Roseberys London

OLD MASTER, 18TH & 19TH CENTURY PICTURES Wednesday 20 March 2019

OLD MASTER, 18TH & 19TH CENTURY PICTURES Wednesday 20 March 2019 Starting at 11am VIEWING Friday 15 March 1pm-5pm Sunday 17 March 10am-2pm Monday 18 March 9.30am-5.30pm Tuesday 19 March 9.30am-5.30pm Wednesday 20 March 9.30am-10.45am Head of Department: 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: Lot 1 Back Cover: Lot 54 Inside Front Cover: Lot 38 Inside Back Cover: Lot 58

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 BID ONLINE

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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.

New International Bidders

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 The buyer shall pay the hammer price together with a premium thereon of:

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.

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)

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.

The premium price is subject to VAT at the standard rate.

(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.

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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.

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1 Flemish School, mid-late 15th/ early 16th Century Two pairs of ornate initials from two illuminated manuscripts, c. 1460-1520 pigment and gold leaf /liquid gold on vellum laid down on card, original illuminated letters from a manuscript, ea. 15.5 x 15.5cm, (4) ÂŁ1,800 - 2,200*

1 pair 4

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

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2 After Fra Angelico, Italian 1395-1455

3 After Tiziano Vecellio, called Titian, Italian 1488-1576

Musician Angels

“Flora”

oil on ogive shaped panel, a pair, ea. 32.5 x 14cm, (2)

oil on canvas, 81 x 66cm

£700 - 900*

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£500 - 700*

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4 italian School, mid-16th century Portrait of Gerolamo dai Libri (1474-1555), c.1540 oil on panel, inscribed HIERONIMUS A LIBRIS PICT. MINATOR VER, bears further inscription on the reverse, 23 x 17cm ÂŁ3,000 - 4,000*

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5 italian Provincial School, early 16th century A portrait miniature of a nobleman, quarter-length turned to the left wearing chains and a plumed hat tondo, dated 1511, 5.5cm dia ÂŁ500 - 700*

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

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6 6 Manner of giovan Francesco Penni, 18th century

7 Circle of Lelio Orsi, called Lelio da novellara, Italian c.1511-1587

Sinite Parvulos Venire ad me

Venus and Cupid

oil on canvas, 58 x 110cm

oil on canvas, 36.5 x 26.5cm

£3,000 - 4,000*

(VAT charged on hammer price) Provenance: Sotheby’s London, 28th October 2010, lot 77 Sotheby’s London, November 1st, 2001, lot 22 Note: In 1554, Orsi spent a year in Rome, where he learned the principles of Michelangelo’s Mannerism. After this, he focussed on making easel paintings of mostly religious and mythological subjects, such as this piece. £1,800 - 2,200* 8 italian School, early 17th century Portrait of Ceres oil on canvas, 62.5 x 50cm £300 - 400*

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9 9 Manner of Antonio Badile, early-mid 19th century St George and the Dragon oil on canvas laid down on board, signed with monogram IH, 49.5 x 80cm £300 - 500* 10 Follower of nicolas Borras, Spanish 1530-1610 St Sebastian and St. Roch on a hillside with a dog oil on unstretchered canvas, 97 x 92cm £300 - 400* 11 Manner of Jacopo Ligozzi, 18th century Saint Catherine of Siena in prayer oil on panel, 34.4 x 24.5cm £200 - 300* 11 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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12 Cremonese School, 16th century The Madonna and Child, the Infant John the Baptist and Joseph oil on canvas, 80 x 72cm £500 - 700*

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13 13 British School, late 16th century

14 Follower of Melchior D'Hondecoeter, Dutch 1636-1695

Portrait of a noblewoman, half-length turned to the right, feigned oval

Poultry, a goat and a sheep in a farmyard with a landscape beyond

oil on panel, 19 x 17cm

oil on canvas, 45.5 x 66.5cm

ÂŁ700 - 900*

ÂŁ1,500 - 2,000*

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

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15 Attributed to Abraham de verwer, Dutch 1585-1650 L'HĂ´tel de Nevers, la tour de Nesle et la Grande Galerie du Louvre, vus du pont Neuf oil on panel, 38.7 x 53cm Note: Abraham de Verwer travelled and spent time in Paris between 1637-39. "In April 1639, Abraham de Verwer wrote to Amsterdam a letter to Prince Frederik Hendrik, stating that he had visited France and made some paintings with views of French cities. There are seven of these paintings known to us today.

Shortly thereafter, on October 21st, 1639, the painter received 400 gulden from Frederick Hendrik 'for two paintings with the view of the Louvre of Paris and for two other views which he delivered to His Highness'."

(Giltaij & Kilch, 1996, p.133).

There are seven views along the Seine known, with three other panoramas of Paris in the Carnavalet Museum (CARP0333; P 333), and one further painting was in the Institut Neerlandais, Paris, which closed in 2013.

None of these paintings are known to be signed. ÂŁ6,000 - 8,000*

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16 Follower of Cornelis van Poelenburgh, Dutch 1594-1667

17 Manner guido Reni, 18th century

18 emilian School, 17th/18th century

The Penitent Magdalene

Bacchanal procession of Putti and Angels

oil on canvas, 48.5 x 38cm

St Peter kneeling by an escarpment

oil on canvas, 44.6 x 59cm

£400 - 600*

£800 - 1,200*

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

oil on panel, 24.6 x 18.5cm £150 - 250*

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19 eastern european School, early 17th century

21 north italian School, 17th century

St Nicholas holding the Infant Jesus seated on a celestial globe

The Madonna and Child

oil on canvas laid down on panel, 83 x 62cm

£600 - 800*

£600 - 800* 20 Spanish School, 17th century St Joseph seated full-length holding the infant Christ with a landscape beyond oil on canvas, 108 x 92cm

oil on canvas, 44.5 x 35.7cm 22 Manner of Carlo Dolci, 18th century Our Lady of Sorrows oil on canvas, 55 x 46cm £250 - 300*

£400 - 600*

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23 French School, early 17th century Portrait of a lady quarter-length in a white ruff oil on canvas laid down on panel, 52 x 41cm ÂŁ400 - 600*

23 24 After giovanni Battista da Sassoferrato, Italian 1609-1685 The Madonna at Prayer oil on canvas, 40 x 30cm ÂŁ700 - 900*

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

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25 venetian School, early 17th century Portrait of a merchant, seated half-length at a table with a skull oil on canvas, 72 x 60cm Provenance: Sotheby's, London New Bond Street, Old Master Paintings European Works of Art, British Paintings & British Watercolours, 28th May 1998, lot 141 £300 - 400*

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27 26 Attributed to gerard Soest, Dutch/British c.1600-1681

27 Follower of Charles le Brun, French 1619-1690

Portrait of Richard Cromwell (1644-1681), 2nd Lord Protector of England, Scotland and Wales

The Assassination of Tarquin the Elder, Fifth King of Rome

oil on canvas, 75.5 x 60.7cm

oil on canvas, 65 x 81cm

Provenance: with Aitken Dott & Son, Edinburgh, according to label attached to the stretcher

£1,200 - 1,800*

Note: The artist was also known as Gilbert Soest, Gerard van Soest and Zoust. £700 - 900* 16

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28 Spanish School, early 17th century

29 Follower of Jacques d’Arthois, Flemish 1613-1686

Still life with lemons, a bowl, and a hanging cloth

A wooded landscape with a sportsman and his dog on a sandy road in the centre

oil on oblong shaped canvas, 20 x 40cm £300 - 500*

oil on canvas, 24.5 x 35.5cm £800 - 1,200*

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

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30 Follower of egbert van der Poel, Dutch 1621-1664 Fire in a town at night with crowds of onlookers oil on panel, 23.5 x 31cm £500 - 600* 31 Follower of Hendrick Danckerts, Dutch 1625-1680, early-mid 18th century

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Cart horses with figures and a rider on a country track with a mine, a watermill, woodland and hills in the distance oil on canvas, 34.3 x 47cm £500 - 700* 32 Circle of Ludolf Backhuysen the elder, Dutch 1630-1708 Shipping with figures on a jetty and a frigate moored off shore oil on panel, 43 x 67cm (VAT charged on hammer price) £800 - 1,200*

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33 Follower of Bartolommeo Biscaino, Italian 1632-1657 St Joseph with the Infant Christ oil on canvas, 79 x 67cm Provenance: Sotheby’s, London, 15th April 1999, lot 373 £600 - 800* 34 Lombard School, late 18th century Portrait of the Madonna, head and shoulders oil on canvas laid down on panel, 27.2 x 22cm £100 - 150* 35 School of Seville, early 18th century Madonna and Child in Glory oil on card laid down on canvas, bears inscription on the reverse, 24.3 x 19cm

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£100 - 150* www.roseberys.co.uk

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36 Simon Hardime, Flemish 1664-1737 Still life of flowers with roses, tulips and hydrangeas in a bronze urn on a stone pedestal, together with a parrot oil on canvas, 87.5 x 111cm Provenance: Sotheby's, Old Masters, 3 May 2017, lot 236; Christie's, London, 10 July 1981, lot 38, as Peeter Casteels; H.W. Noble; By whose executors sold, London, Christie's, 10 July 1981, lot 38 (as Peeter Casteels); Sir C.R.P. Beauchamp; with Leggatt, London, by 1957, until at least 1960, as Pieter HardimĂŠ ÂŁ6,000 - 8,000*

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

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37 37 School of nicolaes Maes, Dutch 1634-1693 Portrait of a gentleman, traditionally held to be the poet Abraham Cowley (1618-1667), standing three-quarter length in a red gown leaning against a balustrade oil on canvas, 67.5 x 56.5cm ÂŁ1,800 - 2,200*

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38 Studio of Simon Pietersz Verelst, Dutch 1644-1710 Portrait of Mary of Modena oil on canvas laid down on board, 111.7 x 70.3cm Note: Mary, the only daughter of Alfonso IV, Duke of Modena, was born Maria Beatrice Anna Margherita Isabella d’Este in 1658. She married James, Duke of York, brother of King Charles II and later King James II, in 1673, at the age of 15.

She was a devout Catholic and intended to become a nun, but with influence from the Pope she agreed to marry the Duke of York. She later became Queen of England, Scotland and Ireland.

Numerous autograph portrait paintings by Verelst of Mary of Modena were produced, most including floral still lifes to the upper left. The composition of this particular version is cropped to the left side, removing the vase and flowers, and with the right hand brought further in to compensate.

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A version by Verelst was recorded in the Royal Collection during the Reign of Queen Anne as ‘Verhelst.

The late Duchess of York at ½ length’, painted circa 1680. For other comparable versions see (i) Sotheby’s, London, Old Master & British Paintings Day Sale, 5 July 2012, lot 208 and (ii) Sotheby’s, London, 23 November 1977, lot 43 – now in the Paul Mellon Collection (New Haven, Yale Centre for British Art).

Mary was also painted by other prominent artists of the time such as Sir Peter Lely and William Wissing.

She requested that two copies produced by Benedetto Gennari be sent back to Italy, supposedly as she found these more favourable for an Italian audience. £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.

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39 Circle of Michael Dahl, Swedish/British 1659-1743

40 Attributed to Antonio Amorosi, Italian 1660-1738

Portrait of a lady, presumably of the Mostyn Family, seated three quarter-length turned to the right in a blue dress

Boy with Lute

oil on canvas, 126 x 101.4cm Provenance: Christie’s, Colwyn Bay, Clwyd, The Gyrn Castle Sale, North Wales, 18 July 2006, lot 601, illustrated p.242

oil on canvas, 97.5 x 72cm Provenance: with Los Angeles County Museum of Art, Los Angeles, California, where formerly ascribed to the artist Bernardo Strozzi, according to the label attached to the reverse £6,000 - 8,000*

£200 - 300*

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41 After Antoine Coypel, French 1661-1722

42 Circle of Pierre gobert, French 1662-1744

Democritus, 1692

Portrait of a girl with her pet monkey

oil on canvas, bears inscription on the reverse of the canvas, 66.5 x 57cm

oil on canvas, signed with initials and dated indistinctly, 67 x 54cm

ÂŁ250 - 350*

(VAT charged on hammer price) ÂŁ1,500 - 2,500

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

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46 Follower of Sir Joshua Reynolds PRA, British 1723-1792 Study of a girl with outstretched arm oil on canvas, 65 x 52cm £600 - 800* 47 Circle of Thomas Stothard RA, British 1755-1834 Lady seated with a Putto by a window oil on canvas, 25.5 x 20.5cm £250 - 300* 48 neapolitan School, mid/late 18th century Two studies of female nudes oil on paper laid down on panel, a pair, ea. 16 x 12cm, (2) £100 - 150* 49 French School, late 18th/early 19th century 49 43 german School, early 18th century Portrait of a lady, quarter-length in a red dress oil on canvas, 71.5 x 61cm £200 - 300*

Portrait of a lady, half-length in a white dress and lacework embroidered veil oil on canvas, 85 x 52cm £600 - 800* 50 Circle of Johann georg Trautmann, German 1713-1769

44 Follower of Joseph Highmore, British 1692-1780

Portrait of a man, half-length in ragged clothes holding a staff and rosary

Portrait of a young gentleman, standing half-length in a red jacket and white stock turned to the left holding a pair of gloves

£300 - 400*

oil on canvas, 55 x 44cm

oil on canvas, 75.5 x 63cm £700 - 900* 45 Manner of Jan Josef Horemans the elder, early/mid 19th century Interior scene with a Procuress presenting a Courtesan oil on canvas, 47.5 x 57.5cm £300 - 500*

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51 51 Follower of Francesco Tironi, Italian 1745-1797 View of St Mark’s Square, Venice oil on canvas, 51 x 61cm £400 - 600* 52 Follower of Balthasar Beschey, Flemish 1708-1776 Figures by cottages with a palace in a wooded river mountain landscape oil on copper panel, 30 x 34cm £800 - 1,200*

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

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53 Henry Walton, British 1746-1813

54 John nost Sartorius, British 1759-c.1830

“A Girl Seated at the Stile”

A sportsman with two dogs and his horse in a landscape

oil on canvas, oval, bears inscribed label attached to the reverse, 61 x 71cm Provenance: Bowyer Nicholls, Lawford Hall, Essex thence by descent to his grandson Sotheby’s, London, 27th April 2016 lot 902

oil on canvas, signed and dated 1805, 63.5 x 83cm £4,000 - 6,000*

Note: Evelyne Bell confirmed the authenticity of this piece when it sold at Sotheby’s London on 27th April 2016 Literature: E. Bell, ‘The Life and Work of Henry Walton’, in Gainsborough’s House Review, 1998-99, p. 75, cat. no. 190. £2,000 - 3,000*

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55 Attributed to george gerrard ARA, British 1760-1826

