British & Continental Pictures, Prints and Sculpture by Olympia Auctions

British & Continental Pictures, Prints and Sculpture Thursday 6th May 2021

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

014 PP060521

Enquiries: Harry Moore-Gwyn, Pictures and Prints Charlotte Norman-Butler, 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: Lot 193 Page i illustration: Lot 155 Page vi illustration: Lot 115 Back Cover: Lot 72

www.invaluable.com

BRITISH & CONTINENTAL PICTURES, PRINTS AND SCULPTURE

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

PUBLIC EXHIBITION Monday 3rd May 12.00 noon to 4.00pm Tuesday 4th May 10.00am to 5.00pm Wednesday 5th May 10.00am to 5.00pm

DAY OF SALE Thursday 6th May 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

Important Information for Buyers Definition “Auctioneers” (25 Blythe Road Ltd trading as Olympia Auctions). All lots are offered subject to the Conditions of Business reproduced on the website www.OlympiaAuctions.com, and printed in the back of the auction catalogue A Buyer’s Premium of 25% is applicable to all lots. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all Buyers. Unless otherwise stated all lots are subject to a reserve set at the low estimate or below. Estimates are published as a guide only and are subject to review. The actual Hammer Price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. The Auctioneers will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge. Olympia Auctions are pleased to offer free online bidding directly through their website at www.OlympiaAuctions.com. Online bidding platforms with an additional surcharge are available for this auction, please see the relevant platforms for further details. The Auctioneers may supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and where possible will endeavour to assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Olympia Auctions are not responsible for delays in delivery which might be caused by shippers or local customs. Cataloguing Practice A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used: “Attributed to……” In our opinion probably a work by the artist in whole or in part. “Studio of….” “Workshop of….” In our opinion a work executed in the studio or workshop of the artist, possibly under his supervision. “Circle of….” In our opinion a work of the period of the artist and showing his influence. “Follower of…” In our opinion a work executed in the artist’s style but not necessarily by a pupil. “Manner of….” In our opinion a work executed in the artist’s style but of a later date. “After….” In our opinion a copy (of any date) of a work of the artist. “Signed….”, “Dated….”, “Inscribed….” In our opinion the work has been signed/dated/inscribed by the artist. The addition of a question mark (?) adds an element of doubt. “Bears signature…”, “Bears date….”, “Bears inscription….” In our opinion the signature/date/inscription/stamp is by a hand other than that of the artist. Symbols ‘

’ For items with No Reserve.

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Authenticity Guarantee If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable. “Counterfeit” means an item of Property that in the Auctioneers reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating). Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value

To claim under this Guarantee, the Buyer must:(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

to the Property (in the Auctioneers reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

iii

FUNDRAISING INITIATIVE The summer 2021 auctions include property for our fundraising initiative for the Wallace Collection, Westminster Abbey and The Grange Festival. In each case a portion of the vendor’s proceeds and our seller’s commission will be given to that charity. Relevant lots have been marked with a logo, reproduced below

THE WALLACE COLLECTION

WESTMINSTER ABBEY

THE GRANGE FESTIVAL

This initiative would not have been possible without the extremely generous support of our vendors, many of whom are listed below. Please note that these vendors may be involved in any of our summer auctions and that they are not identified with specific lots. Lady Ashburton Mr & Mrs Caukill Mr J Coke Mr Luca D’Avanzo Mrs Rosemary Ferguson Mr and Mrs Charles Grace Mr Scott Greenhalgh Mrs Rachael Hannyngton Hatford Antiques Jools Holland, OBE The Estate of David Jeffcoat Koopman Rare Art

Moore-Gwyn Fine Art Mr Arthur Byng Nelson Nonesuch Gallery Mrs C Palmer Peter Finer Ltd A private European Collector Rafael Valls Ltd Sir Paul Ruddock Runjeet Singh Sam Fogg Ltd Mr Peter Tilley George & Angela Yannaghas

Please see our website (www.OlympiaAuctions.com) for further information on this initiative and the charities involved, including details on how to give directly. v

1. FLEMISH SCHOOL (EARLY TO MID 17TH CENTURY) A PAIR OF STANDING PORTRAITS POSSIBLY OF GERMAN OFFICERS IN THE THIRTY YEARS WAR one dated 1634 upper right below the heraldic shield oil on board 29 x 23 cm/11 1/2 x 9 in Provenance: Schloss Ramholz (2) £3000-5000

2. SIR GODFREY KNELLER (1646-1723) AND STUDIO PORTRAIT OF A BOY AND WHIPPET oil on canvas 77.5 x 64 cm/30 1/2 x 25 1/4 in £4000-6000 2

3. FRENCH SCHOOL (C. 1660) PORTRAIT OF A MAN oil on canvas 97 x 81 cm/38 1/4 x 31 3/4 in £4000-6000

4. ATTRIBUTED TO EDWARD LUTTRELL (1650-1724) PORTRAIT OF A BEARDED MAN IN A FUR CAP oil on panel 26.4 x 21.0 cm/10 1/4 x 8 1/4 in The present work is also comparable to the portraits of Dominicus van der Smissen (1704-1760), who was also active in London slightly after Luttrell's time. £300-500

5. PIETER GERRITSZ. VAN ROESTRATEN (1627-1698) A STILL LIFE WITH A NAUTILUS CUP, A CANDLE, AN ORANGE, A GILT AND PORCELAIN BOWL AND A JAPANESE IMARI BOX ON A TABLE oil on canvas 50.8 x 42.2 cm/20 x 16 5/8 inches Provenance: Private Collection, Philadelphia, USA Pieter Gerritsz. van Roestraten was born in Haarlem in 1627 and studied under Frans Hals, later marrying Hal's daughter. Roestraten visted England during the reign of Charles II. It is thought that Sir Peter Lely introduced him to the King. While in England, Roestraten moved away from the peasant genre scenes of his early career and, instead, developed a new style of still-life often including precious china, silver, ivory and lacquerware in his works. He became very successful in England and his paintings can be found in the Royal Collections at Buckingham Palace and Hampton Court. £8000-12000 4

6. AFTER TITIAN THE ENTOMBMENT with indistinct inscription and date to stretcher Après Titian

1845

oil on canvas 31.5 x 39 cm/12 1/2 x 15 1/2 in The original painting by Titian c. 1559 can be found in the Museo del Prado, Madrid. £600-800

7. COMPANY SCHOOL (C. 1850) VIEW OF HONG KONG oil on canvas 45.5 x 76 cm/18 x 30 in £4000-6000 6

8. CIRCLE OF MICHIEL CARREE (1657-1727) A FARMYARD SCENE WITH A CLASSICAL FOLLY oil on panel 26 x 34 cm/10 1/4 x 13 1/2 in £100-150

9. MANNER OF GEORGE MORLAND A BOY ASTRIDE A HORSE oil on canvas 34 x 40 cm/13 1/2 x 15 3/4 in £100-150

10. CONTINENTAL SCHOOL (EARLY 19TH CENTURY) A BLACKSMITH'S FORGE oil on panel 31 x 41 cm/12 x 16 in £80-120

11. ALBERTUS VERHOESEN (1806-1881) A PEACOCK AND CHICKENS WITH AN ANCIENT RUIN BEYOND signed lower right A Verhoesen oil on board 40 x 51 cm/15 3/4 x 20 in £1000-1500

12. AFTER JOHN CONSTABLE, RA THE OPENING OF WATERLOO BRIDGE FROM WHITEHALL STAIRS, JUNE 18TH 1817 oil on panel 11 x 25 cm/4 1/2 x 10 in The original work by John Constable, which can be found in Tate, Britain, is over seven feet in length. Painted to commemorate the opening of Waterloo Bridge and the second anniversary of the Battle of Waterloo on 18 June 1817, the picture depicts the Prince Regent about to board the Royal Barge at Whitehall stairs and shows the Lord Mayor's barge in the right foreground. £400-600 13. FREDERICK WATERS WATTS (1800-1862) A LANDSCAPE VIEW WITH A COTTAGE oil on canvas 55.0 x 75.0 cm/21 1/2 x 29 1/2 in Provenance: Sotheby's, London, Anonymous Sale, 30.11.2000. Lot 143 £800-1200

14. FREDERICK WATERS WATTS (1800-1862) A PAIR OF COUNTRY VIEWS INCLUDING A HORSE DRAWN CART BEFORE A COUNTRY INN AND COWS GRAZING, A VILLAGE CHURCH BEYOND oil on canvas 49 x 72 cm/19 1/4 x 28 1/4 in (2) £2000-3000

15. GEORGE TURNER THE YOUNGER (1843-1910) SHEPHERD WITH HIS FLOCK signed lower left Geo Turner/85 oil on canvas 61 x 92.5 cm/24 x 36 1/2 in £1500-2000 10

16. PHOEBUS LEVIN (1836-1908) THE COUNTESS OF NOTTINGHAM ON HER DEATH BED CONFESSING TO QUEEN ELIZABETH I signed lower left P. Levin with indistinct inscription on a torn label on the reverse death bed returning ... ring /to

Queen Elizabeth - / London P. Levin/24 Old Bond Street/It is said that ... oil on canvas 88 x 96 cm/34 3/4 x 38 in

Queen Elizabeth I gave Robert Devereux, the Earl of Essex, a ring. If he ever found himself in danger he could return the ring to the Queen to signal his distress and the Queen would rescue him. In 1601, on her deathbed, the Countess of Nottingham confessed to the Queen that the ring had been given to her in error, and that she had been sworn to secrecy by the Earl of Essex's enemies. £500-700 11

17. FRIEDRICH GAUERMANN (1807-1862) LANDSCAPE STUDY signed and indistinctly inscribed on original backboard Friedrich Gauermann, Mulsburf... oil on paper 15 x 20.5 cm/6 x 8 in £600-800

18. ATTRIBUTED TO LUIGI SERRA (1846-1888) GIRL IN A CLOAK signed lower right L Serra oil on canvas 72.5 x 39 cm/28 1/2 x 15 1/2 in £300-500 12

19. AFTER JOHN PHILLIP THE LETTER-WRITER IN SEVILLE oil on canvas 71.5 x 92 cm/28 1/4 x 36 1/4 in This picture is a copy of a work executed in 1854 by the artist John Phillip (1817-1867). The original work was purchased by Prince Albert and gifted by him to Queen Victoria. £300-500

20. CONTINENTAL SCHOOL (MID 20TH CENTURY) STILL LIFE OF FLOWERS signed with monogram and dated lower right VM 1969 oil on canvas 75 x 58 cm/29 1/2 x 22 3/4 in

