Rosebery's London

TED FEW: AN IDIOSYNCRATIC EYE Wednesday 24 March 2021

TED FEW: AN IDIOSYNCRATIC EYE Wednesday 24 March 2021 Starting at 10am VIEWING Due to current restrictions it is unknown at the time of publication if it will be possible to hold a public view until further government announcements are issued.

To register your interest in viewing or attending the auction please email Client Services who will then contact you to book an appointment should it be possible.

Alternatively, we are happy to provide further images, condition reports and video viewings.

Register to bid live online with RoseberysLive or contact us to book a telephone line.

Please contact the Client Services Team with enquiries: clientservices@roseberys.co.uk Specialists: Anna Evans , Marcus Grey Please note the conditions of sale at the back of this catalogue Buyer’s Premium 25% + VAT (30% inclusive of VAT) Condition of items: a catalogue description does not state the condition of the item Catalogue Price £10 (£12 by post) Front Cover: (clockwise from top left) Details of lots 266, 172, 1, 375, 27, 84 Back Cover: Lot 122 Inside Front Cover: Lot 249 Inside Back Cover: Lot 100

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk

Online bidding available at:

RoseberysLive

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 2

BUYING AT ROSEBERYS The following is intended to serve as a useful quick reference to buying at Roseberys.

Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have.

Viewing Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots.

New Bidders New buyers are required to register before bidding. This can be done in person at reception, or via email to clientservices@roseberys.co.uk.

Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.

Alternatively, online bidding is available through www.thesaleroom.com and www.invaluable.com, successful online bidders are charged an additional premium of 5% + VAT. Bidders must register by 9am on the morning of the auction to be able to buy online. You will be asked to complete the registration process prior to approval.

• Telephone bidding: A limited number of phone lines for lots in the auction are available for bidders subject to a minimum threshold. A member of staff would telephone you during the auction and bid live on your behalf. Please contact reception if you would like to enquire about booking a phone line.

The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate.

Buyer’s Premium

New International Bidders In addition to providing proof of identity, new international bidders must leave a £500 deposit the first time they register and before bidding.

Successful bidders will be refunded their deposit once they have paid for their lots. Unsuccessful bidders will automatically be refunded within a week of the auction.

The buyer shall pay the hammer price together with a premium thereon of: 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

Methods of bidding

VAT

• In person: at the auction room.

VAT is not charged on the hammer price unless it is stated that there is ‘VAT applicable on the hammer price’ at the end of the description. Buyer’s premium is subject to VAT.

• Commission bid: If you are unable to attend the auction, commission bids may be left indicating the maximum amount to be bid excluding the buyer’s premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software RoseberysLive, and are not visible to the auctioneer.

• Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in-house live bidding platform.

RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk.

There is no charge to use this service.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with hammer value over €1,000 as follows: 0 to €50,000 - 4%, €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1%, €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 3

Payment Payment is required immediately after the auction and can be made in the following ways: • Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction.

• Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make ‘card not present’ transactions online or over the phone for amounts over £1000.

To make a payment of over £1000 please make a bank transfer or visit the auction house in person.

• Bank transfer: Payment is accepted via bank transfer to the following account, (International bank transfers are subject to a £25 administration fee.)

Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, Iban GB80NWBK60300636952613.

• Online via www.roseberys.co.uk (up to £1,000) Clearance of Goods Roseberys requests all lots are collected within five working days following the auction. After this, storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements.

Delivery Roseberys is unable to pack and ship items but can suggest the following companies: London/Surrey • Capital Fine Art Move: +44 (0) 7957 209523 • Bernard Thornton: +44 (0) 7970 118762 Nationwide/International • Mail Boxes Etc: +44 (0) 20 8649 9777 Specialist Packing • Pack and Send: +44 20 8392 6990 In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk Export of goods Buyers intending to export goods should ascertain whether an export licence is required before bidding.

Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

Lot 108

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 4

“Perhaps the most wonderful thing about this vocation is that although we can never predict when “it” will appear, if we stay open and energetic our hard work and enthusiasm are always rewarded in the end.”

Ted Few is a London based fine art and antique dealer, well known for his cabinet of curiosities containing idiosyncratic works of art from around the world. On offer at Roseberys on Wednesday 24 March is a wide ranging selection of objects and paintings which he has collected throughout his expansive career and which showcase his diverse and inimitable taste.

Ted discovered the realm of antiques at an early age and was instantly hooked. When he was fifteen he began dealing, buying art and objects from antique shops and markets near Buckingham where he was at school, and selling them to local dealers when he returned home in the holidays. After studying on the Sotheby’s Works of Art Course he realised he would find it impossible to specialise in one particular field and instead chose to focus his attention more broadly, enjoying the thrill of buying works of art from all corners of the globe which spanned millennia in date. As he says, “my curiosity and enthusiasm have always been aroused by things which have a distinctive personality or move me in some way.”

For many years Ted has held bespoke exhibitions in which he has been able to present his individual interests and acquisitions both at home and at the London fairs, including BADA, LAPADA and Olympia.

Every piece has a story to tell of past ages and cultures. His keen eye and appreciation for works which appeal both visually and historically have led him to unearth a number of hidden treasures. A conversation with him is a journey of discovery as he teases out engaging stories about the life-cycle of each item, drawing on his decades of experience. He will continue to buy and sell antiques – it’s in his blood – but will now turn his attention to a smaller number of objects which excite his imagination and test his expertise, and whose secrets have yet to be revealed.

103

4

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 5

1

2

1 A carved coconut flask, possibly South American, 19th century, ornately carved overall with scrolling foliage, with two reserves depicting a seated couple, one with the man holding an exotic bird, the other seated flanked by trees before a building, two brass ring handles, 10cm high £200 - 300* 2 A relief carved boxwood powder flask, dated 1845, depicting a huntsman carrying a rifle over his shoulder, surrounded by indigenous animals and flowers, inscribed 1845 and with owners initials ADSK, 8cm high £250 - 350* 3 A pewter-mounted carved coconut bug bear flask, 19th century, naively depicting a winged figure, a crown and flags, flowers and the inscription ENGLISH ROSE, 16cm high £150 - 250*

3

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

5

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 6

4

4 A white metal mounted gourd flask, probably South American, 18th/19th century, with stylised leaf border to the mount, 12cm high £200 - 300*

5

5 A rare English white metal mounted nut flask, possibly a vinaigrette, 16th/17th century, engraved MARG(aret) WYSE, the underside with a seal, 3.5cm high £400 - 600*

6 Two coquilla nut snuff flasks, late 18th/early 19th century, one with white metal mount and stopper, the body incised with over-lapping circles and punched with further small circles, 7cm high, the other with white metal mount, the body with four concentric circular motifs, on a turned lignum vitae foot, 7cm high (2) Provenance: with Robert Barley, Norfolk £200 - 300*

6

6

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 7

7

7 A pair of Indo Portuguese ebony mermaid finials, Goa, late 17th century, each on square-section integral base, 27cm high (2) Note: The form of the current lot displays similarities with the sculptural treatment of the legs found on cabinets-on-stands often reproduced under Portuguese patronage in India. This style of furniture is particularly distinctive with the sculptural elements typically assuming a variety of human and animal forms, often with a Hindu association. £1,500 - 2,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

7

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 8

8 A Dutch tortoiseshell quill cutter, dated 1675, with while-metal mounts, inscribed P A Goedhuis, 1675, later blade, 12cm long, together with a silver-mounted tortoiseshell bowl, late 17th/early 18th century, with pierced handle, the shield inscribed B I W, 15cm long (2) £400 - 600* 8

9 9 A white metal mounted cowrie shell, probably Hispanic, 18th century, with pierced scroll handles and lion mask mount, 10cm wide, together with a white metal mounted cowrie shell, probably Hispanic, 18th/19th century, on three scroll feet, 8.7cm wide; a late Victorian cowrie shell snuff box, with silvered mounts, 8cm wide; a cowrie shell containing a coin, 7.5cm wide; and a collection of small cowrie shells (5) £500 - 800*

10 A collection of South American and Central American artefacts, 19th-early 20th century, comprising two mate cups, a bombilla, a drinking vessel, a white metal figural pin, a white metal fastner, a Mexican pottery vessel and a carved wood pipe (10) Provenance: Mate cup, bombilla, two silver pins The collection of Seward Kennedy, London £300 - 400*

10 8

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 9

11

11 Two turned wood white metal mounted mugs, 18th/19th century, one of barrel form with ‘s’ scroll handle, 9.5cm high, the other with engraved foliate decoration to white metal mounts, 10cm high (2) £150 - 250*

12 Two South American silver tupu, 17th century, one with disc terminal the other with demi disc terminal, 13.5 and 16cm long (2) £150 - 250*

13 A pair of English turned lignum vitae mortars, late 17th/early 18th century, each of slender baluster form with moulding to the rim and mid section, 22cm high (2) £1,200 - 1,800* 13

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

9

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 10

14 14 An English turned lignum vitae pricket candlestick, 17th century, the dished circular top with moulded rim above a baluster-turned stem on spreading circular base, 13.5cm high excluding iron pricket

15

Provenance: Christies, South Kensington, Seward Kennedy’s Collection of Curiosities, 22 November 2016, lot 247 £400 - 600* 15 An American turned treen mortar, 19th century, with moulded rim, the foot with five incised lines, the underside with pharmacy label C.S LORD PHG, Main St Mansfield Mass, with further ink inscription OPENED MAY 12 1927, Sold to Ed Fitzpatrick, Aug 1, 1952, 19cm high £200 - 300*

£200 - 300* 17 An English cedar goblet, late 18th century, the bowl raised on waisted stem and circular moulded foot, 13cm high £150 - 250*

16

10

16 A pair of English turned treen goblets, c.1800, each with moulded and incised bowl above a spreading circular foot, 15cm high (2)

17

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 11

18 A brass-mounted turned treen tobacco bowl and cover, possibly Dutch East Indies, 18th century, for communal use, with baluster handle and moulded rim and foot, 30cm high, 25cm diameter Note: E. H. Pinto, Treen & Other Wooden Bygones (1970), figure 355, for a similar bowl, described as ‘a Dutch community table tobacco bowl’, and in the accompanying text on p.342, as a ‘very rare, Dutch, 18th century tobacco jar-bowl...hollowed out of a walnut root, handsomely mounted in brass.’ Pinto notes that it ‘may have been used for passing tobacco round the table at a guild or similar meeting...[or] it may have been used for conditioning tobacco leaves in various juices during the process of snuff making’. The illustrated bowl, like the bowl in this lot, has a 1 inch rebate around the rim, which allowed for its close-fitting lid to move up and down as it acted as a press. £300 - 500*

18

19 A brass bowl, possibly Dutch East Indies, early 19th century, elaborately engraved overall, 13cm high, 26cm diameter £200 - 300*

19

20 An English burr treen dairy bowl, 19th century, with inverted moulded rim, 10.5cm high, 22cm diameter £200 - 300*

20

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

11

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 12

21

21 A Swedish burr birch kallskål, 17th/18th century, of typical form, with bone mounts, twin scroll handles and three feet, the cover with ink inscription Donné par le Roi Charles XV a Ulriksdal VAISSELLE DE CAMPAGNE DE GUSTAVE ADOLPHE 12 Aut 1863, 19cm high, 31 cm wide

22 An English beech press, 19th century, the screw action with knopped finial, possibly adapted, 25cm long, together with a treen grain bowl, 25cm diameter of bowl; a treen goose wing knitting sheath, 19th century, 19cm long and a treen spoon, 15.3cm long (4)

Note: The inscription on the current lot refers to Charles XV, King of Sweden and Norway from 1859-1872. Ulricksdal is the location of a royal palace, north of Stockholm, acquired in 1856 by Prince Charles, later King Charles XV. During his reign the palace was used as his preferred summer residence and furnished extensively with antiques.

The mention of Gustave Adolphe perhaps refers to Gustav IV Adolph, King of Sweden from 1792-1809.

£120 - 150* 23 A group of treen items, 19th century, comprising: a lignum vitae dice shaker, a salt in the form of a wassail bowl, a napkin ring, a miniature shallow dish, a boxwood double-ended measure and a polychrome dice shaker, the measure - 9cm high (6) £250 - 350*

£300 - 500*

23

12

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 13

24

26

24 A treen box modelled as a lemon, late 19th century, 7cm long, together with a boxwood needle case, 19th century, carved with figures, and a Swedish box, late 19th century, the cover inscribed with the AO monogram, the interior with a miniature carved deer, the underside, with ink inscription, 6cm diameter (3) £250 - 350* 25 A treen candlestick, c.1800, of baluster form, 17cm high, together with a small ebonised bowl, 10cm diameter, an ebonised stand, 10cm high and two hardwood oval dishes, 17.5cm and 15cm wide (5) £150 - 250* 26 An English horn mounted treen snuff box, dated 1714, the cover inscribed IF YOU LOVE ME LEND ME NOT / JM 1714, 8.8cm long

27

£300 - 400* 27 A Spanish damascened iron dish, in the manner of the Zuloaga workshop, late 19th century, decorated in the Islamic taste, centred by a bearded male head in profile wearing helmet, 10cm diameter Provenance: Dreweatts Donnington Priory: The Contents of Finchcocks Musical Museum, 11 May 2016, lot 394 Note: While the Zuloaga family were perhaps the best known craftsmen of damascened objects in the late 19th and early 20th centuries, several other workshops were active in the era including additional ateliers in Eibar and Toledo. Notably, the period saw the creation of decorative objects inspired by the elaborate architecture of the Alhambra Palace in Granada in which architectural elements were reproduced and reinterpreted in myriad objects. £300 - 500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

13

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 14

29

28 A pair of Italian copper chargers, 18th/19th century, each repousse decorated and centred by a coat-of-arms, 29cm diameter (2) £120 - 180*

30 Two gold-mounted engine-turned tortoiseshell boxes, English or French, late 18th century, each with polished gold hinge and thumbpiece, 5.5cm and 5cm diameter (2)

29 A large bronze bowl, 18th/19th century, of shallow form, 40cm diameter,

Provenance: The dark tortoiseshell box, Christies, The Althorp Attic Sale, South Kensington, 7-8 July 2010, lot 711

£200 - 300*

£250 - 350*

30

14

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 15

33 31 A group of three tortoiseshell dressing table boxes, late 19th/early 20th century, comprising: a rectangular box, possibly Chinese, the pierced lid with scrolling foliate design; a silver-mounted circular box; and an oval box (3)

33 Three English or Scottish horn goblets, 19th century, of conical form and peg construction, the largest - 14cm high, together with a smaller horn goblet, 9.5cm high, a horn beaker with wood stopper, 12cm high and a horn cup with integral handle, 7cm high (6)

Provenance: Christies, The Althorp Attic Sale, South Kensington, 7-8 July 2010, lot 307

£150 - 250*

£80 - 120*

34 A Victorian silvered brass mounted horse hoof box, dated 1847, inscribed Kitty Died Dec 4th 1847 Aged 25 Years, 7.3cm high; and a white metal mounted leather bottle, 18th century, 14cm high (2)

32 A Scottish horn snuff box, 19th century, the lid inset with a facetted paste mount, 5.5cm diameter, together with a bone inlaid horn snuff box, 5.8cm diameter; an oval horn snuff box, 10.2cm wide; an English horn huntsman’s tally, early 20th century, carved with a horse’s hoof inset with mother-of-pearl spots, 10cm long, and a horn whistle (5)

£200 - 300*

£120 - 180*

34

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

15

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 16

36 A French or German agate box and lid, mid 18th century, of scallop form, unmounted, 6.5cm wide, together with an agate-mounted brass buckle, with three panels set in a beaded border, 7cm wide (2) £100 - 150* 37 Two Medieval lead plaques, modelled in relief, one with two birds feeding from a vessel, the verso with a geometric circular motif, the other a cross in a cartouche, the verso with a geometric design, 7 x 7.5cm and 7 x 6cm, together with an iron bowl, in the Roman taste, cast in relief with masks and chimera, 11.5cm diameter; and two medieval pottery amphora, one with associated red clay stopper, 18cm high (5) £120 - 180* 38 A group of bronze weights, three bell-shape examples, one octagonal example and two flat oblong weights, 7cm high, together with a brass beam balance scale, 18th/19th century, 10cm wide (7)

35

£80 - 120*

35 Six agate handled fruit forks, 18th/19th century, each with facetted haft and baluster stem, 13cm long (6)

39 A horn comb, 18th/19th century, 10.2cm long, together with a wood and steel spoke shave, 23cm long, and a Victorian brass and ivory syringe,

by S.Maw, 11 Aldersgate St, London, 20cm long (3)

£200 - 300*

£80 - 120*

36

16

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 17

40

40 A Scandinavian horn powder flask, 18th century, incised overall with figures amidst flowers, with zoomorphic finial, wood stopper, 22cm long, and a Scandinavian horn snuff box, dated 1743, and further inscised AE, the body with concentric circle motif, 5cm high (2) £250 - 350*

41 A cow horn powder flask, possibly Scandinavian, 18th/19th century, inscribed with a figure on horseback, a standing lady, birds and deer, further inscribed with the name ....CASPAR, with two copper ring handles, 17cm long £150 - 250*

42 A large horn flask, 19th century, carved in two sections with wood stopper, 34cm long £80 - 120*

41

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

17

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 18

43 43 A Dutch brass tobacco box, 18th century, the hinged cover engraved with a female figure, Maria Baer collection label to underside, 13cm long, together with a Victorian brass snuff box, the hinged lid engraved CHARLES COVE BOYNE HILL MAIDENHEAD, the reverse with a sun, 7cm wide, and a late Victorian beaded brass circular frame, 9cm diameter (3) Provenance: the first tobacco box, The Collection of Maria Baer; with Eva Weininger £150 - 250*

44 44 Two English brass combination tobacco boxes, 18th century, comprising: a circular box with two dials, a sunburst and crescent moon, 9cm diameter, and a rectangular box with two numbered dials, 7.5cm wide (2) £150 - 250*

18

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 19

45

45 A Folk Art polychrome decorated plaster relief, first half 19th century, depicting a horsedrawn carriage galloping past a sign post, the driver with long whip, in an ebonised frame, 33 x 74cm

47 An Anglo-Dutch polychrome decorated wood hobby cart handle, late 17th/early 18th century, carved with winged cherubs and a leaping horse among scrolls and leaves, 101cm long Provenance: Sotheby’s, The Charterhouse Collection, London, 5 November 2002

£400 - 600*

£300 - 500*

46 A German cork relief picture of the boathouse rowing club Hamburg, late 19th century, in an ebonised frame, 16.5 x 23cm Provenance: Sotheby’s, Royal House of Hanover, Munich, 5-15 October 2015 £50 - 80*

47

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

19

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 20

48

49

48 A painted pine Folk Art group of three owls, late 19th/early 20th century, on a square-section plinth, 17cm high, together with a Victorian model of a gentleman and child under a glass dome, 20cm high, and two painted wood miniature naive groups, early 20th century, one of a horse drawn cart, the other a shepherdess with a sheep dog and sheep, in a box posted to Mrs Baverstock, Kempton, 30.6.12, 13cm long (4)

49 A Folk Art model of a lady, possibly West Indian, 19th century, applied with shells, with painted face and silk covered tall hat, 15cm high

£100 - 150*

£100 - 150*

£100 - 150* 50 An unusual oak vide poche, early 20th century, carved with fairies in a woodland setting, inset with a brass dish centred by a geometric design, 31cm wide

50

20

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 21

51 51 A group of twenty three exhibition display stands, 20th/21st century, of various shapes and materials, including ebonised, wood and perspex examples, the easel - 51cm high (23) £80 - 120*

52 A group of four pestles, comprising: a large lignum vitae double ended pestle, 50cm long, another double ended example, 44cm long, a brassmounted and weighted wood pestle, 30cm long and a very large hardwood pestle with double-ended octagonal shafts, 104cm long; together with an ethnographic hardwood pestle or club, 56cm long (5) Provenance: The collection of Seward Kennedy, London

53 A collection of four treen tools, comprising a large pine mallet, 97cm high, an elm and ash iron-mounted spade with initials WB twice to the handle, 117cm long, a baker’s shovel with old stapled repair to the blade, 110cm long and an iron mounted beech rake, 69cm long (4) Provenance: The collection of Seward Kennedy, London £250 - 350*

£250 - 350*

52

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

53

21

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 22

54 Five African hardwood throwing clubs, early 20th century, each with tapered ends, 65-72cm (5) Provenance: Two from Hooton Pagnell Hall, Doncaster £300 - 500*

54

55 A Pacific Islands painted paddle, early 20th century, the broad blade painted with a stylised animal head, 110cm long Provenance: Hooton Pagnell Hall, Doncaster £200 - 300*

55

56 A Solomon Islands paddle club, early 20th century, the broad, flattened blade with ridged central section, 136cm long

56

Provenance: Hooton Pagnell Hall, Doncaster £300 - 500*

22

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 23

57

57 An Aboriginal hardwood throwing club, late 19th century, chip carved grip, adorned to the broad head with iron nails, 73cm long

59 A Chaco stone and wood war club, the wood shaft bound with hide, possibly snake skin, terminating with a stone axe head, 42cm long

Provenance: Hooton Pagnell Hall, Doncaster

£300 - 500*

£200 - 400*

60 A malacca handled fisherman’s priest, 19th century, with lead mount, 31cm long

58

A large African hardwood spatula, 57cm long

£120 - 180*

£80 - 120*

58

59

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

23

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 24

61 61 A folk art carved hardwood model of a lion, 19th century, with inset glass eyes, coarse hair whiskers and a string mane, 50cm high, 64cm long

62 A Tanzanian hardwood carving of a hippo, early 20th century, carved standing four square with open mouth revealing bone teeth, 28cm long

Provenance: The Captains Hamilton, Sundrum Castle, Ayrshire; removed to Pallinsburn, Northumberland; Lyon & Turnbull, Contents of Pallinsburn, 4 May 2005, lot 399B