55 56 William Payne, British 1760-1830 “Ivy Bridge”

A bay horse approached by a stable-lad with food

oil on canvas, signed and titled on the reverse of the canvas, 46.5 x 65cm

oil on canvas, 84 x 111.7cm

Note: There is a watercolour by William Payne of the same view, in a private collection

£1,000 - 1,500*

£800 - 1,200*

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

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57 57 george Morland, British 1763-1804 The weary traveller and his family by a stream oil on canvas, signed, 71 x 92.5cm Provenance: Christie’s, London, February 9th 1990, lot 54(a) Seligman & Rey & Co Edward T Stotesbury Parke-Bernet Galleries, sale 830, January 1947, the latter, according to label attached to the reverse of the frame Note: From 1790 Morland’s style had developed to suit his taste of painting English rural scenes. Thereafter, gypsies, shepherds and travellers resting and reposing in woodland and countryside scenes became a common theme of Morland. According to Gilbey, ‘[o]f his human figures it may be said that the best are those painted in a restful attitude’ (see Gilbey, 1907, pp.209-210), suggesting these paintings were considered to be some of Morland’s best figural works. £4,000 - 6,000*

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58 58 Thomas Whitcombe, British c.1763-1824 British Man-o-war, possibly HMS Defiance, in choppy seas with other shipping and a headland beyond oil on canvas, signed and dated 1786, 89 x 149.5cm ÂŁ10,000 - 15,000*

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

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59 59 Attributed to Thomas Buttersworth, British 1768-1842 Two British warships in a storm, possibly on the return from Trafalgar, circa 1800 oil on canvas, 60.5 x 89cm Provenance: with Albert Trengove, 88 High Street, Croydon, according to a printed postcard which accompanies this lot ÂŁ1,000 - 1,500* 60 Circle of Thomas Buttersworth, British 1768-1842 French Frigate in a storm oil on board, 14.7 x 20cm ÂŁ400 - 600*

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61 Charles Augustus Mornewick, British fl.1826-1876 Shipping scene at night oil on canvas, signed and dated Jan 1831, 40 x 61cm £600 - 1,200*

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62 62 After Joseph Mallord William Turner RA, British 1775-1851 ‘The Festival upon the Opening of the Vintage at Macon’, 1803 oil on canvas, 131.5 x 195cm Note: the original work is held by Museums Sheffield (formerly Sheffield Galleries & Museums Trust).

It was first exhibited at the Royal Academy in 1803, no 110 £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.

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67 63 French Provincial School, late 18th century

66 neapolitan School, c.1800

Portrait of a girl, quarter-length in a pink and white head piece

Portrait of a lady quarter-length in a black dress and wearing a coral necklace and coral mounted brooch

oil on canvas laid down on panel, oval, inscribed verso and dated 1773, 24.5 x 17.5cm £100 - 150* 64 german School, late 18th/early 19th century Portrait of an old man leaning on a staff oil on canvas, 85.5 x 66cm £150 - 200* 65 British Provincial School, late 18th/early 19th century

oil on canvas, 69 x 54cm £200 - 300* 67 Circle of Carl Auguste von Steuben, German 1788-1856 Portrait of a lady, traditionally held to be Johanna Karoline Mathilde Halbach Bohlen (1800-1882), seated three-quarterlength turned to the left in a blue dress oil on canvas, 110 x 87cm (VAT charged on hammer price) £400 - 600*

Portrait of a lady, seated half-length turned to the left oil on panel 22.5 x 18.7cm £80 - 120* 32

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68 Follower of Louis-Leopold Boilly, French 1761-1845

69 Follower of Sir David Wilkie RA, Scottish 1785-1841

70 Follower of John Constable RA, British 1776-1837

Blind man’s buff

Lady seated full-length in her bedchamber being serenaded by a musician at the window

oil on canvas, signed with initials ‘EJ’ and dated 58, 30.5 x 41cm

Figure on a wooded country lane

oil on panel, bears inscribed label attached to the reverse, 32.5 x 23.7cm

oil on canvas, bears inscription on the reverse, 30.7 x 51.1cm

£400 - 600*

£300 - 500*

£400 - 600*

71 Henry Calvert, British 1798-1869 Two brown hunters in a yard with a stable oil on canvas, signed and dated 1844, 72 x 92cm £2,000 - 3,000*

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72 After Antonio Allegri Correggio, Italian c.1489-1534 ‘Adoration of the Child’ pencil, black and white chalk, inscribed, 30 x 23cm: together with a collection of pencil and black chalk portrait copies after 16th century Italian artists, to include Raffaello & Barbieri, 29.5 x 23cm (max): and several European mid 19th century watercolours over traces of pencil, depicting The Parthenon, Winkle Bay, a German waterfall, Frascati and the Arch of Constantine, 31 x 23cm (max) (in a bound sketchbook) Note: Hon. Russell Barrrington, according to applied label to the sketchbook £600 - 800* 72

73 Domenico Campagnola, Italian 1500-1564

74 giorgio Mantovano ghisi, Italian 1520-1582

The Raising of Lazarus

‘The Vision of Ezekiel’, after Giovanni Battista Bertani

pen and brown ink with sanguine squaring marks on laid bears collector's stamps for J. Pz. Zoomer (1641-1724) and possibly Dr. E. Peart (1756-1824), 23.5 x 35cm

copper engraving, 41.3 x 66.8cm (unframed) Provenance: Christies, Old Master Works on Paper, Prints and Drawings, 28th November 2018, lot 74

Provenance: J. Pz. Zoomer (Lugt 1511); possibly Edward Peart (Lugt 891); Constantin Raderschatt (Lugt 623); P & D Colnaghi & Co Ltd., London according to the label attached to the reverse of the frame; Sotheby's London, 10 July 2002

£2,000 - 3,000*

£4,000 - 6,000*

The Madonna and Child with Saints Peter and Paul

75 Circle of Felice Rizzo Brusasorci, Italian 1540-1605 pen and ink, inscribed, bears collector's stamp verso, 15.7 x 11cm £200 - 400*

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73

74

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76 76 Georg Braun & Frans Hogenberg, German 1541-1622 & Flemish/German 1535-1590 "Nordovicum Angliae Civitas", 1581 hand-coloured engraved map of Norwich, published in Cologne 1581 as part of the book 'Civitates Orbis Terrarum', 30.5 x 43cm (visible sheet) ÂŁ300 - 500* 77 Circle of Jacopo Chimenti, Italian 1554-1640 Familial group in prayer brown ink and traces of pencil, inscribed verso, 19 x 15cm ÂŁ400 - 600*

77

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78 Claes Jansz visscher, Dutch 1587-1652 Evomit Absorptum Caeco De Gutture Coetus, Redditur et Terrae Qui Modo Praeda Fuit.

Jonas 2, after Marten de Vos copper engraving, 38.5 x 52.5cm: together with four further engravings by the same artist depicting- ‘Edixit Iehova Hoschehse, Abi, Assume Tibi Uxorem Scortum et Natos Scorti, Eum omnino Scortetur Haec Terra Aversata Iehovam, Hoschehae 1.2’, ‘Iunior Tobias Raphaele Angelo Comite Ragam Meidae Proficiscitur. Tobie 6’, Daniel and the lions, & Susanna and the Elders, 38.5 x 51cm (max) (5) £200 - 400* 79 Joan Blaeu, Dutch 1596-1673 ‘Vectis Insula Anglice, The Isle of Wight’, 1645 hand-coloured engraved map, 38.5 x 50.5cm (plate) : emanuel Bowen, British c.1694-1767 An Improved Map of the County of Stafford Divided into its Hundreds: Collected from the best materials and Illustrated with various additional Improvements, with Historical Extracts, relating its Natural Produce, Trade, Manufactures &c., c.1767; handcoloured engraved map, 69 x 52.5cm (plate), (2)

79 80 Manner of gaspard Dughet, also known as gaspard Poussin, mid 18th century Shepherd and shepherdesses in an Italianate landscape with a hilltop fort by a shore Figures by a river in an Italianate landscape

81 Jacobus Coelemans, Flemish 1634-1732 Omnia Vanitas: All Things of Vanity or Emptiness, after Giovanni Benedetto Castiglione (il Grechetto), 1706 engraving, 37 x 51cm:

gouache on paper, a pair, ea.

18.5 x 25cm, (2)

Francesco Bartolozzi RA, Italian 1727-1815

£400 - 600

Bacchanal children at play with a goat in a landscape, after Mercantonio Franceschini; etching and engraving, London 1765, 31x43.5cm (plate): together with one other etching and engraving by and after the same artists, depicting Bacchanal of Putti, London 1765, 31 x 43.5cm (plate), (3) £200 - 300*

£150 - 250*

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

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82 giovanni Battista Falda, Italian 1648-1678

84 vincenzo Maria Coronelli, Italian 1650-1718

Altra Veduta in Prospettiva del Teatro et Giardino Contiguo di Mondragone in Frascati Architettura di Giovanni Fontana

‘Aevi Veteris Usque ad Annum Salutis Nonagesimum Supra Milles Quadrigentos Cogniti Tantum, Typus Geographic.

A Patre Coronelli Venetae Reipublicae Cosmographo Descriptus, Anno Domini MDCLXXXVIIIII’, 1690, ‘Parte Occidentale Dell’ Europa . . . [and] Parte Orientale Dell’ Europa . . . [Coronelli’s 2 sheet map of Europe]’, c.1692, & ‘La Francia Antica e Moderna’, 1696

etching, 22.7 x 34.5cm (plate): together with seven further etchings by the same artist, depicting water fountains and features in Frascati, Italy, ea. 22 x 35cm (approx.), (8) £350 - 450* 83 French School, mid-17th century

hand-coloured engraved maps, 47 x 62.5cm, 61 x 88cm, & 61 x 46cm, (visible sheets) (3)

Portrait of a lady, head and shoulders in profile pencil on laid paper, signed, 13.5 x 8cm £300 - 400*

£800 - 1,200* 83

84

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85 north italian School, 17th century Design for a mural decoration with a statue of Adonis pen and brown in k and wash on laid paper, 19.5 x 41cm £400 - 600* 85 86 John Sturt, British 1658-1730 “The Royal palace of St. James”, after Robert Inglish hand-coloured copper etching and engraving, printed and sold by Thomas Bowles, London, 48 x 64.5cm (visible sheet): Johannes Kip, Dutch c.1653-1722- ‘Tong the seat of the Hon Sir George Tempest’, ‘Lambeth.

His Grace the Lord Archbishop of Canterburys Pallace [sic]’, ‘The Abbey in Cirencester, The Seat of Thomas Master Esq’ hand-coloured copper engravings, 40 x 57.5cm, 35 x 48cm, & 38 x 39.5cm, (plate): John Harris, British fl. 1686-1739- ‘Prospect of the Custom House’, 1714 hand-coloured copper engraving, sold by Taylor at Golden Lyon, Fleet Street, 46 x 56.5cm (plate): Samuel Buck, British 1696-1779 and Nathaniel Buck, British act. 1759-1774- East view of Powderham Castle, near Exeter, 1745 hand-coloured copper engraving, 37 x 56.5cm (visible sheet): Published by Sutton Nicholls, British mid 18th century- Devonshire Square & St. James Square copper engravings, both published 1754 for Stowes Survey, ea. 35 x 47cm (plate): Francois Vivares, French 1709-1780- A View of Anchor Church, after Thomas Smith of Derby hand-coloured copper engraving, published Aug 25 1745, 38.5 x 53cm (visible sheet): Capt. Greenville Collins, British fl. 1643-1694‘Plymouth’ map hand-coloured copper engraving, 44.5 x 55.5cm (plate): Published by John Strype, British early 18th century- Old Broad Street Ward, c.1720 hand-coloured copper engraving, map, 30.5 x 37cm, (11) £600 - 800*

86

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87 87 edward Wells, British 1667-1727

89 Follower of Rosalba Carriera, Italian 1675-1757

A New Map of Ancient Greece, Thrace, Moesia, Illyricum and the Isles adjoining. Dedicated to his Highness William Duke of Gloucester, 1712

Portrait of the artist, head and shoulders

hand-coloured engraved map, 37.5 x 49cm (plate): William Faden, British 1749-1836- France Divided into Metropolitan Circles Department & Districts as decreed by the National Assembly Jan 15th 1790 hand-coloured engraved map, 52 x 60cm (visible sheet), (2) £150 - 250* 88 Johann Christoph Muller, Austrian 1673-1721 “Mappa Chorographica novissima et completissima Totius Regni Bohemiae in Duodecim Circulos Divisae cum Comitatu Glacensi et Districtu Egrano ... in hanc formam redacta ... XXV sectionibus exhibita a Joh. Christoph Müller ...

A:C: MDCCXX. hanc ... reducta a Ioh. Wofg.