21. AGNES TATHAM (1893-1972) STILL LIFE OF FLOWERS oil on canvas 75 x 59.5 cm/29 1/2 x 23 1/2 in £100-150

£100-150 13

22. CHARLES WEBB MOORE (18481933) PORTRAIT OF A GENTLEMAN oil on canvas laid to board 59 x 48.5 cm/23 1/4 x 19 1/4 in Provenance: Richard de Grab, Paris (Photographer of Cocteau, Picasso and Edith Piaf, published Jean Cocteau gesehen von Richard de Grab (Munich, 1964) Moore was described as the "doyen of deaf artists" by the inventor Arthur James Wilson, himself a prominent figure in the deaf community of 19th and early 20th Century Britain. The artist was born into a family of artists and craftspeople based in London. All of his immediate family were also deaf, and they were part of the deaf community that centred largely around St Saviour's Church, Oxford Street (now relocated to Acton), the only purpose-built church for the deaf in London. £300-500 23. ENGLISH SCHOOL (19TH CENTURY) COTTAGES IN A WOODED VALLEY oil on panel 15.5 x 22.5 cm/6 1/4 x 8 3/4 in £100-150

24. SIR FRANK DICKSEE, PRA (1853-1928) AN ITALIAN GARDEN signed with initials lower left F.D. oil on panel 53.5 x 36 cm/21 x 14 1/4 in £1000-1500 15

25. KEELEY HALSWELLE, ARSA (1832-1891) RIVER SCENE; POND WITH LILY PADS; A PAIR oil on panel 16.5 x 25.5 cm/6 1/2 x 10 in Provenance: The Maas Gallery, London (2) £300-400 16

26. RALPH TODD (1856-1932) A FISHERMAN WITH HIS NETS signed lower right Ralph Todd watercolour 56 x 40 cm/22 x 15 3/4 in Todd trained at the Royal Academy Schools in South Kensington and continued his studies in Belgium, Holland and Paris. He spent time painting in the artist colonies in Brittany which were, at this time, frequented by a number of Newlyn School artists. On his return to Britain, he moved to Newlyn. The village attracted artists for its fantastic light and the School became fascinated by the working life of the local fishermen and their hazardous existence reaping a living from the sea. £1500-2000 17

27. SIR JOHN ARNESBY BROWN, RA (1866-1955) EARLY EVENING IN NOTTINGHAM CITY CENTRE signed with monogram and dated lower left AB/87 oil on canvas 89 x 59.5 cm/35 x 23 1/2 in. This rare early work is a product of Arnesby Brown's time studying in his home town at Nottingham School of Art in the late 1880s. Even at this date Brown revealed himself to be far ahead of many of his contemporaries in his approach to subject matter. Rather than a tightly painted topographical record of the city, he presents us with an already impressionistic and highly evocative view of an industrial city centre, together with the restless bustle of its street life. The work is rich with contemporary reference; the wall of advertisements in the background referring to a performance by one of the most lauded sopranos of the century, Adelina Patti, on a tour to Nottingham's recently opened theatre with Gilbert and Sullivan's The Mikado (one of the duo's most successful operettas). £1500-2000 18

28. F. J. JAMIESON (EARLY 20TH CENTURY) LOCH EARN HEAD, ARGYLLSHIRE signed lower right F. J. Jamieson oil on canvas 40.5 x 61 cm/16 x 24 in £80-120

29. J. COBLEY (EARLY 19TH CENTURY) A CAPRICCIO LANDSCAPE OF A FORTIFIED TOWN ON THE BANKS OF A LAKE signed on reverse of backboard J. Cobley oil on panel 40 x 55.5 cm/15 3/4 x 22 in £100-150 19

30. PANCRACE BESSA (1772-1846) STILL LIFE OF SPARROWS signed and dated lower right Bessa . 1827 watercolour 28 x 20 cm/11 x 8 in £150-250

31. ATTRIBUTED TO PHILLIPE MERCIER (16891760) A LADY IN A LONG DRESS red and white chalk 31.5 x 25.5 cm/12 ½ x 10 in. Provenance: Sotheby's, London, 4th July 1875, lot 143; Bonhams, New Bond Street, 17 April, 2002, lot 98 £600-800

32. GERMAN SCHOOL (EARLY 19TH CENTURY) MUSICIANS IN A WOODLAND GARDEN pen and brown ink and grey wash 27 x 21 cm/10 1/2 x 8 1/4 in £200-300

33. FRENCH SCHOOL (17TH CENTURY) STUDY OF TORSOS pencil on paper 25 x 19.5 cm/10 x 7 3/4 in £100-150

34. CIRCLE OF ANTONIO PIETRO FRANCESCO ZUCCHI, RA (1726-1795) MERCURY AND ARGUS grey wash over pen and ink heightened with white chalk 31 x 28 cm/12 1/4 x 11 in Provenance: Abbott and Holder, London £250-350

35. CONTINENTAL SCHOOL (18TH CENTURY) STUDY OF A BATTLE SCENE pen and ink 13 x 15 cm/5 1/4 x 6 in £100-150

36. AFTER BARTOLOMEO PINELLI VENUS AND CUPID FROM VIRGIL'S AENEID signed lower right E.L. Fecit inscribed in pen with part of Virgil's Aeneid,

Bk.I, v664

pen & brown ink 27.0 x 30.5 cm/10 1/2 x 12 in £100-150

37. ERNST CARL GEORGE ZIMMERMAN (18521901) A MONK READING MUSIC signed lower right pen & ink 27.0 x 20.0 cm/10 1/2 x 8 in Provenance: Christie's, London, Anonymous Sale, 20.05.1999, Lot 64 £80-120

38. LUCIEN-VICTOR GUIRAND DE SCÉVOLA (1871-1950) A LANDSCAPE VIEW studio stamp lower left watercolour 32.0 x 43.5 cm/12 ½ x 17 in; together with French School, Late 18th Century A Woodland View £50-70 22

39 • PABLO TILLAC (1880-1969) PORTRAIT OF MADAME HOURDEBAIGT IN PROFILE titled upper right coloured chalks on paper 15.0 x 11.0 cm/6 x 4 1/4 in £250-350

40. FRENCH SCHOOL (EARLY 19TH CENTURY) A FLAUTIST pencil 30.0 x 24.8 cm/11 3/4 x 9 3/4 in The present work shows the possible influence of the French artist Henri-Francois Reisener (1767-1828), who painted portraits of several aristocrats with their musical instruments. For comparisons see Rieunier, Bailly-Pommery, Mathias, Paris,17.06.2002, Lot 18 and Osenat, Fontainebleau, 10.06.2012, Lot 239. £250-350

41. NEAPOLITAN SCHOOL (EARLY 19TH CENTURY) A VIEW OF NAPLES FROM CAPODIMONTE titled lower middle gouache on paper 27.0 x 40.0 cm/10 1/2 x 15 3/4 in Provenance: 6th Baron Berwick of Attingham (1802-1882), purchased by his agent in Italy By descent to Lady Berwick, widow of the 8th Baron Berwick £500-700 42. WILLIAM FAITHORNE (1616-1691) PORTRAIT OF A MAN pencil 12.5 x 11 cm/5 x 4 1/2 in £400-600 24

43. ATTRIBUTED TO JAMES NIXON, ARA (1741-1812) PORTRAIT OF A LADY pencil 16.5 x 12 cm/6 1/2 x 4 3/4 in; oval £80-120

44. PETER PAILLOU JNR (1757-1831/1832) SPILT MILK signed lower left Peter Paillou inscribed with title, signed and dated on a label on reverse Spilt Milk./by Peter Paillou. 1817. watercolour 24 x 16 cm/9 1/2 x 6 1/4 in £300-400

45. FOLLOWER OF RICHARD COSWAY, RA PORTRAIT OF A LADY signed on original label on the reverse R. chard

Cosway/R.A.

pencil 8 x 6 cm/3 1/4 x 2 1/5 in £80-120 46. NO LOT

47. PENELOPE CARWARDINE (C.1730-1800) PORTRAIT OF A WOMAN LOOKING IN A MIRROR pencil and chalk on laid paper 15.5 x 11.5 cm/6 1/4 x 4 1/2 in; oval £300-500

48. A FOLIO OF DRAWINGS OF FIGURE AND LANDSCAPE STUDIES ATTRIBUTED TO BENJAMIN ROBERT HAYDON (1786-1846), GEORGE FROST (1754-1821), SIR JAMES THORNHILL (1675/76-1734), AND JOSEPH FARRINGTON, RA (1747-1821) the first pen and brown ink; the second pencil and pen and black ink; the third and fourth with pen and brown ink and brown wash 11.5 x 27 cm/4 1/2 x 10 3/4 in (illustrated) (4) £100-150

49. STUDIO OF THOMAS HUDSON (1701-1779) STUDY OF A PORTRAIT pencil on paper 33.5 x 25 cm/13 1/4 x 10 in £300-400

50. JOSHUA CRISTALL, OWS (1763-1847) STUDY OF A BOY signed and dated lower right J.Cristall 1826 pencil 19 x 15.5 cm/7 1/2 x 6 1/4 in Provenance: Spink, London, APB 6671, May 1990 £80-120

51. JOHN NIXON (1750-1818) TAKEN IN THE BARGE TO TURGO; AND A MAN WEARING A DARK WIG the first signed with initials and dated lower left JN: 1784. and inscribed lower right Taken in the Barge to Turgo. the second signed with initials and dated lower right JN/94 and numbered upper centre 54 the first pencil, grey wash and pen and brown ink the second pen and black ink and grey wash 11.5 x 20.5 cm/4 1/2 x 8 in; the largest Provenance: William Drummond (the second) (2) £200-300 52. JOHN RAPHAEL SMITH (1751-1812) SEATED LADY READING A BOOK pastel 51.5 x 38.5 cm/20 1/4 x 15 1/4 in £200-300

53. JOHN LINNELL (1792-1882) PORTRAIT OF A GENTLEMAN signed and dated lower right J Linnell/1836 watercolour heighted with white 31.5 x 25 cm/12 1/2 x 10 in Provenance: Anthony Reed, London £300-500

54. JAMES WARD, RA (1769-1859) A YOUNG MAN IN WILTSHIRE WHO FANCIED THAT HIS GOOD OR EVIL FORTUNE DEPENDED ON LETTING HIS HAIR GROW pencil inscribed lower centre as title above 19.5 x 14 cm/8 3/4 x 5 1/2 in Provenance: Mark Fisher, London £300-500

55. JAMES WARD, RA (1769-1859) STUDY OF A CARRIER signed with initials lower right JW indistinctly inscribed upper left A carrier ... pencil and watercolour 19.5 x 17.5 cm/7 3/4 x 7 in £300-500

