British & Continental Pictures and Prints by Olympia Auctions

British & Continental Pictures and Prints Tuesday 22nd September 2020

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

013 PP220920

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:

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Catalogue: Â£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 103 Page i illustration: Lot 154 Back Cover: Lot 125

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BRITISH & CONTINENTAL PICTURES AND PRINTS

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

PUBLIC EXHIBITION Sunday 20th September 12.00 noon to 4.00pm Monday 21st September 10.00am to 5.00pm BY APPOINTMENT

DAY OF SALE Tuesday 22nd September 2020 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

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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

1. ELBERTUS DIDERIK WALLER (fl. MID-18th CENTURY) A TROMPE L'OEIL, BEING A SILVER WEDDING ANNIVERSARY PRESENT FROM THE ARTIST TO HIS WIFE MARIA signed & dated l.m. Diderik Waller fecit 1755 pen & ink with oil on paper 35.0 x 24.0 cm / 13 3/4 x 9 1/2 in Elbertus Diderik Waller was born into prosperous Dutch family in Amsterdam. Very little of his life is known, and only one previous work by him (another trompe l'oeil) is known to have come to auction in recent years (Bubb Kuyper, Haarlem, Fine Arts..., 2124.11.2017, Lot 5151). We know from public records that Waller married a Maria Dylius in 1730, which explains the initials to the middle of this work: EW [Elbertus Waller] : MD [Maria Dylius]. These, together with the number XXV confirm, along with the date, its personal meaning. £250-350 2. VINCENT LAURENSZ VAN DER VINNE (1628-1702) A TROMPE L'OEIL OF PRINTS OVER AN UNFOLDED QUARTO FROM HERDERS-KOUT, TUSSEN ZEEDENLUST &c. (publ. Netherlands, 1690) signed l.l. of largest 'print', numbered l.r. of sheet 63 pen & ink with blue wash over printed paper 41.0 x 31.0 cm / 16 x 12 in £500-700

3. FRENCH SCHOOL (EARLY 19th CENTURY) THE UNION OF VENUS AND MARS oil on gold leaf ground 45.0 x 63.0cm / 17 3/4 x 24 3/4 in £1000-1500

Detail of lot 72 illustrated opposite 1

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. £400-600

5. HARRY M. ALLEN (fl.1907-1937) AFTER JAN VAN EYCK THE ARNOLFINI PORTRAIT bears inscription u.m. Johannes de Eyck fuit hic bears label to stretcher with artist's signature oil on canvas 86.5 x 62.5cm / 34 x 24 1/4in Allen produced a number of copies of well-known paintings, several of which are now in public collections in the U.K. £600-800

6. 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 £250-350

7. CONTINENTAL SCHOOL (EARLY 19TH CENTURY) A BLACKSMITH’S FORGE oil on panel 31 x 41 cm / 12 x 16 in £100-150

8. EDWIN ELLIS (1842-1895) STORMY SEAS OFF DOVER signed l.l. E. Ellis. oil on canvas 46 x 84 cm / 18 x 33 in £300-500

9. BRITISH SCHOOL (19TH CENTURY) A BOY ASTRIDE A HORSE oil on canvas 34 x 40 cm / 13 1/2 x 15 3/4 in £100-150

10. RICHARD BARRETT DAVIS, R.B.A. (1782-1854) HELPING HIM BACK ON HIS HORSE signed l.r. RB Davies oil on canvas

46 x 61 cm / 18 x 24 in £150-250

11. RAMSAY RICHARD REINAGLE, R.A. (1775-1862) AND STUDIO VIEW OF CHERBOURG signed (twice) and inscribed with title on the reverse oil on canvas 53.5 x 72 cm / 21 x 28 1/4 in ÂŁ300-500 12. NEAPOLITAN SCHOOL (EARLY 19th CENTURY) A PAIR OF NOCTURNAL VIEWS OF THE ERUPTION OF VESUVIUS IN 1807 & 1822 both titled l.m. gouache on paper Largest: 42.5 x 66.0 cm / 16 3/4 x 26 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 A label to the backboard of both of these works explains the provenance of this group. The 6th Baron Berwick of Attingham (1802-1882) had instructed an agent to go to Italy to purchase furnishings for his house. A collection of gouache paintings were bought, dating from around 1860, brought back to England but never framed or used. The only time they were known to have been removed from storage was c.1939, when they were wrapped in newspaper dating to that year. They then remained in storage again until 1971 when they were unwrapped at the request of "the present owner", and the then owner of Attingham Park explained their provenance. It was in 1971 that they were finally framed and glazed. William Hill, the third Lord Berwick, had enjoyed a successful career as a diplomat in Italy before inheriting the estate in 1832. It may have been his influence that spurred his relative on to acquire Neapolitan art of this sort. The 6th Baron was also a collector of heraldic and historical manuscripts, with his collection sold at S. Leigh Sotheby's, London, 26.04.1843. (2) ÂŁ1500-2000 4

13. NEAPOLITAN SCHOOL (EARLY 19th CENTURY) A VIEW OF NAPLES FROM CAPODIMONTE titled l.m. 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 £700-1000

14. NEAPOLITAN SCHOOL (MID 19th CENTURY) A PAIR OF VIEWS OF NAPLES showing the views from Carmine and from Posilipe respectively both titled l.m. gouache Both: 41.0 x 63.0 cm / 16 x 25 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 (2) £1500-2000

15. A.M. GALEA AND VICENZO D'ESPOSITO (20TH CENTURY) A GROUP OF VIEWS OF MALTA, INCLUDING MDINA AND THE GRAND HARBOUR all signed watercolour and gouache 17 x 26 cm / 6 1/2 x 10 1/4 in; largest (4) £80-120

16. ENGLISH PROVINCIAL SCHOOL (LATE 18th CENTURY) PORTRAIT OF A GENERAL, SAID TO BE JOHN BURGOYNE, M.P., P.C. (1722-1792) inscribed u.r. Gen Burgoyne oil on panel 28.5 x 23.0 cm / 11 1/4 x 9 in There were a number of portraits of Lieutenant General John Burgoyne completed throughout his lifetime. Of these pictures the present work bears closest resemblance to the sketch by John Graham, presently in the National Army Museum (Acc No. NAM. 1991-0264), for his larger piece The Funeral of General Simon Fraser, which is dated circa 1791. £300-500 17. JAMES WORSDALE (circa 1692-1767) PORTRAIT OF JOHN SOTHEBY, PHYSICIAN signed & dated l.r. Worsdale pinxit 1727 oil on canvas 73.0 x 60.0 cm / 28 3/4 x 23 1/2 in Provenance: The sitter's family by descent Sotheby's, London, Heirlooms, 12.10.1955, Lot 110 Sotheby's, Anonymous Sale, 16.5.1984, Lot 171 Christie's, South Kensington, Anonymous Sale, 25.9.1989, Lot 311 The sitter's family tree was published in the important Sotheby's Heirlooms sale catalogue of 1955, and he is not believed to have been related to his namefellow, the founder of the eponymous auction house. £500-700 8

18. ATTRIBUTED TO ENOCH SEEMAN (1694-1744) PORTRAIT OF THE POET JOHN GAY (1685-1732) oil on canvas 73.0 x 58.0 cm / 28 3/4 x 22 3/4in Provenance: The Earl of Darnley By whom sold at his sale, Christie's, London, 01.05.1925, Lot 4 (as John Gay, by William Aikman, bought Hugh Blaker for ÂŁ31.10) Christie's, London, Anonymous Sale, 29.06.1934, Lot 107 (sold as above) Christie's, London, Anonymous Sale, 17.02.1984, Lot 120 (as Gay by Circle of Jonathan Richardson) The present work may relate to an unfinished portrait, thought to be of John Gay, that was sold at Christie's, South Kensington, Old Masters & 19th Century Art, 10.12.2010, Lot 2071. There is also another version of the present work at Marble Hill House, Twickenham (Acc. No. 88029593). William Aikman's portrait of circa 1720 (Scottish National Portrait Gallery, Acc. No. PG 718) is the work to which other portraits must be compared. Other important portraits of Gay with good claims to authenticity are the miniature by Christian Friedrich Zincke, now known only from engravings, and a portrait by Michael Dahl, both of which are directly comparable in their likenesses to the present work. ÂŁ2000-3000 9

19. AFTER SIR GODFREY KNELLER, R.A. PORTRAIT OF THE RT. HON. WILLIAM CLAYTON, BARON SUNDON OF ARDAGH (16711752) oil on canvas 122.0 x 99.0 cm / 48 x 39 in The present work relates to Kneller's 1719 portrait of Clayton, now in the Walker Art Gallery (Acc. No. WAG 6272). William Clayton began his career as a politican in the Exchequer, and managed the Duke of Marlborough's estates. Clayton was favoured by the Prince of Wales throughout his career, according to some historical accounts because of his wife's privileged position within Caroline of Anspach, Princess of Wales' retinue (as 'Woman of the Bedchamber'). Clayton held a number of important governmental positions, and sat as M.P. for Liverpool, St Albans, Westminster, Plympton Earl and St Mawes. He was also made a lord of the Treasury in 1718. Clayton's wife Charlotte is remembered for her own political career within the Court of Queen Caroline: her memoirs were published in 1847 (1) and the British Museum have a number of correspondences relating to her (2). Kneller is known to have painted Clayton on another occasion, slightly earlier than that in the Walker. This and a pendant portrait of Lady Sundon (also by Kneller) were sold at Christie's, South Kensington, Old Masters & 19th Century Works of Art, 10.07.2009, Lots 61 & 62, as the Property of the Late Michael Copeman. In comparing the two works, one can see clearly the development of Kneller's style over the course of his career: "...all traces of Continental fashion disappear from Kneller's portraits. Around 1720, in such portraits as William Clayton, Baron Sundon of Ardagh - the canonical "hand-in-waistcoat" in its fully anglicised form - we see emerging the equivalent of Dryden's "good plain English"..." (3) Bibliography: (1) Charlotte, Lady Sundon, Memoirs of Viscountess Sundon, Mistress of the Robes to Queen Caroline,' 2 vols. 1847 [She was neither a viscountess nor Mistress of the Robes and G.A. Aitken notes that "this title is typical of the general innaccuracy of this work" (4)] (2) British Museum, London - Addit. MSS. 20102-5, 30516 (3) Arline Meyer - Classical Statuary: The 18th Century 'Hand-in-Waistcoat' Portrait - The Art Bulletin, Vol. 77, No. 1 (March 1995) - p.59 (4) George Atherton Aitken - Dictionary of National Biography, 1885-1900 (Vol. 55) - Smith, Elder & Co. [Aitken notes "There are portraits after Kneller of Lord and Lady Sundon, with an inscription stating that they were presented in 1728 by Mrs. Clayton to Dr. Freind, who had attended her husband in a dangerous illness" (ibid.)] ÂŁ500-700 10

20. ATTRIBUTED TO THOMAS BARDWELL (1704-1767) PORTRAIT OF ELIZABETH GREYSTONE OF BLAKESWARE PARK, WILFORD, HERTS. oil on canvas 106.5 x 81.0 cm / 42 x 32 in Provenance: Sotheby's, London, Anonymous Sale, 08.04.1998, Lot 92 Blakesware Park was built circa 1640 by Sir Francis Leventhorpe, and was purchased in 1683 by John Plumer (1656-1719), a prosperous London merchant who became Sherrif of Hertfordshire; his sons Walter, William and Richard all went on to become Whig politicians and Members of Parliament. The essayist Charles Lamb recalls Blakesware in his Dream Children and Blakemore in H...shire, as his grandmother Mary Field was the housekeeper. £300-500 21. GEORGE ADOLPHUS STOREY, R.A. (1834-1919) THE GOLDEN BARN (1866) monogrammed l.l. inscribed on mount card beneath frame, The Golden Barn by GA Storey 1866 oil on card with pencil 25.0 x 35.5 cm / 9 3/4 x 14 in Provenance: Woolley & Wallis, Salisbury, 07.03.2018, Lot 97 £300-500