£100 - 200*

£800 - 1,200*

62 24

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 25

63

64

63 A Shona Tribe Bantu green hardstone sculpture of a bird, attributed to Henry Munyaradzi, late 20th century, 42cm high

65 S Muchembere, a hardstone model of a bird, inscribed to the underside S Muchembere, 2136, 25cm high

£150 - 250*

£150 - 250*

64 Claudio ‘Cloud’ Mapete, Elephant Man, 1960s, green hardstone, inscribed signature Claudio Mapete, gallery label to reverse, 28cm high

66 Marko Guri, A Bird, green hardstone, inscribed to the underside, M Guri, 19cm high, 31cm long

£150 - 250*

£150 - 250*

65 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

66

25

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 26

67 A Pre Columbian Moche Pot, 7th/8th century, modelled as a stylised standing man, 40cm high £300 - 500*

68 Eleven various pre-Columbian pottery head fragments, from Ecuador, Manabi /Bahia and Mantena, largest (11) £300 - 500*

67

68

26

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 27

69 A Guatamalan carved wood slingshot, 19th century, carved as a skeleton, 19cm high £200 - 300*

69

70 A carved stone Olmec-type mask, 4.5cm high, on perspex stand £200 - 300* 70

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

27

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 28

71

71 A Tairona pectoral ornament, Ca. 1000-1500, the green speckled oblong stone carved with suspension loop, 17cm long

72 An inuit bone harpoon tip, late 19th century, four stone beads and two bone beads, 10.5-6cm long (7)

73 A Pacific North West Haida argillite pipe fragment, late 19th century, incised with a stylised whale, 10.5cm long

£300 - 500*

£80 - 120*

£200 - 300*

72

28

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 29

74

74 A collection of African hardstone and glass bead necklaces, early 20th century Provenance: The collection of Seward Kennedy, London £600 - 800*

75 A collection of African artefacts, 18th-early 20th century, comprising a carved wood spoon, a carved horn spoon, a Zulu horn and wood powder flask, a carved wood effigy, an Ethiopian bangle, three Zulu copper bracelets, and a chip carved disc ornament (9) £200 - 300*

75

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

29

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 30

The Hohenzollern Collection of Ancient Bronze Statuettes

76

76 A large group of 27 ancient bronze figures, principally figures of Heracles, with two brandishing a club in the raised right arm, 6.4cm high and 7.1cm high, another holding a club in the left arm, 6.7cm high; ten other examples all nude and variously with right arm upraised and with the lion skin draped over the left arm, 6.5cm - 10.6cm high and two more naturalistic examples of nude Heracles, 8.4cm and 8.9cm high, Italic, circa 3rd-2nd century B.C.; a nude bronze javelin thrower, the right arm raised and each hand formed into a fist, circa 5th-4th century B.C., 8.6cm high and another of more schematic form, circa 6th century B.C., 8.4cm; an Etruscan bronze athlete, circa 5th-4th century B.C., 7.5cm high; an Italic bronze figure of Poseidon or Taras, carrying dolphin or fish in the left arm, circa 4th-3rd century B.C., 7cm; an Italic bronze discus thrower, 5th-4th century B.C., 8.7cm; an Italic bronze figure of Mars, circa 3rd-2nd century B.C., 9.3cm; a Roman bronze figure of Diana, 2nd century A.D., 6.3cm; a worn Roman bronze cupid, 1st - 3rd century A.D., 5.3cm; a worn Roman bronze herm, circa 1st century B.C./A.D., 6cm; two Roman bronze figures of the household god Lar, carrying a cornucopia, circa 1st-2nd century A.D., 6cm and 6.6cm high and a lead figure of a putto, Roman or later, 13cm high (28) Provenance: Hohenzollern Collection of Ancient Bronze Statuettes, Sigmaringen Castle, Germany £8,000 - 12,000*

30

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 31

“I discovered this collection completely by chance whilst on a trip to Germany, where I was hoping to buy a small group of European paintings. Catalogued superficially and without illustration or publicity, I was amazed to find it ingloriously housed in a deserted corner of a makeshift saleroom. As I examined the figures and began to get an idea of their topographical and chronological range I became excited, albeit doubtful that my efforts to buy them would be successful.

Over the intervening fifteen years, I and a number of academics have shared the pleasure of cataloguing and getting to know them more intimately. It is unusual to find an unbroken cache of statuettes such as this, especially when they are of noble, not to mention royal, provenance. In addition they represent a broad cross section of cultures and traditions which span the spectrum of style from Archaic to Late Hellenistic.

No collection is meant to remain in private hands for ever and in truth I never expected to hold on to them myself for so long; it was simply that for every question of identification we answered another two came along – a curious classical resonance if ever there were one.”

Ted Few

The Sigmaringen Hohenzollern Collections: During WWII the imposing stronghold of Sigmaringen castle was taken over by the Wermacht and in 1944 it was briefly home to Marshal Petain and the remains of the Vichy government. The castle survives to this day and is still in the Hohenzollern family, although they no longer live there. War damages and a disastrous fire in more recent times have all taken their toll, especially on the family archives. The Sigmaringen Hohenzollerns were avid collectors of works of art, but today there are very few surviving records documenting their acquisitions. We thus know very little about how the group of classical bronzes here were originally put together beyond their presence in the 20th century in the Sigmaringen castle museum. The 1934 autobiography of Marie, wife of King Ferdinand I and Queen of Romania, mentions that just before her marriage in 1893, she visited Sigmaringen for the first time and suggests that the formation of the collection began in earnest in the 19th century with Prince Karl Anton (1811-1885), who appointed a series of scholarly curators. Leopold, Karl Anton’s son, continued to enrich the collections and lived in the castle with his wife until his death in 1905. They spend much of their life together travelling through Italy, through Etruria and down into Campania, the very regions where many of the bronzes in the collection were produced in Classical times.

The bronzes were very likely accumulated from a number of sources. All of them are mounted on turned 19th and early 20th century wood stands of excellent quality, and most are the originals upon which each individual piece was displayed in the castle at Sigmaringen. What is evident from the family history of collecting is that the Hohenzollern interest in the acquisition of these charming bronzes lasted for a number of years and possibly generations.

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

31

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 32

77 A pair of Italian bronze female figures, after Tiziano Aspetti, 18th/19th century, each in contrapposto pose with flowing robes, on integral bases, 17.5cm high (2) Provenance: Agatha and Charles Sadler, St. George's Gallery Bookshop, Duke Street, St. James's, London £800 - 1,200*

77

78 A pair of French bronze models of Apollo and Diana, after the model by Jean Jacques Pradier, 1792-1852, mid 19th century, Diana with Victor Paillard foundry mark, on modern stained wood pedestals, the bronzes - 17cm high (2) £800 - 1,200*

78

32

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 33

79

80

79 A North European bronze model of Minerva, 18th/19th century, depicted seated on a globe, wearing armour, helmet and robes, on a square section mottled white base, 23cm high overall £200 - 300* 80 A Neapolitan bronze model of a Classical female, probably Venus, late 19th century, half size, on a breccia marble square-section plinth, 23cm high overall £200 - 300* 81 A North Italian bronze model of a kneeling moor, in the manner of Pietro Tacca, probably late 17th century, depicted with arms aloft supporting a now lacking object, on an associated shaped circular base, 16cm high £300 - 500* 81

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

33

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 34

82 A carved marble relief of a Classical head, 16th century, gaze to dexter, 33cm high, 20cm wide, 14cm deep £1,000 - 1,500*

83 An Italian marble bust of Caesar, in the antique style, on an associated marble torso with draped shoulders, 40cm high Provenance: Sotheby’s, Shrubland Park, Suffolk, 19-21 September 2006, lot 977A £1,200 - 1,800*

82

83

34

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 35

84

84 An Anglo-Flemish marble portrait relief of a gentleman, late 17th century, with painted eyes, in an octagonal oak frame, 35cm high, 28.5cm wide Provenance: Sotheby’s, Chatsworth: The Attic Sale, 5-7 October 2010, lot 63 Exhibited: Inventory of Pictures at Devonshire House, n.d. (c 1900’s) attenda no. 132 ‘Marble Relief Plaque English-Dutch School XVII Century. ? Portrait of Lord Falkland £1,200 - 1,800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

35

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 36

85

85 An Italian terracotta relief, possibly Lombard, probably depicting Andromeda, late 15th/16th century, the nude figure with flowing hair, her raised arms holding reins, on a modern ebonised stand, 40 x 24cm Note: The heavily-lidded eyes with incised pupils and overall modelling of the face suggest the possible origin of this relief is the Lombard region of north Italy where similar characteristics can be seen on sculpture of the late 15th and early 16th centuries. £1,500 - 2,500*

36

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 37

86 86 A ‘New Sculpture’ painted plaster relief panel, c.1920, modelled as a seated Egyptian priest flanked two kneeling females, a cat to the base, 31 x 59cm

87 A group of five bronze escutcheons modelled as grotesque masks, 17th-19th century, including a pair, 7cm high, together with a lead relief of a satyr, 17th/18th century, 7cm (6)

£400 - 600*

Provenance: The escutcheons - Sotheby’s, London, Bernheimer Day Sale, 25 November 2015, lot 527 Note: a similar pair of larger bronze masks sold Christie’s, Amsterdam, Property from the Collection of the Princely House of Lichtenstein, 1 April 2008, lot 28, EUR 1500. £200 - 300*

87

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

37

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 38

88 A miscellaneous group of objects, including a Bronze Age bronze torc, circa 1800 - 1400 B.C, 12.4cm diam; a large bronze fibula with disc catch-plate, 15.2cm. long, pin missing; a small bronze bow fibula, pin missing, Italic to Roman periods 3.6 cm; a Roman bronze pendant in the form of a foot, 3cm; a pendant cross, possibly Byzantine, 3.5cm; three bronze looped chain pendants; a small Roman/Medieval glass phial, 3.7cm. diam.; a bronze attachment plate, possibly Luristan, circa 8th century B.C., 6.6 cm. and a fragmentary Egyptian blue glazed faience body of a Bes amulet, Roman Period, 1.9cm. high (11) £200 - 400*

88

89

89 A pair of French bronze desk weights, late 19th century, in the form of stag heads, on stepped verde antico and rouge marble bases, 17cm high, together with a marble desk weight in the form of an egg, on a brocatello marble base, 14.5 x 11 cm; and a mottled green marble oval object, possibly a handle, 12cm long (4) £300 - 500*

90 A pair of breccia marble pedestals, late 19th century, each of square-section form with white marble capitals, 27.5cm high (2) £150 - 250* 90 38

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 39

91 An engraved oval ivory plaque, 18th century, formally a box cover, depicting a scene from antiquity, possibly Diana with attendants, with ink inscription to the reverse Maude from Constance Christmas 1925 with love & best wishes, on a later silk covered wood plinth, 10cm wide £300 - 500*

91

92 An Italian carved ivory relief plaque of a Cardinal, 17th/18th century, depicted wearing episcopal vestments, on later silk covered wood stand, 5cm high £150 - 250*

92

93 A gold-mounted tortoiseshell bonbonniere inset with a portrait miniature of three sisters, probably Paris, c.1780, the circular portrait painted on ivory with indistinct signature and bearing date 1817, with ink inscribed inventory label to interior, 9.2cm diameter Provenance: Christie’s, London, The Collection of Ana Maria Espirito Santo Bustorff Silva, 29 April 2015, lot 91 £200 - 300*

93

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

39

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 40

94

94 A George III ivory toothpick case, c.1780/90, of rectangular form with cut corners, the cover inset with a glazed scene depicting a hillside town with mountains and a lake beyond, gilt-mount, cut-steel border, the interior later lined with fabric, 9.5cm wide

95 A French gilt-copper oval box, probably 18th century, engraved in the rococo taste with flowers, 8cm wide £200 - 300*

Provenance: With Eva Weininger £250 - 350*

95

40

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 41

96

97

96 An Italian ivory model of the Virgin and Child, after Our Lady of Trapani, late 17th/early 18th century, depicted standing in flowing robes, supporting the seated Christ child in her left arm, 13.5cm high

97 A pair of Austrian ivory models of itinerant musicians, circle of Simon Troger, 1683-1768, mid 18th century, each bare-footed figure with ragged clothes, one holding a trumpet, the other a lute, on engine-turned bases, the figures - 13cm high (2)

Note: the fourteenth century Basilica of Maria Santissma Annuniziate in Trapani, Sicily, houses a marble statue of the Madonna of Trapani, attributed to Nino Pisano upon which the current lot is based.

Note: Born in the town of Abfaltersbach in Austria, Simon Troger established a large workshop in nearby Haidhausen, executing commissions for patrons such as Maximillian III, Elector of Bavaria.

Troger’s work typically contrasted dark woods with the luminosity of polished ivory.

£500 - 800*

£1,200 - 1,800* 98 An engine-turned ivory bodkin or sewing case, 18th century, of tapering cylindrical form, 11cm long, together with an engine-turned ivory rouge pot, 18th century, 3cm diameter; and an ivory, tortoiseshell and pique oval box, early 18th century, 5cm wide (3) £200 - 300* 99 A Continental ivory mounted silver ladle, 19th century, the pierced bowl centred by a swan surrounded by C-scrolls, 27cm long 98

£80 - 120*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

41

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 42

100 100 Two polychrome decorated plaster reliefs, in the style of Nottingham Alabasters, The Burning of the Philosophers and The Beheading of St Catherine, late 18th/early 19th century, in medieval revival oak frames, 50 x 25cm and 50 x 27cm (2) Note: This rare pair of reliefs are mentioned twice by Francis Cheetham in the Victoria & Albert Museum catalogue of English Medieval Alabasters, 1984 and Alabaster images of Medieval England, 2003. They are also mentioned in Collectors Luck, Stowers Johnson, p194, figure 36, London, 1968.

The Roman emperor Maxentius abducted St Catherine of Alexandria and ordered philosophers to convert her to paganism. When they failed and became Christians themselves, Maxentius ordered them to be burnt to death. St Catherine was also condemned to death, firstly on a spiked breaking wheel, but at her touch it shattered. Maxentius then ordered her to be beheaded, as depicted in the current lot.

In the fifteenth and sixteenth century, Nottingham was the centre of an industry carving locally mined alabaster, a material famous for its characteristically creamy and milky texture, which made it easier to carve and to paint than other materials. It became popular in the use of tomb carving and small religious carvings, particularly panels. It was transported by water and road across England to various sculpture centres and even internationally as far north as Iceland and as far south as Spain.

The current lot is an idiosyncratic revival of such panels. Inspired by the Medieval examples, the lot was perhaps made as an appreciation to the rarity of the original panels. £5,000 - 8,000*

42

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 43

101

101 A Spanish polychrome and giltwood model of Christ as the Man of Sorrows, 17th century, depicted seated with flowing robes, hands crossed, 40cm high Provenance: with Robert Barley, Norfolk £5,000 - 8,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

43

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 44

102 A German polychrome boxwood Corpus Christi figure, 16th century, 29cm high £1,000 - 1,500*

102

44

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:27 Page 45

103

103 A pair of North German bronze models of kneeling angels, early 17th century, each depicted with hand raised to hold an object (perhaps a candle), vacant holes to reverse for wings, on later verde antico marble bases, 20cm high (2) Note: These kneeling angels probably originally served an ecclesiastical function on an altar in front of a tabernacle. £3,000 - 5,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

45

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 46

105

104 A Continental portrait roundel of a Saint, 18th/19th century, oil on wood, integral moulded gilt frame, mounted on a modern velvet covered board, 9cm diameter Provenance: Baron Robert Rothschild £100 - 150* 105 A Spanish colonial reverse glass painting of the Annunciation, 19th century, with blue border, in a giltwood frame, 40 x 54cm £100 - 150* 106 Italian School, a painted composition bust of a Mother and Child, 20th century, with indistinct stamp to reverse, 38cm high Provenance: Christie’s, South Kensington, Interiors, including Property of the Late Walter Pach, 25 October 2011, lot 455 Note: Walter Pach, 1883-1958, was an American painter and critic who wrote extensively about modern art and championed its cause. Through his numerous books, articles, and translations of European art texts Pach is credited with bringing the emerging modernist viewpoint to the American public. £120 - 180* 106 46

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 47

107

107 A Continental tapestry panel of a saint, probably Saint Ignatius, late 18th/early 19th century, with coloured and gilt wire threads, the figure standing in front of a balustrade in a robe with two further saint figures, a winged cherub crowning the Saint, later frame, 200 x 125cm £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

47

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 48

108

108 A pair of Italian silvered and gilt figural candle holders, the cherubs 18th century, the bases late 19th century, each winged cherub holding a spiral gadrooned candle holder, the bases carved with elaborate scrolls and acanthus, 91cm high (2) £2,000 - 3,000*

48

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 49

109

109 A Low Countries polychrome clay model of a kneeling figure, possibly Utrecht, 17th/18th century, depicted in long robes, 11cm high

110

Note: Similar clay groups depicting the Virgin and Child, Saints Catherine and Barbara were a speciality of Utrecht. These figurines were made in large quantities using moulds, and were dispersed all over Europe. The clay used was easy to cast, however the result was very breakable making these figures quite scarce today. £200 - 400*

110 A Portugese colonial boxwood relief of The Crucifixion, 17th century, carved in deep relief with soldiers and mourners at the foot of the cross, traces of gilding, 19cm high £800 - 1,200*

111 A group of four Continental relief-carved horn moulds, 18th/19th century, depicting the life of a martyr, with ink letters and numbers to the reverse, 11 x 8cm (4) £150 - 250* 111

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

49

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 50

112 112 Benjamin Edward Spence, English, 1823-1866, a marble portrait bust of a gentleman, mid 19th century, depicted looking straight ahead, his hair curling at the temples and with long sideburns, signed B.E.SPENCE FT, ROMA, 60cm high Note: Benjamin Edward Spence was born in Liverpool, the son of the sculptor William Spence. Through his father’s friendship with John Gibson, Benjamin travelled to Rome in 1846. In Rome Spence joined the studio of Richard James Wyatt, while simultaneously receiving guidance from Gibson. On Wyatt’s death in 1850, Spence completed his works and took over the studio. He spent most of his working life in Rome, visiting England annually for the Royal Academy shows. He exhibited at the Royal Academy himself from 1849 to 1866. The present lot is a fine example of the sculptor’s portraiture and skill in carving marble. Executed in a Neo-Classical style, it reveals the influence of an earlier generation of sculptors working in Rome. The sitter would have been an English gentleman on the Grand Tour, who would have sat for Spence in his Roman studio. £1,500 - 2,500*

50

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 51

113 Fredrick Winter, English, c.1849-1924, a painted plaster bust of Walter Charles Goodchild, dated 1876, inscribed to the reverse WALTER CHARLES GOODCHILD / F WINTER Sc. LONDON 1876, 42cm high £200 - 300*

113

114 A bronze portrait bust of a gentleman, late 19th century, depicted wearing cravat, waistcoat and jacket, on a square-section waisted plinth, 67cm high £800 - 1,200*

114

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

51

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 52

115 A Victorian terracotta portrait roundel, mid 19th century, modelled as a young lady, her gaze to sinister, 33cm diameter Provenance: A Victorian villa, Brentford £200 - 300*

115

116 Sir John Robert Steel, R.S.A., Scottish, 1804-1891, a bronze bust of Reverend Thomas Guthrie, c.1856, signed to the reverse Jn STEEL Sculpt and faintly to the square base, 51cm high Note: The Rev. Thomas Guthrie (1803-1873) was a Scottish preacher, philanthropist and founding member of Ragged Schools. Sir John Steell trained for several years in Rome, and although encouraged by Chantrey to move to London, he lived the rest of his life in Scotland, dedicated to the promotion of the arts of his native country.

Steell achieved great celebrity for his talents as a portraitist, in particular for his busts of Wellington, Florence Nightingale and Robert Burns. An identical bust to the present lot is in the National Galleries of Scotland Collection. £800 - 1,200* 116

52

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 53

117

117 William Behnes, English, 1795-1864, a white marble portrait bust of a gentleman, dated 1844, inscribed to the reverse BEHNES SC 1844, on a waisted marble socle, 78cm high Note: William Behnes found fame at a young age. He first exhibited at the R.A. in 1815 and quickly accumulated a following with many commissions. The Art Journal, referring to a bust of Clarkson, wrote that they had ‘never seen anything finer in modern or ancient art’. While H. Weekes was inclined to rate him as the superior of Chantrey in the field of portrait sculpture. Sadly Behnes, in middle age, fell into financial difficulties and died a pauper. £1,200 - 1,800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

53

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 54

118 Ancieto Marinas Garcia, Spanish, 1866-1953, a bronze maquette of Eloy Gonzalo Garcia, the hero of Cascorro, 1900, the striding contrapposto figure, a rifle over his right shoulder, holding a flaming torch in his right hand, an oil drum under his left arm, the base with cast signature A Marinas and foundry inscription MASRIERA & CAMPINS FUNDIDOROS - BARCELONA, the original rouge marble base with gilt-bronze plaque inscribed ELOY GONZALO HEROE DE CASCORRO, the bronze - 60cm high, 84cm high overall Exhibited: Madrid and Barcelona, 2000.

Note: Eloy Gonzalo García (1876-1897) was a distinguished Spanish soldier in the Cuban War of Independence. In September 1896 the small nationalist fortress town of Cascorro was seized by three thousand insurgents and the besieged Spanish forces were forced to set fire to the houses held by the enemy. According to various sources, Eloy Gonzalo volunteered to undertake the task, carrying a can of oil and with a rope tied to his waist, so if injured or killed, he could be recovered. He survived the mission and went on to take part in further military actions until his death a year later from an intestinal infection.

In 1897, the year of his death, the government of Spain decided to honour Gonzalo by commissioning a statue from Ancieto Marinas Garcia of ‘The Hero of Cascorro’.