56. WILLIAM HENRY HUNT, OWS (1790 - 1864) STUDY OF A BABY SLEEPING pencil 8 x 5.5 cm/3 1/4 x 2 1/4 in £80-120

57. NO LOT 58. FOLLOWER OF GEORGE RICHMOND, RA (1809-1896) PORTRAIT OF A WOMAN pencil heightened with white 34 x 25 cm/13 1/2 x 9 3/4 in £100-150

59. EDWARD J. HARDING (1804-1870) PORTRAIT OF LORD FREDERICK CAVENDISH, P.C. (1836-1882) signed & dated lower right 1862 watercolour heightened with bodycolour 37 x 27 cm/14 1/2 x 10 34 in Cavendish's political career was brief but highly influential: he travelled with Granville to the fledgling USA and Spain; was elected MP for West Riding of Yorkshire in 1865; and after serving as private secretary to Gladstone, when he became Prime Minister, he became a junior Lord of the Treasury, holding that office until the resignation of the ministry. He was Financial Secretary to the Treasury from 1880 to 1882, afterwards being appointed Chief Secretary to the Lord-Lieutenant of Ireland. Within hours of arriving in Dublin and swearing the Oath as Chief Secretary, he was brutally murdered by Irish Nationalists calling themselves the 'Invincibles'. Cavendish's body was buried near Chatsworth, now the Devonshire family seat, with 300 MPs and 30,000 others following the coffin. £200-300 31

60. SIR GEORGE HAYTER (1792-1871) TWO STUDIES SKETCHED AT THE GENERAL COURT OF THE EQUITABLE SOCIETY, HELD ON THE 18TH and 20th DECEMBER, 1849 variously inscribed pen and brown ink 23 x 35 cm/9 x 13 1/4; 20 x 27 cm/8 x 10 3/4 in Provenance: Christie's, South Kensington, 5th July 2006, 1074A (2) £200-300 61. ROBERT TAYLOR PRITCHETT (1823-1907) THE DEER HUNT 'ALL RIGHT THANK YOU' inscribed lower centre "All right, thank you" dated lower right Feby21 1861. watercolour, pen and brown ink heightened with white on buff paper 12 x 17.5 cm/4 3/4 x 7 in Provenance: Sabin Galleries, London £80-120

62. JOHN HENRY MOLE (1814-1886) MOTHER AND CHILD WITH DOG IN AN EXTENSIVE LANDSCAPE signed and dated lower left JH Mole/1875 watercolour 23.5 x 36.5 cm/9 1/4 x 14 1/2 in £200-300

63. FREDERICK WALKER, ARA, OWS (1840-1875) AFTER THE STORM signed and dated lower left F.Walker 59. pencil and grey wash 11 x 12.5 cm/4 1/4 x 5 in Provenance: Michael Bryan, London £100-150

64. ARTHUR RACKHAM, RWS (1867-1939) STUDY OF A MAN pencil 16 x 10 cm/6 1/4 x 4 in Provenance: Abbott and Holder, London ex collection Barbara Rackham £100-150

65. GEORGE GOODWIN KILBURNE, RI, RBA (18391924) STUDY OF A SLEEPING GIRL signed with initials lower left G.G.K pencil and watercolour heightened with white 11.5 x 11.5 cm/4 1/2 x 4 1/2 in Provenance: Fry Gallery, London £100-150

66. CHARLES FAIRFAX MURRAY (1849-1919) PORTRAIT OF GREAT UNCLE (PROBABLY ONE OF THE FAMILY OF JOHN D MURRAY, PUBLISHER AND FRIEND OF THE ARTIST) inscribed upper left GREAT UNCLE pencil 20 x 25 cm/8 x 9 3/4 in Provenance: From the studio of the artist, thence by descent; The Maas Gallery, London £200-300 67. ERSKINE NICOL, ARA (1825-1904) SEATED MAN READING THE TIMES signed and dated lower left E Nichol 1859 inscribed verso The Politician pencil and brown wash heightened with white 19.5 x 18 cm/7 3/4 x 7 in Provenance: Michael Bryan, London £200-300

68. THOMAS MATTHEWS ROOKE, RWS (1842-1942) STUDY OF A RECLINING NUDE pencil and black and green chalk heightened with white on buff paper 28 x 37 cm/11 x 14 1/2 in Provenance: Christopher Wood, London £100-150 69. CHARLES KEENE (1823-1891) OLD MAN ON A BENCH pen and ink 14.5 x 8.5 cm/5 3/4 x 3 1/2 in Provenance: Chris Beetles, London £100-150 70. CHARLES WEST COPE, RA (1811-1890) A MOTHER HOLDING HER CHILD red chalk on buff paper 16 x 10.5 cm/6 1/4 x 3 3/4 in Provenance: From the Collection of Miss M.P. Burt great granddaughter of the artist; Sabin Galleries, London £60-80 71.

All proceeds to benefit The Grange Festival

KATHLEEN GOODMAN (1879-1968) A PAIR OF PORTRAITS OF EILEEN HARRIET MCGUIRE-JONES "EILEEN" (illustrated) AND MURIEL PEARL MCGUIRE-JONES "BIDDY," C. 1906 both signed Kathleen Goodman watercolour both 23.5 cm diameter £100-150 35

72. THOMAS ROWLANDSON (1756-1827) THE FLUTE PLAYER pencil, pen and brown and grey ink and watercolour 20.5 x 17 cm/8 1/4 x 6 3/4 in Provenance: Arthur Ackerman & Son Ltd, London £700-1000 36

73. WILLIAM EVANS OF ETON (1798-1877) THE PASS OF KENMARE (MOLLS GAP), CO. KERRY (circa 1835) titled lower right inscribed verso

Purchased direct by me from Mrs Drury / (granddaughter of William Evans) watercolour 31.0 x 47.0 cm/12 x 18 1/2 in

Provenance: By descent to Mrs Cicely Drury Wessex Art Gallery, where purchased by the present owner A large group of Evans' watercolours of Ireland were recently exhibited at the National Gallery of Ireland in 2013. Aidan Dunne, writing for the Irish Times, said that,

"In exploring Galways and Mayo, Evans and a few precursors and contemporaries...were pioneers. Evans seems to have been guided by HD Inglis' account of a journey through the western counties, published in 1834...He is an attentive, scrupulous observer of the texture and atmosphere of the place, conveying a sense of extreme beauty allied with inhospitable desolation." (1) The present work is unusual as Evans travelled primarily in County Galway and Mayo, rather than County Kerry. He is however recorded as having painted Tralee Bay, Co. Kerry (2), which was exhibited No.45 at the Society of Painters in Watercolours 41st exhibition in 1845. Mrs Drury was most probably the Cicely Drury who gave a watercolour of Snowden to Eton College's Collection (COLL B SF 003 02). Bibliography: (1) Aidan Dunne - A Window on Life in the West before the Famine - The Irish Times, 25.06.2013 (last accessed, 08/01/2019, https://www.irishtimes.com/culture/a-window-on-life-in-the-westbefore-the-famine-1.1441194) (2) The Art Union: Monthly Journal... - June 1st, 1845 (London) - p.107 £150-250 37

74. THOMAS SUNDERLAND (1744-1823) A VIEW OF THE COLOSSEUM, ROME blue and grey wash over pen and ink 16.5 x 27.0 cm/6 1/2 x 10 1/2 in Provenance: From an album of the artist's work, by direct descent through the artist's family This work was most probably painted on a trip Sunderland made to Rome in c.1783 (for other Italian views by Sunderland dated to around this time see Christie's, South Kensington, Interiors, 21.07.2015, Lot 451). £700-1000

75. DAVID COX JUNIOR, ARWS (1809-1885) WELSH MOUNTAINOUS LANDSCAPE WITH FIGURES OUTSIDE A STONE COTTAGE Pencil and watercolour 23 x 34 cm/9 x 13 1/2 in £200-300

76. CIRCLE OF JOSEPH MALLORD WILLIAM TURNER, RA (1775-1851) SHEEP PENS IN SMITHFIELD MARKET pencil and watercolour 19 x 27 cm/7 1/2 x 10 3/4 in Provenance: Michael Bryan, London £600-800 39

77. THOMAS MILES RICHARDSON, JUNIOR, RWS (1813-1890) LOCH NESS pencil and watercolour on paper laid down on card; on 2 sheets; unframed 32 x 71 cm/12 3/4 x 28 in £200-300

78. ENGLISH SCHOOL (EARLY 19TH CENTURY) A VIEW OF OXFORD FROM THE SOUTH-WEST WITH TRAVELLERS ON A ROAD watercolour, unframed, laid to card 51.5 x 69.5 cm / 20 1/4 x 27 1/4 in £100-150 79. NO LOT 40

80. PETER DE WINT, OWS (1784-1849) MANOR HOUSE AND CHURCH, LYTES CART, SOMERSET Inscribed Lytes Cary/6th Oct,r 1841 on the reverse Pencil and watercolour 23 x 31.5 cm/9 x 12.5 in Provenance: Christie’s South Kensington, 5th July 2006, Lot 522 Provenance: With The Fine Art society, London. It has been suggested that the inscription on the reverse of the watercolour is in the hand of De Wint’s wife, Harriet. £400-600

81. JOHN WHITE ABBOTT (1764-1851) RUSTIC FAMILY IN A WOODLAND CLEARING dated March 26 Pen and sepia ink 18 x 18 cm/7 x 7 in. Provenance: Abbott and Holder; from part of a larger group acquired by descendants of the artist £200-300

82. THE HON. DANIEL FINCH (1789-1868) COWES CASTLE, ISLE OF WIGHT inscribed verso Honourable

Daniel Finch Jun.

titled in pencil to washline lower right Cowes watercolour with pen & ink 17.5 x 25 cm/7 x 10 in £200-300

83. SAMUEL PHILLIPS JACKSON, RWS (1830-1904) A BEACHED SHIP WITH A DISTANT VIEW OF BAMBURGH CASTLE, NORTHUMBRIA signed & dated lower left S.P. Jackson 1858 watercolour with pen & ink, heightened with bodycolour 37 x 61 cm/14 1/2 x 24 in £400-600

84. SIR JOHN THOMAS SELWYN, 6th Bt. IBBETSON (1789-1869) THE HARBOUR OF NAPLES, AND WASHERWOMEN, NAPLES (CIRCA 1819) mounted together watercolours 19.0 x 19.0 cm / 7 1/2 x 7 1/2 in; together with A Study of a Bridge Attributed to Thales Fielding, AOWS (1793-1837) Provenance: The Bourne Gallery, Surrey £80-120 85. NO LOT 86. BRITISH SCHOOL (EARLY 19TH CENTURY) A PANORAMIC VIEW OF DUMBARTON ROCK AND THE TOWN OF DUMBARTON FROM THE SOUTH BANK OF THE RIVER CLYDE watercolour 39 x 71 cm/15 1/2 x 28 in Provenance: The Parker Gallery, London, where purchased 1971 by the previous owner £80-120