Wieland”, 1726

pastel on laid paper, 36.7 x 29cm (VAT charged on hammer price) Note: see Neil Jeffares, Dictionary of Pastellists Before 1800, 2006 and online, for a similar pastel, J.21.0159, which sold at Tajan, Paris, 12 April 1999, lot 36 £400 - 600* 90 Jacques Rigaud, French c.1681-1754 “l’Obélisque, Le Theatre d’Eau, Vue du Bassin, Vue de l’Orangerie de Versailles, Vue de Las Cascade de Marly, Le Bassin d’Apollon, & Les Domes” copper engravings, seven, ea. 26.7 x 49.2cm (approx.), (7) £300 - 400*

copper engravings with hand-colouring, to include Sectio I, Sectio II, Sectio III, Sectio IV, Sectio V, Sectio VI, Sectio VII, Sectio VIII, Sectio IX, Sectio X, Sectio XII, Sectio XIII, Sectio XIV, Sectio XV, Sectio XVI, Sectio XVII, Sectio XVIII, Sectio XIX, Sectio XX, Sectio XXI, Sectio XXII, Sectio XXIII, Sectio XXIV, & Sectio XXV from the same suite, ea. 36 x 43.2cm (sheet), (portfolio) (VAT charged on hammer price) £200 - 400* 40

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91 91 george vertue, British 1684-1756

92 giovanni Antonio Canal, il Canaletto, Italian 1697-1768

Civitas Londinum Ano Dni circiter MDLX

Veduta immaginaria di Venezia : La casa con l’iscrizione (left) and La casa con il peristilio (right), [Imaginary view of Venice: The House with the Inscription and The House with the Peristyle] [B. 13 & 14], 1741

copper engraving on eight sheets, laid paper, facsimile of the map-plan of London attributed to Ralph Agas of c.1633, published for the Society of Antiquaries in1737, 69 x 190cm

etchings, two side by side, ea. 28 x 21.1cm, 28 x 42.6cm (overall)

£600 - 800*

Provenance: Sotheby’s, London, 27th September, 2011, lot 2 £1,500 - 2,500*

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94 William Hogarth, British 1697-1764 Strolling Actresses dressing in a Barn copper engraving, original publication date 1738, printed later possibly mid/late 19th century, 44 x 56cm: William Hogarth, British 1657-1764Southwark Fair engraving, published date 1733, 36 x 47cm (plate): William Blake, British 1757-1827Beggar’s Opera Act III, after William Hogarth engraving, published by John Boydell 1790, Cheapside, Pall Mall, London, 44 x 56cm, (3) £350 - 450* 95 Jacques Francois Blondel, French 1705-1774

93 William Hogarth, British 1697-1764

‘Coupe du Batiment de l’Hotel de Ville veu en Perspective sur sa Longueur ou son Representees Les Décorations et les Illuminations de la Cour et des Salles ou est donne le Bal la nuit du XXX au XXXI Aoust MDCCXXXIX’

93

copper engraving, plate XIII, 51 x 82cm £120 - 180*

Self-portrait as the Comic Muse, 1764 engraving, 40.6 x 35.3cm (plate), 58.5 x 45cm (sheet): together with two further engravings by the same artist depicting- Analysis of Beauty Plate I & Plate II, published March 5th 1753, ea. 38 x 50cm, (3) £300 - 400*

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96 96 Thomas Wright, British 1711-1786 ‘A Finite View of Infinity’, ‘Milky Way’, ‘The Pleiades’, & ‘The Visible Creation’ mezzotints with etching, four, from a suite of 32, from ‘An Original Theory or New Hypothesis of the Universe…’, published 1740, ea. approx. 19.5 x 12.5cm (plate), (4) Provenance: The Maas Gallery, according to labels attached to the reverse of each of the frames £400 - 600*

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

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99 giovanni Battista Piranesi, Italian 1720-1798 ‘Veduta del Palazzo Odescalchi’ etching, 40.3 x 61cm £300 - 500* 100 Dutch School, early/mid 18th century Figures by an aged oak tree with woodland pen and brown ink on wove paper, bears inscription to the reverse of the frame,16 x 16cm £100 - 200* 101 Follower of Paul Sanby RA, British 1725-1809 A drinking well with figures in woodland and a hill top castle and mountains in the distance

98 98 giovanni Battista Piranesi, Italian 1720-1778

97 Follower Jean-Baptiste Perronneau, French 1715-1783

“Colonna Antonia- View of the Column of Marcus Aurelius in the Piazza Colonna, with the Palazzo Chigi on the left, 1758

Portrait of a lady standing half-length in a blue dress with a floral garland and flowers in her hair pastel on paper laid down on panel, 56 x 43cm £300 - 400*

pen and grey/black and brown ink and wash on laid paper, 16 x 21cm £100 - 150* 102 Francesco Bartolozzi RA, Italian 1727-1815

etching, published in Rome, 54.5 x 40.5cm

Portrait of a woman holding a bowl, after Guercino

Provenance: Craddock & Barnard, London, where purchased by the original owner

etching, 36 x 27cm

£300 - 400*

£100 - 150* 103 Attributed to Jean-Charles Delafosse, French 1734-1789 The Nine Muses on Mount Parnassus pen, brown ink and wash on laid paper, inscribed ‘Parnasse’, 17.5 x 27.5cm £400 - 600*

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104 Circle of Richard Cosway RA, British 1742-1821 Girl with a dog pencil with touches of watercolour heightened with white on buff coloured wove paper, bears signature, 17.5 x 14.5cm £100 - 200* 105 Attributed to John Cleverley the Younger, British 1747-1786 Frigates on calm waters off a headland and a three master in a storm pen and black ink and watercolour on wove paper, two, 15.7 x 20.5cm., ea., (2) (unframed) £180 - 220* 106 Jean-Baptiste Michel, French 1748-1804 A Nymph and Shepherd, after Carlo Cignani copper engraving. published Nov. 21st 1775 by John Boydell, London, 41.7 x 67cm (sheet): together with eleven further late 18th and 19th century etchings and engravings by and after various artists, depicting figurative, British and Continental landscapes, 50.7 x 67cm (sheet/max), (12)

108 Thomas Malton Jnr, British 1748-1804

104

'The Monument', 1798 hand-coloured aquatint, 34.5x23.5cm; together with five further handcoloured aquatints by the same artist depicting- St. Paul's Cathedral, St. Bennet's Fink, Mansion House, St. Lawrence's Church, and London Bridge, 25.5x31.5cm (max) (6) £150 - 250* 109 Thomas Daniell RA, British 1749-1840 & William Daniell RA, British 1769-1837 ‘Western entrance of Fort St George’, publ. 1798, ‘The Assembly Room on the Race Ground near Madras’, publ. 1798, & ‘Near the Fort of Currah on the River Ganges’, publ 1801hand-coloured aquatints, three, 46.5 x 62cm, 45.5 x 61.5cm & 45.5 x 61cm (visible sheets): William Daniell RA, British 1769-1837- London Plate II, publ 1804 hand-coloured aquatint, 44 x 66cm (visible sheet), (4) £600 - 800*

£100 - 150* 107 Robert Dodd, British 1748-1816 ‘Limehouse Reach’ and ‘The Poole of London’, 1793 hand coloured aquatints, a pair, ea. 47.5 x 75cm (2) £150 - 250*

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112 110 Attributed to gideon Yates, British act. 1790-c.1837

112 Attributed to William Osborne Hamilton RA, British 1751-1801

Basilica of Notre-Dame near Boulogne

Astronomy, Religion and Music

watercolour, inscribed, 18.5 x 31cm £150 - 250* 111 John Fougeron, British fl. 1750-69 A View of the Rt. Hon. the Earl of Burlington’s House at Chiswick, and part of the Town/Vüe d’une des Maisons de Plaisance du Comte de Burlington, et d’une partie du Village, after P. Brooks engraving with hand-colouring, published according to Act of Parliament May 31.st 1750.

London, printed for J. Boydell at the Unicorn the corner Queen Street Cheapside, 28 x 45.5cm: Circle of William Woolett, British 1735-1785- A View of the Back Port of the Cassina and part of the Serpentine River, terminated by the Cascade in the Garden of the Earl of Burlington at Chiswick, after John Donowell etching, published Nov 1753 by J. Tinney, at the Golden Lion in Fleet Street London, 26 x 41cm (approx): together with four further etchings by and after the same artists, depicting the various views of the gardens owned by the Earl of Burlington at Chiswick, all published in Nov 1753

by J.Tinney at the Golden Lion in Fleet Street, London, ea. 26 x 41cm (approx.), (6)

pen and grey ink and watercolour, oval, inscribed to the mount, 13.7 x 28.4cm £250 - 350* 113 Attributed to Robert Dighton, British 1752-1814 Admiral Ross and Mr George Payne, Fathers of the Turf, both standing full-length pen and black ink, pencil and watercolour, 25 x 15cm Provenance: with Victor Brockbank, Fine Art Dealer, 32 Bury Street, St James’s SW1, according to label attached to the reverse of the frame £120 - 180*

£300 - 500

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114 george Frost, British 1754-1821 ‘Horton Brook’ Various studies of figures and farming figures and animals black chalk, five, and pencil, two, most on laid paper, one titled to the mount in pen and brown ink, 18.2 x 28.8cm (max), (7) Provenance: with David Kibble Note: Frost was an office clerk in Ipswich who spent his leisure time sketching in the local area. His friend the Rev. James Ford recalled: `he studied nature with the closest attention’ and `the pleasing scenery around the town of Ipswich its hollow and tortuous lanes with broken sand-banks its copsegrown dells above all, the richly-wooded and picturesque acclivities of its winding river, were his perpetual haunts’ (obituary in The Gentleman’s Magazine, July 1821, p. 90). He was an ardent admirer of Gainsborough’s landscape drawings, and a close friend of Constable, owning a number of the latter’s work. £100 - 150* 115 george Frost, British 1754-1821 Studies of a cart and horses and other studies of horses, a mule, a cow, and pigs pencil on laid paper, six, four of octagonal shape, 8.5 x 15.3cm and similar, (6) Provenance: with David Kibble Note: Frost was an office clerk in Ipswich who spent his leisure time sketching in the local area. His friend the Rev. James Ford recalled: `he studied nature with the closest attention’ and `the pleasing scenery around the town of Ipswich its hollow and tortuous lanes with broken sand-banks its copsegrown dells above all, the richly-wooded and picturesque acclivities of its winding river, were his perpetual haunts’ (obituary in The Gentleman’s Magazine, July 1821, p. 90). He was an ardent admirer of Gainsborough’s landscape drawings, and a close friend of Constable, owning a number of the latter’s work. £100 - 150*

114 116 george Frost, British 1754-1821 Studies of horses and mules pencil, five, some on laid paper, all of various shapes, 11.7 x 15.5cm (max), (5) Provenance: with David Kibble Note: Frost was an office clerk in Ipswich who spent his leisure time sketching in the local area. His friend the Rev. James Ford recalled: `he studied nature with the closest attention’ and `the pleasing scenery around the town of Ipswich its hollow and tortuous lanes with broken sand-banks its copsegrown dells above all, the richly-wooded and picturesque acclivities of its winding river, were his perpetual haunts’ (obituary in The Gentleman’s Magazine, July 1821, p. 90). He was an ardent admirer of Gainsborough’s landscape drawings, and a close friend of Constable, owning a number of the latter’s work. £100 - 150* 117 Attributed to Thomas Rowlandson, British 1756-1827 ‘Wapping Old Hairs’ watercolour, bears heightened signature, date and inscription in pencil and in pen and black ink, 26.6 x 21.8cm Provenance: with Maurice Edward Dear, Southampton, according to the label attached to the reverse of the frame £300 - 500*

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118

121

118 James gillray, British 1756-1815

120 Samuel Howitt, British 1756-1822

‘Lilliputian- Substitutes Equiping for Public Service’

Scenes of a country traveller

hand-coloured etching, published May 28 1801 by Hannah Humphrey, St. James, 27 x 38cm (sheet): Isaac Robert Cruickshank, British 1789-1856- ‘Paul Pry at Widow C-’s,’ hand-coloured etching, 1826 by G Humphrey, St. James, 29.7 x 43cm: British School, early 19th century- ‘The Musical AR-Rest’ hand-coloured lithograph, published by J B Brookes, 9 New Bond Street, initialled FB in the plate, 27.5 x 41.5cm, (3)

watercolour, four, ea. approx. 13.5 x 20.3cm, (4)

£250 - 300*

121 Thomas Rowlandson, British 1756-1827

119 James gillray, British 1756-1815 ‘The Giant-Factotum amusing himself’ etching with hand-colouring, published Jan 21st 1797, by H. Humphrey, New Bond Street, 36 x 26cm £500 - 700*

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Note: Samuel Howitt was a self-taught artist, who became a member of the artistic circle of George Morland and Thomas Rowlandson. Howitt is represented in public collections including the British Museum, the V&A, and The Fitzwilliam Museum. £280 - 320*

A Furniture Auction, circa 1784 pen and sepia ink and grey wash, 19 x 26cm (VAT charged on hammer price) Provenance: Spink, St James, according to label attached to the reverse of the frame £400 - 600*

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122

126

122 James Heath ARA, British 1757-1834

124 John Laporte, Irish/British 1761-1839

‘The Riot in Broad Street on the 7th June 1780’, after Francis Wheatley

Lakeside scene with approaching boat

engraving with hand-colouring, published by John Boydell in 1790, 46.4 x 61cm (visible sheet): together with six further late 18th/19th century mixed technique prints, some with hand-colouring, by and after various artists, depicting Views of London, 62.5 x 48cm (max), (7) £300 - 400* 123 William Payne, British 1760-1830 ‘At Ryde, Isle of Wight’ (recto) ‘Cowes on the road to Wooton Bridge, Isle of Wight’ (verso) grey washes over pencil, with inscriptions, 8.9 x 14.8cm Provenance: with Michael Ingram Note: Originated from the album of sketches by Payne which included a number of Isle of Wight views dated between 1810 and 1823.

gouache and wash on laid, 41.5 x 35.7cm £100 - 150* 125 John Hassell, British c.1767-1825 Rustic figures walking by a river and Figures by a pool near country houses watercolour, two, 9.7 x 16.3cm and 9.8 x 17.1cm, (2) £80 - 120* 126 Attributed to John Hassell, British c.1767-1825 J W Pelliward’s, Putney High Street, 16 July 1815

127 Attributed to Joshua Cristall POWS, British 1767-1847 Mountain river landscape watercolour, bears inscription on the reverse of the frame, 35 x 49cm (VAT charged on hammer price) £150 - 200* 128 Robert John Thornton, British 1768-1837 Artichoke Protea From Temple of Flora, after Peter Charles Henderson, engraved by J P Quilley, mezzotint printed in colours with hand-colouring on wove paper, published Sept 1st 1811, 30 x 19.5cm £100 - 150*

pen and ink and brown wash on wove paper, inscribed in pencil, 12 x 9cm £100 - 150*

£150 - 250*

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129 Attributed to Hilaire Ledru, French 1769-1840 Augereau au Pont d’Arcole pen and black ink and wash heightened with white on bluish grey coloured wove paper, bears photograph of old inscription attached to the reverse of the frame, 37.5 x 26cm £1,000 - 1,500* 130 Charles Turner ARA, British 1773-1857 ‘Clyde’, ‘Duntanborough [sic] Castle’, ‘Holy Island Cathedral’ after J W Turner etchings and mezzotints, published between 1808-1809, ea. 19.5 x 26.5cm (approx.): together with a large quantity of British 18th and 19th century mixed technique prints, by and after various artists, depicting figurative and landscape compositions, 48 x 31cm (max/sheet) (a large quantity) £400 - 600* 131 Antonio Basoli, Italian 1774-1848

129

'Palazzo dell Antica Persepoli', 'Padiglione Romano', 'Galleria di Statue', 'Veduta Americana' etchings with aquatint, four, ea. approx. 31.5 x 38cm (plate), (4)) £150 - 200* 132 Attributed to george Chinnery RHA, British 1774-1852 Figure on a horse in remote mountain landscape watercolour, 14.4 x 20.5cm Provenance: Cardiff and Rayner Fine Art, London, according to label attached verso £200 - 300* 133 French School, 18th century Fife player

130

ink, watercolour and gouache on wove paper, 15 x 9.5cm £100 - 150*

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134 Attributed to Jean Bernard, Dutch 1765-1833 Study of a tulip watercolour on laid paper, bears monogram in pencil, 32 x 21.2cm £300 - 400* 135 British School, mid-late 18th century A reverse painted print on glass depicting an elegant couple on the steps of an ornamental entranceway with horsemen and dogs bears label for Francis Eyre Esq ., Warkworth Northamptonshire, attached to the reverse of the frame, 30.5 x 37cm £150 - 200* 136 Joseph Mallord William Turner RA, British 1775-1851 ‘The Crypt of Kirkstall Abbey’, 1812 etching, aquatint and mezzotint on wove paper, published Feb 11th 1812 by J.M.W. Turner, Queen Anne Street West, inscribed ‘Original Drawing in the possession of John Soane Esq. R.A. Professor of Architecture’, 21 x 29.4cm

134

Note: This print is from Liber Studiorum, Part VIII, plate 39, and was drawn, etched and engraved solely by Turner. Editions of this plate are in the collections of Tate, no. A00989, the Walker Art Gallery, 4498, and the Royal Academy of Arts, 03/4076. £300 - 500* 137 Dr Robert Keate FRBS, British 1777-1852 ‘Fountain of the Sweet Waters of Asia, with a crowd of travellers by the banks of the Bosphorus’ watercolour, 22 x 32cm £250 - 350* 138 Circle of John varley Snr OWS, British 1778-1842 From the top of Groom’s Hill, Greenwich, June 1801

136

brush and black ink and wash, en grisaille, inscribed and dated, 33 x 56.5cm £150 - 250* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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141 Attributed to Theodore Henry Adolphus Fielding, British 1781-1851 Ullswater, Westmorland watercolour on paper, inscribed verso, 14 x 19.5cm £100 - 150* 142 Thomas Uwins RA, British 1782-1857 ‘Statue of the Duke of Bedford in Russell Square’ pencil and grey and brown wash, inscribed and titled to the mount in pencil, 25.6 x 15.2cm £80 - 120* 143 Samuel Prout FSA OWS, British 1783-1852 Lubeck watercolour, signed with monogram, 26.7 x 20.6cm 143 139 Joseph Slater, British c.1779-1837 ‘Mary Robinson’ ‘John Robinson Snr’ ‘Edith Robinson’ ‘John Robinson Jnr’ ‘Edward Robinson’

Provenance: with Brian Sinfield, Burford, according to the label attached to the reverse of the frame Exhibition: Technique of Water colour Art in England, November 1972, Oscar and Peter Johnson Limited, London, no.