Aniceto Marinas, a renowned sculptor of public monuments in Spain, studied at the San Fernando Academy of Fine Arts and later in Rome. He participated in national and international exhibitions and received several awards. The present lot, a maquette for the statue in Plaza de Cascorro, in the heart of Madrid’s Rastro, depicts Gonzalo in heroic pose, moments before his mission, striding forward, a rope tied to his waist, an oil drum under one arm, a flaming torch in the other and a bayonet across his chest. £5,000 - 8,000*

118

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 55

119

119 Henri-Joseph Ruxthiel, Belgium, 1775-1837, a bronze portrait bust of Charles Ferdinand d’Artois, Duc de Berry (1778-1820) in military costume, 19th century, depicted with epaulettes with coat of arms, chains of office, on an associated waisted socle, 55cm high Provenance: Philips, Oxford, The Elms, Brampton, March 1997 Note: The neoclassical sculptor Ruxthiel was first a shepherd, then sculptor in his later life. In 1800 he became the pupil of Jean-Antonie Houdon then that of the sculptor Philippe-Laurent Roland and the painter Jacques-Louis David. In 1809, he won the Prix de Rome for sculpture with a relief Dédale attachant des ailes à son fils Icare. An identical bronze bust can be found in the Musée du Louvre, Paris. £2,500 - 4,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

55

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 56

120

120 François Léon Sicard, French, 1862-1934, a bronze portrait bust of Georges Clemenceau, dedicated to Lady Edward Cecil (Hatfield House), dated 1919, cast to the right shoulder FL Sicard, the verde antico marble base inscribed LADY EDWARD CECIL / G.CLEMENCEAU / 1919, 45cm high Note: Violet Georgina Maxse, Lady Edward Cecil and later Viscountess Milner (1872-1958) was widowed in 1918 after her first husband, Lord Edward Cecil died of Spanish flu. She married Alfred Milner, 1st Viscount Milner (1854-1925) in 1921 having first exchanged letters with him during his time in South Africa as High Commissioner. Viscount Milner was a British statesman and part of Lloyd George’s War Cabinet during the First World War. He attended the 1919 Paris Peace Conference where he became one of the signatories of the Treaty of Versailles. It seems highly likely that during this period Lady Edward Cecil, his future wife, was introduced to George Clemenceau, the French Prime Minister, and the present bust was subsequently presented to her.

François Léon Sicard studied under Félix Joseph Barrias and Félix Laurent. He exhibited at the French Salons, gaining an honorable mention in 1887, a second-class medal in 1894, a first-class medal in 1897, and gold medal at l’Exposition Universelle of 1900. Notable works include La convention Nationale in the Panthéon, Paris, and Le Bon Samaritain (1896), in the jardin des Tuileries, Paris. £2,000 - 3,000*

56

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 57

121

121 Two Order of Battle manuscripts from the War of Austrian Succession, one dated 1743, each with a typical coloured tabular detailing the hierarchy of the commanding officers in the campaign and the composition of the armies, hand written ink and body colour, later framed, 20.5 x 35.5cm and 19 x 31cm Provenance: Sotheby’s, Royal House of Hanover, Munich, 5-15 October 2015 Note: The Battle of Dettingen took place on 27 June 1743 during the War of Austrian Succession. It was fought between a Pragmatic Army, composed of British, Hanoverian and Austrian troops, and a French army commanded by the duc de Noailles.

While the Earl of Stair exercised operational control, the Allied army was nominally commanded by George II, accompanied by his son the Duke of Cumberland. As a result, it is now best remembered as the last time a reigning British monarch led troops on the battlefield.

Similar examples are held in the Royal Collection. £800 - 1,200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

57

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 58

122

122 Giovanni Nicolini, Italian, 1872-1956, ‘Ebbro’ (Drunk), bronze, modelled as a nymph and satyr reclining on a rock, cast signature G.Nicolini and foundry plaque T LAGUNA / NAPOLI, 40cm high, 63cm wide, 34cm deep Provenance: The artist by descent to his widow, Marcella Colignon-Nicolini; her sale, to Pietro Palmieri, 28 January 1958; by descent to his daughter, Alarico Palmieri; acquired by the present owner in 1999 Note: Born and raised in Palermo, Nicolini studied under Vincenzo Ragusa at the Museo Artistico Industriale.

He later moved to Rome to work for Giulio Monteverde, where he won the National prize with his relief of Le Marie al Sepolcro and the sculptures La Meditazione and Il Risveglio. His oeuvre ranges from literary to historical and mythological subjects. He is mostly known for his sculptures in Rome, such as La Calabria (1907) and Trionfo Politico (1911). In London, his work Credi a me is kept at the Tate Gallery. Nicolini exhibited a work titled ‘Satiro e Ninfa’ in San Francisco in 1915, which may refer to the present lot (op. cit. p. 652).

Literature: A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell’Ottocento e del Primo Novecento, vol. 2, p. 651-652 £3,000 - 5,000*

58

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 59

123

123 After Jean-Jacques Pradier, French, 1790-1852, Odalisque couchée, painted plaster maquette, the reclining nude figure lying on a draped bed, a feather fan at her feet, 23cm long Provenance: An English private collection Note: A plaster model of this subject, dating from 1842, was part of the former Pierre Lièvre collection in Paris.

Literature: C. Lapaire, James Pradier et la sculpture de la génération romantique, Milan, 2010, p.317, no 191 £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

59

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 60

124

124 Attributed to Metello Motelli, Italian, active 1851-1894, an Italian marble model of a seated female nude, dated 1851, depicted reclining in an elaborate upholstered armchair carved with scrolls and tassels, the arm with two resting doves, the base inscribed Motelli 1851 á m’Bugchok direct-gen.de l’Emp l’autriche á l’Exposition univers de Londres, 29cm high Note: The present lot is most likely by Metello Motelli, who, like many of his contemporaries, is today a rather elusive figure, though he clearly enjoyed considerable success in his lifetime. Referred to as a Milanese sculptor, Motelli’s activity seems to have taken place primarily in Lombardy. Among his most important works is the memorial plaque in stone and bronze to Giuseppe Garibaldi, which he executed for the Lombard town of Saronno in 1883. Earlier in his career Motelli focused on genre sculpture, exhibiting widely both in Italy and abroad. As well as showing works in Milan and Rome, Motelli is recorded as having exhibited in London in 1851, possibly the present lot, and again in 1882. £800 - 1,200*

60

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 61

126

125 A meerschaum pipe, late 19th century, in the form of a lady with a floral hat and lace collar, with amber coloured stem, with original leather case, 13.5cm long

126 A bronze model of a lion, French or Italian, late 18th/early 19th century, depicted crouching on hind legs, 21cm high, 30cm long £1,500 - 2,500*

£50 - 80*

127 A bronze model of a reclining hound ‘Bernard’, French or English, dated 1855, the integral rectangular base inscribed BERNARD and 1855, 8cm high, 17.3cm wide, 18cm deep £600 - 900*

127

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

61

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 62

128

128 A pair of Italian silvered bronze Commedia dell’arte relief plaques, late 19th/early 20th century, one modelled with three figures tempting a cat, the other with two figures capturing ducks, each in painted pine frame, 32 x 37 overall (2) £250 - 350*

129 J.Clay, a bronze portrait bust, with cast signature CLAY, 54cm high £600 - 800*

129

62

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 63

130 Frank Barrett, English, a terracotta model of a nurse, believed to be Sister Dora, dated 1877, depicted in uniform, the circular base inscribed NON NOBIS NASCIMUR (We are not born for ourselves), with further motto stamp centered by a winged griffin, signed Frank Barrett. Sc 1877, 44cm high Note: Dorothy Wyndlow Pattison, better known as Sister Dora (1832-1878) was a 19th century Anglican nun and nurse in Walsall, Staffordshire. After a difficult family life, she eventually escaped to devote the rest of her days to nursing, working alone in a smallpox epidemic, horrific factory accidents and a pit disaster at Pelsall. Her nursing and medical skills, self-sacrifice, and personal devotion to the welfare of her patients meant she became a legend equal to Florence Nightingale in local eyes.

In 1886 a statue by Francis John Williamson was erected in her honour in Walsall, the first public statue of a woman not of royal blood in the United Kingdom. The present lot is believed to be Sister Dora and was perhaps an unsuccessful entry for the competition to commemorate her. £800 - 1,200*

130

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

63

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 64

131

132

131 Alfred Jean Halou, French, 1875-1939, a terracotta model of two figures, one standing, the other seated, beneath a tree, signed to the reverse A J Halou, 19cm high

132 A terracotta bust of Alexandr Solzhenitsyn, 1970s, on hardwood base with typed paper label

Note: Halou began his studies under Alexandre Falguière at the École des Beaux-Arts and continued them as a pupil of Rodin. Rodin had a lasting impact on Halou’s work. He was a member of the sculptor’s group known as ‘la Bande à Schnegg’, a term invented by the critic Louis Vauxcelles who famously also named the ‘Fauves’.

The group consisted mainly of sculptors who had been Rodin’s studio assistants and was led by Lucien Schnegg (1864-1909). Halou exhibited in the group’s first show in 1904. Halou was also a founding member of the Salon d’Automne, which was formed in 1903 in reaction to the conservative tendencies of the Paris Salon. £300 - 500*

Exhibited Los Angeles, New York Bicentennal in 75, - Mm.Solzhenitsyn, —-Solzhenitsyn Society Paris, Baroness Bentick, - Mr. Morell (Westminster Press) Arpad Academy Museum USA., 13cm high Note: Solzhenitsyn (1918-2008) was a Russian novelist, philosopher, historian and political prisoner. He was exiled from the Soviet Union in 1974 and moved to the United States in 1976. His citizenship was restored in 1990 and he returned to Russia four years later until his death in 2008. £200 - 300* 133 Attributed to Ettore Ximenes, 1855-1926, Italian, a lead-based model of a lady, early 20th century, wearing a long dress and holding a classical theatrical mask for Tragedy, with integral base, titled ‘Gran Mondo 1906’, inscribed on the corner of the base ‘Tarantilla Ximenes’, 25 cm high £80 - 120*

64

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 65

134 Ernest-Eugéne Le Chretien, French, 1840-1909, a bronze portrait bust of L.Breton, cast inscription E.Chretien and dedication L.BRETON offert par ses Employes et Ouvriers en 1887, THIEBAUT FRERES FONDEURS PARIS, 63cm high £800 - 1,200*

134

135 Jean-Baptiste Carpeaux, French, 18271875, A bronze portrait bust of Victor Thiébaut, third quarter 19th century, depicted wearing a double-breasted coat and cravat, on an integral waisted square-section base, cast signature to right upper arm JB Carpeaux, 19cm high Provenance: An English Private Collection Note: The current lot was commissioned by the illustrious foundry of Thiébaut Frères to present to the founder, Victor Thiébaut (1823-1888) on the occasion of his appointment to Legion of Honor in 1878. To ensure the gift remained a surprise, Carpeaux did not have Thiébaut pose for him. He was familiar with his sitter as the foundry of Thiébaut Frères cast many of his works, including the large group of Ugolin in the Musée d’Orsay. £800 - 1,200* 135

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

65

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 66

136 Arthur Jacques Leduc, French, 1848-1918, a bronze portrait relief, dated 1911, inscribed a son cher collegue et ami/Souvenir ému / de J LeDuc 1911, 40cm diameter Note: Leduc turned his back on a career in law to pursue his passion for sculpture training as a sculptor at the Le Nordez Ecole des Beaux Arts under Barye. He executed a number of monuments and busts but his main sculptural vocation was as an animalier, particularly horses. £400 - 600*

136

137 Jacob Plessner, German, 18711942, a bronze portrait bust of a lady, dated 1928, the integral plinth with cast signature J Plessner 1928, 46cm high £250 - 350*

137

66

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 67

138 Attributed to Christopher Dresser (1834-1904), a Benham & Froud brass jug Design registered 1885, manufacturer’s stamped mark and registration no. 36698 With tapered spout and hinged lid with a plain finial, the overhead handle with scroll terminals, on a circular spreading foot 31.5cm high Literature: Harry Lyons, Christopher Dresser: The People’s Designer 1834-1904, Antique Collectors’ Club, 2005, p.213, pl.420 (similar form illustrated but with slight variation to banding and finial) £100 - 150*

138

139 E. Hughes & Co, an Earthenware ‘Paladin’ horse’s head vase c.1930, Impressed ‘Paladin, Made in England’ Cast as a horse’s head with stylised mane, with a border of acanthus leaves above a rectangular base, covered in a cream glaze 29.5 cm high £80 - 120*

139

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

67

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 68

140

140 Ashtead Potters Limited (1923-1935), a Christopher Robin Nursery earthenware part tea set c.1928, printed with maker’s text, design numbers and numbers from the set Comprising: a tea pot and cover no.7, 2 cups both no.4, 2 saucers both no.5 (different sizes), 2 milk jugs no.10 and no.11 (different sizes) and a sugar bowl no.23, each piece underglaze printed in colours with various characters from the A.A. Milne children’s books illustrated by E.H. Sheppard, on a cream ground Tea pot 10.5 cm high, 17 cm wide (8) Note: The complete nursery set comprises 24 pieces, each is printed with a number from 1 to 24 and also with various Design Registration numbers. The first Winnie the Pooh book was published in 1926 and the first complete set of this nursery ware was given to the Duke and Duchess of York when they visited the pottery in 1928. Apparently, the second set was given to A.A Milne’s son, the original Christopher Robin.

The Ashtead pottery was set up to offer work to disabled veterans from the First World War, but sadly due to a combination of factors, competition, the depression and the death of its founder Sir Lawrence Weaver, it closed at the beginning of 1935. £300 - 500*

68

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 69

141 A Royal Worcester vase, painted

by James? Stinton, decorated with a pheasant in woodland, puce printed marks G790, 13.5cm high, together with a Royal Worcester ivory blush ewer, the handle with satyr mask, the body floral sprays, printed puce marks 1144, 17cm high (2) £150 - 250*

142 A group of coloured glass items, 18th/19th century, comprising: a small blue goblet, two marbled jugs, a marbled bowl, a opalescent bowl with ‘folded’ rim, a lustre glass vase and a pair of green posy holders, the jug - 16cm high (8) £200 - 300*

143 A multi-colour glass part dessert service, early 20th century, each piece with reeded border, comprising eight bowls and six plates, the bowls - 7cm high, 14cm diameter (14) £50 - 80* 141

142

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

69

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 70

144 Alan Wallwork (1931-2019), a stoneware pebble vase, incised potters monogram ‘AW’, elliptical form with small aperture neck, the textured body with a variegated brown and grey glaze, 11.5 cm high (ARR) £150 - 200*

144

145 A large vinyl Esso advertising banner ‘Put a Tiger in Your Tank!’, 1960s, 210 x 107cm £100 - 150*

145

70

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 71

146

146 Alfred Aaron Wolmark, Polish, 1877-1961, self-portrait, 1940s, a painted plaster bust, 36cm high, 44cm wide (ARR) Provenance: with the Fine Art Society Note: Warsaw-born artist Alfred Wolmark was involved with the Vorticist group of artists in London and was a leader of the avant garde before the first World War. £500 - 800* 147 Leopold Fleischhacker, German, 1882-1946, a bronze model of a cello player, the seated figure on an integral base, with cast signature Leop Fleischhacker and foundry inscription DÜSSELDORF, BRONCEGIESSERE G.M.B.H, 43cm high Note: Fleischhacker studied at the Düsseldorf School of Applied Arts from 1897-1902 and the Berlin Art Academy from 1903-1905. He primarily created portraits, monumental and memorial sculptures in stone, bronze and plaster and until 1931, he was a member of Malkasten, a progressive artists’ association. In 1933, as a Jew, he was denied membership in the Reichskammer der bildenden Künste by the Reich Chamber of Culture, effectively banning him from his profession. From that point on he was only able to work for Jewish customers and created mostly funerary art.

In 1938, during “Kristallnacht”, his studio in the Flingern District was destroyed but he managed to emigrate to Belgium and settled in Uccle, where he worked for a ceramics factory.

In 1945 he was able to reopen a studio in Brussels but he died the following year. £500 - 800* 147

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

71

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 72

Sculptor and print maker Enrico Glicenstein was born Henoch Glicenstein into a Jewish family in Turek, Poland. He enrolled at the Academy in Munich (1890-95) and after twice winning the Prix de Rome in 1894 and 1897 he settled in Italy and took Italian citizenship, becoming known as Enrico Glicenstein. He established a reputation in Paris, winning a silver medal in 1900 and reportedly exhibiting his bronze sculpture ‘Messiah’, alongside Rodin’s own work, at the latter’s suggestion, in the central Rotunda of the Grand Palais in Paris.

Later the same year, upon Rodin’s recommendation, Glicenstein was elected an honorary member of the Société des Beaux-Arts. Between 1906 and 1914 he exhibited regularly in Germany, briefly heading the Warsaw School of Fine Arts sculpture department, before returning to Berlin, where he held an important retrospective exhibition that toured to key German cities between 1912 and 1913.

The First World War forced Glicenstein’s return to Warsaw but in 1921 he resettled in London. Glicenstein held solo exhibitions in Rome and Venice (1925-28), also exhibiting at the 15th Venice Biennale (1928) but had to leave Italy after refusing to join the Fascist Party, and moved permanently to the USA with his son, Emanuel, also an artist in 1935. In the USA he exhibited in Manhattan, as well as at the Art Institute of Chicago and in the 1939 Worlds’ Fair. He died in New York, in December 1942, after a car accident.

In 1985 The Glicenstein Museum (now the Israel Bible Museum) was founded in Safed. Glicenstein’s works are in public collections throughout Europe and America and include the Musée d’Art Moderne de la Ville de Paris and the Pompidou Centre, Paris; the Israel Museum; the Galleria Nazionale d’Arte Moderna in Rome; the Krakow and the Warsaw National Museum, Poland; the Brooklyn Museum, the Metropolitan Museum of Art and the United States Holocaust Memorial Museum.

148 Enoch ‘Enrico’ Henryk Glicenstein, Polish, 1870-1942, The Prophet, 1919, bronze, the seated figure with a dog lying at his feet, cast signature H.GLICENSTEIN and foundry inscription ROMA FOND.CASANDRI, 65cm high Provenance: Joseph (1892-1983) and Sala Leftwich, who gave a home to Glicenstein when he arrived in London in the 1920s Exhibited: Sculpture & Drypoints by Glicenstein, Greatorex Galleries, 14 Grafton Street, W1, April 1922, no.14 Literature: Life & Works of Enrico Glicenstein, Charlotte Sholod, Tamara Sztyma, Hudson Hills Press Inc, 2015 £1,800 - 2,500*

148

72

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 73

149 Enoch ‘Enrico’ Henryk Glicenstein, Polish, 1870-1942, The Philosopher, 1921, bronze, depicting Albert Schloss, his draped shoulders with Greek inscriptions, signed H.Glicenstein, 1921, ROMA, foundry mark FONDY CASANDRI ROMA, 63cm high Provenance: Joseph (1892-1983) and Sala Leftwich, who gave a home to Glicenstein when he arrived in London in the 1920s Exhibited: Sculpture & Drypoints by Glicenstein, Greatorex Galleries, 14 Grafton Street, W1, April 1922, no.11 Literature: Life & Works of Enrico Glicenstein, Charlotte Sholod, Tamara Sztyma, Hudson Hills Press Inc, 2015 £300 - 500*

149

150 Enoch ‘Enrico’ Henryk Glicenstein, Polish, 1870-1942, a glazed terracotta model of a demon, c.1920, modelled with horns, kneeling and clutching a dagger, restorations, 43cm high Provenance: Joseph (1892-1983) and Sala Leftwich, who gave a home to Glicenstein when he arrived in London in the 1920s.

Literature: Life & Works of Enrico Glicenstein, Charlotte Sholod, Tamara Sztyma, Hudson Hills Press Inc, 2015 £200 - 300*

150

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

73

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 74

151 151 Three bronze vessels, Deccan, India, 18th century, comprising a circular lidded pandan box, and two lota water vessels, 10cm. high, 9.5cm. high and 10.9cm (3) £400 - 600*

152 A bronze betel box, Southeast Asia, 16th century, of rectangular form on four bracket feet, decorated with wire geometric patterns, lotus flower to top of cover, the hinged lid opening to reveal plain interior, 17.2cm long x 8.8cm high £200 - 400*

152

153 A brass betel box, Southeast Asia, 18th century, of casket form, decorated to sides and lid with panels containing wire scrolls, 22cm long x 7cm high £200 - 300* 153

74

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 75

154

154 A silvered brass libation vessel with ram and tortoise, Sumatra, Indonesia, 19th century, 19.2cm long £200 - 300* 155 A group of six hammered silver sweet dishes, Malaysia, 20th century, with lobed edges and design to central well and rim of flowering vine; and a Burmese white metal dish with lotus petal rim decorated with praying figures, dish 14.5cm diameter (7) £120 - 150* 156 A set of tweezers in a white metal case with chain attachment, and a koftgari work rest, India, 19th century, 14cm long and 11.1cm long (2) £150 - 200* 157 A ceremonial dagger, Gangtok, Sikkim, Himalayas, early 20th century, 26cm long £100 - 150* 158 A Chang Naga Mithun horn rice beer drinking horn, Nagaland, India, early 20th century, 46cm long Note: This is a high status mithun horn from the semidomesticated ox-like animal that is typically fed and maintained only by wealthy men in assorted Naga tribes, and is then presented to the village in a feast giving ceremony that brings great status to the donor. £400 - 600*

158

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

75

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 76

159 A Burmese polished bronze figure of Shakyamuni Buddha, 18th century, seated in dhyanasana, 13.3cm high £200 - 300*

160 A pair of carved stone lions, Rajasthan, North India, 19th century, formally architectural supports, each with wide eyes and tongue pointing out, 33cm high, 54cm long (2)

159

Provenance: Fettercairn House, Kincardineshire; sold Sotheby’s, Billingshurst £800 - 1,200*

160

76

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 77

161 An Indian polychrome decorated carved wood model of a snake, 19th century, modelled with open mouth and iron tongue, wrapped around a faux elephant tusk, 106cm high, 80cm wide Provenance: with Robert Barley, Norfolk £400 - 600* 162 A bronze figure of Ganesha’s vahana the mouse, India, 17th-18th century, on marble plinth, overall height 14cm Provenance: Carlos Blacker (1895-1975) collection Note: Carlos Paton Blacker MC GM FRCP (8 December 1895 - 21 April 1975), also known as C. P. Blacker, was an eminent war hero, psychiatrist and eugenicist who worked with R.A. Fisher and Lionel Penrose. Blacker was educated at Eton and Oxford where he attained distinction in biology under the tutelage of Julian Huxley. He served with the Coldstream Guards during World War I, was twice mentioned in dispatches, and was awarded the Military Cross for action in which he was involved on 15 September 1916. £60 - 80* 163 A water spout finial in the form of a fish, Deccan, India, 18th century, 11cm long £100 - 150*

161

162

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

77

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 78

164 An Algerian, European school, late 19th century, depicted standing wearing red trousers, jacket and socks embroidered in black, mounted, glazed and framed, painting 25 x 19cm.