87. ANDREW NICHOLL, RHA (1804-1886) A VIEW ON THE FINDHORN RIVER, SCOTLAND signed lower middle A Nicholl RHA titled & signed on label affixed to backboard watercolour 30 x 45 cm/11 3/4 x 17 3/4 in £200-300

88. WILLIAM CALLOW, RWS (1812-1908) A FOLIO OF DRAWINGS INCLUDING VIEWS OF MARSEILLE HARBOUR, COTTAGE AT MATLOCK, DERBYSHIRE, MARBACH CASTLE, CONISBOROUGH CASTLE AND BERRYNARBOUR, DEVON variously signed and dated (between 1840 and 1860) pencil 26 x 37 cm/10 1/4 x 14 1/2 in (illustrated drawing) Provenance: Sotheby's London, 1966, Lot 2 (5) £100-150

89. WILLIAM PAGE (1794-1872) SEATED WOMAN signed and dated lower right W. Page/1822. pencil and watercolour; unframed 30.5 x 23 cm/12 x 9 in £100-150

90. GEORGE FROST (1754-1821) A FOLIO OF PENCIL STUDIES INCLUDING OF HORSES, DONKEYS, A COW, SOLDIERS, FIGURES, AND FLOWTON BROOK, IPSWICH the latter inscribed lower centre Flowton Brook pencil 8.25 x 15.5 cm/3 1/4 x 6 1.4 in; irregular (illustrated drawing) (16) £100-150 91. EDWARD DUNCAN, RWS (1803-1882) A FOLIO OF FIGURE STUDIES pencil; unframed all with studio stamps one signed in pencil, one with initials 10.5 x 18 cm/4 1/4 x 7 in (illustrated) (4) £100-150

92. ATTRIBUTED TO EDUARD HILDEBRANDT (1817-1869) AN ELEPHANT AT SUNSET, THAILAND watercolour 21 x 30.5 cm/8 1/4 x 12 in £200-300

93. AFTER RICHARD PARKES BONINGTON THE GRAND CANAL, VENICE bears indistinct inscription and signature lower right Grand Canal of Venice & Palazzo

P...R. Parkes(?)

watercolour 18 x 22 cm/7 1/4 x 8 3/4 in Literature: This is a copy of Bonington's PALAZZI MANOLESSO-FERRO, CONTARINIFASAN, AND CONTARINI, VENICE (Item 241 Catalogue Raisonné) £100-150 94. JAMES HOLLAND, OWS (1799-1870) SKETCHES OF THE MARKET PLACE ROUEN; AND STUDIES OF A BOAT inscribed and dated August/26'/ROUEN (illustrated) pencil 17.5 x 25.5 cm/7 x 10 in (illustrated) £100-150

95. SAMUEL PROUT, OWS (1783-1852) SHORELINE WITH FISHERMEN signed lower left S. Prout watercolour 19 x 33.5 cm/7 1/2 x 13 1/4 in Provenance: Abbott and Holder, London £300-500

96. ROBERT CLEVELEY (1747-1809) HIS MAJESTY KING GEORGE III BOARDING THE ROYAL YACHT signed lower left R. Cleveley watercolour 10.6 x 8 cm/4 1/4 x 3 1/4 in £800-1200

97. SAMUEL ATKINS (FL. 1787-1808) MEN OF WAR OFF THE FORELAND signed lower right [A]tkins watercolour 15 x 19.5 cm/6 x 7 3/4 in Provenance: Abbott and Holder, London £200-300

98. HUBERT CORNISH (1770-1832) ON THE RIVER TAMAR, FROM CALSTOCK PASSAGE, LOOKING UP inscribed and signed on the reverse

On the River Tamar/From Calstock Passage, looking up/H. Cornish watercolour 18 x 24 cm/7 1/4 x 9 1/2 in

Provenance: Abbott and Holder, London; Mr M Wilson £300-500

99. JOHN VARLEY, OWS (1778-1842) CAPRICCIO LANDSCAPE WITH A FIGURE WASHING signed lower right J. Varley/1838 watercolour 12 x 27 cm/4 3/4 x 10 1/2 in £200-300

100. SCHOOL OF DR THOMAS MONRO (17591833) FARMYARD WITH CART pencil and watercolour on laid paper 14 x 19.5 cm/5 1/2 x 7 3/4 in £80-120

101. WILLIAM NICHOLL (1794-1840) WOODED LANDSCAPE watercolour 23 x 33.5 cm/9 x 13 1/4 in £80-120

102. SCOTTISH SCHOOL (EARLY 19TH CENTURY) GLEN CLUNIE, ABERDEENSHIRE inscribed verso Glen Clunie Aberdeenshire watercolour 36.5 x 54 cm/14 1/2 x 21 1/4 in £60-80 103. ENGLISH SCHOOL (EARLY 19TH CENTURY) ENGLISH COUNTRY HOUSE watercolour 34.5 x 57 .5 cm/13 1/2 x 22 1/2 in £80-120

104. BRITISH SCHOOL (19TH AND 20TH CENTURY) A GROUP OF NINE WATERCOLOURS INCLUDING A VIEW OF TROUVILLE BY RANDOLPH CALDECOTT (1846-1886) watercolour 9 x 15 cm/3 1/2 x 6 in; illustrated (9) £100-150 105. THOMAS SEWELL ROBINS, NWS (1810-1880) STUDY OF THE ARTIST'S DOG TWITCH inscribed beneath the mount 'Twitch' and dated

1839

pencil and watercolour, laid down on paper 10.5 x 11.5 cm/4 1/4 x 4 1/2 in £100-150

106. HENRY BRIGHT (18101873) A WINE SHOP NEAR CALAIS inscribed lower left

Wine Shop/near Calais. signed lower right H Bright pencil 23 x 33.5 cm/9 x 13 1/4 in Provenance: Agnew's, London, DB5452 £250-350

107. ROBERT PRATCHETT NOBLE (FL. 1830-1860) A BARGE ON A RIVER AT HARVEST TIME watercolour 21.5 x 36 cm/8 1/2 x 14 1/4 in Provenance: Andrew Wyld, London, 1982 £100-150 108. GEORGE BARNARD (FL. 18301873) AN ITALIAN LAKESIDE TOWN signed and dated lower left Geo.

Barnard/1830

watercolour heightened with bodycolour 49 x 69 cm/19 1/4 x 27 1/4 in £400-600

109. JOHN DUGMORE OF SWAFFHAM (1793-1871) VIEW OF FLORENCE FROM THE CASINI GARDENS pencil and watercolour 19.5 x 26 cm/7 3/4 x 10 1/4 in £80-120

110.

All proceeds to benefit The Wallace Collection

WILLIAM LOCK THE YOUNGER (1767-1847) A STUDY OF TREES pencil 32 x 20.5 cm/12 1/2 x 8 in £80-120

111.

All proceeds to benefit The Wallace Collection

WILLIAM LOCK THE YOUNGER (1767-1847) STUDY OF A STANDING MAN WEARING A HAT pen and brown ink on paper variously inscribed and dated lower right July.

1781

32.25 x 16.5 cm/12 3/4 x 6 1/2 in Provenance: By descent in the family of William Gilpin £80-120

112. ROBERT HILLS, OWS (1769-1884) ST HELIER, JERSEY wash over ink 16 x 28.5 cm/6 1/4 x 11 1/4 in Provenance: Appleby Brothers £200-300

113. ROBERT HILLS, OWS (1769-1844) THE REAPERS signed and dated lower right R

Hills 1827

pencil and watercolour 25 x 19 cm/10 3/4 x 7 1/2 in Provenance: Fry Gallery, London £200-300

114. ALBERT GOODWIN, RWS (1845-1932) LYNMOUTH, NORTH DEVON signed lower right, titled lower left pastel & watercolour 17.0 x 23.5 cm / 6 3/4 x 9 1/4 in Exhibited: Royal Society of Painters in Water-Colours, Winter 1894, No. 114 £200-300

115. ALBERT GOODWIN, RWS (1845-1932) BERRYNARBOR, NORTH DEVON signed with monogram and dated 87 (lower left) signed lower left Albert

Goodwin

inscribed lower right

Berrynarbor N Devon

pencil, pen and black ink and watercolour heightened with white 26.5 x 32 cm/10 1/2 x 12 3/4 in Provenance: Christie's, London 1978 The Property of D. G. Goodwin, Esq, Grandson of the Artist £800-1200

116. ARCHIBALD THORBURN (1860-1935) ROSE HIPS signed with initials and dated lower left A.T./oct. 8 . 1918 watercolour and bodycolour on grey paper 22.5 x 28 cm/8 3/4 x 11 in Provenance: The Moorland Gallery Ltd, London £400-600 117. LOUISA LAURENCE (FL. C. 1850) AN ALBUM OF WATERCOLOURS OF IRELAND AND THE SOUTH COAST OF ENGLAND Approximately 50 watercolours including views of County of Wicklow, Dublin, Kingstown Harbour, Dublin (illustrated above). Cliffe Church, Kent, Torbay, Babbacombe. Torquay, Ramsgate watercolours contained within a bound sketch book 19.5 x 13 cm/7 3/4 x 5 1/4 in £100-150 57

118. SIR ERNEST ALBERT WATERLOW, RA, ROI, PRWS (1850-1919) AN EXPANSIVE VIEW OVER ANTIBES, CÔTE D'AZUR signed lower left EA Waterlow, inscribed verso

Old Antibes, Riviera

watercolour 35 x 53 cm/13 3/4 x 21 in £250-350 119. GEORGE ADOLPHUS STOREY, RA (1834-1919) THE COASTLINE AT HONFLEUR monogrammed lower left, titled & signed verso watercolour with bodycolour 17 x 23 cm/6 3/4 x 9 in £100-150 120. HENRY MOORE, RA, OWS (1831-1895) SENNEN BEACH, CORNWALL signed lower right H. Moore titled & initialled verso, bears early dealer's label to backboard watercolour 9 x 16.5 cm/3 1/2 x 6 1/2 in £80-120 121. WALTER HERBERT ALLCOTT, RWA, RWS, RBSA (1880-1951) ASSISI, SAN FRANCESCO signed & dated lower right 1923 titled to reverse watercolour highlighted with bodycolour on card 28 x 35.5 cm/11 x 14 in 58

£80-120

122. SIR ALFRED EAST, RA, RI, PRBA, RE, ROI, NEAC (1844-1913) A VIEW NEAR NAPLES signed & titled verso alfred East RA. / N. Naples bears inscription verso From Davenport Hall / Col