22. 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 £1000-1500

23. GEORGE VICAT COLE, R.A. (1833-1893) CATTLE GRAZING IN A SUMMER MEADOW signed l.l. oil on canvas 30.5 x 45.7 cm / 12 x 18 in Provenance: Christie's, South Kensington, 09.11.1989, Lot 80 £400-600

24. JOSEPH KNIGHT (1837-1909) A RURAL VIEW signed and dated l.r. 89/J. Knight oil on panel 26.5 x 35 cm / 10 1/2 x 13 3/4 in £120-180

25. ADAM BARLAND (FL. 1843-1875) A PAIR OF MOORLAND LANDSCAPES both signed AB.67. oil on canvas 76 x 128 cm / 30 x 50 1/2 in £1000-1500

26. CHARLES JAMES FOX (1822-1904) WILLITON, SOMERSET together with a A Continental Church [possibly L'Eglise du Vieux-Saint-Sauveur, Caen] by a follower of Samuel Prout (1783-1852) oil on canvas 41.0 x 51.0 m / 16 x 20 in Provenance: Sotheby's, London, Anonymous Sale, 13.02.1991, Lot 149 (2) ÂŁ300-500

27. FREDERICK DANIEL HARDY (1826-1911) and GEORGE BERNARD O'NEILL (1828-1907) RETURNING HOME signed, inscribed & dated on the reverse Interior by FD Hardy / Figure by GB O'Neill / 1856 oil on panel 17.7 x 15.9 cm / 7 x 6 1/4 in Provenance: Christie's, London, Anonymous Sale, 19.12.1991, Lot 191 Both Hardy and O'Neill were members of the Cranbrook Colony of Artists, based in Kent, who drew inspiration from the genre painters of the Dutch Golden Age of painting. The artists and their families were a close-knit group, some bound by marriage to each other's kin as well as artistic association, and together they played a philanthropic role within the local community. Keith Roberts emphasised the Dutch influences on the group in his review of an exhibition of the Colony's works at Wolverhampton, home to the largest National collection of these works: "Ostade, Teniers and Steen are also obvious general sources for paintings that are usually small in scale and which depend on finish and careful observation of detail and types" (1). Bibliography: (1) Keith Webster - The Cranbrook Colony at Wolverhampton - The Burlington Magazine, Vol. 119, No. 888 (March 1977) - p.214 ÂŁ500-700 13

28. EDWARD WILKINS WAITE, R.B.A. (1854-1924) A BERKSHIRE STREAM, WOOLHAMPTON signed l.r. E.W. Waite oil on canvas 25.5 x 35.5 cm / 10 x 14 in Provenance: Christie's, South Kensington, Anonymous Sale, 24.04.2012, Lot 339 £600-800

29. ATTRIBUTED TO EDWARD WILKINS WAITE, R.B.A. (1854-1924) A PAIR OF SKETCHES OF FISHING SCENES oil on canvas Largest: 23.0 x 32.0 cm / 9 x 12 1/2 in (2) £100-150

30. VIENNESE SECESSIONIST SCHOOL (EARLY 20th CENTURY) PORTRAIT OF A LADY indistinctly signed l.l. Sonnenfeld Collection, Vienna, stamp on stretcher (canvas previously used as dry-backing for another work) oil on canvas 46.5 x 35.0 cm / 18 1/2 x 13 3/4 in unframed £80-120

31. MANNER OF NIKOLAY DUBOSKY (1859-1918) VIEW OF THE KREMLIN, MOSCOW signed and inscribed indistinctly in Cyrillic on backboard oil on canvas laid to board 19.0 x 28.0 cm / 7 1/2 x 11 in £200-300

32. ITALIAN SCHOOL (LATE 18th / EARLY 19th CENTURY) PUTTI WITH GARLANDS possibly initialled u.l. LE[?] oil on card 11.0 x 15.5 cm / 4 1/4 x 6 in £80-120

33. JOSEPH BOUVIER (fl.1839-1888) AFTER BARTOLOMÉ ESTÉBAN MURILLO INVITATION TO A GAME OF ARGOLLA signed l.l. Joseph Bouvier oil on paper stuck to stretched canvas 68.0 x 50.0cm / 26 3/4 x 19 3/4in The present work is after Murillo's c.1665-70 painting of two peasant boys, now in the Dulwich Picture Gallery (Acc. No. DPG224). Joseph Bouvier was one of the six children of the artist Jules Bouvier, all of whom were also artists. £150-250

34. PANCRACE BESSA (1772-1846) STILL LIFE OF SPARROWS signed and dated l.r. Bessa . 1827 watercolour 28 x 20 cm / 11 x 8 in £300-500

35. FRENCH SCHOOL (c.1650-1700) AN EXTENSIVE LANDSCAPE WITH FIGURES AND A DISTANT TOWN ink & wash on wove paper with Arms of Amsterdam watermark on paper 17.5 x 28.7cm / 6 3/4 x 11 1/4in unframed, mounted The present work bears similarities in style to the earlier works of the Bolognese School, but may also have drawn inspiration from Nicolas Poussin. £200-300 36. ATTRIBUTED TO CONSTANTIN GUYS (1802-1892) A LADY WITH A PARASOL inscribed on mount card l.r. C Guys 15 india ink, pencil & wash 12.4 x 7.8cm / 4 3/4 x 3in unframed £100-150

37. FOLLOWER OF HUBERT ROBERT (1733-1808) A PAIR OF ITALIANATE VIEWS sanguine chalks on paper Largest: 19.5 x 14.3 cm / 7 3/4 x 5 1/2 in (2) £200-300

38. DANIEL DAVID BURGDORFER (1800-1861) PORTRAITS OF THE ARTIST'S CHILDREN one signed & dated l.r. 1834 both inscribed extensively to backboard by the artist watercolour heightened with gum Arabic & pencil, on card 20.3 x 15.2 cm / 8 x 6 in Provenance: Bloomsbury Auctions, London, Prints, Drawings & Watercolours, 27.10.2006, Lot 45 £400-600 17

39. ALEXANDRE NICOLAEVICH ROUSSOFF (1844-1928) (COUNT VOLKOV-MUROMTSOFF) A VIEW OF VENICE signed & dated l.r. watercolour 20.0 x 38.0 cm / 7 3/4 x 15 in Provenance: Cambridge Fine Art, Cambridge Private Collection, U.K. £300-500

40. ERNST CARL GEORGE ZIMMERMAN (1852-1901) A MONK READING MUSIC signed l.r. 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 £200-300

41. JACQUES FRANCOIS CARABAIN (1834-1933) STREET SCENE signed and dated l.l. J. Carabain f 58 oil on canvas 74 x 92 cm / 29 x 36 in Â£2000-2500

42. LUCIEN-VICTOR GUIRAND DE SCÉVOLA (1871-1950) THE SPHINX AT THE PALACE OF VERSAILLES studio stamp l.l. watercolour 32.5 x 39.5 cm / 12 3/4 x 15 1/2 in The present work is one of a number of studies of the Palace of Versailles that the artist executed, and can be compared to those sold Blanchet & Associes, Paris, 20.03.2013, Lot 25 and the same rooms, 21.06.2013, Lot 29; Delon-Hoebanx, Paris, 18.05.2018, Lot 52; The Potomack Company, Alexandria, 10.06.2017, Lot 63; Artcurial, Paris, 18.11.2014, Lot 178; and Christie's, Paris, Interiors, 11.05.2004, Lot 212. Several of these works also show either one or both of Louis Lermabert's (1620-1670) sculptures, as the present work does. The two large sculptures depict L'Amour porté par un sphinx and are on the Parterre des Fleurs. They were carved in collaboration with Jacques Houzeau following a model provided by Jacques Sarazin. Aside from his sensitive and delicate pastels and oils, Lucien Guirand de Scevola is credited with being one of the first artists to devise military camouflage, together with Eugène Corbin and Louis Guignot in 1914 (1). Bibliography: (1) Peter Forbes - Dazzled and Deceived: Mimicry and Camouflage - New Haven, 2009 £300-500

43. LUCIEN-VICTOR GUIRAND DE SCÉVOLA (18711950) A LANDSCAPE VIEW studio stamp l.l. watercolour 32.0 x 43.5 cm / 12 1/2 x 17 in £100-150

44. CARL HORN (1874-1945) A BOY IN CLASSICAL GUISE PLAYING THE PAN-PIPES signed l.r. Horn watercolour 42.5 x 28.0 cm / 16 3/4 x 11 in £100-150

45. FRENCH SCHOOL (LATE 18th CENTURY) A WOODLAND VIEW ink & wash with bodycolour 26.0 x 17.0 cm / 10 1/4 x 6 1/2 in £60-80

46. FRENCH SCHOOL (LATE 19th CENTURY) A SET OF STUDIES FOR A PAINTING OF A SIDESADDLE RIDER three signed l.r. Thoq, one signed l.l. T q all variously inscribed with colour notes &c. pencil on cream paper Largest: 30.0 x 23.5 cm / 11 3/4 x 9 1/4 in (4) £200-300

47. JULES JOSEPH LEFEBVRE (1836-1911) PORTRAIT OF THE ARTIST'S WIFE signed l.l. J L. inscribed u.l. Madame Jules-Lefebvre charcoal on tracing paper 38.5 x 29 cm / 15 1/4 x 11 1/2 in unframed £200-300

48. JULES JOSEPH LEFEBVRE (1836-1911) STUDY OF A PRAYING GIRL signed l.l. Jules Lefebvre black pencil and charcoal on tracing paper 64 x 47 cm / 25 x 18 1/2 in unframed This work is probably a preliminary study for a larger oil painting by the artist entitled Laure. £200-300

49. JULES JOSEPH LEFEBVRE (1836-1911) FEMALE STUDY signed l.l. JL pencil on tracing paper 33 x 24 cm / 13 x 9 1/2 in unframed £150-200

50. JULES JOSEPH LEFBEVRE (1836-1911) STUDY OF CORIOLANUS SEEKING REFUGE WITH TULLUS (STUDY FOR THE PRIX DE ROME, 1859) signed, dated and variously inscribed u.l. J. Lefebvre/1859 pencil on paper 22.5 x 29 cm / 8 3/4 x 11 1/2 in unframed £100-150

51. • PABLO TILLAC (1880-1969) PORTRAIT OF MADAME HOURDEBAIGT IN PROFILE titled u.r. coloured chalks on paper 15.0 x 11.0 cm / 6 x 4 1/4 in £500-700

52. AUGUSTO MORIANI (1854-1913) PORTRAIT OF A BETURBANED MAN WITH A PIPE signed l.r. watercolour with chalks 50.0 x 33.0 cm / 19 3/4 x 13 in The present work one of a series of variations on the same portrait by the Italian artist, including those sold at Lauritz, Hamburg, 11.04.2017, Item Number 4594412; J Levine, Scotsdale, Arizona, 29.05.2014, Lot 5147; and Burstow & Hewett, 22.06.2011, Lot 23. £80-120 53. EDOUARD MOREROD (1879-1919) PORTRAIT OF A SEVILLIAN SHEPHERDESS inscribed u.l. Pastora signed and inscribed u.r. Morerod/XII.09. Sevilla pastel on paper 61 x 41 cm / 24 x 16 in £400-600

54. FRENCH SCHOOL (LATE 18th CENTURY) A PRIVATE ACADEMY inscribed l.l. indistinctly wove paper watermarked with initials C N pen & ink with sepia wash and sanguine chalk 21.0 x 31.0 cm / 8 1/4 x 12 1/4 in unframed £300-500

55. GEORGES STEIN (1855-1930) A BORDEAUX STREET SCENE signed, titled & dated l.l. Georges Stein Bordeaux XIV watercolour 24.0 x 34.0cm / 9 1/2 x 13 1/4in £300-500