Provenance: Sotheby’s, Property from the Royal House of Hanover, Munich, 5 -15 October 2005 £200 - 300*

164 165 A painting on board of a a lady having her hair combed, 19th century, the lady shown seated reading a scroll with one attendant behind her attending to her hair and the other standing before her with drinking cups, framed, painting 40 x 30cm £150 - 200*

165 78

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 79

166 166 A Company School-style botanical study, India, 19th century, gouache on paper, mounted, glazed and framed, 52 x 37cm

168 A miniature painting on ivory of the Qutub Minar, Delhi, India, circa 1830, of oval shape, unframed, 4.4cm. diam.

£200 - 300*

Note: Topographical miniatures on ivory are rarer than figural subjects but both were produced in the early-mid 19th century in Delhi. Photographs were photographically enlarged or diminished to the right size, before having their outlines traced on transparent talc. The tracing was then retraced in the reverse side of the talc with transfer ink and transferred to a thin sheet of ivory, the features were touched up and finally shaded and coloured.

167 Kali trampling Shiva, Kalighat, Bengal, 19th century, watercolour on paper, the fearsome Goddess Kali stands on a reclining Shiva with an animal picking at the severed heads of victims, 30.5 x 22cm Provenance: Christie’s, South Kensington, Interiors, including Property of the Late Walter Pach, 25 October 2011, lot 460 £150 - 180*

The Qutub Minar tower was begun by Qutb al-Din Aybak in 1193 as a minaret to his adjacent mosque and as sign of his victory over Prithviraj Chauhan, the Hindu king of Delhi and Ajmer. Three more storeys were added by his son-in-law and successor Iltutmish. The topmost storey was struck by lightning in 1368 and the repairs by Firoz Shah Tughluq divided that storey into two and partly faced them in marble. £80 - 120*

168

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

79

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 80

169 A Tibetan silver butter lamp, 18th/19th century, decorated with five bands of skulls, the underside of bowl engraved with double-vajra, 9cm high £200 - 300*

169

170

170 A Tibetan turquoise inlaid boss, 18th/19th century, centered with a raised knop mounted with gilt metal ring, the whole modelled as an open flower, 9cm diameter £150 - 250*

171 A Vietnamese Dong Son Culture ceremonial axe head, ca. 500BCE, the shaft cast with bands of geometric motifs and surmounted with a crouching figure, the shaft and top of blade inscribed in archaic script, 22cm long £400 - 600*

171 80

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 81

172 A Chinese porcelain famille verte sleeve vase, 18th century, painted with exotic birds amidst prunus and chrysanthemum, apocryphal underglaze blue six-character Kangxi mark to shoulder, 34.5cm high £300 - 500*

173 A Chinese Dehua porcelain vase, late Qing dynasty, of ovoid form, the neck incised with Greek key border and moulded with two Buddhist lion mask handles, 15.5cm high £200 - 300*

174 A Chinese eggshell porcelain claire-de-lune vase, Republic period, finely incised to the body with meandering scrolling lotus flowers and with Buddhist emblems to the slender neck, incised four character mark to base, 15cm high, on carved wood stand and a further silk stand, with fitted silklined hardwood box £300 - 500*

172

173

174

174 (in case) * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

81

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 82

175

175 A Chinese porcelain monochrome vase, 19th century, covered in a silverspeckled black glaze, 18cm high £300 - 500*

177

176 Six pieces of Chinese porcelain, 18th-20th century, comprising an 18th century gilt metal mounted famille verte bowl, 24cm diameter, an 18th century blue and white bowl and cover, 13.5cm high, an 18th century loving cup, a teacup, a sparrow beak jug and a Yixing teapot (6)

177 A Chinese porcelain rosewater sprinkler, Kangxi period, painted in underglaze blue with peony and chrysanthemum, later metal mounts, 20.5cm high Provenance: with Robert Barley, Norfolk £200 - 300*

£300 - 500*

176 82

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 83

178 A Chinese stoneware flambéglazed deep bowl, late 19th century, covered in a thick glaze streaked with shades of purple and crimson, the base with cafe-au-lait glaze, 26cm diameter £300 - 500*

178

179 A Chinese Canton enamel yellow ground bowl, Republic period, painted to the exterior with bats amidst a continuous flowering lotus scroll, apocryphal Qianlong mark to base, 15cm diameter Provenance: Private South West London Collection 179

£300 - 500*

180 A large Chinese Canton porcelain famille rose punch bowl, Jiaqing period, painted with a panel depicting three ladies drinking tea flanked by densely painted floral reserves, 30cm diameter, on carved wood stand £200 - 400*

180

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

83

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 84

181 A pair of Chinese Canton enamel square wine cups, 18th century, painted in famille rose enamels with figures in landscapes, 3.5cm high (2) £100 - 200* 182 A Chinese Canton export porcelain mug, Qianlong period, painted in underglaze blue and famille rose enamels with floral bouquets and a shield shaped cartouche with initials JF, 12cm high

181

£80 - 120*

183

183 Eleven Chinese jade and green hardstone carvings, 18th - early 20th century, comprising an archaic circular disc, 5.5cm diameter, a cicada, 6.5cm long, a ‘finger’ pendant, 7cm long, a pair of female figures, 14cm high, three reticulated floral plaques, two bird pendants, and a rock crystal fish (11) £200 - 300* 184 Four Chinese green jade archaistic carvings, Ming-Qing dynasty, comprising a halberd blade with inscription, 14cm long, two pendants, huang, 7-5cm wide, and a bead carved to both sides with taotie, 4.5cm long (4) Provenance: Halberd blade - Private South West London Collection £200 - 300*

84

184

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 85

185 A Chinese green jade archaistic pendant, 17th century, carved as a crocodile engraved with archaic motifs, 5.2cm long £150 - 250* 185

186

186 Three Chinese ivory carvings, 18th-19th century, comprising a lady and a deer in a landscape, 10cm long, a miniature vase carved as a tree stump, 4cm high, and an ivory ‘pleasuring ball’, 3cm diameter (3)

187 A collection of Chinese mother of pearl gaming counters, 19th century, engraved with birds or floral motifs, various shapes to include circular, rectangular and oblong, 3.5-6.5cm £100 - 200*

£300 - 500*

189

188 Three Chinese padouk wood and mother of pearl inlaid panels, late 19th century, each decorated with birds and butterflies in flight amidst floral sprays, 32cm x 22cm (3)

189 A Chinese hardwood and mother of pearl inlaid Buddhist lion, 19th century, carved in recumbent pose, 46cm long £150 - 250*

£150 - 250*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

85

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 86

190

190 A Chinese padouk wood rectangular box, late 19th century, with brass carry handle and sliding cover, 35 x 21cm £120 - 180*

191 A Chinese carved painted wood panel, late 19th century, decorated with two scholars playing weiqi, 21cm x 33cm, a Chinese export carved wood scissor case, 16.5cm long, a carved wood lion dog, 6cm high, two wood vase lids and two wood circular stands (7)

192 A Chinese turned horn cup, 18th century, of slightly tapered form with short straight foot, 4cm high, a tortoiseshell octagonal vase engraved with ladies and floral sprays, 10.5cm high, and a pair of silk embroidered slippers (4) £400 - 600*

£100 - 200*

192

86

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 87

193

195 Two Chinese copper framed mirrors, early 20th century, one of rectangular form engraved with the Eight Daoist Immortals and figures in landscapes, 30cm x 23cm, the other of circular form engraved with two dragons pursuing a flaming pearl, 22cm diameter (2)

193 A Chinese bronze ‘lion and grape’ mirror, Tang dynasty, cast with a central lion-shaped loop encircled with four lions and a band of birds amidst fruiting vines, 10cm diameter Provenance: Private South West London Collection £300 - 500*

£80 - 120*

194 A Chinese copper alloy ‘lion and grape’ mirror, 18th century, cast with raised central loop knop encircled with four animals amidst fruiting vines, 13.5cm diameter

196 A pair of Chinese brass bowls, 19th century, engraved with a lotus medallion, 33cm diameter (2) £100 - 200*

Provenance: Private South West London Collection £150 - 250*

194

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

87

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 88

199

199 A Chinese silver and turquoise inlaid bronze belthook, Han dynasty, with ridged profile decorated with an abstract geometric design, the long shaft terminating with a dragon’s head, 21cm long

197

Provenance: Private South West London Collection £200 - 300* 197 A Chinese bronze archaistic square vase, hu, 18th century, cast to the body with taotie to each side, cast seal mark to base, 21.5cm high £300 - 400*

198

198 A Chinese Western Zhou style bell, Zhong, 18th/19th century, decorated with panels of protruding studs flanking a panel of script, 21cm high, a pair of Swatow pewter bottle vases punch-decorated with bands of floral sprays, 16.5cm high, a brass oval coaster with pierced gallery and engraved decoration, 8.5cm wide, and an 18th century bamboo brush pot, 14cm high (5) Provenance: The brush pot - with Robert Barley, Norfolk. The bell - Nymans, Handcross £300 - 500*

88

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 89

200 A Japanese composite shunga figure group, early 20th century, modelled as an amorous couple, 17.5cm wide x 12cm high £200 - 300*

200

201 A Japanese Arita lobed dish, Meiji period, ko-kutani palette, decorated with pheasant to base and scrolling pattern to lobes, with fuku mark to base, overall 16.5cm £150 - 250*

201

202 A Japanese polished bronze candlestick, Meiji period, cast as a hawk perched on a rocky outcrop clutching a fruiting branch in its beak, 19cm high £150 - 250*

203 A Japanese lacquer rectangular tray and box, Meiji period, the tray finely gilt painted with blossoming peonies, signed Kiyokawa, 21 x 36cm, the box inscribed with calligraphy and signed Mitomo, 26 x 19cm (2) £100 - 200*

202

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

89

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 90

204 204 A pair of French ormolu candlesticks, c.1820, each with acanthus cast socket above tapering fluted shafts hung with laurel swags, on circular fluted bases with stiff-leaf border, 27cm high (2)

205 A pair of Louis XVI ormolu chenets, late 18th century, each with scrolling foliate frieze mount surmounted by acanthus-wrapped pinecone and spiral fluted finials, iron billet bars, 24cm high, 28cm wide (2)

Note: A similar pair of candlesticks sold Christie’s, New York, The Elizabeth Stafford Collection, 1 November 2018, lot 1109, $4375

£500 - 800*

£600 - 800*

205

90

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 91

206

207

206 A large collection of ormolu and gilt-bronze furniture mounts, 18th and 19th century, including escutcheons, decorative mounts and handles Provenance: Sotheby’s, London, Bernheimer Day Sale, 25 November 2015, lot 527 £300 - 500* 207 A French gilt-bronze lamp, probably

by Barbedienne, third quarter 19th century, with chimera triform supports flanking anthemion mounts, 16cm high excluding fitment £150 - 250*

208 A French gilt and patinated bronze lamp, late 19th century, the ovoid body with loop handles and anthemion mount, on an octagonal rouge marble base, 41cm high, together with a Victorian brass Gothic candlestick, in the manner of Pugin, late 19th century, with cluster column and spreading hexagonal base, 62cm high (2) £200 - 300*

208

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

91

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 92

209

209 A pair of naïve teak side chairs, 19th/20th century, with vertical spar backs and dished slatted seats on splayed legs joined by H-shaped stretcher (2) £600 - 800*

210 A set of naïve rustic free standing teak shelves, 19th/20th century, with three shelves on short leg supports, 143cm high, 83cm wide, 41cm deep £500 - 700*

210

92

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 93

211

212

211 A yew wood two tier side table, early 20th century, the naturalistic top shelf with three quarter gallery back, the lower shelf also a cross section of yew, 88cm high, 70cm wide £200 - 300* 212 A pair of oak side chairs, late 17th / early 18th century, with spar backs and dished solid seats, the legs with turned opposed baluster stretchers, together with an English oak coffin stool with later top, part 17th century and another oak coffin stool, 20th century (4)

213 A George I style walnut side table, the rectangular quarter veneered and herringbone banded caddy top above single frieze drawer and shaped apron, raised on later shell knee cabriole legs to pad feet, part 18th century with later legs, 73cm high, 74cm wide, 46cm deep £200 - 400* 214 A George II mahogany oval drop leaf table, c.1750, with solid top raised on tapering legs with pad feet, 71cm high, 106cm wide, 101cm deep £200 - 300*

£200 - 400*

213

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

214

93

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 94

215 A George II mahogany corner armchair, c.1750, the bow back with gun barrel columns flanking vase splat supports, the drop in seat over shaped front rails and with four cabriole legs to pad feet Provenance: The collection of Seward Kennedy £250 - 350*

216 A George II mahogany lowboy, c.1750, the rectangular top, above three frieze drawers to a shaped kneehole frieze, the chamfered legs raised on block feet, 73cm high, 81cm wide, 52cm deep £700 - 1,000* 215 217 A George III mahogany Pembroke table, c.1780, in the Hepplewhite French style, the rectangular flame top, above single frieze drawer, on moulded cabriole legs with carved scroll and honeysuckle detail, raised on scroll embellished feet, 72cm high, 87cm wide, 66cm deep £300 - 500*

216

217

94

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 95

218

219 An English giltwood side chair in the French manner, with upholstered back and seat and upon shaped legs

218 A set of four George III mahogany side chairs, c.1770, with serpentine scroll eared top rails, over pierced fan splat, the serpentine front overstuffed seats on square moulded front legs with H-shaped stretchers (4)

Provenance: from the property of Howard Hodgkin £250 - 350*

Provenance: Sotheby’s, Chatsworth: The Attic Sale, 5-7 October 2010, lot 269

220 A George III mahogany side chair, c.1760, in the French taste with red damask upholstered back and seat, the serpentine front rail with carved anthemion central motif, the moulded cabriole legs with carved c-scrolls to each knee, terminating in scrolling feet £500 - 700*

£800 - 1,200*

219

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

220

95

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 96

221

221 A George III mahogany side chair, c.1760, the bow shaped top rail with scroll ears, above pierced vase splat, the drop in seat on front cabriole legs with claw and ball feet, together with a George III tripod table, c1760, the circular tip up tray top, upon baluster stem and tripod base with ovoid feet, 71.5cm high, 57cm diameter (2) £400 - 600*

222 A Regency rosewood etagere, c.1820, with mirror back panels, the waterfall upper part with reel moulded edges on turned tapering column supports, the base with tapering columns and upon gadrooned bun feet, 160cm high, 100cm wide, 41cm deep £600 - 800*

222

96

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 97

223 A Regency rosewood three tier whatnot, c.1820, with galleried tray top, over ring turned opposed baluster columns, the middle and lower tier with a single drawer, with pressed brass handles, on baluster turned feet, 123cm high, 62cm wide, 34cm deep £250 - 350*

224 A Regency mahogany breakfast table, c.1820, the rectangular flame veneer crossbanded tilt top with rounded corners, on ring turned column to outswept tripod base with brass shoe castors, 71cm high, 114cm wide, 92cm deep £300 - 500*

225 A Regency mahogany breakfast table, c.1810, the rectangular tilt top with rounded corners, on ring turned column to outswept legs and with brass shoe castors, 72cm high, 87cm wide, 86cm deep £150 - 250* 223

224

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

97

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 98

226 A Victorian mahogany bookcase, c.1850, with a pair of lancet glazed doors, over a base with panel doors, raised on bracket feet, 222cm high, 89cm wide, 34cm deep £200 - 300*

227 A pair of late Victorian oak screens, c.1890, with turned beehive finials and removeable sliding four panel glazed frames, on moulded chamfered supports, with wrought iron brackets to base, 122cm high, 76cm wide together with a single replacement glass panel frame, 99cm high, 64cm deep (3) £200 - 300*

228 A Biedermeier burr walnut mirror, mid 19th century, with foliate gilt-metal mounts to the corners, 101 x 75cm £200 - 300*

226

227

98

228

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 99

229 An early Victorian pine chest of drawers, c.1840, the top with gallery back and chamfered edges, with two short over two long graduated drawers raised on turned feet, painted to simulate maple with faux tortoiseshell handles, on toupie feet, 93cm high, 107cm wide, 55cm deep £150 - 250*

230 A Victorian Gothic revival oak buffet, c.1880, with raised shelf over mirrored back panel, the base with two diagonal plank panelled cupboard doors, enclosing three drawers, raised on plinth base, 129cm high, 122cm wide, 50cm deep

229

£100 - 200*

230

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

99

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 100

231 A Gilded Composition Running Pattern Art Nouveau Frame, late 19th century, with leaf sight, the granular textured hollow with schematic leaf and bat’s wings, 43 x 64cm £80 - 120* 232 An English Gilded Composition Louis XV Style Swept and Pierced Frame, mid-19th century, with cavetto sight, leaf course, torus, the cross-hatched ogee with foliate and flower head scrollwork and cabochon centred cartouche corners, schematic linked back edge, 62.5 x 75cm £100 - 150* 233 An English Gilded Composition Neoclassical Frame, late 18th/early 19th century, with stiff leaf sight, plain frieze, taenia, the plain hollow with acanthus corners, flower head and ribbon back edge, bears applied paper label for White Ancient & Modern Printseller Picture Frame Maker &c No 14 Brownlow Street Holborn Collections of prints and drawings purchased, 74 x 61cm

232

£300 - 500* 234 An English Mahogany Moulding Frame, early 20th century, with parcel gilded exhibition mount, lacking glazing, ogee sight, plain hollow and top edge, 84.5 x 107.5cm £80 - 120* 235 A Pair of English White Painted and Parcel Ebonised Gallery Frames, mid-20th century, with wedge sight and hollow, plain front edge, ea. 55 x 75cm., (2) 233

£300 - 400*

235 100

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 101

236 A White Painted and Parcel Gilded Pier Glass Mirror Frame, 19th century, with applied metal backing support and twin integral brass hanging fixtures to the top edge, 178 x 27cm Provenance: Royal House of Hanover, Hildesheim Sale, Sotheby’s, at Marienburg Castle, Works of Art from the Royal House of Hanover, 5-15 October 2005 £80 - 120* 237 A Gilded Neo-Classical Frame, early 19th century, with cavetto sight, plain frieze and top taenia, 53 x 72cm: A Belgian Carved and Gilded Louis XIII Style Frame, early 20th century, with torus sight, the ogee hollow with schematic leaf corners, 45 x 54cm: together with four further moulding and gilded frames, various sizes, (6) £80 - 120* 238 An English Carved and Gilded Neoclassical frame, mid-late 18th century, with cavetto sight, beaded course, fluted hollow and raked gadrooned top knull, 46 x 92cm £200 - 300* 239 A Gilded Louis XVI Style Frame, late 18th/early 19th century, with plain sight, hollow and top torus with applied lower centred ribbon, 33 x 24.5cm £80 - 120* 240 A Scottish Gilded Scotia Frame, mid-late 19th century, with wedge sight, plain hollow and top torus, flower head back edge, bears applied paper label for J B Bennett & Sons Ltd., Painters and Decorators, Fine Art Dealers, Frame Makers and Gilders, 156 Buchanan Street and 50 West George Street Glasgow, 32.2 x 52.5cm

238

£80 - 120*

239 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

101

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 102

241

241 (label)

241 A Vokins Maple Veneered and Parcel Gilded Gallery Frame of Reverse Profile, late 19th century, with hinged mahogany panelled reverse, folding wooden strut, inset brass finger pull catch and mounted with a brass swing handle, with internally applied label for J & W Vokins, Looking Glass & Picture Frame Manufacturers Dealers in Drawings and Works of Art 44 & 46 Gt Portland Street London, 42.5 x 54.3cm Note: This frame is by the framemakers J. & W. Vokins, who traded throughout the nineteenth century.

J & W Vokins lasted three generations after being set up as a carving and gilding business by John Vokins (1788-1832); and, under his sons John Henry (1810/11-78) and William Vokins (1815-95), became established as a dealer in art, particularly watercolours. They were first recorded as picture buyers in auction records in 1861. J & W Vokins were important framemakers who had a number of notable clients. They served as carvers and gilders by appointment to the Duke of Sussex, and later to Queen Victoria and the Prince of Wales. Frames made by the business for Queen Victoria and Prince Albert were used for artworks by Sir Edwin Landseer, Heinrich von Angeli, Valentine Prinsep and Emma Richards. £300 - 400*

242 A Pair of English Gilded Composition Neo-classical Style Frames with Original Verre Eglomise Glazing, early 19th century, ea. with cavetto sight, beaded course, frieze and plain hollow, 61 x 45cm., ea: together with one other example of a similar moulding, 62 x 46cm., (3) £150 - 250*

242 (part)

102

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 103

244 244 A French Gilded Composition Neoclassical frame, late 18th century, with later added gilded slip, cavetto sight, plain frieze, rais-de-coeur and plain top taenia, 15cm £200 - 300* 245 A Pair of Chinese Carved and Gilded Swept Frames, 18th century, one gilded and one parcel gilded and brown painted, ea. with cavetto sight, ogee hollow and the top edge with foliate centres and corners, 39 x 31.7cm., (2) £400 - 600* 243 243 A French Carved and Gilded Neo-classical Oval Frame, mid-18th century, with stiff leaf ogee sight, plain hollow, stop fluted top knull and stepped back edge, 83 x 71cm

246 A Chinese Carved and Gilded Neoclassical Frame, late 18th century, with added gilded slip. cavetto sight, dentil course, plain hollow and raked gadrooned top edge, 26.5 x 32.5cm

£500 - 700*

£150 - 200*

245

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

103

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 104

247 A Pair of Chinese Carved and Gilded Swept and Pierced Frames, late 18th/early 19th century, with cavetto sight, torus, the cross-hatched ogee with foliate and flower head scrollwork, bell flower centres and cartouche corners, ea. 35 x 32cm (2) £800 - 1,200*

247

104

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 105

248

248 A Chinese Carved and Gilded Swept and Pierced Ebony Frame, late 18th century, with cavetto sight, fluting with flattened leaf, the cross-hatched ogee with foliate and flower head scrollwork, bell flower centres and cartouche corners, 37 x 44.5cm £2,000 - 3,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

105

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 106

249

249 Veronese School, late 16th/early 17th century Hagar and Ishmael oil on slate, 44.5 x 64cm Provenance: Royal House of Hanover, Hildesheim Sale, Sotheby’s, at Marienburg Castle, Works of Art from the Royal House of Hanover, 5-15 October 2005, lot 5084(A) £4,000 - 6,000*

106

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 107

250 250 Follower of Paul de Vos, Flemish 1595-1678 A hound confronting a fox oil on canvas, 111.5 x 101cm., (unframed) Note: there is another full-sized version of this composition at Trecice, Cornwall, of which this subject forms the left-hand side.