Robert Tipping / Collection watercolour with pencil 30 x 23 cm/11 3/4 x 9 in

Provenance: Col. Robert Tipping of Davenport Hall, Cheshire £100-150

123. WILLIAM HENRY HUNT, OWS (1790-1864) STILL LIFE OF APPLES, GRAPES & HOLLY signed lower left W Hunt watercolour & pencil on paper 19 x 27.5 cm/7 1/2 x 10 3/4 in £250-350

124. ALBERT ERNEST BROCKBANK, RBA, RCA (18621958) A COUNTRY CHURCH AT TWILIGHT signed lower left watercolour 25 x 35 cm/9 3/4 x 13 3/4 in Provenance: The Rembrandt Gallery, Liverpool £100-150 59

125. CHARLES-FRANCOIS AMELLER (B. 1818) COASTAL LANDSCAPE, ALGERIA watercolour 15.5 x 25 cm/6 1/4 x 9 3/4 in £100-150

126. FREDERICK WATERS WATTS (1800-1870) A MILL NEAR TOTNES watercolour with scratching out 17.0 x 25.0 cm / 6 3/4 x 9 3/4 in Provenance: Fine Art Society, 1960 £80-120

127. SAMUEL JOHN LAMORNA BIRCH, RA, RWS (1869-1955) SCENE ON AN ESTUARY watercolour signed lower left SJ.

Larmorna Birch

25 x 35 cm/9 3/4 x 13 3/4 in £250-350

128. SAMUEL JOHN LAMORNA BIRCH, RA, RWS (1869-1955) HILLTOP COTTAGE; COWS GRAZING BEFORE A VILLAGE the first indistinctly inscribed and dated lower right with love from

John RA/1940

the second indistinctly inscribed lower left with love from John RA; and signed and indistinctly dated lower right S.J Lamorna Birch. 19.. watercolour on paper 9 x 12.5 cm; illustrated (2) £100-150 129. JOHN MOYER HEATHCOTE (18341912) BOATS MOORED AT LAMBETH, WESTMINSTER BEYOND watercolour 26 x 40 cm/10 1/4 x 15 3/4 in £100-150

130. WILMOT PILSBURY, RWS (18401908) A SURREY LANE signed and dated lower left Wilmot

Pilsbury/1889

inscribed with title on a label on the reverse watercolour 17.5 x 28 cm/7 x 11 in Provenance: J S Maas & Son £250-350

131. • ERNEST HOWARD SHEPARD, MC OBE (1879-1976) SUMMER FLOWERS IN A VASE signed lower right EH.Shepard pencil and watercolour 23.5 x 18.5 cm/9 1/4 x 7 1/4 in Exhibited: Chris Beetles Summer Show 2002, No 49 £250-350

132. ROBERT MALCOLM LLOYD (EXHIB. 18801899) AT PENZANCE signed, inscribed and dated lower right R

Malcolm Lloyd/1887/Penzance pencil and watercolour 24 x 36 cm/9 1/2 x 14 1/4 in

Provenance: Phillips, London, 1992 £200-300 133. CHARLES HENRY SLATER (FL. 1867) APPLE BLOSSOM signed lower right C H Slater watercolour and bodycolour 35 x 29 cm/13 3/4 x 11 1/2 in Provenance: Chris Beetles, London £300-500

134. JOSEPH NEEDHAM (FL. 1848-1874) FIGURES IN A WOODED LANE signed and dated lower left J Needham/1850 pencil and watercolour 50 x 34 cm/19 3/4 x 13 1/2 in Provenance: Michael Bryan, London £100-150

135. JOHN JESSOP HARDWICK, OWS (1831-1917) STILL LIFE OF FLOWERS signed lower right J. Jessop Hardwick. pencil and watercolour heightened with white 21.5 x 18 cm/8 1/2 x 7 in Provenance: Chris Beetles 1983 £250-350

136. ENGLISH SCHOOL (LATE 19TH CENTURY) WOODLAND POND watercolour heightened with white 27 x 38 cm/10 3/4 x 15 in £150-250

137. SIR THOMAS LAWRENCE, PRA (1769-1830) PORTRAIT OF A YOUNG GIRL lithograph 290 x 235 mm £100-150

138. THOMAS SHOTTER BOYS (18031874) THREE VIEWS OF LONDON INCLUDING HYDE PARK NEAR GROSVENOR GATE, REGENT STREET LOOKING TOWARDS THE DUKE OF YORK'S COLUMN, AND REGENT STREET LOOKING TOWARDS THE QUADRANT lithographs with hand colouring 300 x 410 mm; the largest Provenance: Arthur Ackerman and Son Ltd, London Literature: All from the T. S. Boys publication 'London as it is' of 1842 (3) £300-500 64

139. AFTER WILLIAM HANNAN (1820-1875) A VIEW OF THE LAKE IN THE GARDEN OF SIR FRANCIS DASHWOOD, WEST WYCOMB; AND A VIEW OF WALTON BRIDGE, VENUS'S TEMPLE, IN THE GARDEN OF SIR FRANCIS DASHWOOD coloured line engravings by William Woollett published by John Bowles, Carrington Bowles, Henry Parker, John Boydell, and Robert Sayer both with extensive inscriptions 370 x 530 mm Provenance: Arthur Ackerman and Son Ltd, London (2) £300-500

140. THREE MARINE ENGRAVINGS DEPICTING THE SEA FLIGHT OFF CAPE SAINT VINCENT, 14TH FEBRUARY 1797 engraving 450 x 650 mm (3) £200-300 65

141. BRITISH SCHOOL (20TH CENTURY) A GROUP OF SEVEN FRAMED PRINTS OF VARIOUS SUBJECTS 35 x 24 cm (illustrated) (7) £100-150

142. GIUSEPPE ZOCCHI (1711-1767) A GENERAL VIEW OF FLORENCE TAKEN FROM THE CONVENT OF THE CAPUCHIN FRIARS published by R. Sayer c. 1750, London etching with handcolouring 270 x 435 mm; unframed £300-400

143. SAMUEL BUCK (1696-1779) AND NATHANIEL BUCK (ACTIVE 1724-1759) THE NORTH VIEW OF TINEMOUTH MONASTERIES AND CASTLE, IN NORTHUMBERLAND engraving 187 x 370 mm; unframed £50-70 144. A FOLIO OF UNFRAMED PRINTS INCLUDING VIEWS OF A SOUTH EAST VIEW OF WINCHESTER HOUSE BANKSIDE, LONDON (ILLUSTRATED), PORTRAIT OF LOUIS NAPOLEAN , AND VIEW OF LA MER DE GLACE 230 x 285 mm (illustrated) (19) £200-300

145. A FOLIO OF PRINTS INCLUDING FIGURE STUDIES AND THREE JAPANESE PRINTS 380 x 250 mm (illustrated); unframed (16) £80-120

146. THREE INTERESTING VIEWS OF NOAH'S ARK INCLUDING ANTONIO TEMPESTA (C. 1580-1630) GOD CREATING THE ANIMALS engravings 295 x 350 mm (illustrated); unframed (3) £300-400

147. AFTER NICOLAS POUSSIN A DYING MAN DICTATES HIS LAST WILL etching by Antoine Demarcenay de Ghuy 470 x 595 mm £100-200

148. WILLIAM MONK (1863-1937) CHAMBER COURT, WINCHESTER COLLEGE AND FIVE OTHER VIEWS OF WINCHESTER COLLEGE signed in pencil lower right to mount

W. Monk.

etching 175 x 252 mm (6) £250-350 68

149. • SIR HENRY GEORGE RUSHBURY, RA, RE, RWS (1889-1968) ST PAULS FROM CANNON STREET signed and dated on plate lower right

Henry Rushbury 1942

signed lower right on margin Henry

Rushbury

drypoint 25 x 37 cm Exhibited: Chris Beetles Summer Show 1998, No 135 £150-200 150. • AUGUSTUS JOHN, OM, RA (18781961) TROGLODYTE WOMAN signed to margin lower right John etching 950 x 80 mm £150-200

151. • ANTHONY GROSS CBE, RA (19051984) YETTE KNITTING signed lower left to plate AY.GROSS/31

from an edition of 40

numbered and inscribed on the mount lower left 40/40 Jartan with Yette Knitting and signed on the mount lower right AntyGross etching 200 x 290 mm £250-350 69

152. • ANTHONY GROSS CBE, RA (1905-1984) PUJOL, VALLEY OF THE LOT, FRANCE from an edition of 50 signed centre left Pujol (L,TG,E)/AY. GROSS./1932 numbered and inscribed on the mount lower right

30/50 Pujol Valley of the Lot - France signed on the mount lower right AntyGross etching 250 x 310 mm £120-180

153. AFTER JULES CHERET (1846-1932) CABARET ROUMAIN DE L'EXPOSITION (1889) lithograph on laid linen 123.0 x 85.0 cm/48 1/2 x 35 in £150-250

154. • LONI JAGER (ACT. 2003) RED COW lithograph numbered, signed and dated in pencil 70/150 450 x 650 mm; unframed The artist was born in Mauren. From the Blocherer School of Free and Applied Arts in Munich, he moved on to the Academy of Fine Arts in Munich and completed his training at the Berlin University of the Arts. £100-150 70

155. • MARC CHAGALL (1887-1985) TRAPEZE ACROBAT WITH BIRDS, 1967 signed in pencil lower right Marc Chagall numbered in pencil lower left 46/75 lithograph with hand colouring on Arches paper 458 x 332 mm £5000-7000 71

156. • HARO HODSON (1923-2021) FLAG DAY signed upper left HARO pen and ink 21.5 x 17 cm/8 1/2 x 6 3/4 in Exhibited: Chris Beetles, The Illustrators: The British Art of Illustration 1800-1991 No. 532 £80-120

157. • JEAN COCTEAU (18891963) L'ESPIONNE pen & ink 25.0 x 20.0 cm / 10 x 8 in Provenance: Royer, Rue de Cherche-Midi, Paris Sotheby's 1979 to R. Scharf to John Constable 1980 Literature: Dessins - Libraire Stock (Delamain Et Ciel, Paris 1923 - Illustrated)

Jean Cocteau - Drawings, Unabridged re-publication of the third edition of Dessins 1924 - illustrated, No. 110

