Old Masters, British & European Paintings

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS TUESDAY 3RD MARCH 2026

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2026 AUCTIONS AUCTION CALENDAR MARCH 3rd 10th­11th 24th­26th 26th

Old Masters, British & European Paintings Paul Fitzsimmons: A Life in Oak Classics Week (Fine Furniture, Interiors, Arts of Africa, Oceania & The Americas) The Gordon Reece Collection

APRIL 15th & 16th 22nd 28th & 29th

Design Fine Jewellery Fine Silver & Objects of Vertu

MAY 19th 20th 21st

Fine Asian Art Asian Art II & Japanese Works of Art Interiors

JUNE 2nd 3rd 10th 30th

Modern British & 20th Century Art British Art Pottery Medals & Coins, Arms & Armour Classics Week (Fine Furniture, Interiors, British & Continental Ceramics & Glass)

Dates may be subject to change

+44 (0) 1722 424500 info@woolleys.live 51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk Lot 237

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS TUESDAY 3RD MARCH 2026 10.00AM LOTS 1-277 AT OUR CITY CENTRE SALEROOMS, SP1 3SU

Victor Fauvelle +44 (0)1722 446961 vf@woolleys.live

VIEWING IN LONDON (HIGHLIGHTS) Second Floor, 17 Clifford Street, London W1S 3RQ Tuesday 24th February Wednesday 25th February

10.00am – 4.00pm 10.00am – 4.00pm

VIEWING AT OUR OLD SARUM GALLERIES (FULL SALE) Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX Friday 27th February Saturday 28th February Monday 2nd March Tuesday 3rd March

10.00am – 4.00pm 10.00am – 1.00pm 10.00am – 4.00pm By appointment

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Richard Kay +44 (0)1722 446964 rk@woolleys.live

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ILLUSTRATIONS Front cover: Lot 250 Back cover: Lot 115 Catalogue £12.00 (£15.00 by post) 3

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PORTRAIT MINIATURES

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1λ ATTRIBUTED TO HORACE HONE, ARA

2λ RICHARD COSWAY, RA

3λ ATTRIBUTED TO THOMAS RICHMOND

Irish 1754­1825

1742­1821

1771­1837

Portrait miniature of a lady wearing a white dress

Portrait miniature of a lady wearing a white dress, a landscape beyond

Oval, in a gold frame with blue glass border, the glazed reverse revealing gilt metal initials over a silk back 58 x 47mm

Oval, in a rectangular ebonised wooden frame 99 x 75mm

Portrait Miniature of a Lady, wearing a white dress with red trim and buttons, a red ribbon in her powdered hair

Provenance: The Michael Baggott Collection

Provenance: The Collection of Dr S. Leonard Simpson; And by descent £400­600

£200­300

Oval, in a gold brooch frame, the glazes reverse revealing a plaited hair back 54 x 46mm Provenance: Chiswick Auctions, London, British & European Fine Art, 19 June 2019, lot 29 Thomas Richmond was the cousin of George Engleheart, to whom he was apprenticed in the early 1790s. £150­250

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4 CIRCLE OF HENRY PIERCE BONE

5λ RAJA JIVAN RAM

6λ RAJA JIVAN RAM

1779­1855

Indian act.1820­1860

Indian act.1820­1860

Portrait miniature of Prince Edward, Duke of Kent and Strathearn (1767­1820)

Portrait miniature of Lieutenant Henry Reid (1825­1843) of the East India Company, in uniform

Portrait miniature of an officer, traditionally identified as Field Marshall John Byng, 1st Earl of Strafford (1772­1860), in uniform

Rectangular, in a gilt­painted wooden frame 85 x 70mm

Rectangular, in an ebonised wooden frame 102 x 83mm

For an oil painting by Jivan Ram see lot 138.

£300­500

Enamel on copper, oval, in a rectangular wooden frame 61 x 51mm After the original by Sir William Beechey in the National Portrait Gallery (NPG 647).

£400­600

£200­300 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

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7 8 7λ ENGLISH SCHOOL

8λ SIR WILLIAM CHARLES ROSS, RA

Early 19th Century

1794­1860

Portrait Miniature of a Young Girl Wearing a White Dress with Blue Sash

Portrait miniature of Anna Maria Boyd (née Coles), wearing a pink dress, standing in an interior holding a portrait miniature

Oval, in a rectangular gilt metal frame 70 x 54mm £150­250

Inscribed and dated miniature Painter to/The Queen/1849 (to backing paper) Rectangular, in gilt metal frame within a fitted leather case 161 x 123mm Provenance: By family descent from the sitter to the present owner

9 9λ CIRCLE OF REGINALD EASTON 1807­1893

Portrait Miniature of a Young Girl Seated in a Landscape Wearing a White Dress and Holding Flowers Rectangular, in a gilt metal and ebonised wooden frame 108 x 81cm £150­250

£300­500

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11 λ JACQUES-ANTOINEMARIE LEMOINE

12 λ FRENCH SCHOOL

French 1751­1824

Portrait miniature of a woman and a child seated in an interior

Portrait miniature of a lady wearing a blue dress, seated at a spinet

Roundel, in a square wooden frame 70mm diameter

Oval, in a rectangular tooled leather case 51 x 68mm

The inscription on the backing paper suggests that the miniature was to be sent to one of the daughters of Charles Deane, commander of the East Indiaman ‘The Earl of Sandwich’. Miss Martha Dean marred Major Charles Williams in 1807. After Major Williams’ death in 1819 Martha married Mr Robert Preston in 1826, who became Sir Robert Preston 8th Baronet of Lutton in 1846.

Provenance: The Collection of Dr S. Leonard Simpson; And by descent

Provenance: The Michael Baggott Collection

£150­250

£300­500

10 λ ENGLISH SCHOOL c.1810

Portrait miniature of a lady, wearing a white dress Inscribed To be sent to/Mrs Williams/To be sent to/Mrs Preston/Sydney Place/Bath/Or to Miss Dean/Whitehaven (to backing paper) Oval, in a rectangular ebonised wood and gold­plated frame 64 x 50mm

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

Late 18th Century

£150­250

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PRINTS 14 WILLIAM SIMPSON 1823­1899

The Seat of War in The East (Abbey Travel 237)

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13 ART REFERENCE

The volume of 80 tinted lithographs, some finished by hand, tissue guards (some with printed keys), and lithographed title page, published by Paul and Dominic Colnaghi 1855­ 1856, printed by Day and Son, contemporary half morocco, gilt edges, folio Images 27.5 x 42cm, 10¾ x 16½in £200­300

comprising Sir Geoffrey Keynes, The Complete Portraiture of William and Catherine Blake (Trianon Press, 1977, slipcased); William Blake, There Is No Natural Religion (Trianon Press, 1971, 2 vols, slipcased); William Blake, The Marriage of Heaven and Hell (Trianon Press, 1975, slipcased), three copies; Graham Reynolds, Constable With His Friends In 1806 (Trianon Press & Genesis Publications, 5 vols, slipcased) (6 items) £200­300

15 15 AFTER GEORGE ROBERTSON 1747­1788

A View in the Island of Jamaica The set of six engravings, by Thomas Vivares and Daniel Lerpiniere, with (later?) hand colouring, published by John Boydell c.1778 Each 35.5 x 52.5cm; 14 x 20¾in (6) These engravings, showing the sugar plantations of the slaver William Beckford of Somerly (1744­ 1799), are amongst the earliest large topographical prints of the Caribbean. Working under Beckford’s direction, Robertson’s subjects show the verdant splendour of the plantations but omit any indication of the tough lives of the slave workers. £600­800

16 16 AFTER THOMAS WALMSLEY

17 AFTER T. BLAKE

1763­1805

act. 1811­1831

O Sulivans Waterfall [sic], Lake of Killarney, Ireland; Castle of Arday on the River Kenmare, Ireland

The Interior of the Fives Court (with Randall and Turner sparring)

Two, both aquatints with hand colouring by F. Jukes and by F. Jukes with F. J. Sarjent, published

by T. Walmsley and F. Jukes and by F. J. Sarjent, 1809, backed onto cotton and on stretchers 31.5 x 42.5cm; 12¼ x 16¾in and slightly smaller (2)

Aquatint with hand colouring, by C. Turner, published by W. Sims, 1825, a restrike 39 x 45.5cm; 15¼ x 18in (image) £200­300

£200­300

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18 AFTER GEORGE MORLAND

19 AFTER GEORGE MORLAND

1763­1804

1763­1804

St James’s Park; A Tea Garden

A Visit to the Child at Nurse; A Visit to the Boarding School

A pair, both stipple engraving printed in colour, possibly by T. Gaugain, published 1790 or later, mounted to the image, verre eglomise mounts Each 32 x 41cm; 12½ x 16in (2) £200­400

A pair, both mezzotints with hand colouring,

by W. Ward, published by J. R. Smith, 1788­9, verre eglomise mounts Each 42 x 54.5cm; 16½ x 21½in (2) £200­400

20 WILLIAM LIONEL WYLLIE, RA

21 WILLIAM LIONEL WYLLIE, RA

22 JAMES ALPHEGE BREWER

1851­1931

1851­1931

1881­1946

St Paul’s from Bankside

The Thames at Low Tide, Looking towards St Paul’s

Westminster (Boats Moving Off); St Paul’s Cathedral (The Incoming Tide)

Signed W L Wyllie (in pencil to margin) Etching 34.7 x 24.7cm; 13¾ x 9¾in £150­250

Signed W L Wyllie (in pencil to margin) Etching 22 x 34.7cm; 8¾x 13¾in £150­250

A pair, both signed J Alphege Brewer (in pencil to margin) Both etching Each 42.7 x 60.6cm; 16¾ x 23¾ (plate) (2) £150­250

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Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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DRAWINGS AND WATERCOLOURS 23 CIRCLE OF JACOPO DA EMPOLI Italian 1551­1640

Study of a Praying Saint Bears inscription Jacopo da Empoli (lower left) Black chalk, a red chalk study verso 38.2 x 23.8cm; 15¼ x 9¼in Provenance: Sir Thomas Lawrence, PRA (1769­1830), his collector’s stamp lower left (Lugt 2445); Sotheby’s London, 28 January 1965, lot 315 £200­400

24 FRENCH SCHOOL 18th Century

The Four Seasons Red chalk 15.7 x 19.3cm; 6¼ x 7½in £200­300

25 FOLLOWER OF ADRIAEN VEN DER VELDE 1636­1672

Pastoral: Peasant tending Cattle and Sheep Red chalk with charcoal 31.5 x 23.5cm; 12½ x 9¼in £100­200

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9 26 FOLLOWER OF MICHIEL VAN MUSSCHER 1645­1705

An Artist’s Studio, with two Collectors Signed with initials SM delt in ink (lower right) Grey wash 24.7 x 28.2cm; 9¾ x 11in Unframed £200­300

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27 AFTER GIOVANNI ANTONIO CANAL, CALLED CANALETTO

28 FRENCH SCHOOL

1697­1768

c.1770

The Giovedi Grasso Festival in the Piazzetta before the Ducal Palace in Venice

Christ with the Woman of Samaria

Pen and ink with graphite 34.5 x 50.5cm; 13½ x 20in After the 1765 composition (but with omissions) in the National Gallery of Art, Washington

Watercolour heightened with white, on silk laid on paper and board 16.5 x 26cm; 6½ x 10¼in Provenance: Annabel Popovic, London, where purchased by the owner, c.1989 £200­300

£400­600

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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29 HUGH DOUGLAS HAMILTON c.1739­1808

Portrait of a Gentleman Wearing a Brown Coat and Powdered Wig; Portrait of a Lady, wearing a black dress and lace bonnet Two, each pastels and graphite, mounted oval 21.5 x 16.5cm; 8½ x 6½in; 23.5 x 18.5cm; 9¼ x 7¼in (2) Provenance: The Lady, possible Doneraile Court; James Adam, Dublin, 29 October 2004, lot 20; Adam's, Dublin, 28 March 2012, lot 41; Adam's, Dublin, 15 October 2019, lot 207 Literature: Neil Jeffares, "Hugh Douglas Hamilton", Dictionary of pastellists before 1800, online edition, nos. J.375.2097 & J.375.2188 £2,000­3,000

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11 30 SIR THOMAS LAWRENCE PRA, FRS 1769­1830

Portrait of Mrs Molyner, half­length, wearing a blue dress Signed, inscribed and dated Be pleasd to keep this/from the Damp & from the sun/TLawrence/1783/Mrs Molyner (to backing paper) Pastel, oval 29.2 x 23.8cm; 11½ x 9¼in Provenance: Gorringes, Lewes, 23­24 March 2011, lot 1326 (as attributed to Lawrence); Property of an English Private Collector Literature: Neil Jeffares, “Sir Thomas Lawrence”, Dictionary of pastellists before 1800, online edition, nos. J.466.297 (as Lawrence) £1,000­2,000

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31 GEORGE RICHMOND, RA 1809­1896

Portrait Study of Henry and Philip Fletcher Charcoal, heightened with touches of watercolour and Chinese White, on paper laid on canvas, mounted circular 56.5cm; 22¼in diameter Literature: Raymond Lister, George Richmond (London, 1981), p.158, no.46 In the artist’s stockbook, this is dated to February 1840 (£31.10). Richmond drew various members of the Fletcher family 1831­1850. £1,000­1,500