See Collection National Trust, Trerice, Cornwall (Accredited Museum) NT 337025 http://www.nationaltrustcollections.org.uk/object/337025 De Vos and Frans Snyders were both Flemish artists who shaped the development of the genre of animal and hunting scenes in the late 16th and 17th centuries. They both were closely connected with a number of the most important and well-known Flemish artists of the 17th century, collaborating with Anthony van Dyck and Peter Paul Rubens, among others. This work is a typical example of the distinctive character of Flemish art at a period of particularly great productivity and astounding innovation. £4,000 - 6,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

107

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 108

251

251 Follower of Jan Fyt, Flemish 1611-1661 Dead game on a ledge oil on canvas, bears remains of two inscribed labels attached to the stretcher, 30.5 x 40cm., (unframed) Provenance: Sotheby’s, Ancestral Attics, Schloss Monrepos, Ludwigsburg bei Stuttgart, Germany, 9th-14th October 2000 £600 - 800*

252 After Caspar Netscher, Dutch 1639-1684 A Woman feeding a Parrot with a Page oil on shell, oval, 15.5 x 12.2cm Note: the original work dating from 1666 is held by the National Gallery of Art, Washington £300 - 400* 252

108

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 109

253 Dutch School, early-mid 17th century Portrait of a gentleman, quarter-length turned to the left in a brown coat and white ruff oil on copper, oval, inscribed extensively on the reverse, 9.5 x 8cm £400 - 600*

253

254 After Enoch Seeman the Younger, Polish/British 1694-1744 Portrait of John Calvin (1509-1564) standing threequarter length turned to the left holding a book, within feigned oval oil on canvas, 26 x 18cm £300 - 400*

254

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

109

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 110

255 After Rembrandt van Rijn, Dutch 1606-1669 Simeon recognises the infant Jesus as saviour etching on laid paper, possibly published by Pierre Francois Basan c.1810, 20 x 16cm

255

Note: This example is possibly one of hundred and eighteen etchings from a posthumous publication of Pierre François Basan’s Receuil, probably published by Henri Louis Basan in Paris around 1810. The plates consist of a combination of re-worked Rembrandt etchings (by Basan?) and copies by Basan after Rembrandt’s etchings. The 118 prints are preceded by the original Basan title-page (indicating eighty-five prints and with the address ‘Rue et Hôtel Serpente, no.14’) and two pages with an index of the 85 Basan plates (numbered according to the 1751 Helle-Glomy catalogue). Pierre-François Basan published various editions of the Recueil between 1789 and 1797. Later editions did not always contain the 85 original Basan plates and this edition contains one hundred and eighteen prints. After the death of Pierre-François Basan his son, Henri Louis Basan, continued publishing.

See British Museum item no. 1941, 0327.11.1 for notes. £80 - 120*

256 (part) 256 After Rembrandt van Rijn, Dutch 1606-1669 Landscape with a Cottage and a Haybarn pen and black ink, 10 x 24cm Note: this work is a copy (reversed) from the etching with drypoint of the same title dating from 1641.

See Metropolitan Museum, New York, Accession Number: 20.46.5: After Rembrandt van Rijn, Dutch 1606-1669- The Rat Catcher; etching, 14.5 x 12.5cm Note: this work is reversed from the original etching by Rembrandt dating from 1632, (2) £150 - 200*

110

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 111

257 257 Romeyn de Hooghe, Dutch 1645-1708

261 Circle of Jan van Huysum, Dutch 1682-1749

Apocalypse de St Jean

Flowers in a vase

engraving, 15.5 x 19cm

black chalk and stump on laid paper, 30.5 x 18cm

£100 - 150*

£300 - 400* 258 John Faber Jnr., Dutch 1684-1756 The Rt Honble John Ld Viscount Percival, after Christian Friedrich Zincke, 1744 mezzotint, 15 x 10.5cm £80 - 120* 259 Northern European School, 17th century Study of a boy seated full-length pen and blue ink 12 x 7.5cm: Flemish School, 18th century- Belisarius; pen and brown ink and wash on laid paper, bears pencil inscription, 15 x 9.5cm: Italian School, 18th centuryRuined arches; pen and brown ink and sepia wash, 20 x 14.5cm., (3) £100 - 200* 260 English School, mid-late 17th century Design for crewel work

262 Francesco Bartolozzi RA, Italian 1727-1815 Prometheus, after Luca Cambiaso, 1774 etching and engraving, bears extensive inscription in pen and brown ink on the mount, 16.5 x 23cm: Aegidius Sadeler the Younger, Flemish 1570-1629Christ Appears as a Gardener to Mary Magdalene (Noli mi tangere), after after Bartholomeus Spranger, c.1610; copper engraving, 28 x 22cm: Attributed to Stefano della Bella, Italian 1610-1664Military exercises; etching, 16.5 x 20.5cm: Note: this plate is possibly one from a series relating to Military subjects published by Israel Henriet c.1640/45: Attributed to Jacques Callot, French 1592-1635Views of two Chateaux; etchings, two, ea. 8 x 11cm: Pieter van den Berge, Dutch 1659-1737- Designs for ornament; copper engraving, 26 x 17cm, together with a mixed folio of small format decorative prints and reproductions by and after different hands, (a lot) (part-unframed) £150 - 250*

black chalk on laid paper, 17 x 27cm £200 - 400* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

111

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 112

263

264

263 British School, 18th century

264 Circle of Benjamin West RA, American, British 1738-1820

Shepherdess standing in a glade with a lamb

Study of a boy seated full-length

pen and brush and brown ink heightened with white on buff coloured paper, 25 x 20cm

pen and brown ink with touches of watercolour, bears signature and date, 27.5 x 25cm £300 - 400*

265 Attributed to Joseph Farington RA, British 1747-1821 Cattle drovers on a country path with woodland and a stream pen and brown and blue/black ink and wash, 11 x 17.5cm £100 - 150*

£250 - 300*

265

112

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 113

266 266 German School, early 18th century Portrait of a Royal Spaniel seated on a red velvet cushion oil on canvas, stamped EAFC. on the reverse, bears monogram HH 265 on the stretcher, 37 x 54.5cm Provenance: Sotheby’s, Royal House of Hanover, Munich, 5-15 October 2005, lot 5173 £1,500 - 2,500*

267 German School, 18th century Portrait of a boy, traditionally held to be Ernst Augustus, Duke of Cumberland (1771-1851), as a child, half-length turned to the left wearing a white shirt with a blue ribbon oil on canvas, held in a gilded composition frame with spandrels and oval aperture, the frame bearing stamped cipher and no M202 and applied paper label, 52.5 x 45.5cm Provenance: Sotheby’s, Royal House of Hanover, Munich, 5-15 October 2005, lot 5079 £1,000 - 1,500*

267

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

113

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 114

268 British or possibly American School, mid-late 18th century Portrait of a gentleman, seated half-length turned to the right in a grey coat and white stock oil on canvas, 77 x 63.5cm., (unframed) Provenance: Sotheby’s, The West Wycombe Park Sale, 22nd, 23rd & 24th June 1998 £2,000 - 3,000*

268

269 Spanish School, mid-18th century Portrait of a young girl, quarter-length turned to the right oil on canvas, 34.7 x 28cm £600 - 800*

269

114

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 115

270

270 Follower of Benjamin Blake, British 1757-1830 Preparing food in a kitchen oil on canvas, 103 x 147cm Provenance: originally belonging to the Strachan Family, Stonehaven, Aberdeenshire; acquired privately in Kincardineshire, Scotland by the present owner £2,000 - 3,000*

271 Portuguese or Spanish Colonial School, 18th century Portrait of Christ oil on canvas laid down on panel, 34.5 x 26cm., (unframed) £300 - 400*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

271

115

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 116

272 272 Attributed to Joshua Cristall POWS, British 1767-1847 Figures resting in a glade watercolour, bodycolour and gum arabic on laid paper, 34 x 42.5cm £300 - 400*

273 Jacques Francois Joseph Swebach-Desfontaines, French 1769-1823 Figures with riders and cattle on a country track pencil, pen and black ink with watercolour, bears collector’s stamp EC for E Calando, 15.5 x 23.5cm £200 - 300*

273

116

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 117

274 Attributed to Henry Edridge, British 1768-1821 Portrait of a lady, standing three-quarter length turned to the left leaning against a balustrade pencil with touches of watercolour on buff coloured paper, arched mount, 26.5 x 12cm; together with a portrait of a gentleman quarter-length turned to the left in profile in ink and watercolour by the same artist, bears inscription on the reverse of the frame Sepia Portrait of Sir W P A a Court, 18**, 12.5 x 9.5cm, (2) £200 - 300*

274

275 Follower of John Cleveley the Younger, British 1747-1786 Frigate near a fortified headland pen and black ink and watercolour wash, 12.5 x 18cm: British Provincial School, late 18th century- Views on the Rhine; black, brown and white chalk on paper, two, 17 x 23.5cm and 13.5 x 21cm., (3) Provenance: Earls of Warwick, Warwick Castle; Sotheby’s, The Sale at Syon Park, Middlesex, 14th, 15th & 16th May, 1997 £200 - 300*

275 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

117

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 118

276 276 William Augustus Barron, British 1751-c.1806 View of Stoke Common, Bucks., c.1775 black chalk and watercolour heightened with white, signed and dated, further inscribed this drawing obtain’d the Second Premium from the Society for the Encouragement of Arts Manufactures & Commerce in London, 26 x 40cm £200 - 300* 277 British School, mid-late 18th century Figures by a cottage at Fairburne, Yorkshire pen and brown ink and watercolour, within shaped mount, 13 x 21cm £20 - 30*

278 John Nixon, British c.1750-1818 Portrait of a lady seated three-quarter length turned to the right pen and grey ink and watercolour, inscribed, 18 x 13.5cm £100 - 150*

278 118

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 119

279 French School, late 18th century Portrait d’un moine pastel on paper, 38 x 31cm £200 - 300* 280 John Raphael Smith, British 1752-1812 The Singing Bird mezzotint, 32 x 25cm £80 - 120* 281 Henry Chamberlain, British, 18th century View of Surgeons Hall Old Bailey London hand-coloured engraving, from Chamberlains Complete History of London, c1770, 15 x 21cm: together with seven other plates from the same suite, one further example with hand-colouring, 15 x 21cm.,ea.: British School, 18th century- The Monument of William Hargrave Esq; engraving, 11 x 16cm: British School, late 18th century- Windsor Castle; copper engraving, 10.5 x 20.7cm

279

Provenance: with Selfridge, London, according to the applied paper label on the reverse of the frame: P Rothwell, British, late 18th/early 19th century- Windsor Castle, after JMW Turner RA; copper engraving, published by the Pocket Magazine, 8.5 x 12cm, Provenance: with Selfridge, London, according to the applied paper label on the reverse of the frame: After S Rothwell, British, early-mid 19th centuryRoger Lowe Houghton, 1721 Thomas & Alice Holecroft 1793, Remains of an Ancient Cross at Winwick Church; two toned lithograph, published by Day & Hague, 22.5 x 28cm: Thomas Bluck, British fl.1791-1832- Interior of a Surry Chapel, after A Pugin & W J White; aquatint, published May 10th 1812 by R Ackermann 101 Strand, 38 x 44.5cm (13) £100 - 150* 280 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

119

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 120

282

282 Swiss School, early 19th century

283 James Watson, British 1740-1790

Cycle of the life of Guillaume Tell

The Female Correspondent, after Gabriel Metsu

aquatints, four plates from a suite of twelve (thought to be), ea. 21 x 31cm. (mounted, unframed) Note: These engravings depict scenes from the life of the legendary Swiss figure Guillaume Tell. They exhibit a stylistic similarity to the engraving by Carl Guttenberg (1743-1792) of Tell leaping from a boat to escape his enemies, including Gessner, which is itself after Henry Fuseli (1741-1825). The composition of this scene, called the Tellensprung, in these plates also resembles that produced by the Swiss artist Ernst Stuckelberg (1831-1903) for a set of frescoes in the Tellskapelle, the chapel which allegedly marked the spot where Tell leapt to safety from the boat.

mezzotint, publishd Jany 7th 1771 by J Boydell Engraver in Cheapside, 50 x 436cm: John Raphael Smith, British 1752-1812- Mrs Carnac, after Sir Joshua Reynolds PRA; mezzotint, pub June 10 1778

by J R Smith N 10 Bateman s Buildings Soho Square, 63 x 38cm: John Smith, British 1652-1743Anthony Leigh or the Spanish Fryer, after Sir Godfrey Kneller; mezzotint, published J Smith at Y Lyon & Crown Russell Street Covent Garden, 40.5 x 23cm: Charles Turner ARA, British 1773-1857Mrs Whitmore, after Thomas Phillips RA; stipple engraving in sepia, bears label for Alfred Davis, Printseller and Picture Framer, 47 King’s Road, Sloane Square, Chelsea, attached to the reverse of the frame, 42.5 x 34.5cm., (4)

£150 - 200*

£100 - 200*

120

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 121

284 Jean-Pierre Norblin de la Gourdaine, Polish/French 1745-1830 Village, 1778 etching with drypoint, signed and dated within the plate, 6.5 x 11cm £100 - 150* 285 George Morland, British 1763-1804 A bear being attacked by dogs 284

brush and black ink with touches of watercolour, signed and dated 1795, 31.5 x 40cm £600 - 800* 286 William Taylor, British, late 18th/early 19th century The Asylum for Female Orphans, 1825

pen and black ink and wash, signed and dated, bears inscription in pencil, 18.5 x 25cm: British Provincial School, late 18th/early 19th century-Beached ships at Southampton; pencil, signed with initials AH and dated 1796, 13.5 x 19cm (2) £80 - 120*

285

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

121

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 122

287

287 German School, late 18th century Kayserliche Infanterie, Breichainville Rgt No 25; Kayserliche Infanterie Wilhelm Schroader Rgt No 26; Croatische Artillerie pen and black ink and watercolour on laid paper, three, ea. inscribed, 25 x 18.5cm., ea., (3) £300 - 400*

288 British Neo-Classical School, late 18th/early 19th century Design for a monument pen and grey ink and wash, 59 x 42.5cm: British School, 19th century- Sir Walden Hammer’s Monument in Simpson Church Buckinghamshire; pen and black ink, 52 x 38cm., (2) (unframed) £200 - 300*

288

122

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 123

289

289 Attributed to Charles John Mayle Whichelo, British 1784-1865

290 British School, late 19th/early 20th century

Studies of figures in a landscape, 1825

Orrery, as seen in 1792

watercolour over pencil, dated in pen and brown ink, bears inscription on the mount, 7 x 14cm

pen and grey coloured ink and watercolour on wove paper, inscribed, 28 x 33cm

£100 - 150*

£100 - 150*

290

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

123

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 124

291

291 John Buckler, British 1790-1851

292 Follower of Ary Scheffer, Dutch 1795-1858

North East & South West View of Witney Church, Oxfordshire

Lady in her bedchamber with an attendant

pen and black ink and wash, a pair, both signed and inscribed, 31 x 32cm., ea., (2)

pencil on blue coloured paper, bears signature, 24 x 33cm £80 - 120*

£600 - 800*

293 Eugene Joseph Verboeckhoven, Belgian 1798-1881 Sheep drover in a landscape brush and brown ink heightened with white on light mauve coloured paper, bears studio stamp, 54 x 73.5cm £200 - 300*

293

124

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 125

294 Mary Dawson Turner (née Palgrave), British 1774-1850 Portrait of John Hoole, (1727-1803, writer and translator, seated half-length turned to the left reading a book, after Ozias Humphry RA, 1784 engraving, inscribed within the plate, 17 x 14cm Note: This drawing depicts the eighteenth-century translator John Hoole. Hoole was best known for translating influential contemporary works from Italian into English, including Jerusalem Delivered (1763) by Tarquino Tasso and Orlando Furioso (1773-83) by Ariosto. Hoole was also known for his close connection and friendship with the famous lexicographer Samuel Johnson. An example of this etching can be found in the collection of the National Portrait Gallery in London: Luigi Schiavonetti, Italian 1765-1810- Portrait of Mrs Cosway, after Richard Cosway RA; hand-coloured stipple engraving printed in sepia, published March 25th 1794

by Anty Molteno No 76 St James’s Street 18.7 x 13.5cm: James Ward RA, British 1769-1858- The Right Honble General Sir William Fawcett KB, after Sir Joshua Reynolds PRA; mezzotint, published London Sep 3 1801

by Jas Ward No 16 Newman Street, 48 x 37cm: Charles Grignion, British 1721-1810- William of Wykeham; copper engraving, 53 x 38cm: together with a collection of prints of mostly portrait subjects by different artists: British School, early 19th century-Portrait of M Wood Esqr MP; copper engraving, published Oct 4th 1820 by T Illman 427 Oxford St various sizes: Sir George Hayter, British 1792-1871- Battle scene in an alpine setting with a castle, 1824; etching with drypoint, signed and dated within the plate, 23 x 24cm: After William Hogarth FRSA, British 1697-1764-The Author’s Benefit Pasquin, 1736; etching, bears inscription in pen and brown ink, 12 x 14cm, Note: for related example see Metropolitan Museum, New York, Accession Number: 91.1.38: Henry Collen, British 1797-1879- Landscape with thatched farm buildings, by William Collins RA, c.1852; mezzotint, 15 x 21.3cm: Andrew Picken, British 1815-1845- Parish Church, Grantchester, after William Fleetwood Varley; hand-uncoloured lithograph, 20 x 23.5cm: Charles Hunt Snr., British 1803-1877- Raby, Winner of the Cambridgeshire Stakes 1849 after Henry T Davis; aquatint printed in colours, published April 22 1850 by J Moore at his Derby Oaks & Leger Gallery , wholesale Picture Frame & Looking Glass Manufactory, corner of West Street Upper St Martins Lane, 54 x 74cm: C N Smith- Volticeur, Winner of the Derby at Epsom and the St Leger at Doncaster & c. 1850; aquatint printed in colours, published Sep 31st 1850 by J Moore at his Derby Oaks & Leger Gallery , wholesale Picture Frame & Looking Glass Manufactory, corner of West Street Upper St Martins Lane, 54 x 74cm, (a lot) (part unframed) £100 - 150* 294 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

125

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 126

296

295 George Cruikshank, British 1792-1878

296 British School, mid-19th century

Phrenological Illustrations or an Artist’s View of the Craniological System of Doctors Gall and Spurzheim

A brood mare and her foal in a paddock by a pond

woodcuts, title page, together with six handcoloured plates, published by George Cruikshank Middleton Terrace, Pentonville and sold by J Robins and Co Ivy Lane Paternoster Row, S Knights, Sweetings Alley. Royal Exchange and G Humphrey 24 St James’s Street, 1826, 26 x 37cm., (7)

oil on canvas, 58.5 x 76.5cm £1,000 - 1,500*

£100 - 150*

126

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 127

297 T L Chambers, British, late 18th/early 19th century Lovers disturbed by a brigand watercolour, signed, tondo, held in a gilded composition frame with verre eglomise mount, 18cm dia £150 - 200* 298 Attributed to Frederick William Waters Watts, British 1800-1862 Figure in the doorway of an old cottage by a stream with woodland and a barn oil on mahogany panel, 34.4 x 43cm £500 - 700*

297

298

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

127

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 128

300 Charles-Émile Jacque, French 1813-1894 Cattle drinking from a pool

299 (part) 299 Matthew Dubourg, British act. 1808-1838 The Death of the Duke of Brunswick, June 15th 1815, after Franz Joseph Manskirch hand-coloured etching with aquatint, 24 x 32cm Jean Pierre Marie Jazet, French 1788-1871Le Marechal Monsey a la Barriere Clichy, after Horace Vernet, 1820; aquatint, published a Paris chez Jazet rue de Lancry No 7 et ches Chles Bance et Aumont rue J J Roufseau No 10, 78 x 108cm: After Franz Niklaus König, Swiss 1765-1832- Canton Basel; Canton Appenzell; Canton Schaffhausen; Canton Freyburg; Canton Glarus; Canton Fug; hand-coloured soft-ground etchings on paper laid down on canvas mounted on wooden stretchers, six, published by M Suter und B Schafner von Etinen, ea., 32.5 x 25cm: Daniel Berger, German 1744-1824- Seydlitz in der Schlacht bey Rossbach, after Johann Christoph Frisch; engraving, 48 x 61.5cm, (9) (part-unframed)

etching with drypoint, signed, inscribed and dated 1859 within the plate, 11.5 x 18cm: together with two further etchings by the same artist depicting milkmaids in farmyard settings, both signed and dated 1849 within the plate, 15.5 x 24cm and 15.5 x 20cm Provenance: Dorothy Tennant (1855-1926), wife of Lord Henry Morton Stanley (1841-1904), known as Stanley of Africa: Charles-Emile Jacque, French 1813-1894- Woman by a pigsty; etching, signed within the plate, 8 x 12cm: A Benouville, French, early-mid 19th century- Figure seated under a tree in a pastoral landscape; etching, signed and dated 54 within the plate, 5 x 8cm: French School, early-mid 19th century- St Denis; 1843; etching with aquatint, signed with initials LM and inscribed, 3.5 x 8.3cm: Alexandre Gabriel Decamps, French 1803-1860- Village de Turquie, etching with drypoint, published 1847 by Les Artistes Contemporains, Paris, 10 x 17cm: Antoine Vollon, French 1833-1900- Figures in a kitchen; etching, signed and inscribed within the plate, 14 x 21cm (8) £300 - 400*

Provenance: the first two and last items in this lot were are from the Sotheby's Sale of the Royal House of Hanover, 5th-15th October, 2005 £100 - 200*

300 (part)

128

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 129

301

301 Anthony Frederick Augustus Sandys, British 1829-1904 A Nightmare zincotype, published by Smithe ye Eldere, at the Signe of Sainte Luke his Head, Cornhill, London, May ye 4th 1857, 55 x 69cm Note: This work is a parody of John Everett Millais’ painting ‘A Dream of the Past: Sir Isumbras at the Ford’, depicting a number of influential artistic figures, both contemporary and historical. These include the nineteenth-century artists Hunt, Rossetti, and Millais, riding on an ass which can be identified as a representation of John Ruskin, from the initials branded on its backside. In the background, playing by the pond, can be seen the figures of Michelangelo, Titian, and Raphael. An example of this print can be found in the collection of the British Museum, item no. 1859,0709.848. £200 - 300* 302 British School, late 18th/early 19th century River landscape with a rocky escarpment; pen and brown ink and wash, 39 x 58cm; British School, early 19th century- Villa of Maecenas at Tivoli, 21st April 1825; pen and brown ink and wash, signed with monogram, inscribed and dated, 11 x 45cm: together with a mixed collection of watercolours and drawings, 19th century, by different hands, various sizes, (a lot) (unframed)

303

303 John Frederick Lewis RA, British 1805-1876 Trinitarian Monk, c.1835 watercolour, bears pencil inscription on the mount, 33 x 23cm Note: according to a later inscription on the mount, this work was ‘Exhibited 1835 (S.P.W.C) mentioned in Walker's Quarterly No.28 (1929) p.52 incorrectly referred to as “S. Tumberia” instead of “Trinitarian”’. The title of the work exhibited at the Society of Painters in Water Colours, 1835 (no.262) was ‘A Friar of the Order of Los Trinitarios Descalzos, Spain’. It had been bought by Captain Harcourt of St Leonards, near Windsor, for 18 gns.