56, according to the label attached to the reverse of the frame

pencil, black chalk and wash, five, most signed and dated 1806 in pencil, all with inscribed labels to the reverse of the frames, 16.4 x 13.9cm (max): Attributed to Thomas Richmond, British 1802-1874- ‘Mrs Blake, wife of Major Blake’ watercolour, 29 x 23.7cm, (6)

£250 - 350*

Note: Joseph Slater was a portrait painter working mainly in pencil, crayons and watercolour, exhibiting his first picture in 1803, and later became engraver to the Grillion Club.

A River in France

£200 - 300* 140 Mary Smirke, British 1779-1853

144 Follower of Samuel Prout FSA OWS, British 1783-1852 watercolour, 18.4 x 23.8cm Provenance: From the collection of Miss Polkinghorne, and Thomas Agnew & Sons Ltd., according to the label attached to the reverse of the frame £300 - 500*

A Willow by the Thames near Barnes watercolour, 14 x 23cm Provenance: Andrew Wyld, London (exhibited October/November 1973), according to the label attached to the reverse of the frame £100 - 150*

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145 Samuel Prout FSA OWS, British 1783-1852 Standing figures watercolours over traces of pencil, on grey paper, a pair, ea. 7.2 x 5.6cm (2) Provenance: Guy Peppiatt Fine Art, London, according to the labels attached to the reverse of the frames £200 - 300* 146 Attributed to Samuel Prout FSA OWS, British 1783-1852 Venetian Canal watercolour, 22.5 x 16cm Provenance: with Peter Cardiff Fine Art, according to label attached to the reverse of the frame £200 - 300* 147 David Cox Snr OWS, British 1783-1859 Study of a cottage

146

watercolour on laid paper, signed in pencil, 26 x 36.9cm

148 David Cox Snr OWS, British 1783-1859

Provenance: presented to Reverend Edward Roberts, Curate of Harborne, by the eldest son of David Cox, according to the label attached to the reverse of the backing board with Agnew & Sons.

A Farmhouse at Llanberis, North Wales, circa 1806

Note: Cox signed his will on 2nd August 1858 in the presence of his friend Rev. Edward Roberts, Curate of Harborne.

watercolour, 20.5 x 27.7cm

£300 - 400*

£250 - 350*

Provenance: with Agnew’s, London, according to label attached on the reverse of the frame

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

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150

151

149 Thomas Miles Richardson Snr, British 1784-1848

150 Daniel Havell, British 1785-c.1826

151 Thomas Tudor, British 1785-1855

‘A View of a Village among Trees’ (exh. cat. no. 17) ‘Scene in the Lake District’ ‘View from the west of the Gatehouse of St Mary’s Abbey, York’ (exh. cat. no.

43) ‘Ravensworth Castle, near Gateshead, Co. Durham’ (exh. cat. no. 40) ‘A House among Trees’ (exh. cat. no. 8) ‘Study of a Building beside a River’ (exh. cat. no. 52)

‘London from Greenwich Park, Plate 1’, after Hascler

'Redcliff Church from the Back Bristol'

aquatint in colours with hand-colouring, 40 x 64.6cm: William Daniell, British 17691837, ‘View of London, with the Improvements of its Port’, aquatint with hand-colouring, 45.5 x 80cm: James Basire, British late 18th/19th century, ‘Plan for a Bridge’, engraving with hand-colouring, published 1800, reprinted 1803, 41 x 77.5cm: Paul Sandby, British c.1730-1809, ‘Windsor Terrace looking Westward’, etching and aquatint in brown sepia with hand-colouring, published 1776, 33 x 46cm, (4)

pen and brown ink and grey wash heightened with scratching out on laid paper, titled, further inscribed to the reverse, 11.9 x 23.6cm

pencil and wash, four, brown wash, one, and pencil, one, some on tinted paper, 21.8 x 28.2cm (max), (6) Literature: ‘Watercolours and Drawings by Thomas Miles Richardson, Senior (1784-1848)’, Guy Peppiatt Fine Art, 2012, cat. nos. 8, 17, 18, 40, 43, 52, illustrated Note: this lot is accompanied by a Guy Peppiatt Fine Art ‘Watercolours and Drawings by Thomas Miles Richardson, Senior (1784-1848)’, 2012, exhibition catalogue. £200 - 300*

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£300 - 500*

Provenance: by descent from the artist until with Walker Galleries, 1961: Thomas Tudor, British 1785-1855, ‘Morpeth Northumberland’; After Joseph Mallord William Turner RA, British 1775-1851, brown watercolour wash, inscribed to the reverse, 18.8 x 27.7cm.

Provenance: with Walker Galleries, 1961; Sotheby’s, 31 October 1962, lot 40 (part) Note: This is a copy of an engraving published in March 1809 of Morpeth after JMW Turner: together with one further grey watercolour wash by the same artist depicting figures over a stone bridge by a church, inscribed to the reverse, 24.5 x 31cm, (3) £180 - 220*

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152 Anthony-vandyke Copley Fielding POWS, British 1787-1855 Showery Weather watercolour, 18 x 27cm Provenance: ex collection of Lord Joicey, according to inscription on the original frame £400 - 600* 153 Charles Joseph Hullmandel, British 1789-1850 ‘Eton looking down the River’ & ‘Eton from the Playing Fields’, after William Westall lithographs with hand-colouring, two, published by Rodwell & Martin, 1821, London, ea. 23.3 x 33cm, (2) £150 - 200* 154 Circle of William Turner of Oxford OWS, British 1789-1862 Sunrise over a landscape (recto) watercolour, 13.1 x 19.7cm: together with a study by the same artist depicting a river landscape with bridge, possibly Hammersmith Bridge, in pencil (verso), 12.5 x 19cm £80 - 120*

156 157 Thomas Hosmer Shepherd, British 1793-1864

155 Austrian/northern italian School, late 18th century

‘King’s Weigh House, Little East Cheap’

Herdswoman with cattle and sheep on a hillside with a lake and mountains in the distance

Note: a steel engraving by Robert Acon was produced for ‘London and its Environs in the Nineteenth Century’, 1830.

opaque watercolour, 17.5 x 26cm £250 - 300* 156 Sir george Hayter, British 1792-1871 Allegory of Justice pen and black ink and wash on wove paper, signed and dated 1807, 46.5 x 31.5cm £250 - 300*

pencil and brown wash, signed, titled to the reverse in pencil, 10 x 14.5cm (image)

Little Eastcheap was the old eastern portion of today’s Eastcheap, the London street running between Monument junction and Great Tower Street. In medieval times Eastcheap wasthe City of London’s main meat market, with butcher stalls lining both sides of the street.

The King’s Weigh House, standing on the south side of Eastcheap, between Botolph Lane and Lovat Lane, replaced St. Andrew Hubbard church after the Great Fire of London, and was where foreign merchants were required to weigh their goods. £180 - 220*

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

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158

159

158 William Heath, British 1794-1840

160 David Roberts RA, Scottish 1796-1864

‘Retirement’, 1829

Craigmillar Castle

hand-coloured etching, published by Thomas McLean April 29, Haymarket, 43.6 x 29cm (sheet)

hand-coloured lithograph, 40.5 x 53cm: together with five other 18th and 19th century topographical engravings and one lithograph, by and after various artists depicting ‘Edinburgh Castle’, ‘Cardiff Castle’, ‘City of Salisbury’, ‘Isle of Sky’, and the ‘Tower of London’, 32 x 47.5cm (max), (6)

£200 - 300* 159 William Heath, British 1794-1840 ‘Scene Painter and Property Man’, ‘Returned from the Ball’, ‘The High and Mighty Queen receiving an Address from the most Loyal Subjects in the World’, ‘You Never Ketches me a Woyaging no More I’ve had a Nuf of it’, ‘The Cad to the Man Wot Drives the Sovereign’ & ‘Finis’ hand-coloured etchings, published by Thomas McLean, circa 1829, Haymarket, 44 x 30cm (sheet/max) (6) £300 - 400*

56

£180 - 220* 161 David Roberts RA, Scottish 1796-1864 ‘Ruins of Karnac’, ‘Ground entrance to the Temple of Luxor’, ‘Jerusalem from the Mount of Olives’ tinted lithographs, three, published March 8th 1847, 1st August 1848, and April 5th 1839 respectively, signed within the plate, ea. 37.5 x 52.5cm (visible sheet) (approx.), (3) £200 - 300*

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164

162 Circle of David Roberts RA, Scottish 1796-1864

163 Joseph Stannard, British 1797-1830

164 Alexandre Marie Colin, French 1798-1875

Mezquite Cathedral, Cordoba, Spain

‘Thatched Cottage with a Gable End’, 1824

Lady seated full-length in an interior with a parrot

watercolour over pencil on grey/buff coloured wove paper, inscribed in pencil, 36.2 x 24.6cm

etching on chine appliqué, signed and dated within the print, 14.7 x 20.6cm

watercolour, signed and dated 1830, 20 x 15.5cm

£200 - 300*

Provenance: with William Weston Gallery Ltd, London, according to the label attached to the reverse of the frame

£300 - 400*

£100 - 150*

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

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165 165 William Callow RWS, British 1812-1908 ‘The Lighthouse, Marseille’ pencil, titled, dated 24 Oct 1840 and signed with monogram WC in pencil, 28 x 38cm: together with four other works on paper by the same artist to include ‘Cottage at Matlock, Derbyshire’, ‘Berrynarbor, Devon’, ‘Marbach Castle, Germany’, and ‘Conisborough Castle, Yorkshire’, pencil, three titled and dated, two signed on the reverse in pencil, 27 x 37cm and 37 x 27cm (max) (5) Provenance: Sotheby’s, 12th January 1966, lot 2 (a folio) £300 - 500*

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166

168

166 After Sir Anthony van Dyck, Flemish 1599-1641

168 Samuel Cotes, British 1734-1818

A portrait miniature of Charles I

A portrait miniature of a lady, seated half-length turned to the left in a white dress with purple sash

tondo, 6.5cm dia £100 - 150* 167 Scottish School, mid-late 17th century A portrait miniature of a lady, traditionally held to be Mary Kirk circa 1668 oval, 6 x 4.5cm £300 - 400*

signed and dated 1794, oval, 9 x 6.5cm £800 - 1,200* 169 Follower of Jeremiah Meyer RA, British 1735-1789 A pair of portrait miniatures, one of a gentleman, quarter-length turned to the right in a blue coat and white stock and the other of a lady, quarterlength in a white dress and wearing pearls, both ovals, both signed with monogram JB, 5 x 4cm., ea., (2) £400 - 600*

167

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

169

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170 170 Attributed to John Keenan, Irish fl. 1790-1819

171 Bakhuysen, Dutch Provincial School, 18th century

A group of five portrait miniatures, to include: a gentleman, traditionally held to be John Colby Esq., half-length turned to the right in a blue coat a lady, traditionally held to be Lady Owen, halflength turned to the right in a white dress a gentleman, traditionally held to be Sir Hugh Owen Bt., quarter-length turned to the right in a red coat a boy, traditionally held to be Sir Hugh Owen aged five years, half-length turned to the right in a brown coat with shaped lace collar, two examples

A portrait miniature of a cleric, quarter-length turned to the left oval, 4.5cm: British Provincial School, early-mid 19th century, a portrait miniature of a lady, quarter length turned to the right in a white bonnet, oval, 4.8cm: British School, early 20th century, a portrait miniature of a lady, head and shoulders turned to the right in Elizabethan style dress, oval, 6cm., (3) ÂŁ100 - 200*

oval, five, all bear inscriptions on the reverse of the frame, 6.5 x 4.5cm (max), (5) ÂŁ400 - 600*

171 60

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172 172 British School, 18th century A portrait miniature of a Naval officer, quarter-length in uniform oval, 6 x 4cm £100 - 150*

173 173 After Sir Thomas Lawrence PRA, British 1769-1830 A portrait miniature of Lady Elizabeth Mary Leveson-Gower, (1797-1891), wife of Richard 5th Earl Grosvenor and 2nd Marquess of Westminster, quarter-length turned to the right in a white dress 174 174 After Charles Jagger, British c.1770-1827 A portrait miniature of King William IV when Duke of Clarence

bears initials, bears inscription on the reverse, oval 11 x 8cm: Manner of Richard Cosway, a portrait miniature of a lady, quarter-length turned to the right in a green-brown dress and white lace collar, oval 7.5 x 6cm (2) £250 - 350*

feigned oval, 10 x 7cm £80 - 120* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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175 British School, late 18th/early 19th century