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Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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32 OZIAS HUMPHRY, RA 1742­1810

Portrait of a Girl wearing a White Dress; Portrait of a Girl wearing a White Dress and Bonnet A near pair, the former signed and inscribed in ink Oz[...] Humphry 1790. Londini (lower edge) Both graphite and red chalk 13.5 x 11cm; 5¼ x 4¼in and slightly smaller (2) £150­250

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33 ELIZABETH EMMA SOYER (NEE JONES)

34 J** HARDY

1813­1842

Fl.c.1850

Portrait of a Young Gentleman, Seated half­length, wearing a coat and waistcoat

Young Midshipman on a Shore

Signed Emma Jones/ fecit 1829 (lower right) Charcoal 21 x 16.5cm; 8¼ x 6½in

Signed and dated J. Hardy/ Bath 1850 (lower right) Watercolour and bodycolour 49 x 37.5cm; 19¼ x 14¼in £100­150

£500­800

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35 DAVID COX SEN., RWS 1783­1859

Kenilworth Castle Signed David Cox (lower left) Pencil and watercolour heightened with bodycolour 20.2 x 27.4cm; 8 x 10¾in Provenance: S. E. Taylor, by 1890; W. Oliffes Sale, Oxford, 28 January 1963 Exhibited: Birmingham, Birmingham Museum and Art Gallery, David Cox Exhibition, 1890 £300­500

37 36 JOHN GLOVER

37 PETER DE WINT

38 JOHN PRESTON NEALE

1767­1849

1784­1849

1780­1847

Bridge on the Conwy River near Bettws­y­Coed

Pillaton Old Hall, Penkridge, Staffordshire

Silwood Park, Sunninghill, near Ascot, Berkshire; Sunning­hill Park, Berkshire

Brown and grey washes 12 x 19.5cm; 4¾ x 7¾in

Watercolour 26.5 x 42cm; 10½ x 16½in

£200­300

Provenance: The Wren Gallery Ltd, London (label on backboard)

Two, sepia wash and pencil, heightened with white Each 8 x 12cm; 3¼ x 4¾in (2) Engraved:

By W. Taylor for Neale’s Views of the Seats of Noblemen and Gentlemen in England, Wales, Scotland and Ireland, 1824­1831 £100­200

£300­500

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Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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40 39 ROBERT RICHARD SCANLAN Irish 1801­1876

A Steeplechase Signed and dated R.R.Scanlan 1845. (lower right) Watercolour and pencil heightened with white 20.5 x 43.5cm; 8 x 17in £200­300

40 GEORGE BARRET SENIOR, RA c.1730­1784

Landscape with Lake and Hills, Figures in the Foreground Gouache 39.5 x 54.5cm; 15½ x 21½in £400­600

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41 SAMUEL JACKSON

42 THOMAS JAMES LLOYD

43 TOM ROWDEN

1794­1869

1849­1910

1842­1926

Caernarvon Castle

Middleton Moor, Yorkshire

Cattle on Dartmoor

Watercolour 20 x 29cm; 8 x 11½in

Signed and dated Tom Lloyd 1910 (lower right), and inscribed Middleton Moor Yorkshire/ Tom Lloyd/ Lambolle Lodge/ Littlehampton (to label) Watercolour 46.5 x 90cm; 18¼ x 35½in

Signed Tom Rowden (lower left) Watercolour 20 x 36cm; 8 x 14¼in

£300­500

£300­500

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Provenance: Alresford, Laurence Oxley Ltd (label on backboard) £100­150

43 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

15 44 RICHARD HENRY NIBBS 1816­1893

Shoreham Signed RH Nibbs (lower left) Watercolour 66 x 98cm; 26 x 28½in Provenance: Bonhams, London, Marine Paintings & Works of Art, 12 August 1993, lot 452; Bonhams, London, Home & Interiors, 5 August 2020, lot 4; Bellmans, Billingshurst, Interiors, 24 November 2020, lot 1039 £300­500

45 WILLIAM JAMES MULLER 1812­1845

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Rocks near to Dendera Signed with initials, inscribed and dated WM/38/Egypt (at right), bears inscription verso This shows the formation of the/ rocks - (near to Dendora -) which I/ take to be chalk/ the most curious/ appearance is a sort of/ cone like form - which much resembles/ Arab Villages - Egypt 1838 WM Watercolour and pencil 13.5 x 34.5cm; 5¼ x 13½in £250­350

45 46 EDWARD DUNCAN, RWS 1803­1882

Evening Flight Signed and dated E Duncan 1868 (lower left) Watercolour heightened with white 38 x 72.8cm; 15 x 28¾in Provenance: Brian Sinfield, Gloucestershire; Private Collection, Gloucestershire £500­700

47 EDWARD DUNCAN, RWS

46

1803­1882

Bangor, North Wales Signed E. Duncan in pencil (lower right), inscribed Bangor in pencil (lower left) Watercolour and pencil heightened with white 13 x 29.5cm; 5 x 11½in Provenance: Christie’s London, Old Master, 19th Century & British Drawings & Watercolours, 9 December 2010, lot 1236; Private Collection £120­180

47 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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48 48 EMILE PIERRE METZMACHER

49 DANIEL MACLISE, RA

French 1842­1916

Irish 1806­1870

Stolen Tryst; Tapestry of Romance

Study of a Young Lady, Seated

A near pair, the former signed E. Metzmacher (lower right), the latter signed E. METZMACHER (lower right) Both watercolour 32.5 x 24.5cm; 12¾ x 9¾in or slightly smaller (2)

Pen and black ink 17.5 x 12.5cm; 6¾ x 5in

£300­500

Together with a brown wash and pencil sketch of Killiney Bay by another hand, inscribed and dated Killiney Bay/25.Sep.1819 (lower left), 15 x 31.5cm (2) £100­200

50 FREDERIC, LORD LEIGHTON, PRA 1830­1896

A Byzantine Well­Head Signed with monogram and dated 18FL52 (on left), inscribed VENEZIA (on right) Pencil 39 x 27cm; 15¼ x 10½in Exhibited: London, Royal Academy, Frederic Leighton, February­April 1996, no.2 (illustrated in the exhibition catalogue) This early drawing by Leighton shows an exceptional interest in careful observation and meticulous draughtsmanship. It acknowledges the Nazarene influence of his master, Edward von Steinle, and also the teaching of John Ruskin who advocated `rejecting nothing, selecting nothing and scorning nothing` (Modern Painters, 1843, vol.1, part 2, section 6, ch.3).

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£200­300

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51 51 JOHANN RUDOLF FEYERABEND, CALLED LELONG Swiss/French 1749­1814

Still Life with Musical Instruments; Still Life with Kitchen Utensils A pair, both gouache Each 14 x 19.5cm; 5½ x 7¾in (2) £800­1,200

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52 GEORGE CATTERMOLE

53 E** HULL

1800­1868

Fl.c.1837

The Scholar’s Study

7th Light Dragoons

Signed G. Cattermole (lower left) Watercolour and pencil heightened with white 26 x 36.5cm; 10½ x 14¼in

Signed and dated E Hull/ April 1837 (lower centre) Watercolour and pencil 28.5 x 39cm; 11¼ x 15¼in

£150­250

£100­150

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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54 MYLES BIRKET FOSTER, RWS

55 MYLES BIRKET FOSTER, RWS

1825­1899

1825­1899

Three Children in a Farmyard

Near Bonchurch, Isle of Wight

Signed with monogram (lower right) Watercolour and pencil, heightened with white 17 x 24.5cm; 6¾ x 9¾in

Signed with monogram (lower right) Watercolour and pencil heightened with white 11.2 x 19cm; 4½ x 7½in

£300­500

Provenance: Collection of F. W. Smith; Frost & Reed Ltd, London Exhibited: London, Society of Painters in Water Colour, Winter Exhibition, 1892/3 £400­600

56 THOMAS MATTHEWS ROOKE

57 FRANZ KEISERMANN

1842­1942

Swiss 1765­1833

Semur­en­Auxois

La Porte aupres du Petit Pont devant Loberge du Temple de la Sibylle a Tivoly; Vue des Reste du Temple d’Hercule a Tivoly

Signed and inscribed T M Rooke/Semur/1905 (lower left) Watercolour 47.5 x 60cm; 19¾ x 23¾in Semur­en­Auxois is a commune in the Cote d’Or region of Eastern France. £200­300

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A near pair, each inscribed with title and also signed and Keisermann a Rome 1806 (each upon a label verso) Both watercolour and pencil Each 39 x 47.5cm; 15¼ x 18¾in approx (2) £300­500

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19 58 HELEN ALLINGHAM, RWS 1848­1926

A Surrey Cottage Signed H. Allingham (lower right), and inscribed A Surrey Cottage (to label) Watercolour and bodycolour 26.5 x 18cm; 10½ x 7in Provenance: Walter Langley, 1950; Leger Galleries, London, December 1975 We are grateful to Annabel Watts for her assistance cataloguing the present work. £2,000­3,000

58A HELEN ALLINGHAM, RWS 1848­1926

A Village Street, Kent Signed H. Allingham (lower right), also signed and inscribed 2/ A Village Steet, Kent/ by/ Mrs Allingham/ Eldon House/ Lyndhurst Road/ Hampstead/ London (on a label on the backboard) Watercolour heightened with touches of bodycolour 35.5 x 54cm; 14 x 21¼in Exhibited: Brussels, International Exhibition, British Fine Art Section, 1887, no.259 (label on backboard) London, Franco-British Exhibition, British Fine Art Section, 1908 (label on backboard) Rome, Royal Commission, International Fine-Arts Exhibition, 1911 (lent by C. P. Johnson Esq) (labels on backboard) Provenance: M. Newman Ltd, London Sir Owen Aisher (1900­1993) By descent to The Muro Collection The present work depicts Bearsted in Kent, which Allingham visited in the early 1890s. The nearest building was later partially destroyed by fire, but was repaired and became the village bakery, which still stands today.

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This watercolour has passed by descent from the personal collection of Sir Owen Aisher (1900­1993), one of the most distinguished collectors of Allingham's work. Sir Owen was the chairman of Marley Ltd., a building materials company with a particular specialism in roofing tiles.

On behalf of the company, Sir Owen purchased a group of Allingham works which faithfully reproduced the materials of the buildings depicted. These became known as The Marley Collection and were sold at Christie’s in 1991. This lot formed part of Sir Owen’s personal collection and hung at his home in Surrey (other examples from Sir Owen's collection were sold here in August 2021).

We are grateful to Annabel Watts for her assistance cataloguing the present work. £3,000­5,000

58A Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

20 59 WILLIAM CALLOW, RWS 1812­1908

Perugia Signed W. Callow (lower left) Watercolour and pencil 24.5 x 17.5cm; 9½ x 6¾in The artist noted on his first visit to Italy in 1841, `After Florence stopped the first night at Arezzo ..

Arrived at Perugia on the third day and visited the Cathedral..` £600­800

60 ARTHUR TUCKER, RBA 1864­1924

Views at Staithes Three, each signed A. Tucker (lower left) Watercolour 19.5 x 29.5cm; 7¾ x 11½in; 29.5 x 19.5cm; 11½ x 7¾in (3) £150­200

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60 61 JOHANN LUDWIG (LOUIS) BLEULER 1794­1850

Vue de la Ville et du Lac de Bienne Inscribed in pencil with the title and Par Louis Bleuler au chateau de Laufen pres Schaffhouse [sic] Watercolour and gouache 32.2 x 47.7cm; 12¾ x 18¾in to inner border £200­300

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62 CHARLES VACHER

63 AUGUSTUS OSBORNE LAMPLOUGH

1818­1883

1877­1930

The Campagna, Rome

In the Nubian Desert

Bears inscription The Campagna = Rome/Charles Vacher.R.I. (on label on backpaper) Watercolour and pencil heightened with white 25 x 54cm; 9¾ x 21¼in

Signed A. Lamplough (lower left), titled In the Nubian Desert (lower right) Watercolour 22.5 x 59cm; 8¾ x 23¼in

£200­300

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64 THOMAS CHARLES LEESON ROWBOTHAM

65 CHARLES EDMUND ROWBOTHAM

1823­1875

1856­1921

At Pallanza, Lago Maggiore, North Italy, Hazy Morning

Sorrento with Vesuvius in background

Signed and dated T L Rowbotham 1857 No.111 (lower left), and inscribed No. 1./ At Pallanza. Lago Maggiore/ North Italy. Hazy Morning./ T L Rowbotham (to label) Watercolour and pencil heightened with white 89.5 x 127cm; 35¼ x 50in

Signed and dated Chas Rowbotham 1905 (lower right) Watercolour and bodycolour 33cm x 58cm; 13 x 22¾in

Provenance: Bonhams, London, 19th Century Paintings, Drawings and Watercolours, 22 April 2010, lot 153

Provenance: The Wren Gallery Ltd, London (label on backboard) £100­200

£300­500

66 66 CHARLES EDMUND ROWBOTHAM 1856­1921

Views in the Bay of Naples A pair, each signed Chas Rowbotham (lower left or lower right), one also dated 1897 (lower right) Watercolour and bodycolour Each 20 x 40cm; 8 x 15¾in (2) £150­250