Brown, Mark Camp, London 1983 reproduced, p 108 £1200-1800

158. • JEAN COCTEAU (1889-1963) A PORTRAIT OF EDOUARD DERMIT pen & ink on paper, with Vidalon watermark 20.0 x 15.0 cm / 6 x 8 in Edouard Dermit was the adopted son of Jean Cocteau, having been engaged as his gardener in 1947. He was a self-taught artist and actor, who starred a number of Cocteau's films and completed his father's chapel decorations at Fréjus. Cocteau tutored him in art and entrusted him with the publication of his writings on his artistic contemporaries, published under the title Passe Defini. Provenance: From a collection of 57 drawings by Cocteau inherited from the artist's estate and having been in private hands from 1965 - 1977 Sotheby's 1977 to R Scharf 1977 to John Constable 1980 £800-1200 73

159. • NASSER OVISSI (B. 1934) GREEN HORSE signed lower right Ovissi oil on canvas with gold leaf 64 x 79 cm/25 1/4 x 31 in Nasser Ovissi is an American-Iranian painter. Born in Tehran, Iran in 1934, Ovissi first studied Law and Politics before attending Beaux Fine Art in Rome. He has exhibited at the 1959 Paris Bienniale and won a Grand Prize at the 1962 Biennale of Fine Arts of Tehran. His works can be found in the Contemporary Art Museum in Madrid and the National Art Gallery of Greece, Athens. £8000-12000 74

160. • MICHEL DUREUIL (1929-2011) LA PORTE D'OLIVETTE, ANTIBES signed & dated lower right DUREUIL '64 oil on canvas 44.5 x 63.5 cm / 17 1/2 x 25 in Dureuil was born in Paris and painted extensively in and around Antibes during the 1950s and 1960s. He studied at the Ecole de Beaux Arts and exhibited at Arthur Tooth in London. For another work by the artist, of the same subject from a different perspective, see Christie's, South Kensington, British, Continental and Russian Pictures, 22.07.07, Lot 745. £200-300 161. • MIKHAIL ALEKSANDROVICH KUZNETSOV (1904-1989) DRY DOCK Oil on canvas 51 x 70.5 cm/20 x 27 3/4 in Provenance: Purchased from the Artist's family £300-500

162. HOLGER HVITFELD JERICHAU (1861-1900) A HILLSIDE CHURCHYARD, POSSIBLY IN ITALY signed lower right Holger H Jerichau oil on canvas 57 x 97 cm/22 1/2 x 38 1/4 in Provenance: Private Collection, Copenhagen This view is likely from Southern Italy or Capri, from when Jerichau was based in Capri and Naples in the latter part of his life. £600-800 163. EDMUND CHRISTIAN LUDVIG SCHWENSEN (1865-1945) KULHØJEN, PEKING (COAL HILL, OR JING SHAN, BEIJING) initialled lower right, inscribed & dated to backboard Peking / 1912 oil on canvas laid to board 37 x 55 cm/14 1/2 x 21 3/4 in £300-500 76

164. • ANTHONY DEVAS, ARA (1911-1958) THE SUBMARINER signed indistinctly lower right Devas oil on canvas 91 x 71 cm/35 3/4 x 28 in It has been suggested that this depicts Edward Eade 1939. Provenance: Prosper Devas, the artist's son £100-150

165. • ANTHONY DEVAS, ARA (1911-1958) PORTRAIT OF A MAN oil on canvas, unstretched 59 x 50 cm/ 23 1/4 x 19 3/4 in; sold together with a framed portrait of a man (2) Provenance: Prosper Devas, the artist's son £100-150

166. • ANTHONY DEVAS, ARA (1911-1958) A GROUP OF FOUR UNSTRETCHED OIL PAINTINGS INCLUDING VISITING GRANNY AND THREE PORTRAITS OF WOMEN variously inscribed on the canvas margin oil on canvas 50.5 x 41 cm/20 x 16 1/4 in (4) Provenance: Prosper Devas, the artist's son £100-150

167. • ANTHONY DEVAS, ARA (1911-1958) STUDY FOR EVE 2 FOR "THE FALL" signed upper right Devas oil on canvas 135 x 68.5 cm/53 1/4 x 27 in This work is a sketch for 'Eve 2', for 'The Fall' which was exhibited at the Royal Academy. The study was painted in 1957/8 of Wendy Hylton, a dancer and model. Provenance: Prosper Devas, the artist's son £300-500

168. • ANTHONY DEVAS, ARA (1911-1958) A BRIDGE OVER A RIVER IN A WOODED LANDSCAPE signed and dated lower left Devas 31 watercolour over pen and ink 24 x 31.5 cm/9 1/2 x 12 1/2 in Provenance: Prosper Devas, the artist's son £80-120 169. • ANTHONY DEVAS, ARA (1911-1958) THE ORCHARD, NEW INN HOUSE, BLASHFORD, THE NEW FOREST signed lower right Devas oil on canvas 39.5 x 50 cm/15 1/2 x 19 3/4 in Provenance: Prosper Devas, the artist's son £100-150 170. • NICOLETTE DEVAS, NEE MACNAMARA (1911-1987) STUDY OF CAITLIN, DYLAN THOMAS' WIFE signed lower left Nicolette Macnamara watercolour 24.5 x 35 cm/9 3/4 x 13 3/4 in; sold with another work of the same sitter by the same hand (2) Caitlin Macnamara, the artist's sister, married the poet Dylan Thomas. £200-300

171. • CHARLES KNIGHT, RWS, ROI (1901-1995) CROUCHING FEMALE NUDE signed lower right CK signed and dated on the reverse of the canvas CHAS. KNIGHT. 21. oil on canvas; unstretched 62 x 52 cm/24 1/2 x 20 1/2 in Provenance: part of a group of the artist's early works, Bonhams, Bury St Edmunds, 5 March 2009, lot 419 £800-1200 80

172. • MARTIN HARDIE, VPRI, RE, RSW (1875-1952) THE SEINE AT PONT L'ARCHE signed & dated lower left Martin Hardie/1924 watercolour 24.5 x 34.5 cm/9 1/2 x 13 1/4 in £80-120

173. FRANCIS EDWARD JAMES, NEAC, RWS, RBA (1850-1920) A CONTINENTAL TOWN VIEW, POSSIBLY IN SPAIN signed lower right Francis Edward. James. watercolour 25.0 x 35.0 cm/9 3/4 x 13 3/4 in Provenance: The Highgate Gallery, London £80-120

174. HARRY MORLEY, ARA, RBA, RE, VPRWS, RP (1891-1943) THE GYPSY ENCAMPMENT signed & dated lower right

Morley 1927

watercolour with pen & ink 36.0 x 51.0 cm / 14 x 20 in Provenance: Wyndham T. Vint Collection Christie's, South Kensington, Interiors, 10.01.2012, Lot 254 This work was one of at least two known depictions of Romany travellers completed in this year (the other sold Barnes Auctions, Anonymous Sale, 31.05.2014, Lot 102) by Morley, in the year that he was elected an associate member of the R.W.S. £800-1200 81

175. WILLIAM STRANG, RA (1859-1921) STANDING WOMAN WITH A PAIL signed lower right W. Strang pencil 42 x 20 cm/16 1/2 x 8 in £100-150

176. • VIVIAN JOHN (1915-1994) ALLEGORY Signed lower right Vivian John Pencil and watercolour 37 x 25 cm/14 1/2 x 9 3/4 in £300-500

177. • FRANK REYNOLDS (1876-1953) CRICKET signed lower left Frank Reynolds gouache over pen and ink and watercolour 28 x 18.5 cm/11 x 7 1/4 in £250-350

178. • JOHN STANTON WARD, RA, CBE, RWS, VPRP, NEAC (1917-2007) A CONTINENTAL CAFE signed lower right watercolour with pencil, heightened with bodycolour 21.5 x 30.5 cm/8 1/2 x 12 in £100-150

179. • JOHN STANTON WARD, RA, CBE, RWS, VPRP, NEAC (1917-2007) GIRL BY LAMPLIGHT signed lower left John Ward red and white chalk 41.5 x 29.5 cm/16 /14 x 11 3/4 in Exhibited: New English Art Club £300-500

180. • ALYS FANE TROTTER (C.1862-1961) A SPANISH FAN signed with monogram lower right, on original frame to reverse & on backboard oil on board 46 x 61 cm / 18 1/4 x 24 in £100-150

181. CHARLES GREVILLE MORRIS, RBA (18611922) FIGURE ON A LANE, A VILLAGE IN THE DISTANCE signed lower left Greville Morris. oil on board 23 x 34 cm / 9 x 13 1/2 in £100-150

182. • OLIVER HALL, RA (1869-1957) BARDSEA MILL signed lower right Oliver Hall oil on canvas 56 x 76.5 cm / 22 x 30 in £200-300

183. SIR WILLIAM LLEWELLYN, GCVO, PRA, RBA, RI, NEAC (1858-1941) THE GOOD SAMARITAN signed & dated lower right W H Llewellyn 17 oil on board 24.0 x 24.0 cm / 9 1/2 x 9 1/2 in £120-180

184. ARCHIBALD KAY, RSA (1860-1935) SUNSET AT DUNFERMALINE ABBEY signed lower right Archibald Kay RSW inscribed lower left Dunfermaline Abbey oil on panel 24 x 34 cm /9 1/2 x 13 1/2 in £500-700

185. • RUDOLF SAUTER, RI, RBA, PS (1895-1977) A SUNLIT VALLEY, POSSIBLY SOUTH AFRICA inscribed verso Study D pastel on paper 37 x 51 cm / 14 1/2 x 20 in £120-180

186. • RUDOLF SAUTER, RI, RBA, PS (1895-1977) ROLLING MOUNTAINS AND SAVANNAH (likely South Africa) pastel on paper 37 x 51 cm/14 1/2 x 20 in £120-180 187. ATTRIBUTED TO WILLIAM GEORGE ROBB (1872-1940) FÊTE CHAMPÊTRE signed to backboard Robb, presented in the artist's original hand-moulded frame oil on board 38 x 29 cm/15 x 11 1/2 in £80-120 188. • JOHN BROWN (1887-1966) A GROUP OF LANDSCAPE VIEWS all monogrammed lower right oil on board 35.5 x 45.5 cm/ 14 x 18 in (largest) (4) £200-300 189. ELIOTT SEABROOKE, LG (1886-1950) BOATS IN A HARBOUR signed with initials lower right ES watercolour 45cm x 58cm/17 3/4in x 22 3/4in £100-150

190. • KEITH VAUGHAN (1912-1977) GREEN LANDSCAPE mixed media 22 x 31 cm/8 3/4 x 12 1/4 in Provenance: Sotheby's London from the Collection of the late Sebastian Walker, Nov. 1991; Belgrave Gallery, London; Private Collection £700-900

191. • PRUNELLA CLOUGH (1919-1999) SAILBOATS pencil on paper 41 x 24.5 cm/16 1/4 x 9 3/4 in £600-800

