins) Mourlot 40.

(1)

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

Lot 517

£700-1000

146

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520* Cosman (Milein, 1921-2017). Stravinsky Conducting, 1982, etching with aquatint, signed and dated, and numbered 2/75, some light overall spotting, 17.8 x 32.5cm (7 x 12.75ins), with margins, framed and glazed, together with another self-portrait etching by Cosman, signed and dated ‘81, marked A/P, and ‘For Kaja with love’ in pencil, plate size 14.6 x 10cm (5.75 x 4ins), sheet size 37.5 x 28.5cm (14.75 x 11.25ins), framed and glazed, plus a group of 6 original pen and dark green ink drawings of orchestral musicians and a conductor performing Wagner’s Flying Dutchman, Tchaikovsky’s Overture to Romeo and Juliet, Elgar Howarth concertino for trumpet and Beethoven’s 5th Symphony, 17 x 11cm (6.7 x 4.3ins) and slightly smaller, mounted together as one, framed and glazed

518* Chinese School. Eight horses, 20th century, pen, ink and watercolour on silk, caption and red artist seal lower right, green silk border, a little pale spotting, 30 x 39.5cm (11.75 x 15.5ins), framed and glazed Provenance: Wah Cheong, Hong Kong (established 1902), label to verso.

(1) £150-200

(3)

519* Art Deco. Nuit à Venise, & Veneziana, by S. Chompre, circa 1930, two colour pochoir prints on wove paper, from the published edition of 500, each signed in the image, additionally signed in pencil lower right, and numbered 242 and 111 of 500 respectively, each titled in pencil to lower right corner of the sheet, image size 41.5 x 30.5cm (16.3 x 12ins), sheet size 61 x 50.5cm (24 x 19.75ins), matching gilt frames, glazed (2)

£150-200

521AR* Dali (Salvador, 1904-1989). Le Demon Ailé (from the suite La Venus aux Fourrures), 1968, drypoint etching on Arches heavy wove paper (with partial watermark ‘Ar’), bears signature to lower margin, mount stained, plate size 31.6 x 23.5cm (12.5 x 9.3ins), sheet size 38 x 28.5cm (15 x 11.2ins), framed and glazed

£100-150

(1)

147

£200-300

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Lot 522

Lot 524

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

(1)

£250-300

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

(1)

£250-300

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

(1)

Lot 523

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

148

£250-300

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Lot 525

Lot 526

525* Frost (Terry, 1915-2003). Terry Frost: Act and Image: Works on paper through six decades, by Mel Gooding, Belgrave Gallery, 2000, original signed drawing by Terry Frost in black ink on the fly leaf, colour and monochrome illustrations, original red cloth in colour printed dust-wrapper, 4to (30 x 25cm, 11.75 x 9.8ins) (1)

£200-300

526* Frost (Terry, 1915-2003). Terry Frost. A Personal Narrative

by David Lewis, with contributions by David Archer, Ronnie Duncan, Adrian Heath, Linda Saunders, edited by Elizabeth Knowles, Foreword by Sir Alan Bowness, Scolar Press, 1994, original signed drawing by Terry Frost in black ink on the half title, colour and monochrome illustrations, original black cloth in colour printed dust-wrapper, 4to (28.7 x 28cm, 11.3 x 11ins) (1)

£200-300

527* Hilton (Matthew, 1948-). Block XI, 1989, colour monoprint on japan paper, signed, titled, dated and numbered 1/1, 58.5 x 60.5cm (23 x 23.75ins), framed and glazed (1)

£100-150

Lot 527

149

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528* Kleinman (Mary, 1928-2001). Charlie Chaplin, monotone etching on wove, lower margin signed and with limitation 2/15, plate size 25 x 20cm (9.75 x 8ins), sheet size 38 x 28cm (15 x 11ins), framed and glazed, together with Freeth (Peter, 1938-), A Glimpse of ‘The Tempest’, etching on wove, lower margin captioned, signed and with limitation 8/20, plate size 24.5 x 37.3cm (9.75 x 14.5ins), sheet size 44.5 x 55.5cm (17.5 x 21.75ins), framed and glazed, and Little Dance Macabre, artist’s proof etching on wove, lower margin captioned and signed, plate size 11.2 x 15cm (4.5 x 6ins), sheet size 28 x 30cm (11 x 11.75ins), framed and glazed, plus six other similar etchings by various artists including Elizabeth Robinson, Clare Bruce, Ann Dowker and John Roberts etc., all framed and glazed (9)

