Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December by ATGMEDIA

WOOLLEY & WALLIS

WOOLLEY & Wallis SALISBURY SALEROOMS

Fine Old Masters & 19th Century Paintings

Wednesday 9th & Thursday 10th December 2015 Including works on paper from the Collection of Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973)

9th & 10th December 2015

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • Fax: 01722 424508 • www.woolleyandwallis.co.uk

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Fine Old Masters & 19th Century Paintings Wednesday 9th December 2015 at 11am

Works on Paper from the Collection of Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973) Thursday 10th December 2015 at 11am

Enquiries COLLECTION OF LOTS

Victor Fauvelle Tel: 01722 424503 victorfauvelle@woolleyandwallis.co.uk

Jo Butler Tel: 01722 424592 jobutler@woolleyandwallis.co.uk

On Thursday 10th, Friday 11th and Saturday 12th December MUST BE by prior arrangement on 01722 424500 or pictures may be in transit and unavailable. From 14th December collection will be from the Picture department at Carter House, 6-10 Salt Lane Salisbury SP1 1EE. Payment is still made at Castle Street. Collection of Sold and Unsold lots must be within 21 days of the Sale - failure to collect within this time may result in storage fees.

Viewing Times Saturday 5th December 10.00am – 1.00pm Monday 7th December 10.00am – 5.30pm Tuesday 8th December 10.00am – 4.00pm Wednesday 9th December 9.00am – 10.45am Wednesday 9th December 11.00am – 4.00pm (Fairhaven Collection) Thursday 10th December 9.00am – 10.45am (Fairhaven Collection)

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Front cover: Lot 408 Back cover: Lot 559 This page: Lot 473

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INDEX Miniatures

189-223

Prints

224-241

Watercolours

242-296

for this lot – please see our Terms & Conditions, Section 21, for details

Oil Paintings

297-439

CITES

Fairhaven collection

440-623

λ This symbol indicates that Cites regulations may apply. Please see the auction information page

ARTIST’S RESALE RIGHT / DROIT DE SUITE

‡ This symbol indicates that an additional levy may apply

GLOSSARY OF TERMS Please refer to our Terms & Conditions, Section 21, for a glossary of terms used in the cataloguing of paintings

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Member of The Society

Catalogue: £12.00 (£15.00 by post) Extra images, a catalogue word search facility and condition reports are available at www.woolleyandwallis.co.uk

of Fine Art Auctioneers

MINIATURES 189. 位 George Engleheart (1752-1829) Portrait miniature of a lady wearing pearls in her hair Signed with a cursive initial E Oval in a silvered metal frame 73 x 61mm With a portrait of Captain Tod, Attributed to George Englehart, head and shoulders, wearing a naval jacket in a gilt metal and blue enamel frame and a later portrait of a baby with a seed pearl and hair back frame by a different hand, all framed together (3 in 1 frame) Captain Tod was the Great Grandfather of G. A. Ballard 拢1,500-2,500

189

190. 位 English School c.1840 Portrait miniature of a lady, head and shoulders in a green dress Oval, in a recangular gilt frame 83 x 63mm With another of a lady in white, oval signed E.R. Helps (2) 拢200-300

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Lots 191-198 The Property of a Gentleman, by family descent from James Whatman (1741-1811)

191 191. λ John Smart (1741-1811) Portrait miniature of James Whatman, head and shoulders, wearing a sky blue coat Signed with initials and dated 1777 Oval, in a converted bracelet frame 32 x 21mm James Whatman (1741-1798) was one of the foremost paper makers in Europe and was instrumental in the development of fine quality wove paper at Turkey Mill in Kent. Whatman was the son of James Whatman senior and Ann Harris, who between them turned Turkey Mill into the largest paper mill in the country. Whatman senior pioneered a method of producing fine quality wove paper on a mesh base which resulted in a much smoother paper, ideal for fine art and high quality printing. War in Europe between 1739 and 1748 cut off the supply of fine paper from the continent and so the English paper makers were able to regain the market and Turkey Mill became the largest paper mill paper in the country. James Whatman junior took over in 1762, the firm having been run by his mother Anne since James senior’s death in 1759. James Junior continued to innovate in paper making and introduced many new techniques including the use of blue smalts which enhanced the whiteness of paper. He was also well known for creating the largest sheets of paper ever made at 53 x 31 inches for the Society of Antiquaries. Thomas Gainsborough is well documented in the 1760s trying to obtain Whatman paper saying ‘There is so little impression of the wires, and those so very fine, that the surface is like vellum. It was used by many of the most famous painters of the late 18th and early 19th century including Turner, John Robert Cozens and William Blake for some of his illuminated books. James Whatman (1741-1798) married twice, his first wife dying in 1775. This miniature was painted just after his second marriage to Susannah Bosanquet in 1776. In Whatmam’s account book there are three entries concerning Smart: 1776, Oct 5, Smart the Miniature Painter on Acct £18.18.0; 1778 May, Smart the Miniature Painter in full £21.0.0; 1779, May, Mr Smart for a Miniature Picture and glass £13.2.6. £8,000-12,000

192. 位 John Smart (1741-1811) Portrait miniature of Edward Stanley, head and shoulders, wearing a blue coat Signed with initials and dated 1774 Oval, in a gold and metal frame inscribed verso Edwardus Stanley, Armiger, Etatis Suae 54, 38 x 33mm 拢6,000-8,000

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193. 位 George Engleheart (1750-1829) Portrait miniature of a girl, half length, wearing a blue sash Oval, in a gilt metal frame with a hair back, in a red leather case 65 x 53mm 拢5,000-7,000

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194. Attributed to William Sherlock (c.1738-c.1806) Portrait miniature of a lady, head and shoulders, wearing a blue headband Oval, in a gilt metal frame with a rectangular ebonised border and a red leather case 70 x 54mm £1,000-1,500 195. λ Attributed to William Sherlock (c.1738-c.1806) Portrait miniature of a gentleman with curly hair, head and shoulders, wearing a black coat and white cravat Oval in a gilt metal frame with red leather case 82 x 63mm £600-800 196. λ Attributed to Richard Collins (1755-1831) Portrait miniature of a gentleman, thought to be James Whatman, son of James Whatman (1741-1798), half-length, wearing a blue coat and white cravat Oval, in a red leather case 67 x 55mm £800-1,200

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197. λ Richard Cosway R.A. (1742-1821) Portrait miniature of Miss Gunning, head and shoulders, wearing a turban and a blue sash Oval, in a gilt metal frame, rectangular ebonised border and red leather case 71 x 54mm £4,000-6,000 198. λ George Engleheart (1750-1829) Portrait miniature of Elizabeth Gaussen, née Bosanquet Oval, in a gilt metal frame within a dark red leather case 50 x 41mm Elizabeth Gaussen married James Whatman, son of James Whatman (1741-1798) and his second wife Susannah Bosanquet. The list of Engleheart’s sitters lists Mrs Gouson (sis) was painted in 1789 £4,000-6,000

OTHER PROPERTIES 199. λ George Engleheart (1752-1829) Portrait miniature of Lady Susan Westmorland, bust length in a white dress with a blue ribbon Oval, in a gilt metal frame with a hair back 53 x 43mm £4,000-6,000

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200 200. George Perfect Harding (1779-1843) Queen Mary I, three quarter length, standing Inscribed and possibly signed with a monogram, also inscribed verso In a ebonized frame 207 x 160mm £500-700

201. George Perfect Harding (1779-1843) Lady Jane Grey, three quarter length, standing Inscribed verso, in an ebonized frame 280 x 153mm £400-600

201 202. George Perfect Harding (1779-1843) Oliver Cromwell, head and shoulders Inscribed verso Oval, in an ebonized frame 90 x 70mm £400-600

203. George Perfect Harding (1779-1843) James Duke of Hamilton, head and shoulders Inscribed verso Oval in a wooden frame 87 x 70mm £300-500

204. George Perfect Harding (1779-1843) Mary Queen of Scots Inscribed, possibly with a monogram, also inscribed verso Oval, in an ebonized frame 90 x 70mm £400-600

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205. George Perfect Harding (1779-1843) Lord Howard of Effingham, Lord High Admiral (1536-1624), head and shoulders Oval in a rectangular ebonized frame 90 x 72mm £300-500

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206. George Perfect Harding (1779-1843) Robert Earl of Lindsey, full length, standing in an interior Inscribed verso, in an ebonized frame 182 x 119mm ÂŁ400-600 207. Attributed to George Perfect Harding (1779-1853) after Joos van Cleve Portrait of an unknown lady Rectangular in a wood frame 180 x 130mm A copy of the original in the Uffizi, Florence ÂŁ200-300

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210 208. λ Charles Jagger (1770-1827) Lady Denys, wife of Sir George Denys 1st Bart. (1788-1857), three quarter length standing, wearing a red shawl 140 x 105mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 45 £300-500 209. λ English School c.1830 Matilda, Lady Slade, wife of Gen. Sir John Slade, three-quarter length, seated in a luxurious interior Rectangular in a gilt metal frame 215 x 157mm £200-300

211 210. λ Mary A. Millington Mannin (c.1800-1864) Sir Francis Charles Edward Denys-Burton as a young man, half length in a dark coat Rectangular in an enclosed giltwood frame 100 x 75mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 42 £200-300

212 211. λ English School early 19th Century Lady Charlotte Denys, seated wearing a russet coat Rectangular in a giltwood frame 85 x 70mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 43 £150-250

212. λ English School c.1825 Anna Maria Draycott Denys, half length in a cream dress and black shawl 90 x 70mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 43 £150-250

11 213. English School c.1800 Fanny, wife of Gibbs Crawford, head and shoulders wearing white Inscribed with sitters details verso Oval 65 x 54mm With a further miniature, possibly Princesse de Lamballa 1792 (2) £150-200

213 214. Attributed to Alexander H. Wardlow (19th/20th Century) A lady, in 18th century costume Oval, in a gilt frame 115 x 94mm £150-250 215. Attributed to Gervase Spencer An officer in red uniform with green lapels Oval, in a gilt frame 42 x 32mm £100-150

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216. Valerie Serres (early 20th century) A lady, head and shoulders in white Signed Oval 68 x 51mm £100-150 217. Florence Hannam (19th/20th Century) A lady in a fur lined dress Signed Oval 70 x 54mm £120-180

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12 218. English School early 19th Century Eliza, wife of Thomas Baron le Despencer (d.1848), head and shoulders, wearing white with a coral necklace Oval, in a gilt metal frame with a crown surmount and red leather case 70 x 60mm £200-300 219. Ernest Rinzi (1836-1909) James Cooper, head and shoulders Oval in a gilt frame 47 x 39mm £100-150 218

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220. Annie F. Shenton (19th/20th Century) Fozay, a pug Dated 28.9.1913 62 x 48mm £120-180 221. Follower of Augustine Amant Edouart Silhouette of two boys playing Watercolour 26 x 32cm; 10¼ x 12½in Provenance: The Late Peter J. Rankin £150-250

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222. Jessie Edith Prior (1882-1971) Miss Edith Burrell, head and shoulders in blue Signed with monogram and dated 1933 Oval 75 x 60mm With 8 further miniatures, early 20th century by Gladys Denman, Miss Flora Tomkins, Pauline Netterville, Paul Henri Bourguignon and others (9) £250-350 223. Alexander H. Wardlow (19th/20th Century) King George V; A Scotts Officer Two, both signed 237 x 192mm and similar (2) £150-250

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PRINTS 224. Lucas van Leyden (Dutch 1494-1533) Venus la Tresbelle Deesse D’amours With initial L and date 1528 in the print and stamp lower left, also inscribed indistinctly by unknown hand Engraving 16 x 11.25cm; 6¼ x 4½in £300-500 225. Thomas Gainsborough (1727-1788) Wooded landscape with a country cart and figures Etching with aquatint c.1785, published J & J Boydell, 1797 28 x 34.5cm; 11 x 13½in (plate size) Provenance: Hamilton Collection U.S.A. William Weston, 2002 The Late Peter J. Rankin Exhibited: Fogg Art Museum, Ref. 15829.8 Literature: John Hayes, Gainsborough as Printmaker, No. 18, p.97 £800-1,200

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226. Thomas Gainsborough (1727-1788) A wooded landscape with cows beside a pool Etching with aquatint, c.1775/78, published from small edition by Boydell 1807 25.5 x 32.25cm; 10 x 12¾in Provenance: William Weston Gallery, 1996, No. 8656/2 The Late Peter J. Rankin Literature: John Hayes, Gainsborough as Printmaker, No. 5, p.24-29, 50-51 £400-600 227. Thomas Gainsborough (1727-1788) A watering place - wooded landscape with cows and two figures Etching with aquatint, c.1776/77, published 1820 by Boydell 27.5 x 34.25cm; 10¾ x 13½in (plate size) Provenance: William Weston Gallery, 1984, No. 10065/1 The Late Peter J. Rankin Literature: John Hayes, Gainsborough as Printmaker, p.446, illustrated 117b £500-800

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228. Thomas Gainsborough (1727-1788) Wooded landscape with peasant reading a tombstone Etching, c.1780, published 1797 by Boydell 30 x 39.25cm; 11¾ x 15½in

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Provenance: Elizabeth Harvey-Lee, 1995 The Late Peter J. Rankin Literature: John Hayes, Gainsborough as Printmaker, No. 10, p.66-71 £400-600

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229. David Lucas (1802-1881) After John Constable R.A. Hampstead Heath Mezzotint 14 x 18cm; 5½ x 7¼in Provenance: Elizabeth Harvey-Lee, 1996 The Late Peter J. Rankin £200-300