175

A portrait miniature of a lady, traditionally held to be Mrs Chetwynd, quarter-length turned to the left in a white dress oval, 6.5 x 4.7cm: British School, mid-19th century- Portrait of a lady in orientalist costume, head and shoulders turned to the right pencil on paper, oval, 17 x 12.5cm: British School, mid-19th century, a portrait miniature of a lady, quarter-length turned to the right in a black dress and white bonnet, oval, 7.2 x 5.5cm: British School, early 19th century, a portrait miniature of a lady, traditionally held to be Mrs Abingdon, actress, half-length turned to the left in profile, wearing a black dress, oval, 7.5 x 5.2cm: together with a small collection of further portrait miniatures, small framed prints and other pictures, mostly 19th century, various sizes (11)

176 British School, early 19th century A pair of portrait miniatures of a gentleman quarter-length turned to the left in a blue coat and white stock and of a lady quarter-length turned to the right in a blue dress, pink sash and a coral necklace a pair, ovals, 7.7 x 6cm., ea., (2) ÂŁ800 - 1,200*

ÂŁ150 - 250*

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177 english School, mid 19th century A portrait miniature of an officer, traditionally held to be Mr Colby, seated three-quarter length turned to the left bears framer’s label for C A Britton, 22 High Street Arcade, Cardiff attached to the reverse, 14.8 x 11cm: British School, early 20th century, a portrait miniature traditionally held to be Lady Owen, quarterlength turned to the left in a grey dress, 16 x 11.5cm: British School, mid-19th century, a portrait miniature of an elderly lady, head and shoulders in a white bonnet, oval, 4 x 3cm: British School, late 19th century, a portrait miniature of a young girl seated three-quarter length holding a doll, oval, 6.5 x 5.5cm., (4) £300 - 400*

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

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178 British School, late 19th century A portrait miniature of a man, halflength in a black coat and grey hat oval, 7 x 5cm: G M Cook, British, late 19th century, a portrait miniature of a lady, quarter-length in a white dress, signed, oval, 6.2 x 5cm: British Provincial School, 19th centuryPortrait of a a lady head and shoulders, recto, portrait of an old man, verso pencil and watercolour, oval6.8 x 5.2cm: Carole, late 20th century- Hanging out laundry watercolour, signed, 6.5cm dia., (4) ÂŁ200 - 250*

178

179 British School, early 20th century

179

A pair of portrait miniatures of a lady quarter-length turned to the right and of a lady quarter-length turned to the left tondo, a pair, 6cm dia.. ea., (2) ÂŁ100 - 150*

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180 180 Circle of Richard H. Hilder, British fl. 1836-1851

181 Frederick Waters Watts, British 1800-1862

Hunters on horse and foot with dogs in woodland

Boy with his dog on a rural path with fields, hamlet and windmill beyond

reverse glass painting, 29 x 39cm

oil on canvas, 38 x 52cm

ÂŁ200 - 300*

ÂŁ800 - 1,200*

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

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183

182 William Bath, British fl. 1836-1851

183 William Carter, British fl. 1843-1864

‘On the Tavy’

Scene at Chepstow looking towards the Severn

oil on board, signed, 36.8 x 46.5cm

oil on canvas, bears inscribed label attached to the stretcher, 107 x 86cm

Provenance: with Maples Fine Art, according to label attached to the reverse £150 - 200*

Provenance: with Philip Moore & Son Ltd Old & Modern Pictures 5 Ryder Street St James’s, according to label attached to the reverse of the frame Phillips, London, 25th April 1995, lot 26 £1,500 - 2,000*

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184 German School, early 19th century Portrait of a lady standing half-length in a black dress with white lace trim and jewelled bow oil on canvas, bears inscription on the reverse, 58 x 49cm £200 - 300* 185 Claude Jacquand, French 1803-1878 Lady reading a letter in an interior with an attendant oil on canvas, signed and inscribed, 46 x 38cm £400 - 600* 186 Charles Hunt Snr, British 1803-1877 Family group in an interior oil on canvas, signed and dated 69, 62 x 46cm

184

Provenance: Christie’s, London, 4th November 1994, lot 224, illustrated p.176 £1,000 - 1,500*

185

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

186

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187 Follower of Franz Xaver Winterhalter, German 1805-1873 Portrait of Prince Albert, wearing the robes of the Order of the Garter and the collars of the Order of the Garter, the Bath and the Golden Fleece oil on canvas, 59 x 46cm Note: The original painting dating from 1843 is held at Windsor Castle and is part of The Royal Collection (RCIN 404387). Winterhalter was initially invited to come to London in 1842 to paint the royal couple, Queen Victoria and Prince Albert.

Literature: Aurisch, Chabanne, von Stockhausen, Straub, 2015, p.120 £2,000 - 3,000*

187

188 Franz Xaver Winterhalter, German 1805-1873 Portrait of a lady, half-length, wearing a white dress and holding a pair of lunettes oil on canvas, signed, oval, 100.7 x 81.3cm Provenance: Sir Robert Abdy, Bt Christie’s, London, 18th March 1994, lot 69 private collection Note: according to the label attached to the reverse of the frame the sitter is of the house of Aguado.

Winterhalter painted several portraits of the Aguado family, including Viscountess Aguado, Claire-Emilie Aguado (nee MacDonell) (1817-1905), and her daughter Carmen Ida Aguado (1847-1880). This could possibly be a portrait painting of Louise Caroline Juliette Berthe Aguado (nee von Freystedt) (1834-1898) who married Count Olympe Aguado in 1860. The style of the dress suggests that the portrait may have been commissioned to commemorate the sitter’s engagement or wedding.

The Aguados were connected to Prince Louis-Napoleon Bonaparte and Maria Manuela Kirkpatrick, Countess of Montijo and her daughter Eugenie de Montijo (1826-1920), future Empress of France.

Empress Eugenie’s house was formed in 1853 with Emilie Aguado made lady-in-waiting.

We kindly thank Eugene Barilo von Reisberg for his assistance in cataloguing this lot. £30,000 - 50,000*

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188

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

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189

190

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189 Circle of William Henry Crome, British 1806-1873 Moored barges by a windmill in a wooded river landscape oil on canvas, 71 x 91.5cm £1,000 - 2,000* 190 James Peel RBA, British 1811-1906 Children by a gate with fields beyond oil on canvas, signed, 71 x 91.5cm £800 - 1,200*

191 191 Richard Hilder, British 1813-1852 Tranquil rural landscape with a drover and a herd of cattle by an old cottage and stream oil on cradled panel, 32.5 x 46cm £400 - 600*

192 Attributed to Arthur Wellington Fowles, British 1815-1883

192

Nautical scene, a review of the fleet with a paddle steam ship and frigates oil on canvas, signed indistinctly and dated 1856, 40.6 x 66cm £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.

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193 193 Hubertus van Hove, Dutch 1814-1865 Mother and child in a kitchen interior, 1860 oil on panel, signed, bears inscribed label attached to the reverse, 72 x 59.5cm ÂŁ3,000 - 4,000*

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194 Attributed to Clement Burlison, British 1815-1899 Portrait of Gerard Callaghan, MP for Dundalk c.1787-1833, with two of his six children, Fred Marcus and Stanley, 1841 oil on canvas, 107 x 138cm Provenance: Purchased from New Elvet Sale Rooms, Durham, 23rd March 1967 £1,500 - 2,000* 195 Circle of george Frederic Watts OM RA, British 1817-1904 Portrait of a middle-aged man, quarterlength turned to the right oil on canvas, signed indistinctly with monogram, 45.6 x 35.8cm £800 - 1,200* 196 Charles Henry Passey, British 1818-1895 Haymaking oil on canvas, signed, 76 x 127cm £800 - 1,200*

194

197 Attributed to William Powell Frith RA, British 1819-1909 Portrait of a gentleman seated full-length in 18th century dress in an interior oil on canvas, 44.5 x 35.5cm £500 - 700*

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

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198 198 edwin Hayes RHA Ri ROi, British/Irish 1819-1904 Antwerp oil on canvas, signed faintly, 22 x 42cm Provenance: with George Hughes, Fine Art Dealer, Bewick House 50 & 52 Pilgrim Street Newcastle-uponTyne, according to label attached to the reverse of the frame £1,500 - 2,000*

199 george Renwick Barr, British 1820-1898 Clipper ‘Ariel’ under full sail oil on canvas, signed and dated 1869, 91.5 x 121.6cm Note: Ariel was a clipper famous for its participation in The Great Tea Race of 1866. Her last sail came when she disappeared after setting sail from London on 31 January 1872, heading for Sydney. £2,000 - 4,000*

199

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200 n Crawhall, British School, early-mid 19th century Ships at harbour with figures on a shore oil on canvas, signed, 81 x 122cm £1,500 - 2,000* 201 Antonio Ciseri, Swiss/Italian 1821-1891 ‘Portrait of Camillo Benso, Count of Cavour’ oil on canvas, signed, 73 x 61cm Note: Cavour (1810-1861) was an Italian statesman and leading figure in the movement toward Italian unification, one of the leaders of the Historical Right and Prime Minister of the Kingdom of Piedmont-Sardinia. With the declaration of the unification of the Kingdom of Italy in 1861, Cavour became the first Prime Minister of Italy, but died three months later. £100 - 200* 201

202 French School, early/mid 19th century Portrait of gentleman, half-length, c. 1820 oil on canvas, 23.7 x 19cm £300 - 400*

203 James Smetham, British 1821-1889

203

Piping Down the Valleys oil on board, 11.5 x 30.5cm Provenance: Sotheby’s, London, 12th July 2018, lot 45 £2,500 - 3,000*

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

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204 204 Charles Thomas Bale, British act.1866-1895

205 Manner of John george Brown, 19th century

Still life of apples, pears and grapes with an earthenware flagon on a table

Two children with a goat by the banks of a river

oil on canvas, signed, 71 x 91.5cm

£300 - 500*

£1,000 - 1,500*

oil on canvas, bears signature, 76.5 x 56cm 206 Strafford newmarch, American, act. 1861-1895 House in hilly landscape with lake beyond oil on canvas, signed, 38 x 66.2cm £200 - 300* 207 Attributed to William Luker Snr., British 1828-1905 Blincoo (sic) Farm oil on board, inscribed and dated May 31st 1864, 28 x 47cm £300 - 500* 208 Circle of Charles Morris, British c.1828-1870 Figures before a thatched cottage with Church beyond oil on panel, 14 x 19cm £100 - 150*

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209

209 Sir John everett Millais Bt PRA HRi HRCA, British 1829-1896 'The Very Rev. Thomas William Jex-Blake', 1875 & 'Mrs Henrietta Jex-Blake', 1872 oil on canvas, a pair, both signed with monogram and dated, 75.5 x 55cm and 69 x 53cm (oval), (2) Provenance: by descent from the sitters Literature: Millais, J. G., 'The Life and Letters of Sir John Everett Millais', London: Methuen & Co., 1899, II, pp.475-6 Note: Rev. Thomas Williams Jex-Blake (1832-1915) married Henrietta Corderey (c.1837-1921) in 1857.

He was assistant master, 1858-68, and then headmaster, 1874-1887, of Rugby School, and later appointed Dean of Wells in 1891, continuing until 1911. Under his initiative Rugby School became the first school to contain an art museum to which he gifted generously. Jex-Blake’s taste was influenced by John Ruskin, as indicated in the introduction to his book ‘A Long Vacation in Continental Picture Galleries’, 1858. £10,000 - 15,000*

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

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210 Morten Muller, Norwegian 1828-1911 Skier in a mountain winter landscape with woodland oil on canvas laid down on board, signed, signed on the reverse, 26 x 37cm £500 - 700* 211 Attributed to Joseph Paul, British 1804-1887 Hardleigh Cross oil on panel, 20 x 23.5cm £120 - 180*

210

212 212 Follower of Benjamin Williams Leader RA, British 1831-1923 Moel Siabod from the River Llugwy at Betwys-y-coed, North Wales oil on canvas, bears signature and date, 50.7 x 76.8cm Note: Following a two-week sketching trip to Betwys-y-coed in May 1875, Leader painted would go on to produce numerous scenes of Moel Siabod, the River Llugwy, Betwys-y-coed, Capel Curig and the surrounding area (see Wood, 1998, pp.28, 48).

The following works were recorded as having been exhibited at the Royal Academy in London: The River Llugwy, Bettws-y-coed, 1919, no 526 Moel Siabod, 1921, no 404. £400 - 600*

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213

213 William Callcott Knell, British 1830-1880

214 Jean d’Alheim, Russian 1832-1894

Shipping in rough seas with a shoreline beyond

Fisherfolk on a Mediterranean coast with a rocky outcrop

oil on canvas, signed and dated 1876, 45.8 x 81.5cm £1,000 - 1,500*

oil on canvas, signed, 53 x 76.5cm Provenance: with the Caelt Gallery, London, according to the label attached to the stretcher £400 - 600*

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

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215

215 Wilhelm Busch, German 1832-1908 A Peasant with a Jar, after Adriaen van Ostade oil on paper laid down board, bears inscription on the reverse, 12.5 x 11.5cm Provenance: purchased from The Estate of the Artist by the great grandfather of the present owner Note: Busch is most prominently known as a comic illustrator and poet. He felt his painting skills could not compete with those of the Dutch Masters, which is reflected in his choice of materials, with his grounds and colours often being of low quality, which has led to many of his paintings darkening and turning to an almost monochrome effect ÂŁ3,000 - 5,000*

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216 Antoine vollon, French 1833-1900 ‘Flores’ oil on panel, signed, 61 x 49.4cm Provenance: Colecion Rafael A Bullrich Galerie Simonson, (Paris) Colecion Pallerano cat part R.A.B. no 141 (adq. en canje a Pellerano no 180 inv. ind) Exhibited: Museo Nacional de Bellas Artes, [Buenos Aires] £800 - 1,200* 217 Pieter Cornelis Dommersen, Dutch 1834-1908 View across the river Elbe, Dresden oil on panel, signed and dated 1890, bears applied wax seal to the reverse, 27.5 x 38cm £1,000 - 1,500* 218 After Alphonse de neuville, French 1835-1885 Scene from life of an infantryman oil on canvas, signed ‘Marsdin’ and inscribed, 31.5 x 25cm £150 - 250*

216

217

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219 Charles edward Brittan Snr, British 1837-1888 Portrait of a lioness oil on canvas, signed and dated 1858, 76 x 63.7cm ÂŁ400 - 600*

219

220 John Linton Chapman, American 1839-1905 A steamer with a view of the Riva degli Schiavoni, Venice, in the background oil on panel, signed with initials and dated 80, 24.5 x 37cm ÂŁ500 - 700*

220

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221 Karl Wagner, German 1839-1923 Portrait of a lady, quarter-length turned to the left in a black dress signed, inscribed Dusf and dated 81, 60 x 50cm ÂŁ200 - 300*

221

222 Alexander Mark Rossi, British 1840-1916 Children fishing at the pier oil on canvas, signed, 70.5 x 90.5cm ÂŁ1,500 - 2,500*