56. THOMAS STOTHARD, R.A.(1755-1834) FRONTISPIECE DESIGN FOR SIMES' A TREATISE ON MILITARY SCIENCE pencil with grey washes 16.5 x 12.5cm / 6 1/2 x 5in Literature: John Heath - The Heath Family Engravers: Vol II, Charles Heath & sons Frederick & Alfred - Aldershot (1993) - 1780.6 The present work was engraved by James Heath (1757-1834) for publication in Thomas Simes' treatise (1780, Thomas Millan, London). The subject shows an allegory of Military on the right and Art on the left, with an angel gifting a laurel wreath to Military. An impression of the engraving can be found in the British Museum Collection (Inv. No. 1852,1116.439). £100-150

57. 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 ins 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). £800-1000 25

58. WILLIAM JOHN HUGGINS (1781-1845) A VIEW OF THE THAMES EAST-INDIAMAN, BEACHED AT EASTBOURNE, 1822 sepia washes with pencil 21.0 x 30.5 cm / 8 1/4 x 12 in unframed, mounted The 'Thames' East-Indiaman was driven ashore on its journey to China and Bombay, from London, on Sunday 3rd February 1822. The cargo was removed without loss by an agent of Lloyd's, and the ship remained beached until the 22nd. A large crowd of several thousand spectators came to cheer when the ship was put out to sea again. This view shows the ship being unloaded, with two martello towers (possibly nos. 71 & 70) and Langley in the far distance. Huggins was a marine painter who spent his early life in the service of the East India Company at sea. He retained close links with the company after leaving them, and was regularly employed to paint their ships. He was also a marine painter to their majesties George IV and William IV. He painted a larger version of this scene in watercolours which was sold at Christie's, London, British & Continental Watercolours, 23.03.2005, Lot 275. ÂŁ100-150 59. WILLIAM EVANS OF ETON (1798-1877) THE PASS OF KENMARE (MOLLS GAP), CO. KERRY (circa 1835) titled l.r. 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-west-before-thefamine-1.1441194) (2) The Art Union: Monthly Journal... - June 1st, 1845 (London) - p.107 ÂŁ300-500 27

60. ANDREW NICHOLL, R.H.A. (1804-1886) A VIEW ON THE FINDHORN RIVER, SCOTLAND signed l.m. A Nicholl RHA titled & signed on label affixed to backboard watercolour 30.0 x 45.0 cm / 11 3/4 x 17 3/4 in ÂŁ250-350

61. ATTRIBUTED TO SAMUEL WOODFORDE, R.A. (1763-1817) THE RIVER GOD (AFTER GIAMBOLOGNA'S OCEAN FOUNTAIN IN THE BOBOLI GARDENS, FLORENCE) bears label to backboard with typewritten attribution black chalk heightened with white on blue laid paper 35.0 x 39.0 cm / 13 3/4 x 15 1/4 in Provenance: Possibly the Bury Street Gallery (unidentified label to backboard, see catalogue note) Christie's Property Receipt Label to backboard Daniel Katz Gallery, London Writing in The Literary Gazette in 1817, a commentator noted that "The fact is that Mr Woodforde preferred the study of design in the first instance, to that of colouring; and deemed it wiser to imbibe his primary principles from Rome and Florence than from any other school". (1) This sketch is likely one of those made on his formative trip to Italy in 1790-91, part of which was in the company of his patron the talented amateur artist Sir Richard Colt Hoare, Bt., which was sponsored by the Hoare family. Two others that are highly similar in manner and appearance by Woodforde are Seated Male Nude and The Farnese Flora, both in the National Gallery of Art, Washington D.C., Acc. No. 1995.52.211 & 212 respectively. These were sold by the artist's descendants through the Bury Street Gallery in the late 20th century. Bibliography: (1) W.C. [most likely the Gazette's art critic at that time, William Paulet Cary], The Literary Gazette, No. XXV, 12.07.1817, pp.180-182 ÂŁ150-250 28

62. 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 Provenance: The Bourne Gallery, Surrey Ibbetson exhibited at the R.A. between 1811-1812 and travelled on his Grand Tour to Italy and Sicily in 1817. He is mistakenly identified as having exhibited with Walter Fawkes in 1817: this was Julius Caesar Ibbetson, the better known landscape artist. J.T. Ibbetson was however an exhibitor at the Artists in Watercolours Society, a privilege given only to select amateurs. He was also familiar with both J.M.W. Turner and his patron and close friend Walter Fawkes, and is recorded as dining with them on at least one occasion (1), in his capacity as a collector and artist. Bibliography: A.J. Finberg - Turner's water-colours at Farnley Hall The Studio, London (1912) - p.12 £100-150

63. ATTRIBUTED TO THALES FIELDING, A.O.W.S. (1793-1837) A STUDY OF A BRIDGE watercolour with pencil 12.5 x 19.0 cm / 5 x 7 1/2 in Provenance: Andrew Wyld, W.S. Fine Art, London £80-120

64. GEORGE CATTERMOLE, O.W.S. (1800-1868) MONKS READING IN A MEDIEVAL INTERIOR watercolour 49.0 x 64.5 cm / 19 1/4in x 25 1/4 in in an exceptional antique carved-gilt frame Exhibited: London, Old Watercolour Society, 1850, no. 377 £300-400

65. ENGLISH SCHOOL (EARLY 19th CENTURY) A VIEW OF OXFORD FROM THE SOUTH-WEST WITH TRAVELLERS ON A ROAD watercolour 51.5 x 69.5 cm / 20 1/4 x 27 1/4 in unframed, laid to card £200-300

66. GEORGE BARRETT Jr. (1767-1842) HARVESTING AT SUNSET inscribed in pencil on back of card Barrett watercolour with wash on card 26.5 x 37.5 cm / 10 1/2 x 14 3/4 in £100-150

67. ROBERT ANNING BELL, R.A., R.W.S. (1863-1933) BELVER FROM THE HARBOUR AT PALMA, MAJORCA Signed, inscribed and dated R.A.Bell/Belver from Palma Harbour / 1910 watercolour over pencil 16.1 x 35.1 cm / 6 1/4 x 13 1/4 in £120-180

68. HARRY WARD (1844-1873) A VIEW OF WINDSOR CASTLE signed l.r. H Ward watercolour heightened with bodycolour 24.0 x 35.0 cm / 9 1/2 x 13 3/4 in £40-60

69. LIEUT. E.R.W.W. YATES (fl.1840's) & MAJOR FRASER (fl.1840's-1882) LIEUT-GEN. SIR WILLIAM MAYNARD GOMM, GOVERNOR & COMMANDER IN CHIEF OF MAURITIUS watercolour with pen & ink on card signed & titled on reverse 17.0 x 31.0 cm / 6 3/4 x 12 1/4 in William Gomm (1784-1875), latterly Field Marshal Sir William Maynard Gomm, G.C.B., was Governor of the British colony of Mauritius from 1842-1849. He served in a number of theatres and campaigns, including the Peninsula Wars, Waterloo and as Commander in Chief of British troops in Jamaica. He later became Commander in Chief of troops in India, succeeding Sir Charles Napier. On his retirement from active service he was made Constable of the Tower of London, Field Marshal and Knight Grand Cross of the Order of the Bath. Lieut. Yates (of the 82nd Foot (1)) was Gomm's Assistant Military Secretary in Mauritius, and Major Fraser was his Aide-de-Camp (2). The latter is likely the same Maj. Fraser who was one of the illustrators for Lady Florence Dixon's In the Land of Misfortune (London, 1882) and who is recorded in that text as making topographical sketches. The church in the background is likely to be the Church of St Francis of Assisi, built 1756, situated in Pamplemousses. Gomm's legacy in Mauritius is perhaps most important for Philatelists. His wife, Lady Elizabeth Gomm, required several hundred stamps for invitations to her ball on the 30th September 1847. Having sent an urgent request to Britain, Mauritius was granted the license and became the first province outside Britain to be permitted to issue their own stamps. Lady Gomm took full advantage of this privilege in ensuring that enough were produced for invitations to the occasion of the season on the Island. Two varieties of stamps were issued, the so-called 'Mauritius Blue' 2d and a vermilion 1d. Such has been their scarcity that in 1904, the then Prince of Wales, George V, paid a record ÂŁ1,450 for one of these blue stamps beating out global competition (3). Most recently a Mauritius Blue was sold through David Feldman and became the most expensive 'cover' sold at auction, at CHF 6,123,750. Bibliography: (1) National Archives, Kew, Ref. No. WO 76/177/68 (2) J. Wood - Wood's Royal Southern Kalendar, Tasmanian Register and General Australasian & East Indian Official Directory - Publ. Henry Dowling, Launceston, Tasmania (1849) - p.190 (3) H. Morgan - Blue Mauritius: The Hunt for the World's Most Valuable Stamps - London, 2015 - Introduction ÂŁ100-150 32

70. ALBERT GOODWIN, R.W.S. (1845-1932) LYNMOUTH, NORTH DEVON signed l.r., titled l.l. pastel & watercolour 17.0 x 23.5 cm / 6 3/4 x 9 1/4 in Exhibited: Royal Society of Painters in WaterColours, Winter 1894, No. 114 £300-500

71. ALBERT GOODWIN, R.W.S. (1845-1923) VENICE signed & dated l.r. 1871 titled l.l. watercolour with pencil 8.0 x 16.0 cm / 3 x 6 1/2 in Exhibited: An Exhibition of Watercolours to Commemorate the Fiftieth Anniversary of the Artist's Death, Southgate Gallery, Shropshire, May 1-14, 1982, Cat. No. 38 £400-600

72. ALBERT GOODWIN, R.W.S. (1845-1932) CORFE CASTLE signed l.r., titled l.l. watercolour with pen & ink, and bodycolour 37.0 x 56.0 cm / 14 x 22 1/2 in Provenance: Private Collection, U.K. Goodwin described the castle, a favourite place of his which he painted a number of times, as "one of the most Rhine-like looking castles we have" in his March 1896 show at the Fine Art Society (1). Bibliography: (1) Catalogue of a collection of pictures and drawings of imaginative landscape in europe and asia by albert goodwin, r.w.s. : exhibited at the fine art society's - Fine Art Society , London (1896) - Cat. No. 57 ÂŁ2000-3000

73. ALBERT GOODWIN, R.W.S. (1845-1932) THE ISLAND OF THE SOUNDING CYMBALS, FROM THE ARABIAN NIGHTS signed & dated l.r. 95 titled on artist's decorative mount watercolour with bodycolour 35.0 x 51.5 cm / 13 3/4 x 20 1/4 in Exhibited: Royal Society of Painters in Water-Colours, Summer 1891, No. 114 A Collection of Pictures and Drawings of Imaginative Landscape in Europe and Asia by Albert Goodwin RWS, Fine Art Society, March 1896, No. 53 Water-Colour Drawings and Oil Paintings by Albert Goodwin RWS, Vicars Brothers, London, March 1925, No.18 An Exhibition of Watercolours by Albert Goodwin RWS, Southgate Gallery, Shropshire, May 1-14, 1982, No. 23 Goodwin produced a number of works in his series of illustrations to The Arabian Nights, one of which, showing Ali Baba and the Forty Thieves, is in the Tate Gallery, London (N01900). In the catalogue entry for this work from its exhibition in 1896 Goodwin wrote, "Sinbad merely mentions the island in one of his voyages, but the title is a very suggestive one. The huge wild bees' nests hanging from the roof of the cavern are a very common object in India" (1). Bibliography: (1) Catalogue of a collection of pictures and drawings of imaginative landscape in europe and asia by albert goodwin, r.w.s. : exhibited at the fine art society's - Fine Art Society , London (1896) - Cat. No. 53 ÂŁ1500-2000 35

74. ALBERT GOODWIN, R.W.S. (1845-1932) A GATHERING STORM signed & dated l.r. 1908 titled l.l. watercolour on card 26.5 x 36.5 cm / 10 1/2 x 14 1/4 in Exhibited: Royal Watercolour Society, London, Winter 1908, Cat. No. 34, with a quotation from the book of the Prophet Ezekiel in the exhibition catalogue. "As a shepherd seeketh out his flock in the day he is among the sheep that are scattered; so I will seek out my sheep, and will deliver them out of all places where they have been scattered in the cloudy dark day" (Ezekiel, xxxiv.12) £500-700 75. HENRY SILKSTONE HOPWOOD, R.W.S., R.B.C. (18601914) THE FERRY initialled and dated l.r. HSH 86 pencil and watercolour 24.5 x 34.5 cm / 9 1/2 x 13 1/2 in £200-300