£200-300

529* Lichtenstein (Roy, 1923-1997). Foot Medication, 1963, offset lithograph poster for an exhibition of drawings at Leo Castelli Gallery, New York, 58 x 43cm (23 x 17ins), central vertical and horizontal folds, VG (1)

£200-300

Lot 528

530* Mayer (Kaia, 1923-2005). J’attendrais, batik, signed lower right, 76 x 76cm (30 x 30ins), framed, caption and address label to backboard, together with Greek dream, batik, signed lower right, 76 x 76cm (30 x 30ins), framed, caption label to backboard, plus 7 other similar batik artworks, all in matching frames Kaia Mayer (1923-2005) was born in Argentina to an English mother and Danish father. In 1929 the family moved to Vence in the South of France, where Kaia met Henri Matisse who had moved there in 1943 for the duration of the war. Kaia modelled for Matisse on several occasions, but whether she featured in any of his paintings is not known. The Mayer family assumed the most likely painting of Kaia by Matisse was Jeune Anglaise (Young English Woman), but the sitter has no facial features and it has not been confirmed.

In 1949 Kaia married an English social anthropologist and moved to London, but also travelled with him on various research and teaching visits to India, Australia, Fiji and Mexico. She studied art at the Byam Shaw School and St Martin’s School of Art and later at the Camden Institute.

(9) £200-300

Lot 529 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

150

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Lot 531

Lot 532

531* Mayer (Kaia, 1923-2005). Life Study IX, 1967, mixed media pen, ink and wash on paper portrait of a seated nude female, signed and dated to lower margin, image 34 x 25cm (13.5 x 10ins), framed and glazed, caption and address label to backboard, together with two other similar female nude studies and an autumnal woodland landscape watercolour, all signed, framed and glazed (4)

£150-200

532* Mayer (Kaia, 1923-2005). “Tiré du livre de la chasse”, Gaston Phebus, colour etching on wove, signed, titled and numbered 22/30, plate size 25 x 40cm (10 x 15.75ins), framed and glazed, together with Ariadne, etching on wove, signed, titled, plate size 42 x 30.8cm (16.5 x 12ins), framed and glazed, with Ariadne ariadne fille de minos, etching on wove, signed, titled, and numbered 2/30, plate size 75.5 x 55.2cm (29.75 x 21.75ins), sheet size 76.3 x 57cm (30 x 22.5ins), plus two others similar (5)

£200-300

Lot 533

533* Mayer (Kaia, 1923-2005). Fading Past, etching on wove, signed, titled, and with limitation of 1 impression only, plate size 29.5 x 41.2cm (11.75 x 16.25ins), framed and glazed, address label to backboard, together with Ariadne, etching, an artist’s proof, signed & titled, plate size 42 x 31cm (16.5 x 12.25ins), framed and glazed, plus three other similar etchings, Eternal Triangle, Le Calone and Le Choix, all titled and signed to lower margin, framed and glazed (5)

£200-300

151

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534* Mayer (Kaia, 1923-2005). Summer at last, colour etching on wove, lower margin signed and captioned, plate size 40.5 x 29.3cm (16 x 11.5ins), sheet size 56.5 x 37.5cm (22.5 x 15ins), together with Boulevard, blue monotone etching on wove, lower margin signed and captioned, plate size 10 x 38.8cm (4 x 15.25ins, plus three other similar etchings, including Eternal Triangle, Sauna and Le Calone, all signed, framed & glazed (5)

536* Mayer (Kaia, 1923-2005). Old Track, colour monoprint on paper, 23.5 x 15cm (9.25 x 6ins), framed and glazed, caption and address label to verso, together with Networks,colour monoprint on wove, signed lower left, 40.5 x 30.5cm (16 x 12ins), framed and glazed, caption label to verso, plus one other similar (3)

£150-200

£200-300

535* Mayer (Kaia, 1923-2005). Sauna, monotone etching on wove, signed and captioned lower margin, plate size 20.5 x 29.5cm (8 x 11.5ins), framed and glazed, caption label to verso, together with Etruscan Banquet, colour etching on wove in green, yellow & black, lower margin signed, captioned and limitation 4/15, plate size 27 x 41cm (10.75 x 16ins), framed and glazed, caption and address label to backboard, plus two others similar etchings, both framed and glazed

537* Midgley (Peter, 1921-1991). Evening in London, 1985, colour screenprint, signed, dated, titled, and marked A/P, sheet size 86.5 x 67cm (34 x 26.5ins), framed and glazed

(4)

(1)

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

£150-250

152

£200-300

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538* Picasso (Pablo, 1881-1973). The Frugal Repast, 1913 [but later], photolithographic reproduction on Van Gelder paper, circa 1970s, image size 44 x 36cm (17.25 x 14.2ins), with margins, framed and glazed, with label of H. Shickman Gallery, 1000 Park Ave., New York 10028 to verso (1)

£300-400

539AR* Restall (Frank Percy, 1897-circa 1965). London’s Tramways.