With thanks to Briony Llewellyn and Charles Newton for their assistance in the cataloguing of this lot. £600 - 800*

£150 - 200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

129

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 130

304

304 British School, early-mid 19th century

305 British Provincial School, early-mid 19th century

Botanical studies

Botanical studies

watercolours, a pair, ea. in octagonal mounts, 28 x 27cm., (2)

watercolours, a pair, ea., 24 x 17.8cm., (2) £200 - 300*

Provenance: Property of the Earl of Jersey; Sotheby’s, London; 30th April 2013 £200 - 300*

305

130

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 131

306 A Regency Leather Bound Scrap Book, c.1830s, to contain a collection of drawings of a variety of subjects to include botanical, architectural, landscape and figure subject, predominantly in pencil, watercolour, the album bears armorial bookplate, the album pages measuring 28.5 x 23cm (album) Note: the armorial bookplate is that of William Philip Earl of Sefton (Croxteth Library). It may have belonged to either William Philip Molyneux, 2nd Earl of Sefton, (1722-1838), or Charles William Molyneaux, 3rd Earl of Sefton (1796-1855) £400 - 600*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

131

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 132

308

310 (part)

307 Attributed to David Hall McKewan, British 1816-1875

310 Neapolitan School, early 19th century

Groundsmen on a hillside with woodland and a vista beyond

Grotta di Pozzuoli

watercolour, 25 x 36cm Provenance: Sotheby’s, Country House Sale, Shrublands Park, Suffolk, 21st September 2006, Note: The view depicted may be that of Shrublands Park, Suffolk: British School, late 19th century, Children in the garden of a regency bay-fronted house with woodland, traditionally held to be the home of Henry Morton Stanley, (1841-1904), Furzehill Place, near Woking, watercolour heightened with white, 37 x 52.5cm., (2)

gouache on paper, bears inscription on the mount, 14.5 x 22cm: Northern European School, 18th century, Humorous scene of a scullery maid and an onlooker; gouache on paper, 18 x 13cm. Manner of Antonio Diziani, Italian 1737-1797- Soldier, cattle and goat herders amongst classical ruins with a hill top fortress beyond; gouache on paper, 34.5 x 43cm., (3) (unframed) £200 - 300*

£200 - 300* 308 Louisa Anne Beresford, Marchioness of Waterford, British 1818-1891 Clarionet watercolour heightened with white on grey coloured paper, 34 x 23.5cm £150 - 250* 309 Circle of Honore Daumier, French 1808-1879 Head studies from the theatre pencil heightened with pen and black ink on collaged sheets on wove paper, bears initials and inscription on associated sheet, 13 x 13cm

309

£250 - 300* 132

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 133

311

312 (part)

311 George Frederick Watts OM RA, British 1817-1904

313 British School, early-mid 19th century

Studies from the figure

Chinese/South East Asian costumed figure studies

pencil on wove paper, 21 x 17cm

pencil on buff coloured paper, two, 18.5 x 24.5cm and 28 x 18cm: British School, mid-late 19th century- View over a lake in a mountainous landscape; watercolour, 29 x 44.5cm: French School, early 19th century- Le contre amiral le Barbier de Tinan; pencil, 19 x 12.7cm: together with four further watercolours of topographical and/or colonial interest, various sizes, (8) (unframed)

Note: with thanks to Veronica Franklin Gould for her assistance in cataloguing this lot £300 - 500* 312 Attributed to Edward Lear, British 1812-1888 River landscape with a distant coastal town and mountains, Palermo pencil drawing, 10 x 15cm: together with two other landscapes, a watercolour and a pencil drawing with touches of watercolour, by other hands, 13.5 x 27cm and 15 x 28cm., (3) (part mounted, unframed).

Note: Edward Lear, was a a poet, author, and artist.

Lear is best known for writing poems, the most famous of these being the Owl and the Pussycat, and for developing the genre of literary nonsense, particularly in his 1846 volume of limericks fittingly entitled A Book of Nonsense. Lear repeatedly returned to the theme of the natural world in his art. This interest can be seen both in his more formal drawings of animals, and in the more fantastical (and often anthropomorphic) illustrations which he produced for his poems and stories. It is also evident in the number of landscapes which he made throughout his life, of which these pictures are classic examples.

£100 - 200* 314 British School, early-mid 19th century Study of a woman sleeping black and white chalk with touches of coloured chalk on grey green coloured paper, signed with monogram GRY and dated 1855, held in a handtooled morocco leather mounted wooden display case with glazed aperture, 17.5 x 24cm £100 - 150*

£600 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

133

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 134

315 Carl Goebel, Austrian 1824-1899 Portrait of a girl, traditionally held to be Friederike von Hannover, quarter-length turned to the right watercolour, oval, signed in pencil, 36 x 29cm Note: this work bears label attached to the reverse of the frame Kgl. Marienburg Spezial Inventar Zimmer No 56 Inv. Nr. 222, inventory label of the Royal Castle of Marienburg, special inventory room no. 56, inventory no. 222 Provenance: Sotheby’s, Works of art from the Royal House of Hanover, Marienburg Castle, 5-15th October 2005, lot 2251 £300 - 400* 316 Gustave Eugene Castan, Swiss 1823-1892 La Chapelle de Mornex pencil heightened with white, signed and inscribed, 15.5 x 24cm

315

£100 - 150* 317 Attributed to Richard Doyle, British 1824-1883 Untitled, man and a dog at a gate, (recto), Head studies, (verso) pen and brown ink, bears signature on the mount, 7 x 8cm: British School, mid-19th century- Is everything up close?; pen and brown ink, inscribed, 16 x 11cm (2) £300 - 400* 316

317 134

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 135

318 British School, early-mid 19th century Portrait of a gardener, half-length turned to the right in a brown coat and white stock holding a potted pansy oil on canvas, 69.5 x 48cm (unframed) £300 - 500*

318 319 British Primitive School, mid-19th century Portrait of a young girl standing fulllength by a rocking horse oil on canvas, 101 x 67cm., (unframed) £300 - 400*

320 European School, mid-19th century Sketch of a monk standing full-length tuned to the left oil on paper, of irregular shape, 38 x 276cm (max): together with a sketch in oil on paper of a man seated full-length reading, 35 x 22.5cm., (2) (unframed) £100 - 150*

319 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

135

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 136

321

321 Circle of George Frederick Watts OM RA, British 1817-1904 Portrait of a man in a broad brimmed hat oil on canvas, 40 x 35cm Note: Alfred Lord Tennyson, a good friend of G F Watts was known to be a keen amateur carver or whittler and it is not beyond possibility that the frame accompanying this lot, which is the original, may have been made by him £600 - 800* 322 British School, mid-19th century Christ seated below a palm tree with two figures oil on board, 24 x 16.5cm £300 - 500*

322

136

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 137

323

323 John Ritchie, Scottish act. 1858-1875 Mon Amour pour Marianna vivera toujours oil on canvas, signed, inscribed and dated 1854, 45 x 55.5cm Provenance: David Letham, Edinburgh Note: This work is by the Victorian artist John Ritchie, who was active in the latter part of the nineteenth century. This piece demonstrates Ritchie’s interest in depicting the landscape which surrounds his sitters, with the scenes illustrated in his paintings typically situated outside. In this way, this work reveals Ritchie’s romantic fascination with the British countryside, and the influence of the contemporary Pre-Raphaelite Brotherhood movement on the artist’s work. Richie’s depiction of figures examining a stone inscription in a wooded setting also recalls the classical history paintings of artists such as Nicolas Poussin, imparting a sense of grandeur on an otherwise tender scene. The artist’s best known works remain two paintings which he exhibited at the Liverpool Academy in 1858, entitled A Summer Day in Hyde Park and A Winter Day in St James’s Park. Ritchie also frequently returned to the depiction of genre scenes with figures in sixteenth-century costume, as in The Huguenot Conventicle Suppressed, which was exhibited at the Royal Academy in 1858. £400 - 600*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

137

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 138

324

324 Circle of Sir Edward John Poynter PRA RWS, British 1836-1919 Female nude seated in an ornamental garden with a pond and woodland oil on canvas, 56 x 92cm £800 - 1,200*

138

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 139

325

325 Sir William McTaggart RSA RSW, Scottish 1835-1910 Sketch oil on board, bears inscription Sketch. William MacTaggart RSAS by William MacTaggart RSA. Got by Dr Blatherwick from Joseph Henderson on the reverse, 24.2 x 32.5cm (unframed) Provenance: the family of the painter Joseph Henderson (1832-1908); niece of A S Hartrick, according to the label on the backboard of the frame Note: Although it is neither signed nor dated, this work is consistent with McTaggart’s style and subjectmatter from the later 1860s and early 1870s. It may well depict the artist’s first wife, Mary Brolochan Holmes, perhaps with their daughter Annie (born in 1864), both of whom often served as models for McTaggart’s work. McTaggart’s second wife, after Holmes’s death in 1884, was Marjory Henderson, daughter of the Joseph Henderson named in the inscription. Henderson’s connection with Charles Blatherwick can be explained by the fact that both men were prominent figures in the Scottish art world, with both serving as President of the Glasgow Art Club on separate occasions.

With thanks to Per Kvaerne for his extensive help in the cataloguing of this piece. £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

139

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 140

327

326 Circle of Richard Beavis RWS, British 1824-1896

327 Franco/Chinese School, mid-19th century

Mountain stream with woodland

Figure on a coastal path with a fortified promontory and a view of Hong Kong in the distance

oil on canvas, bears inscription on the stretcher, 25.2 x 35.5cm (unframed) £100 - 150*

oil on canvas, signed indistinctly, dated 1860, bears inscribed label on the stretcher, 25 x 35cm., (unframed) £800 - 1,200*

140

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 141

328 European Colonial School, mid-19th century Busy scene of a commemoration on the quayside of a harbour, possibly in Latin America pen and black ink and wash, 24 x 25cm: British School, early-mid 19th century- Soldiers in an encampment with a coast beyond; pen and grey ink and wash, signed with monogram BG, 15 x 26cm: Spanish School, midlate 19th century- A militia preparing to man a barricade; pencil, 14.2 x 23cm., (part mounted/unframed) (3) £100 - 150*

328 (part) 329 Raffaello Bonaiuti, Italian act. c.1850 The Madonna and Child pen and grey ink and wash heightened with white on grey coloured paper, 54 x 40.5cm.

Note: This piece is by the Italian draughtsman Raffaello Bonaiuti.

Bonaiuti was involved in the production of a number of prints which depicted the Madonna and Child, producing the design for an engraving after Raphael’s Madonna del Baldacchino, a copy of which is in the Royal Collection, for example.

Prints made after drawings by Bonaiuti are also in the collection of the British Museum. In execution and subject-matter, then, this drawing is a typical example of the artist’s work. £200 - 300*

329

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

141

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 142

330

330 Stanislas Victor Edouard Lepine, French 1835-1892

331 S P Mason, British Provincial School, mid 19th century

Figures with a horse by the edge of a river with moored barges

Church of St Deiniol, Hawarden, August 1857

pen and brown ink on wove paper, signed, 14.5 x 24cm Provenance: with Brandon Davis, 73 Grosvenor Street, London W1, according to the label attached to the reverse £300 - 500*

pencil, watercolour and gouache, signed, dated and inscribed, 20.5 x 28.5cm Note: Hawarden Castle was the estate of William Ewart Gladstone FRS FS (1809 -1898), Liberal politician, serving 12 years as Prime Minister of the United Kingdom, spread over four terms beginning in 1868 and ending in 1894: British School, mid 19th century- Parish Church of S S Mary and Christopher, Panfield, Essex, as partially rebuilt and enlarged AD 1858 R I Withers Architect; pen and black in and coloured crayon, inscribed, 18 x 19cm, (2) £200 - 300* 332 After Sir Edward Coley Burne-Jones, British 1833-1898 Love Among the Ruins

332

142

photogravure on wove paper, printed by Messrs Walker and Boutall, from the original photograph

by Frederick Hollyer, 34.5 x 52cm (unframed) £100 - 150*

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 143

333 E Bradley, British, mid-19th century The opening of the Centrifugal Pump for the Drainage of Whittlesea Mere. The ***** House and Main Drains, c.1851 pen and brown ink and watercolour, inscribed, 24 x 22.5cm., (mounted, unframed) Note: This lot depicts Whittlesea Mere in Cambridgeshire. It was one of the last ‘great meres’ in the fenland of East Anglia, and was drained in 1851 as part of the agricultural developments which fundamentally changed the geography and economy of this region of England. This mere covered a vast area which varied seasonally, but which reached up to 3,000 acres in the winter, and served as a location for fishing, boating, and ice skating. The Appold centrifugal pump which is illustrated in this picture had been commissioned to drain the mere after being shown at the Great Exhibition in 1851. This lot, in its depiction of the drainage of Whittlesea Mere, therefore captures a moment in the drastic transformation of the landscape which defined nineteenth-century Britain.

The drainage of the mere revealed a number of silver artefacts which were believed to have come from Ramsay Abbey which are now on display at the Victoria and Albert Museum in London. £100 - 150* 334 Philip Homan Miller ARHA, Irish 1845-1928 Portrait of Admiral Lord Alcester (1821-1895), standing three-quarter length monochrome watercolour heightened with white, signed and dated 1891, signed by the sitter, bears pencil inscription on the mount, 50 x 34.5cm Provenance: with Fredk. B Daniell, dealers in old engravings, drawings pictures etc., 32 Cranbourne Street. L:eicester Square, London WC2, according to the label attached to the reverse of the frame £100 - 150*

333

335 British School, early 19th century Studies of a mother and child and of a putto, (recto, Mother with children in a glade, (verso) pencil and stump, (recto), brush and black ink heightened with white over pencil, (verso), 20.5 x 26cm (max): Attributed to William Hoare of Bath RA, British 1707-1792- Portrait of a boy, head and shoulders; black, red and white chalk, 12.5 x 9.7cm: British School, early-mid-19th century- Portrait of a lady, quarter-length in a blue dress and plumed hat; watercolour, 16.3 x 13.3cm: British School, late 18th century- View of the Royal Circus, near the Obelisk..., c.1785; pen and black ink and wash, signed with initials ESF, inscribed extensively and dated, 17.5 x 20cm: British School, mid-late 19th century- Portrait of a gentleman, quarter-length turned to the left; brush and black ink heightened with white and touches of watercolour, 31.5 x 25cm: British School, 19th century- Portrait of a gentleman, quarter-length turned to the right; black and coloured chalk on brown coloured paper, 45 x 35cm: British School, late 18th century- Figure by a cottage with woodland; watercolour, 8 x 12cm (7) (part mounted, part unframed) £100 - 200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

143

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 144

337 Walter Greaves, British 1846-1930 Fragments of the Shrine of Frideswide in this chapel Ch CH Ox pencil, signed and inscribed, 22.5 x 17cm £100 - 150* 338 Hilda Montalba, British 1845-1919 Boys Fishing on the Venetian Lagoon pen and brown ink, signed, inscribed Royal Academy 25 x 35.5cm: together with one other drawing in pen and black ink by the same artist entitled A Venetian Boy, signed, and signed, titled and inscribed Royal Academy on an associated sheet, 17 x 11cm: together with a further quantity of drawings, watercolours and works on paper by different hands, 19th & 20th century, various sizes, (a lot) 336

£150 - 200*

336 William P Rogers, Irish fl.1842-1883

339 Théophile Alexandre Steinlen, Swiss 1859-1923

Figures by a windmill

View of farm buildings on a hillside

pen and brush and brown ink, signed in pencil, 22 x 18cm

pencil on tissue-thin buff coloured paper, signed, 23 x 30cm: together with a lithograph printed in sepia by the same artist depicting two girls running, published by Les Arts de la Vie, signed and bears monogram within the plate, 22 x 14.3cm., (2)

£100 - 150*

£100 - 150*

339

144

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 145

340 William Strang RA RPE, British 1859-1921 Male nude study red crayon on wove paper, 52 x 32cm: together with a drawing in red chalk of a mother and child, 39.5 x 24cm and a further drawing in black chalk of a seated figure dedicated To Margaret from W Strang Hendre Coed Spetr and dated 1907, 41 x 26cm., (3) Provenance: the male nude and possibly the mother and child are studies of Adam for the murals in Compton Hall, Wolverhampton, which Lawrence Hodson gave Strang as his first major commission. £200 - 300* 341 Scottish School, mid-19th century Portrait of a lady, traditionally held to be Mary M Spur, nee Napier of Milliken, (1839-1902), standing three-quarter length watercolour, bears inscribed label attached to the reverse of the frame, 25 x 21cm: Thomas Charles Wageman, British 1787-1863- Portrait of a gentleman, seated three-quarter-length turned to the right; pencil, 33 x 24.5cm: J Carpenter, British, early-mid 19th century- Portrait of a gentleman seated half-length turned to the left; watercolour, signed and dated July 1841, 40.5 x 35cm, (3)

341

£150 - 200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

145

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 146

342 British School, mid-19th century The petitioner watercolour, 12.5 x 9cm £100 - 150* 343 European School, mid-19th century Royal Palace of Ajuda near Lisbon taken from the Garden of the Covenant of Necessidades watercolour, bears inscription on the mount, 12 x 19cm £100 - 150* 344 Charles Nathaniel Worsley, British 1850-1923 Fruit Shop, Amalfi watercolour, signed, 50 x 33.5cm Provenance: with J H Steer Ltd., 2 Ridgmount Street, Store Street Tottenham Court Road, London W, according to the label attached to the reverse of the frame

344

£250 - 350*

345 H Berridge, British Primitive School, 19th century Land (sic) End, Cornwall oil on canvas, signed and inscribed, 63.5 x 82.5cm., (unframed) Provenance: Sotheby’s, London, Chatsworth: The Attic Sale, October 5th-7th 2010, lot 359 £400 - 600*

345

146

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 147

346 346 British/Irish School, late 19th/early 20th century Figure in a dingy in a tranquil cove oil on canvas board, 30.5 x 40.5cm £200 - 300* 347 Henry Francis Bate NEAC, British 1858-1950 The West is Tender, hardly Bright. How grey at once is the evening grown oil on canvas laid down on panel, of irregular shape, signed and dated 83, 26 x 19.5cm Note: the title of this work is quoted from Robert Browning’s By the Fireside, stanza XXXVII. This work is by H. Francis Bate, who studied at the Royal College of Art and the Antwerp Academy. It is typical of Bate’s light-suffused depictions of nature, other examples of which are currently held in the University of Hull Art Collection and Reading Museum and Town Hall. £400 - 600*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

347

147

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 148

348

348 Louise Ellen Perman, Scottish 1854-1921 Still life of pink and white roses oil on canvas, signed, 61 x 52cm Provenance: Rosebery’s, London, 16th June 2009, lot 749 £1,000 - 1,500*

148

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 149

349 349 George Sherwood Hunter RBA, Scottish 1850-1919

350 European School, late 19th/early 20th century

A Weaver at Nizon, Pont Aven

View of woodland in autumn

oil on canvas, inscribed, and dated Oct 20th 1905 in pencil on the stretcher, 30 x 48cm

oil on canvas, signed with monogram, 38 x 30cm: together with a winter woodland study in oils on canvas by the same artist, signed with monogram, 60 x 50cm., (2) (unframed)

Provenance: the family of the artist £400 - 600*

£200 - 300*

350 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

149

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 150

351 351 Circle of Alphonse Etienne Dinet, French 1861-1929 Astyanax Effraye par son pere Hector oil on canvas, bears inscription on the stretcher, signed indistinctly, 40 x 30cm Provenance: The collection of the artist Charles James Theriat (1860-1937); Christie’s sale, South Kensington Note: This work may have been painted in Grez, where Theriat was working in the 1880s along with the other American artists Walter Gay (1856-1937) and Willard Lowell Metcalf (1858-1925). This work recalls the work of the nineteenth-century French Orientalist School of painting, of which Alphonse Etienne Dinet was a central figure. Dinet studied under Tony Robert-Fleury and William Bouguereau, both influential art teachers with an interest in depicting dramatic classical and historical scenes. In 1887 he co-founded the Société des Peintres Orientalistes Français with Léonce Bénédite, the director of the Musée de Luxembourg. Other founding members of this group included key Orientalist artists such as Paul Leroy, Eugene Girardet, and Maurice Bompard. He also established the Société Nationale des Beaux-Arts in 1889 with a number of significant contemporary artists, including Charles Cottet, Rodin, Carolus-Duran, Puvis de Chavannes, and Meissonier. £600 - 800*

150

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 151

352 352 Attributed to Clare Atwood NEAC ASWA, British 1866-1962 The Wheelwright’s Shop oil on board, 19.8 x 29.7cm (ARR) Note: Clare Atwood was an English artist who was active in the late nineteenth and early twentieth centuries, producing art in what would prove to be a particularly fertile period for the development of British painting. Atwood studied at the Westminster School of Art, and the Slade School of Fine Art.Having first exhibited at the New English Art Club in 1893, she became a full member in 1912, and in the same year her work was exhibited at the Carfax Gallery. This small-scale, muted and understated painting displays an affinity with the more commonplace subject-matter which can be perceived in some of the work produced

by Atwood’s contemporaries in the NEAC. Paintings by Atwood are in the collection of the Tate Galleries, the Victoria & Albert Museum, and the Imperial War Museum, all in London, alongside others. £600 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

151

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 152

353 Theodore Casimir Roussel NEAC RBA ARE, French/British 1847-1925 Spring, 1906 soft-ground etching, signed and inscribed in pencil, 6.7 x 19.5cm: Raphael T Roussel, British 1883-1967- Tug boat; hand-coloured lithograph, signed in pencil, signed within the plate, 9.5 x 13.8cm: British School, late 19th/early 20th century- The Great Artist, What’s the use of anything - nothing; black chalk, inscribed, 25 x 18cm: together with two sketchbooks, one drawing, and a small collection of further prints and reproductions relating to the Roussel family, (in one box) (ARR) Provenance: the family of the artist Note: The lead item in this lot is by the French painter and printmaker Theodore Casimir Roussel. Roussel did not have any formal artistic training, which can be seen to give his work a sense of freshness and originality. Roussel is, nevertheless, often described as receiving informal instruction from his close friend James McNeill Whistler, by whom he was introduced to the techniques involved in etching and drypoint. Roussel subsequently became a leading innovator in the field of colour etching in England.