222

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

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223

Figures homeward bound at sunset

224 Attributed to Alfred Richardson Barber, British 1841-1925

oil on canvas laid down on board, signed and dated 1874, 41 x 50.5cm

Still life of grapes, peaches and a glass on a ledge

ÂŁ600 - 800*

oil on canvas, 25 x 30.5cm

223 Alois Kirnig, Czech 1840-1911

ÂŁ500 - 700*

224 84

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225 Heywood Hardy, British 1842-1933

225

Rural landscape with elegant mounted figures oil on canvas, a pair, both signed, ea. 51 x 76.5cm, (2) Provenance: with Richard Green, London, according to labels attached to the reverse of each of the frames ÂŁ5,000 - 7,000*

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

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228 Anders Montan, German 1845-1917 Figure in a cottage interior oil on canvas, signed and dated 1912, 59 x 68.5cm £200 - 300* 229 Attributed to Helen Thornycroft ASWA, British 1848-1937, exh 1880-1918 Portrait of a boy holding a tambourine oil on board, 25.5 x 15cm 226

£200 - 300*

226 Arthur Joseph Meadows, British 1843-1907

227 John emms, British 1843-1912

Mussel Gatherers, Ambleteuse Harbour

Ploughing scene

oil on canvas, signed, signed, titled and dated 1884 on the reverse of the canvas, 25.5 x 35.5cm

£1,200 - 1,800*

oil on canvas, signed, 38 x 51cm

£400 - 600*

227

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230 Cecil gordon Lawson, British 1849-1882

230

Strayed, a Moonlight Pastoral oil on canvas, signed and dated 1878, 66.5 x 61cm Provenance: Lord Battersea, Cromer, Norfolk; Peter Nahum at the Leicester Galleries, London, according to label attached to the reverse of the frame Exhibited: Grosvenor Gallery, 1878; Grosvenor Gallery, 1883; Manchester, Jubilee Exhibition, 1887; Royal Academy, Winter Exhibition, 1901 Literature: The Times, 2nd May 1878, p. 7; Engraved by J Park for L'Art magazine, Paris 1879 Information: Lawson painted 'pictures pregnant with the life and change of nature, with its growth and lusty life, its decay and its perennially renewed youth' (James L. Caw, Scottish Painting 1620-1908). His treatment of the British landscape was revolutionary, putting mood and symbolism above realism, laden with meaning.

When this picture was shown at the RA in 1878, the critic of The Times wrote: '[Lawson] has treated pathetically and poetically a suggestive subject - a lamb that has wandered from its ewe, in a dreary country where the blasted trees and the distant pit-chimneys tell of one of those regions of England in which Mammon has turned Nature out of doors. But even this desolation is made beautiful by the loveliness of moonlight. The contrast between that tender irradiation and the grimy ugliness which daylight would reveal, lends additional poetry and pathos to the picture.'

Critical reception of Lawson's paintings was polarised between disparaging and extravagantly eulogistic, debated in the Letters page of The Times, but his obituary identified him as the champion of the new idealist approach to landscape painting, that emphasised a 'higher' poetic and intellectual truth, rather than truth only to nature. ÂŁ800 - 1,200* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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231 Circle of giacomo Favretto, Italian 1849-1887 Fisher folk on village steps with poultry in a yard oil on canvas, 41 x 31cm £250 - 350* 232 French School, mid 19th century Portrait of two ladies, possibly ladies-in-waiting, one seated holding a pair of gloves, one standing holding a basket of flowers oil on canvas, 143 x 112.5cm £1,500 - 2,500* 233 A Loria, European School, mid 19th century ‘Storm Approaching on the Norwegian Coast, Nyborg’ oil on canvas, signed, 45.5 x 76cm £400 - 600* 232

234 Attributed to edith ellenborough Corbet, British c.1850-1920 exh 1891-1918Portrait of Vilnia Fiorelli, 1911 oil on board, inscribed on the reverse, bears label for The Rowley Gallery, Frame Makers, 140 Kensington Church Street Kensington W attached to the reverse of the frame, 17 x 15.5cm £300 - 500* 235 British Provincial School, mid 19th century Man-o-war oil on canvas laid down on panel, 18 x 23.5cm £150 - 250*

234

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236 British School, mid-19th century Study of an itinerant knife-grinder oil on canvas, bears label for Alfred Grew Ornamental Architectural Carver and Gilder 80 Hurst Street Birmingham attached to the reverse of the frame, 33.6 x 28.2cm £200 - 300* 237 Circle of William Howard, British, 19th century Thames river scene oil on canvas, 40.8 x 61cm £250 - 300* 238 italian School, mid 19th century Figures by an acropolis in an extensive mountainous landscape at sunset oil on canvas, bears inscription on the reverse of the canvas, 99 x 136cm £2,500 - 3,500*

237 239 William graham Buxton, British exh 1885-1893 The Dawn of the Day on the Essex Coast, 1890

240 Follower of William Lionel Wyllie RA RBA Re Ri neAC, British 1851-1931 The Pool of London in fog

oil on canvas, signed and dated, 60.8 x 91.4cm

oil on canvas , bears initials, 50.2 x 76cm

Provenance: Christie’s, London, 13th November 2003, lot 175

£300 - 500

Exhibited: London, Royal Academy, 1890 no 684 £800 - 1,200*

239

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241 241 William Mellor, British 1851-1931

242 William Mellor, British 1851-1931

‘Langdale Pikes, Windermere’ & ‘Bolton Woods, Yorkshire’

Fairy Glen, North Wales

oil on canvas, a pair, ea. 30.5 x 45.5cm, (2)

oil on canvas laid down on board, signed, 49.3 x 74.5cm

Provenance: with Fine Art of Oakham Ltd., Oakham, Rutland, Leicestershire, according to labels attached to the reverse of the frames

£600 - 800*

£1,000 - 2,000*

242

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243 243 Attributed to David James, British 1853-1904 Shipping in stormy seas oil on canvas, a pair, one signed and dated indistinctly, ea. 30.5 x 56.5cm, (2) ÂŁ1,500 - 2,500*

243

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

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244

244 Frederick William Whitehead, British 1853-1938 The Forest of Fontainebleau oil on canvas, signed, bears label for T W Thrupp attached to the reverse of the stretcher, 99 x 53.5cm £400 - 600* 245 gustave valaise, Belgian 1854-1902 The Young Singer oil on canvas, signed and dated 1897, 121.2 x 61.2cm Provenance: Blanchards, in association with Waterhouse & Dodd, An Exhibition of Fine British & European Paintings, c.1988/89, where purchased by the present owner Note: a copy of the exhibition catalogue is available with this lot £2,500 - 3,500*

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245 246 Walter Dendy Sadler RBA, British 1854-1923 Portrait of a lady, traditionally held to be the artist's mother, quarter-length turned to the left c.1880 oil on canvas laid down on board, inscribed and signed in pencil, 30 x 23.5cm £200 - 300*

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247

248

247 Attributed to Henri Duvieux, French 1855-1882

249 Samuel Fulton, Scottish 1855-1941

250 Samuel Fulton, British 1855-1941

Venice scene

‘Romp’

Terrier

oil on canvas, 33 x 24.2cm

oil on board, signed, 44.2 x 34cm

oil on canvas, signed, 36 x 47.2cm

£300 - 500*

Provenance: gifted by the artist to the family of the present owner thence by descent

Provenance: gifted by the artist to the family of the present owner thence by descent

Note: Samuel Fulton was an animal painter who predominantly painted dogs.

Note: Samuel Fulton was an animal painter who predominantly painted dogs.

£1,000 - 1,500*

£600 - 800*

248 Charles Archer, British 1855-1931 Apples, grapes and plums on a mossy bank oil on canvas, signed, 61 x 50.5cm £400 - 600*

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

250 93

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251 Joseph edward Homerville Hague, British c.1856-1939 Boating scene oil on panel, signed, bears inscription on the reverse, 27 x 22cm £150 - 200* 252 german grobe, German 1857-1938 Seascape oil on canvas, signed, 81 x 61cm £250 - 350* 253 Thorolf Pedersen, Danish, 1858-1942 Coastal landscape with sand dunes and a jetty at Gilleleje, Zealand oil on canvas, signed, inscribed and dated 1882, 34 x 49.8cm

252

Note: the locality of this painting is Gilleleje, a small fishing hamlet on the north coast of Zealand.

Thorolf Pedersen was educated at the Kunstakademiert in Copenhagen 1875-1883 and exhibited at Charlottenborg 1882-97 and further in Paris 1889, Chicago 1893, and London in 1907. Later on he was trained as a theatre painter in Germany and from 1895 onwards was employed in Det kgl. Teatre (King's Theatre) in Copenhagen.

Most of Thorolf Pedersen's motifs are taken from the Danish coasts and he especially painted many pictures of the coast at Gilleleje in the 1880s. £400 - 600*

253

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254 Pavlos Prosalentis, Greek 1857-1894 Woman with Umbrella, 1889 oil on canvas, signed and dated, 141 x 79.5cm £4,000 - 6,000 255 Carl nys, Belgian b.1858 Study of a dancer oil on panel, signed, 30 x 23.5cm £100 - 150* 256 Attributed to Rowland Holyoake, British 1861-1928 Portrait of a classical maiden with a butterfly oil on canvas, 50.5 x 32.8cm £200 - 400* 257 Fabio Fabbi, Italian 1861-1946 North African dancer holding a veil oil on canvas, signed, 72 x 58cm £3,000 - 5,000*

254

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

257 95

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258 258 James Jebusa Shannon RA RBA RHA, British/American 1862-1923 ‘Sir John Martin Hardy as Sydney Carton in The Only Way’, c.1904 oil on canvas, signed, 111.5 x 75cm Exhibited: Royal Academy, London 1904, item 106 Royal Society of Portrait Painters, no 101 Walker Art Gallery, Liverpool, 1923 Note: Portrait of Sir John Martin Harvey, as Sydney Carton in ‘The Only Way” an adaptation of “A Tale of Two Cities” by Charles Dickens 1812-1870 The character of Sydney Carton, was one of Harvey’s most renowned characters, there were several artists commissioned to create portraits of the actor as Carton at the time, including George Frampton, RA, who created a bust of the artist.

Literature: “The Autobiography of Sir John-Martin Harvey” London, Sampson Low Marston & Co Ltd., 1933 painting is mentioned on p.233 £6,000 - 8,000*

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259

260

259 Marcel Rieder, French 1862-1942

261 Oscar Ricciardi, Italian 1864-1935

263 Wright Barker, British 1864-1941

Lady standing by a table with a vase of flowers and a cat seated on a dining chair

Neapolitan coastal scenes

Portrait of a Collie and a Jack Russell Terrier

oil on canvas, signed, 54.5 x 45.5cm £1,000 - 1,500* 260 Luis graner, Spanish 1863-1929 ‘Campesino de Tortosa’ oil on canvas laid down on panel, 52.5 x 40cm Provenance: Sotheby’s, London, 15th November 2006, lot 228 £2,000 - 3,000*

oil on panel, a pair, both signed, both bears inscription on the reverse, ea. 14.8 x 26cm, (2) £600 - 800* 262 Carl Hasch, Austrian 1834-1897 Woman feeding chickens by a pond with a cottage and woodland oil on canvas, signed, bears inscribed label attached to the stretcher, 45 x 59.5cm £150 - 250*

oil on canvas, signed, 51 x 76cm £1,500 - 2,000* 264 Attributed to Charles Spencelayh HRBSA RMS vPBWS, British 1865-1958 Interior scene with a Sussex rush chair and a mahogany chest of drawers oil on canvas, bears inscription on the stretcher, 25.2 x 30.5cm £300 - 400*

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

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265 David Thomson Muirhead ARA, Scottish 1867-1930 Portrait of Pablo de Sarasate oil on canvas, signed, 201 x 99cm Note: See James Abbott McNeill Whistler's portrait 'Arrangement in Black: Portrait of Senor Pablo de Sarasate' 1884 in the Carnegie Museum of Art. Muirhead exhibited at the New English Art Club as well as with The Society of Twenty Five Painters, an obscure society formed in 1905 as The Twenty Five English Painters, with the 'English' word being dropped in 1907. Exhibitions were held at the Goupil Gallery, London, the Leicester Galleries, London, and in 1925 at the Fine Art Society, London.

Frederick Wedmore wrote in 1909 that 'now and again this sterling and impressive artist in Landscape has made worthy, or, at the very least, not discreditable experiments in Portraiture' (Wedmore, 1909, p.59). ÂŁ2,000 - 3,000* 265

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266

266 Antoine Bouvard, French 1870-1966 A Venetian backwater oil on canvas, signed, 47.5 x 63cm (ARR) £4,000 - 6,000* 267 Attributed to Charles edward Dixon Ri, British 1872-1934 ‘Anglesey London 1852’ oil on panel, titled, bears signature and monogram, further inscribed to the reverse, 36 x 46.5cm £300 - 500*

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

267

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268 Attributed to Allan Douglas Davidson RBA ROi RMS, British 1873-1932 Standing draped female nude

Figures on a quayside with a lighthouse in a storm

oil on board, bears inscription on the reverse of the frame, 20.5 x 10cm

oil on canvas laid down on board, signed with initial ‘G’ and dated 96, 53.5 x 73cm

£600 - 800*

£200 - 300*

269 British School, late 19th century

272 Frederick William Pike, British, late 19th/early 20th century

Marine scene with St. Michael’s Mount beyond oil on unstretchered canvas, signed indistinctly and dated 1874, 45.5 x 67.6cm

268

271 British School, mid-late 19th century

Figure on a path in a Highland landscape oil on canvas, signed, 76 x 127.2cm

£100 - 150*

£100 - 150*

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

273 Russo/Finnish School, late 19th/early 20th century

Fisher boys on rocky shoreline with headland beyond

Seascape at sunset

oil on panel, signed indistinctly on the reverse, 11 x 32.5cm £100 - 150*

oil on canvas, signed, 72 x 92.2cm £500 - 700*

273

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274 274 Alfred Fontville de Breanski Jnr, British 1877-1955

275 Alfred Fontville de Breanski Jnr, British 1877-1955

Cattle watering in a highland loch

Cattle watering in a highland loch

oil on canvas, signed, 51.2 x 77cm (ARR)

oil on canvas, signed, 51.2 x 78.5cm (ARR)

ÂŁ2,000 - 3,000*

ÂŁ2,000 - 3,000*

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

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276 Anton Hirschig, Dutch 1877-1961 Field workers, 1918, (recto), Unfinished architectural study, (verso) oil on canvas, signed and dated, 78 x 95cm (ARR) Note: Hirschig was a Dutch artist, who lived in the room next door to Vincent van Gogh at the Auberge Ravoux in Auvers-sur-Oise. £300 - 500* 277 Stepan Fedorovich Kolesnikov, Russian 1879-1955 277