Travel in Comfort by Tram, [1923], colour lithograph poster, printed

by Vincent Brooks, Day & Son Ltd., London, some light browning to sheet edges, otherwise generally in good condition, not laid down, 73 x 36cm (28.5 x 14ins), clip-mounted (1)

Lot 539

£400-600

540* Richards (Ceri, 1903-1971). Trafalgar Square, 1962, colour lithograph printed by Curwen Studio, published by Editions Alecto, signed, dated, and numbered 19 from the edition of 100, sheet size 57 x 80cm (22.5 x 31.5ins), framed and glazed (1)

£200-400

Lot 540

153

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542* Stevens (Norman, 1937-1988). Dusk, 1973, colour etching with aquatint, published by Editions Alecto, signed, dated, titled and numbered 30 from the edition of 150, publisher’s blindstamp lower right, some overall paper toning, plate size 40 x 30cm (15.75 x 11.8ins), sheet size 66 x 51cm (26 x 20ins), framed and glazed (1)

£100-150

541* Rothenstein (Michael, 1908-1993). Rush, Rush, 1975, colour screenprint on J Green paper, from the published edition of 75 impressions, signed and numbered 69/75, sheet size 66 x 48cm (26 x 19ins), framed and glazed (1)

£100-150

543AR* Sutherland (Graham, 1903-1980). Three Figures in a Garden, 1953, colour lithograph on wove paper, printed by Mourlot, published by William Heinemann Ltd., a proof aside from the published edition of 125, signed and inscribed in brown ink by the artist lower right ‘To Judy & Nigel Temple with friendship Graham Sutherland, 29. X. 61’, some light paper discolouration, sheet size 298 x 215mm (11.75 x 8.5ins), framed and glazed Tassi 55.

(1)

Lot 542

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

154

£500-700

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545* Trevelyan (Julian, 1910-1988). Holy Ganges (India Suite), 1968, colour etching & aquatint, an artist’s proof, aside from the published edition of 75, signed, titled and marked Artist’s Proof in pencil, plate size 47 x 35cm (18.5 x 13.75ins), with margins, framed and glazed (1)

£200-300

544* Thornton (Valerie, 1931-1991). Venetian Facades, colour etching, signed and numbered 28/50, plate size 40 x 52cm (15.75 x 20.5ins), with margins, framed and glazed (1)

£100-150

546* Whaite (Gillian, 1934-2012). A portfolio of 78 etchings and linocuts, including ‘Flowers in August’, hand-coloured etching on wove, captioned and signed lower margin, limited edition 6/60, 60 x 45cm (23.5 x 17.5ins), ‘Fountains 1968’, artist’s proof etching on wove, captioned & signed lower margin, 35 x 23cm (14 x 9ins), ‘Cat among autumn leaves’, hand-coloured etching on wove, captioned and signed lower margin, limited edition 7/75, 39 x 49 (15.5 x 19.5ins), plus other similar including studies of plants, cats, birds and figures Gillian Whaite (1934-2012) was born in London and studied at the Slade School of Fine Art, the University of London Institute of Education, and also at the Royal Academy Schools. She was a senior lecturer in art at Gabriel College of Education, London until 1978. In 1979 an exhibition of her work along with that of her father H. Clarence Whaite (1895-1978) was held at the South London Art Gallery. (a portfolio) £200-300

Lot 545

155

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MODERN & CONTEMPORARY PAINTINGS & WATERCOLOURS

Lot 547

547AR* Agard (Charles Jean, 1866-1950). Enfants jouant sous les saules, oil on canvas, signed lower right, minor indentation mark towards lower left edge, 33 x 46cm (13 x 18ins), Kaplan Gallery, 6 Duke Street, St. James’s, London printed label to verso of stretcher, gilt moulded frame Provenance: Private Collection, Wiltshire, England.