192. • PRUNELLA CLOUGH (1919-1999) UNTITLED STUDY, 1984 signed in pencil lower right Clough gouache and collage with original label to reverse of backboard bearing signature, date and title 20 x 20.5 cm/8 x 8 in £500-700

193. • WINIFRED NICHOLSON (1893-1981) FLOWERS ON A WINDOW SILL, 1978 Oil on canvas laid on board 60 x 60 cm/23 3/4 x 23 3/4 in Provenance: Private Collection, Devon; the current owner was gifted the picture by her mother-in-law who worked at Kettles Yard, Cambridge and is thought to have bought the picture from an exhibition there in the 70's or 80's Winifred Nicholson (1893-1981) was born in Oxford and attended the Byam Shaw School of Art. She was a colourist who developed a modern experimental style, concentrating on still lives and landscapes. Married to the painter Ben Nicholson in 1920, they exhibited together throughout the decade in London exhibitions, and she became a member of the Seven & Five Society between 1925 and 1935. She travelled extensively, painting on her travels, and after the war she settled in Cumbria. This current work is most likely to have been painted from her house which had views over the North Pennines. She often positions jugs, jars or pots of flowers on windowsills, so that the indoor and outdoor challenge or complement each other. Her still lives of flowers are infused with a pictorial light and a spiritual quality, perhaps due to the transience nature of the subject. The poet Kathleen Raine, a friend and admirer of Nicholson, wrote: 'Flowers, for her, were not solid objects, coloured, but in the most literal sense made of light.' Nicholson herself wrote 'I like painting flowers - I have

tried to paint many things in many different ways, but my paint brush always gives a tremor of pleasure when I let it paint a flower.....'* The artist John Craxton, who held her work in high esteem, observed that at her best Winifred Nicholson seemed not to realise how difficult it is to paint. *(From The Flowers of Winifred Nicholson, Crane Kalman Gallery, London 1969 and reprinted in Unknown Colour: Paintings, Letters, Writings, by Winifred Nicholson, ed. Andrew Nicholson, Faber and Faber, London, 1987, as 'The Flower's Response'). £20000-30000

194. • JOHN CRAXTON, RA (1922-2009) CRETAN SHEPHERD signed and inscribed lower left Craxton Souvenir to my friend Mylonas dated lower right Sept 84 pencil, wash, gouache, pastel 20 x 25.5 cm/8 x 10 in £2000-3000

195. • SIR TERRY FROST, RA (1915-2003) ARBOLE, ARBOLE (TREE, TREE) (LORCA SUITE), 1989 signed lower right etching with hand colouring, signed artist's proof 56.5 x 38.5 cm Edition of 75 plus 15 AP The Lorca Suite is made up of eleven poems by Federico Garcia Lorca 1989 Each image and sheet on Somerset Satin wove paper, published by Austin Desmond Contemporary Books London, designed by Gordon House, printed by Hugh Stoneman and Alan Cox at the Print Centre, London. Edition 75 plus APS (10 numbered). Each print individually signed and numbered. Literature: Terry Frost Prints (Dominic Kemp) p. 126-136 reproduced in colour page 136, plate 107 Terry Frost, David Lewis pages 216-219 Provenance: London, Modern Art Auctions, November 26 2014, Lot 177; John Constable £500-700 93

196. • SIR TERRY FROST, RA (1915-2003) BRIGHT RED, YELLOW AND BLACK, ACRYLIC ON MONOTYPE, 1996 signed and dated lower right Frost 96 acrylic on monotype 57 x 38 cm £500-700

197. • SIR TERRY FROST, RA (1915-2003) NEWLYN RHYTHM, 1995 signed, dated, inscribed with title and numbered 28/80 in pencil etching and aquatint 76 x 56 cm edition of 80 Literature: Terry Frost Prints, Dominic Kemp, No, 143 on page 166 £500-700

198. • WILLIAM GEAR (1915-1997) RED GREEN CENTRE, 1959 signed and dated 59 watercolour 49 x 60 cm/19 1/4 x 23 3/4 in Provenance: The Artist's Estate Fosse Gallery, Stow-on-the-Wold, Centenary Exhibition of Works on paper from 1947-1996 February 1-21 2015 £1000-1500

199. • WILLIAM GEAR (1915-1997) YELLOW PASTORAL, 1962 signed and dated lower right Gear '62 pen, ink and gouache on paper 75.5 x 55.5 cm/ 29 3/4 x 22 in Provenance: The Artist's Estate Fosse Gallery, Stow-on-the-Wold, Centenary Exhibition of Works on paper from 1947-1996 February 1-21 2015 £1500-2000 96

200. • JOHN HOYLAND (1934-2011) ABSTRACT, 1980 signed and dated lower right John Hoyland 1980 acrylic on paper 46 x 66 cm/18 x 26 in £3000-5000

201. • PETER KINLEY (1926-1988) UNTITLED, 1958 oil on card 12 x 14 cm/4 3/4 x 5 1/2 in Provenance: Monica Kinley (The Artist's wife) Private Collection, UK £800-1200 202. NO LOT

JOHN BRATBY, RA (1928-1992) John Randall Batby, RA (1928 - 1992) is considered as the founder of the kitchen sink realism style which was very influential in the late 1950s. His works often included everyday objects such as rubbish bins and beer bottles as well as depicting every day family life. He produced a number of portraits of members of his family including, a portrait of his second wife Patti Rosenburg. Later in his career he travelled extensively resulting in works depicting the cities he visited including Venice. Venice has for centuries attracted artists for its iconic vistas and intense light - the latter suiting Bratby's style of brightly coloured impasto.

203. • JOHN BRATBY, RA (1928-1992) THE DAY AFTER THE RAIN CAME, VENICE signed, titled & dated upper right 30 Oct 85 colour pencils & wax crayons 40.0 x 28.0 cm / 15 3/4 x 11 in

204. • JOHN BRATBY, RA (1928-1992) THE SALUTE ON A SUNNY DAY, VENICE signed, titled & dated lower right October 12

1986

colour pencils & wax crayons 41.0 x 30.0 cm / 16 x 11 3/4 in

£250-350 £250-350 99

205. • JOHN BRATBY, RA (1928-1992) PATTI READING signed and dated upper right Bratby/’76 oil on canvas 51 x 76 cm/20 x 30 in; sold together with a photograph of Patti next to her portrait taken by John Constable after Bratby’s death. Provenance: John Constable, bought March 11 1991 Seen by Patti Bratby on a visit to John Constable, shortly after Bratby’s death, on October 20 1992. She said “This was done on a Sunday afternoon in Blackheath in 1976. I was reading

Forum magazine - an article on tattooing and the next day we both went and had a tattoo done.” Exhibited: Cleveland Bridge Gallery, Bath, October 1986, illustrated in the catalogue £1200-1800 100

206. • JOHN BRATBY RA (1928-1992) VIEW OF A VENETIAN CANAL signed and dated lower left Bratby 85 oil on canvas 122 x 63.5 cm/ 48 x 25 in Provenance: Bonhams, Oxford May 2014 bought by John Constable £2000-3000 101

207. • JOHN BRATBY, RA (1928-1992) PORTRAIT OF RAY WALKER oil on canvas 128 x 192cm/ 60 1/4 x 40 1/4 in to be sold with several hand written letters from the artist to John Constable Provenance: Acquired by John Constable directly from the artist in April 1990 Extract from Bratby's letters to John Constable: Just got back from Brighton I've been

thinking about the Ray Walker - the one with head on hand, looking more sultry than mad in that portrait. I so like it passing from my ownership to yours after all these years - circa 1973 or 1972… Ray Walker, Born in Liverpool. Lived to 30 years or so…A split personality. Could be friendly and charming. Drank and took drugs. Could do splendid cartwheels. Spent 3 years at RCA. I worked during a sad period in my life 1973 gratuitously for Sam Wannamaker at Southwark on his Shakespeare project. I got to know RW through a girl friend of mine. I invited him to help me with my work & Sam paid him something… He must have died of drug abuse. I introduced him to external murals. His biggest he was doing when he died. All his friends finished it. The Arts Council did a tour of his work say 3 years ago after his death. £1000-1500 102

208. • JOHN BRATBY, RA (1928-1992) THE LITTLE FUNNY BEAUPORT PARK HOTEL CONCRETE MEN OF THE SUNKEN GARDEN inscribed and signed lower left The Little funny Beauport Park Hotel/Concrete Men of the

Sunken garden/and in Froggett's of Brighton/Multicoloured sequined &/beaded jacket a glamorous/lady not often to be seen/in the gardens on the stone/steps of the Beauport Park Hotel/John Bratby RA pastel and chalk 59 x 42 cm/23 1/4 x 16 1/2 in

Provenance: Julian Hartnoll Gallery The Beauport Park Hotel is situated between Battle and Hastings. The figures from the hotel's formal garden measure approximately half a metre high. £250-350 103

209. • FREDERICK DONALD BLAKE (1908-1997) SOFT DAY IN CORNWALL signed lower right F. Donald

Blake

watercolour 45 x 70.5 cm/17 3/4 x 27 3/4 in £400-600

210. • JOHN SERGEANT (1937-2010) A STUDY FOR THE BOOK COVER OF THE ISLAND BY GUSTAV HERLING monogrammed & dated lower right 1992 pen & ink with watercolour and coloured pencils 17.0 x 20.0 cm / 6 3/4 x 7 3/4 in Exhibited: John Sergeant: Recent Works, J.S. Maas & Son, London, 27 October - 13 November 1992, Cat. No. 51

The Island: Three Tales was

first published in Polish in 1967 and was reprinted in translation by Penguin Books, London, in 1993. £80-120

104

211. WILLIAM SHACKLETON, NEAC (1872-1933) GERANIUMS ON A LEDGE signed lower left watercolour with pencil, heightened with bodycolour 22.0 x 12.0 cm/8 1/2 x 4 3/4 in £60-80

212. • CYNTHIA TINGEY (1931-2005) A COSTUME DESIGN FOR SUE LLOYD IN WHERE'S JACK? signed & dated lower right 68 pen & ink with watercolour, heightened with bodycolour 36.0 x 23.0 cm / 14 x 9 in

Where's Jack was a film released in 1969,

depicting the exploits of the thief and prisonbreaker Jack Sheppard in 1720's London. It was directed by James Clavell, with the titular Jack played by the then rising star of Pop music Tommy Steele OBE and Sue Lloyd as Lady Dartington. £80-120

105

213. • ROBERT BUHLER, RA NEAC LG (1916-1989) A PIAZZETA BEHIND ST MARK'S SQUARE, VENICE signed lower right Buhler oil on canvas 51 x 61 cm/20 x 24 in Provenance: The artist to Don Stein; John Constable £800-1200

106

214 • MARY FEDDEN, OBE RA RWA (1915-2012) PIRROT FROM ERMIONE, 1995 signed and dated lower right Fedden/1995 inscribed with title in the decorative border upper centre Pirro watercolour on indian paper 21.6 x 13 cm Pirro - or Pyrrhus, was the son of Achilles King of Epirus and is the subject of the opera, Ermione by Rossini Provenance: Bought from Glyndebourne Opera House, 1995 Exhibited: Glyndebourne Opera House, Sussex, 1995 £800-1200 107

215 • ANDREW FREETH, PRWS (1912-1987) THE ORCHESTRA AT FLORIAN'S, 1982 signed lower left H. A. Freeth watercolour and gouache 30.5 x 44.5 cm/ 12 x 17 1/2 in Provenance: John Lindsey Fine Art, Knowle £200-300

216 • DAVID TINDLE, RA (B. 1932) MICHAELA 2005 tempera on board 29 x 25 cm/11 1/2 x 9 3/4 in £600-800

217 • MAGGI HAMBLING CBE (B. 1945) NO 741 PORTRAIT OF DEREK JARMAN numbered lower left 164/250 signed and dated lower right Hambling 98

silk-screen print on 300g Vellum Arches Fine Art Paper in an edition of 250 72 x 49 cm/28.75 x 19.70 in.