67 LEESON ROWBOTHAM b.1899

Whitecliff Bay, Isle of Wight 1932 Signed, inscribed and dated Whitecliff Bay I of Wight/ Leeson Rowbotham 1932 (lower left) Watercolour heightened with white 25.5 x 36.5cm; 10 x 14½in

67

£100­150 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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68

68 CHARLES EDWARD DIXON 1872­1934

On the Tagus, looking out Signed, inscribed and dated on the Tagus . looking out/ Charles Dixon/ . 09 . (lower left) Watercolour with pen and ink 17.5 x 52.5cm; 6¾ x 20¾in £400­600

69

70

69 J** F** CREW

70 G** D’ESPOSITO

19th Century

Fl.c.1890­1920

Departure of Baltic Fleet under Sir Charles Napier, 1854

HMS Caesar off Malta

Signed J F Crew (below image on support sheet) Pastels 25.5 x 36.5cm; 10 x 14¼in

Signed and dated G. D’Esposito 1903 (lower left) Gouache 28 x 43cm; 11 x 17in

£150­250

£120­180

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23 71 ALBERT GOODWIN, RWS 1845­1932

Taormina, April Signed Albert Goodwin (lower right edge), inscribed Taormina April and dated indistinctly (lower left) Watercolour and bodycolour, heightened with touches of pen and ink 25 x 35cm; 9¾ x 13¾in £1,200­1,800

71

72

73

72 ALBERT GOODWIN, RWS

73 CONSTANCE, LADY WENLOCK

1845­1932

1852­1932

Whitby

A View of Florence at Sunset

Signed Albert Goodwin (lower right), inscribed Whitby (lower left) Watercolour with pen and ink and pencil, on grey paper 23 x 29.5cm; 9 x 11½in

Signed and dated C Wenlock/ 1927—1928 (lower right) Watercolour and pencil with gum arabic 49.5 x 65.5cm; 19½ x 25¾in

£600­800

Together with a copy of Lady of The Souls: Landscape Paintings by Constance Lady Wenlock (1852-1932) by Jane Sellars (Harewood House Trust, 2001) (2) £600­800

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24

74 GIULIO ROSATI Italian 1857­1917

A Vendor of Rugs Signed Giulio Rosati (lower right) Watercolour 59.5 x 40.5cm; 23½ x 16in

74

£1,500­2,500

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25 75 CAPTAIN R* MECHAM Fl.c.1850s

Government House, Barrackpoor; Kotagherry in the Neilgherry [Nilgiri] Hills, Residence of the Marquess of Dalhousie & Lady Susan Ramsay in 1855 A pair, both signed Mecham or R. Mecham (lower left), each bears title and signed by Susan G. Brown Bourke/ Coalstown/ 1865 on paper on backboard Watercolour and pencil Each 22 x 29.5cm; 8½ x 11½in (2) Provenance: Sotheby’s, London, Of Royal and Noble Descent, 19 January 2017, lot 102

75

£150­250

76

77

76 CIRCLE OF GEORGE CHINNERY

77 HENRY WARREN

1784­1852

1794­1879

Partial Sketchbook, c.1840­41

Indian Fruit Seller

Comprising 10 leaves with sketches/studies recto and/or verso, some spanning both leaves, also 4 blank leaves, including Macao/Fort St Francis. June 16th 41 -/ low water, Lord John Churchill’s Monument in the Burial/Ground at Macao./ 1840, Tomb of Sir John Churchill at Macao and Attack of the Heights above Canton 25 May 1841; and also figure sketches of Chinese and other subjects etc, ink, watercolour and pencil, some inscribed as title but none signed 14 x 19cm; 5½ x 11½in

Signed and dated Henry Warren/1868 (lower right) Watercolour and bodycolour over pencil 48 x 61cm; 19 x 24in £300­500

£600­800

78 COLONIAL SCHOOL 19th Century

Coffea Arabica Inscribed twice with title in ink and in pencil Coffea Arabica (lower right) Watercolour heightened with gum Arabic 37 x 49.5cm; 14½ x 19½in £300­500

78 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

26

79

79 MOGHUL SCHOOL

80 MOGHUL SCHOOL

Early 17th Century

c.1770

A Farrier Shoeing a Horse

Portrait of Nur Gahan, wife of the Emperor Jahangir

Ink heightened with wash and gilt paint 12.4 x 14.6cm; 5 x 5¾in

Watercolour, gouache and gilt paint, with foliate decorated borders and margins 29.7 x 20.4cm; 11¾ x 8in (painting) 53.1 x 32.8cm; 21 x 13in (folio)

Provenance: Bought 26 November 1919 (£5) from Harper by A.P Oppe; By descent to the present owner Exhibited: London, Burlington Fine Arts Club, Catalogue of Exhibition of Art of India, 1931, no.21; London, Royal Academy of Arts, Exhibition of Art Chiefly from the Dominions and Pakistan, 1947­48, no.853; London, Royal Academy Diploma Galleries, Paul Oppe Collection, 1958, no 249 A variation of this work, drawn in reverse, is in the British Museum (no.1942.0124.0.1).

Provenance: A.P Oppe; By descent to the present owner Exhibited: London, Royal Academy of Arts, Exhibition of Art Chiefly from the Dominions and Pakistan, 1947­48, no.1191; £2,000­3,000

£2,000­3,000

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27

80 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

28

82 81 Φ RICHARD BERTRAM OGLE

82 Φ RICHARD BERTRAM OGLE

1889­1976

1889­1976

The Adventurer

Dance of the Moonmoth

Signed OGLE (lower right corner) Watercolour and bodycolour with pen and black ink 52 x 35cm; 20½ x 13¾in

Signed OGLE (near lower edge) Watercolour and bodycolour 35 x 52cm; 13¾ x 20½in

Provenance: By descent in the family of the artist Bequeathed to the mother of the vendor in 1995

81

£200­400

Provenance: By descent in the family of the artist Bequeathed to the mother of the vendor in 1995 £200­400

83 Φ HARRY MILEHAM 1873­1957

A Folio of Five Watercolours/Drawings and an Oil Comprising figure studies (seated monk, pensive man, Toilet of Venus, Classical maidens, Allegory of Motherhood), one signed Harry R. Mileham (lower right); and an oil study of a man, on panel, this signed and dated H R MILEHAM 1907 (lower right) The largest 29 x 33cm; 11½ x 13in Unframed (6) Provenance: By descent in the family of the artist

83

£200­300 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

29 84 Φ HARRY MILEHAM 1873­1957

A Folio of Eleven Leaves Comprising figure studies and anatomical drawings, five bear assessor’s notes from 1893, principally charcoal on buff or grey papers, but some with coloured chalks and/or crayon The largest 62.5 x 48.5cm; 24½ x 19in Unframed (11) Provenance: By descent in the family of the artist £200­300

84 85 Φ HARRY MILEHAM 1873­1957

A Folio of Twenty Leaves Comprising figure studies and anatomical drawings, principally red chalk but some with watercolour and/or pencil The largest 58.5 x 46cm; 23 x 18in Unframed (20) Provenance: By descent in the family of the artist £200­300

85 86 Φ HARRY MILEHAM 1873­1957

A Folio of Eight Leaves Comprising figure studies and anatomical drawings, six signed or monogrammed, principally red chalk The largest image 36.5 x 29.5cm; 14¼ x 11½in Unframed (8) Provenance: By descent in the family of the artist £180­250

86 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

30

87 HENRY RYLAND 1856­1924

The Bloom of Youth Signed H RYLAND (lower right) Watercolour over traces of pencil 40 x 27cm; 15¾ x 10½in £1,200­1,800

87

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OIL PAINTINGS

88

verso

88 GREEK SCHOOL 17th Century

A Small Portable Altarpiece Comprising four hinged wings enclosing a central theme, the central panel with Virgin and Child (recto) and Crucifixion (verso); the wings with St John the Baptist, St Jerome, St Antony Abbot, The Mocking of Christ and The Resurrection Oil on panel Each panel/wing 9.7 x 5.7cm; 3¾ x 2¼in approx; 11.5 x 7.2 x 3cm; 4½ x 2¾ x 1¼in approx, when closed Provenance: A.P Oppe; By descent to the present owner £1,500­2,500

89

90

89 GREEK SCHOOL

90 MANNER OF DUCCIO DI BUONINSEGNA

Icon of The Mother of God Milk­giver

c.1255/60­c.1318/19

Oil on panel, traces of gold ground, with incised details, arched top 37 x 22.5cm; 14½ x 8¾in £400­600

A Triptych: Virgin and Child with Attendant Saints The pediment with inscription Ave Gratia Plena (Hail, full of Grace) Tempera (or oil) on gold ground, on panel Central panel 20 x 18.5cm, 8 x 7¼ in; each wing 22.5 x 10.5cm, 8¾ x 4in; 30 x 21cm, 12¾ x 8¼in when closed, overall £400­600

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

31

32

91 91 MANNER OF LORENZO LOTTO Italian 1480­1556

Virgin and Child with St Elizabeth and John the Baptist Oil on panel 36.5 x 43cm; 14¼ x 17in £600­900

92 92 CIRCLE OF GIOVANNI FRANCESCO BARBIERI, IL GUERCINO

93 FOLLOWER OF SEBASTIANO CONCA

94 FOLLOWER OF JUAN SIMON GUTIERREZ

Italian 1680­1764

Spanish 1634­1718

Italian 1591­1666

Virgin and Child with St John the Baptist

The Infant Christ: Ecce Agnus Dei

Lucretia Oil on canvas, laid on panel 30.5 x 33.5cm; 12 x 13¼in

Oil on canvas laid on panel 39 x 29cm; 15¼ x 11¾in Unframed

£250­350

93

Oil on canvas 27 x 21cm; 10½ x 8¼in £200­300

£150­200

94

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33 96 SPANISH COLONIAL SCHOOL 18th Century

Virgin Mary of Belen Oil on copper, mounted oval 9 x 7cm; 3½ x 2¾in Provenance: A.P Oppe; By descent to the present owner £150­200

97 FOLLOWER OF FRANS FRANCKEN III 96 95 CUZCO SCHOOL Madonna and Child Surrounded by a Garland of Fruit and Flowers Oil on canvas 56 x 45.5cm; 22 x 18in

95

Provenance: Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 March 2020, lot 267, where purchased by the present private collector £400­600

97

98

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

Flemish 1607­1667

Salvator Mundi Oil on copper 14.5 x 10.5cm; 5¾ x 4¼in £150­250

98 FOLLOWER OF GREGORIO LAZZARINI Italian 1657­1730

Rebecca and Eliezer at the Well Oil on canvas 48 x 41.5cm; 18¾ x 16¼in £400­600

34

99 99 FOLLOWER OF MICHELANGELO MERISI DA CARAVAGGIO Italian 1571­1610

A Young Man wearing a Feathered Cap, seated playing a Lute, with a Tambourine and a Recorder by his feet Oil on canvas 123.3 x 88.3cm; 48½ x 34¾in

Provenance: Mrs Acton Pile, London Christie’s London, 22 May 1953, lot 144 (as `Honthorst`, 9gns. to Osborne) Christie’s London, 9 December 2016, lot 173 Caravaggio’s influence amongst artists in Rome during his stay in the city (c.1592­1606) was far reaching. This work shows the immediacy and realism that served to define the `Caravaggesque` style. There is a similarity to the work of Valentin de Boulogne who was in Rome in 1614 and the French­born artist drew upon Caravaggio’s use of dramatic light and strong compositions. £2,000­3,000 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

35

100 100 STUDIO OF THEODOOR VAN LOON

101 ATTRIBUTED TO ESAIAS VAN DE VELDE

Flemish 1581/1582­1649

Dutch 1587­1630

The Annunciation

Elegant Parties and Fishermen in a River Landscape

Oil on canvas 123.7 x 170.7cm; 48¾ x 67¼in Unframed

Oil on panel 32 x 73cm; 12½ x 28¾in

Provenance: Holy Trinity, Millbrook, Southampton; By whom sold Rushbrookes, Winchester, 21 June 2024, where purchased by the present owner

£2,000­3,000

£3,000­5,000

101 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

36

102

103

102 FOLLOWER OF JACOB ISAACSZ. VAN RUISDAEL

103 AFTER PHILIPS WOUWERMAN

Dutch 1628/9­1682

Dutch 1619­1668

Farm Buildings and a Figure in a Rural Landscape

Cavalry Skirmish on a River Bank

Bears fragmented inscribed label verso S [erased]/2d./Old Brown/Ink Oil on panel 30.5 x 41cm; 12 x 16in

Oil on panel 34.5 x 43cm; 13½ x 17in

£800­1,200

£200­300

104

105

106

104 CIRCLE OF MICHIEL CARREE

105 AFTER NICHOLAS MAES

106 CIRCLE OF GODFRIED SCHALCKEN

Dutch 1657­1727

Dutch 1634­1693

Netherlandish 1643­1706

Stormy Landscape Scene with Cattle, Sheep, Goats and a Laden Mule

The Idle Servant

Lady Sleeping by Candlelight

Oil on canvas 73 x 52cm; 28¾ x 20½in

Oil on panel 22 x 17.5cm; 8½ x 6¾in Unframed

Oil on canvas 59.5 x 50cm; 23½ x 19¾in £600­800

After the original of 1655 in the National Gallery, London (no NG207).