(1) £500-800

548AR* Agard (Charles Jean, 1866-1950). Les cueilleuses de pommes, oil on canvas, signed lower right, 41 x 33.5cm (16.1 x 13.2ins), Kaplan Gallery, 6 Duke Street, St. James’s, London printed label to verso, gilt moulded frame Provenance: Private Collection, Wiltshire, England.

(1) £500-800

Lot 548 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

156

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549* Blockley (John, 1921-2002). Trees & Pond, watercolour on paper, signed lower right, 17 x 23cm (6.7 x 9ins) mount aperture, framed and glazed, with John Blockey Gallery label to verso (1)

£150-200

550* Boxing. Excitement, October 1950, art deco-style watercolour and white bodycolour over pencil, on pale cream wove paper, titled and dated to lower margin, image size 30.5 x 24cm (12 x 9.5ins), modern aluminium frame, glazed (1)

£200-300

551AR* Brangwyn (Frank, 1867-1956). Golgotha, watercolour and black chalk on paper, 33 x 45.5cm (13 x 18ins) mount aperture, framed and glazed, with label of Abbey Antiques and Arts, 26 George Street, St. Albans to verso (1)

Lot 550

£400-600

Lot 551 157

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553AR* Erté (Romain de Tirtoff, 1892-1990). Sorciére, 1964, gouache on thick wove paper, depicting a bare-breasted female in a bejewelled purple gown, with long flowing sleeves lined in green, and wearing a hennin on her head in matching colours, titled in pencil upper right, and signed lower right, slightly dusty in places and a few minor marks, verso with additional pencilled title and blue ink stamp ‘Composition originale ERTÉ Romain de Tirtoff’, sheet size 48.5 x 30cm (19 x 12ins) (1)

£500-800

554AR* Erté (Romain de Tirtoff, 1892-1990). Jeu d’Enfer, 1959, gouache on thick wove paper, depicting a semi-nude female wearing a flowing black cloak, holding aloft a large bejewelled bag, and wearing a striking white feathered head dress, titled in pencil upper left (and additional pencil markings upper right), signed lower right, very slightly dusty in places, verso with additional pencilled title and blue ink stamp ‘Composition originale ERTÉ Romain de Tirtoff’, sheet size 48.5 x 30cm (19 x 12ins) (1)

552* Manner of Cecil Collins (1908-1989). Figures in a landscape with full moon, pen, black ink and brown wash on paper, unsigned, 19.5 x 27cm (7.75 x 10.5ins), framed and glazed (1)

£500-800

£100-150

Lot 553

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

Lot 554

158

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555* Forrester (John, 1922-2002). Staggia, 1954, watercolour and pencil on paper, 26.5 x 30.3cm (10.5 x 12ins), period frame, glazed, with handwritten label to verso with artist’s name, title and date 2-7-54, printed label of Gimpel Fils Gallery to verso, and auction stencil 294YG (1)

£150-200

556AR* Gurschner (Herbert, 1901-1975). Factories, Muhlau, 1922, watercolour on paper, signed, titled Muhlau, and dated 1922 in pencil lower left, 20.5 x 29.5cm (8 x 11.5ins), framed and glazed Provenance: The artist’s estate, thence by descent to the present owner.

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

(1) £700-1000

Lot 555

Lot 556

159

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559* Klitz (Anthony Robert, 1917-2000). On the Thames, oil on canvas, signed lower right, 40.5 x 76cm (16 x 30ins), framed and glazed (1)

560* Koenig (Jules Raymond, 1872-1966). Landscape in Brittany, pastel, showing a landscape with trees, a dwelling, and glimpses of the sea, signed lower right, 14 x 25cm (5.5 x 10ins), gilt moulded frame, glazed

557* Holt (David, 20th century). Walk under dark trees, mixed media (pencil, watercolour and ink with collage), signed and dated ‘64 lower right, 33 x 21cm (13 x 8.25ins), framed and glazed, with printed exhibition label for the Leicester Galleries Harkness Fellows exhibition, June/July 1966, Number 29 (1)

£200-300

(1)

£150-200

£100-150

561* Mullikin (Mary Augusta, 1874-1964). Interior of a Chinese Courtyard, circa 1930s, gouache and black chalk on pale brown paper, signed to lower edge, 56 x 30.5cm (22 x 12ins), framed and glazed American painter Mary Augusta Mullikin trained at the Cincinnatti Art Academy, and afterwards studied in Paris under James McNeill Whistler and London under Walter Crane. She lived in China between 1920 and 1946, travelling extensively in China, Korea and Japan. She published several articles on China during the 1930s and 1940s, including An Artists’ Party in China in The Studo, vol cx, no. 512, November 1935.