This edition was produced by the artist in collaboration with print maker Charles Hines from Peacock Printmakers, Aberdeen. Exhibited: Walsall Art Gallery 2015, The Clive Beardsmore Gift (Another print) £400-600 108

218. • FRANK MCFADDEN (B. 1972) NO. 819 MALE STUDY signed lower left McFadden pastel on paper 31 x 14 cm/12 x 9 in. £150-250

219. • SONIA LAWSON, RA (B. 1934) ABSTRACT STILL LIFE OF FLOWERS ON A WINDOWSILL signed lower right Lawson oil on canvas 60 x 61 cm/23.9 X 24 in. Provenance: Bonhams, Oxford, 10th September 2014, Lot 65 From an email discussion with the artist after the work was purchased from Bonhams: “I’m glad my

work has found a good home. The painting you bought entitled ‘Abstract with yellow flowers’ is one of my early works from the 1960s.” £700-1000 109

220. • EILEEN ALDRIDGE (1916-1990) ROW OF HOUSES WITH WASHING signed and dated lower right E. Aldridge

'46.

oil on 25.5 x 46 cm/10 x 18 1/4 in £100-150

221. • ERIC RIMMINGTON (B. 1926) CHIMNEY POTS, LONDON inscription to label on the reverse oil on card 23 x 23 cm/ 9 x 9 in £100-150

222. • JOHN DOYLE (B. 1928) LANE ON ROMNEY MARSH signed lower right John Doyle watercolour heightened with white 14.5 x 22.5 cm/ 5 3/4 x 8 3/4 in Provenance: Spink, London £100-150

110

223.

All proceeds to benefit The Grange Festival

DUNCAN WRIGHT (B. 1967) PASTURAL PLEASURES I signed to back board Duncan Wright oil on canvas 61 x 84 cm/24 x 33 in £100-150

224. • GRAEME WILCOX (ACTIVE 1989-1993) NO 823 BLURRY HEAD titled and signed to back of canvas 'BLURRY

HEAD' Graeme Wilcox

oil on canvas 37 x 28 cm/14.5 x 11 in £600-800

225. • FRANK MCFADDEN (B. 1972) No. 820 CHAINSMOKER signed and dated lower left McFADDEN 09. pastel on paper 60 x 46 cm/23.9 x 18.1 inch £250-350

111

226. • JONATHAN ADAMS (1931-2005) CLOUDS IN NORTHAMPTON (A PAIR), SOLD TOGETHER WITH NORTHAMPTON CLOUDS (A PAIR) extensively inscribed and dedicated verso oil on paper First pair: 20.0 x 25.0 cm / 8 x 10 in Second Pair: 29.0 x 19.0 cm / 11 1/2 x 7 1/2 in both pairs framed together respectively (2) Provenance: Given by the artist to the present owners £50-70 227. • GEORGE BUTLER, NEAC, RBA, RWS (19041999) PIAZZA PITTI (1961) signed lower right, titled & dated lower left watercolour 24 x 30 cm/9 1/2 x 11 3/4 in £80-120 228. • GEORGE BUTLER, NEAC, RBA, RWS (19041999) THE GARDEN OF THE CHATEAU DE MENARS, LOIRE-ET-CHER signed & titled lower left watercolour 24 x 30 cm/9 1/2 x 11 3/4 in £80-120 112

229.

All proceeds to benefit Westminster Abbey

• JOOLS HOLLAND OBE DL (B. 1958) VERNACULAR GOTHICK: STUDY OF A VENETIAN WINDOW signed and dated Jools Holland/FEB 2021 inscribed lower centre 6 FEET/1/2 INCH per foot/

VERNACULAR GOTHICK

pencil 21 x 13.5 cm/8 1/4 x 5 1/4 in; unframed £150-200

230. LADY LUCINDA MACKAY (B. 1941) THE MARINA, TORBOLE, ITALY signed upper left, exhibition label to backboard ink and watercolour on paper 42 x 57 cm/16 1/2 x 22 1/2 in Exhibited: Torrance Gallery, Edinburgh, 21st February 1998, No. 68 £100-150 231. RUSSIAN SCHOOL (EARLY 20TH CENTURY) PORTRAIT OF A SAILOR signed in Cyrillic upper right V/Cherniaev grey wash on paper 77.5 x 55.5 cm/33 1/2 x 21 3/4 in £250-350

113

SAX SHAW (1916-2000) Born in Yorkshire in 1916, Sax Shaw became one of Scotland's most influential post war artists. His semi-abstract and highly colourful designs were not, however, confined to watercolour. He worked in many media, often simultaneously, including mosaics and murals. However, it is his revolutionary use of stained glass and tapestry that made him a pioneer on the post war Scottish art scene. After studying at Huddersfield College of Art, his artistic training in Scotland began at Edinburgh College of Art where he focused on stained glass design. His works include the windows of St Thomas Church, Fifth Avenue, New York. At the Gobelins Tapestry workshops in Paris he was inspired by the work of Picasso, Lurat and Matisse and went on to become Director of the Dovecote Tapestry Studios where he took a neglected medium used mostly to produce traditional copies of period paintings and transformed it into a form of modern art. His works can be seen in both Glasgow and Coventry cathedrals.

232. • SAX SHAW (1916-2000) TWO PORTRAIT STUDIES the first inscribed, dated and signed lower centre MN 8th 1976(?)/Shaw; the second signed and dated lower right Shaw 74 pen and ink with brush 27 x 20 cm/10 1/2 x 8 in (largest) £200-300 114

233. • SAX SHAW (1916-2000) UNA'S LOCK, AFTER ROBERT BURNS inscribed lower centre Una's Lock/with respect/to Robert Burns'./poem dated and signed lower right April 4th 82/Shaw watercolour on paper 49 x 66 cm/19 1/4 x 26 in £300-500

234. • SAX SHAW (1916-2000) CRAMOND SEASCAPE signed and dated lower right Shaw 60 watercolour on paper 37x.5 x 55 cm/14 3/4 x 21 3/4 in £300-500 115

235. • HAL WOOLF, N.S. (1902-1962) FIESTA (1936) signed lower left oil on card 35.0 x 46.0 cm / 13 3/4 x 18 in Provenance: Major Norman Kark Hal Woolf studied at the Chelsea Polytechnic under Bernard Adams between 1920-1922 and later in Paris, at La Grand Chaumiere. His death in mysterious circumstances caught the imagination of the public and provoked a parliamentary investigation into the Metropolitan Police, who were blamed for it. Major Norman Kark was a South-African publishing magnate, who served in the Canada Corps in WWII. He was the father of Austen Kark, C.B.E., the Managing Director of the BBC. £100-150 236. • JOHN BLAKEY (B. 1952) LADY IN MAUVE oil on canvas, unframed 61 x 51 cm/24 x 20 in £300-500

116

237. • KARIN JONZEN (1914-1998) CLAUS: A STUDY OF THE ARTIST'S SON, MARTIN, WHEN HE WAS 12 Terracotta 58 cm 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. £800-1200 117

238. • SIR JACOB EPSTEIN (1880-1959) ANTHONY, 1947 bronze with a green patina 32 cm/12.5 in excluding base edition of 6 £2500-3500 118

239. • KATERINA PORTER JUGGLER I Bronze; on base Exhibited Royal Academy Summer Exhibition 1989 43.2 cm/17 in. incl. base 41 cm/16.3 in. with base £250-350 119

240. • CHRIS MITTON (B. 1963) THE PEACEMAKER (REVOLVER) Carrara marble; with stainless steel stand Signed on the grip mitton 2012 41.5 x 76 cm/16 1/4 x 30 in unique A 3:1 exact replica of a Colt 45 SAA revolver, commonly known as 'The Peacemaker' £2000-3000

120

241. • CHRIS MITTON (B. 1963) SPANNER, 2015 Signed, editioned and dated to the base

mitton/1/3/2015

Carrara marble; on a black granite stand etched with the outline of the tool 20.3 x 5 cm/8 x 2 in; without base edition of 3 £400-600

242. • CHRIS MITTON (B. 1963) HAMMER, 2015 carrara marble Signed, editioned and dated to the end

mitton/1/3/2015

31.5 x 12 cm/12 1/4 x 4 3/4 in edition of 3 £400-600

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243. • DAVID THOMPSON (B. 1939) DIVER limestone Length: 40.5 cm / 16 in (excluding base) Provenance: The Artist, from whom acquired directly by the present owner Private Collection, U.K. David Thompson studied at the Carlisle College of Art, then the Slade School of Art. He won the Boise Scholarship in 1964, a Sainsbury Scholarship in 1965 and a North Eastern Arts Association Prize in 1966. He was a tutor and senior lecturer at Canterbury College of Art between 1970-1989. £400-600 244.

All proceeds to benefit The Wallace Collection

• MAPALU AOLA (CAPE DORSET, 2009) DANCING BEAR serpentine stone 22 cm/8 3/4 in high Property from a Private Collection £700-900 122

End of Sale

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.

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Payment and Collection

(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.

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11.

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)

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.

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. (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.

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ABSENTEE BID FORM (please print or type) Name Sale Date: 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 – GB39HBUK40190422033119 Sort Code: 401904 Account No: 22033119 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.

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For Office Use Only: date and time received

Address Postcode Telephone Alternative Telephone Email

p Date

Signed

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

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