76. GEORGE FREDERICK WATTS, O.M., R.A. (1817-1904) STUDIES OF A FEMALE NUDE pencil on paper 58.0 x 35.0 cm / 23 x 13 3/4 in Provenance: Abbott and Holder, London £400-600

77. GEORGE WILLIAM FILLITER (1879-1960) SELF-PORTRAIT signed & inscribed l.m. Georgus Guillemus Filliter / Princeps Ballagorriae watercolour with pencil 27.0 x 20.5 cm / 10 1/2 x 8 in Filliter studied architecture at Oxford University and worked in Manchester and the Isle of Man. Princeps Ballagorriae may be a reference to a project undertaken on the Isle of Man: there is an extant record titled Proposed alterations and additions to 'Baldroma Beg', Maughold, Property of R.W. Lascelles' in the Isle's public record office (1). Bibliography: (1) Isle of Man Public Record Office, S56, Acc. No. A10, https://www.gov.im/media/1355432/s56catalogue.pdf (last accessed 12/02/20) £80-120

78. HERCULES BRABAZON BRABAZON, N.E.A.C., P.S. (1821-1906) A LUTE PLAYER initialled l.l. HBB watercolour 21.5 x 16.5 cm / 8 1/2 x 6 1/2 in £200-300

79. HERCULES BRABAZON BRABAZON, N.E.A.C., P.S. (1821-1906) THE TEMPLE OF GERTASSE, NUBIA initialled l.l. watercolour with pencil 14.5 x 22.5 cm / 5 3/4 x 8 3/4 in Provenance: Christie's, London, Anonymous Sale, 16.05.1934, Lot 89 Sotheby's, London, Topographical Paintings &c., 08.11.1984, Lot 252 The Temple of Gertasse, now called the Kiosk of Qertassi, in modern-day Egypt, was a popular scene for a number of topographical artists including Edward Lear, Frank Dillon and William Light. The Kiosk is Roman and most probably dates to the Augustan period. £400-600 80. ATTRIBUTED TO EDWARD STOTT, A.R.A. (18591918) A PORTRAIT STUDY AND SCULPTURE STUDY chalk pastels 44.5 x 34.5 cm / 17 1/2 x 13 1/2 in £80-120

81. FRANCIS EDWARD JAMES, N.E.A.C., R.W.S., R.B.A. (1850-1920) A STILL LIFE OF WILDFLOWERS signed l.l. watercolour 36.0 x 26.0 cm / 14 x 10 1/4 in Exhibited: New English Art Club Centenary Exhibition, Christie's, London. 27th August to 17th September, 1986, Catalogue No. 68 £80-120

82. FRANCIS EDWARD JAMES, N.E.A.C., R.W.S., R.B.A. (1850-1920) A CONTINENTAL TOWN VIEW, POSSIBLY IN SPAIN signed l.r. watercolour 25.0 x 35.0 cm / 9 3/4 x 13 3/4 in Provenance: The Highgate Gallery, London £80-120

83. • CHARLES JAMES MCCALL, R.O.I., N.E.A.C. (19071989) STUDY OF A CROUCHING MALE NUDE signed l.r. CMcCall pencil 30.0 x 20.0 cm / 11 3/4 x 8 in £80-120

84. • MARTIN HARDIE, V.P.R.I., R.E., R.S.W. (1875-1952) THE SEINE AT PONT L'ARCHE signed & dated l.l. 1924 watercolour 24.5 x 34.5 cm / 9 1/2 x 13 1/4 in £80-120

85. • PERCY HAGUE JOWETT, N.E.A.C., R.W.S. (1882-1955) THE SEINE AT VETHEUIL signed & dated l.r. 1924 watercolour with pencil 36.0 x 51.0 cm / 14 x 20 in Provenance: Purchased from the artist by J[?] Norman Rickard Esq. for £10.10.0, 06.03.1940 Exhibited: United Artists Exhibition in Aid of the Lord Mayor's Red Cross and the Artists' General Benevolent Institution, Royal Academy, London, January-March 1940, Cat. No. 54 Jowett served on the WAAC (War Artists Advisory Committee) at this time - having been selected by Sir Kenneth Clark for his "good artistic judgement" (1) - and was a significant figure in wartime art in Britain. He had been Principal of the Royal College of Art previously and was responsible for heading the Home Office committee to select artists suitable for Camouflage work. Jowett stayed in a cave above the River Seine with the artists Claude Flight and Harold William in Eure, from August to September in 1924, and this picture likely dates from that trip. Bibliography: (1) John Hilton to A.P. Waterfield, 17 September 1939, Department of Art, Imperial War Museum: WAAC Archive, (GP/46/A) (Employment of Artists to Record the War) £150-250

86. • CHARLES MARESCO PEARCE, N.E.A.C., L.G. (18741964) A VIEW OF THE SOUTH TRANSEPT OF CHARTRES CATHEDRAL DOWN THE RUE AUX HERBES, AND A FRENCH STREET VIEW pencil Both 35.0 x 18.0 cm / 13 3/4 x 9 1/2 in Both works are inscribed in a later hand stating that they come from one of the artist's sketchbooks from his 1906 trip to France. This would date them to when Jacques Emile Blanche was his tutor, before Pearce studied under Blanche's close friend Walter Sickert. They are characteristic of his earlier works which tended to be comparatively formal and architectural. (2) £80-120

87. ÉTIENNE-PIERRE-THÉODORE ROUSSEAU (18121867) OAK AMONG BOULDERS (1861) etching Plate: 13.4 x 21.0cm / 5 1/4 x 8 1/4in unframed This etching was made from Rousseau's painting La Chene de Roches and published in the Gazette des Beaux-Arts. £60-80 88. WENCESLAUS HOLLAR (1607-1677) PORTRAIT OF MARIE DE MEDICI signed in plate WHollar fec. / 1648 etching Plate: 7.5 x 5.1 cm / 2 7/8 x 2 in Literature: New Hollstein (Hollar Part I) 1022 Pennington 1982 1709 £80-120

89. WENCESLAUS HOLLAR (1607-1677) YOUNG WOMAN WITH A CONICAL HAT TO THE RIGHT signed in plate u.r. W. Hollar fecit / 1645 first state of two etching Plate: 10.9 x 7.8 cm / 4 5/16 × 3 1/16 in Literature: New Hollstein (Hollar Part III) 789 I/II Pennington 1982 1719 I/II £80-120

90. WILLIAM LEE HANKEY, R.W.S., R.I., R.O.I., R.E. (18691952) LA FILLE DE FERME signed l.m. in pencil, with the artist's blindstamp from the edition of 50 etching Plate: 24.8 x 17.3 cm / 9 3/4 x 6 7/8 in Provenance: Walker Bagshawe Fine Art, London Literature: Hardie, 135 £100-150

91. EDMUND GOODALL (1795-1870) AFTER DAVID ROBERTS, R.A. A PAIR OF LONDON VIEWS publ. McQueen & Co., London, 1844 line engraving Plate: 24.5 x 34.3 cm / 9 3/4 x 13 1/2 in unframed The two views are respectively, St Paul's Cathedral with the Civic Procession on Lord Mayor's Day and Westminster Abbey and Bridge, with the Debarkation of the Lord Mayor. They are from the Subscribers' "Plain" impression. (2) £60-80 42

92. DAVID ROBERTS, R.A. (1796-1864) SEBASTE, ANCIENT SAMARIA lithograph with hand colouring 35.0 x 50.0cm / 13 3/4 x 19 3/4in £200-300

93. DAVID ROBERTS, R.A. (1796-1864) ASKELON lithograph with hand colouring 32.0 x 48.0cm / 12 1/2 x 19in £200-300

94. AFTER GIOVANNI BATTISTA PIRANESI COLONNA TRAJANA [TRAJAN'S COLUMN] signed in plate l.r. Piranesi fecit etching, state V/VII Plate: 54.8 x 41.0 cm / 23 x 16 in Sheet: 64.4 x 49.7 cm / 25 1/4 x 19 1/2in Provenance: The Folio Society Collectors' Corner, London Literature: Hind, 52 £200-300

95. RIGOBERT BONNE (1729-1795) LES ISLES DE LA GUADELOUPE, DE MARIE GALANTE, DE LA DESIRADE ET CELLES DES SAINTES, COLONIE FRANCOISE DANS LES ANTILLES published Paris, 1779 together with a hand coloured engraved map of Asia by Nicholas Sansom (publ.1719) engraving with hand colouring Plate: 22.2 x 32.0 cm 8 3/4 x 12 1/2 in (2) £80-120

96. 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 £300-500

97. RUSSIAN SCHOOL (EARLY 20TH CENTURY) A CARICATURE, POSSIBLY ENRICO CARUSO (18731921) signed l.l., inscribed & dated l.r. M.L. 1910 14.0 x 16.5 cm / 5 1/2 x 6 1/2 in Provenance: East Coast Fine Arts, Port St Lucie, FL., U.S.A, Anonymous Sale, 10.01.2016, Lot 231 Caruso was a great Italian Tenor and was one of the first major singing talents to be commercially recorded. He was also a prolific caricaturist himself, who "from 1906 contributed unfailingly to the columns of La Follia, a New York weekly newspaper, a sketch of some kind" (1). It has been suggested that this may be the work of the artist, Mikhail Larionov (1881-1964). Bibliography: (1) P.V.R. Key - Enrico Caruso: A Biography - Boston (1922) - p.328 £200-300 98. • ALEXANDRE NIKOLAYEVICH BENOIS (1870-1960) A COSTUME DESIGN FOR LES BALLET IDA RUBINSTEIN signed & dated l.r. in pencil A Benois 1928 extensively inscribed by the artist with notes pen & ink with pencil & heightened with coloured washes 34.5 x 24.5 cm / 13 1/2 x 9 3/4 in The present work is most likely for one of the performances given by Les Ballet Ida Rubinstein in 1928. The performances during that season included Les Noces de Psyche et de l'Amour, La Bien-Aimée, David, La Princesse Cygne, Nocturne, Bolero, La Baiser de la Fée and L'Oiseau de Feu (1). Bibliography: (1) Vicki Woolf- Dancing in the Vortex: The Story of Ida Rubinstein - London (2013) - p.167 £1000-1500

99. GEORGE SHERRINGHAM (1884-1937) AN ORIENTAL PROCESSION signed l.r. gouache 22.5 x 32.5 cm / 8 3/4 x 12 3/4 in £250-350

100. • HEIN HECKROTH (1901-1970) COSTUME DESIGN FOR THE FLOWER SELLERS IN BIG CITY (1935) signed & inscribed l.l. & l.r. label verso watercolour with pen & ink 23.0 x 29.0 cm / 9 x 11 1/2 in Provenance: Acquired from the artist by John Carr Doughty The Big City, set to music by Alexandre Tansman, written by Kurt Joos and performed by the Ballet Joos, had its English premiere at Dartington Hall in 1935. This production was one of the first that the costume designer Hein Heckroth worked on in Britain, having moved from France that year. Heckroth taught art at Dartington Hall in Devon. Kurt Joos set up a school there at which a number of other continental artists fleeing the Nazi regime, including Mikhail Chekhov, Rudolf Laban and Sigurd Leeder, all taught and produced work. Hein Heckroth went on to win an Oscar for his work on The Red Shoes in 1948. £120-180

101. • HEIN HECKROTH (1901-1970) COSTUME DESIGN FOR A NEWSPAPER BOY IN THE BIG CITY (1935) signed & inscribed l.l. & l.r. label verso watercolour with pen & ink, heightened with gouache 30.0 x 22.5 cm / 11 3/4 x 8 3/4 in £120-180

102. • CYNTHIA TINGEY (1931-2005) A COSTUME DESIGN FOR SUE LLOYD IN WHERE'S JACK? signed & dated l.r. 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 prison-breaker 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. £120-180