(1) £200-300

558* Hope (Esther, 1885-1975). River Landscape, New Zealand, watercolour on paper, signed lower left, 28 x 37cm (10.6 x 14.5ins) mount aperture, 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

160

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563* English School. Still life with Staffordshire figurine on a plinth, coffee pot and flowers, circa 1920, oil on canvas, unsigned, 42 x 50.5cm (16.53 x 19.88ins), framed Provenance: Collection of the artist Anthony Fry (1927-2016), thence by descent.

(1) £200-300

564* Orchart (Stanley, 1920-2005). Lacock, Wiltshire, 1977, oil on board, signed lower right, 25.5 x 30cm (10 x 12ins), framed, with artist’s printed label to verso (1)

£100-150

562* Mullikin (Mary Augusta, 1874-1964). Entrance to a Chinese Temple, circa 1930s, gouache and black chalk on pale brown paper, signed lower left, 28 x 42cm (11 x 16.5ins), framed and glazed (1)

£200-300

565* Ovenden (Graham, 1943-). Two Girls, 1981, graphite on cream paper, signed and dated lower right, 38 x 50.8cm (15 x 20ins) mount aperture, framed and glazed (1)

Lot 563

161

£150-200

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566* Page (Dione, 1936-). Magnolia with Orchids, gouache and black chalk on paper, signed and titled lower left, image size 59.5 x 47.5cm (23.5 x 18.75ins), framed and glazed (1)

£150-200

567AR* Palmer (Garrick, 1933-). Three figures in a landscape, 1965, acrylic on paper, signed and dated lower right, 29 x 38cm (11.5 x 15.25ins), mounted, gilt frame, glazed Garrick Palmer was born in Portsmouth and studied at Portsmouth College of Art and Design (1951-55) and later at the Royal Academy (1955-59). He taught at Winchester School of Art from 1958-86.

(1) £300-400

Lot 566

Lot 567

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

162

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

570* Suddaby (Rowland, 1912-1972). Lane, West Riding, Yorkshire, watercolour and white bodycolour on paper, signed lower right, 33 x 55cm (13 x 21.75ins) mount aperture, framed and glazed, with Redfern Gallery label to verso, dated July 8th 1952

£100-150

569AR* Rizvi (Jacqueline, 1944-). Rose Border Porcelain in an Interior, watercolour and bodycolour on light brown paper, initialled and dated upper right, 40.5 x 48cm (16 x 19ins) mount aperture, framed and glazed, with Royal Society of Painters in Water-colours, Bankside Gallery, London to verso

(1)

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

(1) £300-500

Lot 569

163

£200-300

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571* Aynscomb-Harris (Martin John, 1937-2016). Fishing Boats from Folkstone, oil on canvas, signed lower right, 91 x 122cm (36 x 48ins), aluminium frame (1)

£200-300

572* Aynscomb-Harris (Martin John, 1937-2016). Sailing Boats, oil on board, signed lower right, 33 x 121cm (13 x 48ins), aluminium frame (1)

£100-150

573* Aynscomb-Harris (Martin John, 1937-2016). Storm over Tower Bridge, London, oil on board, signed lower right, 101 x 152cm (40 x 60ins), aluminium frame (1)

£200-300

Lot 571

574* Aynscomb-Harris (Martin John, 1937-2016). The Way to School, oil and collage on board, signed lower left, 122 x 183cm (48 x 72ins), aluminium frame (1)

£200-300

Lot 572 575* Aynscomb-Harris (Martin John, 1937-2016). Harbour, oil on board, signed lower right, a few small areas of surface damage, 132 x 202cm (52 x 79.5ins), aluminium frame (1)

Lot 573

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

164

£200-300

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Lot 574

Lot 575

165

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576* Branson (Clive, 1907-1944). Street scene with figures, Battersea, oil on canvas, laid down on wood, framed and glazed with artist’s handwritten name and address - Flat 37, 99 Haverstock Hill, N.W. 3 - to verso of frame, 25 x 20.5cm (9.9 x 8 inches) Provenance: From the family of the artist’s youngest brother Cyril Montague Chimmo Branson (1919-2008).