Winter scene with storks oil on canvas, 50 x 65.7cm Provenance: Sotheby’s, London, 5th June 2018, lot 49 £1,800 - 2,200* 278 Walter J Watson, British b.1879 The Lledr N. Wales oil on canvas, signed and dated 1920, 40.7 x 86.7cm £1,000 - 1,500*

278

279 Janos (Jean) Czenz, Hungarian 1885-1960 Portrait of a lady quarterlength turned to the left wearing a red dress oil on canvas, signed and dated 918, 44 x 36cm (ARR) £400 - 600*

279 102

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280 British School, early 19th century ‘HMS The Constitution Engaging Les Democrats’ from Mr McLean’s Monthly Sheet of Caricatures’ hand-coloured lithograph, published by Thomas McLean circa 1833, 44 x 30cm together with ten further lithographs with hand-colouring from ‘Mr. Mclean’s Monthly Sheet of Caricatures’, also ‘French Troops Thirsting for Glory in the Depth of the Dutch War’ 1832, and four further early/mid 19th century hand-coloured lithographs by and after various artists, depicting political cartoons, 29.7 x 43.4cm (max) (16) £300 - 400* 281 British School, early 19th century View of a sawmill pencil and brown wash over traces of pencil on wove paper, inscribed indistinctly, 12.5 x 20.3cm £100 - 150* 282 John Wilson Carmichael, British 1800-1868

280

‘Symonds Yat on the river Wye', 1836 watercolour heightened in white by scratching out, signed and dated, 29.1 x 42.9cm £250 - 350*

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

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283 James William giles ARSA, Scottish 1801-1870

285 edward Duncan RWS, British 1803-1882

‘Near Linlithgow’

Worker leaning on his shovel & Figures seated on a rock & ‘Hop picking’ & Girl standing full-length wearing a bonnet

watercolour, titled and dated 1841 January 1st, 17.3 x 25.7cm

pencil, four, one signed and titled and one signed with initials in pencil, all bear artist’s studio blind stamp, 22.3 x 11.5cm (max), (4)

Provenance: with Michael Ingram £180 - 220*

£200 - 300*

284 Attributed to William Joy, British 1803-1867

286 Attributed to Thomas Sidney Cooper CvO RA, British 1803-1902

Frigate moored on calm waters, with fishermen and their nets in the foreground

Head studies of cattle

pen and black ink and watercolour, 15 x 20cm

oil on paper, dated Sep 11th 1862, 16 x 24.5cm

Provenance: with Arthur Ackermann & Son Ltd., 157A New Bond Street, London, according to label attached to the reverse

£1,000 - 1,500*

£200 - 300*

286

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287 287 Samuel Palmer RWS Hon RE, British 1805-1881 ‘The Sleeping Shepherd’ etching on chine applique, in the fourth (final) state, as published in ‘Etchings for the Art Union of London’ by the Etching Club, 1857, plate 5, 12.5 x 10cm (plate) Provenance: The Fine Art Society, according to the label attached to reverse of the frame £600 - 800*

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

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289 288 David Roberts RA, Scottish 1796-1864 'Front Elevation of the Great Temple of Aboo-Simble Nubia'; hand-coloured lithograph, 31 x 48cm: together with two other hand-coloured lithographs after David Roberts RA, depicting the 'Sea of Galilee' and 'Jerusalem', circa 1839, ea. 31 x 47.5cm (approx.), (3)

289 Attributed to David Cox Jnr ARWS, British 1809-1885

290 David Cox Jnr ARWS, British 1809-1885

Figure and cart and horse on a country track with Greenwich beyond

watercolour, signed and dated, 35 x 49cm

watercolour, 32 x 50cm £500 - 700*

‘Near Streatham’, 1843

Provenance: with Stanley W Fisher FRSA, Worcestershire, according to label on the reverse £600 - 800*

£500 - 800*

290 106

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291 edward Robert Smythe, British 1810-1899 Shoreline on the North Sea, Suffolk, circa 1891 pencil on card, signed, mounted, extensive inscription on reverse of card in ink, 20 x 25.3cm £150 - 250* 292 John Harris iii, British 1811-1865 ‘The 14th Light Dragoons’, after Henry Martens handcoloured aquatint, published by R Ackermann, April 25 1851, plate no. 45 , from Rudolph Ackermann’s ‘Costumes of the British Army’, 35 x 25cm: together with nine other military inspired hand-coloured aquatints by and after various artists and two hand-coloured lithographs depicting ‘British Cavalry, 2nd Life Guards (Officer)’, ‘Officers of the British Army’ plate 28, ‘The 28th Bengal Infantry’ plate 23, ‘South Salopian’, ‘Officers of the British Army’ No 1, ‘The 78th Highlanders’, No 34, ‘Bombay Lancers’ No. 17, ‘Trumpeter, Royal Horse Guards Blue’, ‘14th (or the Kings) Light Dragoons’ ‘XIIIth Light Dragoons’, ‘The 14th Light Dragoons’ and ‘Officers of the British Army’ No. 35, ea. 35.5 x 28cm (approx.), (12) £400 - 600*

292

293 Attributed to Theodore Rousseau, French 1812-1867

294 Attributed to William Callow RWS, British 1812-1908

(Murols) paysage d’Auvergne

Beilstein, Moselle

pencil on wove paper, 22 x 31.5cm

watercolour on paper laid on card, bears inscription verso, 15 x 23cm

£300 - 500

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

£200 - 300*

107

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295 295 edward Lear, British 1812-1988

298 emma Walter, British act. 1855-1891

‘Roman Catholic Cemetery at Palaiopolis, Kaligoni Greece’

‘Still Life of Woodland Flowers’, 1874 & ‘Still Life of Fruit and Vase’, 1878

watercolour over traces of ink, inscribed and dated 23 April 1863 5.30pm, 13.5 x 23.5cm

watercolours, a pair, both signed and dated, 25 x 40cm and 24.6 x 39.5cm, (2)

Provenance: The British Council, Fine Arts Department, catalogue no. 42. Sotheby’s 14th December 2017, lot 29, according to labels attached to the reverse of the frame

£200 - 300*

£2,000 - 3,000* 296 egron Sillif Lundgren, Swedish 1815-1875 ‘The Swedish Opera’, c.1850 pencil with touches of white and watercolour on buff coloured paper, 17 x 24cm Provenance: The Maas Gallery, London, according to label attached to the reverse of the frame £150 - 200* 297 Thomas Charles Leeson Rowbotham nWS, British 1823-1875

299 erskine nicol RSA ARA, Scottish 1825-1904 Man playing a cello watercolour, signed, 26 x 18.5cm £100 - 150* 300 gertrude Martineau, British act. 1862-1911 Water Lilies watercolour, signed and dated 1884, bears submission label for the Royal Institute of Painters in Watercolours attached to the reverse of the frame, 37 x 54cm £150 - 250*

Italian hilltop landscape watercolour heightened with white bodycolour, signed and dated 1875, 17.3 x 25.4cm £150 - 200*

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306 301 John Wharlton Bunney, British 1828-1882

304 Sir John everett Millais Bt PRA HRi HRCA, British 1829-1896

A path overhung with trees

‘A Penny For Her Thoughts’, 1878

watercolour, signed and dated 1858-60, 34 x 29cm

etching, signed with monogram and dated within the plate, signed in pencil by the printmaker, 25 x 18cm

Provenance: with Julian Hartnoll Fine Art, London, according to label attached to the reverse of the frame £150 - 200* 302 William Luker Snr RBA, British 1828-1905 ‘Morning in the Mountain’, 1867 watercolour, signed with monogram and dated, 14.2 x 24.5cm £100 - 150* 303 Attributed to Sir John everett Millais Bt PRA HRi HRCA, British 1829-1896 Composite figure studies pencil on buff coloured wove paper, signed with monogram, 19.9 x 15.4cm

£100 - 150* 305 Charles Sillem Lidderdale RBA, British, 1831-1895 Gypsy Girl watercolour on coloured paper, signed with monogram, 32 x 23cm £300 - 400* 306 Henry Moore RA RWS, British 1831-1895 Coastal seascape watercolour, signed and dated 1880, inscribed verso, 31 x 54.5cm £2,000 - 3,000*

£400 - 600*

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

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307

307 Circle of Orlando norie, British 1832-1901 Military exercise with mounted Yeomanry Officer and Line Regiment Lancers oil on paper, signed with initials HN, 33.5 x 53.5cm (VAT charged on the hammer price) £300 - 500* 308 edouard Manet, French 1832-1883 ‘Letters and Aquarelles’ pochoir in colours, twenty-one, printed by Raymond and Raymond Inc., New York, published

by Pantheon Books, New York in 1944, no 72 of 345 copies, ea. 25.2 x 18cm, (21) (in a hardback portfolio) £300 - 400* 309 Orlando norie, British 1832-1901

310 James Abbott Mcneill Whistler PRBA RP HRSA RSW, American 1834-1903 ‘Chelsea’, 1882 etching, possibly 5th state, signed with monogram within the plate, 20 x 29.5cm Note: The original etching print by Whistler, titled Fulham, was produced in two states. Thereafter Whistler sold the original plate to the Fine Art Society, who made subsequent etchings/ photogravures. In total there are five states of this etching. £100 - 150* 311 edmund Morison Wimperis vPRi, British 1835-1900 River landscape watercolour, signed with initials, 24 x 84cm £120 - 180*

Battle scene from the Crimea watercolour, signed, 16 x 24cm £100 - 150*

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312 Alexei Alexeivich Harlamoff, Russian 1840-1922 Portrait of a young woman head and shoulders turned to the left watercolour over black chalk, signed and dated 1909, 33 x 22.5cm ÂŁ2,000 - 3,000*

312 313 Alexei Alexeivich Harlamoff, Russian 1840-1922 Portrait of a young woman, head and shoulders wearing a yellow scarf in her hair watercolour, signed, 33 x 22.5cm ÂŁ2,000 - 3,000*

313

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

111

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314 Richard Simkin, British 1840-1926 Cameron Highlanders: Officer in full dress and Sergeant in Drill Order watercolour and gouache, signed and dated 81, 22.5 x 15cm: together with one other watercolour by the same artist of a Grenadier standing full length in a landscape, signed and dated 81, 29 x 20cm, (2) £150 - 200* 315 Simeon Solomon, British 1840-1905 Study of a head watercolour on grey/buff paper, signed with monogram, 18 x 16cm £1,200 - 1,800* 315

316 Joseph Arthur Palliser Severn Ri ROi, British 1842-1931 Alpine landscape with goats watercolour heightened with white on blue tinted paper, 18 x 33cm Provenance: with Heather Newman Fine Quality Early English Watercolours, Gloucestershire, according to the label attached to the reverse of the frame Note: Joseph Arthur Palliser Severn was a friend of John Ruskin, who left his Brantwood home to Severn upon his death in 1900. £100 - 150* 317 Thomas Matthews Rooke RWS, British 1842-1942 317

‘Phyllis Deserted - Become the Spirit of the Almond Tree’, 1900 watercolours, signed with initials and dated, 37.5 x 33cm Provenance: from the estate of the artist’s family; label attached verso from original frame, inscribed and titled £800 - 1,200*

112

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318 george James Howard, 9th earl of Carlisle HRWS, British 1843-1911 ‘Thatching, Sidmouth, South Devon’, c.1901 watercolour, bears old inscription on the reverse of the frame From Aurea Howard from father, Christmas 1911, painted by father at Sidmouth, begun April 30 1901, 25.2 x 36.5cm Provenance: with Julian Hartnoll Fine Art, London, according to label attached to the reverse of the frame £400 - 600*

318

319 gyula von Benczur, Hungarian 1844-1920 Study of a hand pencil and white chalk on green paper, signed, 32.5 x 22cm Provenance: with Hoffmann Ferencz, Budapest, according to label from earlier frame attached to the reverse £200 - 300* 320 Circle of Albert goodwin RWS, British 1845-1932

321

Study of a palm tree watercolour and bodycolour on blue tinted wove paper, 29.5 x 22.5cm

322 norman garstin neAC, Irish 1847-1926

£80 - 120*

Ludlow, c.1919

321 William Frederick Mitchell, British 1845 -1914 ‘Yacht Valhalla’, 1893 watercolour, signed, inscribed and dated, 51 x 73cm

watercolour, 23.5 x 22cm Provenance: ex Estate of Alethea Garstin, daughter of Norman Garstin. £200 - 300*

£800 - 1,200*

322

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

113

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323 Attributed to the Pearson Family, British, mid 19th century Botanical and flower studies, c.1840 watercolour, four, ea. 22.5 x 18cm, (4) £150 - 200* 324 eugene gaujean, French 1850-1900 ‘Flamma Vestalis’, after Sir Edward Coley Burne-Jones Bt. ARA etching printed on vellum, signed by both artist and printmaker in pencil, published November 1st 1887 by Thos.