£300­500

£400­600 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

37

107 107 MANNER OF FRANZ DE PAULA FERG Austrian 1689­1740

Figures in an Italianate Landscape Oil on canvas, a sopraporte 26 x 108cm; 10¼ x 42½in £200­300

108 FOLLOWER OF MARCO RICCI Italian 1676­1730

Capriccio with Figures by Classical Ruins at a Seaport Oil on canvas, laid on panel 10 x 14.5cm; 4 x 5¾in £300­400

108

109

110

109 CIRCLE OF JACQUES D’ARTHOIS

110 FOLLOWER OF THOMAS HEEREMANS

French 1613­1686

Dutch 1641­1694

Wooded Landscape with Drovers and Livestock on a Track

Countryfolk with Horses on a Frozen River by a Town

Oil on canvas 56 x 67.8cm; 22 x 26¾in

Oil on panel 30.5 x 41.5cm; 12 x 16¼in

Provenance: Christies, South Kensington, Old Master Pictures, 14 April 1999, lot 143

£300­400

£500­800 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

38 111 CIRCLE OF ANGELO MARIA CRIVELLI Italian 1660­1730

A Turkey and other Fowl Oil on canvas 120.5 x 99cm; 47½ x 39in Unframed £1,000­1,500

112 CIRCLE OF FRANCIS BARLOW c.1626­1704

Turkeys, Chickens and Guinea Pigs in a Park Landscape, an Obelisk beyond; Peacocks, Rabbits and Chickens in a Park Landscape A pair, oil on canvas Each 28 x 35cm; 11 x 13¾in (2) £1,500­2,500

113 CIRCLE OF ELISABETTA MARCHIONI Italian c.1630­1710

Still Life of Roses, Tulips and other Flowers in an Urn upon a Ledge Oil on canvas 104 x 74cm; 41 x 29in Provenance: Long standing family collection, Dorset £3,000­5,000

111

112

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39

113

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

40 114 GIACINTO DIANO Italian 1731­1803

The Deposition Oil on canvas 88.5 x 53cm; 34¾ x 21in Provenance: Edmund Pye, by whom purchased in Cadiz in 1832; and thence by descent to the late Brigadier Hugh Pye, OBE The present work is Giacinto Diano’s bozzetto for his 1773 altarpiece in the sacristy of Sant’Agostino alla Zecca, Naples. We are grateful to Nicola Spinosa for confirming the attribution of the present work of the present work to Diano on the basis of photographs. £3,000­5,000

114

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41 115 GIACINTO DIANO Italian 1731­1803

The Pool at Bethesda Oil on canvas 90 x 54cm; 35½ x 21¼in Provenance: Edmund Pye, by whom purchased in Cadiz in 1832; and thence by descent to the late Brigadier Hugh Pye, OBE The present work is Giacinto Diano’s bozzetto for his 1778 altarpiece for The Church of Pietà dei Turchini, Naples. A second version is in the Santa Maria in Portico di Campitelli, and a larger bozzetto is in the Allen Memorial Art Museum, Ohio. We are grateful to Nicola Spinosa for confirming the attribution of the present work to Diano on the basis of photographs. £3,000­5,000

115

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

42

116 116 SIR PETER LELY Dutch 1618­1680

Portrait of a lady, possibly Elizabeth Claypole (1629­1658), half­length, wearing a blue dress and pearl necklace, her hair in ringlets Oil on canvas 68.5 x 60.5cm; 27 x 23¾in Elizabeth Claypole was the second daughter of Oliver Cromwell. She was reputedly Cromwell’s favourite daughter, known by him as ‘Bettie’. There is no portrait which is universally accepted as depicting Elizabeth, although the most likely candidate is a portrait miniature by Samuel Cooper, dated 1653, in the collection of the Duke of Buccleuch. Another portrait, traditionally identified as depicting Elizabeth, which seems to derive from the present work, is in the Cromwell Museum, Huntingdon (no.HUTCM:B9). £3,000­5,000 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

43

117 117 SIR PETER LELY AND STUDIO Dutch 1618­1680

Portrait of a Lady, identified as Miss Ada Gossett, Quarter length, wearing a russet dress and pearl necklace, in a landscape

Provenance: Bukowski’s, Stockholm, Sjuberg Collection, 1927, lot 58

Oil on canvas, mounted oval 76.5 x 63cm; 30 x 24¾in

£5,000­7,000

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

44

118 STUDIO OF SIR PETER LELY Dutch 1618­1680

Portrait of Anne Chester, Half­length, wearing a blue dress with white chemise, pearl necklace Oil on canvas, within a painted cartouche 76.5 x 64cm; 30 x 25¼ in Provenance: Chester Family Estate; Christie’s, New York, The House Sale, 1­2 February 2005, lot 96 The sitter was the daughter of Sir Edward Chester and of Anne, Lady Chester, of Royston. She married Robert Meade MD of Cambridge, then Henry Hoogan and lived in Lynn Regis, Norfolk, where she died in December 1678 £2,000­3,000

118

119 CIRCLE OF JOHN RILEY 1646–1691

Portrait of a Lady, Quarter­length, wearing an amber­grey gown adorned with jewels, pearl necklace, within a feigned oval Oil on canvas 75.5 x 63cm; 29¾ x 24¾in Provenance: Collection of The Rt. Hon. The Countess of Kimberley Christies, London, 28 February 1947, lot 1934 £2,000­3,000

119

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45

120 CIRCLE OF THOMAS MURRAY 1663­1734

Portrait of a Gentleman, traditionally identified as Richard Peirse of Bedale, three­quarter length, wearing a brown coat and red cloak Oil on canvas 118 x 88.5cm; 46½ x 34¾in Provenance: By family descent from the sitter to the present owner £1,500­2,500

120

121 STUDIO OF SIR GODFREY KNELLER BT. 1646­1723

Portrait of a lady, three­quarter length, wearing a brown dress, with her dog, a landscape beyond Oil on canvas 122.4 x 97.6cm; 48¼ x 38½in The same composition was used by Kneller on other occasions, for example, Portrait of Dorothy Keyt, The Hon. Mrs Gilbert Coventry (Antony Cornwall), and Catherine Bower, Lady Ashe or Mrs Packer (Felbrigg Hall, Norfolk) £2,500­4,000

121

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

46

122

123

124

125

122 ENGLISH SCHOOL Portrait of King Charles II Quarter length, wearing armour and a cravat Oil on canvas 62 x 51.5cm; 24½ x 20¼in £200­300

123 FOLLOWER OF MARY BEALE

124 FRENCH SCHOOL

1633­1699

18th Century

125 FOLLOWER OF HYACINTHE RIGAUD

Portrait of a Child, Bust­Length, Wearing a Blue Chemise and Gold Chain with Locket

Venus and Cupid

French 1659­1743

Oil on canvas 72.5 x 57cm; 28 x 22½in

Oil on canvas, cut down, mounted oval 33 x 27cm; 13 x 10½in

£500­700

Portrait of a Gentleman, Bust­length, wearing a dark red mantle and long wig

£400­600

Oil on canvas 60.5 x 49.5cm; 23¾ x 19½in £400­600 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

47

126

127

126 CIRCLE OF JEAN BAPTISTE SANTERRE French 1651­1717

Portrait of a Lady, Half­length, en deshabille, Standing by a Green Curtain Oil on canvas 80.5 x 65cm; 31¾ x 25½in £1,000­1,500

127 CIRCLE OF JEAN BAPTISTE SANTERRE French 1651­1717

Portrait of a Lady, Three­quarter length, Wearing a Dark Green Dress, Plumed Hat and Holding a Mask Oil on canvas, oval 81 x 64cm; 32 x 25¼in Provenance: Bonhams, London, Old Master Paintings, 28 October 2009, lot 156; Private Collection £1,500­2,000

128 128 PIERRE ALEXANDRE WILLE French 1748­1821

Father and Daughter: Threading the Needle Bears possible traces of a signature (lower right) Oil on canvas 49 x 57cm; 19¼ x 22½in

Provenance: Woolley & Wallis, Salisbury, Old Master, British & European Paintings, 15 March 2017, lot 354 The symbolism of threading a needle traditionally connotes a journey of discovery and a quest for greater wisdom. £1,000­1,500

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

48

129 129 FOLLOWER OF CHARLES PHILIPS c.1703­1747

Portrait of an Artist at his Easel, his Family alongside Oil on canvas 44 x 45.5cm; 17¼ x 18in Unframed Provenance: A.P Oppe; By descent to the present owner £200­300

130 130 FOLLOWER OF FRANCIS ALLEYNE

131 FRENCH SCHOOL

c.1750­c.1815

Portrait of a Young Lady, Seated half­length, Wearing a White Dress and Pearl Jewellery

Portrait of Lavinia (nee Bingham), Countess Spencer (1762­1831)

Oil on canvas 55 x 46.5cm; 21½ x 18¼in

Provenance: By repute, acquired by an ancestress of the owner who was in service with the Spencer family, pre­1930s.

Portrait of a Lady, Seated half­length, Wearing a White Dress with Blue Waistband and Hat Oil on canvas, oval 31 x 25cm; 12¼ x 9¾in

Early 19th Century

£300­500

Provenance: A.P Oppe; By descent to the present owner

1723­1792

Oil on canvas 31 x 25.5cm; 12¼ x 10in

After the original composition by Reynolds, c.1787 (Huntington Art Library & Museum, San Marino). £300­500

£150­200

131

132 AFTER SIR JOSHUA REYNOLDS, PRA

132 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

49 133 AFTER SIR WILLIAM BEECHEY, RA 1753­1839

Portrait of King George IV Bust length, wearing Naval uniform Oil on panel 29.5 x 24cm; 11½ x 9½in Provenance: Possibly Mrs Morrison, February 1799 (two labels verso) £300­500

134 THOMAS BEACH 1738–1806

Portrait of George John Audley, Merchant of Liverpool, three­quarter length, standing in an interior, wearing a brown coat and yellow waistcoat and breeches Signed and dated T Beach/1793 (lower right) Oil on canvas 127.1 x 102.3cm; 50 x 40¼in

133

134

Provenance: John Audley (1806­1885), grandson of the sitter by 1843; By descent to George Audley (1864­1932); Sold by his executors Christie’s, London, 12 May 1932, lot 12, where purchased by Fane (15 gns); Christie’s, London, 25 April 1958, lot 106, where purchased by Sherborn (24 gns); Sotheby’s, London, 15 July 1959, lot 162, where purchased by Sawyer (£50); Walker Art Gallery, Liverpool, 1973 (on loan); Sotheby’s, London, 10 July 1991, lot 130; Sotheby’s, London, 12 May 1993, lot 14 Literature: Elsie S. Beach, Thomas Beach A Dorset Portrait Painter (1934), p.54, no.5 Mary Bennett, Merseyside Painters, People & Places, vol.

1 (Walker Art Gallery, 1978), p.33, L136 £1,000­1,500

135

136

135 CIRCLE OF GEORGE ROMNEY

136 ENGLISH SCHOOL

1734­1802

Early 19th Century

Portrait of an Officer, identified as Robert Pickering (d.1820) of Lancashire Volunteers, half­length, in profile, wearing uniform

Portrait of an officer, in uniform, standing in a landscape

Oil on canvas 77 x 64cm; 30¼ x 25¼in

Oil on canvas laid on board 29.8 x 24.7cm; 11¾ x 9¾in £150­250

£600­800

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

50

137 137 GEORGE ROMNEY 1734­1802

Portrait of The Hon. Robert Banks Jenkinson, later 2nd Earl of Liverpool (1770­1828), Half­ Length, Wearing a Dark Coat and White Cravat Oil on canvas 77.5 x 65.5cm; 30½ x 25¾in

Provenance: Christies, London, Old Master and British Pictures, 31 October 2013, lot 90 Literature: A. Kidson, George Romney: A Complete Catalogue of his Paintings (New Haven and London, 2015), vol.II, no.718 The sitter was the elder son of Charles Jenkinson, 1st Baron Hawkesbury and of Amelia (nee Watts). After Charterhouse and Oxford, he served as MP for Rye for thirteen years and sat in the Lords before being ennobled as 2nd Earl of Liverpool. He served as Prime Minister from 1812­1827 and married Lady Louisa Hervey, daughter of the Earl of Bristol.

The sitter sat to Romney on six occasions in 1793 but the artist apparently left the portrait unfinished. Lord Hawkesbury did not receive the completed work until 1803 and Kidson comments upon the possibility that the canvas had been completed by John Hoppner (Hoppner acting upon a commission to do so from John Romney) £3,000­5,000 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

51

138 138 RAJA JIVAN RAM Indian act.1820­1860

Portrait of Francis Spencer Hawkins, Her Majesty’s Bengal Indian Army, Seated, half­length, wearing a red military tunic and sash, holding a sword Oil on canvas 92 x 71cm; 36¼ x 28in The sitter was born into an Anglo­Indian military family, the son of a Colonel whom he followed into the same regiment in 1815 at the age of 17. Rising quickly through the ranks on account of his evident abilities, he soon matched the rank of his father. He married twice: in 1823, to Maria Loveday, who bore him a daughter; and to Emily Kellet, with whom he had two children (one of whom, Francis Kellet, became a Major General in the Bengal Army). The Bengal Indian Army, founded in 1765, was initially under the auspices of the East India Company. In 1858, oversight of the army was transferred to the direct control of the Crown.