Clive Ali Chimmo Branson (1907-1944) was an English artist and poet, and an active communist in the 1930s. His wife was Noreen Branson (1910-2003), and their daughter is the artist Rosa Branson (born 1933). Clive attended the Slade School of Art, but stopped painting after joining the Communist Party in his mid-twenties he returned to painting in the late 1930s producing scenes of life in Battersea where he lived, the workers in the streets, and events during the Blitz. A number of these works are held by the Tate Gallery. Clive was an active recruiter for the International Brigade, and himself fought in the Spanish Civil War from January 1938, being captured at Calaceite on 31 March 1938. As a prisoner of war at the Nationalist camp of San Pedro de Cardeña, he painted and sketched the camp and its inmates, at the request of the authorities, some of which survives in the Marx Memorial Library in London. He died in action in Burma on 25 February 1944, where he was serving as a Sergeant in the 54th Training Regiment of the Royal Armoured Corps.

(1) £3000-5000

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

166

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577* Branson (Clive, 1907-1944). West Downe, Weymouth, 1926, oil on canvas, signed with initials A.C.B., and dated lower left, titled lower right, canvas stamped G. Rowney & Co. to verso, 77 x 64cm (30.25 x 25.25ins), framed Provenance: From the family of the artist’s youngest brother Cyril Montague Chimmo Branson (1919-2008).

(1)

167

ÂŁ800-1200

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Lot 579

578* English School. Still life of flowers in a Chinese vase, circa 1940, oil on canvas board (with maker's label of Chas. H. West, 117 Finchley Road, Swiss Cottage, N.W.3 to verso), unsigned, handwritten label by Christopher Kennington to verso giving the artist's name as W.F. Cook, the title, and provenance of Barbara Restall, 22 Dalrymple Crescent, Edinburgh, dated December 2004 , 40 x 30cm (16 x 12ins), framed, together with Restall (Frank Percy, 1897-circa 1965), Elm Trees, Painswick, Glos., oil on canvas, signed to verso of stretcher (twice), and with handwritten exhibition label giving artist's name, title of the work and address 22 Dalrymple Crescent, Edinburgh 9, 43.5 x 30.5cm (17 x 12ins), framed Provenance: Christopher and Elizabeth Kennington, thence by descent.

(2) £150-200

579* Espley (Tom, 1931-2016). Venice Municipal Band playing in Piazza San Marco, Venice, 1951, oil on thin wood panel, mounted on thick card, with artist’s stamped name and address to verso, and title and date supplied in pencil, 15 x 20cm (6 x 8ins) (1)

£150-200

580* Gambier (Guy, 1923-2008). Young woman at a table with musical instruments, oil on canvas, signed lower right, 61 x 38cm (24 x 15ins), gilt frame (1)

£300-400

Lot 580

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

168

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581AR* 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. Copy of purchase invoice available.

(1)

169

£400-600

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582AR* Gurschner (Herbert, 1901-1975). Lemon Pickers, 1937, oil on canvas, signed and dated lower right Gurschner Tirol 1937, 80 x 64cm (31.5 x 25.25ins) A vibrant example of Gurshner’s style of the 1930s. Probably exhibited at his 5th London exhibition held at the Cooling Galleries, 9th-22nd November 1938.

(1) £5000-7000

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

170

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583AR* Gurschner (Herbert, 1901-1975). Tahitian Women, 1948, oil on canvas, signed and dated lower left, 71 x 61cm (28 x 24ins) unframed Provenance: The artist’s estate, thence by descent to the present owner. Literature: Claudia and Roland Widder, Herbert Gurschner, Ein Tiroler in London (2000).

(1) ÂŁ3000-5000

171

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Lot 585

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

£500-800

Lot 586 585* Howard-Jones (Ray, 1903-1996). Estuary with Setting Sun, oil on board, 37 x 50cm (14.5 x 19.75ins), framed Rosemary “Ray” Howard-Jones studied at the Slade School of Art in London from 1920, graduating four years later and held her first solo exhibition at the Bloomsbury Gallery in 1935. Her wartime drawings and paintings, some commissioned by the War Artists’ Advisory Committee, including D-Day preparation scenes at Penarth and Cardiff Docks were censored during the war and are now held at the Imperial War Museum and the National Army Museum. After the war, she along with her partner the photographer Raymond Moore, became resident summer caretakers at Skomer Island, off the Pembrokeshire coast for nine seasons, painting many land and seascapes there.