Agnew & Sons, London, Liverpool and Manchester, 40 x 14.5cm Provenance: with Julian Hartnoll, London, according to label attached to the reverse of the frame

324

£800 - 1,200*

325 French School, mid 19th century Portrait of a woman in straw hat, three quarter length pastel, 69.5 x 57cm (oval) £200 - 300* 326 Henry M Terry, British act 1879-1920 Portrait of an old man, seated full-length in an interior holding a sewing needle watercolour, signed, 41.1 x 32cm £150 - 200* 327 John varley Jnr, British 1850-1933 ‘Glacier of Trient Cal de Baleine’ watercolour, signed, 17.5 x 25.5cm £800 - 1,200* 328 William Wardlaw Laing, British, act. 1873-1928 ‘Bethesda’, 1881 watercolour, signed, dated and titled, 40 x 56.5cm £300 - 500* 329 William Lionel Wyllie RA RBA Re Ri neAC, British 1851-1931 ‘Shipping before Godrevy Lighthouse’ etching, signed in pencil, 16.3 x 37cm (plate): Harold Wyllie, British 1880-1973- Sailing ships moored in dock etchings, a pair, both signed in pencil, ea. 15 x 25cm (plate), (3) £200 - 300*

327

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330

333

330 Eugene Grivaz, French 1852-1915

331 David James, British 1853-1904

A maid coming across a drawing of herself in an artist’s studio

‘A Breaking Wave’

333 Alexander Wallace Rimington ARE RBA Hon. FSA, British 1854-1918

oil on paper, 20.6 x 42.5cm

Piazza Ferrara

watercolour on wove paper, signed, 34.5 x 26cm

£2,000 - 3,000*

watercolour, signed with initials, 17 x 15.5cm

£300 - 400*

332 Hans Hansen RSW, British 1853-1947 Busy Northern European Street scene

Provenance: with Deighton’s Strand Gallery, London, according to label attached verso £200 - 300*

watercolour, signed, 36 x 25.5cm £200 - 300*

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

115

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334

338

334 Charles edward Wilson, British 1854-1941

337 Anders Leonard Zorn, Swedish 1860-1920

Boy fishing

‘Systrarna’, 1882

watercolour, signed and dated 1889, 29.5 x 22.4cm

etching, signed in pencil, 16 x 22.6cm (sheet)

£2,000 - 3,000

£300 - 500*

335 Samuel Begg, British 1854-1936

338 James ensor, Belgian 1860-1949

‘The Royal Marriage at Copenhagen The Queen of Denmark, The Princess of Wales, and the Duchess of Cumberland at the Amalienborg Palace’

‘Iston, Pouffamatus, Cracozie et Transmouffe, célèbres médecins persans examinant les selles du Roi Darius après la Bataille d’Arbelles’, 1886

gouache, en grisaille, signed, published in The Illustrated London News, September 4th 1897, 43 x 31cm

etching, signed and dated in pencil, 24.7 x 19cm (plate), 41.2 x 26.8cm (sheet): together with figure studies in pencil on laid paper recto and verso, (2) (VAT charged on hammer price)

£100 - 200* 336 Walter Follen Bishop RBA, British 1856-1936

£1,000 - 1,500*

‘Westbrook Street, Blewbury’ watercolour, signed, 59 x 42.5cm Provenance: with E Grindley & Palmer, 75 Church Street, Liverpool, according to label attached to the reverse of the frame £150 - 250*

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339 Louis Charles Bombled, French 1862-1927 Pansies watercolour, signed and dated 1884, 22 x 35.5cm Provenance: Waterhouse & Dodd, London, where purchased by the present owner on 12th November 1989 £400 - 600* 340 norman Prescott-Davies FRS, British 1862-1915

339

Portrait of a classical beauty seated half-length watercolour, signed and dated 1892, 52 x 34.5cm £800 - 1,200* 341 Claude Hamilton Rowbotham, British 1864-1949 Mill house on the banks of the river near Marlow watercolour, signed and dated 1897, 20 x 47.5cm: together with five further watercolours by the same artist, depicting- River scenes in and around Buckinghamshire, all signed and dated 1896 and 1903, 20 x 47cm (approx.), two, and 11.5 x 7.5cm (approx.), three, (6) Provenance: Gifted from a Country Estate £200 - 400* 342 William Frank Calderon ROi, British 1865-1943 Horse Spring Show watercolour and black ink with bodycolour on card, signed and dated 1891, 34.5 x 48cm £100 - 150*

340

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

117

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344 343 John Charles Dollman RWS Ri ROi, British 1851-1934

344 Robert gwelo goodman, British/South African 1871-1939

A Very Gallant Gentleman, Captain L E G Oats walking out to his death in a blizzard, on the 16th March 1912

‘On the Grand Canal, Venice’

colour photogravure, signed in pencil on the mount, and signed in the plate, published by Orman, with their blind stamp, 29.7 x 50.3cm

Provenance: with The Pastel Society, London, according to the partial label attached to the reverse of the frame; Christie’s, London, Topographical Pictures, 6 June 1996, lot 58

£150 - 200*

pastel, signed, 57 x 43cm

£3,000 - 5,000* 345 Albert Moulton Foweraker RBA, British 1873-1942 ‘Cottages, Studland’, c.1900 watercolour, signed, 24.5 x 34.5cm £300 - 500*

345

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346 Albert Moulton Foweraker RBA, British 1873-1942 ‘The Lantern - Studland Dorset’ watercolour, signed, 22 x 27cm Provenance: Elford Fine Art, according to label attached verso £300 - 500* 347 Circle of Frank Moss Bennett, British 1874-1953 Procession at Admiralty Arch watercolour, 31 x 49.5cm £250 - 350* 346 348 Henry george Walker, British 1876-1932 ‘Filey Beach’ & ‘Off Brixham’ drypoint etchings in colours, two, both signed in pencil, limited edition, artist labels attached on the reverse of the frame, ea. 17 x 28.4cm (plate) (2): James McBey, British 1883-1959- The Lyon Brewery; drypoint etching, signed in pencil, 22.6 x 15.7cm; together with six other mixed technique prints by and after various late 19th century artists, depicting landscape and figurative compositions, 24.2 x 28cm, (9) £100 - 200*

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

119

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349 349 Stepan Fedorovich Kolesnikov, Russian 1879-1955

350 Donald A Paton, Scottish 1886-1949

Winter river landscape

‘Morning Mist - Loch Achray & Ben Venue’ & ‘Early Summer- In the Armathwaite Woods near Bassenthwaite’

gouache, signed, 50 x 64cm Provenance: Sotheby’s, London, 5th June 2018, lot 48

watercolours, a pair, both signed, ea. 29 x 44cm, (2) (ARR)

£1,500 - 2,000*

Provenance: Grindly and Palmer, Liverpool, according to labels attached to the reverse of each frame £500 - 700*

350 120

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INDEX OF ARTISTS A Alheim, Jean d’ Amorosi, Attributed to Antonio Archer, Charles

214 40 248

B Bakhuysen 171 Bale, Charles Thomas 204 Barber, Attributed to Alfred Richardson 224 Barker, Wright 263 Barr, George Renwick 199 Bartolozzi RA, Francesco 102 Basoli, Antonio 131 Bath, William 182 Begg, Samuel 335 Benczur, Gyula von 319 Bernard, Attributed to Jean 134 Bishop RBA, Walter Follen 336 Blaeu, Joan 79 95 Blondel, Jacques Francois Bombled, Louis Charles 339 Bouvard, Antoine 266 Breanski Jnr, Alfred Fontville de 274, 275 Brittan Snr, Charles Edward 219 Bunney, John Wharlton 301 Burlison, Clement 194 Busch, Wilhelm 215 Buttersworth, Attributed to Thomas 59 Buxton, William Graham 239 C Calderon, William Frank 342 Callow RWS, Attributed to William 294 Callow RWS, William 165 Calvert, Henry 71 73 Campagnola, Domenico Canal, Giovanni Antonio 92 Carmichael, James Wilson 282 Carter, William 183 Chapman, John Linton 220 Chinnery RHA, Attributed to George 132 Ciseri, Antonio 201 Cleverley the Younger, Attributed to John 105 Coelemans, Jacobus 81 Colin, Alexandre Marie 164 Cooper CVO RA, Thomas Sidney 286 Corbet, Attributed to Edith Ellenborough 234 Coronelli, Vincenzo Maria 84 Cotes, Samuel 168 289 Cox Jnr ARWS, Attributed to David Cox Jnr ARWS, David 290 Cox Snr OWS, David 147, 148 Crawhall, N 200 Cristall POWS, Attributed to Joshua 127 Czenz, Janos (Jean) 279 D Daniell RA, Thomas Davidson RBA ROI RMS, Attributed to Allan Douglas Delafosse, Attributed to Jean-Charles Dighton, Attributed to Robert Dixon RI, Attributed to Charles Edward Dodd, Robert Dollman RWS RI ROI, John Charles Dommersen, Pieter Cornelis Duncan RWS, Edward Duvieux, Attributed to Henri

103 113 267 107 343 217 285 247

E Emms, John Ensor, James

227 338

109 268

F Fabbi, Fabio 257 Falda, Giovanni Battista 82 Fielding POWS, Anthony-Vandyke Copley 152 Fielding, Attributed to Theodore 141 Henry Adolphus Fougeron, John 111 Foweraker RBA, Albert Moulton 345, 346 Fowles, Attributed to Arthur Wellington 192 Frith RA, Attributed to William Powell 197 Frost, George 114, 115, 116 Fulton, Samuel 249, 250

G Garstin, Norman 322 Gaujean, Eugene 324 Gerrard ARA, Attributed to George 55 Ghisi, Giorgio Mantovano 74 Giles ARSA, James William 283 Gillray, James 118, 119 Goodman, Robert Gwelo 344 Graner, Luis 260 Grivaz, Eugene 330 Grobe, German 252 H Haghe, Louis 288 Hague, Joseph Edward Homerville 251 Hamilton RA, Attributed to William Osborne 112 Hansen RSW, Hans 332 Hardime, Simon 36 Hardy, Heywood 225 Harlamoff, Alexei Alexeivich 312, 313 Harris III, John 292 Hasch, Carl 262 Hassell, Attributed to John 126 Hassell, John 125 Havell, Daniel 150 Hayes RHA RI ROI, Edwin 198 Hayter, Sir George 156 Heath ARA, James 122 Heath, William 158, 159 Hilder, Richard 191 Hirschig, Anton 276 Hogarth, William 93, 94 76 Hogenberg, Georg Braun & Frans Holyoake, Attributed to Rowland 256 Hove, Hubertus van 193 Howard, George James 318 Howitt, Samuel 120 Hullmandel, Charles Joseph 153 Hunt Snr, Charles 186 J Jacquand, Claude James, Attributed to David James, David Joy, Attributed to William K Keate FRBS, Dr Robert Keenan, Attributed to John Kirnig, Alois Knell, William Callcott Kolesnikov, Stepan Fedorovich L Laing, William Wardlaw Laporte, John Lawson, Cecil Gordon Lear, Edward Ledru, Attributed to Hilaire Lidderdale RBA, Charles Sillem Loria, A Luker Snr RBA, William Luker Snr., Attributed to William Lundgren, Egron Sillif

185 243 331 284 137 170 223 213 277, 349 328 124 230 295 129 305 233 302 207 296

M Malton Jnr, Thomas 108 Manet, Edouard 308 Martineau, Gertrude 300 Meadows, Arthur Joseph 226 Mellor, William 241, 242 106 Michel, Jean-Baptiste Millais Bt PRA HRI HRCA, Attributed 303 to Sir John Everett Millais Bt PRA HRI HRCA, 209, 304 Sir John Everett Mitchell, William Frederick 321 Montan, Anders 228 Moore RA RWS, Henry 306 Morland, George 57 Mornewick, Charles Augustus 61 Muirhead ARA, David Thomson 265 Muller, Johann Christoph 88 Muller, Morten 210 N Newmarch, Strafford Nicol RSA ARA, Erskine Norie, Orlando Nys, Carl

206 299 309 255

P Palmer RWS Hon RE, Samuel 287 Passey, Charles Henry 196 Paton, Donald A 350 Paul, Attributed to Joseph 211 Payne, William 56, 123 Pedersen, Thorolf 253 Peel RBA, James 190 Pike, Frederick William 272 Piranesi, Giovanni Battista 98, 99 Prescott-Davies, Norman 340 Prosalentis, Pavlos 254 Prout FSA OWS, Attributed to Samuel 146 Prout FSA OWS, Samuel 143, 145 R Reni, Manner Guido 17 261 Ricciardi, Oscar Richardson Snr, Thomas Miles 149 Rieder, Marcel 259 Rigaud, Jacques 90 Rimington ARE RBA Hon. FSA, 33 Alexander Wallace 3 Rooke, Thomas Matthews 317 Rossi, Alexander Mark 222 Rousseau, Attributed to Theodore 293 Rowbotham NWS, Thomas Charles Leeson 297 Rowbotham, Claude Hamilton 341 Rowlandson, Attributed to Thomas 117 Rowlandson, Thomas 121 S Sadler RBA, Walter Dendy Sartorius, John Nost Severn, Joseph Arthur Palliser Shannon RA RBA RHA, James Jebusa Shepherd, Thomas Hosmer Simkin, Richard Slater, Joseph Smetham, James Smirke, Mary Smythe, Edward Robert Soest, Attributed to Gerard Solomon, Simeon Spencelayh HRBSA RMS VPBWS, Attributed to Charles Stannard, Joseph Sturt, John

246 54 316 258 157 314 139 203 140 291 26 315 264 163 86

T Terry, Henry M Thornton, Robert John Thornycroft ASWA, Attributed to Helen Tudor, Thomas Turner ARA, Charles Turner RA, Joseph Mallord William

326 128 229 151 130 136

U Uwins RA, Thomas

142

V Valaise, Gustave Varley Jnr, John Vertue, George Verwer, Attributed to Abraham de Visscher, Claes Jansz Vollon, Antoine

245 327 91 15 78 216

W Wagner, Karl Walker, Henry George Walter, Emma Walton, Henry Watson, Walter J Watts, Frederick Waters Wells, Edward Whistler PRBA RP HRSA RSW, James Abbott McNeill Whitcombe, Thomas Whitehead, Frederick William Wilson, Charles Edward Wimperis, Edmund Morrison Winterhalter, Franz Xaver Wright, Thomas Wyllie RA RBA RE RI NEAC, William Lionel

221 348 298 53 278 181 87 310 58 244 334 311 188 96 329

Y Yates, Attributed to Gideon

110

Z Zorn, Anders Leonard

337

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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.

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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 Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Luke Axford Junior Cataloguer Paintings, Prints & Frames lukeaxford@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts helenaanderson@roseberys.co.uk Mark Bowis Head of Department Jewellery & Watches markbowis@roseberys.co.uk John Collins Specialist Books & Manuscripts johncollins@roseberys.co.uk nigel Dawson-ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk Anna evans Consultant Specialist Works of Art annaevans@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD

Bill Forrest Head of Department Asian Arts billforrest@roseberys.co.uk

Complimentary valuations Monday to Friday: 9.30am to 5.00pm

Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk

+44 (0) 20 8761 2522 clientservices@roseberys.co.uk

nic Mcelhatton Consultant nicmcelhatton@roseberys.co.uk

Central London OfďŹ ce Valuations by appointment.

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.

Lot 158

Richard gibbon Specialist Jewellery, Silver, Fashion, Textiles & Luxury Accessories richardgibbon@roseberys.co.uk

Tess O’Brien Fine Art & Pictures Consultant tessobrien@roseberys.co.uk Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk

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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

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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.

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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.

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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.

(1) (a) (b) (2)

Payment 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.

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;

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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)

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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)

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70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

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I would/would not like to receive online catalogues and notifications of the sales that I am interested in as indicated on this form (delete as appropriate).

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ROS-001 Listing.qxp_Layout 1 28/02/2019 15:06 Page 131

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:

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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.

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AUCTION CALENDAR 2019 March Design: Decorative Arts 1860 to the present day Tuesday 5th March Modern & Contemporary British Art Online Only Auction Monday 18th March Thursday 4th April Jewellery & Watches Tuesday 19th March Old Master, 18th & 19th Century Pictures Wednesday 20th March Fine & Decorative Thursday 21st March

April New Collectors Online Only Auction Monday 1st April Thursday 18th April Prints & Multiples Monday 8th April Art & Antiques Saturday 13th April May Islamic & Indian Art Friday 3rd May Chinese, Japanese & South East Asian Art Tuesday 21st May

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

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