230. David Lucas (1802-1881) After John Constable R.A. The Glebe Farm Signed with initials in the plate Mezzotint, 1832, proof before letters 14.5 x 22.5cm; 5¾ x 8¾in (image size) Provenance: Elizabeth Harvey-Lee, 1996 The Late Peter J. Rankin £250-350

235 231. Capt. William E. Baillie (Irish 1723-1810) After Rembrandt The Three Trees Etching 21 x 28cm; 8¼ x 11in Provenance: The Late Peter J. Rankin £150-250

234. After Alexander Carse (c.1770-1843) His Majesty George IV landing at Leith, 15 August 1822 Aquatint 56 x 81cm; 22 x 32in £120-180

232. George Stubbs A.R.A. (1724-1806) Two Hunters, belonging to Henry U. Reay of Burn Hall, County Durham Stipple engraving 40 x 50.5cm; 15¾ x 20in (plate size) Provenance: Caxton, Dublin, 1999 The Late Peter J. Rankin £300-500

235. Opium Wars - Henry A. Papprill (c.1816-1903) after Capt. R. B. Crawford R.N. This view of the capture of Amoy, on the coast of China, on 26th August, 1841 x 3; This view of the successful Attack of Her Majesty’s combined Forces upon the Heights of Chusan on 1st of October, 1841 All hand coloured aquatints, published by Ackermann & Co., 1844 Each 26.5 x 57cm; 10¼ x 22½in (4) £1,000-1,500

233. James Malton (1761-1803) Marine School, Dublin, Looking up the Liffey Aquatint, published 1796 25.5 x 40cm; 10 x 15¾in With an aquatint of the Custom House from the Liffey by S. F. Brocas and one of Artillery Bridge, Killarney by T. Walmsley (3) Provenance: The Late Peter J. Rankin £150-250

236 236. Robert Havell (1793-1878) after Hubert Cornish Panoramic view of Sidmouth, Devon including the coast from Torbay to Bridport Set of three aquatints, engraved 1840, by J. & S. Harvey Each 38.5 x 95cm; 15¼ x 17½in (3) £300-500

16 237. Samuel Palmer (1805-1881) The Bellman, 1879 Etching, from an impression of 75 made in 1926 before destruction of plate from collection of Henri Petiet Paris 16.5 x 23cm; 6½ x 9¼in

238. Samuel Palmer (1805-1881) Christmas, from Bampfylde’s Sonnet Etching, c.1850 proof for the 1882 first edition 10 x 8cm; 4 x 3in Provenance: Elizabeth Harvey-Lee, Olympia, 1993 The Late Peter J. Rankin Rankin £500-800

Provenance: Elizabeth Harvey-Lee The Late Peter J. Rankin £800-1,200

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239. Samuel Palmer (1805-1881) The Herdsman’s Cottage sunset Etching, published by Hamerton 1872/80; Ref. Lister 3 second state as completed 9.75 x 7.5cm; 3¾ x 3in Provenance: William Weston Gallery, London, 1996 The Late Peter J. Rankin £200-300 240. Samuel Palmer (1805-1881) The Lonely Tower Etching, 4th state, 1879 16.5 x 23cm; 6½ x 9in Provenance: Elizabeth Harvey-Lee, 1996 The Late Peter J. Rankin £600-800

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241. After Henry Barraud Rotton Row, Hyde Park in 1864 Signed in pencil by Barraud Mixed method steel engraving by William Simmonds 59 x 120cm; 23¼ x 47¼in (to mount) Amongst the crowd the Princess of Wales is riding to left, followed by the Prince of Wales, Prince Alfred and the Duke of Cambridge. £500-800

WATERCOLOURS 242. Richard Cosway R.A. (1742-1821) The Duke of Devonshire and Georgiana, Duchess of Devonshire and Lady Elizabeth Foster Pencil and wash 20.5 x 26cm; 8 x 10¼in Provenance: The Late Peter J. Rankin £600-800 242 245. Joseph Edward Southall (1861-1944) Beached Boats Watercolour Beached boats, bathers and dog, Southwold Watercolour Signed with a monogram and dated 2.VII.39 14 x 23cm, 5½ x 9in Provenance: The Fine Art Society, 22545: 03/05 Exhibited: The Fine Art Society, 2005, Sixty Works by Joseph Southall from the Fortunoff Collection £400-600

243. Lady Diana Beauclerk (1734-1808) Portrait of Georgiana, Duchess of Devonshire Signed with initials on backing paper Plumbago on vellum 15 x 16.5cm; 6 x 6½in Provenance: The Late Peter J. Rankin £300-500 244. Richard Cosway R.A. (1742-1821) Portrait of Margaret Long and her son Signed with a monogram and inscribed on a label verso Grisaille washes over pencil heightened with watercolour 24 x 18.5cm; 9½ x 7¼in Provenance: With F.B. Daniell and Son £1,600-2,000

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246. Thomas Daniell R.A. (1749-1840) An Indian river craft Pencil with grisaille wash 11.5 x 14cm; 4½ x 5½in Provenance: Sabin Galleries, London £200-300 244

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248 247. Thomas Rowlandson (1756-1827) The wedding night Signed Pen, ink and watercolour 11.5 x 18cm; 4½ x 7in Provenance: Andrew Edmunds, Grosvenor House Fair The Late Peter J. Rankin £800-1,200

248. Thomas Rowlandson (1756-1827) Cattle watering with a figure in a punt Sepia pen and ink with watercolour 22.5 x 32.5cm; 9 x 12 ¾in £600-800

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249. Vincent Jans van der Vinne (Dutch 1736-1811) after Jan Both Italianate landscape with travellers Watercolour 32 x 45.5cm; 12½ x 18in Provenance: Christie’s, 15th Apr 2105, Lot 448 £1,000-2,000

250. David Cox (1783-1859) Figures on a Bridge, North Wales Inscribed verso: Mr Rainbow from David Cox 1835 Watercolour over pencil heightened with bodycolour and stopping out 15.5 x 23cm; 6¼ x 9in Provenance: Purchased from Michael Bryan, June 1998 Private Collection, UK £1,000-1,500

251 251. Sir Thomas Lawrence P.R.A. (1769-1830) Portrait of the Calmady children of Langdon Court, Devon Signed T. Lawrence PRA Delit Pencil and coloured chalks, in a period giltwood frame 75 x 62cm; 29½ x 24½in Provenance: By descent in the sitters’ family until purchased by the present owner at Bearne’s 3-4th July 2001, lot 286 Literature: Sir Thomas Lawrence, A Complete Catalogue of the Paintings by Kenneth Garlick, mentioned in footnote to No. 152, p.161 The Life and Correspondence of Sir Thomas Lawrence by D. E. Williams (1831), p. 337 onwards. Extract online. A portrait of Emily and Laura Anne Calmady, the eldest daughters of Charles B. Calmady and his wife, Emily Greenwood. This drawing is inscribed on the backing panel and also on a letter by the mother, Emily. The drawing has been confirmed by Dr. Kenneth Garlick in 2002 as the original drawing to the painting in the Metropolitan Museum of Art, New York, which Lawrence himself favoured as one of the few by which he would wish to be known. The inscription on the backing panel reads: Emily & Laura Calmady. Born 1818 & 1820 drawn by Sir Thom. Lawrence, P.R.A. July 1823 & intended to be painted on but being much admired by their mother this drawing was presented to her & the present painting begun Exhibited in Soho Square in 1824 Engraved by F. C. Lewis 1825 Leant to the Directors of the British Institution, Pall Mall 1830 exhibited with other works after Sir Thos.’ death that year. Was returned by them in the Waggon instead of the Mail by which they received it & was wet through & spoiled. E.C. The letter reads similarly but also adds: Engraved by F. C. Lewis in 1825. 800 of the engravings were sold within a month after its publication. Signed Emily Calmady. 1844 £10,000-20,000

20 252. Peter de Wint O.W.S. (1784-1849) Figure on a donkey by a cottage Watercolour 30.5 x 25.5cm; 12 x 10in Provenance: Sotheby’s 30th June 2005 Lot 262 £2,000-3,000 253. Henry Kirchoffer R.H.A. (1781-1860) Views of Killarney, Ireland A pair, both watercolour Each 18.5 x 26.5cm; 7¼ x 10½in (2) Provenance: The Late Peter J. Rankin £300-500 254. Dominic M. Serres (c.1778-c.1804) Views on the Tamar, near Plymouth A pair, one signed and dated 1796 Watercolour Each 37 x 53.5cm; 14½ x 21in (2) £600-800 255. Louis Burleigh-Bruhl (1861-1942) A mill in a hilly landscape, a castle beyond Signed Watercolour 58 x 42.5cm; 22¾ x 16½in £600-800

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255 257. Jörg Lutz (German c.1490-1546) Christ before Caiaphas Signed Gouache on paper laid on board 12 x 18.75cm;4¾ x 7¼in Provenance: A private collection, Virginia, U.S.A. £400-600

256. John Varley O.W.S. (1850-1933) A street scene in Cairo, a fountain and school street near Bab el Metarwey Signed and dated 99 Watercolour 26 x 36cm; 10¼ x 14¼in Provenance: Hampshire Gallery, Bournemouth, 1998 £200-300

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257 258. Ernest Herbert Fitchew (1851-1934) View of Hebron; The Church of the Holy Sepulchre, Jerusalem A pair, one signed Both watercolour, mounted, unframed Each 26 x 18cm; 10¼ x 7in (2) £150-250

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259. Samuel Owen (1768-1857) Boats in a harbour with a windmill; Figures on the shore A pair, one signed and dated 1823 Both watercolour Each 14.5 x 10.5cm; 5¾ x 4¼in (2) £300-500

22 260. James Thomas Watts (1853-1930) Rocky woodland pool Signed Watercolour 29 x 44.5cm; 11½ x 18in Provenance: Christie’s, 18 Nov 2004, Lot 116 £1,500-2,500 261. James Thomas Watts (1853-1930) A quiet grey day Signed Watercolour 31 x 58cm; 12¼ x 22¾in Provenance: Dudley Gallery Art Society, Piccadilly Christie’s, 5 June 2003, lot 147 £800-1,200

260 262. Edwin Bale (1842-1923) Procession of the Corpus Christie, Lake Como Signed Watercolour 42 x 68cm; 16½ x 26¾in £300-400

263. William Payne (c.1760-c.1830) The old watermill Signed Watercolour with gum arabic 12.5 x 16.5cm; 5 x 6½in Provenance: The Late Peter J. Rankin Exhibited: Manchester, 1859 £200-300

264. Charles Sim Mottram (1852-1919) Fisherfolk on the shore Signed Watercolour 28 x 56cm; 11 x 22in £300-500

265. John Brett R.A. (1831-1902) Springtime near Morden Signed with initials and dated april 1861 Watercolour 17.75 x 34cm; 7 x 13½in Provenance: Sotheby’s, 10 March 2005, lot 212 £3,000-5,000

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23 266. Thomas Sidney Cooper R.A. (1803-1902) Sheep resting by a track Signed and dated 1879 Watercolour 20.5 x 31cm; 8 x 12¼in £800-1,200 267. Wilfred Williams Ball (1853-1917) A river view Signed Watercolour 18 x 29.5cm; 7 x 11¾in £100-200

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266 268. Roberto Angelo Kittermaster Marshall (1849-1926) Distant downs, near Heathfield, Sussex Signed Watercolour 34 x 59cm; 13½ x 23in £300-500

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269. Drulin (Continental 19th Century) Chateau des Comtes de Gruyeres, Fribourg Signed, also signed and titled verso Watercolour, unframed 19 x 29cm; 7½ x 11½in With a folio of prints and drawings including a print of Guys Hospital for Incurables after Thomas Bowles, some ornithological prints and a print of John Wilkes after Hogarth (c.25) £200-400

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24 270. Charles Jones R.C.A. (1836-1892) Sheep on a clifftop Signed with a monogram and dated 84 Watercolour 29 x 44cm; 11½ x 17¼ £600-800 271. John Brett R.A. (1831-1902) Eynesford Signed, titled and dated Aug. 22/51 Watercolour on grey paper 22.5 x 24.25cm; 5 x 9¾in Provenance: Sotheby’s 10th March 2005, Lot 214 £500-700

270 272. Myles Birket Foster R.W.S (1825-1899) Studies of country folk and carts Titled, inscribed Treves, France and dated May 10, 1866 Pencil with watercolour on blue paper 8 x 16cm; 3¼ x 6¼in £200-400

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273. Charles Grant Davidson (1824-1902) A walk in the woods Signed on a label verso Watercolour 22 x 28cm; 8¾ x 11in £200-300

274. James Thomas Watts (1853-1930) Off to the village Signed Watercolour 21.5 x 30cm; 8½ x 11¾in £200-300

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276 275. John Henry Campbell (1757-1828) View on the Bray, Bray Hill, Co. Wicklow; Shankhill; View on the Barrow Five, most signed, 3 titled and one dated 1804 All watercolour 19 x 25.5cm; 7½ x 10in and smaller (6) With a further similar watercolour by Ceclia Campbell of Shankhill, 1807 Provenance: The Late Peter J. Rankin £200-300 276. ‡ Robert Murdoch Wright (act.1889-1962) Cairo A pair, both signed and titled Both watercolour Each 22.5 x 51.5cm (2) £200-300