(1) £200-300

586* Howard-Jones (Ray, 1903-96). Tor with Setting Sun, 1957, oil and gouache on paper, signed and dated lower left, 37 x 51cm (14.5 x 20ins) mount aperture, framed and glazed (1)

£200-300

Lot 587

587* Howard-Jones (Ray, 1903-96). Moorland Overlooking Sea, 1968, oil on board, signed and dated lower right, 34.5 x 54cm (13.5 x 21.25ins), framed (1)

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

£200-300

172

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588* Howard-Jones (Ray, 1903-96). Sea Creatures, gouache and black chalk on paper, 23 x 32cm (9 x 12.5ins) mount aperture, framed and glazed (1)

589* Howard-Jones (Ray, 1903-1996). Buildings on a hill, oil, chalk and watercolour on paper, 19.5 x 23.5cm (7.65 x 9.25ins) mount aperture, framed and glazed, together witn Aur Yr Hwyr, 1970, oil on paper, signed lower left, 19.5 x 24.5cm (7.65 x 9.65ins) mount aperture,framed and glazed

£150-200

(2)

£150-200

590* Howard-Jones (Ray, 1903-1996). Ruined Building, 1953, watercolour and gouache on paper, signed and dated lower left, 37 x 55.5cm (14.5 x 21.75ins) mount aperture, framed and glazed (1)

£200-300

173

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591AR* Kelly (Philip, 1950-2010). Spring: C.W. visits Aculco, 1990, mixed media on paper, titled, initialled and dated lower right, 72 x 57cm (28.25 x 22.5ins), framed and glazed Irish artist Philip Kelly was born in Dublin, but lived in Mexico City from 1989 onwards, having first visited the city in 1983. The vibrancy and clamour of Mexican city life is one of the major themes of his work.

(1) ÂŁ700-1000

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

174

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593* Kuen (Francois, 1947-). Naive landscape, 1975, oil on canvas, showing a vibrant landscape with an abundance of figures, plants, animals and birds, and buildings, some light surface abrasion, signed lower right, and signed and dated on verso, 35.5 x 45.5cm (14 x 18ins), framed (1)

£150-200

592* Attributed to Thomas Benjamin Kennington (1856-1916).

Summer Landscape, Suffolk, circa 1900, oil on canvas board, unsigned, inscribed in a later hand with artist’s name, ‘Suffolk’, and ‘by TBK from EEK to CJK 1982’, and with stamped name and address: C.J. Kennington, Eden Cottage, May’s Green, Harpsden, Henley-onThames, Oxon RG9 4AJ, 26.5 x 33cm (10.5 x 13ins), framed Provenance: Elizabeth Kennington (.); Christopher J. Kennington (1925-); thence by descent.

(1) £200-400

594* Naive School. Two cats in a landscape, early-mid 20th century, oil on hessian cloth, laid onto hardboard, with glue varnish, 41 x 51cm (16 x 20ins), oak frame (1)

Lot 593

175

£200-400

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596* Perkin (John, 1927-2012). Line Out, 1995, oil on board, signed and dated to lower edge, 82 x 44.5cm (32.25 x 17.5ins) mount aperture, framed and glazed The artist, physicist and quaker, John Perkin, lived in Berkshire and painted from his studio in Newbury. Copy of purchase invoice available.

(1) £300-400

595* Neapolitan School. View of the Italian coast, mid-20th century, oil on canvas board, bears pencil name in capitals lower left ‘Colombo’, 30.5 x 49.5cm (12 x 19.5ins) mount aperture, framed and glazed (1)

£100-150

597* Restall (Frank Percy, 1897-circa 1965). Goat Fell, Isle of Arran, circa 1940, oil on Rowney's Birchmore Board, unsigned, handwritten label to verso giving artist's name and title of the work, with address of Chris and Elizabeth Kennington, 30.5 x 40.5cm (12 x 16ins), framed, together with an oil landscape of trees at night illuminated by car headlamps, entitled 'Highway By Night', by Barbara Restall, 35.5 x 28cm (14 x 11ins), framed with artist's handwritten label to verso Provenance: Christopher and Elizabeth Kennington, thence by descent.

Frank Restall is best known for his London Underground and Tramway posters, and was Head of the Printing Department at Heriot-Watt College, Edinburgh from 1934 to 1964.

(2) £150-200

598* Manner of Edward Brian Seago (1910-1974). Landscape with Windmill, Norfolk, 1941, oil on board, signed ‘Edward Seago’ lower left, indistinctly titled and dated to verso, and with artist's name and address '54 The Avenues, Beccles, Norfolk' to lower edge verso, 38 x 63cm (15 x 24.75ins), period wood frame

Lot 596

Provenance: North West England.