353

These prints are therefore typical of the artist’s style, using the media of printing and drawing to depict intimate scenes of family life (including the artist’s son, Raphael Roussel, who would go on to become an artist in his own right). Roussel’s work was regularly exhibited at the Society of British Artists, the Royal Scottish Academy, the New English Art Club and the International Society of Sculptors, Painters and Gravers. He was also a founding member of the Allied Artists’ Association, established in 1908. A related example of this work can be found at British Museum, no.1919,1015.36. £150 - 250* 354 After William Edward Atkins, British 1842-1910 H.M.S. VICTORY. Proud of thy Station, Pride of the Nation, Rest. ‘Victory’, Rest chromolithograph published by J.S. Virtue & Co Ltd, lithographers, London, circa 1890, 69 x 55.5cm: After Frederic Edwin Church, American 1826-1900- Niagara; chromolithograph; 40 x 90cm, (2) £200 - 300*

354 152

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 153

355 Philips Zilcken, Dutch 1857-1930 Despair etching, signed, inscribed Paris and dated 24 in pencil, 49 x 34.5cm.

Note: This work is by the Dutch artist Philips Zilcken. Zilcken studied under Karel Klinkenberg and Anton Mauve. After spending time at the Societe des aquafortistes in France, Zilcken became the secretary of its Dutch equivalent, Nederlandsche Etsclub, between 1885 and 1896.

As this shows, Zilcken had a particular interest in the techniques of etching and engraving, and his ability to imbue works produced in this medium with an extreme emotional intensity is powerfully illustrated by this piece. £150 - 200*

356 Gusztáv Magyar Mannheimer, Hungarian 1859-1937 Capri Szliget etching with drypoint and hand-colouring, signed and inscribed in pencil, 22 x 15cm: Eastern European School, late 19th century- Poultry on a kitchen table; etching with drypoint, signed with initials ZFZ and dated 88 within the plate, 12 x 23.5cm: Ludwig Lille, Polish 1897-1957- Family group in an interior; etching, signed and inscribed Epr d’essa in pencil, 10 x 14cm., Leon Salles, French 1868-1950- Portrait of a lady; etching with mezzotint printed on vellum, published 1909 by Henry Graves & Co Pall Mall London SW, signed in pencil, 28 x 23cm: Edgar Barclay, British 1842-1913Peasants travelling along a steep coastal pathway with steps; etching, published 1st Septr by Robt Dunthorne at the Rembrandt Head in Vigo Street W, signed in pencil, 67 x 35.5cm: Joseph Hecht, Polish/French 1891-1951- Untitled; etching, signed and inscribed epreuve d’etat in pencil, 24 x 41cm (6) (part unframed) (ARR) £150 - 200*

355

357 Sir Frank Short RA PPRE, British 1857-1945 Water Mill, after J M W Turner RA, 1885 mezzotint printed in sepia, signed with monogram within the plate, signed in pencil, published 1st Oct 1885 by Robt Dunthorne at the Rembrandt Head in Vigo Street, 20 x 28cm: Myra Kathleen Hughes, Irish 1877-1918- Studies of ancient dwellings; etchings, three, each signed with monogram, published by W H Beynon & Co Cheltenham, 15.5 x 23cm: together with a mixed folio of prints and reproductions by and after different artists, various sizes: Alphonse Legros RE, French/British 18371911- T Carlyle; lithograph, printed by Lemericer & Cie, Paris, 19 x 15cm (a lot) (part unframed) £100 - 150*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

153

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 154

358 British School, early 20th century Design for a cupboard pencil and gouache, inscribed, 54 x 17cm £100 - 150* 359 Follower of Samuel John Lamorna Birch RA RWS, British 1869-1955 River landscape watercolour and gouache, 21 x 30cm: British School, mid-late 19th century- Figure by a Jacobean stone house and garden and an old cottage by a river shore amongst woodland; watercolours, a pair, ea. 24 x 34cm (3) £100 - 150* 360 Attributed to Walter Taylor LG, British 1860-1943 Church tower and steps in Villeneuve-sur-Mer watercolour over pencil, bears inscription on the reverse of the frame, 20 x 12cm £100 - 150*

358

154

360

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 155

361 Norman Hirst ARE, British 1862-1956 Lady Wrottesley, after John Hoppner RA mezzotint, published 1905

by Thos Agnew & Sons 39b Old Bond Street London Liverpool & Manchester, signed in pencil, bear Printsellers Association blind stamp, 46 x 37.5cm: Valentine Green, British 1739-1813- Mr Robert Drummond & Mr Thomas Drummond, Sons of Robert Archbishop of York, after Benjamin West RA, 1768; mezzotint, 61 x 39cm., (2) (unframed) £80 - 120*

361

362 Circle of George Frederick Watts OM RA, British 1817-1904 Portrait of a lady, head and shoulders turned to the left watercolour, tondo, 13cm dia. £100 - 150*

362

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

155

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 156

363 French School, late 19th century Study of an officer standing full-length watercolour heightened with white on paper, held in a 19th century glazed ormolu Rococo style frame, 14 x 19cm £200 - 300*

364 British School, early 19th century Zoological studies of lizards and a fish watercolours, three, ea. inscribed in pencil, 8 x 17cm (max) (3) Provenance: with Albany Gallery, London, according to the label attached to the reverse of one of the frames £150 - 200*

363

365 Douglas Ion Smart RE, British 1879-1970 The Chateau, Remours watercolour, signed, 25 x 32cm (ARR) Jack Robin, British, late 19th/early 20th century- View of riverside dwellings and am arched bridge; pen and black ink, signed and dated 1900, 31 x 43cm: Norman Garstin NEAC, Irish 1847-1926Landscape; watercolour, signed and inscribed, 25 x 33cm: Aaron Edwin Penley RI, British 1807-1870- Bovey Lodge, Berry Pomeroy Castle, Devon; watercolour over pencil on green coloured paper, signed, inscribed and dated July 15th 1848 in pencil, 24 x 34cm., (4) £100 - 200*

364 156

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 157

366 366 George Ferdinand Of, Jnr. American 1876-1954 Landscape coloured crayon, signed with initials, dedicated and dated 1919 in pencil, 13 x 17.5cm together with a pencil and watercolour study of trees by the same artist, signed, dedicated a mon ami Pach and dated 1919, 13.2 x 23.5cm., (2) Provenance: Walter Pach (1883-1958), artist and art historian, long-standing friend and patron of the artist; Christie’s South Kensington, 25th October 2011, lot 448 Note: These works are by the American artist George Ferdinand Of, and are typical of his landscapes in style.

The use of bright colours and impressionistic markings recalls the larger oil paintings produced by the artist.

The loose and sparing application of crayon creates a sense of the freshness and lightness of the countryside depicted by Of. This style places Of firmly in the rapidly-developing artistic landscape of the late-nineteenth and early-twentieth centuries. The artist’s connection with the key players of the early twentieth century art scene is further reinforced by the fact that these works come from the collection of Of’s friend and patron Walter Pach. Pach lived in Paris between 1907 and 1913, befriending some of the most significant and influential artists of the period, including Marcel Duchamp, Pablo Picasso, Raoul Dufy and Jacques Villon, among many others. By selecting Duchamp’s Nude Descending a Staircase, No. 2 for the 1913 Armory Show, which introduced radical Parisian artistic developments to an American audience, Pach personally had a huge influence on the shape of American art to follow. These works, therefore, can be connected to some of the most significant developments in twentieth-century art, both in Paris and the USA. £200 - 300*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

157

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 158

367

368

367 Arthur Romilly Fedden, British 1875-1939

368 Henry Matthew Brock RI, British 1875-1960

369 French School, mid-late 19th century

Criticism

Standing female nude

Le Soleil Couchant (Montmartre)

pencil, signed and dated Aug 1902, tondo, 12cm dia: together with one other drawing of a portrait subject in pencil by the same artist, signed, inscribed An old Breton le Favorit, and dated 1902, tondo, 15cm dia., (2)

pen and black ink on wove paper, 41 x 27cm (ARR)

pencil, signed Julius and inscribed, 19 x 26.5cm: French School, late 18th century- Lac de Tiberiade; black crayon with scratching-out heightened with pencil, bears inscription on the mount, 10 x 14cm., (2)

£150 - 200*

158

£100 - 150*

£100 - 150*

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 159

370 370 Circle of Sir William Rothenstein, British, 1872-1945 Mother and child in an interior with a vase of flowers and framed Japanese prints oil on canvas, stretcher bears manufacturer’s stamp Chenil Chelsea by the Town Hall, and remains of paper label Charles Chenil & Co. Ltd., 116.5 x 126.5cm., (unframed) Note: Although not an exact copy, the composition of this work bears a striking resemblance to Sir William Rothenstein's 1903 'Mother and Child', which is currently in the collection of the Tate Britain in London. This painting was likely painted by a contemporary, who was influenced by Rothenstein's painting to render a similarly intimate maternal scene. The subject-matter and depiction of an interior recall the work of seventeenth-century Dutch painters, including Pieter de Hooch and Johannes Vermeer.

The work's connection to members of the New English Art Club is clear not only from the painting's style, but also from the materials used for its production. The markings on the reverse of the picture link this to Charles Chenil & Co Ltd, 183a, later also at 181, King’s Road, Chelsea, London 1905-1927. Artists' colourmen, brush manufacturers, picture framemakers and picture dealers. £2,000 - 3,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

159

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 160

371 Campbell Lindsay Smith, Scottish 1879-1915 Moored boats along a quayside oil on canvas board, signed and dated 1907, 23.5 x 18.8cm Provenance: Rosebery’s, London, 29th March 2017, lot 782 Note: This work is by the Scottish painter Campbell Lindsay Smith, who was a student at the Royal Academy Schools from 1898 to 1903. Smith was killed in battle in 1915, whilst serving for the British army in WWI. He was best known for completing a number of portraits, some of which are currently in the collections of the Aberdeen Art Gallery and Museums and Pembroke College, University of Cambridge. This particular work exhibits some of the key characteristics which can be seen in other works by the artist, including the free application of paint in muted tones which imbues it with a sense of meditative stillness.

371

£400 - 600* 372 Thomas Charles Farrer, British 1839-1891 Sunset on the Surrey Hills oil on canvas, 24.3 x 39.5cm Provenance: with Dowdeswell and Dowdeswell Ltd., London, according to the remains of the label attached to the reverse of the stretcher £300 - 400* 373 British Primitive School, 19th century

372

Pig in a paddock oil on canvas, 30 x 45.3cm (unframed) £80 - 120*

160

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 161

374 374 Mary Godwin LG, British 1887-1960 Funchal, Madeira oil on canvas, signed, and inscribed on the stretcher, 56 x 45.5cm (ARR) (unframed) Notes: This work is by the British artist Mary Godwin. Godwin studied first under John Byam Shaw at The Women’s Department of King’s College, and the under Walter Sickert and Harold Gilman at the Westminster School of Art. She was also a member of the London Group, having been influenced by the art produced by members of its predecessor, the Camden Town Group. Godwin’s work was regularly exhibited throughout her lifetime, both as part of group shows and individually. As well as being included in the London Group exhibitions, Godwin’s art was exhibited at the New English Art Club and the Allied Artists Association. Her work was also part of exhibitions held at the Chenil Galleries, the Goupil Gallery, Manchester City Art Gallery, and even the Royal Academy, alongside an important solo show of 1936 at the Leger Galleries in London. This lot, a lively depiction of a Madeiran landscape (a regular subject of Godwin’s work) executed with the confident application of colourful paints, is a typical example of the artist’s style. £400 - 600*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

161

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 162

375 375 After Emile Aubry, French 1880-1964 La Voix de Pan oil on canvas, 96.8 x 130cm (unframed) Note: see Victor Arwas, Art Deco, Academy Editions, London, 1992, pg. 186, illustrated pg 187. see related work by the artist entitled Le Jugement de Pâris, étude, c.1932, Musée des Beaux-Arts, Pau, Béarn, Pyrénées-Atlantiques, Aquitaine, France.

Emile Aubry was a French painter who was elected to the Académie des Beaux-Arts in 1935. The artist’s original work in the Musee des Beaux-Arts, Pau, of which this is a copy, is clearly indebted to the development of the Art Deco movement in the early 20th century, and illustrates the artist’s participation in and contribution to the rapidly changing artistic landscape of the period. The result of this can be seen in the artist’s use of bright, contrasting colours and bold lines in a confident exploration of figuration, which are faithfully rendered in this work. £600 - 800*

162

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 163

377 (part) 376 Hal S Perkins, British or possibly American, late 19th century

377 James Arden Grant RE PPS, British 1887-1974

Orchids

Study of a resting cat

watercolours, four, each signed with initials, ea. 9.5 x 8cm., (4)

black and red chalk on buff coloured paper, 24 x 26cm

Note: a copy of an original note from the artist accompanies this lot £80 - 120*

Provenance: Sassoon family, Heytesbury House, Wiltshire Roberta Lynn, British, mid 20th century- Flowers in a Masons jug; watercolour, signed, 40 x 33cm: Modern British School, early-mid-20th centuryHead studies of two children; black crayon on buff coloured paper, oval, 30 x 22cm: Modern British School, early-mid 20th century- Portrait of a woman turned to the right; watercolour, signed with initials CGC and dated 34 in pencil, 7.5 x 7.5cm: British School, mid-late 20th century- Study of a North African woman, half-length turned to the right; pen and black ink, 22 x 17.5cm, Provenance: Sassoon family, Heytesbury House, Wiltshire: C John V Dobbin, British, early-mid 20th century- Portrait of a lady, possibly Betty, wife of the artist, seated threequarter length turned to the left by a music stand, c.1940; black chalk heightened with white on blue coloured paper, signed, inscribed Chenil Studios, Chelsea and dated 19th Feb 1938, 47.5 x 30.5cm, (6) (part mounted, unframed) (ARR) £120 - 180*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

163

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 164

378 (part)

164

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 165

378 Bryan de Grineau, British 1883-1957 Royal Ascot - Paddock Parade charcoal on card, signed, extensively inscribed and dated 1937, 53.5 x 75.8cm: together with a collection of drawings in charcoal, pencil and pen and ink and some in watercolour, by the same artist to include Great Scotland Yard, signed, inscribed and dated 50, 53.5c76cm; Wartime street scene, signed,50 x 74.5cm; Wartime birds eye view of a landscape attributed to the same artist, inscribed, 36.8 x 54.5cm; and a further twenty-five drawings to include group figure compositions, architectural studies and a small number of further wartime works, various sizes, (29) (unframed) (ARR) Note: These drawings are by the British artist Bryan de Grineau. De Grineau’s style, particularly towards the beginning of his career, was heavily influenced by that of his father, the illustrator and caricaturist Charles Grineau. De Grineau was best known for his illustrations of motor sports and the sketches he produced of the combat of both World Wars. De Grineau started his career illustrating motor sports events for the automotive magazine The Motor, but began submitting his sketches to new agencies whilst serving in the First World War. During WWII De Grineau acted as a special correspondent for Illustrated London News, and later as an official government War Artist. De Grineau’s drawings serve as an impressive record of the society and events of early twentieth-century Britain, covering not only conflict but milestone occasions in the public consciousness, such as the Royal Wedding in 1947 and the 1953 Coronation. As works with such great historical significance, many of De Grineau’s drawings are held in the collection of the Imperial War Museum. £800 - 1,200*

379 Bryan de Grineau, British 1883-1957 Cambrai, 1918 etching, signed, inscribed and dated in pencil, 24 x 33cm: together with a collection of etchings, lithographs and reproduction prints by and after the same artist, to include further scenes from the Great War, architectural and street scenes, many signed in pencil, various sizes, (15) (ARR) (unframed) £200 - 400*

379 (part)

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

165

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 166

380 Mariette Lydis, Austrian/Argentinian 1887-1970 Indienne avec chale en dentelle pencil, signed and inscribed, 34 x 25cm (ARR) Note: the sitter depicted is possibly a central American subject £150 - 200* 381 Mariette Lydis, Austrian/Argentinian 1887-1970 Saint & Dove etching printed in colours, signed and inscribed ‘Paris’ in pencil Provenance: The Redfern Gallery Ltd., London, where purchased by G Holford Dixon Esq Dec 6th 1939, according to the label attached to the reverse of the frame: together with one other etching printed in colours by the same artist entitled Carte du Gendre, signed and inscribed ‘Paris’ in pencil, 25 x 26cm., (2) (ARR) 380

£150 - 200*

381

166

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 167

382

383

382 Erich Wolfsfeld, Polish/British 1884-1956 Portrait of a girl black and coloured chalk on buff coloured paper, signed, 34 x 27.5cm (ARR) Provenance: originally from the studio of the artist £400 - 600* 383 Erich Wolfsfeld, Polish/British 1884-1956 Portrait of a pianist oil on paper, 49 x 39cm (ARR) Provenance: originally from the studio of the artist £300 - 400* 384 Gaston Henri Toussaint, French 1872-1946 Christ carrying the Cross, (recto), Three female nudes, (verso) watercolour over pencil with touches of pen and ink on paper, signed, bears cachet de vente, (recto), pencil, (verso), 32 x 34.5cm £200 - 300*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

384

167

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 168

385 Jens Sinding Christensen, Danish 1888-1957 View of a farmyard oil on canvas, signed, bears inscription on the stretcher, 36 x 50cm (ARR) £200 - 300*

386 Raphael Roussel, British 1883-1967 Riverside path with woodland on a summer’s day, c.1923 385

oil on canvas laid down on board, inscribed “...ing the Ride after War, St. James’s Park”, and dated 1923 on the mount, 31 x 38.5cm., (unframed) (ARR) Provenance: the family of the artist

386

Note: Raphael Roussel was a British artist, the son of Theodore Casimir Roussel, himself a well-known French painter and engraver. Roussel worked as a portrait painter and produced a number of commercial artworks. He is perhaps best-known for his travel posters, which are iconic examples of the bold new style of graphic art pioneered in the early twentieth century.

Roussel also created a number of dioramas for educational use in museums and produced landscapes, such as this one, although the medium of oil paint makes this work a more unusual example of the artist’s work. £100 - 150*

387 Carl Felkel, Austrian/British1896-1980 Cornish coastal scene oil on canvas, signed, 64 x 77cm (ARR) Provenance: the studio of the artist £300 - 500*

387 168

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 169

388

388 Ervin Bossanyi, Hungarian/British 1891-1975 Foot Washing tempera on plywood panel, 104 x 151cm (ARR) Provenance: the studio of the artist; Phillips, London, 11th December 1990; Bonhams, London 29th July 1993, lot 107; Bonhams, London, 6th October 1993, lot 46 Notes: Ervin Bossanyi, is a Hungarian artist who, after emigrating to England in 1936, became known for his stained glass designs. Stained glass windows designed by Bossanyi are in a number of notable locations, including at the Victoria & Albert Museum, the Tate Gallery, and Senate House Library, all in London.