103. • JEAN COCTEAU (1889-1963) L'ESPIONNE pen & ink 25.0 x 20.0 cm / 10 x 8 in £1500-2000

104. • JEAN COCTEAU (1889-1963) JEAN MARAIS SLEEPING pen & blue ink on paper, with watermark 20.0 x 18.5 cm / 8 x 7 1/4 in Jean Marais (1913-1998) starred in a large number of Cocteau's films, beginning in the late 1930's. His breakout work was Love Eternal (1943) which was written by Cocteau, and he also achieved great success in his portrayal of the Beast in Beauty and the Beast (1946) which was directed by Cocteau. Marais was Cocteau's partner from 1937 to 1947 and was to remain a lifelong friend. He published a memoir of the poet and artist in 1993 titled L'Inconcevable Jean Cocteau. £1500-2000

105. • 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 in 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. £1500-2000

106. • HARRY CORDWELL (1922-1995) COSTUME DESIGN FOR THE BALLET ANTONIA (1953) inscribed & dated l.r. Antonia 53 signed l.r. pencil with watercolour 48.0 x 34.0 cm / 19 x 13 1/2 in Provenance: Purchased directly from the artist, August 1956 Antonia was revived by the Walter Gore Ballet Company at the Princes Theatre, London. The choreography was arranged by Walter Gore and Harry Cordwell designed the set and costumes. The ballet was set to a selection of music from Sibelius' Scénes historiques I & II (1899-1912), The Bard (1913), Andtane Festivo (1922) and a selection from The Tempest (19251926). £100-150

107. • LESLIE GEORGE HURRY (1909-1978) COSTUME DESIGN FOR DINSDALE LANDEN IN TROILUS AND CRESSIDA (1962) signed & dated l.r. inscribed l.l. Dinsdale Landen / Patroclos inscribed u.l. Troilus and Cressida watercolour with pencil 37.0 x 17.0 cm / 14 1/2 x 6 3/4 in This production of Shakespeare's Troilus and Cressida was performed by the Royal Shakespeare Company. It opened on the 26.07.1960 at the Shakespeare Memorial Theatre in Straford-upon-Avon. The play was directed by John Barton and Peter Hall, costumes and set were designed by Leslie Hurry and the music was set by Humphrey Searle. £250-350

108. • KENNETH ROWELL (1920-1999) LAIDERETTE FOR BALLET RAMBERT (1955) signed, titled & dated l.r. watercolour with bodycolour 32.0 x 50.0 cm / 12 1/2 x 19 1/2 in Laiderette, also known as Mask and Face once it was taken on tour by the Ballet Rambert, was choreographed by Kenneth MacMillan, scored by Frank Martin and the costumes and set designer was Kenneth Rowell. It was first performed by the Ballet Rambert on the 4th July, 1955, at Sadler's Wells, where it had premiered the year before on the 24th January. The part of Laiderette was played by Patricia Ashworth. Writing in The Observer, Richard Buckle described Ashworth as "the latest in a long line of sensitive artists inspired and moulded by Mme Rambert". The first night prompted fourteen curtain calls (1). Bibliography: (1) Jann Parry - Different Drummer: The Life of Kenneth MacMillan - London, 2010 - p.158 £100-150 109. • KENNETH ROWELL (1925-1999) THE SCISSOR GIRL - A COSTUME DESIGN FOR THE BALLET VARIATIONS ON A THEME signed & dated l.r. 54 titled l.l. pen & ink with watercolour 35.0 x 23.0 cm / 13 3/4 x 9 in Provenance: Purchased from the artist, London, February 1956 Variations on a Theme was first performed by the Ballet Rambert at Sadler's Wells Theatre, June 21st 1954. The choreography was arranged by John Cranko, costumes and set design by Rowell and the music was written by Benjamin Britten and arranged by James Bernard. The part of 'Scissor Lady' was played in this performance by Mary Munro (1931-2018). £100-150

110. • KENNETH ROWELL (1925-1999) HOOPS - A PAIR OF COSTUME DESIGNS FOR THE BALLET both signed & dated l.r. 53 pen & ink with watercolour Both: 35.0 x 23.0 cm / 13 3/4 x 9 in (2) Provenance: Purchased from the artist, London, 1955 Literature: Illustrations reproduced in Ballet magazine, July 1955 These designs are for the 1953 production of Hoops, choreographed by Walter Gore with set design and costumes by Rowell. It was performed at the Prince's Theatre (1). The ballet was presented on television by the Walter Gore Company and later revived by the Ballet Rambert. Bibliography: (1) J. P. Wearing - The London Stage 1950-1959: A Calendar of Productions, Performers, and Personnel Rowman & Littlefield (2014) - p.255, No. 53.224 £150-200 111. • EDWARD GORDON CRAIG, C.H., O.B.E. (1872-1966) AN ELEGANT LADY wash over pen & ink 15.5 x 10.0 cm / 6 x 4 in Provenance: Piccadilly Gallery, London, acquired from the artist's family £300-500

112. • JOSEF HOFFMAN (1870-1956) A DESIGN FOR A COFFEE POT initialled l.r. numbered verso 68 blue & black ink with pencil, on squared paper 29.2 x 21.0 cm / 11 1/2 x 8 1/2 in unframed, mounted on card Provenance: Fischer Fine Art Ltd., London Mercury Gallery, Edinburgh Purchased from the above by Mrs Jean Pountain, 20.07.1982 This design is typical of Hoffman's designs for the Wiener Werkstätte. For comparable examples of designs that were realised, see Art Institute, Chicago (Acc. No. 1987.213.3); one sold at Dorotheum, Jugendstil & 20th Century Arts & Crafts, 12.12.2018, Lot 50. The Museum of Applied Arts in Vienna holds the largest collection of Hoffman's sketches for such objects. £500-700 113. • WILLIAM THOMAS WOOD, V.P.R.W.S., R.O.I. (1877-1958) THE STRUMA RIVER [BALKAN FRONT] FROM AN OBSERVATION BALLOON (1917) signed l.r. with original exhibition details on mount watercolour 15.0 x 23.0 cm / 6 x 9 in Provenance: Ernest Brown & Philips, London Exhibited: Ernest Brown & Phillips, Leicester Galleries, The Salonika Front (June - July 1918), No.38 Literature: A.J. Mann, M.A. - The Salonika Front - A&C Black, London, 1920 The present work is directly comparable to the right hand section of the second picture on pp.7677 (Junction of Butko & Struma Valleys, now in The Imperial War Museum, London, Cat. No Art.IWM ART 882) William Thomas Woods served on the Balkan Front in WWI in the Air Corps, also acting as an Official War Artist. The corps used observation balloons regularly for reconnaissance. £100-150 53

114. • ERICH WOLFSFELD, A.R.E. (1885-1956) A NORTH AFRICAN, POSSIBLY A BASKET WEAVER titled l.l. numbered u.l. 23 oil on paper 54.0 x 36.0 cm / 21 1/4 x 14 in unframed, glazed Wolfsfeld's trips to Turkey and Morocco - made while he was Professor of Painting & Etching at the Berlin Academy - resulted in a number of sketches such as these, where "the figure stands successfully in oil isolated against a blank background" (1). He established a process whereby "he would carry with him rolls of treated paper and painted many such scenes on the spot, as well as using sketches and photographs to work up later in the studio" (2). Bibliography: (1) Erich Wolfsfeld 1885-1956 - Elizabeth Furness Introduction to exhibition catalogue for the Belgrave Gallery - March 1977 - London (2) Erich Wolfsfeld; Lotte Laserstein; Gottfried Meyer Introduction to the exhibition catalogue for Agnew's, in association with Caroline Stroude - December 1990 - London £300-500 115. • ERICH WOLFSFELD, A.R.E. (1885-1956) A NORTH AFRICAN HOLDING A JUG initialled l.r. EW titled on backboard oil on paper 43.5 x 28.0 cm / 17 x 11 in unframed, glazed £200-300

116. • ERICH WOLFSFELD, A.R.E. (1885-1956) A FARM WORKER signed l.r. Wolfsfeld oil on paper 28.5 x 23.5 cm / 11 x 9 1/4 in unframed, glazed £120-180

117. CIRCLE OF SIR WILLIAM ROTHENSTEIN (1872-1945) A LADY READING numbered in pencil verso sanguine & black chalk pencils 25.0 x 30.0 cm / 9 3/4 x 11 3/4 in The present work is typical of the artists of the Slade School of Art in the period c.1890-1900, among them Rothenstein, Harold Speed and Augustus John. £100-150

118. SIR WILLIAM ROTHENSTEIN, N.E.A.C., R.P. (18721945) PORTRAIT OF FRANCIS DERWENT WOOD, R.A. (18711926) dedicated & dated l.r. To F Derwent Wood - Homage from W Rothenstein - 1921 sanguine & white chalks 25.0 x 20.5 cm / 9 3/4 x 8 in Rothenstein and Wood both taught at the Royal College of Art at the time that this portrait was made. Rothenstein was the Principal of the College while Wood was Professor of Sculpture. The composition and style are also highly similar to Rothenstein's portrait of Augustus John in 1924 (NPG, London, No. 4246). £100-150 55

119. FRANCIS DODD, R.A., N.E.A.C., R.P., R.W.S. (18741949) PORTRAIT OF CHARLES HASLEWOOD SHANNON, R.A. (1863-1937) initialled & dated l.r. D.W. 1905 inscribed l.m. Shannon chalks 29.5 x 22.0 cm / 11 1/2 x 8 1/2 in This portrait dates to the same year as Dodd's portrait of Shannon's partner, Charles Ricketts (British Museum, London, Acc. No. 1940,0210.7), also executed in chalks on paper. As part of the same artistic millieu, Dodd and Shannon will have known each other well by the time this work was executed. Seven years after this portrait the two artists were founder members of the short-lived Society of Twelve. £400-600

120. • WINIFRED M.L. AUSTEN, R.E., R.I., S.W.A. (18761964) WHITETHROATS monogrammed l.l. watercolour 25.0 x 19.5 cm / 9 3/4 x 7 3/4 in Provenance: Arthur Greatorex Ltd., Grafton Street, London Austen was one of the most popular ornithological artists of her time, and this work is absolutely typical of her finely rendered studies of birds. She illustrated Patrick R. Chalmer's Birds Ashore and Aforeshore, the original watercolours for which were exhibited by Arthur Greatorex (Austen's agent and publisher) in 1935. £300-500

121. WILLIAM BRUCE ELLIS RANKEN, R.I., V.P.R.O.I., R.P. (1881-1941) A PORTRAIT OF LINLEY FRANCIS MESSEL (1899-1971) monogrammed & dated l.r. 1921 with original label to backboard watercolour & pastels 48.5 x 36.0 cm / 19 x 14 in Provenance: The artist's studio until 1941 Janette Thesiger By whom given to Oliver Messel in 1946 This portrait was submitted to the Royal Society of Portrait Artists for exhibition in 1921, along with another of Linley Messel's sister, Anne, in the year before her Society Debut (Cat. No. 96) and one of his brother Oliver Messel (No.81). Linley Messel was the scion of the Anglo-German Messel banking dynasty. He commanded the Middlesex Yeomanry in WWII and worked in the family firm of L. Messel & Co. His brother was the celebrated costume designer and artist, Oliver Messel. His sister Anne, a famous Society figure, was founder of the Victorian Society, Countess of Rosse by her second marriage, the 1st Earl of Snowdon's mother by her first marriage to Ronald Armstrong-Jones, as well as being a highly-regarded horticulturist. W.B.E. Ranken is known to have painted all three Messel siblings, as well as their father Col. Leonard Messel O.B.E. He is also believed to have painted a further portrait of Anne Messel after her second marriage. Janette Thesiger (1877-1970) was a famous actress as well as Ranken's sister, and married the actor Ernest Thesiger. The latter worked together with Oliver Messel in a number of productions (including Anthony & Cleopatra, 1945 and Under the Sycamore Tree, 1952). We are grateful to Wendy and Gordon Hawksley, of WilliamRanken.org.uk, who have confirmed the authenticity of the work and assisted with its cataloguing. ÂŁ300-500

122. HARRY MORLEY, A.R.A., R.B.A., R.E., V.P.R.W.S., R.P. (1891-1943) THE GYPSY ENCAMPMENT signed & dated l.r. 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. ÂŁ1000-1500

123. DERWENT LEES, N.E.A.C. (1885-1931) CUMBERLAND HILLS watercolour 25.5 x 35.5 cm / 9 3/4 x 14 in Provenance: Wyndham T. Vint Collection Christie's, South Kensington, 20th Century British Art, 02.12.2004, Lot 93 The Albany Gallery, London £400-600

124. • DAVID SHAW (1952-1989) CROYDON signed l.r. Shaw oil on canvas 86 x 96 cm / 34 x 37 3/4 in Provenance: This work was purchased directly from the artist and gifted to the present owner £250-350

125. • EDWARD BAWDEN, C.B.E., R.A.(1903-1989) A DESIGN FOR THE DECIMAL 20 PENCE, 1962 signed on label attached to backboard pencil with watercolour 20 x 20 cm / 8 x 8 in Provenance: Fine Art Society, April 1994 Edward Bawden was one of a number of artists who were asked to submit designs for Britain's changeover to decimal coinage. A series of these designs by Bawden are kept in the Royal Mint Museum collection, and include one for a round 50 pence piece. Another of the artist's proposed 20 pence designs is in the Fry Art Gallery, Saffron Walden (Cat. No. 1583) with the royal cypher instead of the Tudor Rose. Literature: Kevin Clancy, Museum Treasures, Royal Mint Bulletin, Spring 2011 £400-600 59

126. SLADE SCHOOL (EARLY 20TH CENTURY) FIGURE STUDY OF A YOUNG GIRL initialled l.r. N C pencil on brown paper 23.0 x 13.0 cm / 9 x 5 in It has been suggested that a possible attribution to Nancy Carline, L.G., N.E.A.C. (1909-2004) could be made. Carline (nee Higgins) began her studies at the Slade in 1929 under the tutelage of Henry Tonks, whose influence on the line and manner of this work is noticeable. £80-120

127. • SIR STANLEY SPENCER, R.A. (1891-1959) IDEA FOR A VISITATION studio stamp l.r. inscribed u.l. APPLE pen and sepia ink 25.0 x 20.0 cm / 9 3/4 x 8 in Provenance: The Stanley Spencer Studio Sale (The Property of The Daughters of Stanley Spencer), Christie's, London, 05.11.1998, Lot 203 (part of lot) Archeus Fine Art, London Spencer painted a Visitiation in around 1912 which is now in the Hunterian Museum, Glasgow (Acc. No. GLAHA_50145). The present work is however more similar to another sketch of this subject sold at Christie's, South Kensington, 20th Century British Art, 15.12.2011, Lot 88. £800-1200

128. AFTER SIR WILLIAM NICHOLSON, R.A. (1872-1949) LORD KITCHENER publ. William Heinemann,1900 lithographic reproduction of the woodcut 27.0 x 34.0 cm / 10 1/2 x 13 1/4 in unframed, mounted £100-150

129. • AUGUSTUS JOHN, O.M., R.A. (1878-1961) STUDIES OF A FEMALE NUDE signed l.r. in pencil John bears label to backboard with confirmation of authenticity by Caspar John black chalk on paper 35.0 x 25.0 cm / 13 3/4 x 10 in £800-1200

130. • SIR FRANK BRANGWYN, R.A., R.E., R.W.S., R.B.A. (1867-1956) MOWERS (1912) woodcut etching Block: 13.2 x 19.4 cm / 5 1/4 x 7 1/2 in Literature: Dominique Marechal - Collectie Frank Brangwyn Bruges Stedelijke Musea, 1987, p. 128 N.M. Lazareva - Frenk Brengvin - Izobrazit, 1978, plate 95 This woodblock etching is based on Brangwyn's earlier lithograph of Mowers, created in 1890. This limited edition has been printed posthumously on Hahnemuhle Natural Line vergé paper. We are grateful to Dr Libby Horner for originally assisting with the cataloguing of another impression of the same work for Liss Llewellyn Fine Art, London. Dr Horner writes, "Apparently, this wood engraving was made after a drawing to decorate Next Court House in Cleveland (United States). (Mowers is no. v 1485 in Dr Libby Horner's forthcoming catalogue raisonné) £80-120 61

131. SIR WILLIAM LLEWELLYN, G.C.V.O., P.R.A., R.B.A., R.I., N.E.A.C. (1858-1941) THE GOOD SAMARITAN signed & dated l.r. W H Llewellyn 17 oil on board 24.0 x 24.0 cm / 9 1/2 x 9 1/2 in £300-500

132. • ADRIAN PAUL ALLINSON, R.B.A., R.O.I., L.G. (18901959) IMPRESSIONS OF THE RUSSIAN BALLET black and white outline print with hand-colouring in gouache 25.5 x 29.5 cm / 10 x 11 1/2 in This work is one of a series of prints that were commissioned by the eminent dance historian Cyril Beamount in the 1920's, based on productions from Sergei Diaghilev's Ballet Russes. Ethelbert White, Randolph Scwabe, Allinson and others had previously illustrated a series of booklets on the same subject a few years prior to this. The hand colouring of these prints is believed to have been largely the work of Beaumont and his wife Alice, though other artists were also involved in both projects. For the same impression, without handcolouring, see the V&A Museum, London, Inv. No. S.474-2000. £100-150

133. â&#x20AC;˘ SYLVIA GOSSE, R.B.A., A.R.E., S.W.A., L.G. (1881-1968) RUE DE LA BOUCHERIE, DIEPPE signed & inscribed to reverse, dated 1920 oil on canvas

25.0 x 30.0 cm / 9 3/4 x 11 3/4 Provenance: Purchased from Louise Kosman, April 2016 The present work is highly similar in tone and composition to one by Walter Sickert from c.1898, titled The Flower Market (Baron, 116) which is now in the Art Gallery of New South Wales, Australia (Acc. No. 8069). The scene had previously been painted by J.M. Whistler in 1885, in watercolour, and that work was at one point owned by Sickert himself. Sickert painted a view of the Rue de la Boucherie in c.1902 in a very similar palette to the present work, which was sold as part of the Jeffrey Archer Collection, Christie's, London, 28.06.2011, Lot 77; and a further one in 1903 (York Art Gallery, Acc. No. 1044). Gosse was in Dieppe in 1920 having nursed Christine, Sickert's wife, in the final days before she died. Staying on after Christine's death, Gosse bore the full weight of Sickert's grief which was to dog him for longer than many of his close friends had expected. Gosse had always followed Sickert's lead in her own artistic development, and close contact with her mentor is evidenced by her very similar hand and choice of subject. Her painting of the back of the church of St Jacques, Dieppe, dated 1920 as well and seen in the present painting, also shows how closely she was emulating Sickert: both are painted with a lightly loaded brush, they are choices of an unusual perspective on a well-known view and the colours used in them indicate the strong influence of Sickert at this time. ÂŁ800-1200 63

134. • FREDERICK ELWELL, R.A. (1870-1958) STILL LIFE FOR THE HARVEST FESTIVAL signed l.r. Fred Elwell 1931 oil on canvas 64 x 76 cm / 25 x 30 in £800-1200

135. • JOHN COLE, R.B.A., R.O.I. (1903-1975) SHOP WINDOW OF JENNY LYNNE (LONDON) LTD, EASTCASTLE STREET signed l.r. oil on canvas 41.0 x 51.0 cm / 16 x 19 1/2 in Exhibited: Royal Academy, 1959, No.1 £300-500

136. • JOHN COLE, R.B.A., R.O.I. (1903-1975) SHOP WINDOW OF J. MARLOW, 21 BARRET STREET signed l.l. oil on board 30.0 x 39.0 cm / 11 3/4 x 15 1/4 in £300-500

137. FRANK HIDER (1861-1933) PICCADILLY BY NIGHT signed & dated l.r. 194[2?] oil on canvas 40.5 x 61.0 cm / 16 x 24 in unframed Provenance: Studio Sale, Forest [Gate?] according to label on stretcher £200-300

138. ALEX MACLEAN, V.P.R.B.A. (1867-1940) THE EMBANKMENT, LONDON signed l.r. MacL artist's label to reverse of original frame oil on canvas 69.0 x 51.0 cm / 27 x 20 in £200-300

139. • JOSEF OPPENHEIMER, R.P. (1876-1966) AMSTERDAM (1957) signed, titled & dated l.r. watercolour 30.3 x 22.6 cm / 12 x 8 3/4 in unframed, mounted £200-300

140. • JOSEF OPPENHEIMER, R.P. (1876-1966) PORTRAIT OF A MAN, SAID TO BE SERGEY DIAGHILEV signed & dated l.r. 24 black & sanguine chalks heightened with bodycolour 27.0 x 20.6 cm / 10 1/2 x 8 in Josef Oppenheimer was in Munich in 1924, where he painted a portrait of Leonid Pasternak and Hermann Struck (Montreal Museum of Fine Arts, Inv. No. 1969.1626). Sergey Diaghilev was a close associate of Pasternak's from their time working together on the Mir Iskusstva in St Petersburg. He was also in Munich with the Ballets Russes in 1924 (1). Bibliography: (1) There is a performance by the Ballets Rousses recorded on the 21.09.1924. See J. Pritchard, Serge Diaghilev's Ballets Russes: An Itinerary. Pt II, Dance Research, 27.2 Winter 2009. £400-600 141. • ATTRIBUTED TO JOSEPH OPPENHEIMER, R.P. (1876-1966) A SKETCH FOR A PORTRAIT OF A GENTLEMAN signed u.r., inscribed u.r. MOCM IIII [?] pencil heightened with white chalk 25.0 x 17.0 cm / 9 3/4 x 6 3/4 in The present subject may be Moritz Rosenheim, a sketch of whom on apparently similar paper is in the Oppenheimer-Prager Museum (New Brunswick, Serial No. d-0592). For a comparable work signed in a similar manner by Oppenheimer, see Portrait of George Salting (NPG, London, No. 1790) £100-150 142. • PETER KUHFELD, N.E.A.C., R.P. (b.1959) A BEACH SCENE oil on board 30.0 x 40.0cm / 11 3/4 x 15 3/4in Provenance: Highgate Gallery, London Exhibited: Peter Kuhfeld, Highgate Gallery, London, June 1983 £600-800 66

143. • MAURICE COCKRILL, R.A. (1936-2013) RED & BLUE AXES (1979) signed, titled & dated on reverse oil on canvas 60.0 x 76.0 cm / 23 1/2 x 30 in unframed Provenance: Bonham's, Knightsbridge, Modern Pictures, 27.01.09, Lot 149 £300-500

144. • LOUIS LUTZ (BORN 1940) SEATED FIGURE WAVING stamped on figure's base Lutz L. bronze with separate perspex base Sculpture (not incl. base) circa 20.0 x 10.0 cm / 8 x 4 in Provenance: Hanover Gallery, London Erica Brausen, the owner of the Hanover Gallery, first visited Lutz's studio in 1967. At this time Lutz was living at the Villa Medici under the mentorship of the painter Balthus. She was very impressed by his work and thereafter became one of his main patrons. She held several shows of his work in London. £600-800

145. • HAL WOOLF, N.S. (1902-1962) FIESTA (1936) signed l.l. 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. £200-300

146. • HAL WOOLF (1902-1965) PARISIAN SCENE signed & titled l.r., dated l.l. 23 oil on card 36.0 x 45.0 cm / 14 x 17 3/4 in The present work likely dates to Woolf's time studying at La Grand Chaumiere in Paris. £200-300