(1)

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

176

£200-400

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Lot 599

599AR* Smith (David, 1949-). Sheep grazing near Danbury, Essex, oil on canvas, signed lower right, additionally titled and signed by the artist to verso of stretcher, 51 x 77cm (20 x 30.25ins), moulded gilt frame (1)

ÂŁ200-300

600* Smith (David, 1949-). Langdale Hills, Essex, oil on canvas, signed lower left, additionally titled and signed by the artist to verso of stretcher, 71 x 92cm (28 x 36ins), moulded gilt frame (1)

Lot 600

177

ÂŁ300-400

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602* Steel (John Sidney, 1863-1932). Loch Ericht, oil on thin wood panel showing stags in a river valley landscape, signed lower right, 24.8 x 35cm (9.8 x 13.9ins), with printed label of Arthur Greatorex Ltd., 14 Grafton Street, London W.1, giving title of the work and artist’s name (1)

£150-200

601* St. Ives School. Harbour at Night, St. Ives, circa 1960-70, oil on card with collage, inscribed with title lower left, unsigned, 36 x 28cm (14.2 x 11ins)

603* Van der Putten (Daniel, 1949-). Road to Preston Deanery, Northamptonshire, oil on wood panel, signed lower right, 40.5 x 48cm (16 x 19ins), gilt frame, with artist’s handwritten label to verso

(1)

(1)

£100-200

Lot 603

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

178

£500-800

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604* Shirokova (Inna Alexeyevna, 1937-). Vovochka, 1985, oil on canvas, signed and dated lower right, 100 x 100cm (39.4 x 39.4ins), framed (1)

£200-300

605AR* Warren (Charles Wyatt, 1908-1993). The Road to Snowdon, oil on board, signed lower left, 25 x 55cm (10 x 21.75ins), framed (1)

Lot 604

Lot 605

179

£300-400

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CHILDREN’S & ILLUSTRATED BOOKS The Powys-Marks Private Press Collection 13 DECEMBER 2018

The Rubaiyat of Omar Khayyam, illustrated by Edmund Dulac, [1909], signed limited edition.

The Rubaiyat of Omar Khayyam, illuminated by Sangorski & Sutcliffe, [1911], signed limited edition.

Estimate £600-800

Estimate £400-600

Eric Ambler, Cause for Alarm, 1st edition, 1938, inscribed by the author to Tom Wheeler, Daily Mirror Journalist.

Eric Ambler, Epitaph for a Spy, 1st edition, 1938, inscribed by the author to Tom Wheeler, Daily Mirror Journalist.

Estimate £1500-2000

Estimate £1000-1500

For further information please contact Susanna Winters: susanna@dominicwinter.co.uk

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MODERN LITERATURE & FIRST EDITIONS 20th Century Literary Autographs 13 DECEMBER 2018

Rupert Brooke (1887-1915). Autograph letter signed ‘Rupert Brooke’, School Field, Rugby, Monday, 25 March [1907], to his Cambridge University friend, and later bookdealer, Ernst Philip Goldschmidt (1887-1954), 4 pages, 8vo Estimate £3,000-5,000. (From a small archive of Goldschmidt letters and papers to be sold 13 December 2018)

For further information please contact Paul Rasti: paul@dominicwinter.co.uk

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INFORMATION FOR BUYERS AFTER THE AUCTION Online Results: If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended.

Payment: The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form.

Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.

METHODS OF PAYMENT Cheque: Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted.

Cash: Payments can be made at the Cashier’s Office, either during or after the sale.

Debit Card: There is no additional charge for purchases made with 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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Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury Travel & Exploration, Oriental Books & Manuscripts Dominic Somerville-Brown

For free valuations without obligation, please contact any of the above specialists for further advice.

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

www.dominicwinter.co.uk 183

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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.

PRINTED BOOKS, MAPS & DOCUMENTS Opera Posters & Memorabilia 12 DECEMBER 2018

Alfred Choubrac (1853-1902). Esclarmonde, Opéra Romanesqe by Jules Massenet, 1889.

Original colour lithograph poster, 78.5 x 58 cm (31 x 23 ins) Estimate £200-300

For further information please contact Chris Albury, Colin Meays or John Trevers: chris@dominicwinter.co.uk colin@dominicwinter.co.uk john@dominicwinter.co.uk 01285 860006