277. John Massey Wright O.W.S. (1777-1866) All’s well that ends well Inscribed verso Pen, ink and watercolour 16.5 x 19.25cm; 6½ x 7½in Provenance: Chris Beetles, London Exhibited: The British art of Illustration 1780-1996 £200-300 278. William Joy (1803-1867) A Royal Naval 74-gun two decker under shortened sail Watercolour 21 x 27.5cm; 8¼ x 10¾in £250-350

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282 279. Thomas Bush Hardy R.B.A. (1842-1897) Shipping off a harbour Signed and dated I889 Watercolour 28.5 x 58cm; 11¼ x 23in £800-1,200

280. Thomas Bush Hardy R.B.A. (1842-1897) Entrance to Portsmouth Harbour; Off the Dutch coast, at Anchor A pair, both signed, titled and dated 1893 Both watercolour Each 25 x 17.25cm; 10 x 7in (2) £700-1,000

280 281. Thomas Bush Hardy R.B.A. (1842-1897) Entering the harbour, Calais Signed, titled and dated 1890 Watercolour 49 x 64cm; 19¼ x 25in £400-600

282. Thomas Bush Hardy R.B.A. (1842-1897) Off Calais Signed and titled Watercolour 15 x 46.5cm; 6 x 18¼in £400-600

283 283. Thomas Colman Dibdin (1810-1893) Market produce falling from a cart by a cathedral; Figures by a cathedral A pair, both signed and dated 1867 and 1868 Both pen, ink and watercolour 53 x 36cm; 21 x 14in (2) Provenance: The Late Peter J. Rankin £700-1,000

284. Thomas Colman Dibdin (1810-1893) Old street, Rouen, St. Avion beyond; Antwerp Cathedral A pair, both signed and dated 1884 and 1885 Both pen, ink and watercolour Each 55 x 37cm; 21½ x 13½in (2) £600-800

284 285. Harry Bright (1846-1895) Great white Heron; Song Thrush; Cormorant; Female Blackbird Set of four, all signed and dated 1884 All watercolour Each 28 x 22cm; 11 x 8¾in (4) £1,000-1,500

285

28 286. Harry Bright (1846-1895) Wrens in winter; Bullfinches in spring A pair, both signed Both watercolour Each 27 x 19.5cm; 10½ x 7¾in (2) £900-1,100

286

287. Harry Bright (1846-1895) Soliciting alms Signed and dated 1881 Watercolour with bodycolour 43 x 30cm; 17 x 12in £500-700

287

288. Harry Bright (1846-1895) Winter time; Merry spring A pair, both watercolour, oval Each 28 x 23.5cm; 11 x 9¼in (2) £500-700

288 289. Harry Bright (1846-1895) Standing Heron Signed and dated 1876 Watercolour 42 x 29.5cm; 16½ x 11½in £300-500

289 290. Harry Bright (1846-1895) Bully’s breakfast Signed and dated 1886 Watercolour 21.5 x 25.5cm; 8 x 10in £250-350

290

291. Harry Bright (1846-1895) A labour of love Signed and dated 1883 Watercolour 28 x 41.5cm; 11 x 16¼in £300-500

291

292

293

292. Harry Bright (1846-1895) Garden birds sheltering under a hat in the snow Signed and dated 1876 Watercolour 42 x 30cm; 16½ x 12in £300-500 293. Harry Bright (1846-1895) The herald of spring Signed and dated 1891, also inscribed on a label verso Watercolour 35 x 54cm; 13¾ x 21¼in Provenance: Alexander Gallery, Bristol £500-700 294. Johannes Gerardus Keulemans (Dutch 1842-1912) Serin, Starling, Corn Bunting, Finches Set of four, all signed with initials All watercolour 24.5 x 17.5cm; 9½ x 7in and similar (4) £1,000-1,500

294

30 295. Archibald Thorburn (1860-1935) American yellow billed cuckoo Signed Watercolour 16.5 x 24.5cm; 6½ x 9¼in Provenance: Christie’s, 14 May 1996, Lot 50 £1,500-2,500

295

296. Archibald Thorburn (1860-1935) Hawk owl Signed Watercolour on grey paper 16.5 x 23cm; 6½ x 9in £1,500-2,500

296

297

298

OIL PAINTINGS 297. Follower of François Clouet Portrait of a gentleman, head and shoulders, wearing a gold coloured coat, in a wooded landscape Inscribed Bene qui latiut bene vixit, Oil on panel 47 x 38cm; 18½ x 15in The latin translates as One who lives well, lives unnoticed (Ovid) £1,000-1,500 298. Scottish School 17th Century Portrait of Jean Elphinstone née Bruce, only daughter of Col. Bruce of Airth, married to Richard Elphinstone of Calderhall Oil on panel, in a carved wood frame 72 x 56cm; 28¼ x 22in £1,500-2,000 299. Attributed to Werner van den Valckert (1585-1627) Portrait of a Matron, thought to be a Regentess of the Haarlem Leper Colony Traces of an inscription verso Oil on panel 65 x 47cm; 25½ x 18½in £1,500-2,000

299

300

301 300. After Sir Anthony Van Dyck Portrait of Charles I Oil on panel, in a carved wood and gesso frame 31.5 x 26cm; 12 x 10¼in £800-1,200 301. Circle of Jan Anthonisz Ravesteyn Portrait of a gentleman with a lace collar Oil on canvas 58 x 44.5cm; 23 x 17½in £1,000-1,500 302. German School c.1660 Portrait of Miles Corbet (1595-1662), half length in a landscape Inscribed lower right LFDB and dated indistinctly Oil on canvas, oval 82 x 64cm; 32¼ x 25¼in Miles Corbett was a barrister and MP for Yarmouth from 1640-1653. He was the last signatory on the death warrant of Charles I. After the restoration he fled to Germany and was eventually tried and executed on April 22nd 1662 £1,500-2,500

302

33 303. Willem Van de Velde (1633-1702) The Morning Gun Signed with initials and dated 1684 Oil on canvas 62.5 x 86cm; 24½ x 34in Provenance: Mr. William Tennant circa 1795, and by descent Mr. Hugh Buchanan, Pusey, Oxfordshire £10,000-15,000

303 304. Circle of Abraham Jansz Storck Warships off the Dutch coast Oil on canvas 66 x 84cm; 26 x 33in £3,000-5,000

304

305 305. After Peter Paul Rubens Queen Tomyris and the head of Cyrus Oil on panel 52 x 71.56cm; 21½ x 28in After the original in the Museum of Fine Arts, Boston £2,000-3,000 306. After Albrecht Durer 17/18th Century The rejection of Joachim’s offering Oil on panel 111 x 74.5cm; 43¾ x 29¼in With a copy of the book Albrecht Dürer Holzschnitte including the engraving (2) £2,000-3,000

306

307 307. David Teniers (Flemish 1610-1690) Interior scene with a peasant preparing vegetables Signed Oil on panel 36.5 x 58.5cm; 14¼ x 23in £10,000-15,000 308. Louis de Moni (Dutch 1698-1771) The fish vendor Signed Oil on canvas laid on panel 42 x 33.25cm; 16½ x 13¼in £3,000-5,000

308

309

310 309. After Raphael Sanzio Madonna of the pinks Oil on canvas, in a gilt frame 30 x 24.5cm; 11¾ x 9½in £2,000-3,000

310. Italian School 18th Century The Assassination of St. Peter Martyr Oil on canvas 41 x 58cm; 16 x 23in £700-1,000

311

312

311. Manner of George Chinnery A junk in a harbour with a pagoda Oil on canvas laid on panel, unframed 40.5 x 33cm; 16 x 13in £300-500

312. Dutch School 18th Century Harvesters by a windmill; Tobias and the angel Two, one oil on metal, one on panel, framed as a pair 25 x 37cm; 10 x 14½in and similar (2) £1,000-1,500

313

314 313. John Paul (c.1830-1890) Northumberland House, Charing Cross Oil on canvas, in a carved wood frame 61 x 92cm; 24 x 36in After the original by Canaletto in the collection of the Duke of Northumberland Northumberland House was the London residence of the Dukes of Northumberland from 1605 till 1874, when it was demolished to make way for Northumberland Avenue. If still standing today it would look onto Trafalgar Square towards the National Gallery £3,000-4,000

314. Jacob Van Stry (Dutch 1715-1856) Travellers, herdsmen and cattle in an extensive river landscape with a castle and distant town Signed Oil on panel 58 x 84cm; 22¾ x 33in £6,000-8,000

315

316 315. Attributed to Aert van der Neer (Dutch 1603-1677) Figures by a canal at dusk, a windmill beyond Stamped with a seal on stretcher verso Oil on canvas 48 x 64cm; 19 x 25in £1,500-2,500 316. Circle of Willem Hermansz. van Diest Shipping off the Dutch coast Oil on canvas 53 x 78.5cm; 21 x 31in £1,500-2,000 317. Attributed to Adriaen van der Cabel (c.1631-1705) Merchants in a busy Dutch port Oil on canvas 60 x 82cm; 23½ x 32¼in £1,500-2,500 317

318. Circle of Jan Peeters Shipping off a Continental town Oil on canvas 30.5 x 42cm; 12 x 16½in £800-1,200 319. After Giovanni Antonio Canal, called Canaletto The Riva delle Barche and the Antica Posta, Mestre, Italy Oil on canvas in a carved wood frame 60 x 102cm; 24 x 40in Provenance: Edward Stacy-Marks Ltd 22.3.1986 This is a copy of the original at Dorneywood House, Buckinghamshire £7,000-9,000

318

320. Follower of Giovanni Antonio Canal, called Canaletto Gondolas on the Grand Canal, Venice Oil on canvas 58.5 x 91.5cm; 23 x 36in £3,000-5,000

319

320

322

321 321. Attributed to Gaspar Peeter Verbruggen the younger (1664-1730) Still life of flowers and fruit near a relief sculpture of classical figures surmounted by an urn Signed with initials VB Oil on canvas 85 x 66cm; 33½ x 26in Provenance: The Estate of the Staithes painter Mark Senior R.A. (1864-1927) and by descent to the present owner, the artist’s great grandson. It is thought that he brought the picture back from one of his frequant trips to Bruges in 1905-10. £5,000-8,000 323

324

322. Russian School early 19th Century Twelve Feasts with a central icon of Easter Oil on panel 53.5 x 44cm; 21 x 17½in Provenance: Christie’s, Rome, 5th December 2000, Lot 422 £2,000-3,000 323. Continental School early 19th Century Figures in an Italianate landscape Signed indistinctly and dated 1813 Gouache, circular 11.25cm; 4½in diameter Provenance: The Late Peter J. Rankin £200-300

41 324. Follower of Guiseppe Zais A castle on a bend in the river with a ferry boat Oil on canvas, unframed 59 x 171cm; 23 x 67¼in £500-800 325. Follower of Thomas Hudson Portrait of Lady Robinson Oil on canvas in a carved wood frame 127 x 101cm; 50 x 40in £4,000-6,000 326. English School early 18th Century Portrait of a girl wearing blue, holding a basket of flowers Oil on canvas 127 x 101cm; 50 x 40in Provenance: Rutland Gallery, London £400-600 327. English School 18th Century Portrait of an actress holding a mask Oil on canvas, oval unframed, unstretched 57 x 46cm; 22½ x 18in £200-300 328. English School c.1700 Portrait of Mary Marriott (d. 1703) Full length standing in an interior Oil on canvas 95 x 74cm; 37½ x 24in Provenance: The Manor House, Chipperfield £600-800

326

325

327

328

329. James Northcote R.A. (1746-1831) Portrait of Mrs. Thomasine Yonge or Young Oil on canvas 76 x 63.5cm; 30 x 25in

329

330

331

332

Provenance: By descent to the sitterâ&#x20AC;&#x2122;s niece Mrs. Brater and gifted to Her son William Brater Frost & Reed Private Collection, U.S.A. Private English Collection

Literature: Memorials of an Eighteenth Century Painter James Northcote by Stephen Gwynn (1898): List of Portraits painted at Plymouth 1776/7, No. 41, Mrs Yonge, Pg. 266 The present picture is an example of his early portraits, greatly influenced by Reynolds. Further details online ÂŁ2,000-3,000

43 330. English School 19th Century Portrait of a gentleman, possibly William Beckford Oil on canvas 76 x 63cm; 30 x 25in Provenance: Frost & Reed 16.9.76, No. S.1472 £800-1,200

331. Circle of Allan Ramsay Portrait of a Gentleman, possibly John Coutts (1699-1751), Lord Provost of Edinburgh Oil on canvas in a carved Carlo Maratta frame 82 x 66cm; 32¼ x 26in Provenance: Private New York collection Private English collection £1,500-2,500

332. After Sir Henry Raeburn Portrait of Walter Scott Oil on canvas 76 x 63.5cm; 30 x 25in £600-800

333. Jean Francisque Millet the Younger (French 1666-1723) Figures pausing for water in an Italianate landscape Signed Oil on canvas 82.5 x 67cm; 32½x 26½in £3,000-5,000

333

334. Attributed to Jan Siberechts (Flemish 1627-c.1703) View of a town, thought to be Cirencester c.1690 Oil on canvas 58.5 x 86cm; 23 x 34in £3,000-5,000

334

44 335. Italian School 18th/19th Century Still life of flowers, a clock and fruit in an interior Oil on canvas, in a carved wood frame 56 x 74cm; 22 x 29in £2,000-3,000 336. Follower of George Morland The milkmaid Oil on canvas 51 x 61cm; 20 x 24in £300-400 337. Pieter Jansz van Asch (1603-1678) Wooded river landscape with figures in a rowing boat and distant steeple Oil on panel 27.5 x 35cm; 11 x 14in Provenance: Christie’s, Highly important paintings from the Cook Collection, 19 March 1965, Lot 55 £800-1,200

335

336

337

338. John Willis (fl. 1828-52) Portishead, looking across the Severn; Near Portishead A pair, both signed and dated 1855 and 1856, also signed titled and dated in pencil on stretcher Both oil on canvas Each 43 x 61cm; 17 x 24in (2) £800-1,200 339. James Ward R.A. (1769-1859) The reapers lunch Signed with monogram and dated 1837 Oil on panel 57 x 76cm; 22½ x 30in £6,000-8,000

338

339

340 340. David Roberts R.A. (1796-1864) Santi Giovanni e Paola, Venice Signed and dated 1860, previously thought to be inscribed verso Oil on canvas 53 x 75cm; 21 x 29Â˝in

Provenance: Woolley & Wallis, Orchard Farm House sale, 17th April, 2007, Lot 12 ÂŁ5,000-7,000

46 341. After Elisabeth Louise Vigée Le Brun Self portrait Oil on canvas 50.5 x 40.5cm; 20 x 16in £500-700 342. Sir George Hayter (1792-1871) Self portrait Inscribed and dated verso Georgius Hayter, Se Ipsum pingebar, 1828 Oil on canvas, oval in a rectangular frame 31 x 26cm; 12½ x 10¼in £500-700

341

342

343. Russian School 19th Century A woman baking tarts with her children and Samoyed dog Signed indistinctly Oil on canvas, unframed 51 x 41.5cm; 20 x 16¼in £500-700 344. C. C. Coventry (fl. 1800-1819) Interior scene with girls washing clothes and a boy playing tricks Signed and dated 1800 on the table stretcher Oil on canvas, in a French Empire giltwood and gesso frame 92 x 72cm; 36 x 28½in £1,500-2,500 345. After Sir Thomas Lawrence P.R.A. Portrait of King George IV in garter robes, c.1810 Oil on canvas over a printed base 61 x 46cm; 24 x 18in £250-350

343

344

346. English School 19th Century Portrait of Ebenezer Reed (1805-1841) Oil on canvas 91.5 x 74cm; 36 x 29in £400-600 347. Girolamo Gianni (Italian 1837-1895) Castel St. Angelo, Rome Signed and dated 1878 Oil on canvas 24 x 48cm; 9½ x 19in £2,000-3,000 348. Attributed to Thomas Luny (1759-1837) Ships in a swell Signed and dated 182* Oil on panel 27 x 33cm; 10½ x 13in £800-1,200

345

346

347

348

349

351

350 349. Sebastian Pether (1790-1844) Fishermen on the Loch with Inveraray Castle beyond Oil on canvas 55 x 81cm; 21½ x 32in £400-600

350. English School 19th Century Buildwas Bridge, Much Wenlock Shropshire Oil on canvas 67 x 87cm; 26½ x 34½in Provenance: Rutland Gallery £400-600

351. Scottish School 19th Century A view of Market Street, Haddington, Lothian Oil on canvas 134 x 104cm; 41 x 53in Provenance: Rutland Gallery, London £400-600

352 352. John Thomas Serres (1759-1825) Shipping at the entrance to San Sebastian Signed and dated 1814 Oil on canvas 61 x 91.5cm; 24 x 36in Provenance: One of four works by Serres owned by Major General Sir Alexander Dickson Literature: Alan Russett, John Thomas Serres, 2010, pg.129, plate s.14 £5,000-7,000

353

353. John Scott (1802-1885) The Brig Lumsdon Signed and dated 1875 Oil on canvas 53.5 x 76.5cm; 21 x 30in £1,500-2,500

354. George Chambers (1803-1840) The United of Sunderland running into Swansea Signed and dated 1834 Oil on canvas 59 x 92cm; 23¼ x 36¼in Literature: Alan Russett, George Chambers, his life and work, 1996, plate 45 for a similar composition £2,000-3,000

354

355

356 355. James Vivien De Fleury (1847-1902) The Grand Canal Venice, looking towards Santa Maria della Salute, with the Doge’s Palace in the distance Oil on canvas 61 x 107cm; 24 x 42in Provenance: Edward Stacy-Marks Ltd. 22.3.86 Frost and Reed no 34173 £4,000-6,000

356. Alfred Pollentine (1836-1890) The Doge’s Palace and the Riva Degli Schiavone, Venice, seen from the Dogana Oil on canvas 59 x 102cm; 23 x 40in £4,000-6,000

357

358 357. William Linnig (1819-1885) A tavern interior Signed and dated 55 (below frame) Oil on panel 46 x 61cm; 18 x 24in £500-800 358. After Evaristo Baschenis Still life of musical instruments and lutes with pink ribbon and score Oil on canvas laid on board 41 x 56cm; 16 x 22in A copy after the original in Academia Carrara, Bergamo £500-700

360. Alfred J. Warne Browne (?-1903) A coastal scene, possibly Tregiffian, Cornwall Signed Oil on canvas 54.5 x 101cm; 21½ x 40in £600-800 361. Edward Aubrey Hunt R.B.A. (1855-1922) River landscape Signed Oil on board 29 x 48cm; 11½ x 19in £600-800

359. Thomas Fowke (1827-c.1887) Still life of pots and pans with sandals and a bust relief Signed and dated 1868 Oil on panel 35.5 x 29.75cm; 14 x 11¾in £700-1,000 359

360

361

362

363

362. Continental School (19th Century) Reading the Will Bears signature Oil on canvas 55.5 x 68.5cm; 22 x 27in £400-600 363. Edmund Thornton Crawford R.S.A. (1806-1885) Edinburgh from Aberdour Oil on canvas 40.5 x 60.5cm; 16 X 24in Provenance: Aitken Dott & Son, Edinburgh £600-800 364. Charles Antoine Clevenbergh (Flemish 1791-1857) A hare and other dead game near a tree Signed and dated 1825 Oil on canvas 98 x 80cm; 38½ x 31½in £1,000-1,500 365. Charles Henry Poingdestre (1825-1905) Cattle, horses and sheep on the Roman Campagne A pair, both signed, dated 1869 and inscribed Roma Both oil on canvas Each 36 x 67cm; 14 x 26½in (2) £1,000-1,500 364

365

366 366. Arthur Batt (1846-1911) Ready for the morning ride Signed and dated 1881 Oil on canvas 28 x 38cm; 11 x 15in £1,000-1,500

367 367. George Paice (1854-1925) A hunter in a stable Signed and dated 79 Oil on canvas 51 x 68.5cm; 20 x 27in £1,000-1,500

368. Arthur Batt (1846-1911) A girl with donkeys and a dog Signed and dated 81 Oil on canvas 30.5 x 38cm; 12 x 15in £400-600

369. John Alfred Wheeler (1821-1903) Huntsmen and hound Signed indistinctly Oil on canvas 35 x 51cm; 133/4 x 20in £250-350

368

369

370

370. Eugene Petit (French 1839-1886) Duck and pheasant shooting A pair, both signed Both oil on canvas Each 38 x 46cm; 15 x 18in £600-800

371 371. John Christian Schetky (Scottish 1778-1874) Edinburgh from the Sea, 1822 Oil on canvas 68 x 102.5cm; 27 x 40¼in With a frame label inscribed Painted when accompanying His Majesty King George IV on his visit to Scotland on board the Royal George £10,000-15,000

372

372. Henry Valter (c.1854-1898) Broken Bridge at Avignon Signed and dated 73 Oil on canvas 53 x 89cm; 21 x 35in £2,000-3,000

373. John Berney Crome (1794-1842) Bishop’s Bridge over the Wensum at Norwich Oil on canvas 63.5 x 81cm; 25 x 32in £2,000-3,000

373

374 374. Leopold Rivers (1852-1905) A woodsman seated in a landscape Signed and dated 1882 Oil on canvas 66 x 128cm; 26 x 50½in Provenance: Frost & Reed, 28-3-49, No. 9499 £2,000-3,000 375. Benjamin Williams Leader R.A. (1831-1923) A river in torrent near Henllan Signed and dated 1890 Oil on canvas 41 x 66cm; 16 x 26in £1,500-2,500

376

378

375 376. Nathaniel Hone (Irish 1718-1784) River landscape Signed with initials Oil on canvas laid down on board 25.75 x 37.5cm; 10¼ x 14¾in £700-1,000

378. Charles Leslie (c.1835-1890) Milkmaids and shepherd in a landscape Signed and dated 1856 Oil on canvas 61 x 102cm; 24 x 40in £200-300

377. John Bates Noel (fl. 1870-1927) A cottage in a river landscape Signed Oil on canvas 50.5 x 76cm £300-500

379. Follower of John Constable Wooded river landscape, a village beyond Oil on panel 17.5 x 24cm; 7 x 9½in £300-400

377

379

55 380. James Hayllar (1892-1920) Going to the Palace Signed and dated 1863 Oil on canvas 63.5 x 76cm; 25 x 30in Provenance: Frederick William Cosens, FSA Frank Cosens Christopher Wood Gallery, London £5,000-7,000

380 381. ‡ Edith Hayllar (1860-1948) Making blackberry pie Signed and dated 1886 Oil on board 41.5 x 31.5cm; 16¼ x 12in £10,000-15,000

381

56 382. Walter Williams (fl. 1841-1880) On the Lledr Signed and dated 1874 Oil on canvas 56 x 97cm; 22 x 38in £1,500-2,500

383. Claude François Auguste de Mesgrigny (French 1836-1884) Washerwomen on a river, possibly the Erdre Signed Oil on canvas 36.5 x 56.5cm; 14½ x 22¼in £1,000-1,500

382

384. Florence A. Saltmer (act.1882-1908) Figure watering his horses by a bridge Signed Oil on canvas 30.5 x 41cm; 12 x 16in £150-250

385. Joseph Thors (c.1843-1898) A girl in a farmyard Signed Oil on canvas 25.5 x 35.5cm; 10 x 14in £250-350

383

386. Edwin John Ellis (1841-1895) Taking home the day’s catch Signed Oil on canvas 30.5 x 51cm; 12 x 20in £250-350 384

385

386

387

388 387. José Weiss (1852-1919) River landscape with cattle on the banks Signed Oil on canvas 61 x 102cm; 24 x 40in £300-500

388. John Emms (1843-1912) Waiting for master Signed Oil on canvas 61 x 92cm; 24 x 36in £6,000-8,000

389. John Emms (1843-1912) Portrait of George Wateridge, Master of the New Forest Buckhounds with a horse and hounds Signed Oil on canvas 51 x 40.5cm; 20 x 16in £3,000-5,000

389

390

391

390. William Kay Blacklock (1872-1924) A lady reclining in a hammock by the river Signed Oil on board 30 x 36cm; 12 x 14in £2,000-3,000 391. George Knight (19th Century) Sailing ships and a paddle steamer off the coast in rough seas Signed Oil on canvas 76 x 127cm; 30 x 50in £1,200-1,800

392. Arthur George Bell (1849-1916) A wooded river landscape, a church beyond Signed and inscribed To my friend Mrs. Turton Oil on panel 24 x 33cm; 9½ x 13in Provenance: Richard Allan Gallery, London Exhibited: Royal Academy, 1945 Royal Institute of Oil Painters, ‘70 £250-350

393. Edwin John Ellis (1841-1895) A castle on the coast Signed Oil on canvas, unframed 45.5 x 84cm; 18 x 33in £200-300 394. Continental School 19th Century Still life of summer flowers Oil on canvas 57 x 82.5cm; 22½ x 32¼in £600-800 395. José Weiss (1852-1919) River landscape Signed Oil on canvas 41 x 61cm; 16¼ x 24in £200-300

392

393

394

395

396 396. William Frank Calderon (1865-1943) The cattle fair Signed and dated 1894 Oil on canvas 51 x 102cm; 20 x 40in £6,000-8,000

397. Arthur Batt (1846-1911) Donkeys in the New Forest Signed and dated 1884 Oil on canvas 64 x 110cm; 25 x 43¼in Provenance: Bonhams, Oxford, 3rd June 2003, lot 62 £3,000-5,000

397

60 398. *Eyre Crowe A.R.A. (1824-1910) Doctor Johnson receiving Boswell in the library Signed and dated 1899 Oil on canvas 86 x 112cm; 34 x 44in £2,000-3,000

398 399. Albert Dürer Lucas (1828-1918) Red Admiral, heather and harebell Signed and dated 1889, also signed, titled and dated on the stretcher verso Oil on canvas 20 x 15cm; 8 x 6in £500-700

399

400. Alphonse Legros (French 1837-1911) Head study of a man Signed with initials Oil on canvas laid on panel 35.5 x 28.5cm; 14 x 11¼in £600-800

400

401. Eugène Petit (French 1839-1886) Still life of spring flowers in an urn Signed Oil on panel 50.5 x 31cm; 20 x 12in £600-800

401

402 402. Richard Karlovich Zommer (Russian 1866-1939) At Prayer Signed Oil on canvas 82 x 143cm Provenance: Captain Henry Herbert Douglas-Withers, purchased from artist in Tblisi in 1915/16 By family descent to the present owner Captain Douglas-Withers fought in the Gallipoli Campaign in 1915/16 with the Prince of Wales Volunteers (South Lancashire Regiment) and was awarded the Military Cross for exemplary gallantry. After the campaign he was part of a small British force that was sent stabilise Tblisi, as many White Russians were there, fleeing the Red Army. Richard Zommer was teaching in Tblisi and sold his paintings locally. Captain Douglas-Withers purchased a number of his pictures including At Prayer and stored them in Army Map containers for transport home. £20,000-30,000 403. Vlaho Bukovac (Russian 1855-1922) Reclining nude Signed, also inscribed Zagreb Oil on canvas 64 x 38cm; 25 x 15in Provenance: Sotheby’s, London, 15th June 2004, lot 54, private collection £10,000-15,000

403

404 404. Louis Bosworth Hurt (1856-1929) Sligachan, Skye Signed and dated 1898 Oil on canvas 152 x 91cm; 60 x 36in £10,000-15,000 405. John Mulcaster Carrick (1833-1896) Near Nice Signed and dated 1872, also signed, titled and dated verso Oil on canvas 24.5 x 36cm; 9½ x 14in £2,000-3,000

405

406. James Henry Crossland (1852-1904) Autumn Hills Signed Oil on canvas 51 x 76cm; 20 x 30in Thought to be a view of Helvellyn, Cumberland Provenance: Bourne Gallery, Reigate £700-900

407. François Auguste Biard (French 1798-1882) The Entomologist, Count Rosander instructed by his aunt Sybil Marian, admires the Diamond Beetle Signed Oil on canvas 74 x 92cm; 29 x 36in Provenance: Christie’s 29 November 1912, lot 127 £15,000-20,000 408. Andreas Schelfhout (Dutch 1787-1870) Winter landscape with skaters near a windmill Signed Oil on panel 36 x 47cm; 14¼ x 18½in £6,000-8,000

406

407

408

64 409. Arthur Hughes (1832-1915) A spring afternoon Signed Oil on canvasboard 29 x 44cm; 11½ x 17¼in £1,500-2,500

410. Harry Pennell (1879-1934) Loading the haycart Signed Oil on canvas 61 x 101.5cm; 24 x 40in £800-1,200

409 411. E. Onken (German 19/20th Century) Rustics in a pastoral landscape Signed Oil on canvas 50 x 82cm; 19¾ x 32¼in £300-500

412. John Syer (1846-1913) Fishermen on a harbour Signed and dated 77 Oil on canvas 31 x 46cm; 12 x 18in £300-500 410

413. ‡ David Murray Smith (1865-1952) Birch trees by a pool Signed Oil on panel 25.5 x 36cm £200-300 411

412

414. Klisser (19th Century) A visitor at dinner time Signed and dated 1848 verso Oil on canvas 33 x 46cm; 13 x 18in £100-150

413

414

415 415. Cipriano Cei (Italian 1864-1922) Alla Piu Buona; L’Asino A pair, both signed Both oil on canvas Each 97 x 55cm; 38 x 21½in (2) £4,000-6,000

416. Cornielle Petit (Belgian 19th Century) Gathering hay Signed and inscribed Ternath Oil on canvas 56 x 46cm; 22 x 18in Provenance: Downes Fine Art Christie’s, 22nd November 1996, lot 124 £1,000-1,500

416

66 417. Henri Adolphe Laissement (French 1854-1921) Interior of the Vatican, the arrival of the dessert Signed Oil on panel 66 x 53.5cm; 26 x 21in £4,000-6,000

418. Austrian School 19th Century Shepherd playing the bagpipes in a Continental landscape Oil on canvas 48.5 x 58.5cm; 19 x 23in £400-600

419. Walter Stuart Lloyd (1845-1959) A river scene at dusk Signed Oil on canvas 51 x 76cm; 20 x 30in £400-600 417

418

419

420

67 420. Edward Charles Williams (1807-1881) A river landscape Oil on panel 13 x 41cm; 5¼ x 16in £200-300 421. Théodore Gérard (Belgian 1829-1895) Calling for lunch Signed and dated 1864 Oil on panel 75 x 61cm; 29½ x 24in Provenance: Mr. Head gifted to vendor’s grandfather in Trefnant near Denbigh, N. Wales early 1900s Thence by descent This painting is one of at least three by this artist set in the same doorway £5,000-7,000

423. Attributed to Thomas Baker of Leamington (1809-1869) Cattle grazing, a church beyond Oil on canvas 41 x 55cm; 16 x 21¾in £400-600

424. Follower of George Morland Figures resting in a wooded glade Oil on canvas 63.5 x 76cm; 25 x 30in £500-800

422. Ramsay Richard Reinagle R.A. (1775-1862) View of Borrowdale at Castle Crag, slate quarry Signed and dated, also signed and inscribed verso Oil on canvas laid on board 48.5 x 75cm Painted in 1814 and inscribed 1855 £600-800

424

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425 425. Pieter Christian Dommersen (fl. 1865-1913) Carantan, Normandy, France Signed Oil on panel 19.5 x 16.5cm; 7½ x 6½in £600-800 426. W. J. Bowden (19th Century) Family portrait with children in panniers in a coastal landscape Signed and dated 1853 Oil on canvas 76 x 63.5cm; 30 x 25in £800-1,200

427

426 427. Neapolitan School late 19th Century Portrait of a young lady, bust length, wearing a cap Oil on canvas 43.5 x 37cm; 17 x 14½in £400-600 428. Circle of Eduard Von Grutzner Monks dining; Monks imbibing A pair, both oil on panel (2) 19 x 25.5cm; 7½ x 10in £500-700

428

429. Follower of James Jacques Joseph Tissot Portrait of a lady in profile, seated, wearing white Oil on canvas 46 x 36cm; 18 x 14in £400-600

429

430 430. Joseph Victor Ranvier (French 1832-1896) Blowing bubbles Signed Oil on canvas 80 x 58.5cm, 311/2 x 23in £1,000-1,500 431. Alexis Vollon (French 1865-1945) The cheerful maid Signed Oil on canvas 60.5 x 42cm; 24 x 16½in Provenance: Downes Fine Art Christie’s, 22nd November 1996, lot 133 £800-1,200

432

431 432. Bernard H. Cobbe (act.1868-1883) The Pastor’s visit Signed Oil on canvas 48 x 44cm; 19 x 17½in £300-400 433. E. M. (Louis) Famin after Tito Conti Girl with a red feather in her hat Signed Oil on canvas 59 x 52cm;23¼ x 20½in £200-300

433

434. Andrew Black R.S.W. (Scottish 1850-1916) A French Street, possibly in Paris Signed and dated 1882 Oil on canvas 46 x 31cm; 18 x 12¼in £200-300

434

70 435. Hague School 19th Century Boats on a choppy sea Signed indistinctly Oil on canvas, unframed 81 x 101cm; 32 x 39½in £2,000-4,000 436. James Aumonier (1832-1922) Rural England Signed, titled on an old label verso Oil on canvas 71 x 107cm; 28 x 42in £1,500-2,500 437. Frederick Golden Short (1863-1936) Christchurch Priory Signed and dated 90 Oil on canvas 14 x 38.5cm; 5½ x 15in £500-700

435

438. Edythe B. Batt (early 20th Century) New Forest view Signed Oil on board 23 x 30.5cm; 9 x 12in £200-300 439. Frederick Golden Short (1863-1936) Woodland pond New Forest Signed and dated 1918 Oil on board 28 x 38cm; 11 x 15in £300-500

436

438

437

439

Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973) Henry Rogers Broughton succeeded his older brother, Urban Huttleston Broughton, as 2nd Lord Fairhaven in 1966. Born in America, Henry was educated at St Paulâ&#x20AC;&#x2122;s School, USA and Harrow before Commissioning from the Royal Military Academy

Works on Paper from the Collection of Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973)

Sandhurst into the Royal Horse Guards in 1920. Five years later he and his brother bought the Barton Stud near Bury St Edmunds and the following year they acquired Anglesey Abbey. Here, and at his subsequent houses, Bakeham House and later at South Walsham Hall, he formed a remarkable collection of oil paintings, watercolours, gouaches, miniatures and sketches. Lord Fairhaven bequeathed a comprehensive collection of 120 flower paintings to the Fitzwilliam Museum in Cambridge (the Broughton Bequest), including 12 Months of Flowers by van Huysum, over nine hundred individually mounted watercolours and gouaches and forty-four volumes of drawings by Ehret, RedoutĂŠ and many others. The works in this sale represent the variety and quality of what was one of the largest such collections amassed in the 20th century.

72 440. Johannes Bronkhorst (Dutch 1648-c.1726) Ducks and geese by the water; Study of a crow The second inscribed: Bouts Kraij (?) Two, the first watercolour with bodycolour, the second bodycolour, unframed 16.5 x 21.5cm and 15 x 19cm (2) £500-700 441. Augusta Innes Withers (1793-1870) Chickens and chicks with a dove Signed and inscribed 26 Grove Place Watercolour with bodycolour, unframed 11.75 x 23.75cm With another, signed, of a cockerel and hens by Samuel Howitt 13 x 18.25cm (2) £200-300

442. English School c.1830 Decorative studies of birds Two, both watercolour with bodycolour, unframed Each 15.5 x 13.25cm (2) £200-300 443. William Lewin (1747-1795) A Finch Signed with initials and dated indistinctly Watercolour with bodycolour, heightened with white, unframed 20.5 x 16cm £200-300

440

441

442

443

444. Friedrich Specht (German 1839-1909) Cats, kittens and dogs Three, all signed All bodycolour with pencil, unframed 13.25 x 20.75cm (3) ÂŁ1,500-2,000 445. Johannes Bronkhorst (Dutch 1648-c.1726) A study of a Blackcock Signed with initials Bodycolour and watercolour, unframed 15.7 x 20cm ÂŁ600-800 444

445

446. Louis Alexander Fagan (1845-1903) Coastal views in decorative borders Eight, three signed with initials L.F. All bodycolour, unframed Each 14.75 x 10.24cm (8) ÂŁ1,800-2,200

446

447 447. Saviero Xavier Della Gatta (Italian act.1777-1829) Neapolitan scenes from peasant life Five, some signed and dated 1800 All bodycolour, unframed Each 20 x 14.75cm and similar With six further similar Neapolitan School scenes c.1820 and c.1830 (11) ÂŁ3,000-4,000

448

449

450 448. Johann Christoph Dietzsch (German 1710-1769) Figures by a lake, a Schloss beyond; A gypsy encampment Two, both bodycolour, unframed 11.75 x 16.5cm and 11 x 15cm (2) £400-600

449. Franz de Paula Ferg (Austrian 1689-1740) Figures at a well Bodycolour, unframed 16.5 x 20.5cm With another Italian school c.1740 of a Musical Instrument Workshop (2) £400-600

450. Johann Christoph Dietzsch (German 1710-1769) Summer landscape Bodycolour, unframed 17.4 x 22.4cm With another similar Austrian School c.1760, of a winter landscape (2) £400-600

451. Johann Christoph Dietzsch (German 1710-1769) Figures in an Italianate landscape; A Gypsy encampment; Travellers by a river Three, all bodycolour, unframed 12.5 x 17.5cm and 14 x 19cm and 11 x 15.2cm (3) £1,000-1,500

451 452. Henri Désiré van Blarenberghe (French 1734-1812) Military encampment; Military provisioning Two, both bodycolour, unframed 15.25 x 20.75cm (2) £1,000-1,500

452

453. Jean Duplessis-Bertaux (French 1747-1819) Soldiers defending a stockade Pen, ink and grisaille wash, unframed 13 x 23.5cm £400-600

453

78 454. Portuguese School late 18th Century Customs of Brasil, a Sedan chair Bodycolour, unframed 15.5 x 23.25cm £1,500-2,000

454 455. Johann Conrad Kleemann (German 1741-1788) A harbour scene Signed Bodycolour, unframed 12.75 x 16.25cm £1,200-1,800

456. Spanish Colonial School c.1800 Washerwomen; Figures with goats Two, both bodycolour, unframed Each 11.25 x 18.5cm (2) £700-900

455

456

457. Portuguese School late 18th Century Views of Rio de Janeiro Five, all bodycolour, unframed Each 11.25 x 18.25cm and similar (5) £1,500-2,000

457

458. German School c.1790 Ships in a sea port Bodycolour, unframed 16.75 x 22.5cm £400-600

458

459. Jacob Burgi (Swiss 1745-c.1795) Figures in river landscape Bodycolour, unframed 16 x 20.75cm with two further river landscapes signed with initials FF, bodycolour, each 13.75 x 19.5cm (3) £1,500-2,000

459 460. François Ludwig, Comte de Kasselstatt (German 1753-1841) Figures in a town and in landscapes Three, all inscribed and dated 1811, 1807 and 1820, All bodycolour, unframed 13.25 x 18.25cm and smaller (3) £400-600

460

461

462

463 461. Johann Conrad Kleemann (German 1741-1788) Harbour scenes with ships at anchor A pair, one signed and dated 1762 Bodycolour, unframed 9.5 x 15.25cm (2) £2,000-3,000

462. Austrian School c.1790 Travellers on a track; A village fire at night Two, both bodycolour, unframed 10.75 x 15cm and similar (2) £300-400

463. Follower of Abraham Jansz Begeyn (Dutch 1637-1697) Sheep and goats by an urn in a landscape Watercolour, unframed 15.5 x 12.5cm With another Dutch School landscape c.1770 in bodycolour (2) £200-300

82 464. Jan Dircksz Both (1618-1652) Figures in Italianate landscapes Four, one signed All bodycolour on vellum, with gum arabic, unframed 16.5 x 14.2cm and similar (4) £400-600

465. German School c.1790 Figures on a track by a pond, a cottage beyond Bodycolour, unframed 16 x 23.25cm £400-600

466. Follower of William Daniell R.A. Figures on a track by a lake Bodycolour, unframed 21.25 x 30cm £400-600

464

465

466

467

468 467. Abraham Rademaker (Dutch 1675-1835) Figures in a wooded landscape; Fishermen on an estuary Two both signed Both bodycolour, unframed 12.3 x 18.75cm and 10.75 x 16cm (2) £1,200-1,800 468. Jean Baptiste Francois Genillion (French 1750-1829) Basilica of Constantine, Rome; Tempio della Fosse Two both signed, later titled verso Both pencil and watercolour, unframed Each 17 x 24.5cm (2) £1,000-1,500 469. Aignan Thomas Desfriches (French 1715-1800) Figures by a gateway Signed Pen, ink and grisaille wash, unframed 11.2 x 17.2cm £500-700

469

470

471

473

472 470. John Laporte (1761-1839) Whalebone Farm Bodycolour, unframed 19.25 x 25.25cm £500-700 471. Thomas Walmsley (Irish 1763-1806) View of Tintern Abbey, Monmouthshire Bodycolour, unframed 27.5 x 40cm £500-700

474

472. Thomas Walmsley (Irish 1763-1806) Melincourt Mill, South Wales Titled verso Bodycolour, unframed 23.75 x 32cm £300-500

473. Thomas Walmsley (Irish 1763-1806) Part of the Great Lake of Killarney, Ireland Signed and titled verso Bodycolour, unframed 18 x 25.5cm £200-300 474. Thomas Walmsley (Irish 1763-1806) Figures by a lake in Cumberland Bodycolour, unframed 28.5 x 39.25cm £300-400

475

476 475. Thomas Walmsley (Irish 1763-1806) Tintern Abbey; A farmer by a mill Two, the first signed and titled verso Both bodycolour, unframed 22.75 x 36cm and 26 x 34.5cm (2) £300-400 476. John Laporte (1761-1839) Horses by a wood in the moonlight Bodycolour, unframed 24 x 31cm £400-600

477

477. James Webb (1825-1895) Chepstow Castle, Monmouthshire Signed with initials and titled verso Bodycolour, unframed 27.5 x 40.5cm £300-400 478. James Webb (1825-1895) View near Hampstead Inscribed Stowers, also titled verso Bodycolour, oval, unframed 23 x 29.75cm £500-700

478

479

480

481

482

479. John Claude Nattes (1765-1822) Hotwells, Bristol; A Palladian temple in a river landscape A pair, both bodycolour, unframed Each 17.5 x 26.5cm (2) £600-800

481. English School early 19th Century Hailes Abbey, Gloucester Bodycolour, unframed 27 x 27.25cm £400-600

480. Thomas Walmsley (Irish 1763-1806) Herdsmen by a wood; Herdsmen, cattle and sheep by a lake, a Castle beyond Two, one signed indistinctly Both bodycolour, unframed Each 27.75 x 35cm (2) £600-800

482. John Laporte (1761-1839) View over an extensive river landscape Bodycolour, unframed 16.75 x 22.25cm £300-400

483

484

485 483. John Laporte (1761-1839) Welsh lakeland landscapes Two, one signed indistinctly Both bodycolour, unframed 22.25 x 33.25cm (2) £600-800 484. John Laporte (1761-1839) An estuary with a waterfall; Peasants on a track Two, both bodycolour, unframed 31 x 44.75 and similar (2) £500-600

486 485. Follower of Philip James de Loutherbourg R.A. Cattle and a donkey in a river landscape Watercolour with bodycolour, unframed 29.75 x 40.75cm £200-300 486. Thomas Walmsley (Irish 1763-1806) Stoke Gabriel, River Dart, Devon Signed, titled and inscribed For Mrs Hopkinson verso Bodycolour, unframed 27.75 x 40.5cm £200-300

487

488

489

490 487. German School 18th Century A river landscape in the rain Bodycolour, unframed 22.25 x 28cm £200-300 488. Follower of William Daniell R.A. Deer in a wooded lake landscape Bodycolour, unframed 20.75 x 29.6cm £200-300

491

489. A. C. Krygeer (Continental 18th Century) Peasants on a country track, a windmill beyond Signed verso Watercolour, unframed 25.5 x 32.5cm £100-200

490. German School c.1770 A traveller passing a chalet in a winter landscape Bodycolour, unframed 19 x 28cm £400-600 491. Christoph Ludwig Agricola (1667-1719) View over a town at sunset Bodycolour, unframed 17.5 x 22.25cm £700-900

492

493

494 492. Georg Christoph Gottleib von Bemmel (German 1765-1811) River landscape in Nuremburg with a mill Signed Bodycolour, unframed 19 x 28.25cm £200-300 493. Georg Christoph Gottleib von Bemmel (German 1765-1811) A ruined gateway to town Stamped CR lower left Bodycolour, unframed 17.5 x 22.75cm Provenance: The Charles Rogers Collection £500-700

494. Attributed to John Inigo Richards (1731-1810) Goats and cattle in a river landscape with a castle beyond; Herdsman and cattle on a bridge Two, both bodycolour, unframed 18.5 x 25.25cm and similar (2) £250-350 495. Jan Anthonie Langendyk (Dutch 1780-1818) A coach party crossing a stream Signed and dated 1805 Watercolour, unframed 22 x 32.5cm £600-700

495

90 496. Aert Schouman (Dutch 1710-1792) Traders in a port scene Signed verso with initals, inscribed and dated Na Weenix 1749 Bodycolour, unframed 24 x 30.5cm £3,000-4,000 497. J. C. Wissing (18/19th Century) Figures by a farmstead; Cattle watering, a castle beyond Two, both bodycolour, unframed 16.5 x 24.75 and similar (2) £300-400

496

497

498

499

498. Attributed to Johann Gottlieb Hackert (1744-1773) Herdsman and livestock in a river landscape Bodycolour, unframed 17.25 x 22.25cm £300-500 499. Austrian School c.1760 Figures in a winter landscape Bodycolour, unframed 17 x 21.25cm £300-400

500 500. Christoph Ludwig Agricola (1667-1719) Figures in river landscapes Four, all bodycolour, unframed 16.25 x 21.75cm and similar (4) £1,500-2,000 501. Juriaan Andriessen (Dutch 1742-1819) Figures in a boat on the river Watercolour, unframed 25 x 18cm £150-200 502. John Laporte (1761-1839) Figures in an autumn landscape Bodycolour, unframed 33.2 x 27.2cm £300-500

501

502

503

504

505

506

503. Attributed to Johann Gottleib Hackert (German 1744-1773) Figures and cattle in a river landscape Bodycolour, unframed 17.25 x 22.5cm £200-300

504. Henri Désiré van Blarenberghe (French 1734-1812) Cavalry on the move Bodycolour, unframed 16.5 x 21.75cm £400-600 505. Abraham Rademaker (Dutch 1675-1735) An extensive river landscape with a natural arch Signed and stamped WE Watercolour, unframed 20.25 x 31.75cm Inscribed W. Esdaile 1805 verso £200-300 506. German School c.1820 A house in Heiligenstadt Bodycolour, unframed 17.5 x 27.5cm £300-400

507

507. Louis Chalon (Dutch 1687-1741) View over a valley with peasants in the foreground Bodycolour, unframed 17.25 x 22.75cm £300-400

508. Dutch School c.1630 Travellers at an Inn Bodycolour, unframed 26.75 x 32cm £300-400 509. Wybrand Hendriks (Dutch 1744-1831) after Jan Wynants Peasants on a road overlooking a valley Signed and inscribed verso Watercolour, unframed 23 x 27.25cm £250-350

508

509

510

511

510. Flemish School 18th Century Figures by a ferry on a river in an Italianate landscape Bodycolour, unframed 23.75 x 30.5cm £300-400 511. G. Gill early 19th Century Figure on a track in a wood Bodycolour, unframed 19 x 25cm £300-400 512. Jacob Burgi (Swiss 1745-c.1795) Figures with a wagon in a river landscape Bodycolour, unframed 18.75 x 26.5cm £600-800

512

513

513. Peter Tillemans (1684-1734) Officers watching a battle A pair, one signed Both watercolour heightened with bodycolour, unframed 29 x 44.25 and similar (2) £800-1,200 514. German School c.1790 A ship by a sea port Bodycolour, unframed 17.25 x 22.5cm £200-300 515. Johann Christoph Dietzsch (German 1710-1769) Figures and livestock in barn interiors A pair, both bodycolour and gum arabic, unframed Each 17.2 x 22.4cm (2) £500-700

514

515

95 516. Johann Christoph Dietzsch (German 1710-1769) A Naval engagement on the coast Bodycolour and gum arabic, unframed 20.75 x 28cm £500-700 517. Johann Martin Daubler (German 1756-1800) A village fire at dusk Bodycolour, unframed 17.75 x 22.25cm With another similar by a different hand c.1750 (2) £350-450

518. Jacob Burgi (Swiss 1745-c.1795) Figures fishing by a natural arch Bodycolour, unframed 16.5 x 23.75cm £300-500 519. Attributed to Christian Wilhelm Ernst Dietrich (German 1712-1774) A chalet by a river in a mountainous landscape Bodycolour, unframed 19.75 x 26.75cm £150-200

516

517

518

519

96 520. Jacob Cats (Dutch 1741-1799) A Herdsman and lady fording a river Signed and dated 1790 verso Watercolour, unframed 18.5 x 24.75cm £500-700

521. Johann Martin Daubler (German 1756-1800) Travellers by a river, a town beyond Bodycolour, unframed 17.5 x 22.75cm £250-350

523. Georg Christoph Gottleib von Bemmel (German 1765-1811) Skaters in a winter landscape Bodycolour, unframed 17.25 x 23cm £400-600 524. Nuremburg School c.1750 Figures heading home in a storm Bodycolour and gum arabic, unframed 17 x 22.25cm £300-400

522. Eustache François Duval (French act.1784-1836) and L. Braundet A town gateway in a landscape Inscribed on a label verso Bodycolour, unframed 20.5 x 28.5cm £250-350

520

521

522

523

524

97 525. Philip James de Loutherbourg (French 1740-1812) Figures by a mill in a rocky landscape Bodycolour, unframed 36.3 x 28.3cm £600-800 526. Baron Louis Albert Guillain Bacler D’Albe (French 1761-1848) River landscapes with figures by a cottage and figures by a tower A pair, both bodycolour, unframed Each 18.25 x 24.75cm (2) £300-400 527. J. C. Wissing (18/19th Century) Travellers by a river, a town beyond Bodycolour, unframed 16.5 x 25.5cm £300-400 528. Ambrosius Gabler (German 1762-1834) River landscape with figures by a watermill Bodycolour, unframed 22.25 x 30.25cm £300-400 525

526

527

528

529 529. Thomas Denny (early 19th Century) Studies of exotic birds in a landscape Both numbered, one signed and dated 1820, the other inscribed indistinctly Both watercolour with bodycolour, unframed Each 40 x 32.25cm (2) ÂŁ600-800

530

530. English School 18/19th Century The Long-tailed green humming bird from Jamaica Watercolour with bodycolour, unframed 30.5 x 22.5cm ÂŁ300-400

531

99 531. Attributed to Christoph Ludwig Agricola (1667-1719) A bird on a thistle Bodycolour, unframed 26.5 x 17.75cm £200-300

532. Aert Schouman (Dutch 1710-1792) Exotic heron Signed with initials and inscribed verso Watercolour, unframed 36.75 x 25.5cm £2,500-3,000

533. English School 18/19th Century Ducks among the waterlilies Watercolour with bodycolour, unframed 29 x 36.75cm £300-500

534. Jan Gerritsz van Bronkhorst (Dutch 1603-1662) Duck and fowl by a stump Signed with initials Watercolour with bodycolour, unframed 19.25 x 25cm £400-600

532

533

534

100 535. Chinese School 19th Century Two birds on a branch Bodycolour, unframed 26 x 39.5cm £300-500

536. English School 19th Century Nest on an oak branch; Blackcurrant Two, one signed with initials H.E.B. Both bodycolour, unframed Each 35 x 50cm (2) £300-500

537. Chinese School 18/19th Century A pair of Australasian swamphens Bodycolour, unframed 11.75 x 19.7cm £200-300 538. Chinese School early 19th Century An Oriental bird Inscribed Chawhaw Watercolour with bodycolour, unframed 26.5 x 40.75cm £300-500 539. Attributed to Johann Christoph Gottlieb Reiler (18th Century) Chinese pheasants on a tree Inscribed verso Watercolour with bodycolour, unframed 36 x 24.25cm £4,000-5,000

535

536

537

538

101

539

102

540 540. Jean-Baptiste Le Prince (French 1734-1781) Study of a peasant child Pencil and chalk, unframed 23 x 16.3cm £500-700

541 541. Alessandro D’Anna (Italian 1746-1810) Figures in Neapolitan costumes Two, both signed, dated 1793/4 and inscribed Napoli, one inscribed Donna delle colline di Posillipo Both bodycolour, unframed Each 24 x 18cm (2) £300-400

542

542. Victor Jean Nicolle (French 1754-1826) Ladies by a town gate; Lady at a grotto Two, the first signed Both watercolour with bodycolour, unframed 18.3 x 12.5cm £500-700

103

543

544 543. Johann Jacob Hoch (German 1750-1839) Courtesans at their windows A pair, one signed and dated 1798 Bodycolour, unframed Each 24 x 20cm (2) £800-1,000

545 544. French School c.1690 A lady seated by a fire in a painted border Bodycolour, unframed 18 x 12.7cm £700-900

545. German School c.1790 A lady playing the Clavichord Bodycolour, unframed 28 x 22cm £400-600

104

546

547

548

549

550

546. Follower of Isaac de Moucheron (Dutch 1667-1744) Figures in a classical garden Bodycolour, unframed 18 x 23.75cm £300-400

548. English School c.1840 A church by a lake Signed with initials E.C or E.G. Watercolour with bodycolour, unframed 22.5 x 33cm £150-200

547. Daniel Dupré (Dutch 1752-1817) An angler in a river landscape Signed and dated 1794 Bodycolour, unframed 19.75 x 27cm £150-200

549. Attributed to Joseph Augustus Knip (Dutch 1777-1847) A windy day Bodycolour, unframed 24 x 36.5cm £200-300 550. Jean Augustin Renard (French 1744-1807) Figures by a ruined aquaduct Signed Bodycolour, unframed 22.75 x 30.25cm £250-350

105 551. Attributed to Pierre Antoine Patel (French 1648-1707) Women at a well in a classical landscape Bodycolour, unframed 16.5 x 23.25cm £1,000-1,500

552. Attributed to Marco Ricci (Italian 1676-1729) Figures on a road in an open landscape Bodycolour, unframed 24.25 x 27.75cm £500-700 551

553. French School c.1760 An Italianate landscape with figures by ruins Bodycolour, unframed 16.75 x 24in £250-350

554. Italian School c.1800 Figures in a the ruins of an amphitheatre Bodycolour, unframed 26.5 x 40.75cm £300-400

552

553

554

106

555

556

557

558 555. Flemish School 18/19th Century An Italianate landscape with figures and livestock Bodycolour, unframed 24.5 x 30.25cm £200-300 556. Johannes Adriaansz. Bemme (Dutch 1775-1841) Peasants on a riverside track by a bridge and farmstead Signed, dated 1880 and extensively inscribed verso Watercolour, unframed 35 x 47.5cm £400-600

559

557. Pierre-Joseph Wallaert (French 1753-c.1812) Anglers by a rustic bridge over a river Signed and inscribed Watercolour, unframed 31.75 x 41cm £400-600

558. Louis Bélanger (French 1736-1815) A family with livestock by a lake Pen, ink and bodycolour, unframed 34.25 x 48.25cm £500-600 559. Joseph Augustus Knip (Dutch 1777-1847) A woman on a donkey by a waterfall with a peasant and livestock Bodycolour, unframed 47.75 x 36.75cm £1,200-1,800

107 560. Di Angelis (Early 19th Century) The crater of Mount Vesuvius at sunset Signed, titled and dated Aug. 7th 1832 verso Bodycolour, unframed 26.2 x 40.75cm £600-800

561. Francesco Zerrilli (Italian 1793-1837) View of Sicily Inscribed Veduta di Bala verso Bodycolour, unframed 27.25 x 40.75cm £300-400 560 562. Carlo Bossoli (Swiss 1815-1884) Travellers in a landscape in Spain, a city beyond Signed Bodycolour, unframed 25.5 x 41.75cm £400-600

563. Thomas Walmsley (Irish 1763-1806) Light House, Mumbles near Swansea, South Wales Signed, titled and dated 1804 verso Bodycolour, unframed 31 x 47.5cm £400-600

561

562

563

108

564

565 564. German School 18th Century Travellers by a bridge and Italianate buildings in a landscape Bodycolour, unframed 11 x 16.5cm £300-500

565. Dutch School 18th Century Travellers by a river in a landscape Bodycolour, unframed 10.5 x 15cm £300-500

566 566. Thomas Walmsley (Irish 1763-1806) A ruined Castle entrance and bridge Signed and titled indistinctly verso Bodycolour, unframed 34.5 x 47cm £500-700

567. John Laporte (1761-1839 Boats on a river on a calm evening Bodycolour, unframed 29.25 x 46cm £800-1,200 567

109 568. John Laporte (1761-1839) Travellers on a track, a river beyond Bodycolour, unframed 28.2 x 39.2cm £800-1,200

569. John Laporte (1761-1839) A beacon on the coast Bodycolour, unframed 29.3 x 44.3cm £800-1,200

568

570. J. West (18/19th Century) A house on a lake at dusk; Peasants by a river at dusk Two, one signed Watercolour with bodycolour, unframed 29.5 x 41.5cm and similar (2) £800-1,200 569

570

110 571. Hendrik van de Sande Bakhuysen (Dutch 1795-1860) Fishermen on the shore Signed verso Bodycolour, unframed 30 x 25.75cm £500-700 572. Attributed to Joseph Augustus Knip (Dutch 1777-1847) Travellers in a mountainous landscape Bodycolour, unframed 33.25 x 31.5cm £200-300

571

572

573. German School c.1760 Bathers by a bridge Bodycolour, unframed 10 x 16.5cm £150-200

573

574

575. Tethart Philip Christian Haag (German 1737-1812) after Philips Wouwerman Figures resting in a landscape Signed, dated 1787 and inscribed verso Watercolour, unframed 33 x 38.75cm £200-300

574. Pierre Antoine Patel (1648-1707) Figures at dusk in an Italianate landscape Signed and dated 1685 Bodycolour with gum arabic, possibly on vellum, unframed 10.2 x 12.5cm £300-500

575

111

577

578

576. Attributed to Marco Ricci (Italian 1676-1729) Figures by a bridge over a river, a cappriccio of Rome beyond Bodycolour, unframed 28.75 x 44.75cm £1,500-2,000

577. Francesco Zerilli (Italian 1793-1837) Messina, Sicily Inscribed verso Bodycolour, unframed 24.75 x 40.25cm £800-1,200

578. Francesco Zerilli (Italian 1793-1837) An Italian Palace, possibly Palazzo Portici, Naples Bodycolour, unframed 27.25 x 40.75cm £800-1,200

576

579. School of Marco Ricci (Italian 1676-1729) Travellers on a road by a country villa Bodycolour, unframed 38.25 x 58.5cm £2,000-2,500

579

112

580. Roman School c.1780 View of the river Aniene at Tivoli; The Pantheon; The Colosseum Three, all bodycolour, unframed Each 9 x 14.5cm and similar (3) ÂŁ1,500-2,000 581. Attributed to Gerrit Rademaker (1672-1711) Figures before ruins A pair, both signed with initials Both watercolour, unframed Each 12 x 20.75cm (2) ÂŁ500-700 580

581

113

582. Roman School c.1780 Views of Italian buildings and ruins Some inscribed verso Nine, all bodycolour, unframed Each 9 x 14cm and similar (9) ÂŁ1,000-1,500

582

114 583. Willem van Leen (Dutch 1753-1825) Parrots on a branch Signed, inscribed and dated 1789 verso Watercolour, unframed 35.8 x 22.1cm £1,200-1,800 584. Karel Borchaert Voet (Dutch 1670-1743) A bird on a fallen branch Signed Watercolour, unframed 26 x 18.5cm £500-700

583

584 585. Aert Schouman (Dutch 1710-1792) Bird of Paradise; Exotic bird in a landscape Two, both signed, one with initials and inscribed, one dated 1781 on the backing paper Both watercolour with bodycolour, unframed Each 36.5 x 26cm (2) £6,000-8,000

585

115

586

587

586. William Hayes (1729-1799) A bird of prey with a snake and a tortoise; A duck and a fish by a stream A pair, both signed and dated 4th and 9th July 1760 Bodycolour on embossed paper, unframed Each 42 x 32.75cm (2) ÂŁ800-1,200

587. Isaac Spackman (c.1700-1771) Studies of sparrows Signed and dated 1765, also inscribed in detail verso Watercolour with bodycolour on vellum, unframed 22.75 x 32.25cm ÂŁ1,500-2,000

116

588

589

590 588. Aert Schouman (Dutch 1710-1792) Antelope; Deer Two, one signed and dated 1779, both inscribed verso Both watercolour, unframed 16 x 19.5cm and 13 x 21cm (2) £700-900

589. C. Holstein (18/19th Century) Domestic fowl among ruins; Swans and birds by a lake Two, both bodycolour, unframed Each 27 x 37cm (2) £300-400

590. H. Locnen (18/19th Century) Domestic fowl by ponds Two, one signed Both bodycolour on vellum, unframed Each 29 x 43cm (2) £300-400

117

591 591. After Jan Van Kessel (c.1626-1679) The Mockery of the Owl Watercolour with bodycolour, unframed 37 x 54.75cm This is a loose copy of the original in the Royal Museum of Fine Arts, Antwerp. This copy is missing the owl. £2,500-3,500

592. Dutch School c.1760 Exotic and domestic fowl Watercolour, unframed 27 x 43cm £200-300

592

118

593

594

595 593. Johann Christoph Dietzsch (German 1710-1769) A squirrel eating a pine cone Bodycolour and gum arabic, unframed 29 x 21.5cm £300-500

594. S. Bright (Late 19th Century) Birds on a blossom Signed indistinctly Watercolour with bodycolour, unframed 20.25 x 22.75cm £400-600

596 595. Dutch School c.1750 Peasants by a tomb in a landscape Bodycolour, unframed 16.5 x 13cm £300-500

596. Giuseppe Florenzo Vanni (Italian 18th Century) An exotic bird of the Aracari family Watercolour, unframed 36.5 x 26.75cm £800-1,200

119

597 597. Johannes Jansen (18th Century) Farmers and livestock in river landscapes Two, both signed Both watercolour, unframed 19.75 x 15.25cm (2) £800-1,200

598

598. Pauline de Knip (French 1781-1851) An exotic bird on a branch Watercolour with bodycolour, unframed 43.75 x 30.5cm £100-150

599. Sydenham Teast Edwards (1768-1819) An exotic brown bird Signed with initials, unframed 50.5 x 37.75cm £1,200-1,800

599

120 600. Jan van der Straet (Stradanus) (Flemish 1523-1605) A stag hunt Signed Bodycolour, unframed 16 x 23cm ÂŁ500-700

601. Italian School 18th Century Amateur astronomers among the ruins Bodycolour, unframed 32.25 x 48.25cm ÂŁ400-600

600

601

603

602

604

121

605 602. Abraham Rademaker (Dutch 1675-1735) Soldiers by a town gate Signed Pen, ink and grisaille wash, unframed 14.5 x 23.5cm £400-600

603. Louis Gabriel Moreau L’Ainé (1740-1806) Angler by a cottage Bodycolour, unframed 14.5 x 22.5cm £300-500

604. Dutch School c.1780 A pastoral landscape Bodycolour, unframed 10.7 x 15.2cm £400-600

605. Jacob Burgi (Swiss 1745-c.1795) Travellers in a wooded river landscape Bodycolour, unframed 15.25 x 20.5cm With another of a chapel on a river (2) £800-1,200

606. Jacob Burgi (Swiss 1745-c.1795) Figures in river landscapes Both bodycolour, unframed 17 x 22.5cm and 15.7 x 22.7cm (2) £1,000-1,500

606

122

607

609

608

610

607. Jacob Burgi (Swiss 1745-c.1795) Figures by a water trough in a landscape Bodycolour, unframed 21.75 x 27cm £500-700

609. Jacques Willem van Blarenberghe (Dutch 1679-1742) Figures in a wooded river landscape Bodycolour, unframed 14 x 19cm £300-500

608. Johann Christoph Dietzsch (German 1710-1769) A family and a traveller at sunset Bodycolour, unframed 11 x 15.2cm £400-600

610. J. West (18/19th Century) A mill in a mountainous landscape Bodycolour, unframed 28.5 x 37.5cm £150-200

123

611 611. Jacques Willem van Blarenberghe (Dutch 1679-1742) A village scuffle; Figures by a waterfall Two, both bodycolour, unframed 15.3 x 21.2cm and 17 x 22.5cm (2) £800-1,200

612. Claude Louis Châtelet (French 1753-1794) Ships on the coast at Stromboli Signed and inscribed verso Grisaille watercolour, unframed 15.5 x 26cm £700-900

612

613. Jacob Cats (Dutch 1741-1799) Figures and livestock by an Inn Inscribed and dated May 1789 verso Grisaille watercolour, unframed 24.75 x 36cm £600-800

613

124 614. Johann Christoph Dietzsch (German 1710-1769) Lightning strikes in stormy scenes Bodycolour, unframed 11 x 17cm and 11.5 x 15.5cm (2) ÂŁ1,000-1,500

614 615. Attributed to Johann Christoph Dietzsch (German 1710-1769) A lightning strike Bodycolour, unframed 14.2 x 21cm ÂŁ500-700

615

125

616

616. Henri Désiré van Blarenberghe (French 1734-1812) A battle aftermath; Military encampment Two, both bodycolour, unframed 15 x 20.75cm and similar (2) £800-1,200 617. German School 18th Century Italianate landscapes Three, all bodycolour, unframed 10.7 x 14.3 and 10.7 x 16.7cm (3) £800-1,200

617

126

618 618. Agostino Aglio (1777-1857) View over Mount Etna Signed and dated 1803 Bodycolour, unframed 40.5 x 55cm £2,500-3,500

619

619. Joseph Augustus Knip (Dutch 1777-1847) Fisherman in a boat on a millpond Signed Bodycolour, unframed 27.5 x 42cm £800-1,200

127

620 620. John Claude Nattes (c.1765-1822) View over the Thames with St. Paul’s beyond, 1807 Bodycolour, unframed 37.5 x 53cm £2,000-2,500

621. John Claude Nattes (c.1765-1822) View over the Thames looking West towards Somerset House with Westminster Abbey beyond Bodycolour, unframed 37 x 52.5cm £1,000-1,500 621

128 622. Italian School c.1790 Travellers in a wooded river landscape, a town beyond Bodycolour, unframed 41.75 x 51.25cm ÂŁ2,500-3,500

622 623. Pieter Pietersz. Barbiers (1749-1842) Figures by a farmstead, a church beyond Signed and dated 1807 Watercolour, unframed 41 x 53cm ÂŁ1,000-1,500

623

129

INDEX OF ARTISTS A Asch, Pieter Jansz van Aumonier, James Austrian School

337 436 418

B Baillie, Capt Wm. E 231 Baker, Attrib to Thomas 423 262 Bale, Edwin Ball, Wilfred Williams 267 Barraud, After Henry 241 Baschenis, After Evaristo 358 Batt, Arthur 366, 368, 397 Batt, Edythe B 438 Beauclerk, Lady Diana 243 Bell, Arthur George 392 Biard, Francois Auguste 407 Black, Andrew 434 Blacklock, William Kay 390 Bowden, W J 426 Brett, John 265, 271 Breughel, Foll of Jan 312 Bright, Harry 285, 286, 287, 288, 289, 290, 291, 292, 293 360 Browne, Alfred J W Bukovac, Vlaho 403 Burleigh-Bruhl, Louis 255 C Calderon, William Frank Campbell, John Henry Canal, After Giovanni A Canaletto, Foll of A Carrick, John Mulcaster Carse, After Alexander Cei, Cipriano Chambers, George Chinnery, Manner of G Clevenbergh, Charles Antoine Clouet, Foll of Francois Cobbe, Bernard H Collins, Attrib to Richard Continental School Cooper, Thomas Sidney Cosway, Richard Cosway, Richard ????????? Coventry, C C Cox, David Crawford, Edmund T Crome, John Berney Crossland, James Henry Crowe, Eyre

396 275 319 320 405 234 415 354 311 364 297 432 196 323, 394 266 197, 242, 244 194 344 250 363 373 406 398

D 246 Daniell, Thomas Davidson, Charles Grant 273 Dibdin, Thomas colman 283, 284 Diest, Circle of Willem H 316 Dommersen, Pieter 425 Drulin 269 Durer, After Albrecht 306 Dyck, After Sir Anthony van 300 E Edouart, Foll. Of A A 221 Ellis, Edwin John 386, 393 Emms, John 388, 389 Engleheart, George 189, 193, 198, 199, English School 190, 209, 211, 212, 213, 218, 326, 327, 328, 330, 346, 350 F Famin, E M Fitchew, Ernest H Fleury, James Vivien de Foster, Myles Birket Fowke, Thomas

433 258 355 272 359

G Gainsborough, Thomas Gerard, Theodore German School Gianni, Girolamo Grutzner, Circle of Ed von

225, 226, 227, 228 421 302 347 428

H Hague School 435 Hannam, Florence 217 Harding, Attrib to George P 207 Harding, George Perfect 200, 201, 202, 203, 204, 205, 206 279, 280, 281, 282, Hardy, Thomas Bush Havell, Robert 236 Hayllar, Edith 381 Hayllar, James 380 Hayter, Sir George 342 Hone, Nathanial 376 Hudson, Foll of Thomas 325 Hughes, Arthur 409 Hunt, Edward Aubrey 361 404 Hurt, Louis Bosworth I Italian School J Jagger, Charles Jones, Charles Joy, William

310, 335 208 270 278

K Keulemans, Johannes G 294 Kirchoffer, Henry 253 Klisser 414 Knight, George 391 L Laissement, Henri A Lawrence, Sir Thomas Lawrence, Studio of Sir T Le Brun, After E L Vigee Leader, Benjamin William Legros, Alphonse Leslie, Charles Leyden, Lucas van Linnig, William Lloyd, Walter Stuart Lucas, Albert Durer Lucas, David Luny, Attrib to Thomas Lutz, Jorg

417 251 345 341 375 400 378 224 357 419 399 229, 230 348 257

M Malton, James Marshall, Roberto Angelo Mee, Circle of Anne Mesgrigny, Claude F A de Millet, Jean F Millington Mannin, Mary A Moni, Louis de Morland, Foll of George Mottram, Charles Sim

233 268 195 383 333 210 308 336, 424 263

N Neapolitan School Neer, Attrib to Aert van der Noel, John Bates Northcote, James

427 315 377 329

O Onken, E Owen, Samuel

411 259

P Paice, George Palmer, Samuel Papprill, Henry A Paul, John Peeters, Circle of Jan Pennell, Harry

367 237, 238, 239, 240 235 313 318 410

Persogli, M Pether, Sebastian Petit, Cornielle Petit, Eugene Poingdestre, Charles Henry Pollentine, Alfred Prior, Jessie Edith

362 349 416 370, 401 365 356 222

R Raeburn, After Sir H Ramsay, Circle of Allan Ranvier, Joseph Victor Ravesteyn, Circle of Jan A Reinagle, Ramsay Richard Rinzi, Ernest Rivers, Leopold Roberts, David Rowlandson, Thomas Rubens, After Peter Paul Russian School

332 331 430 301 422 219 374 340 247, 248 305 322, 343

S Saltmer, Florence A Sanzio, After Raphael Schelfhout, Andreas Schetky, John Christian Scott, John Scottish School Senton, Annie F Serres, Dominic M Serres, John Thomas Serres, Valerie Short, Frederick Golden Siberechts, Attrib to J Smart, John Smith, David Murray Southall, Joseph E Spencer, Attrib to Gervase Storck, Circle of Abraham J Stry, Jacob van Stubbs, George Syer, John

384 309 408 371 353 298, 351 220 254 352 216 437, 439 334 191, 192 413 245 215 304, 317 314 232 412

T Teniers, David Thorburn, Archibald Thors, Joseph Tissot, Foll of James J J

307 295, 296 385 429

V Valckert, Attrib to W van den Valter, Henry Varley, John Velde, Willem van de Verbruggen, Attrib to P Vinne, Vincent J van der Vollon, Alexis W Ward, James Wardlow, Alexander H Wardlow, Attrib to Alex H Watts, James Thomas Weiss, Jose Wheeler, John Alfred Williams, Edward C Williams, Walter Willis, John Wint, Peter de Wright, John Massey Wright, Robert Murdoch Z Zais, Foll of Guiseppe Zommer, Richard K

299 372 256 303 321 249 431 339 223 214 260, 261, 274 387, 395 369 420 382 338 252 277 276 324 401

130

WORKS ON PAPER - PRIVATE COLLECTION A Aglio, Agostino Agricola, Attrib to Christoph L Agricola, Christoph Ludwig Andriessen, Juriaan Angelis, Di Austrian School

618 531 491, 500 501 560 462, 499

B Bakhuysen, Hendrik van de S 571 Barbiers, Pieter Pietersz 623 463 Begeyn, Foll Of Abraham J Belanger, Louis 558 Bemme, Johannes Adriaansz 556 492, 493, 523 Bemmel, Georg Christoph G Blarenberghe, Henri Desire van 452, 504, 616 Blarenberghe, Jacques W van 609, 611 562 Bossoli, Carlo Both, Jan Dircksz 464 Bright, S 594 440, 445 Bronkhorst, Johannes 534 Bronkhorst, Jan Gerritsz van Burgi, Jacob 459, 518 Burgi, Jacob 512, 605, 606, 607 C Cats, Jacob Chalon, Louis Chatelet, Claude Louis Chinese School

520, 613 507 612 535, 537, 538

D 526 D’Albe, Baron Louis A G B Daniell, Foll of William 466, 488 D’Anna, Alessandro 541 Daubler, Johann Martin 517, 521 Denny, Thomas 529 Desfriches, Aignan Thomas 469 Dietrich, Attrib to Christian W E 519 615 Dietzsch, Attrib to Johann C Dietzsch, Johann Christoph 448, 450, 451, 515, 516, 593, 608, 614 Duplessis-Bertaux 453 Dupre, Daniel 547 Dutch School 508, 592, 595, 604 Duval, Eustache Francois 522

E Edwards, Sydenham Teast 599 English School 442, 481, 530, 533, 536548 F Fagan, Louis Alexander Ferg, Franz de Paula Flemish School French School

446 449 510, 555 544, 553

G Gabler, Ambrosius 528 Gatta, Saviero Xavier della 447 468 Genillion, Jean Baptiste F German School 458, 465, 487, 490, 506, 514, 545, 573, 617 511 Gill, G H Haag, Tethart Philip C Hackert, Attrib to Johann G Hayes, William Hendriks, Wybrand Hoch, Johann Jacob Holstein, C I Italian School J Jansen, Johannes K Kessel, After Jan van Kleemann, Johann Conrad Knip, Attrib to Joseph A Knip, Joseph Augustus Knip, Pauline de Krygeer, A C

575 498, 503 586 509 543 589 554, 601, 622 597 591 455, 461 549, 572 559, 619 598 489

L L’Aine, Louis Gabriel M 603 495 Langendyk, Jan Anthonie Laporte, John 470, 476, 482, 483, 484, 502, 567, 568, 569 Leen, Willem van 583 Lewin, William 443 Locnen, H 590 Loutherbourg, Foll of Philip J de 485 Loutherbourg, Philip J de 525 Ludwig, Francois 460

M Moucheron, Foll of Isaac de N Nattes, John Claude Nicolle, Victor Jean Nuremburg School P Patel, Attrib to Pierre Antoine Patel, Pierre Antoine Portuguese School Prince, Jean-Baptiste Le R Rademaker, Abraham Rademaker, Attrib to G Reiler, Attrib to Johann C G Renard, Jean Augustin Ricci, Attrib to Marco Ricci, School of Marco Richards, Attrib to John I Roman School S Schouman, Aert Spackman, Isaac Spanish Colonial School Specht, Friedrich Straet, Jan van der

546 479, 620, 621 542 524 551 574 454, 457 540 467, 505, 602 581 539 550 552, 576 579 494 580, 582 496, 532, 585, 588 587 456 444 600

T Tillemans, Peter

513

V Vanni, Giuseppe Florenzo Voet, Karel Borchaert

596 584

W Wallaert, Pierre-Joseph Walmsley, Thomas

557 471, 472, 473, 474, 475, 480, 486, 566 Webb, James 477, 478 West, J 570, 610 497, 527 Wissing, J C Withers, Augusta Innes 441 Z Zerrilli, Francesco

561, 577, 578

Furniture, Works of Art & Clocks Thursday 7th January 2016

A Collection of Bronzes, 17th â&#x20AC;&#x201C; 19th century. The property of a deceased estate.

Enquiries Mark Richards +44 (0)1722 411854 markrichards@woolleyandwallis.co.uk

Silver Tuesday 19th & Wednesday 20th January 2016

A pair of George III silver candlesticks, by John Green, Roberts, Mosley and Co., Sheffield 1800. Estimate: £1,000 - £1,500

Enquiries Rupert Slingsby +44 (0)1722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0)1722 424594 lucychalmers@woolleyandwallis.co.uk

Oil Paintings, Watercolours, Miniatures and Prints Wednesday 16th March 2016

John Nost Sartorius (1759-c.1830) Hunting Scenes A set of four All signed and dated 1804 All oil on canvas Each 37 x 47cm; 14½ x 18½in Estimate: £5,000-7,000

Enquiries Victor Fauvelle +44 (0)1722 424503 victorfauvelle@woolleyandwallis.co.uk

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Woolley & Wallis Absentee Bid Form Fine Old Masters & 19th Century Paintings Wednesday 9th December 2015 & Thursday 10th December 2015 PW091215

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Please bid, on my behalf, for the undermentioned Lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in this Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print) �� Address �� _________________________ Postcode �� Daytime Telephone �� Signature �� There is no surcharge for debit card payments, but for credit cards there will be a 2% + VAT surcharge. ID is required for all first time bidders.

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508

Brief Description

Price excluding buyer’s premium & VAT

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid

received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash). 12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges. TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary.

Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque four weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale. CONDITIONS OF SALE

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) (i) (ii) (b)

Immediately a lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in pounds sterling Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR PURCHASES

NON-PAYMENT

FAILURE

COLLECT

(a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS

Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions. PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

11. WARRANTY OF TITLE AND AVAILABILITY

The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY

Glossary

(a)

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

(b) (c) (d) (e) (f) (g) (h) (i) (j) (k)

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

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

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500

15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category. Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. After Edward Lear: In our opinion a copy of a known work of the artist. The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width. Pictures are framed unless otherwise stated.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Auction Calendar Asian Art 18th & 19th May 2016 John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk Paintings 16th March 2016 – Oils, Watercolours, Prints & Miniatures Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk 20th Century Design 20th April 2016 – Clarice Cliff, Art Deco & 20th Century Design Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk Furniture & Works of Art 7th January 2016 – Furniture, Works of Art & Clocks Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk Silver 19th & 20th January 2016 – Silver, Vertu, Coins & Medals Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk Jewellery 21st January 2016 Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk Tribal Art & Antiquities 9th February 2016 Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk Arms & Armour 6th April 2016 Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk English & European Ceramics & Glass 23rd February 2016 – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk

• Entries can usually be accepted up to eight weeks prior to the auction • Illustrated catalogues are available about ten days before the sale • Viewing is normally two days prior to the auction and on Saturday mornings • Catalogue subscriptions are available for all sales • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk

WOOLLEY & WALLIS Fine Old Masters & 19th Century Paintings

9th & 10th December 2015