147. • MICHAEL AYRTON (1921-1975) DEMETER - GREEN HEAD (1965) signed & dated u.l. 9.9.65 acrylic on canvas 31.0 x 41.0 cm / 12 x 16 in Provenance: Acquired from the artist's family Private Collection, U.K. Literature: J Nyenhuis - Myth and the Creative Process: Michael Ayrton - Wayne State University Press (2003) - no. 540, p.268 £800-1200 148. • CLIFFORD ELLIS (1907-1985) WITH ROSEMARY ELLIS (1910-1998) ADVERTISEMENT DESIGN FOR SHELL, ANTIQUARIES (1934) pastels on paper 20.0 x 40.0 cm / 8 x 15 3/4 in This poster was produced by Shell Mex (the joint advertising venture between Royal Dutch Shell and British Petroleum) in 1934 with the tag line, You can be sure of Shell / Antiquaries prefer Shell. £300-500 149. • JOHN BRATBY, R.A. (1928-1992) THE DAY AFTER THE RAIN CAME, VENICE signed, titled & dated u.r. 30 Oct 85 colour pencils & wax crayons 40.0 x 28.0 cm / 15 3/4 x 11 in £300-500

150. • JOHN BRATBY, R.A. (1928-1992) THE SALUTE ON A SUNNY DAY, VENICE signed, titled & dated l.r. October 12 1986 colour pencils & wax crayons 41.0 x 30.0 cm / 16 x 11 3/4 in £300-500

151. • JOHN BRATBY, R.A. (1928-1992) RIO MOISE FROM BAUER GRUNEWALD HOTEL, VENICE signed, titled & dated l.r. 1 Oct. 1986 colour pencils & wax crayons 41.0 x 30.0 cm / 16 x 11 3/4 in £300-500

152. AFTER DAVID HOCKNEY, R.A. (BORN 1937) 'STILL LIFE, TAJ HOTEL, BOMBAY 1977' - EXHIBITION POSTER FOR GREY ART GALLERY & STUDY CENTRE, NEW YORK (1980) offset lithograph printed in colours Sheet: 95.0 x 69.0 cm / 37 1/2 x 27 in £100-150

153. • GRAHAM SUTHERLAND, O.M. (1903-1980) TEXTILE DESIGN FOR HORROCKS' gouache & watercolour 44.0 x 24.0 cm / 17 1/4 x 9 1/2 in unframed, mounted Provenance: Horrocks' Archive Sale, Christie's, London, 25.09.1986, Lot 22 (part of lot) £250-350

154. â&#x20AC;˘ JOHN PIPER, C.H. (1903-1992) SUNFLOWERS & HOSTAS, 1986 signed and dated l.r.: John Piper/20/21/9/86 Waddington Galleries label on backboard watercolour and gouache with chalk and Indian ink 60.0 x 76.0 cm / 23 1/2 x 30 in Provenance: Waddington Galleries, London Hollywood Fine Art, Sussex Private Collection, U.K. The present work was reproduced in 1989 as an etching with aquatint in an edition of 75, titled Sunflowers, 1989 (Levinson 420). ÂŁ10000-15000

155. • JOHN DOYLE, R.W.S. (BORN 1928) A VIEW OF ETON & WINDSOR CASTLE FROM CUCKOO WEIR signed l.l. artist's label to backboard watercolour with black chalk & pencil 35.0 x 59.0 cm / 13 3/4 x 23 1/4 in Provenance: John Lithiby, purchased directly from the artist Exhibited: John Doyle - Eton College Exhibition, 4th of June, 1986 - Cat. No. 21 £300-500 156. • DAVID THOMPSON (born 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. £800-1200 157. • NAOMI FREARS (BORN 1963) SELF PORTRAIT WITH A SLEEPING MAN (1997) titled l.l., signed & dated l.r. signed & dated on backboard acrylic on board 28.5 x 33.5 cm / 11 1/4 x 13 1/4 in £300-500

158. • JOHN STANTON WARD, R.A., R.W.S., V.P.R.P., C.B.E. (1917-2007) THREE CORRESPONDENCE CARDS WITH ILLUSTRATIONS extensively inscribed pen & ink Each including two pieces within a mount Entire mount: 38.0 x 29.0cm / 15 x 11 1/4in (3) £80-120

159. • VILLIERS DAVID (1906-1985) A GROUP OF WORKS INCLUDING SELF PORTRAIT IN A CHINESE GOWN, A WATERCOLOUR OF COSTUME DESIGNS AND A PAIR OF STUDIES OF AFRICAN WOMEN three works initialled l.r. various media including oil on board and watercolour Largest: 25.0 x 38.0 cm / 10 x 15 in (4) £100-150 160. • SIR FRANK BRANGWYN, R.A., R.E., R.W.S., R.B.A. (1867-1956) FISHMONGERS' HALL, 1904 signed in plate l.m. FB [reversed] etching Plate: 18.7 x 12.2 cm / 7 1/2 x 4 13/16 in Literature: The Fine Art Society, London Catalogue of the Etched Work of Frank Brangwyn. London, 1912, cat. no. 50, p. 36, illustrated Gaunt 1926, no. 50 £60-80

161. • RICHARD HAROLD REDVERS TAYLOR (1900-1975) TERRACES AT BANAL BUFAR, MAJORCA initialled l.r. titled on label to reverse oil on paper 52.7 x 36.0 cm / 20 3/4 x 14 1/4 in Exhibited: An Exhibition in the Kettle's Yard Loan Gallery, 14th February - 10th March 1972, Kettle's Yard, Cambridge Taylor attended Heatherley's School of Fine Art and took part in a number of group exhibitions. After World War II he had a series of solo shows at Reid and Lefevre, Gimpel Fils and Kettle's Yard Gallery, Cambridge. £120-180 162. • SARAH BOWMAN (b.1975) A RECLINING NUDE signed with artist's motif l.r. oil on paper 52.0 x 64.5 cm / 20 1/2 x 25 1/4 in £400-600

163. • FRANK BEANLAND (1904-1978) ABSTRACT COMPOSITION initialled l.r. B oil on printed material over card 58.0 x 36.0 cm / 22 3/4 x 14 1/4 in £150-250

164. • JACK MILLAR, A.R.C.A., R.B.A. (1921-2006) A STILL LIFE OF FLOWERS IN A VASE monogrammed & dated u.l. JM 49 inscribed on stretcher July / 49 oil on canvas 75.0 x 44.0 cm / 29 1/2 x 17 1/4 in £100-150

165. WILLIAM WALCOT, R.B.A., R.E. (1874-1943) CAPRI signed and inscribed l.r. W. Walcot / Capri watercolour 31.5 x 47.5 cm / 12 1/2 x 18 3/4 in Provenance: Fine Art Society, New Bond Street Moss Galleries, London The Albany Gallery, London Exhibited: William Walcot 1874-1943 - Centenary Exhibition, The Fine Art Society, London, 8 October - 1 November, 1974, Cat. No. 30 £400-600 166. NORA LUCY MOWBRAY CUNDELL (1889-1948) A DOMESTIC INTERIOR signed l.r. NLM CUNDELL oil on panel 27.0 x 26.0 cm / 10 1/2 x 10 1/4 in £250-350

167. MODERN BRITISH SCHOOL (LATE 20TH CENTURY) A VIEW OF WIGMORE, HEREFORDSHIRE titled on stretcher oil on canvas 51.0 x 61.0 cm / 20 x 24 in £60-80

168. • OLIVER HALL R.A. (1869-1957) BARDSEA MILL signed l.r. Oliver Hall oil on canvas 56 x 76.5 cm / 22 x 30 in £300-500 169. • SIR MILES FLETCHER DE MONTMORENCY Bt., R.B.A. (1893-1963) A STILL LIFE OF FLOWERS AND A JUG monogrammed & dated l.r. 28 oil on canvas 39.0 x 49.0 cm / 15 1/4 x 19 1/4 in Miles de Montmorency was the 17th Baronet Morres, of Knockagh, Co. Tipperary, and husband of the stained glass designer and artist Rachel de Montmorency. He studied at the Dover School of Art, the Byam Shaw & Vicat Cole School of Art and finally the R.A. Schools. He worked primarily as a portrait painter after the Great War. His book A Short History of Painting in England was published in 1933 (J.M. Dent & Sons, London). He exhibited widely and was made the Honorary Librarian of the R.B.A. in the mid-1940's. He also produced a number of works which had been commissioned by the War Artists Advisory Committee. He was at one point Chairman of the Campden Hill Club, a society established by former Academy students in memory of Byam Shaw, under the presidency of George Clausen that staged exhibitions at Walker's Galleries in Mayfair. £100-150 77

170. • EDGAR THOMAS HOLDING, R.W.S. (1870-1952) LLANNWEHLLYN, NORTH WALES sold together with Lewes, Sunset by the same hand signed l.l., titled reverse of card watercolour on paper laid to card 34.5 x 52.5 cm / 13 1/2 x 23 3/4 in Exhibited: Thomas Agnew & Sons, London, January 1940 (2) £100-150

171. • ETHELBERT WHITE, N.E.A.C., R.W.S., L.G. (18911972) COLD KITCHEN FARM signed l.l. titled on reverse of card watercolour on paper laid to card 39.0 x 58.0 cm / 15 1/4 x 22 3/4 in unframed, mounted A different view of this farm, dated 1935, was painted in oils by White and was offered at Bonham's, London, Modern Pictures, 22.01.2008, Lot 3. A drawing by White of the farm is in the collection of the National Museums of Northern Ireland (Cat. No. BELUM.U871). £100-150

172. • ETHELBERT WHITE, N.E.A.C., R.W.S., L.G. (18911972) THE PADDOCK GATE signed l.r. dated on reverse of card 1944 watercolour on paper laid to card 39.5 x 55.5 cm / 15 1/2 x 21 3/4 in unframed, mounted This work is possibly one of White's West Country landscapes that were exhibited Ernest, Brown & Phillips, Leicester Galleries, London, October 1944. £100-150 78

173. FRANK BERENGER BENGER (1868-1935) FEMININE CURIOSITY signed and dated Berenger Benger 1894 watercolour 34.5 x 24.5 / 13 1/2 x 9 1/2 in £60-80

174. • BRYAN PEARCE (1929-2007) SEAGULLS BY THE SHORE signed & dated l.r. 85, numbered l.l. 27 /75 etching Plate: 16.5 x 24.0 cm / 6 1/2 x 9 1/2 in £100-150

175. • EDWARD DAWSON, N.E.A.C. (1941-1991) SEA MIST, SWANAGE signed l.r. oil on panel 15.0 x 22.0 cm / 5 3/4 x 8 1/2 in £100-150

176. • CAROLYN SERGEANT (1937-2018) HORSE CHESTNUTS initialled & dated l.r. CS '02. titled & signed on reverse oil on card 42.0 x 56.0cm / 16 1/2 x 22in unframed £250-350

177. • JOHN SERGEANT (1937-2010) A STUDY FOR THE BOOK COVER OF THE ISLAND BY GUSTAV HERLING monogrammed & dated l.r. 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. £100-150

178. WILLIAM SHACKLETON, N.E.A.C. (1872-1933) GERANIUMS ON A LEDGE signed l.l. watercolour with pencil, heightened with bodycolour 22.0 x 12.0 cm / 8 1/2 x 4 3/4 in £80-120

179. GEORGE DENHOLM ARMOUR, O.B.E. (1864-1949) A HUNT BALL PROGRAMME DESIGN initialled l.r. watercolour 18.0 x 22.0 cm / 7 x 8 1/2 in Provenance: Given by the artist to Clifford Hastings Pye, and thence by descent. £100-150

180. CONSTANCE RICHARDSON (fl.1927-1938) PORTRAIT OF A LADY IN PROFILE signed l.l. & reverse of frame with exhibition labels for the Royal Portrait Society on reverse of frame pastels on card 47.5 x 40.0 cm / 18 3/4 x 15 3/4 in Constance Richardson studied under Seymour Lucas and George Harcourt, and latterly at Byam Shaw (with its eponymous founder and Vicat Cole) and the Regent Street Polytechnic. £100-150

181. MABEL ALLINGTON ROYDS (1874-1941) BOYS CARRYING COPPER POTS woodcut with hand colouring signed & inscribed l.r. Benares 20.0 x 23.0 cm / 8 x 9 in Provenance: Rev. C.H. Stuart, The Rectory, Westcott, Oxford £100-150