For portrait miniatures by Jivan Ram see lots 5 and 6. £6,000­8,000 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

52 139 FOLLOWER OF GEORGE CHINNERY 1774­1852

Figures bathing in a Ghat, a Temple beyond Oil on board 22 x 27cm; 8¾ x 10½in Exhibited: London, Martyn Gregory, Images of the East, no.115 £200­300

140 No lot

139 141 CIRCLE OF JULIUS CAESAR IBBETSON 1759­1817

Landscape: Cattle and Ruins of Old Castle Oil on canvas 38 x 51cm; 15 x 20in £250­350

141 142 CIRCLE OF JOHN CONSTABLE, RA 1776­1837

A Derelict Bears indistinct inscription in ink on old label verso: `This picture A Derelict by John Constable RA was/ purchased by us from Mr Hugh Constable the g/son of the painter who inherited it from him. He verily assures that the picture is the work of John Constable RA/ 612 Cheapside EC signed Bn [unclear]’ Oil on panel 19 x 26cm; 7½ x 10¼in £800­1,200

142 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

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143

143 SAMUEL COLMAN 1780­1845

Abigail confronting the Army of David Oil on panel 33 x 48cm; 13 x 19in Provenance: Christie’s London, Victorian and British Impressionist Art, 12 December 2013, lot 77; Christie’s, London, Victorian, Pre-Raphaelite and British Impressionist Art, 19 June 2014, lot 96 Little is known about Colman’s life. From 1816­1838, he was a portrait painter and drawing master having worked under Edward Bird. He exhibited with artists of the Bristol School from 1824­1834 and his meticulous style has been confused with that of John Martin.

This subject appears to be a smaller variant of a much larger oil on panel (74 x 105.5cm) offered at Sotheby’s in London on March 2nd 1983 (lot 64). The theme is from 1 Samuel, Chapter 25: David sent 400 men to avenge a slur by Nabal. Nabal’s wife, Abigail, hurried to meet David and dissuaded him from seeking retribution. After Nabal’s subsequent death, Abigail became David’s wife. £4,000­6,000

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

54 144 JAMES WHEELER OF BATH 1820­1885

A saddled grey and a black retriever in a stable Signed and dated J Wheeler/ Bath/ 1865 (lower left) Oil on canvas 71.5 x 92cm; 28 x 36¼in £800­1,200

144

145

146

145 JAMES LODER OF BATH

146 ATTRIBUTED TO JAMES LODER OF BATH

1784­1860

1784­1860

A Saddled Grey with two Dogs in a Loose Box

Bay Higham, with a grey Pony and a Spaniel

Signed and inscribed J Loder. Pinxt/Bath 1838 (lower right) Oil on canvas 58.5 x 76.5cm; 23 x 30in

Inscribed Bay Higham (lower centre) Oil on canvas 58 x 73.5cm; 22¾ x 29in

£400­600

£300­500

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55 147 THOMAS WOODWARD 1801­1852

Portrait of the Hon. Thomas Henry Coventry (1792­1869) Seated upon a chestnut pony, a dog alongside Oil on canvas 50 x 60.5cm; 19¾ x 23¾in Provenance: Commissioned from the artist by the sitter (15 gns); By descent to his nephew; And by descent until offered Sotheby’s London, 30 June 2005, lot 128 (unsold) Literature: Thomas Woodward, account book, December 10th 1829 C. W. Graham Stewart, Thomas Woodward, unpublished, 1989, p.100 The sitter was the third son of Henry William, 7th Earl of Coventry (1758­1831), of Croome Court, Worcestershire, by his second wife, Peggy (1760­1840), the daughter of Sir Abraham Pitches of Streatham, Surrey £1,000­1,500

147 148 CLIFTON TOMSON 1775­1828

A Dappled Grey Horse in a Field Signed and dated Clifton Tomson/Nottingham/1811 (lower centre) Oil on canvas 63.5 x 76.5cm; 25 x 30in £600­800

148 149 FOLLOWER OF JOHN CHARLES MAGGS 1819­1896

A Coach and Four near Stonehenge Oil on canvas 33 x 71.5cm; 13 x 28in £250­350

149 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

56

150

151

150 CIRCLE OF FRANCIS SWAINE

151 FOLLOWER OF DOMINIC SERRES

c.1725­1782

1722­1793

A Frigate and other Sailing Vessels in Coastal Waters

A Frigate and a Sloop with other Vessels

Oil on canvas 24.5 x 34cm; 9¾ x 13¼in

Oil on panel 25 x 42cm; 9¾ x 16½in

£400­600

£200­300

152 JAMES MEADOWS SNR. 1798­1864

Off Hastings Signed and dated J Meadow S/1862 (lower right) Oil on canvas 43.2 x 74cm; 17 x 29in £200­300

153 ATTRIBUTED TO JOHN SYER

152

1815­1885

154 ATTRIBUTED TO WILLIAM SHAYER

A Wreck on Coastal Rocks

1787­1879

Oil on canvas 51.5 x 76.5cm; 20¼ x 30in £200­300

Fisherfolk on a Beach Oil on board 46.5 x 61cm; 18¼ x 24in £300­500

153

154

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57

155

155 CLARKSON FREDERICK STANFIELD, RA, RBA 1793­1867

Warships in the Texel anchorage off Oudeschild Signed and dated C. Stanfield RA 1859 (lower right) Oil on canvas 71.5 x 111.5cm; 28 x 44in Provenance: Christies, London, Important English Pictures, 15 July 1988, lot 61; With Oscar and Peter Johnson, London; Christie’s, London, The Arthur Ackermann and Peter Johnson Collection: A Connoisseur’s Choice, 8 May 2008, lot 57 This picture is a variant on Stanfield’s RA­exhibited painting of 1844 (no. 523), Oude Scheld [sic]- Texel Island, looking towards Nieuwe Diep and the Zuider Zee, now in the Tate (N00404). It is one of several Dutch subjects he painted in the 1850s and early '60s, all based on his Dutch tour of 1843: another is the similar but darker Old Holland (exh. RA 1858, no. 18), now in the Guildhall Collection. He also showed an Oude Scheld, Texel Island at the Academy in 1863 (no. 177).

The boatmen in the foreground are carrying out a dan buoy towards an anchored frigate and three­decker. The buoy is unusually large since they were more typically lightweight markers for fishing nets and other temporary uses. It appears to be based on a 40­cm cork model of one that Stanfield had in his studio collection and which is now in the National Maritime Museum, Greenwich (ZBA4131).

We are grateful to Pieter van der Merwe for his assistance cataloguing the present work. £6,000­8,000

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

58 156 ALFRED VICKERS SENIOR 1786­1868

The Avenue, Shanklin, Isle of Wight Signed A Vickers (lower left), inscribed By Alfred Vickers 1854/ The Avenue Shanklin, Isle of Wight. on label on stretcher Oil on canvas 28.5 x 41cm; 11¼ x 16¼in £500­700

157 ALFRED VICKERS SENIOR 1786­1868

Lake Landscape Scene with a Cottage Signed A. Vickers (lower left) Oil on canvas 25.5 x 35.5cm; 10 x 14in £150­200

158 ALFRED VICKERS SENIOR 1786­1868

156

The Old Mill Oil on canvas 35.5 x 51.5cm; 14 x 20¼in Provenance: E. Stacy Marks Ltd, Eastbourne, December 1967 and January 2003 (labels on stretcher); Arthur Ackermann and Peter Johnson Ltd, London (label on stretcher) £400­600

159 HENRY CHARLES TRERY Fl.c.1844­1854

Setting Off to Market 157

158

Signed and dated H. C. Tre../1844 (lower centre), bears later inscribed label on stretcher Oil on canvas 60.5 x 74cm; 23½ x 29in £300­500

160 FOLLOWER OF WILLIAM HENRY CROME 1806­1873

Rural Scene with two Figures by a Country Road Oil on canvas 42 x 50.5cm; 16½ x 20in

159

160

Provenance: John Butterworth (d.1902), bequeathed to him by his father who had purportedly received it as a wedding present from Thomas Gainsborough. £400­600

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59 161 PATRICK NASMYTH 1787­1831

Figures in a Wooded Landscape Signed and dated Patk. Nasmyth 1831 (lower right) Oil on panel 35 x 45.5cm; 13¾ x 18in £1,000­1,500

162 CIRCLE OF THOMAS BARKER OF BATH 1769­1847

Horse and rider before a lakeside town Oil on canvas 47.5cm x 65.5in; 18¾ x 25¾in £300­500

163 CIRCLE OF WILLIAM SADLER THE YOUNGER Irish 1782­1839

Rural Scene with Croft by a Pool, Mountains beyond Oil on panel 13 x 18cm; 5 x 7in £100­200

161 164 HENRY BRIGHT 1810­1873

Cow by a Tumbledown Barn, Dusk Oil on canvas 29 x 47cm; 11½ x 18½in Provenance: Oscar and Peter Johnson Limited, London £400­600

165 HENRY BRIGHT 1810­1873

Windmill by a Country Pool Oil on canvas 30.5 x 49cm; 12 x 19¼in

162

163

Provenance: Oscar and Peter Johnson Limited, London £500­700

164

165

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

60

166

167

168 166 THOMAS FAED, RA, HRSA

167 CIRCLE OF WILLIAM JAMES MULLER

1826­1900

1812­1845

From Hand to Mouth

In the Harem

Signed and dated Thomas Faed 1876 (lower left) Oil and pencil on canvas, a study 46 x 59cm; 18 x 23¼in

Oil on canvas, unstretched 28.5 x 34cm; 11¼ x 13¼in

£1,000­1,500

169

£200­300

168 G** APPERT

169 HARRY PAYNE

1850­c.1934

1858­1927

A Steady Hand; A Strong Hand

Soldier of Kent Yeomanry on Horseback

A pair, both signed G. Appert (lower right) Both oil on canvas Each 54 x 45cm; 21¾ x 17¾in (2)

Signed with initials H. P. (lower right) Oil on canvas 36 x 25.5cm; 14¼ x 10in

£150­200

£200­300 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

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171

170

172 170 LAURENT DE BEUL Belgian 1821­1872

171 JAN VAN COUVER (HERMANUS KOEKKOEK JUNIOR)

172 JAN VAN COUVER (HERMANUS KOEKKOEK JUNIOR)

The End of the Day

Dutch 1836­1909

Dutch 1836­1909

Signed and dated Laurent. De Beul/1862 (lower right) Oil on panel 50 x 69.5cm; 19¾ x 27½in

On the Waal, Holland

A Bit of Old Dort, Holland; Muiden, Holland

Signed J VAN COUVER (lower right), inscribed and initialled “On The Waal/ -Holland”/JVC verso Oil on canvas 51 x 76.5cm; 20 x 30in

A pair, both signed J VAN COUVER (lower right) and further signed with initials and titled (to verso) Oil on canvas Each 46 x 61cm; 18 x 24in (2)

£400­600

£700­900

Provenance: Woolley & Wallis, Salisbury, Old Masters, British & European Paintings, 11 September 2018, lot 376 £1,000­1,500

173 DUTCH SCHOOL 19th Century

Rural Scenes with Figures and Horses A near pair, oil on canvas Each 37 x 46cm; 14½ x 18in or slightly smaller (2) £200­300

173

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62

174 174 CHARLES LEICKERT

175 WILLIAM POWELL FRITH, RA

Dutch 1816­1907

1819­1909

Winter in Holland

Coming of Age in the Olden Time

Signed Ch Leickert. ft (lower right) Oil on canvas 81.5 x 117cm; 32 x 46in

Signed and dated W P Frith 1849 (lower right) Oil on canvas 127.8 x 200.3cm; 50¼ x 78¾in

Provenance: Rayner MacConnal, London (label verso)

Provenance: Commissioned by James Eden, Bolton; The commission taken over by Messrs Lloyd, London; From whom purchased by Mr Grundy, London (£650); Thos Agnew & Sons, Manchester; Edward Chapman, Hill End, Mottram, by 1887; By descent to George J. Chapman, Hill End Mottram; Edward Chapman, Hill End, Mottram; Christie’s, London, 21 November 1924, lot 138, where purchased by Sampson (1,050 gns); Private Collection, New York; Parke­Bernet Galleries, New York, 9 December 1949, lot 278; Parke­Bernet Galleries, New York, 3 June 1971, lot 96; Private Collection, New York; Christie’s, New York, 30 October 1985, lot 302; Owen Edgar Gallery, London, 1987; Private Collection; Sotheby’s, London, Victorian Pictures, 2 November 1994, lot 115; Private Collection, Gloucestershire

£10,000­15,000

Exhibited: London, Royal Academy, 1849, no.349; Manchester, Royal Jubilee Exhibition, 1887, no.353; Manchester, City Art Gallery (as part of a display of paintings from the collection of the Chapman family, Hill End, Mottram), 1908; Rome, The International Fine Arts Exhibition, 1911, British Section, no.25 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

63

175 Literature: Art Journal, 1849, p.172; William Powell Frith, My Autobiography and Reminiscences (Richard Bentley & Son, London), vol.I, pp.185­187, 192, 194; A. G. Temple, The Art of Painting in the Queen’s Reign, (Chapman and Hall, London, 1897), p.148 Aubrey Noakes, William Frith: Extraordinary Victorian Painter (Jupiter, London, 1978), pp.46 (illustrated), 49; Roy Strong, And when did you last see your father? The Victorian Painter and British History (Thames & Hudson, London, 1978), pp.43, 90­93; Christopher Wood, William Powell Frith: A Painter and his World (Sutton Publishing, 2006), pp.25­26, 94, 107; David Trotter, William Powell Frith: Painting the Victorian Age (Yale University Press, 2006), pp.ix, 8­9, pl.13 Engraved: Francis Holl, published by the Art Union of Glasgow, 1854 Coming of Age in the Olden Time was exhibited at the Royal Academy in 1849 and was the outstanding painting of William Powell Frith’s career to date. It represents the culmination of the first phase of Frith’s career and, in the words of The Art Journal was ‘superior to everything that has preceded it from the same hand’.