Stained glass windows by Bossanyi are also in place in ecclesiastical settings, at the chapels of St John’s College and St Peters College in Oxford, and York Minster. Examples of Bossanyi’s windows are owned by the Stained Glass Museum at Ely Cathedral. This painting clearly echoes the work produced in the artist’s favoured medium of glass, with its religious theme, contrasting colours and strong figuration recalling the central features of Bossanyi’s windows. £2,000 - 3,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

169

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 170

389

389 David Wu Ject-Key, Chinese/American 1890-1968

390 British School, late 19th/early 20th century

Girl’s Head

Views in Florence, c.1899

oil on canvas laid down on board, signed, signed with artist’s seal, 20.5 x 17cm

pen and black ink and pencil, a collection, 36 x 25cm., (max) (a lot) (unframed)

£700 - 900*

Provenance: Hayllar family, the Limes, Frant, Sussex Note: this collection of drawings appears to be all by the same unidentified artist. £150 - 200*

170

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 171

391

393

391 British School, early 20th century A suggestion for a window in the hall of Merton College, Oxford pen and brown ink and watercolour, 27 x 17cm Note: The three figures depicted in this work are thought to be as follows: left: Thomas Bowman, Warden of Merton College, 19041936; centre: Walter de Merton (c.1205-1277) founder of Merton college; right: George Charles Brodrick (1831-1903), Warden of Merton College, 1881-1903 £200 - 300* 392 Carl Felkel, Austrian/British 1896-1980 Self portrait of the artist watercolour, 47.5 x 35.5 (ARR) Provenance: the artists’ studio £400 - 600* 393 School of Paris, early-mid 20th century Woman with a cat and two standing female figures talking, c.1930

392

pencil and coloured chalk on brown and olive green coloured paper, a pair, 24 x 16cm., ea., (2) £300 - 500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

171

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 172

394 Modern British School, early-mid 20th century Portrait of a lady seated half-length oil on canvas, bears inscription on the reverse, 69.3 x 50.3cm £300 - 400*

395 European School, late 19th/early 20th century Figures at prayer at an altar, possibly in Brittany oil on canvas, 35 x 81cm £300 - 400* 394

395

172

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 173

396

396 Geoffrey Tibble, British 1909-1952 Portrait of the artist’s wife Marjorie seated at a table nursing a baby oil on canvas, 46 x 61cm (ARR) Provenance: with Manchester City Art Gallery, according to the label attached to the stretcher Note: Geoffrey Tibble was an English artist who studied at the Slade under Henry Tonks. For a short while Tibble was a central figure in the Objective Abstraction movement, although he soon rejected abstraction in favour of more figurative painting, moving towards the Euston Road School which was founded by his contemporary at the Slade, William Coldstream. This work is a typical example of Tibble’s favoured style and subject-matter, with its depiction of a contemplative female figure in an interior scene. This approach has led commentators to compare Tibble’s work with painters such as Eduoard Vuillard and Edgar Degas, the latter of whom Tibble himself described as an important influence. Tibble’s work was exhibited throughout his lifetime, from his first solo exhibition at Tooth’s Gallery in 1946. His work is now in a number of collections across the UK, including in the National Galleries of Scotland in Edinburgh, the Ulster Museum in Belfast, the National Gallery of Wales in Cardiff, and the Arts Council Collection at the Southbank in London. £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

173

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 174

398

397 397 Gerald Reitlinger, British 1900-1978

398 Baruch Shalom Oskotsky, (Bernard Scott), British 1918-1990

Figures in interior, possibly the Villa Farnese, Caprarola

Self portrait of the artist

oil on canvas, 54.2 x 44.2cm (ARR) Provenance: with The Parkin Gallery, London, according to the label attached to the reverse of the frame Note: This work is by Gerald Reitlinger, who was particularly notable as an art historian and art collector, alongside practicing as an artist himself.

Reitlinger studied at the Slade and at Westminster School of Art. Reitlinger’s art collection was significant, with a particular emphasis on Eastern ceramics, and he acted as a great benefactor to museums, with much of his collection ending up in the British Museum in London and the Ashmolean in Oxford, among others.

Reitlinger’s contribution to the study of the history of art and collecting was also great, culminating in his three-volume work The Economics of Taste (1961-70). As such, Reitlinger is an important name in the study of art history and collecting.

oil on canvas, signed and dated 41, 45.7 x 36cm (ARR) Provenance: originally from the studio of the artist.

Note: This work is by the artist Baruch Shalom Oskotsky, also known as Bernard Scott. Scott studied at St Martin’s School of Art on a scholarship awarded by London County Council, where his contemporaries included Leon Underwood. He won first place in a mural competition at St Martin’s, and his design was consequently painted on the wall of the school.

His work has been exhibited at the Royal Academy, Camden Arts Centre and the Whitechapel Art Gallery, and has also been the subject of solo exhibitions at Drian Galleries and Rene Daron Gallery in Tel-Aviv. A retrospective of Oskotsky’s work was held at the Ben Uri Art Gallery in 1995. £400 - 600*

£300 - 400*

174

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 175

399

401

399 Baruch Shalom Oskotsky, (Bernard Scott), British 1918-1990

402 Capt. Wilfred Goodman MC, British, early-mid 20th century

Flowers in a vase

In Kew Gardens

oil on canvas, signed and dated 39, 61 x 40cm (ARR)

oil on canvas board, 35 x 45cm (ARR)

Provenance: originally from the studio of the artist.

Provenance: originally from the studio of Baruch Shalom Oskotsky, (1918-1990)

£200 - 300*

£40 - 60*

400 Modern British School, early-mid 20th century

403 Dorrit Dekk, Czech/British 1917-2014

Figures in a busy cafe interior

Stormy Weather

oil on canvas, 36.7 x 56cm (unframed) (ARR) Provenance: originally from the studio of Baruch Shalom Oskotsky, (1918-1990)

brush and black ink on paper, 35 x 40cm: together with a further work in brush and black ink on paper of a mountain village, signed, 26 x 35cm., (2) (ARR)

£200 - 300*

Provenance: gifted by the artist to a former owner

401 Sir Robin Darwin KCB CBE RA RSA PRWA NEAC, British 1910-1974

£80 - 120*

Table Mountain, South Africa oil on canvas, signed and dated 67, 51 x 61cm (ARR) £300 - 500*

400

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

175

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 176

404 French School, late 19th/early 20th century Les Baigneuses pastel on paper, signed with initials EK, 19 x 21.2cm £100 - 200*

404

405 (part) 405 Clara Klinghoffer, Polish/British 1900-1972

406 A Bing, French, mid 20th century

Portrait of a woman, head and shoulders turned to the left

Portrait of a young man, quarter-length turned to the left

brown crayon on wove paper, 22.5 x 18.5cm: together with a collection of eight further drawings by the same artist, mostly in pencil, further works in charcoal, pen and brush and black ink, one signed with initials, one with extensive inscription verso, 34 x 23cm., (max) (9) (ARR)

oil on canvas, signed, 46 x 32.9cm., (unframed)

Provenance: these works came from a sketchbook of drawings by the artist, c.1929

Velad!

£400 - 600*

£200 - 300* 407 Ramiro Davalos, Argentinian 1924-2000 pencil, signed and inscribed, 51 x 36cm: Pierre Laffille, French 1938-2011- Portrait of an elderly woman; charcoal and brush and black ink, signed, 36 x 26cm: French School, early-mid 20th centuryHead studies of women; red, black and white chalk, a pair, 28 x 21cm., ea., (4) (ARR) £200 - 300*

176

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 177

408 John Marshall, British 1911-1995 Sunset over trees (sketch) watercolour, signed, 19 x 17cm, Exhibited: Ernest Brown & Phillips Ltd., The Leicester Galleries, London, April 1959, according to the label attached to the reverse of the frame: John D Marshall, Scottish exh 1880-1889 Burnmouth Berwickshire; watercolour, signed with monogram and dated 20.8.04, bears inscription on the reverse of the frame, 26 x 23cm, (2) (ARR) £100 - 150*

408 (part)

409 (part) 409 E Garratt, British Camouflage School, c.1942-43 Tents erected on a mountain side, Camouflage Training School, Kirkee, Poona District, India watercolour over pencil 33.3 x 41.5cm: together with a collection of further fourteen watercolours by the same artist depicting World War II scenes in India, 38.5 x 36cm. (max) (15) (ARR) (unframed) Note: These watercolours serve as a striking depiction of army encampments in India in the early 1940s.

These pictures serve to emphasise the truly global nature of the conflict of the Second World War, drawing the viewers’ attention to the (often overlooked) experience of commonwealth nations as theatres for war.

This is reinforced by the fact that the town of Kirkee in western India, now named Khadki, is now the site of a significant war cemetery. The bright colours and clean lines of these watercolours bring a sense of vibrancy and immediacy to these scenes, whilst also conveying a sense of cheerfulness which belies the context of conflict in which they were produced. £200 - 300*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

177

ROS026 Listing.qxp_Layout 1 22/02/2021 14:28 Page 178

410

412

413

410 Dieter Cornels, German b.1938

412 Albert le Normand, French 1915-2013

Abstract composition

Untitled abstract composition

oil on paper, signed, 23.5 x 41.5cm (ARR)

oil on canvas, signed, 22 x 35cm (unframed) (ARR)

£100 - 150*

£200 - 300*

411 Post War Tachiste School, c.1960

413 British Expressionist School, mid-late 20th century

Untitled abstract

The Scarlet Pimp (sic)

monoprint in monochrome with embossing, 62 x 97.5cm: Outsider School, mid-late 20th century Untitled; watercolour on paper, signed, 52 x 38cm: Surrealist School, mid-20th century- Untitled landscape, 1959; oil on board, signed with initials MB, 40.5 x 51cm

oil on board, signed, inscribed on the reverse with title, 56 x 41.5cm

Provenance: with Frost & Reed (Studios) Ltd., Bristol and London, according to the label attached to the reverse of the frame, (3)

Provenance: with Gertrude Bentheim, Furnishing Consultants, Glasgow, according to label attached to the reverse of the frame £100 - 150*

£100 - 200*

178

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 179

414 Herman Eggmann, Swiss 1931-2016 Juni Fest-wochen, Zurich 1955 oil on board, signed, 127.5 x 89.5cm., (unframed) (ARR) Provenance: Phillips, Marylebone, where purchased by the present owner Notes: Hermann Eggmann was a pioneering Swiss graphic designer and a founding member of the Swiss Graphic Designer’s Federation. Eggmann became a member of the AGI (Alliance Graphique Internationale), and with his wife Anne Eggmann he designed the magazine Du in the 1980s. He also worked on a number of commissions with his wife, producing designs for clients including Bank Leu, the Zurich Transport Authority, and the Kunstgewerbemuseum (now the Museum fur Gestaltung) in Zurich. £300 - 400* 415 Modern British School, mid-20th century Rider jumping over a stone wall in a field with palm trees in the distance

414

oil on canvas, 45 x 61cm (unframed) £100 - 150* 416 S N Chew, Chinese/British, mid-late 20th century The Hill Path oil on board, bears inscribed labels attached to the reverse, 30 x 40cm: Modern British School, early-mid 20th century- View of a manor house on a hillside with a windmill in the distance; oil on canvas, 25 x 40cm: E G Anthonisz, British, mid 20th century- Arran from Kintyre; oil on canvas board, signed and dated 1946, 32.5 x 49.5cm, (unframed) (3) (ARR) £150 - 200* 416 (part)

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

179

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 180

417

418

417 Laurence Broderick, British b.1935

418 Laurence Broderick, British b.1935

419 John Hopkinson, British b.1941

Still life of a potted plant, (recto), Unfinished figure in a landscape, (verso)

Flowers in a vase

Three Figures in a landscape, 1975-1979

oil on canvas, bears inscription on the stretcher, 88 x 54.5cm (ARR)

oil on canvas, bears inscription on the reverse of the canvas and frame, 76 x 63cm (ARR) £300 - 400*

oil on board, signed, titled and dated on the reverse, 55 x 106.5cm (ARR) £200 - 300*

£300 - 400*

419 180

www.roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 181

420 Elizabeth Butterworth, British b.1949 Leadbetter’s Cockatoo pen and ink and watercolour heightened with white, 23 x 27cm (ARR) Provenance: with Fischer Fine Art Limited , London, according to the label attached to the reverse of the frame £300 - 500*

420

421 Maggie Hambling CBE, British b.1945 A Hunchback wandered by the bare Earth, 1963 etching with aquatint, signed, titled and numbered 5/6 in pencil, 25 x 25cm (ARR) £150 - 200*

421

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

181

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 182

EXPLANATION OF CATALOGUING TERMS Any statement as to authorship, attribution, origin, date, provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. Roseberys reserve the right, in forming their opinion, to consult and rely upon an expert or authority considered by them to be reliable.

1.

‘Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by the artist.

2.

‘Attributed to Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, probably a work by the artist.

3.

‘Studio of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work likely to come from the studio of the artist or closely associated with the artist.

4.

‘Circle of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style and during the period of the artist’s life.

5.

‘Follower of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style, contemporary or near contemporary.

6

‘School of Peter Paul Rubens, Flemish 17th century’ * In our opinion, a work executed during this period and in the style associated with that artist.

7.

‘Flemish School, 17th century’ * In our opinion, a work executed during this period and in the style associated with that location.

8.

‘Manner of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style but at a later date, although not of recent execution.

9.

‘Style of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style and of recent execution.

10.

‘After Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a copy by an unidentified artist of a named work by the artist.

11.

A picture catalogued with accompanying dates e.g. 1577-1640 relates to the identification of the particular artist and is not proof of attribution or indicative of authenticity.

12.

The terms ‘signed’, ‘dated’, ‘inscribed’ means that in our opinion these are by the artist’s hand.

13.

The terms ‘bears signature’, ‘bears date’, ‘bears inscription’ means that in our opinion that these have been added by another hand other than the artist.

14.

All references to signature, inscriptions and dates refer to the present state of the work.

15.

Dimensions are given in centimetres, height before width and are measured from the edges of the work if these are visible and if not, from the front.

16.

All pictures are framed, unless otherwise stated in the catalogue.

17.

Catalogue and website images may not be a true representation of an item due to printing or photographing processes.

18.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with a hammer value over €1,000 as follows: 0 to €50,000 - 4% €50,001 to €200,000 - 3% €200,001 to €350,000 - 1% €350,001 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500.

Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

Lot 118

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 183

SPECIALIST TEAM Ian A. Cadzow Chairman & Joint Managing Director Rugs, Furniture & Works of Art iancadzow@roseberys.co.uk Vicki Wonfor Joint Managing Director Head of Corporate Collections vickiwonfor@roseberys.co.uk Peter Greenway Director Head of Professional Services petergreenway@roseberys.co.uk Marcus Grey Director Head of Paintings & Prints marcusgrey@roseberys.co.uk Bill Forrest Associate Director Head of Department Asian Arts billforrest@roseberys.co.uk Georgina Agnew Junior Specialist & Sale Co-ordinator Silver & Jewellery georginaagnew@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts fionabaker@roseberys.co.uk Mark Bowis FGA DGA FSA Head of Department Jewellery & Watches markbowis@roseberys.co.uk Nigel Dawson-Ellis Cataloguer & Valuer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk Anna Evans Head of Sale Fine & Decorative Arts annaevans@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD

Sophie Hetherton Junior Cataloguer & Departmental Assistant Paintings & Prints sophiehetherton@roseberys.co.uk Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk

Complimentary valuations Monday to Friday: 9.30am to 5.00pm

Tess O’Brien Specialist Impressionist, Modern, Post War and Contemporary Art tessobrien@roseberys.co.uk

+44 (0) 20 8761 2522 clientservices@roseberys.co.uk

Lizzie Oliver Junior Cataloguer & Trainee Valuer Ceramics & Works of Art lizzieoliver@roseberys.co.uk

Central London Office Valuations by appointment.

James Quarterman Junior Cataloguer & Trainee Valuer Ceramics & Works of Art jamesquarterman@roseberys.co.uk

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.

Elizabeth Wormald Junior Specialist & Sale Co-ordinator Prints & Multiples / Japanese Arts elizabethwormald@roseberys.co.uk

Lot 296

Geoff Young FGA DGA Senior Consultant Jewellery geoffyoung@roseberys.co.uk

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 184

TERMS OF CONSIGNMENT FOR SELLERS These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London.

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract.

Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission and Entry Fee. (a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms. (b) Vendors Commission: Is charged on each lot at 15%.

3. Catalogue Illustration Fee. The cost of any illustration is borne by you. Lots may be illustrated in a catalogue and thus a charge of between £20-60 per illustration is applicable, dependent on size. For example a quarter page illustration £20, half page £40, three quarter/full page £60. The copyright in respect of such illustrations shall be the property of the auctioneers, as is the text of the catalogue; any persons to be found to have reproduced such illustrations or text without prior written approval will be deemed as being in breach of copyright law and appropriate legal action may be taken.

4. Loss and Damage of Goods (a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold.

Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner. (b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. (c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their

upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing.

5. Removal Costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate.

7. Reserves. (a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected. (b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical Items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 185

TERMS OF CONSIGNMENT FOR SELLERS 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it.

11. Unsold Items. Unsold lots will be automatically reoffered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £2 + VAT per lot per day. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct from the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges.

12. Withdrawn Items. (a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care. (b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate. (c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according to our Conditions of Sale.

In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to Deduct Commission and Expenses and Retain Premium and Interest. (a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £2 per item per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 186

INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our website and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot.

The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. The Conditions of Sale oblige buyers to pay a buyer’s premium of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax.

6. Artist’s Resale Rights/Droit de Suite. Lots as indicated in the catalogue and if sold for the equivalent of 1000 euros or more on the day of the auction will be subject to a further percentage of the hammer price as follows: From 0 to 50,000 euros subject to 4% From 50,001 to 200,000 euros subject to 3% From 200,001 to 350,000 euros subject to 1% From 350,001 to 500,000 euros subject to 0.5% Exceeding 500,000 euros subject to 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to maximum royalty payable of 12,500 euros for any single work each time it is sold. Calculations of the artist’s resale right will be based on the pound sterling/Euro reference exchange rate quoted on the date of sale by the European Central Bank.

7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested.

Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

8. Electrical goods. These are sold as ‘antiques’ or ‘decorative’ items only and if bought for use must first be checked for compliance with safety regulations by a qualified electrician.

9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory.

11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

12. Commission bidding (i)

Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium.

They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received.

Please enquire in advance about our arrangements for leaving commission bids by telephone, email or fax. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website.

These bids are executed via the RoseberysLive software and there is no surcharge.

13. Live Online bidding (a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale. (b) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (c) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding.

Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. (d) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system. (e) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our website. Please ensure you familiarise yourself with these prior to accessing our website.

14. Methods of Payment. Payment can be made by cash (maximum 10,000 euros), debit and credit cards (maximum £1,000 online or over the phone) or bank transfer. For international bank transfers an administration fee of £25 is payable. Any cheques tendered will need to allow 10 days to be cleared before removal of lots purchased is permitted. Please note that regulation of money laundering means we are limited to receiving the equivalent of 10,000 euros in cash payment.

15. Collection and storage (a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £2 per lot per day + VAT will be strictly enforced thereafter. (b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 187

CONDITIONS OF SALE Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1.

Definitions

In these Conditions: (a) “auctioneer” means the firm of Rosebery Fine Art Ltd or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Rosebery Fine Art Ltd accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2.

Bidding Procedures and Conduct of the Auction

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believe there may be error or dispute, and take such action as they reasonably think fit. (c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneer’s hammer, whereupon the buyer becomes liable to pay the purchase price. (d) Any post-auction sale of lots offered at auction shall incorporate these conditions as if sold in the auction. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3.

Increments. Bidding increments shall be at the auctioneer’s sole discretion.

4.

The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT). The premium price is subject to VAT at the standard rate.

5.

Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged

at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots.

(Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6.

Payment

(1) (a) (b)

Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us.

Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

(2)

7.

Title and Collection of Purchases. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction. (ii) Roseberys are unable to pack, post or deliver any items purchased through public or online auction.

A list of suggested companies is supplied upon issuing of invoices, upon request, or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies. (b) No purchase can be claimed or removed until it has been paid for and payment has cleared. (c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed. (d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction.

Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid.

8.

(1)

(a) (b) (c)

(d) (e)

Remedies for Non-Payment or Failure to Collect Purchases If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: to proceed against you for damages for breach of contract; to rescind the sale of that Lot and/or any other Lots sold by us to you; to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 188

CONDITIONS OF SALE (f)

to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

Third Party Liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. (a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms. (b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made. (c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids. (d) Live Online bidding. (i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale. (ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

(iv)

(v)

Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system.

By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

11.

Warranty of Title and Availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12.

Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13.

Terms of Sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.

14. (a)

Description and Conditions Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.

Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(b)

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 189

CONDITIONS OF SALE (c)

(d)

Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term.

Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.

15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

16. Online Only Timed Auctions These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale. (a) (i)

Right to Cancel If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason. (ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot. (iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendar days from the day on which you acquire the lot. (iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you. (v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than (aa) 14 calendar days after the day we receive back from you any goods supplied, or (bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement.

We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest. (b) Liability Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: any loss of connection to the auction being conducted online; a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any connection, computer, mobile device or system.

General 17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to: (a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate; (b) hold that specific individual liable for the cost of restoration where appropriate; (c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable.

19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting.

21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

22. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

23. English law applies to the interpretation of these Conditions.

These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 190

Lot 370 (detail)

ROS026 Listing.qxp_Layout 1 22/02/2021 14:29 Page 191

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

ABSENTEE BID FORM PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS:

POSTCODE:

EMAIL:

BIDDER NUMBER: TELEPHONE:

Lot number

GBP £ bid price excluding premium

Lot number

GBP £ bid price excluding premium

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts.

Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy.

I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I confirm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.

Signed:

Date:

70/76 Knights Hill London SE27 0JD +44 (0) 20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk