British & Continental Pictures, Prints and Sculpture by Olympia Auctions

British and Continental Pictures, Prints and Sculpture Thursday 21st April 2022

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

016 PP210422

Enquiries: Harry Moore-Gwyn, Pictures and Prints Victoria Clay, General Enquiries Online Catalogue: www.OlympiaAuctions.com www.the-saleroom.com www.invaluable.com

Live internet bidding available through:

www.the-saleroom.com

www.OlympiaAuctions.com Catalogue: £15 plus postage Olympia Auctions 25 Blythe Road London W14 0PD Tel:+44 (0) 20 7806 5545 Fax:+44 (0) 20 7806 5546 Email: pictures@olympiaauctions.com Photography: Rolant Dafis Front Cover: Lots 1, 2, 6, 8, 12, 13, 20. Page iii illustration: Lot 132 Page 67 illustration: Lot 141 Back Cover: Lot 81

www.invaluable.com

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BRITISH & CONTINENTAL PICTURES AND PRINTS

TO BE SOLD BY AUCTION AT Olympia Auctions 25 Blythe Road London W14 0PD

PUBLIC EXHIBITION Monday 18th April 12.00 noon to 4.00pm Tuesday 19th April 10.00am to 5.00pm Wednesday 20th April 10.00am to 5.00pm

DAY OF SALE Thursday 21st April at 12 noon, precisely This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue

iii

PROPERTY FROM THE COLLECTION OF MR TONY BINGHAM Tony Bingham has been one of the leading figures in the world of antique musical instruments for over fifty years. He started in a shop on the King’s Road in the 1960s, followed by premises on Soho’s Poland Street and finally a gallery on Pond Street, Hampstead which was his base for almost four decades. Tony has dealt in instruments from all over the world, specialising in those from Western Europe and America. He has sold to the world’s leading institutions in the United States, Europe and Japan. The present pictures were hung in the various premises he occupied for many years and Tony and Irene have now decided it is time for them to be enjoyed by the next generation of collectors.

1. CIRCLE OF SIR PETER LELY (1618-1680) PORTRAIT OF A YOUNG WOMAN HOLDING A THEORBO NEXT TO A MARBLE STATUE Oil on canvas Unframed Image size: 124 x 98cm. (49 x 38¾in.) £400-600

2. AFTER JAN KUPETZKY (1666-1740) PORTRAIT OF THE MUSICIAN JOSEF LEMBERGER (1667-1740) Oil on canvas Image size: 98 x 76cm. (38½ x 30in.) Framed size: 118 x 97cm. (46½ x 38in.) The original is currently a part of the collection at Germanisches National Museum, Nuremberg. £400-600

3. CIRCLE OF ARTHUR DEVIS (1712-1787) PORTRAIT OF A GENTLEMAN HOLDING A ONE KEY FLUTE OF TYPICAL ENGLISH MAKE OF THE TIME Oil on canvas Unframed Image size: 61 x 38.5cm. (24 x 15¼in.) £600-800

4. CIRCLE OF DANIEL NIKOLAUS CHODOWIECKI (1726-1801) KAMMERMUSIK Oil on canvas Image size: 89 x 119cm. (35 x 47in.) Framed size: 100 x 130cm. (39½ x 51in.) This work is probably by an artist in the circle of the Polish painter Daniel Nikolaus Chodowiecki. Born in Danzig, Poland (present day Gdansk) Daniel Nikolaus Chodowiecki lived with his uncle in Berlin after the death of his father in 1742. After receiving artistic training, Chodowiecki was admitted to the Berlin Academy in 1764. In 1788, he became Vice-Director under Bernhard Rode (1725-1797). By 1797, he was appointed Director of the Academy of Arts in Berlin, where he died in 1801. £3000-6000

5. ATTRIBUTED TO FRANCIS ALLEYNE (1774-1790) PORTRAIT OF A MUSICAL PERFORMER Oil on canvas Unframed, oval Image size: 45 x 38cm. (17¾ x 15in.) £100-150

6. ATTRIBUTED TO JOHN PARTRIDGE (1789-1872) A PORTRAIT OF A LADY WITH A GUITAR Oil on canvas, set within the original frame. Image size: 74 x 69cm. (29 x 27in.) Framed size: 108 x 95cm. (42½ x 37½in.) £600-800

7. JEAN BAPTISTE MADOU (1796-1877) PORTRAIT OF A CELLIST AND PORTRAIT OF A VIOLINIST SMOKING A PIPE A pair, both oil on panel Each: 20 x 14cm. (8 x 5.5in.) Framed size: 32.5 x 26.5cm. (13 x 10½in.) (2) Born in Brussels, Madou studied at the Academie Royale des Beaux-Arts; tutored by Pierre Joseph Celestin Francois. After a brief period of service with the topographical military division at Kortijk, Madou was commissioned to complete a series of lithographic works from a publishing company in Brussels. In the 1820s, he began his career as an artist. During 1825-1827, Madou made some of his more notable contributions which include: Les Vues pittoresques de la Belgique and Life of Napoleon. His work in La Physionomie de la societe en Europe depuis 1400 jusq'a nos jours and Les Scenes de la vie des peintres in the 1830s, gained the artist a great reputation. Only in the 1840s, did Madou change medium and began working with oils. This change of medium granted the artist even greater success, which resulted in his creation of a series of pictures representing scenes of village and city life. During this time, he also created the Societe Royale Belge des Aquarellistes which held annual exhibitions. During his later years, Madou completed a series of decorative paintings for King Leopold I, which were hung in the King's chateau at Ciergnon. Madou died in Saint-Josse-ten-Noode in 1877. The Madou Plaza Tower bears his name. £600-800

8. FOLLOWER OF SIR GODFREY KNELLER (1646-1723) PORTRAIT OF A GENTLEMAN Oil on canvas Unframed Image size: 50.5 x 40cm. (20 x 15¾in.) £80-120

9. CONTINENTAL SCHOOL, 18TH CENTURY PORTRAIT OF A WOMAN BESIDE A FRENCH HARPSICHORD Pastel and gouache on paper Image size: 77 x 61½cm. (30¼ x 24¼in.) Framed size: 107 x 91cm. (42 x 35¾in.) £600-800

10. EUROPEAN SCHOOL, LATE 18TH CENTURY PORTRAIT OF A SHEPHERD PLAYING THE ZAMPOGNA, THE ITALIAN BAGPIPES Oil on canvas Unframed Image size: 40 x 27cm. (15¾ x 10¾in.) £80-100

11. AFTER SIR HENRY RAEBURN (1756-1823) PORTRAIT OF THE FIDDLER NEIL GOW Oil on canvas Image size: 72 x 61cm. (28¼ x 24in.) Framed size: 88 x 78cm. (34¾ x 30¾in.) This portrait is similar to Raeburn's most well known portrait depicting Neil Gow. Neil Gow was the most famous Scottish fiddler of the eighteenth century. Gow recieved patronage from the Duke of Atholl and it is believed that this was the result of Gow's performance in a musical competition, judged by John McCraw, a blind musician, who awarded Gow first prize, and stated that he: "would ken his bow hand amoung a hunder(d) players" This patronage meant Gow secured performances for balls and dance parties put on by the local nobility, which would go on to make him a renowned musician and composer. Raeburn's complete portrait of Neil Gow is currently on display at the Scottish National Portrait Gallery. £400-600

12. FOLLOWER OF FRANÇOIS-JOSEPH KINSON (1771-1839) PORTRAIT OF AN APOLLO LYRE PLAYER Oil on canvas Image size: 100 x 79cm. (39½ x 31in.) Framed size: 117 x 98cm. (46 x 38 ½in.) The lyre-guitar enjoyed great popularity as a salon instrument, great guitarists of the day such as Fernando Carulli, Fernando Sor, Matteo Carcassi, Mauro Giuliani (believed to be the sitter) and Pierre Jean Porro wrote music and method books for it. It is believed that the lyre depicted was made by Robert Wornum, an example of which is in the collection of the Victoria and Albert Museum. £1500-2000 8

13. GERARD DE LAHAVIERE (1886-1953) PORTRAIT OF A GENTLEMAN HOLDING A FRENCH FLAGEOLET Signed lower left margin 'G. Lahaviere ' Oil on canvas Image size: 73 x 57cm. (28¾ x 22 ½in.) Framed size: 88 x 73.5cm. (34¾ x 29in.) £200-300

14. CONTINENTAL SCHOOL (CIRCA 1840) PORTRAIT OF A GENTLEMAN HOLDING A CLARINET Oil on canvas Image size: 90 x 70cm. (35½ x 27½in.) Framed size: 101 x 80cm. (39¾ x 31½in.) £200-300

15. EUROPEAN SCHOOL (CIRCA 1830) PORTRAIT OF THE SPANISH BORN FLAUTIST JOSE MARIA RIBAS (1796-1861) Oil on canvas Image size: 54 x 41cm. (21¼ x 16in.) Framed size: 71 x 60cm. (28 x 23½in.) José Maria del Carmen Ribas was considered one of the darlings of the London musical world in the nineteenth century. Contemporary with the flautists Drouet and Nicholson, Ribas was born in Burgos, where his father worked as a regimental musician. With his father’s tuition, the young Ribas learnt to play flute, oboe and clarinet before joining the regimental band as a clarinet player. During the Napoleonic Wars, Ribas was taken prisoner by the French, but he was eventually freed by the British forces and went on to serve under Wellington at the Battle of Toulouse. After the war, Ribas went on to pursue his career in music and joined the Orchestra of the Royal Theatre of S Joao, Oporto as First Clarinet. In 1825, Ribas moved to Britain. The reason for his sudden departure to England is somewhat debated. It is believed this move was due to his personal affairs with women that caused local scandal, whilst others believe that the local church had posted a public letter describing Ribas as a “recalcitrant”. Ribas went on to live and perform in London for 25 years. He was the second flautist of the King’s Theatre London in 1835, becoming principal flautist in 1837. Ribas renowned skill and musicality quickly placed him as a firm favourite in London society. In 1851, Ribas decided to retire and leave England. In 1852, he toured in Spain and Portugal, giving concerts in some of the principal towns. Most notably, during one of these visits, Queen Isabella of Spain presented to him a diamond brooch as a testament to his ability as a musician. He returned to Oporto and spent the remainder of his life as a tutor, giving lessons on the flute and the concertina. £400-600 9

16. MANNER OF JOHANNES HALS (1620-1654) PORTRAIT OF A MUSICIAN TUNING A BELL CITTERN Oil on canvas Unframed Image size: 78 x 64cm. (30¾ x 25¼in.) £400-600

17. CONTINENTAL SCHOOL, EARLY 20TH CENTURY YOUNG LADY PLAYING AN APOLLO LYRE Watercolour with gouache on paper Image size: 33x24cm. (13 x 9½in.) Framed size: 56x 46cm. (22 x 18in.) £60-80

18. ENGLISH SCHOOL (CIRCA 1860) PORTRAIT OF A YOUNG LADY PLAYING GUITAR Watercolour with gouache on paper Image size: 21 x 18cm. (8¼ x 7in.) Framed size: 40 x 37cm. (15¾ x 14½in.) £100-150

19. SPANISH SCHOOL, EARLY 19TH CENTURY PORTRAIT OF A YOUNG WOMAN HOLDING A GUITAR IN SPANISH DRESS Oil on canvas Unframed Image size: 112 x 84cm. (44 x 33in.) £100-150

20. KARL RUDOLPH SOHN (1845-1908) PORTRAIT OF A CELLIST, POSSIBLY THE ARTIST'S WIFE Signed lower left margin ‘Sohn’ Oil on canvas Image size: 122 x 89cm. (48 x 35in.) Framed size: 139 x 110cm. (55 x 43¼in.) £500-700

21. BRITISH SCHOOL, 19TH CENTURY PORTRAIT OF JAMES MARSHALL, EDINBURGH, WITH HIS FLUTE ON THE TABLE Watercolour and gouache with pencil on paper Image size: 46 x 34cm. (18 x 13¼in.) Framed size: 54.5 x 43cm. (21½ x 17in.) £100-150

22. FRENCH SCHOOL (CIRCA 1760) PORTRAIT OF A GENTLEMAN HOLDING A BIRD FLAGEOLET Oil on canvas Image size: 64 x 46cm. (25¼ x 18in.) Framed size: 73.5 x 56cm. (29 x 22in.) £400-600

23. ATTRIBUTED TO HENRI VALTON (1798-1878) PORTRAIT OF A GENTLEMAN PLAYING THE CELLO Signed lower right margin ‘h. Valton ‘ Oil on canvas Image size: 97 x 79cm. (38 x 31in.) Framed size: 119 x 101cm. (47 x 40in.) £300-500

24. AFTER PIERRE MIGNARD (1612-1695) ST. CECILIA Reverse print on glass Image size: 360 x 250mm. Framed size: 43 x 31cm. (16.92 x 12.20in.) £40-60

25. ENGLISH SCHOOL, 19TH CENTURY A SEATED GENTLEMAN HOLDING A CLARINET Watercolour on paper Unframed Image size: 36 x 29.5cm. (36 x 11.61in.) £80-120

26. EUROPEAN SCHOOL, 18TH CENTURY PORTRAIT OF A MUSICIAN HOLDING A FRENCH TEN STRING GUITAR OF THE 18TH CENTURY Oil on canvas Unframed Image size: 69 x 57.5cm. (27¼ x 22½in.) £300-500

27. FRENCH SCHOOL, EARLY 19TH CENTURY PORTRAIT OF A LADY HOLDING A FLUTE Oil on canvas Unframed Image size: 78½ x 63½cm. (30¾ x 25in.) This portrait is considered to be a rare depiction of a female flutist during the the first half of the 19th century. This due to the societal beliefs that was apparent during this time, which deemed playing the flute as un-ladylike. £500-700

28. FRENCH SCHOOL, 18TH CENTURY PORTRAIT OF A YOUNG WOMAN IN A PINK DRESS HOLDING A GUITAR Oil on canvas Image size: 91 x 71cm. (36 x 28in.) Framed size: 117 x 95cm. (46 x 37½in.) £300-500

29. AFTER SIR DAVID WILKE (1785-1841) PORTRAIT OF A MAN HOLDING THE SCOTTISH HIGHLAND BAGPIPES Oil on panel Image size: 26 x 20.5cm. (10¼ x 8in.) Framed size: 42 x 37cm. (16½ x 14½in.) The present work is a copy of Wilkie's painting "The Bag Piper" now in the Tate. £60-80

30. CONTINENTAL SCHOOL (CIRCA 1840) PORTRAIT OF A YOUNG GIRL BY A FORTEPIANO Oil on canvas Image size: 33 x 29cm. (13 x 11½in.) Framed size: 45 x 41cm. (17¾ x 16in.) £200-300

31. ENGLISH PROVINCIAL SCHOOL, 1840 PORTRAIT OF A MOTHER AND CHILD WITH A BROADWOOD PIANO Signed and dated lower margin 'H. Howle 1840' Oil on canvas Image size: 74 x 58cm. (29 x 23in.) Framed size: 81 x 65.5cm. (32 x 25¾in.) £200-400

32. ENGLISH SCHOOL (CIRCA 1850) PORTRAIT OF A TRUMPETER HOLDING A RARE MODEL OF A SLIDE TRUMPET Oil on canvas Image size: 60 x 48cm. (23½ x 19in.) Framed size: 80 x 68cm. (31½ x 26¾in.) £400-600

33. GERTRUDE HOMAN (EXH. 1886-1905) A STRING QUARTET Initialled and dated l.l.'G.H.02' Oil on canvas Image size: 36 x 72½cm. (14 x 29in.) Framed size: 49 x 85cm. (19¼ x 33½in.) Gertrude Homan exhibited designs for music room panels at the Royal Academy in 1893. Each panel was a different take on a type of music; cradle, love, dance, martial and funeral and painted accordingly to each theme. £300-500

34. W.R. JONES (ACTIVE 1892) PORTRAIT OF W.R. JONES JR. HOLDING A VIOLIN Signed and dated l.l. 'W. R. Jones 1892' Oil on canvas Image size: 70.5 x 54.5cm. (27¾ x 21½in.) Framed size: 91 x 75cm. (35¾ x 29½in. ) £150-250

35. ENGLISH SCHOOL, 19TH CENTURY PORTRAIT OF A YOUNG LADY PLAYING THE GUITAR Oil on panel Image size: 25 x 28cm. (10 x 11in.) Framed size: 42 x 45.5cm. (16½ x 18in.) £200-300

36. CONTINENTAL SCHOOL, FIRST HALF 19TH CENTURY PORTRAIT OF A SPANISH FEMALE GUITARIST WEARING CORAL AND GOLD JEWELLERY Oil on canvas Image size: 85.3 x 67cm. (33.5 x 26 ¼in.) Framed size: 111 x 90cm. (43 ¾ x 35 ½in.) The guitar depicted in this portrait is very likely made by the brothers Joseph and Louis Pons, renown guitar makers in Paris, Grenoble and London. The guitar shows extra frets on the fingerboard, a ‘moustache’ bridge and the geometrical design around the soundhole, which are all typical of these makers. £300-500

37. PIET J. NEUCKENS (ACTIVE LATE 19TH CENTURY) PORTRAIT OF A BELGIUM TROMBONE PLAYER Signed and dated l.l 'P. J. Neuckens `81' Oil on board Image size: 33 x 20cm. (13 x 8in.) Framed size: 50 x 37cm. (19¾ x 14½in.) £200-300

38. CONTINENTAL SCHOOL, EARLY 20TH CENTURY PORTRAIT OF A WOMAN PLAYING A CITTERN IN A COUNTRYSIDE SETTING Signed and dated l.l.'Losie**ble 1919' Oil on canvas Unframed Image size: 48.5 x 38.5cm. (19 x 15in.) £80-120

39. JAN ZAMOYSKI (1901-1986) PORTRAIT OF AN MAN PLAYING A GUITAR Signed l.r. 'Jan Zamoyski' Oil on Canvas Image size: 100 x 67cm. (39½ x 26¼in.) Framed size: 134 x 102cm. (53 x 40in.) Jan Zamoyski was born in Poland and was a stage designer and decorator. His style represented the traditionalist trend in art during the 1930s and socialist realist aesthetics in the post-war period. From 1921-1922, he studied under John Kauzik,Wladyslaw Skoczylas and Mieczyslaw Kotarbinski at the Municipal School of Decorative Arts in Warsaw. He continued his study at the School of Fine Arts under the tutelage of Tadeusz Pruszkowski during 1923-1928. In 1925 he, along with fellow creatives, founded the Brotherhood of St. Luke. The most notable exhibitions by the group were at the Warsaw Society for the Encouragement of Fine Arts (1928, 1929, 1932, 1938.), the Institute of Art Propaganda (1938) and the Palace of Art at Krakow (1930, 1938). Zamoyski exhibited extensively abroad, including the Musée Rath in Geneva (1931), the Brooklyn Museum in New York (1933), Pruessiische Akademie de Künste in Berlin (1935) and the Dutch Association of St. Luke in Amsterdam (1936). Zamoyski also practised interior design; his involvement in the design and painting of the fresco that adorned the lobby of the Military Geographical Institute in Warsaw (1919-1949) depicting Polish history became the highlight of his interior design career. During the Second World War, Zamoyski was drafted and took part in the September campaign. From 1939-1945, Zamoyski was captured and sent to Oflag II B Arnswalde, a prisoner of war camp, where he taught art classes and gave lectures on art. After the liberation, Zamoyski continued to pursue a successful career in art and interior design. He was later awarded the Gold Cross of Merit (1954), the medal of the 10th anniversary of People's Republic (1955), Knight's Cross of the Order of the Rebirth of Poland (1956), Officer's Cross of the Order of the Rebirth of Poland (1969) and the Cross of Military virtue, the equivalent to the Victoria Cross. By the end of his life, Zamoyski was highly regarded as both an artist and soldier in Poland, exhibiting unwavering patriotism for his country, evident in his art and military career. £3000-4000 19

VARIOUS OWNERS

40. FOLLOWER OF MICHIEL VAN MIEREVELDT (1566-1641) PORTRAIT OF THE STADTHOLDER PRINCE MAURITS OF ORANGE-NASSAU (1567-1625) Oil on canvas Image size: 120 x 100cm. (47 x 39in.) Framed size: 140 x 114cm. (55 x 44in.) Maurits spent his youth in Dillenburg, Nassau, and studied in Heidelberg and Leiden. In 1585, after the death of his father, William the Silent, Maurits became stadholder of Holland Zeeland, as well as stadtholder of Utrecht, Guelders and Overijssel in 1590, and of Groningen in 1620. During his role as Captain-General and Admiral of the Union, Maurits organized the Dutch rebellion against Spain. His leadership resulted in a coherent and successful revolt against Spain, earning him the reputation as a formidable military strategist. Under his leadership and in cooperation with the Land's Advocate of Holland, Johan Van Oldenbarnevelt, the Dutch States Army achieved many victories and drove the Spanish forces out of the north and east of the Republic. During the Twelve Years Truce, Maurits set out to revise and transform the classical doctrines of Vegetius and led the way for new European forms of armament and drill. After the Truce, Maurits failed to achieve the victories he accomplished in his youth. He died with no legitimate heir. His brother, Frederick Henry, succeeded as stadtholder. The familial line is very much evident in the brothers’ portraiture, and the similarities between the two portraits are startling. The portrait of Frederick Henry is currently held by the Rijksmuseum (SK-A-254) and is attributed to the studio of Michiel Jansz van Mierevelt, circa 1632. The ruff worn by Maurits in his portrait, and the rounder form of the pauldrons indicates that the sitter is seen as representing an earlier fashion, than that found in the Rijksmueseum's portrait of Frederick Henry, which coincides with the line of succession. The original portrait of Prince Maurits is currently held at the Prinsenhof, Delft. £5000-8000 20

41. FREDERICK RICHARD LEE RA (1798-1879) A VIEW FROM EDGE HILL, WARWICKSHIRE Signed and dated l.l. 'Fred.k Rich.d Lee/1832' Oil on board Image size: 39 x 52.5cm. (15¼ x 20¾in.) Framed size: 48 x 61cm. (19 x 24in.) Provenance: with Thomas Agnew & Sons Ltd. £800-1200

42. 42. ¤ FOLLOWER OF JAN JACOB SPOHLER (1811-1879) A WINTER SCENE WITH SKATERS ON A FROZEN RIVER, POSSIBLY HOLLAND Oil on panel Image size: 33.5 x 45.5cm. (13¼ x 18in.) Framed size: 49 x 62cm. (19¼ x 24in.) £100-150

43. CARL RUDOLF HUBER (1839-1896) THE JUNGLE Signed l.r. 'C. Rud. Huber' Oil on canvas Unframed Image size: 56 x 75cm. (22 x 29½in.) £250-350

44. HENRIETTE RONNER-KNIP (1821-1909) A PRETTY KITTEN Signed l.l. 'Henriette Ronner' Oil on board Image size: 16.5 x 24cm. (6½ x 9½in.) Framed size: 28½ x 36cm. (11¾ x 14in.) Henriette Ronner-Knip began painting seriously in 1835, after being tutored by her father Joseph August Knip from an early age. At the beginning of her career, Ronner-Knip painted a variety of subjects but all within the theme of animals and nature, first in watercolour, then in oils. She became the first woman admitted as an active member to Arti et Amicitiae in Amsterdam, and regularly contributed to exhibitions. In 1860, she created her most highly acclaimed work, entitled La mort d'un ami. For this painting she received the Gold Medal at the Levende Meesters exhibition in The Hague. In 1862, she exhibited the same painting at the World Art Fair in London, thereby establishing an international popularity. From 1870 till the end of her life, her subject matter became focussed almost entirely on cats. These paintings were particularly popular among the urban middle class, as cats were becoming increasingly popular as house-pets. Whilst frisky felines were her preferred subject, Ronner-Knip would occasionally paint other animals, most notably the lap dogs belonging to Marie Henriette of Austria and Princess Marie of Hohenzollern-Sigmaringen. How she achieved the realistic character associated with her work, involved keeping a large group of cats in her home. She would observe their activity, then create paper sculptures in the desired poses, along with the necessary props such as furniture and fabrics. Near the end of her life, Ronner-Knip was highly regarded and described by Marion H. Spielman in their book Henriette Ronner: The Painter of Cat Life and Cat Character, as capable of producing:

"a cat-world as impressive as the cattle-world of Potter (Paulus Potter-Dutch, 1625-1654), and as beautiful and touching as the stag and dog worlds of Landseer (Sir Edwin Henry Landseer-British, 1802-1873); and she has peopled it with a race remarkable above all for beauty and grace, for playfulness and cunning, and for intelligence afar beyond what most people have any knowledge of. (Henriette Ronner: The Painter of Cat Life and Cat Character, London: Cassell, 1891, pp. 1, 2)". £2000-3000 22

45. H.MORIS, 19TH CENTURY THE MORNING CATCH Signed and dated l.l. 'H. Moris 1878' Oil on canvas Image size: 59 x 91cm. (23¼ x 35¾in.) Framed size: 70.5 x 101cm. (27¾ x 39¾in.) £200-300

46. ¤ BRITISH SCHOOL, 19TH CENTURY A BATTLESHIP IN OPEN SEA Studio stamp to verso 'JE', believed to be John Everett's (1876-1949) studio stamp Oil on canvas Unframed Image size: 27 x 32.3cm. (10½ x 12¾in.) £80-120

47. ENGLISH SCHOOL, 19TH CENTURY PORTRAIT OF A GENTLEMAN Oil on canvas Image size: 26 x 21cm. (10¼ x 8¼in.) Framed size: 32.5 x 27cm. (12.79 x 10.62in.) £100-150

48. DUTCH SCHOOL, 17TH CENTURY JOSEPH REVEALS HIMSELF TO HIS BROTHERS IN EGYPT Bears inscription l.l. 'De Guildre', bears inscription to mount sheet 'de Gelder' Pen & ink with sepia & grey washes on laid paper with a countermark 'A*' Image size: 25 x 26cm. (9¾ x 10¼in.) Framed size: 49 x 44cm. (19¼ x 17¼in.) Provenance: With the Folio Society Collectors Corner (as Pilate Washing his Hands) £300-500

49. ¤ FOLLOWER OF FRANCESCO SOLIMENA (1657-1747) THE ARRIVAL OF THE QUEEN OF SHEBA Pen & ink on laid paper with an indistinct watermark Unframed Image size: 25 x 32cm. (10 x 12½in.) The present work is after Solimena's painting of the same subject; but with a different figural composition in the lower right corner, following that of Alessandro Guglielmi's in his own depiction of the subject (now in Albertina, Vienna). £80-100

50. CONTE ANTONIO MARIA ZANETTI (1680-1757) AN OLD SHEPHERD (1722) [AFTER PARMIGIANINO] Signed in plate l.l. 'P. Inv.AMZ. del. et Sculp, dated in plate l.r. '1722'; bears inscription in red ink verso 'early Italian chiaroscuro woodcut / 1722' Chiaroscuro woodcut printed in shades of grey and dusky pink on cream laid paper Unframed Plate size: 168 x 113mm. Sheet size: 170 x 116mm. Literature: Bartsch, XII.169.22; Lorenzetti, 1917, 101.22 £300-500 24

51. DUTCH SCHOOL (CIRCA 1700) CHRIST CHASTISES SAINT PETER FOR CUTTING OFF THE EAR OF MALCHUS, THE HIGH PRIEST'S SERVANT Bears attributions in black chalk verso Honthorst / A. de Gelder / Rembrandt Black chalk, point of the brush and grey and black wash, heightened with white Unframed Image size: 18.8 x 21.9cm. (7½ x 8½in.) £400-600

52. CAPTAIN JOHN BERNARD GILPIN (1701-1776) VIEW OF A CHURCH BEHIND A SMALL LAKE Pen & inks with monochrome washes Image size: 25.5 x 31cm. (10 x 12¼in.) Framed size: 43.5 x 48cm. (17 x 19in.) Provenance: With Abbot & Holder, London; From where purchased by Jeremy Knight, Horsham[Curator of the Horsham Museum] £150-200

53. ¤ FOLLOWER OF FRANCESCO ZUCCARELLI, R.A. (17021788) A CAPRICCIO LANDSCAPE WITH A WAGON LEAVING A FORTIFIED TOWN Bears numbering in pencil verso Pen & ink with wash, heightened with white, on laid paper treated with yellow-brown wash Unframed Image size: 17.4 x 25.5cm. (7 x 10in.) £200-300

54. THEODORE 'DIRK' VERRIJK (1734 - 1786) A LOW COUNTRIES RIVER VIEW WITH A VILLAGE BY THE BANK Paper watermarked J KOOL [Jan Kool, Amsterdam, active 1728-1800, pace Churchill (1935)] Watercolour with pen & ink Unframed Image size: 32.5 x 50cm. (13 x 19¾in.) £300-500

55. AFTER POLIDORO DA CARAVAGGIO STUDY FOR A FRIEZE - A MAN STANDING ON A DAIS, HANDING A SMALL SACK TO TWO WOMEN, ANOTHER MAN BEHIND - AFTER THE ORIGINAL BY POLIDORO DA CARAVAGGIO Bears monogram of Cherubino Alberti (1553-1615) l.r. Indistinctly signed l.r. ‘Polidoro’ [?] Pen & ink with faint pencil outlines on laid paper [no visible watermark] Unframed Image size: 28 x 20cm. (11 x 8in.) £200-300

56. JOSHUA CRISTALL, OWS (1763-1847) STUDY OF A BOY Signed and dated lower right 'J.Cristall 1826' Pencil, pen and brown ink and water colour Largest: 19 x 15.5 cm. (7½ x 6¼in.) together with; WILLIAM HENRY HUNT, OWS (1790 - 1864) STUDY OF A BABY SLEEPING; SIR GEORGE HAYTER (1792-1871) TWO STUDIES SKETCHED AT THE GENERAL COURT OF THE EQUITABLE SOCIETY, HELD ON THE 18TH and 20th DECEMBER, 1849; ROBERT TAYLOR PRITCHETT (1823-1907) THE DEER HUNT 'ALL RIGHT THANK YOU' Provenance: Spink, London, APB 6671, May 1990; Christie' South Kensington, 5th July 2006, 1074A, Sabin Galleries London. (5) £100-150 26

57. ¤ WILLIAM ALEXANDER (1767 - 1816) VIEW OF A FARMHOUSE Monochrome washes on laid paper Image size: 19 x 25cm. (7½ x 10in.) Framed size: 39.5 x 44cm. (15½ x 17¼in.) Provenance: With Abbott & Holder, London; From where purchased by the previous owner, Oct. 2007 £100-150

58. ¤ FOLLOWER OF GEORGE BARRET Jnr., O.W.S. (1767-1842) AN EXTENSIVE LANDSCAPE VIEW AT SUNSET Signed in pencil l.l. Watercolour Image size: 41 x 63cm. (16 x 24¾in.) Framed size: 49 x 69cm. (19¼ x 27in.) £80-100

59. ¤ REV. JAMES BOURNE (1773-1854) KENILWORTH CASTLE, WARWICKSHIRE Titled verso in pencil Monochrome washes with faint pencil outlines Unframed Image: 35.7 x 53cm. (14 x 21in.) The present work was likely painted at the same time as two further views of Kenilworth by Bourne, now in the British Museum, London (1956,1005.42 & 1948,0214.2), and a view of Figures on a path by Kenilworth Castle sold at auction in 2001. £200-300

60. REV. JAMES BOURNE (1773-1854) ETON COLLEGE FROM THE EAST grey wash over pencil Image size: 19.5 x 26.5cm. (7¾ x 10½in.) Framed size: 36 x 43.5cm. (14 x 17in.) together with: CIRCLE OF WILLIAM EVANS OF ETON (1798-1877) PAIR OF VIEWS OF ETON COLLEGE CHAPEL ink, pencil and chalk 38.5 x 32.5cm. (15¼ x 12¾in), 'FERDINAND BECKER (FL.1790 - 1810) A Pair of Views of Eton College'; 'CIRCLE OF JOHN VARLEY (17781842) River Ferry on the Thames near Eton'; and 'FOLLOWER OF JOHN VARLEY Boatmen on the Thames near Eton College' (7) £150-200 61. ENGLISH SCHOOL, 19TH CENTURY ETON COLLEGE Plate size: 270 x 360 mm. Framed size: 59 x 47cm. (23¼ x 18½in.) together with; a print titled 'Collegium Regale de Eton Prope Windsor After David Loggan (1634 - 1692)'; and a print of 'The Queen at the Camp' (3) £60-80

62. FOLLOWER OF DAVID COX, O.W.S. (1783 - 1854) VIEW OF A CASTLE FROM BENEATH Bears signature l.l. 'D Cox' Monochrome & brown washes over pencil Image size: 23.5 x 32cm. (9¼ x 12in.) Framed size: 38 x 46cm. (15 x 18in.) £100-150

63. ATTRIBUTED TO THALES ANGELO VERNET FIELDING (17931837) A VIEW OF LONDON FROM A COUNTRY LANE, WITH COWS IN THE FOREGROUND. Watercolour and white heightening Image size: 14.5 x 31cm. (5¾ x 12¼in.) Framed size: 39.5 x 52cm. (15½ x 20½in.) Provenance: Bill Thomson, Albany Gallery. £200-300 28

64. ¤ SAMUEL BOUGH, R.S.A., R.S.W. (1822-1878) HOLY TRINITY CHURCH, STRATFORD-UPON-AVON Signed & dated l.l., bears title to label on backboard Watercolour Image size: 27.5 x 32.5cm. (11 x 12¾in.) Framed size: 34.5 x 49cm. (13½ x 19¼in.) £100-180

65. WILLIAM STRANG R.A. (1859-1921) ENTRANCE TO THE PRADO, MADRID Pencil on paper Image size: 18 x 15cm. (7 x 6in.) Framed size: 34 x 29.5cm. (13½ x 11½in.) £200-300

66. ¤ • BERTRAM NICHOLLS (1883-1975) RUINED CASTLE ON THE BANKS OF A RIVER Signed to stretcher in pen Bertram Nicholls Oil on canvas Image size: 40 x 48.5cm. (15¾ x 19in.) Framed size: 51 x 60cm. (20 x 23½in.) £250-350

67. • CHARLES CUNDALL, R.A., R.W.S (1890-1971) A TERRACE BY THE SEAFRONT AT MONTE CARLO Gouache and thinned oil over pencil on tracing paper Image size: 33 x 41cm. (13 x 16in.) Framed size: 51 x 58.5cm. (20 x 23in.) Provenance: the artist’s daughter The present work is a compositional study of the right hand side of Cundall’s painting The Terrace at Monte Carlo, exhibited at the Royal Academy in 1956 (no.240). £250-350

68. SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944) STUDY FOR 'THE NATIVITY' Related study to reverse Monochrome watercolour over pen and ink Image size: 16 x 17cm. (6¼ x 6¾in.) Framed size: 43 x 42cm. (17 x 16½in.) One of the final subjects Clausen worked on was an idea for a Nativity and a number of related works on paper exist. Painted around 1940, the most similar to the present study, being a drawing in the Holbourne Museum, Bath. The drawings were all influenced by Clausen's long held admiration for Rembrandt's The Adoration of the Shepards in the National Gallery, about which he wrote eloquently in his Royal Academy Lectures. For comparable studies, see Kenneth McConkey, Sir George Clausen R.A. (1852-1944), exhibition catalogue, Bradford and Tyne & Wear Museums, 1980, McKonkey (op cit. (1980) p. 110. cat nos. 161-163). £250-350

69. ¤ CONTINENTAL SCHOOL, EARLY 20TH CENTURY A VIEW OF THE RIVER TIBER, WITH ST. PETER'S IN THE BACKGROUND. Signed l.r. Watercolour Image size: 24 x 34cm. (9½ x 13¼in.) Framed size: 40 x 49cm. (15¾ x 19¼in.) £80-120

70. FRANCIS OLIVER FINCH, O.W.S. (1802-1862) A LONE FIGURE BY A POOL AT SUNSET, WITH CLASSICAL RUINS Bears inscription and pencil sketch to verso 'J. Varley' Watercolour heightened with white, with scratching out Image size: 10 x 15.5cm. (4 x 6in.) Framed size: 18 x 23cm. (7 x 8in.) £200-300

71. FOLLOWER OF GEORGE CHINNERY, R.H.A. (1774 - 1852) OLD CANTON FROM THE WATER [GUANGZHOU, CHINA], SHOWING SEVERAL OF THE HONGS Watercolour with pen & ink Image size: 6.5 x 10cm. (2½ x 4in.) Framed size: 34 x 36cm. (13½ x 14in.) Provenance: With Julia Korner Fine Art, London. £300-500

72. RICHARD BANKES HARRADEN, S.B.A. (1778-1862) A PAIR OF VIEWS OF PETERBOROUGH CATHEDRAL Both signed & dated l.r. 'R B Harraden delt / 1830' Watercolour with pen & ink Image size: 13 x 21cm. (5 x 8¼in.) (2) Provenance: Anonymous Sale, Christie's, South Kensington, 15/04/2015, Lot 501. £200-300

73. ¤ ATTRIBUTED TO JAMES DUFFIELD HARDING, O.W.S (1797 - 1863) PENZANCE, LOOKING OUT TO SEA Pencil heightened with white Image size: 10.8 x 17.8cm. (4¼ x 7in.) Framed size: 25.5 x 32cm. (10 x 12½in.) Provenance: Thomas Agnew & Sons, £100-150

74. JOHN HENRY MOLE, V.P.R.I. (1814-1886) A BOY CARRYING A FISHING NET ON A BEACH Signed & dated l.l. ' J.H. Mole 1859' Watercolour Image size: 16.5 x 22.5cm. (6½ x 9in.) Framed size: 35 x 40cm. (13¾ x 15¾in.) £200-300

75. ¤ WILLIAM MAW EGLEY (1826-1916) A SERIES OF STUDIES FOR KING HENRY I RECEIVING TIDINGS OF THE SHIPWRECK OF HIS SON, PRINCE WILLIAM (1847) Variously titled, inscribed, dated & signed to mounts Pencil with red & black chalks Unframed Image size (illustrated): 36 x 30.5cm. (14¼ x 12in.) Provenance: Private Collection, London (6) The present group are studies for a painting shown in late June of 1847 at the Art Union Exhibition at Westminster Hall (No. 83). The painting was also exhibited six years later in New York, at the 'New York Exhibition of the Industry of All Nations' (1853, cat. no. 451). £300-500

76. SIR EDWARD BURNE-JONES, A.R.A, R.W.S. (18331898) STUDIES OF YOUNG CHILDREN POSSIBLY FOR THE 'GRAHAM PIANO' Pencil Image size: 23.5 x 16.5cm. (9¾ x 6½in.) Framed size: 43.5 x 36cm. (17¼ x 14¼in.) Provenance: acquired by the present owner from Abbott and Holder. The present sketches, probably of one of the artist's children, bears some comparison with the decoration on the interior of the lid of the Graham Piano of 18701880. £1200-1800

77. HELEN ALLINGHAM, R.W.S. (1848-1926) PORTRAIT OF A BEARDED MAN IN A HAT Signed with monogram Watercolour Image size: 11.5 x 10.5cm. (4.52 x 4.13in.) Framed size: 37.5 x 35.5cm. (14 x 13in.) £500-700

78. HELEN ALLINGHAM, R.W.S. (1848-1926) THE BLUE SHAWL Signed l.r. 'H.Allingham' Watercolour Image size: 11.5 x 10.5cm. (4.52 x 4.13in.) Framed size: 26 x 24cm. (10 x 9in.) Provenance: Chris Beetles. £600-800

79. CHARLES FAIRFAX MURRAY (1849-1919) PORTRAIT OF GREAT UNCLE Inscribed upper left 'GREAT UNCLE' Pencil on paper Image size: 20 x 25cm. (8 x 9¾in.) Framed size: 38 x 41cm. (15 x 16in.) Provenance: From the artist's studio, thence by descent; The Maas Gallery, London. Charles Fairfax Murray was an artist, art connoisseur, collector and dealer who made important contributions to the South Kensington Museum's collections during his lifetime. From 1869 to 1870, Murray worked as an assistant in Dante Gabriel Rossetti's (1828-1882) workshop, and subsequently became associated with the second wave of the Pre-Raphaelites. £80-120

80. ¤ • ARTHUR ROYCE BRADBURY (1892-1977) A PORTRAIT OF A YOUNG MAN Signed l.l. Pencil on paper Image size: 25 x 17cm. (9¾ x 6¾in.) Framed size: 40½ x 31cm. (15¾ x 12¼in.) £60-80

81. • SIR WILLIAM RUSSELL FLINT R.A., R.O.I (1880-1969) A BATHER Signed l.l. 'W. Russell Flint' and titled to reverse Watercolour Image size: 47½ x 31½cm. (18¾ x 12½in.) Framed size: 76 x 58cm. (30 x 23in.) Provenance: W.B. Simpson, 84 St Vincent Street, Glasgow, where acquired by the vendor's family; thence by descent. £4000-6000

82. • SAMUEL JOHN LAMORNA BIRCH, RA, RWS (18691955) SCENE ON AN ESTUARY Signed l.l. 'S.J. Larmorna Birch' Watercolour Image size: 25 x 35cm. (9¾ x 13¾in.) Framed size: 43 x 53.5cm. (17 x 21in.) £100-150

83. ¤ • SAMUEL JOHN LAMORNA BIRCH, R.A., R.W.S. (18691955) COWS GRAZING BEFORE A VILLAGE Signed l.r. 'S.J. Lamorna Birch. 19.' Watercolour on paper Image size: 9½ x 12 cm. (3¾ x 4¾in.) Framed size: 28½ x 29½cm. (11 x 11½in.) together with; another by the same hand, HILLTOP COTTAGE. (2) £80-100

84. DAVID COX JUNIOR, A.R.W.S. (1809-1885) WELSH MOUNTAINOUS LANDSCAPE WITH FIGURES OUTSIDE A STONE COTTAGE Pencil and watercolour Image size: 23 x 34cm. (9 x 13½in.) Framed size: 51.5 x 57cm. (32½ x 22½in.) £80-120

85. JOHN JESSOP HARDWICK, O.W.S. (1831-1917) STILL LIFE OF FLOWERS Signed l.r. 'J. Jessop Hardwick.' Pencil and watercolour heightened with white Image size: 21.5 x 18cm. (8½ x 7in.) Framed size: 36.5 x 32.5cm. (14½ x 12½in.) Provenance: Chris Beetles 1983. £100-150

86. ROBERT MALCOLM LLOYD (EXHIB. 1880-1899) AT PENZANCE Signed and dated l.r. 'R Malcolm Lloyd/1887/Penzance' Pencil and watercolour Image size: 24 x 36cm. (9½ x 14½in.) Framed size: 53 x 65cm. (21 x 25½in.) £80-120

87. AFTER THOMAS ROWLANDSON (1756-1827) THE JOCKEY CLUB OF NEW MARKET Inscribed l.l. 'Rowlandson Del,' numbered upper right '111' Etching with later hand colouring Plate size: 230 x 330mm. Framed size: 45 x 53.5cm. (17¾ x 21in.) £80-100

88. A SET OF PRINTS FROM HISTOIRE NATUREL QUADRUPEDES Titled below image, numbered upper right 'pl.9' Etching Plate size: 250 x 170mm. Framed size: 63 x 56cm. (25 x 22in.) together with; three by the same hand Pl.12, Pl. 13, Pl.15 (4) £100-200

89. MARIUS BAUER (1867-1932) AN ORIENTALIST SCENE Signed l.r. corner of plate 'M.BAUER' and initialled in pencil 'MB' Etching Plate size: 430 x 270mm. Framed size: 67.5 x 50.5cm. (26.57 x 19.8in.) £250-350

90. AFTER THOMAS ROWLANDSON (1756-1827) AND AUGUSTUS CHARLES PUGIN (1762-1832) COVENT GARDEN THEATRE Inscribed l.l. and l.r. 'Pugin & Rowlandson del et sculp'. / 'J.Bluek Aqua.' Titled below print, 'Covent Garden Theatre / London: Published 1st July 1808 at R. Archermanns Repository of Arts 101 Strand.' Mezzotint Plate size: 230 x 270mm. Framed size: 44 x 39cm. (17.32 x 15.35in.) £300-400 39

91. JANSEN CHOW JEAN SHENG, 20TH CENTURY A GROUP OF PRINTS: 'LUNCH TIME', 'LONG WAITING', 'TEAMWORK' (illustrated) Signed l.r.'Jansen' Lithograph Largest: 30 x 44.5cm. (11.81 x 17.51in.) £300-400

92. JAMES MCNEILL WHISTLER (1834-1903) FULHAM 1878 Signed l.r. in plate Etching Plate size: 130 x 200mm. Framed size: 44 x 54.5cm. (17.32 x 21.45in.) £300-400

93. JOHN COPLEY (1875-1950) INTERESTED SPECTATORS Signed in pencil l.r. 'John Copley Imp' with artist stamp to l.l. corner Lithograph Plate size: 510 x 350mm. Framed size: 77.5 x 60.5cm. (30.51 x 23.81in.) £100-200

94. WILLEM WITSEN (1860-1923) AMSTERDAM, OUDE WAAL Signed l.r. 'Witsen', numbered l.l. 11˚00 Etching Plate size: 285 x 420mm. Framed size: 54 x 67.5cm. (21.25 x 26.57in.) £100-150

95. GEORGE SOPER, R.E. (1870-1942) COAL WHARF, TOPSHAM, DEVON. Etching Plate size: 130 x 255mm. Framed size: 34 x 45cm. (13½ x 17¾in.) together with: G.H. BARRAUD (1877-1965) A SAILING BOAT AT SEA, CHARLES FREDERICK ALLBON, A.R.E (1856-1926). (3) £100-150

96. ¤ LOUIS LAURENT RAZE (1805-1872) A SAILING BOAT BY THE COAST. Signed on the hull 'L.L.Raze' Lithograph Plate size: 280 x 370mm. Framed size: 49 x 59cm. (19¼ x 23¼in.) together with; another by the same artist, BRITISH SCHOOL, 19TH CENTURY, SHIPPING IN ROUGH SEAS. (3) £80-120

97. ¤ THOMAS GOLDSWORTH DUTTON (1819-1891) AFTER SIR OSWALD W. BRIERLY(1817-1894), THE YACHT 'AMERICA' WINNING THE COWES CLUB CUP Titled below image Lithograph Image size: 440 x 610mm. Framed size: 66 x 83cm. (26 x 32¾in.) £80-100

98. THOMAS SHOTTER BOYS (1803-1874) REGENT STREET; LOOKING TOWARDS THE DUKE OF YORK'S COLUMN Titled l.l. and inscribed l.r. 'T.S. Boys Del Et Lithog.' Lithographs with hand colouring Plate size (illustrated): 300 x 410mm. Framed size: 63 x 51cm. (24¾ x 20in.) together with; two lithographs by the same hand, titled 'HYDE PARK NEAR GROSVENOR GATE' and 'REGENT STREET LOOKING TOWARDS THE QUADRANT'. Provenance: Arthur Ackerman and Son Ltd, London. Literature: All from the T. S. Boys publication 'London as it is' of 1842. (3) £100-150 99. AFTER WILLIAM HANNAN (1820 - 1875) A VIEW OF THE LAKE IN THE GARDEN OF SIR FRANCIS DASHWOOD, WEST WYCOMBE. Titled below image and inscribed l.r. 'William Woollet sculp.' Coloured line engravings Plate size (illustrated): 370 x 530 mm. Framed size: 75 x 58cm. (29½ x 23in.) together with; another engraving by the same hand, titled 'A VIEW OF WALTON BRIDGE, VENUS'S TEMPLE IN THE GARDEN OF SIR FRANCIS DASHWOOD'. Provenance: Arthur Ackerman and Son Ltd, London Note: Published by John Bowles, Carrington Bowles, Henry Parker, John Boydell, and Robert Sayer, both with extensive inscriptions. (2) £100-150 42

100. ERNEST STEPHEN LUMSDEN, (1883-1948) THE SAUT BUCKETS, EDINBURGH (GARTON 233) Signed beneath image in black ink 'Lumsden' and numbered l.l. '45. 60' Drypoint Plate size: 250 x 370mm. Framed size: 51 x 41cm. (20 x 16in.) £100-200

101. • SIR MUIRHEAD BONE (1876-1953) THE DRYDOCK Signed and numbered l.l. 'Muirhead Bone, set no. 25' , signed and numbered on plate 'Muirhead Bone 99' Etching and drypoint Plate size: 250 x 210mm. Framed size: 42 x 37cm. (16½ x 14½) £200-300

102. MORTIMER MENPES (1855-1938) BY THE LIGHT OF THE LANTERN Signed l.r. in pencil 'Mortimer Menpes' Plate size: 260 x 210mm. Framed size: 42 x 37cm. (16½ x 14½in.) £200-300

103. • WILLIAM LEE HANKEY (1869-1952) A WOODED CORNER Signed and inscribed lower central margin 'W. Lee Hankey' and numbered l.r. 'no.7' Plate 7 Etching Plate size: 210 x 220mm. Framed size: 37.5 x 37.5cm. (14¾ x 14¾in.) £100-200

104. RICHARD SAMUEL CHATTOCK (1825-1906) THE POND Signed l.r. 'R. Chattock' Etching Plate size: 210 x 380mm. Framed size: 39 x 56cm. (15¼ x 22in.) £100-200

105. EDWARD SLOCOMBE (1850-1915) CROWS IN WINTER Signed and dated on plate and signed in pencil l.l. 'Edward Slocombe 1880' Etching with drypoint Plate size: 220 x 480mm. Framed size: 50 x 76cm. (19¾ x 30in.) £100-200

106. SYDNEY LEE (1866-1949) BY THE SEASHORE Signed and numbered l.r. 'Sydney Lee No. 35-60' Wood engraving Plate size: 210 x 330mm. Framed size: 41 x 51cm. (16 x 20in.) £100-200

107. AFTER ANGELICA KAUFFMAN (1714-1807) AN ARTISTIC COUPLE WITH A CHILD Inscribed l.l. 'Angelica Kauffman' in plate Stiple engraving printed in colour finished by hand Image size: 280mm. in diameter Framed size: 370mm. in diameter, together with; three engravings, trimmed as roundels, by J.BIRK AND OTHERS (4) £150-200

108. LOUIS ICART (1888-1950) THE BEDROOM WINDOW Signed l.r. 'Louis Icart' and stamp to l.l. Etching with dry point and hand colouring Plate size: 365 x 420 mm. Framed size: 57 x 62cm. (22½ x 24½in.) £700-1000

109. • ROBERT COLQUHOUN (1914-1962) TRINKET SELLER Signed l.r. in plate 'Colquhoun' Lithograph Plate size: 360 x 280mm. Framed size: 64.5 x 56cm. (25½ x 22in.) £500-700

110. • MARIO DUBSKY (1939-1985) GROUP OF FIGURES Signed l.r in red ink 'Mario Dubsky' Etching and aquatint Plate size: 490 x 400mm. Framed size: 67 x 55cm. (26¼ x 21½in.) £200-300

111. • WILLI KISSMER (1951-2018) A PAIR OF FIGURE STUDIES Signed l.r. and initialled l.l. 'E.A' Mezzotint Image size (illustrated): 595 x 220mm. Framed size (illustrated): 95.5 x 57cm. (37½ x 22½in.) together with; another by the same hand. (2) £150-200

112. • WILLI KISSMER (1951-2018) TORSO, MORNING LIGHT Signed l.r. and numbered l.l. '61/250' Copper engraving Image size: 290 x 200mm. Framed size: 54 x 42cm. (21¼ x 16½in.) £100-150

113. ¤ • FRED MAY (1891-1976) CARIACATURES OF NAVAL RANKS Signed upper left 'Fred May' Ink, wash and white heightening Image size: 33 x 40cm. (13 x 15¾in.) Framed size: 49 x 61.5cm. (19¼ x 24in.) £80-100

114. • MORRIS KESTELMAN (1905-1988) A COUNTRYSIDE SCENE, POSSIBLY FRANCE Watercolour Image size: 31 x 46cm. (12 x 18in.) Framed size: 44.5 x 56.5cm. (17½ x 22¼in.) £100-150

A GROUP OF WORKS BY FERMIN ROCKER (1907-2004) Fermin Rocker was born in London and was the son of the German anarcho-syndicalist theorist and activist Rudolf Rocker and Milly Witkop, anarchist, and feminist activist, who had both fled to London in the 1890s. Throughout his childhood, Fermin Rocker was introduced to many prominent anarchists, such as Errico Malatesta and Peter Kropotkin, as a result of attending many of his father's meetings. With the outbreak of War, his mother and father were interned as enemy aliens, due to their vocal opposition to both sides in World War I on internationalist grounds. The family were reunited in Amsterdam in 1918 and settled in Germany where Fermin Rocker was first introduced to artists and began to draw and paint. In 1929, Rocker settled in a rural commune in New York; his parents joining him a few years later. Whilst there, he worked as a draughtsman, cartoon animator, commercial artist and then for many years as a book illustrator. His first solo exhibition was in New York in 1944. During the 1950s and for the remainder of his career, Rocker turned his attention to oil painting, often choosing human activity such as a meeting, musical performance or even taking the train. It was only after his return to London in the 1970s, with his wife Ruth Robins, that he began to profit from his art. Despite growing up surrounded by strong political views, few of his works were directly political; his painting of a mass of Basque refugees heading away from the destruction wrought by the Franco's allies towards the French boarder was one exception. Fermin Rocker continued to paint until the last few weeks of his life. His son, who cared for him in his closing years, was always amused that the anarchist paper Freedom arrived unbidden in the mailbox.

115. • FERMIN ROCKER (1907-2004) LONDON UNDERGROUND Signed l.r. 'F. Rocker' Oil on board Image size: 39 x 49cm. (15¼ x 19¼in.) Framed size: 44 x 54cm. (17¼ x 21¼in.) £600-800

116. • FERMIN ROCKER (1907-2004) BATHTIME Signed l.l. 'F. Rocker' Oil on board Image size: 38.5 x 48.5cm. (15½ x 19in.) Framed size: 43 x 53.5cm. (17 x 23in.) £300-500

117. • FERMIN ROCKER (1907-2004) THE UNDERGROUND Oil on canvas Image size: 75 x 58cm. (29½ x 22¾in.) Framed size: 84.5 x 68cm. (33¼ x 26¾in.) £800-1200

118. • FERMIN ROCKER (1907-2004) CHILDREN PLAYING IN THE SAND PIT Signed l.l.'F. Rocker' Oil on canvas Image size: 75 x 58cm. (29½ x 22¾in.) Framed size: 84.5 x 68cm. (33 x 26¾in.) £300-500

119. • IRENE WELLBURN (1910-2000) CHELSEA Signed l.r. 'Irene Wellburn' Oil on panel Image size: 44 x 74cm. (17¼ x 29in.) Framed size: 54.5 x 85cm. (21½ x 33¼in.) £100-150

120. • IRENE WELLBURN (1910-2000) APPLE PICKERS Signed l.l. 'Irene Wellburn' Oil on panel Image size: 73 x 59cm. (28¾ x 23¼in.) Framed size: 88 x 74cm. (34¾ x 29in.) £100-150

121. • ROBERT BUHLER R.A. (1916-1989) MIDDAY SUN 1985 Signed l.r. 'Buhler' Oil on canvas Image size: 38 x 49.5cm. (15 x 19½in.) Framed size: 50 x 60cm. (19¾ x 23in.) £800-1200

122. • BERNARD DUNSTAN R.A. (1920-2017) THE PIAZZETTA, DUSK (ST. MARKS SQUARE) Initialled l.l. 'BD' Oil on board Image size: 26 x 24cm. (11½ x 9½in.) Framed size: 42.5 x 37cm. (16½ x 14½in.) Bought on a visit to the artist's studio at Kew, July 17th 1980. £800-1200

123. • SIR ROBIN DARWIN R.A. (1910 - 1974) THE COLLEONI MONUMENT, VENICE Oil on canvas Image size: 76 x 63.5cm. (29¾ x 25in.) Framed size: 98 x 84cm. (38½ x 33in.) Provenance: John Constable Collection £300-500

124. • DAVID HAZELWOOD (1932-1994) ABSTRACT GREEN AND RED Signed l.r. 'D. Hazelwood' Mixed medium Image size: 30 x 32.5cm. (12 x 13in.) Framed size: 60 x 62cm. (23½ x 24¼in.) £100-150

125. • AFTER KEITH VAUGHAN (1912-1977) LAGOON - BOYS ON A PUNT Signed l.l. 'Vaughan' and numbered l.l. in pencil '12/350 ' Giclee print Image size: 315 x 450mm. Framed size: 55.5 x 69cm. (21½ x 27in.) £200-300

126. • ANDREW FREETH, PRWS (1912-1987) (1912-1987) THE ORCHESTRA AT FLORIAN'S, 1982 Signed l.l. 'H. A. Freeth' Watercolour and gouache Image size: 30.5 x 44.5cm. (12 x 17½in.) Framed size: 48.5 x 61cm. (19 x 24in.) Provenance: John Lindsey Fine Art, Knowle £80-120

127. • DAVID TINDLE, RA (B. 1932) MICHAELA 2005 Tempera on board Image size: 29 x 25cm. (11½ x 9¾in.) Framed size: 32.5 x 28cm. (12¾ x 11in.) £200-300

128. • KARL HAGEDORN (1889-1969) OUTSIDE THE VILLA, MALCESINE, LAKE GARDA Signed and dated lower right 'Karl Hagedorn 58' and inscribed under the mount Watercolour Image size: 33 x 53cm. (13 x 20¾in.) Framed size: 74 x 53cm. (29 x 21in.) Provenance: Southgate Gallery; John Constable Collection. £80-120

129. RUSSIAN SCHOOL, 20TH CENTURY A FARM IN THE COUNTRYSIDE Signed l.r. Oil on thin board Unframed Image size: 50 x 69cm. (19¾ x 27in.) £150-200

130. RUSSIAN SCHOOL, 20TH CENTURY A SNOW COVERED VILLAGE Signed l.r. and inscribed to reverse Oil on canvas Unframed Image size: 58 x 81.5cm. (22¾ x 32in.) £150-200

131. CHINESE SCHOOL, 20TH CENTURY PERSIMMON PICKING Titled to reverse Acrylic paint on paper Image size: 64 x 49cm. (25 x 19.29in.) Framed size: 95 x 69cm. (37 x 27in.) £80-100

132. • GERTRUDE MARKIN (1947-2002) THE GARDEN OF BARBARA HEPWORTH’S STUDIO, ST IVES Signed and dated l.r. 'Gertrude Markin 1986' Watercolour and gouache Image size: 18 x 28cm. (7 x 11in.) Framed size: 41.5 x 50.5cm. (16 x 20in.) Gertrude Markin was a Dutch poet and translator. Her written works include five published collections, consisting of seventy-five passages made up of one or more poems and entitled ‘The Road To Egypt’. Markin and her husband Jan Starink lived, from 1985 until her death, in St. Ives, Cornwall. They ran a small antiquarian bookshop called The Mirror and the Lamp, Pictures and Poetry. £200-300 133. ATTRIBUTED TO BERTRUM PRIESTMAN R.A., R.O.I (1868-1951) SCENE BY A RIVER Bears signature l.l. 'B. Priestman ARA' Oil on board Image size: 24 x 32.5cm. (9½ x 12¾in.) Framed size: 35 x 43cm. (13¾ x 17in.) £100-150

134. • TONY WEDDELL, LATE 20TH CENTURY A VIEW OF AMERICAN B-29 SUPER FORTRESSES FROM ABOVE Signed l.r. 'T.Weddell' Oil on canvas Unframed Image size: 123 x 150cm. (48 x 60in.) £100-150

135. • EMILE ANTOINE VERPILLEUX, M.B.E. (1888-1964) AN EXTENSIVE LANDSCAPE VIEW Signed & dated l.r. 1913 Oil on canvas laid to board Unframed Image size: 33 x 40cm. (13 x 15¾in.) £100-150

136. ¤ • JACQUELINE RIZVI R.W.S., R.B.A, N.E.A.C. (b. 1944) FIREWORKS NIGHT Signed and dated l.r. 'JLR 87' Watercolour Image size: 35.5 x 41cm. (14 x 16¼in.) Framed size: 61 x 65.5cm. (24 x 25¾in.) £100-150

137. ¤ • RUDOLF SAUTER, R.I., R.B.A., P.S. (1895-1977) A SUNLIT VALLEY Inscribed verso Study D Pastel on paper Image size: 37 x 51cm. (14½ x 20in.) Framed size: 52 x 68cm. (21¾ x 26in.) £80-100

138. ¤ • LADY LUCINDA MACKAY (B. 1941) THE MARINA, TORBOLE, ITALY Signed upper left, exhibition label to backboard Ink and watercolour on paper Image size: 42 x 57cm. (16½ x 22½in.) Framed size: 61 x 75cm. (24 x 29½in.) Exhibited: Torrance Gallery, Edinburgh, 21st February 1998, No. 68 £80-100

139. ¤ HOLGER HVITFELD JERICHAU (1861-1900) A HILLSIDE CHURCHYARD, POSSIBLY IN CAPRI Signed l.r. 'Holger H Jerichau' Oil on canvas Image size: 57 x 97cm. (22½ x 38¼in.) Framed size: 61 x 101½cm. (24 x 40in.) Provenance: Private Collection, Copenhagen. £100-200

140. • HUBERT FINNEY (1905-1991) SELF PORTRAIT Signed l.l. 'H. Finney' Pencil on paper Image size: 42.5 x 28cm. (16¾ x 11in.) Framed size: 53 x 39cm. (21 x 15¼in.) £400-600

141. • FRUIN CHARLES BRUCE BRAVINGTON (1910-2000) VINEYARDS, OBERKIRCH, BLACK FOREST Signed and dated l.r. 'Bravington '64' Oil on canvas Image size: 44.5 x 34.5cm. (17½ x 13½in.) Framed size: 49 x 39cm. (19.29 x 15.35in.) Provenance: From the Artist's studio. £100-150

142. • FRUIN CHARLES BRUCE BRAVINGTON (1910-2000) BANTRY BAY, CORK, IRELAND Initialled and dated l.r. 'F.B.C.B 1955' Oil on canvas Image size: 34 x 24.5cm. (13¼ x 9¾in.) Framed size: 37.5 x 27cm. (14.76 x 10.62in.) £100-150

143. • GILBERT MASON (1913-1972) MINCHINHAMPTON Oil on board Image size: 51 x 61cm. (20 x 24in.) Framed size: 68.5 x 79cm. (26.96in.) £100-150

144. • JOHN GERNAND (1913-1990) SUMMER Oil on canvas Image size: 50 x 76cm. (19¾ x 30in.) Framed size: 66 x 92cm. (25.98 x 36.22in.) £100-150

145. BRITISH SCHOOL, 20TH CENTURY AT THE DOCKS Signed l.l. 'William Klein 1950' Oil on canvas Image size: 35 x 45cm. (13 x 17in.) Framed size: 39 x 50cm. (15 x 19in.) £100-120

146. • MIDGE BRUFORD (1902-1958) NEWLYN - A CORNISH FARMSTEAD Signed l.l. 'Bruford 37' Oil on canvas Image size: 61 x 51cm. (24 x 20in.) Framed size: 66 x 58cm. (25.98 x 22.83in.) £200-300

147. • URSULA EDGCUMBE (1900-1985) UP AN ESTUARY Initialled l.l. 'U.E.' Oil on board Image size: 46 x 58.5cm. (18 x 23in.) Framed size: 56 x 74cm. (22 x 29in.) £150-250

148. • ULA PAINE (1909-2001) THE WORK BOX Signed l.l. 'Ula Paine' Oil on canvas Image size: 59.5 x 49cm. (23½ x 19¼in.) Framed size: 66.5 x 56cm. (26¼ x 22in.) £100-150

149. • ROY TURNER DURANT (1925 - 1998) SELF-PORTRAIT Signed l.r. 'Durrant'; signed, titled and dated on the reverse RTurnerDurant Self Portrait 1949 Oil on canvas Image size: 36 x 47cm. (14¼ x 18½in.) Framed size: 49 x 60cm. (19¼ x 23½in.) together with; Roy Turner Durrant by Peter Davies, Sansom & Co, 2011 Provenance: Bonhams, Oxford, March 2015, No 213; John Constable Collection. £300-500

150. JOOLS HOLLAND O.B.E. D.L. (B. 1958) A STUDY OF SKY OBSERVATION PAVILLION Signed and dated l.r. 'Jools Holland '18' Pencil on paper Unframed Image size: 30 x 20cm. (12 x 8in.) All proceeds to be donated to Westminster Abbey £150-200

151. • JOHN HESELTINE (1923 - 2016) PARLIAMENT SQUARE - THE HOUSE OF COMMONS Signed l.l. 'John Heseltine' Oil on canvas Image size: 107 x 137cm. (42 x 54 in.) Framed size: 122 x 151.5cm. (48 x 59.5in.) Provenance: with Messums, London. £300-400

152. • BESSIE LIDDEL (B. 1927) KUNGA COOKING KUNIA Acrylic on board Image size: 35 x 27.5cm. (13¾ x 10¾in.) Framed size: 38.5 x 30.5cm. (15 x 12in.) £100-150

153. • PHILIP SUTTON R.A. (B. 1928) JACOB SUTTON WITH A SCARF AS A TURBAN Signed, titled and dated 1968 and dedicated 'Jacob with fond love P. Sutton 1970' Oil on canvas Unframed Image size: 127 x 127cm. (50 x 50in.) Provenance: With artists address label to verso £500-700

154. • MICHAEL FELMINGHAM (B. 1935) FISH MARKET, VENICE Signed l.r. Watercolour and gouache Image size: 31.5 x 45cm. (12½ x 17¾in.) Framed size: 55.5 x 69cm. (22 x 27¼in.) £200-300

155. • EMMA SERGEANT (B. 1959) LIFE DRAWING, DU CANE ROAD, 2004 Conte pencil on paper Image size: 20 x 14.5cm. (7.87 x 5.70in.) Framed size: 42 x 35cm. (16.53 x 13.77in.) Provenance: Acquired by the present owners from the Fine Art Society in 2004. Exhibited: The Fine Art Society, Shades of Grey, 2004, no.28 £300-500

156. • RAY RICHARDSON (B. 1964) SELF PORTRAIT 'BLACKEYE' Signed with monogram and dated l.r. 'RR / 33' Charcoal Image size: 38 x 28cm. (15 x 11in.) Framed size: 57 x 46cm. (22½ x 18in.) £300-500

157. • HENRIETTA GRAHAM (B.1971) GUITAR'89 Initialled and dated l.r. 'HG '99' Oil on canvas Image size: 151 x 69cm. (24 x 20in.) Framed size: 165 x 83cm. (64.96 x 32.67in.) £300-500

158. • FRANK MCFADDEN (B. 1972) MALE STUDY Signed lower left ‘McFadden’ Pastel on paper Image size: 31 x 14cm. (12 x 9in.) Framed size: 57 x 48cm. (22½ x 19in.) £70-100

159. • FRANK MCFADDEN (B.1972) CHAINSMOKER Signed and dated lower left 'McFADDEN 09.' Pastel on paper Image size: 60 x 46cm. (23.9 x 18.1in.) Framed image: 97 x 80cm. (38 x 31½in.) £70-100

160. • JAMES BLAND (B. 1979) THE VIOLINIST Oil on canvas Image size: 49 x 80.5cm. (19¼ x 31¾in.) Framed size: 57.5 x 88cm. (22.63 x 34.64in.) £100-150

161. • KARIN JONZEN (1914 - 1998) CLAUS: A STUDY OF THE ARTIST'S SON, MARTIN. Terracotta Size: 58cm. high Edition of 3 Exhibited: Royal Academy Summer Exhibition, 1978, (No.1427) Karin Jonzen studied at the Slade School in 1933, winning the Slade Diploma and Scholarship in 1937. She subsequently studied at the Royal Academy in Stockholm (1939). She was awarded the Prix de Rome in the same year, with further awards including: Fedors Gleichen Award (1948) and the Leverhulme Research Award (1963). Her work is in many permanent collections including in Brighton, Bradford, Glasgow, Southend and internationally in Melbourne and the USA. Works by Jonzen have been commissioned for the Arts Council, the Festival of Britain (1951), Selwyn College Chapel, Cambridge and Guildford Cathedral, amongst others. £500-700

162. • KATERINA PORTER JUGGLER I Bronze Size (incl. base): 43.2cm. (17in.) Provenance: Exhibited Royal Academy Summer Exhibition 1989 £80-120

Conditions of Business for Buyers 1.

Introduction

(a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers; (iii) The Auctioneers Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement. (b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot. 2.

Definitions

“Bidder” is any person making, attempting or considering making a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent, or executors; “Auctioneers” Thomas Del Mar Ltd, Matthew Barton Ltd and 25 Blythe Road Ltd trading as Olympia Auctions. For other auctioneer’s at 25 Blythe Road, such as Charles Miller Ltd, please see their website for their Conditions of Business “Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3.

Examination of Lots

(a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion. 4.

Exclusions and limitations of liability to Buyers

(a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee. (b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:- (i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied

warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller. 5.

Bidding at Auction

(a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained). (b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 6.

Import, Export and Copyright Restrictions

(a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES). (b) Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such. 7.

Conduct of the Auction

(a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

Payment and Collection 11.

(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers. 9.

Remedies for non-payment

Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise one or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days' written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings 10.

Failure to collect purchases

(a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer's expense and risk at the Auctioneers premises or in independent storage (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

Data Protection

Privacy Policy (a) What is the legal basis on which the Auctioneers rely to process your data? On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events). On other occasions, the Auctioneers processes your data when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction). The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms. (i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law. (ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) (i). (b) Who gets to see your personal data? The Auctioneers and other auctioneer’s at Olympia Auctions, such as Charles Miller Ltd. The Ltd company that initially receives your data will process it. Your data may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers. Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services.

Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct anti-money laundering and trade sanction checks and to assist with fraud and crime prevention and detection. When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law. (c)

How long will the Auctioneers keep your personal data?

The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims. In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest. What steps do the Auctioneers take to keep your personal data secure? The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise. The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access. As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data.

12.

Miscellaneous

(a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers. (b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

(d) Third party websites The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us will not be transmitted to other websites, but these other websites may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites. (e) Your data You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above. How can I access the information you hold about me? You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers. The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect. (f) Complaints If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers.

ABSENTEE BID FORM

(pleaseprintor type)

Name Sale Date:

Address

Sale Title: Sale Code (found in front of printed catalogue): Please mail, fax or scan and email to: Olympia Auctions 25 Blythe Road London W14 0PD Fax +44 (0) 20 7806 5546 Email: enquiries@olympiaauctions.com Important Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot. I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price. Methods of Payment Olympia Auctions Ltd welcomes the following methods of payment, most of which will facilitate immediate release of your purchases. Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG Swift Code: HBUKGB4B IBAN Code: GB22HBUK40190402182084 Sort Code: 401904 Account No: 02182084 Account Name: Olympia Auctions Credit/Debit Card We are pleased to accept UK debit cards; we can no longer take payment from credit cards and international debit cards. Sterling Bankers Draft Drawn on a recognised UK bank. Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank. For Office Use Only: date and time received

Postcode Telephone Alternative Telephone Email

Signed

Date

Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address. Lot No

Lot Description

£ Cover Bid

21st April 2022

11th May 2022

Olympia Auctions

25 Blythe Road London W14 0PD Tel: +44 (0) 20 7806 5541 Fax: +44 (0) 20 7602 5973 Email: Pictures@OlympiaAuctions.com www.OlympiaAuctions.com