Frith has set the work in the courtyard of a mansion during the Elizabethan period. The young lord stands on the steps to the right, listening to an address of congratulations by the old man below. The heir is accompanied by his mother and father, and his grandmother is seated nearby. Below him a group of villagers have thronged, some bearing gifts, such as the plumed helmet, falcon and two hounds. Beyond the celebratory feast is in full swing, with wine and ale flowing, and an ox roasting.

Frith began the present work in September 1848, after his summer holiday in Scarborough. He did not finish the work until April the following year, when he immediately dispatched it to the Royal Academy where it was one of the highlights of the Summer Exhibition. Frith stated that he based the background on Heslington Hall near York, and Hever Castle in Kent, although Roy Strong has noted that features also seem to derive from Joseph Nash’s The Mansions of England in the Olden Times. Similarly details of the dress were incorporated from engravings in F. W. Fairholt’s Costume in England. Frith also went to see an ox being roasted at a cattle market in Islington, later saying that ‘neither sight nor smell were altogether pleasant, and the company was doubtful’.

Frith’s early works were mostly based on literary subjects, from the novels of Charles Dickens, Walter Scott and Oliver Goldsmith. In the late 1840s he started to depart from these literary subjects, and started to explore the costumes and festivities of the past. Coming of Age in the Olden Time marks both the zenith and conclusion of Frith’s early career. Thereafter, he focused on subjects of modern life, which he called ‘hat and trouser pictures’. However, both Frith’s historical and contemporary paintings feature the same themes and elements that make his work so compelling. His interest in incidental detail; the individualisation of each figure and their relationship to each other; and a remarkable ability to depict a panoramic representation of various elements of society, made him one of the most popular and successful artists of the Victorian era.

Testament to the popularity of Coming of Age in the Olden Time is the fact that Frith was asked to paint two further smaller versions. The first was also executed in 1849, and was commissioned by the noted collector Thomas Miller. It was also planned that Miller’s version would be used as the basis for an engraving. However, James Eden, who had originally commissioned our prime version, objected to the idea of a copy. The situation was resolved when the dealer Lloyd took over the commission of our version from Eden. A final, much smaller version was painted in 1907. £30,000­50,000

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

64

176 CIRCLE OF THOMAS BROOKS 1818­1892

Forget Me Not Oil on canvas 61 x 50.5cm; 24 x 20in, framed as an oval Provenance:

Colnaghi, London, where purchased by the present private collector; Private Collection, Gloucestershire £250­350

177 FOLLOWER OF MARGARET SARAH CARPENTER 1793­1872

Portrait of a Boy with a Terrier Oil on canvas 61.5 x 51cm; 24¼ x 20in £300­500

178 FOLLOWER OF MARGARET SARAH CARPENTER 1793­1872

Portrait of a Boy Head and shoulders, wearing a dark top and white bib Oil on canvas 30.5 x 25.5cm; 12 x 10in £300­500

176

177

178

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65

179 179 THOMAS COUTURE French 1815­1879

La Rêverie Signed and dated Th Couture1848 (lower centre) Oil on canvas 65.6 x 54.8cm; 25¾ x 21½in, framed as an oval Provenance: Purchased by H.C.Newton c.1856, as the sitter had a likeness to his daughter Ellen Carter West (according to label) We are grateful to Thierry Cazaux for confirming the attribution of the present work £4,000­6,000 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

66 180 CHARLES LESLIE 1835­1890

Cumberland Signed and dated Chas Leslie 1881 (lower left) Oil on canvas 46 x 81.5cm; 18 x 32in £200­300

181 GEORGINA LARA Fl.1862­1871

Villagers outside a cottage with horses watering; Villagers and animals by a barn A pair, both oil on canvas Each 22.5 x 35.5cm; 8¾ x 14in (2) £300­500

180

181

182

183

182 D** WOLAM

183 HENRY JOHN YEEND KING

19th Century

1855­1924

Chatsworth House and the Bridge over the River Derwent

Country Cottages by a Bridge

Signed DWolam (lower right) Oil on canvas 55 x 68.5cm; 21½ x 27in Unframed

Signed YEEND KING (lower right) Oil on board 36.5 x 53cm; 14¼ x 21in

£200­300

£400­600 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

67

184

186

185 184 JOSEPH FARQUHARSON, RA

185 BENJAMIN WILLIAMS LEADER, RA

186 ARTHUR GILBERT

1846­1935

1831­1923

1819­1895

Returning at Twilight

Moel Siabod from the Moor above Betws­y­Coed

Shadows in the Highlands

Signed J Farquharson (lower right) Oil on canvas 30.5 x 46cm; 12 x 18in

Signed and dated B.W LEADER.1892 (lower left) and further signed and inscribed moel siabod from the moor above Bettus [sic] Coed/B.W.Leader (to reverse) Oil on board 35.7 x 45.5cm; 14 x 18in

Signed A Gilbert (lower right) Oil on canvas 20.5 x 30.5cm; 8 x 12in

£3,000­5,000

£300­500

Provenance: Christie’s, London, British and Victorian Pictures, 10 June 1999, lot 239 £700­1,000

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

68 187 JAMES STARK 1794­1859

A Riverscape with Trout Fishers Oil on panel 26.5 x 42.5cm; 10½ x 16¾in Provenance: Collection of Sir William Cummings, The Gables, Thetford, 1889 (no date), lot 531 (label verso); Markswood Gallery, Great Bardfield (label verso) £400­600

188 WALTER WILLIAMS 1834–1906

On the Beach at Birchington, Kent Signed and inscribed On the beach at Birchington, Kent/Walter Williams (to label) Oil on canvas 15.4 x 20.5cm; 6 x 8in

187

£150­250

188

189 189 WALTER WILLIAMS 1834–1906

Mountainous landscape with a shepherd and his flock with a cottage beyond Signed Walter Williams (lower right) Oil on canvas 50.8 x 76.5cm; 20 x 30in £200­300

190 WALTER WILLIAMS 1834–1906

Cwm Llan, Beddgelert; At Beddgelert, North Wales A pair, the former signed and inscribed Cwm Llan Beddgelert North Wales/Walter Williams (to label), the latter signed and inscribed At Beddgelert, North Wales (to label) Both oil on canvas Each 23.4 x 18cm; 9¼ x 7in, framed as ovals (2) £200­300

190 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

69 191 THOMAS BAKER OF LEAMINGTON 1809­1869

A Lock on the River Avon near Stratford Signed and dated T. BAKER/1863 (lower right) and also signed T BAKER./1863. (to verso) Oil on panel 30.5 x 40.5cm; 12 x 16in Provenance: Collection of Mrs G. H. Goodman (?) (bears old inscribed label on backpaper) £400­600

192 RICHARD HILDER 1813­1852

A Wooded Rural Scene with Figures and Cattle Oil on canvas 31 x 40.5cm; 12¼ x 16in £400­600

191

192

193

193 GEORGE HILDITCH 1803­1857

A Rural Scene in Lincolnshire Inscribed and dated Lincs 1828 (lower right) Oil on canvas 32.5 x 43.5cm; 12¾ x 17in Provenance: Arthur Ackermann and Peter Johnson Ltd, London (label on stretcher) £300­400

194 FOLLOWER OF JOHN HENRY CAMPBELL Irish 1757­1828

Wooded Ravine Scenes, one with Figures by a River A near pair, one oil on canvas laid on board, the other oil on canvas 31 x 27cm; 12¼ x 10½in; 31 x 26.5cm; 12¼ x 10¼in (2) £300­400

194

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70 195 ALEXANDRE-MARIE GUILLEMIN French 1817­1880

Flowers for Grandma Signed A Guillemin (lower left) Oil on panel 67 x 81cm; 26¼ x 31¾in Provenance: William Rodman & Co, Belfast, (label verso); John Magee Ltd, Belfast, (label verso) £1,000­2,000

196 JOHAN MONGELS CULVERHOUSE Dutch c.1820­1895

The Night Market Signed J. Culverhouse (lower right) Oil on panel 29.5 x 40cm; 11½ x 15¾in £200­300

195 197 JACOBUS FREDERIK STERRE DE JONG Dutch 1866­1920

Lady Sewing Signed Jac. F. Sterre de Jong (lower left), bears label on stretcher and indistinct pencil inscription also on stretcher Oil on canvas 45.5 x 36cm; 18 x 14¼in £150­250

198 AFTER JEAN ALPHONSE ROEHN French 1799­1864

Teasing the farmhand; Soaking the farmhand A pair, both signed indistinctly E Gunner or E Gruner (lower right and lower left respectively) Oil on white metal Each 24.5 x 21.5cm; 9½ x 8½in (2) £150­200

196

197

198 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

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199

199 FRANÇOIS BRUNERY Italian 1849­1926

Dilettantisme Signed F Brunery (lower right) Oil on panel 70.5 x 91.6cm; 27¾ x 36in Provenance: Christie’s, London, 28 February 1964, lot 71; MacConnal­Mason & Son, London; Sotheby’s, London, 19th Century European Paintings, Drawings and Watercolours, 2 April 1998, lot 75; Eaton Gallery Fine Paintings, London, where purchased by the present private collector; Exhibited: Paris, Salon des Artistes Français, 1899, no.309 £5,000­7,000

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

72 200 WILLIAM LIONEL WYLLIE, RA 1851­1931

An Estuary at Low Tide Signed (and indistinctly dated?) W. L. Wyllie (lower right) Oil on board 18 x 28cm; 7 x 11in Provenance: Unicorn Gallery Ltd, Wilmslow (label verso) £400­600

201 GUSTAVE DE BREANSKI c.1856­1918

Morning on the Devon Coast

200

Signed Gustave de Breanski (lower right), also inscribed with title on artist’s label on stretcher Oil on canvas 60.5 x 91.5cm; 23¾ x 36in £500­700

202 THOMAS HALE-SANDERS Late 19th/Early 20th Century

The Old St Vincent Leaving Portsmouth on its Last Voyage Signed and dated T.Hale-Sanders/1913 (lower left) Oil on canvas 56.4 x 100cm; 22¼ x 39¼in £150­250

203 ANGLO-CHINESE SCHOOL

201

19/20th Century

HMS Diadem Oil on fine cotton canvas 44.5 x 60cm; 17½ x 23½in £150­250

204 CIRCLE OF GIOACCHINO LA PIRA Italian 1839­1870

Shipping in the Bay of Naples Oil on canvas 49.8 x 76.3cm; 19½ x 30in £400­600

202

203

204 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

73 205 JOHN MOORE OF IPSWICH 1821–1902

Coming to the rescue Signed and dated J Moore 1886 (lower left) Oil on canvas 61.2 x 91.7cm; 24 x 36in £800­1,200

205

206

207

206 ARTHUR JOSEPH MEADOWS

207 ARTHUR JOSEPH MEADOWS

208 WILFRED JENKINS

1843­1907

1843­1907

1857­1936

Persano, at Dusk

Scene at Calais (Les Baraques)

Westminster; The Thames

Signed Arthur J. Meadows (lower left) Oil on canvas 30.5 x 51cm; 12 x 20in

Signed and dated Arthur J Meadows/1887 (lower left) Oil on canvas 51 x 76.5cm; 20 x 30½in

A pair, both signed Wilfred Jenkins lower left or lower right, each signed and inscribed with title verso Oil on board Each 16 x 34cm; 6¼ x 13¼in (2)

Provenance: Christies, London, The Arthur Ackermann and Peter Johnson Collection A Connoisseur’s Choice, 8 May 2008, lot 13 (£2700)

£400­600

£500­700

208 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

£600­800

74

210 209 ATTRIBUTED TO HENRIK THEODOR LUNDH

210 ARTHUR BATT

Swedish 1812­1896

Old Friends: Three Donkeys feeding on a Gorse Bush

A Brace of Partridge hanging from a Nail Inscribed and dated Mr. AFR 1834 on a painted tag Oil on canvas 56 x 46.5cm; 22 x 18¼in

1846­1911

Signed and dated Arthur Batt.94 (lower right) Oil on canvas 71.5 x 91.5cm; 28 x 36in £600­800

£800­1,200

209

210A HEYWOOD HARDY 1842­1933

211 ATTRIBUTED TO JOHN MEARNS

Lion and Lioness

Fl.c.1860­1880

Signed and dated Heywood Hardy/1877 (lower left) Oil on canvas 36 x 56.5cm; 14¼ x 22¼in

Oil on canvas 25 x 30cm; 9¾ x 11¾in

£700­1,000

Three Hunting Dogs

£250­350

212 J** LANGLOIS Fl.19th Century

The Captor; The Guard A pair, both signed J. Langlois (lower right) Oil on canvas Each 36 x 46.5cm; 14¼ x 18¼in (2)

210A

£100­200

211

212 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

75 213 CIRCLE OF HENRY RANKIN POORE

214 FOLLOWER OF JOHN EMMS

American 1859­1940

Study of Turk, a Terrier

A Pekingese on a Chair

Bears inscription `Turk` (lower left) Oil on board 26 x 21.5cm; 10¼ x 8½in

Bears initials HRP (lower left) Oil on canvas 35.5 x 41cm; 14 x 16¼in

1843­1912

£120­180

£300­500

213 215 FREDERICK CHARLES UNDERHILL

216 CHARLES EDWARD LOVELL

217 ARTHUR MERCHANT

1833­1896

Fl.1890­c.1893

The Hunter’s Lad

Best Friends

A Gentleman’s Treasures

Signed and dated F. Underhill/1869 (lower left) Oil on canvas 86 x 68cm; 33¾ x 26¾in

Signed and dated CE Lovell/ 1893 (lower right) Oil on canvas 56 x 41cm; 22 x 16in

£300­500

£600­800

214

Fl. c.1900

Signed ARTHUR MERCHANT (lower left) Oil on canvas 61 x 50.5cm; 24 x 19¾in £200­300

215

216

217

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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ALBERT DURER LUCAS (1828­1919) Albert Durer Lucas was the son of engraver and sculptor Richard Cockle Lucas (who was involved with devising a notorious bust of `Flora`, acquired by Berlin Museum as a work by Leonardo da Vinci). However, unlike his father, Albert became synonymous with detailed and finely coloured compositions of wild flowers with insects. Drawing upon subjects found within a few miles of his of his home in Padwell Road in Southampton, Lucas refined his technique with meticulous execution and rich but natural colour to create closely focused compositions of the natural world. Working with the eye of both a botanist and an entomologist, his small but beautifully balanced studies of the teeming splendour of nature were an abiding fascination and dominated his oeuvre to the exclusion of almost any other theme. He is buried in Southampton Old Cemetery.

Examples of his work are in the Southampton City Art Gallery, Russell­Cotes Art Gallery & Museum in Bournemouth, the Shipley Art Gallery, and elsewhere.

This group is from a private collection, assembled by the owner’s late father. Further examples from the same collection will be included in future sales.

218 ALBERT DURER LUCAS 1828­1918

A Spring Bank with a Bird’s Nest near Twyford Church Bears signature A. D. Lucas./ 1882 (lower left) Oil on canvas 41 x 30.5cm; 16 x 12in £500­700

219 ALBERT DURER LUCAS 1828­1918

A Butterfly and Bird’s Nest by a Bank of Heather Signed and dated A. D. Lucas 1876 (lower right) Oil on canvas 40.5 x 30cm; 16 x 11¾in £400­600

218

219

220

221

222

220 ALBERT DURER LUCAS

221 ALBERT DURER LUCAS

222 ALBERT DURER LUCAS

1828­1918

1828­1918

1828­1918

Spring Flowers and a Bird’s Nest

Butterflies and Heather

Heath & Heather, Blue Butterfly

Signed and dated A D Lucas/1875 (lower right), with artist’s inscriptions on the stretcher Oil on canvas 25.5 x 20cm; 10 x 8in

Signed and dated A D Lucas/ 1878 (lower right) Oil on canvas 26 x 20.5cm; 10¼ x 8in

Signed and dated AD. Lucas/ .1889. (lower left), signed Albert Durer Lucas and inscribed Heath & Heather/ Blue butterfly on stretcher Oil on canvas 20.5 x 15.5cm; 8 x 6in

£400­600

£400­600

£300­500 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

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223

226

225 223 ALBERT DURER LUCAS

224 ALBERT DURER LUCAS

225 ALBERT DURER LUCAS

226 ALBERT DURER LUCAS

1828­1918

1828­1918

1828­1918

1828­1918

A Country Maiden’s Nosegay ­ Mary of Brockenhurst

Vase with Heath Bluebell &c

A Dish of Raspberries, with a Wasp

Signed A D Lucas (on front of ledge lower left) and dated 1872 (on front of ledge lower right), inscribed Matrimony practical on a trompe l’oeil card (lower left), inscribed Vase with heath bluebell &c/ A D Lucas [surname illegible] and Chilworth/ Romsey/Hants/ 1872 (on stretcher) Oil on canvas 39.5 x 28.5cm; 15½ x 11¼in

Signed and dated A. D. Lucas 1897 (lower right), also signed and dated AD Lucas/ 1897 (verso) Oil on panel 15.5 x 20.5cm; 6 x 8in

A Dish of Strawberries with White Currants, a Cake and a Glass of Wine

Signed A. D. LUCAS. 1898. (within border lower right) and A Country Maiden’s Nosegay Mary of Brockenhurst (within border lower left), with extensive artist’s inscriptions in pencil on the stretcher Oil on canvas 51 x 36cm; 20 x 14¼in £500­800

£400­600

£400­600

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

Signed and dated A D Lucas 1870 [or 1871] (lower right) Oil on canvas 25.5 x 20.5cm; 10 x 8in £400­600

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228

227

227 JOHN HENRY BOEL

228 JAMES EDWARD GRACE

act.1875­1922

1851­1908

Fishermen on a Bridge in a Mountainous Lake Landscape

The Harvest Team

Signed JH Boel 1891 (lower left) and further signed J. H. BOEL (to verso) Oil on canvas 46 x 81.5cm; 18 x 32in

Signed with initials JEG (lower right) Oil on canvas 35.5 x 53cm; 14 x 21in £300­500

£100­200

229 COLIN JOHN MACKINTOSH 1866­1910

A Grey Spring Day Signed ... Mackintosh, also inscribed with title and monogrammed and dated A grey Spring Day/[monogram]/18968 [sic] (verso) Oil on canvas 38 x 28cm; 15 x 11in £200­300

229

230

230 FRANK HOEPFNER

231 EDWARD HARGITT

1840­1893

1835­1895

Countryfolk in a River Landscape

Landscape with Figures

Signed and dated Fraz Hoepfner 1870 (lower right) Oil on canvas 61 x 91.5cm; 24 x 36in

Signed E Hargitt (lower left) Oil on board 28.5 x 39.5cm; 11¼ x 15½in

£200­300

£150­250

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232

233

232 FRANK TURNER

233 HAROLD WAITE

234 SIR HERBERT EDWIN PELHAM HUGHES-STANTON, RA, RWS

act.1863­1875

1870­1939

1870­1937

Waggoners Wells

Sheep in Riverside Pasture

Path near Cagnes

Inscribed on a label on frame Waggoners Wells/ Painted by F Turner (deaf and dumb)/ This picture was exhibited in/ Royal Academy/ Presented to James Summers/ by Miss Turner after the d.[eath.]/ of the artist Oil on canvas 62.5 x 88cm; 24½ x 34½in

Signed HAROLD WAITE (lower right) Oil on canvas 40.5 x 56cm; 16 x 22in

Signed Hughes-Stanton (lower left), bears inscribed fragmented label on stretcher Oil on canvas 35 x 44.5cm; 13¾ x 17½in

£200­300

£150­200

£300­500

235 JOHN WAITE

236 WILSON HEPPLE

Fl.c.1893

1854­1937

Figures on a Path by a Duckpond near a Village

Milking Time

Signed and dated Jno Waite./1893, (lower right) Oil on canvas 25.5 x 35.7cm; 10 x 14in £100­200

Signed and dated WILSON HEPPLE/1894 (lower left) Oil on canvas 30.5 x 35.5cm; 12 x 14in Provenance: Unicorn Gallery Ltd, Wilmslow £120­180

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Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

80 237 GEORGE HENRY HALL American 1825­1913

A Bunch of Grapes Signed and inscribed Geo Henry Hall/Cortina 1883 (lower right) Oil on canvas, laid on panel 45.5 x 34cm; 18 x 13½in £1,500­2,000

238 HENRY GEORGE TODD 1847­1898

Still Life with Fruit on the Forest Floor Signed and dated HG Todd/1898 (lower right) Oil on canvas 30.8 x 23cm; 12¼ x 9in £200­300

239 FOLLOWER OF GIOVANNI BATTISTA RUOPPOLO Italian 1629­1693

237

Still Life of Summer Fruits Oil on canvas 38 x 46cm; 15 x 18in

238

£300­500

240 HENRY CHARLES BRYANT

241 CARL HAMPEL

1835­1915

Australian 1887­1942

Still Life of Fruits and Flowers with a Wine Ewer and a Chinese Bowl

Zinnias

Signed H. C. Bryant (lower left) Oil on board 61.5 x 74.5cm; 24¼ x 29¼in £250­350

Signed Hampel (on curtain at right) Oil on canvas 63 x 77cm; 24¾ x 30¼in Provenance: The Fine Art Society Ltd, London, May 1943 (label verso) £500­700

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240

241 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

81 242 ELOISE HARRIET STANNARD 1829­1915

Norwich Corporation Silver Tankard, Pineapple, Grapes, Peaches and Figs Signed E H Stannard (at left edge) Oil on canvas 38 x 46cm; 15 x 18in Provenance: Sotheby’s, Belgravia, 20 October 1981 Oscar and Peter Johnson Limited, London £2,000­3,000

243 ELOISE HARRIET STANNARD 1829­1915

Still Life with Robin and Holly Signed and dated E H Stannard 1865 (lower left) Oil on canvas, within a painted oval 29 x 37cm; 11½ x 14½in £300­400

242 244 CIRCLE OF ELOISE HARRIET STANNARD 1829­1915

Still Life of Apples, Blackcurrants and Redcurrants Bears another illegible signature (lower left) Oil on canvas 54.5 x 75cm; 21½ x 29½in £300­500

243

244

245 BLAISE ALEXANDRE DESGOFFE French 1830­1901

Still Life with Crystal Wine Ewer and other items upon a Draped Table Signed Blaise Desgoffe (lower right) Oil on canvas 46.5 x 35.5cm; 18¼ x 14in £300­500

246 SCOTTISH SCHOOL Circa 1900

A Bowl of Roses Oil on panel 24 x 16cm; 9½ x 6¼in £200­300

245

246

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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247

247 ARTHUR JOSEPH MEADOWS

248 GEORGE HYDE POWNALL

249 EDWIN HAYES

1843­1907

1866­1939

1819­1904

Venice: The Palace Rezzonico; Venice from The Academy Bridge

Moonlight on the Thames; Sunset on the Thames

Sunset View on the River Liffey, Dublin

A pair, both signed and dated Arthur Meadows/1907 (lower left), each signed and inscribed verso The Palace Rezzonico G. Canal/ “Venice” 1907 Arthur Meadows and “Venicefrom the Academy/ Bridge 1907 Arthur Meadows Oil on canvas Each 46 x 30.5cm; 18 x 12in (2)

A pair, each signed Geo Hyde.P (lower left) Oil on board Each 30.5 x 20.5cm; 12 x 8in (2)

£4,000­5,000

£5,000­7,000

Signed and dated Hayes ARHA/1854 (on spar, lower right), bears indistinct inscription on fragmented label on the stretcher Oil on canvas 66 x 92cm; 26 x 36¼in Provenance: Lawrences Fine Art Auctioneers Ltd, Crewkerne, Winter Fine Art, 17 January 2024, lot 367 £3,000­4,000

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248

249 Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

84 250 ERNEST BOARD 1877­1934

The Ladybird Signed and dated ERNEST/BOARD 1903 (lower left), bears inscription ERNEST BOARD/Studio 6 POMONA HOUSE NEW KINGS RD FULHAM (to stretcher) Oil on canvas 71.5 x 45.5cm; 28¼ x 18in Exhibited: London, Royal Academy, 1903, no.59 £800­1,200

251 JOHN SCOTT 1850­1918/19

The Audience Signed and dated JScott/1884 (lower right) Oil on canvas 32 x 53cm; 12½ x 20¾in £500­800

250 252 THOMAS BENJAMIN KENNINGTON 1856­1916

Portrait of Mrs Selina Fleming, three­quarter length, wearing a white dress and maroon sash, holding a posy of flowers, and seated in a landscape Signed and dated T B Kennington ‘97 (lower left) Oil on canvas 127.7 x 102cm; 50¼ x 40¼in Provenance: Commissioned from the artist as a birthday gift for the sitter; And by family descent £3,000­5,000

251

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252

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

86

253 253 SIR OSWALD HORNBY JOSEPH BIRLEY, MC, RA, ROI 1880­1952

Portrait of Francis Alexander Johnston (1864­1958), President of Globe Telegraph and Trust Co Ltd (Court of the Atlas Assurance Company) Seated, three quarter length, wearing a brown suit, holding a hat, cane and gloves Signed and dated Oswald Birley 1930 (lower right) Oil on canvas 128 x 101.5cm; 50½ x 40in with a few leaves of correspondence, including an ALS from the artist to the sitter’s wife (commenting upon the critic Francis Howard’s admiration of the picture), November 1930; and another concerning the loan of the portrait to Electra House, London, a photocopy, June 1958 (a lot) Provenance: By family descent from the sitter £2,000­3,000 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

87 254 PHILIP ALEXIUS DE LASZLO Hungarian 1869­1937

Portrait of Field Marshal Frederick Sleigh Roberts, 1st Earl Roberts of Kandahar, VC, KG, KP, GCB, OM, GCSI, GCIE, PC, DCL, LLD (1832­1914) Signed and dated P. A. Laszlo/ 1911. VI. (upper left) Oil on canvas 114.5 x 83cm; 45 x 32¾in Provenance: By descent in the family of the sitter to Freddy Lewin, the sitter’s grandson; Michael Borthwick, to whom bequeathed by Lewin and then by descent; Lyon & Turnbull, Edinburgh, Blair, Ayrshire, 14 March 2012, lot 86 Exhibited: London, Agnew’s, Exhibition of Portraits by Philip de Laszlo, MVO, May­June 1911 Literature: Sitters’ Book 1, f.86, Roberts February 8th 1911; Illustrated London News, June 24th 1911, illustrated; Illustrated London News (New York Edition), July 8th 1911, p.59, illustrated; Lucy de Laszlo, diary, 1911, private collection; Owen Rutter, Portrait of a Painter, London, 1939, pp.271­2, 273, 296 & 367; Duff Hart­Davis, with Caroline Corbeau­Parsons, De Laszlo: His Life and Art, Yale University Press, 2010, pp.164, 174 This imposing image reflects a substantial commission for the artist as he painted a full­length portrait of the sitter in service dress (Eton College collection) with a small oil study (private collection); and a half length depiction too, wearing blue dress uniform (Viscount Devonport collection).

The sitter was a career soldier, born in India in 1832, the son of a General. He was of slight stature (just 5`4”, 162.5cm) and blind in one eye after a childhood illness.

After schooling at Eton, he forsook a career in the Church and joined the Bengal Artillery in 1851.

He married Nora Henrietta Bews 254 (1838­1920) and their happy marriage was blighted by the early deaths of three of their six children. Lady Ada Edwina, their second daughter, succeeded to the title after her elder sibling’s death in 1944 and became Countess Roberts.

Roberts was awarded the VC for his role during the Indian Mutiny in 1857 but his brilliant and humane leadership of his men at the Battle of Kandahar in 1880 ensured his legacy. In his eighties at the start of the Great War, he visited Indian soldiers stationed in France but died very soon after contracting pneumonia whilst at Kemmel Hill. It was thought fitting that he had passed away within the sound of gunfire and surrounded by soldiers. Roberts was the subject of no fewer than three poems by Kipling and, in the 20th Century, only Roberts and Churchill were accorded the honour of lying in state at St Paul’s Cathedral. £3,000­5,000

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

88 255 ALBERT STARLING 1858­1947

Portrait of a Gentleman, traditionally identified as William Morris (1834­1896) Bust length, wearing a dark coat and with full grey beard Signed ALBERT STARLING (lower right), bears name WILLIAM MORRIS upon the lining Oil on canvas 51 x 40.7cm; 20 x 16in £600­800

256 SIR JOHN WATSON GORDON, PRSA, RA 1788­1864

Portrait of Sir William Gibson Craig, Bt. (1797­1868), Lord Clerk Register for Scotland Oil on board 20.5 x 13cm; 8 x 5in A study for the c.1852 oil, 238 x 148cm (National Galleries of Scotland) £200­300

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256

257 257 ENGLISH SCHOOL 19th Century

Portrait of John North Wyke, three­quarter length, wearing a black coat and seated at a table; Portrait of a lady, three­quarter length, wearing a brown dress and seated holding a book A pair, both oil on canvas 91.5 x 71.4cm; 36 x 28in; 92 x 71cm; 36¼ x 28in (2) £100­200

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89 258 GEORGE GASCOYNE 1862­1933

Hilda, Daughter of His Excellency Col. Sir Charles B. Evan­Smith, KCB, CSI, on her pony `Piano`, Tangier, 1892 Signed and dated G. Gascoyne. 1892 (lower right), also signed and inscribed verso HE/ Col Sir Chas. B. Evan-Smith KCB./ CSI/ on her pony “Piano”/ Tangier./ April 1892/ G. Gascoyne/ 8 Gloucester Mansion/ Harrington Gardens/ London SW Oil on canvas 64 x 57cm; 25¼ x 22½in £700­1,000

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259

259 PERCY WILLIAM GIBBS 1873­1955

Portrait of a Gentleman Bust length, wearing a dark suit and tie, gold­rimmed pince nez Signed and dated P.W.Gibbs./ 1903 (upper left) Oil on canvas 61 x 51cm; 24 x 20in £200­300

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260 ENGLISH SCHOOL

261 GERARDUS HENDRIK. C. OVERMAN

19th Century

Dutch 1855­1906

Portrait of Ebenezer Reed McGaa (1805­1841), half­length, seated at a table holding a quill

In Father’s Chair

Oil on canvas 91.9 x 74cm; 36¼ x 29¼in

Signed G. H. C. Overman (lower right) Oil on canvas 67 x 45cm; 26¼ x 17¾in

£150­250

£300­500

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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262

263 262 PIERRE EMMANUEL DAMOYE

263 FRENCH SCHOOL

French 1847­1916

Circa 1900­20

La Ferme dans la Clairiere

Man with a Dog, Dusk

Signed E. DAMOYE (lower left) Oil on canvas 46 x 73.5cm; 18 x 29in

Oil on panel 33 x 45.5cm; 13 x 18in

£800­1,200

£250­400

264 CIRCLE OF WILLIAM LOGSDAIL 1859­1944

Study of Italian Buildings and a Church, with a Pine Tree Oil on Winsor & Newton Prepared Panel 22.5 x 15cm; 8¾ x 6in Provenance: Collection of P. Rateo (?), label verso £300­400

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265

265 EASTERN EUROPEAN SCHOOL

266 CIRCLE OF JACQUES GAY

19/20th Century

French 1851­1925

Coastal Scene at Twilight with Sailing Boat

A Game of Quilles de Neuf

Signed indistinctly F. Sip... (lower right) Oil on panel 15.7 x 22.5cm; 6¼ x 8¾in

Oil on canvas 33.5 x 44.5cm; 13¼ x 17½in Unframed

£100­200

£150­200

266 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

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267

268

267 HENRI BIDAULD

268 JESSIE M. MCGEEHAN

French 1839­1898

Scottish 1872­1950

269 HEINRICH HERMANNS

The Shepherdess

Market day

German 1862­1942

Signed H. Bidauld (lower right) Oil on canvas 65 x 43cm; 25½ x 17in

Signed J.M.McGeehan (lower right) Oil on canvas 61.2 x 50.6cm; 24 x 20in

£800­1,200

269

The Koepelkerk, Amsterdam

Provenance: Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 11 May 2021, lot 203

Signed HEINRICH HERMANN (lower left) Oil on canvas 61 x 85cm; 24 x 33½in

£400­600

£800­1,200

270

Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

270 FOLLOWER OF PIERRE JUSTIN OUVRIE French 1806­1879

Figures by Riverside Buildings in a Town Oil on panel 45.7 x 34cm; 18 x 13½in £100­200

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271 271 ROBERT GEMMELL HUTCHISON, RSA, RSW 1855­1936

272 JAMES AUMONIER, NEAC

273 WILLIAM HENRY GORE

1832­1911

1857­1942

Cockenzie; Port Seton

Sunny Hours

Milkmaid at Sunset

A near pair, both signed R G Hutchison (lower right, one surname almost illegible), each bears inscription R G Hutchison ARSA and Cockenzie or Port Seton on a label on the frame Oil on panel Each 30.5 x 21cm; 12 x 8¼in approx (2)

Signed J. Aumonier. (lower right) Oil on canvas laid on panel 24.5 x 48cm; 9¾ x 19in

Signed W HENRY GORE (lower left) Oil on board 13 x 17cm; 5 x 6¾in

£600­800

£250­400

£600­900

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273 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

93 274 REX VICAT COLE 1870­1940

Moored for Repairs Signed REX VICAT COLE (lower right) Oil on canvas 76.2 x 106.6cm; 30 x 41¾in Provenance: Phillips, London, Modern British and Irish Paintings, Drawings and Sculpture, 5 October 1993, lot 61 Exhibited: London, Royal Academy, 1924, no.202 £1,000­1,500

275 ERNEST FLEXEN Fl.c.1920­1930

Washing Day Signed and dated ERNEST/FLEXEN/1918 (lower right), also signed and inscribed WASHING DAY/ERNEST/FLEXEN (on overlap) Oil on canvas 25.5 x 45.5cm; 10 x 18in

274

£200­300

276 EDWARD MATTHEW HALE 1852­1924

A Dip in the Ocean Signed and dated E MATTHEW HALE/ 1913 (lower right) Oil on panel 21.5 x 17cm; 8¼ x 6¾in £250­450

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277 EDWARD MATTHEW HALE 1852­1924

In the Shallows Signed with initials E.M H. (lower right) Oil on canvas board 20.5 x 16cm; 8 x 6¼in £250­450

END OF SALE

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Lots marked Φ may be subject to an additional fee - please see ARR information on page 95 • Framed images of each lot are available on www.woolleyandwallis.co.uk

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AUCTION INFORMATION OPENING HOURS City Centre Salerooms Monday to Friday 9am – 5pm Old Sarum Galleries Monday to Friday 9am – 5pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting client services on 01722 424500 or emailing id@woolleys.live You will be asked to show your documents or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a Buyer's Premium thereon of 27% plus VAT at 20% (totalling 32.4% inclusive) on the first £20,000 of the hammer price and 26% plus VAT at 20% (31.2% inclusive) up to £500,000, and 20% plus VAT at 20% (24% inclusive) thereafter.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

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BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from client services either during the view or on the day of the sale.

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

EXPORTING YOUR PROPERTY FROM THE UK If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

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In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling.

If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. Please note that payment will only be accepted from the registered bidder.

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a Φ symbol are potentially subject to a levy.

The following methods of payment may be made:

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below £1,000 and the maximum royalty payable on any single lot is £12,500.

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We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Royalties for Droit de Suite are as follows: 4% Up to £50,000 3% £50,000.01 ­ 200,000 1% £200,000.01 ­ 350,000 0.5% £350,000.01 ­ 500,000 0.25% In excess of £500,000 Up to a maximum levy of £12,500 FIREARMS Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but will not be allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla­ en/imports­exports/cites/

Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions

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Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

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INSURANCE VALUATIONS

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Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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VALUATIONS

LONDON, ANDOVER & WINCHESTER

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

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Woolley & Wallis valuations are accepted by all leading insurance companies.

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We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

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We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

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Contact Jeremy Lamond +44 (0)1722 424502 | valuations@woolleys.live

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DIRECTIONS FROM OUR CITY CENTRE SALEROOMS TO OUR OLD SARUM GALLERIES Woolley & Wallis City Centre Salerooms 51 – 61 Castle Street SP1 3SU Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

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Free verbal valuations of items for sale are available by appointment.

Please email valuations@woolleys.live or call +44 (0)1722 424500

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A345 Castle Rd

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WOOLLEY & WOOLLEY & WALLIS WALLIS CITYSALEROOMS CENTRE SALEROOMS

Old Sarum

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough

City Centre Salerooms, 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29

Design & Production

by Jamm Design Ltd +44 (0)20 7459 4749 jammdesign.co.uk

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below PAINTINGS

VALUATIONS

Victor Fauvelle Ed Beer Richard Kay Heidi Easton

446961 446962 446964 446970

20TH CENTURY DESIGN Max Fisher Zoe Smith

424505 446955

AFRICAN & OCEANIC ART ANTIQUITIES Will Hobbs

339752

ASIAN ART John Axford MRICS Alexandra Aguilar Freya Yuan­Richards Jeremy Morgan Olivia Jones

424506 424583 424589 +44 (0)7812 601098 424591

BRITISH AND CONTINENTAL CERAMICS & GLASS John Axford MRICS Neil Grenyer MRICS

424506 446974

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards

424589

411854 446974 339161 339161 339161

INTERIORS Will Hobbs

339752

JAPANESE ART Alexandra Aguilar Olivia Jones

424583 424591

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Jacob Carpenter Freya Miller Beth Reardon

424595 424504 424586 424586 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell

341469

SILVER Rupert Slingsby Archie Swann Becky Tilly­Trickett

446956 446959 446957

424502

CLIENT SERVICES Ruth Pike (Client Services Manager) Julie Langstaff Gemma Pointer Riin Rohtla­Szeverenyi Demi Jueno­Chapman

PHOTOGRAPHY Fahmeeda Yasmin Oscar Eccleston Annabelle Hunt

BOARD OF DIRECTORS John Axford MRICS Chairman Natalie Milsted FCCA Managing Director Alexandra Aguilar Director Ed Beer Director

ASSOCIATE DIRECTORS

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan­Richards Neil Grenyer MRICS Jim Gale Sarah Stone Suilven Hunter

Jeremy Lamond MRICS FRSA Frances Woodhams

Ned Cowell Victor Fauvelle Will Hobbs Jeremy Lamond MRICS FRSA Rupert Slingsby Marielle Whiting FGA Freya Yuan­Richards Mark Yuan­Richards

424500

www.woolleyandwallis.co.uk