182. • ROBERT GUY WALLS (1927-1999) GASTON STATION, YORKSHIRE signed l.r. oil on card 30.0 x 40.0 cm / 11 3/4 x 15 3/4 in £60-80

183. • CLIFFORD BAYLY, A.R.W.S. (BORN 1927) WATER CISTERN, CORRALEJO, FUERTAVENTURA signed l.r. watercolour 24.0 x 33.0 / 9 1/2 x 12 1/2 in Provenance: Royal Watercolour Society, Raffle Prize, 1990 £60-80

184. • FRED BOTTOMLEY (1883-1960) STILL LIFE OF FLOWERS IN A VASE signed l.r. Fred Bottomley oil on canvas 61.0 x 49.0cm / 24 x 19 1/4in £100-150

185. • KATHLEEN PRIMMER (1914-1995) SNOW SCENE; AND THE ISLAND both signed and dated oil on paper 27 x 37 cm / 10 1/2 x 14 1/2 in ; largest (2) £60-80

186. FRANK KELSEY (FL. 1887-1930) A STILL LIFE OF FLOWERS IN A VASE signed l.r. Frank Kelsey. oil on canvas 61 x 51 cm / 24 x 20 in. £80-120

187. NO LOT

188. • ALICIA BOYLE, R.B.A. (1908-1997) A TREE-LINED PATH signed l.r. watercolour 48.0 x 35.0 cm / 19 x 13 3/4 in Provenance: Given by the artist to the present owners £100-150

189. • ALICIA BOYLE, R.B.A. (1908-1997) A WOODLAND VIEW signed l.r. watercolour 36.0 x 49.0 cm / 14 x 19 1/4 in Provenance: Given by the artist to the present owners £100-150

190. • ALICIA BOYLE, R.B.A. (1908-1997) WOODS NEAR WALBERTON, WEST SUSSEX monogrammed l.r. titled on reverse of canvas oil on canvas 45.0 x 35.0 cm / 17 3/4 x 13 3/4 in Provenance: Given by the artist to the present owners £120-180

191. • ALICIA BOYLE, R.B.A. (1908-1997) A HILLSIDE VIEW signed & dated l.r. 60 watercolour 48.0 x 37.0 cm / 19 x 14 1/2 in Provenance: Given by the artist to the present owners £100-150

192. • ALICIA BOYLE, R.B.A. (1908-1997) ST LUKE'S, NORTHAMPTON signed & dated l.r. 46 titled on backboard oil on board 29.0 x 50.0 cm / 11 1/2 x 15 1/2 in £150-250

193. • COLIN MOSS, A.R.C.A. (1914-2005) JOCK signed l.r. watercolour 67.0 x 47.0 cm / 26 1/2 x 18 1/2 in Provenance: Acquired directly from the artist Colin Moss studied at Plymouth College of Art and the Royal College of Art, studying at the latter under Barnett Freedman and Gilbert Spencer. During WWII he had been assigned to camouflage painting by the Ministry of Home Security. Moss taught at the Ipswich School of Art between 1947-1979, during which time he was a founder member of several artists' groups and exhibited widely. Following this appointment he had several retrospective exhibitions around the U.K. There is a note affixed to the backboard of the present work explaining its subject: "Colin Moss told us that the person depicted in this picture was called Jock. He was a 'beggar; and a regular at the Arboretum, High Street, Ipswich, a pub which Moss himself frequented. (July 2003)" £100-150 194. • DON MICKLETHWAITE (BORN 1936) S.T. WILLIAM WILSON - THE LAST STEAM TRAWLER TO FISH FROM SCARBOROUGH signed l.r. Don M oil on canvas 51 x 41 cm / 20 x 16 in £40-60

195. • 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 £60-80

196. • NICOLA GREEN (b.1972) PORTRAIT OF MRS MCCANN signed & dated l.r. October 1997 pencil 50.0 x 34.0 cm / 19 1/2 x 13 1/4 in Among other sitters, Nicola Green has depicted Pope Francis and the Dalai Lama, the Archbishop of Canterbury, the Chief Rabbi Jonathan Sacks and Barrack Obama. Her project Encounters (2018) included portraits of more than 50 Leaders of various religions. She continues to exhibit widely in both gallery shows and at International and National institutions. £80-120

197. NO LOT

198. • AUDREY MACLEOD (20th CENTURY) WHITE TULIPS sold together with two continental views in watercolour by the same hand monogrammed oil on board 35.0 x 45.0 cm / 13 3/4 x 17 3/4 in (3) £60-80

199. SCOTTISH SCHOOL (MID 20th CENTURY) A PAIR OF HIGHLAND VIEWS oil on board Largest: 23.5 x 45.0 cm / 9 1/4 x 17 1/2 in (2) £30-50

200. • EDITH BLANCHE TERRY (fl.circa 1885-1950) A LANDSCAPE VIEW WITH A FARM signed & dated l.r. 1926 oil on canvas 46.0 x 61.5 cm / 18 x 24 in unframed £120-180

201. AFTER DAME LAURA KNIGHT THE CIRCUS bears initials l.r. oil on canvas 42.0 x 58.0 cm / 16 1/4 x 22 3/4 in £100-150

202. • GRAHAM DEAN (BORN 1951) SLOWBURN 9 (2002) signed on label to backboard watercolour on handmade paper 28.0 x 19.0 cm / 11 x 7 1/2 in Provenance: Stephen Lacey Gallery, London £250-350

203. • MICHEL DUREUIL (1929-2011) LA PORTE D'OLIVETTE, ANTIBES signed & dated l.r. 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. £500-700 88

204. • EDOUARD LOUIS HENRY-BAUDOT (1871-1953) HAUT BLOSNE, RENNES signed l.l., titled & dated verso Juilett 1913 watercolour with black chalk on paper 20.5 x 30.5 cm / 8 x 12 in unframed, mounted £80-120

205. • NAFTALI RAKUZIN (born 1948) BOOK ENDS signed l.l., numbered l.r. 23/35 blindstamp to l.r. of sheet in Hebrew etching Plate: 47.0 x 37.0 cm / 18 1/2 x 14 1/2 in Sheet: 71.0 x 48.4 cm / 28 x 16 1/4 in £300-500

206. • EMMANUEL-CHARLES-LOUIS BÉNÉZIT (1887-1975) METRO signed & dated l.r., titled l.l. watercolour 29.7 x 13.8 cm / 11 3/4 x 5 1/2 in unframed, mounted Bénézit was the son of the famous compiler and editor of the Dictionnaire des Peintres... and was thus born into a rich artistic millieu. He learned to paint alongside Camille Pissarro and Alfred Sisley, who were frequent visitors to his family home during his childhood. £300-500

207. • JAMES ROSENQUIST (1933-2017) STARFISH FOR GUILD HALL EASTHAMPTON, N.Y. 1974 signed in pencil l.r. silkscreen poster on foamboard 88.9 x 62.1 cm / 35 x 24 1/2 in unframed £250-350

208. • GRIGORY CHAINIKOV (1960-2008) PORTRAIT OF A COAL MINE WORKER (1992) signed & dated l.l., signed on reverse 60.0 x 85.0 cm / 23 1/2 x 33 1/2 in Provenance: Private Collection, U.K. £800-1200

209. • WILLI LEOPOLDOVICH MOKROZHITSKY (1928-2006) MARINE ASSAULT IN THE CRIMEA (1984) signed & dated on backboard oil on cardboard 32.0 x 47.0 cm / 12 1/2 x 18 1/2 in Provenance: Private Collection, U.K. £250-350

210. VYACHESLAV PAVLOVICH BYCHKOV (1877-1954) AT THE COAST OF RIGA including RESHMA (1918) by the same hand oil on board 12.0 x 18.0 cm / 4 3/4 x 7 in (2) £500-700

211. • VICTOR KAZARINE (BORN 1948) A CAT (1989) signed & titled on reverse 58.0 x 89.0 cm / 22 3/4 x 35 in £250-350

212. • SERGE IVANOFF (1893-1983) PORTRAIT OF TWO YOUNG BOYS WITH A TEDDY BEAR signed l.l. Serge Ivanoff oil on canvas 55.0 x 47.0 cm / 21 1/2 x 18 1/2 in Provenance: Private Collection, Prague Private Collection, Czech Republic £2000-3000

213. • ANDRE DUNOYER DE SEGONZAC (1884-1974) A RURAL VIEW signed u.r. watercolour with pencil 25.7 x 33.6 cm / 10 x 13 1/4 in Provenance: Waddington Galleries, Cork Street, London £200-300

214. • LUDOVIC-RODO PISSARRO (1878-1952) A LANDSCAPE VIEW studio stamp l.r. LR watercolour 18.0 x 22.0 cm / 7 x 8 1/2 in £80-120

215. • RENATO GUTTUSO (1911-1987) FIGURE signed in pencil l.r. Hors Commerce (l.l.) 17/28 lithograph 69.0 x 49.0 cm / 27 x 19 1/4 in £100-150

216. • PIET ENGELS (1905-1981) STILL LIFE OF A DINING TABLE signed & dated u.l. 31 oil on canvas 48.5 x 65.0 cm / 19 x 25 1/2 in £60-80

217. • BERNHARD BERBOM (1921-2001) TIL ARBEID titled & signed l.m. & l.r. in pencil numbered l.l. 24/400 woodcut etching in colours Image: 18.0 x 22.0 cm / 7 x 8 1/2 in

£30-50

218. BELA DERY (1870-1932) A MOUNTAIN ROAD signed l.r. watercolour 30.0 x 24.0 cm / 11 3/4 x 9 1/2 in Provenance: Leon Sliwinski, Vienna Bela Dery was a Hungarian artist and curator. She was the Director of the National Salon, Budapest. Leon Sliwinski (1916-2001) was a Polish artist. £60-80

219. MODERN EUROPEAN SCHOOL (20th CENTURY) A LARGE SHIP IN FULL SAIL signed indistinctly l.r. oil on canvas 65.0 x 38.0 cm / 25 1/2 x 15 in £80-120

220. • ALOIS MORAVEC (1899-1987) A WASHERWOMAN BY A RIVER signed l.l. & on backboard oil on board 23.5 x 34.0 cm / 9 1/4 x 13 1/2 in £100-150

221. • VLADIMIR SILOVSKÝ (1891-1974) PORTRAIT OF THE ARTIST signed in pencil outside plate l.r. V Silovský woodcut on Japan paper Sheet: 35.0 x 31.0 cm / 13 3/4 x 12 12 1/4 in £80-120

222. POLISH SCHOOL (MID 20th CENTURY) A NUDE FIGURE signed indistinctly l.r. Mina[?]....wróc dated l.r. 59 linocut on brown paper 27.5 x 13.5 cm / 10 3/4 x 5 1/4 in £60-80

223. • FRANTIŠEK EMLER (1912-1992) STILL LIFE WITH A SLEEPING NUDE signed l.l., initialled l.r. oil on canvas 75.0 x 52.0 cm / 29 1/2 x 20 1/2 in £120-180

224. • FRANTIŠEK EMLER (1912-1992) FIGURE BY BEDSIDE signed l.r. oil on canvas 47.0 x 63.0 cm / 18 1/2 x 24 3/4 in unframed £100-150

225. • EUGENIO RAMOS SANZ (fl. circa 1950s) PORTRAIT OF A LADY signed l.r. E Ramos oil on board 38.0 x 31.0cm / 15 x 12in unframed £80-120

226. AFTER ALEKSANDR VIKTOROVICH MORAVOV (18781951) VLADIMIR LENIN HUNTING IN THE WOODS oil on canvas 99.5 x 129.0 cm / 39 x 51 in £200-300

227. TAI SHAN SCHIERENBERG (BORN 1962) A SELF-PORTRAIT inscribed with dedication around the plate unique impression, marked AP, signed l.r. woodcut on deckled paper Plate: 10.6 x 9.7 cm / 4 1/4 x 3 3/4 in unframed Provenance: A gift from the artist to the present owner £100-150 End of Sale Next Sale April 2021

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.

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(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

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

Conduct of the Auction

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

Payment and Collection

(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 1 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.

102For 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